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.
According to this article, David Alfaro Siqueiros had just founded the Centro de Arte Realista [Center for Realist Art] that was intended to function as a “school” or “institute” in which research into techniques, pedagogical theory, geometry, physics, mechanics, and anything and everything related to the visual arts could be conducted. The underlying idea was to rescue the original social program of “Modern Mexican Painting” from “deviations and a weakening in the essential value of its production.” This article claims to be the first interview granted by the painter since his return to Mexico six months earlier.
The Centro de Arte Realista [Center for Realist Art] sought to gather the artists of the so-called Mexican School of Painting and use new technical resources to express ideas that were in sync with the latest industrial innovations. Though a magazine was to have been published, and the group was supposed to include Diego Rivera (1886-1957), José Clemente Orozco (1883-1949), Rufino Tamayo (1899-1991), Carlos Mérida (1891-1984) and Manuel Rodríguez Lozano (1896-1971), the implementation of the Center never materialized. Siqueiros returned to Mexico in December 1943 after spending three years in South America and Cuba in self-imposed exile following the attack on Leon Trotsky (1879-1940) at his home in Coyoacán.