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 old Guatemalan Estridentista, Arqueles Vela, muses on how the revolution influenced Mexican art. He does not believe that cubism or the poetry of the proletariat were the first fields to be affected; instead, he points to the corridos, the popular songs that were sung during the Revolution. Vela considers a “perfect work of art” to be one in which someone—Diego Rivera for example—translates “a community’s feelings.” The article includes a brief referral to the work of Carlos Gutiérrez Cruz, which it defines as an example of sickly art, not because of its doctrinaire charge but because of its lack of originality.
This is an idiosyncratic view that presents the critical ideas of historical materialist, Arqueles Vela, who is a seasoned observer of the aesthetic political avant-garde and who reaffirms the link between the Mexican avant-garde and traditional art. The roots of this perspective can be traced to the post-revolutionary cultural movement.
Carlos Gutiérrez Cruz, who was known as the “poet of the proletariat,” was involved in the failed experiment that set out to create a proletarian literature inspired by the Soviet model.