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 art critic Ceferino Palencia reviews the exhibition at the Salón de la Plástica Mexicana [Salon of Mexican Visual Arts], one of three events presented in Mexico City to celebrate Mother’s Day. Twenty-five “accredited” painters were represented but the reviewer complains that their work is, “Nothing but technique, with no emotion at all.” With the exception of Luis Nishizawa, all the artists present work with a “Mother’s” theme, ranging from cutesy to ordinary: “They seem to have all agreed to either portray trivial moments or to present pathetic scenes.”
The Salón de la Plástica Mexicana [SPM, Salon of Mexican Visual Arts] was an exhibition space implemented by the Instituto Nacional de Bellas Artes (INBA) in 1949 to be managed and supervised by the artists themselves. From the very beginning, the SPM presented itself as the defender of official painting, the so-called Escuela Mexicana de Pintura [Mexican School of painting]. That explains why its members, who were the only exhibitors, were still committed to a naturalist form of painting with a narrative content. At that Salon, however, the most notable work was the abstract La madre [The Mother] by Juan Soriano (1920-2006), which was awarded the prize and was purchased by the SPM itself. Ceferino Palencia, the Spanish critic who lived in Mexico, did not seem to agree with the decision, and wondered, “What emotion could possibly be stirred . . . by the confusion of these colors and this composition?”