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.
Jesús Guerrero Galván makes some observations about the production by Leopoldo Méndez, within the context of several group exhibitions that were held in 1926. He qualifies the social function of the œuvre by his colleague and considers his popularity a consequence of his achievement with the technique, which is due to the connection it has with “the purest Mexican tradition.”
Artists engaged in politics and politically committed proved that they could handle other environments, too. Such were the cases of Jesús Guerrero Galván and Leopoldo Méndez (1902-1969), who—although they belonged to the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists] —they also approached the university group that managed this magazine in order to practice art criticism and receive certain subsidies. The young Guerrero Galván called attention to the “social function” of the works by Méndez, although he also talked about a “classical and formal sense.” We need to remember that Méndez, in the year 1936 had painted the murals of the Talleres Gráficos de la Nación [Graphic Workshops of the Nation] supported by Alfredo Zalce and Fernando Gamboa. It was precisely Guerrero Galván who had been a member of a commission in charge of making an evaluation of said mural works. In this reflection by an artist regarding another artist—a legitimizing reflection of his artistic and political work—is where the production by Méndez fell: between the debates about the politicized nature of the artist and his more formally inclined artistic trends, in addition to the sanctioning question of popular art.