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.
This article reports on painter Rosendo Salazar’s show at the Galería de Arte Moderno, under the authority of the Dirección General de Acción Educativa del Departmento del Distrito Federal (DDF) [Directorate for Educational Action at the Mexico City-City Hall]. According to the article, the gallery sought to create an opportunity for those artists who “remain ignored.” The author states that Salazar’s paintings were expressive and had great use of color, although the painter himself was more important as “a fighter for the proletarian cause” as deemed by the anonymous author because he projected socialist ideology and traditional roots through his work.
The artist and political activist Rosendo Salazar was a very important figure in the Mexican workers’ movement. In addition to his activism, he was also an ideologue who founded the Confederación Regional Obrera Mexicana (CROM) [Regional Confederation of the Mexican Worker]; he likewise devoted himself to revolutionary poetry and painting that depicted many socialist themes since the worker was the principal protagonist. While other painters used their work to oppose the Church and exploitation by the bourgeoisie, Salazar’s œuvre, which this article places within the avant-garde concept of artist and political activist, demonstrated a similar commitment as political artists had for the most wretched social groups. Using Salazar as an example, the article maintains that these artists represented an ideal means to understanding avant-garde art within the scope of Social Realism.