The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The Argentine art critic, Raquel Tibol, asked Diego Rivera 14 questions aimed at identifying his different impressions of the Soviet Union [today, in 1956,] as compared to 1927. The questions were focused on new art, the art market, and the disputes between Russian artists and those who live in democratic countries. In spite of the critic’s insistence on hearing about such disputes, Diego’s contention was that there were none; they were merely discussions. Rivera concluded the interview talking about a project he had with some Germans, in which they would use the surviving walls for artworks that would be massive, socialist murals.
Diego Rivera was just back from the Soviet Union after a long cancer treatment, and he had no interest in arguing with Raquel Tibol. She asked him about the differences in the Soviet Union between 1927, when Diego made his first trip, and today (1956), at the height of the cold war. He regretted having missed the lectures given by David Alfaro Siqueiros, explaining that he had been in the hospital at the time. When asked about the subject of the disputes, Diego Rivera answered that there were no disputes, but that he did give his opinions to the institutions that so requested. The responses in this interview were those of a nonconfrontational Rivera.