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.
Romance magazine invited the Mexican artist David Alfaro Siqueiros to discuss his theoretical ideas about painting’s essential problems. At the time, he was finishing the mural at the Sindicato Mexicano de Electricistas de la Ciudad de México [Mexican Electricians Union, Mexico City]. Siqueiros acknowledges the value of teamwork (Spanish and North American artists included) and of public art. He believes that art should be reconsidered in terms of politics, and should embrace advances in the fields of chemistry and mechanics as well. In his closing remarks, Siqueiros extols art that looks toward the future, in overt opposition to what he sees as the archaism of Europe’s contemporary artistic expression.
José Renau (1907–1982), the painter and poster artist from Valencia, described in great detail his experience of working as part of a group on the mural at the Sindicato Mexicano de Electricistas [Mexican Electricians Union]. The mural, painted with pyroxylin airbrushed onto smoothed cement, was called Retrato de la burguesía (1939–40) [Portrait of the Bourgeoisie]. This artist worked closely with the Mexican muralist, both bound by the spatula and by their social ideals. Two artists living in exile, Antonio Rodríguez Luna (1910–1985) from Cordoba, and Miguel Prieto (1907–1956) from La Mancha, also worked on this mural, though not for very long. Renau found it to be the learning experience of a lifetime.