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 by Pablo Fernández Márquez analyzes the last two publications of the magazine Artes de México (numbers 17 and 18), which was then under the editorial direction of Rafael Salas Anzures. The first of these (17) deals with the pre-Hispanic Mexican sculpture in United States collections, citing those pieces that can be found in museums such as the National Gallery of Art in Washington, D.C.; the Smithsonian Museum; the American Museum of Natural History in New York; and the Peabody Museum at Harvard University. The article does not cover all the pieces in these collections, but rather focuses on a few. It is the subsequent publication (18) that mentions the critic for his support of the commemoration of the 20th anniversary of the Taller de la Gráfica Popular (TGP) [People’s Graphic Workshop]; the group mounted an exhibition at the Palacio de Bellas Artes to mark the event. This issue recounts the experiences and memories of some of TGP’s members, among them those of Leopoldo Méndez, Fanny Rabel, Mariana Yampolsky and Pablo O’Higgins.
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Although this article by Fernández Márquez is a tribute to the Taller de Gráfica Popular (TGP) during its twenty-year anniversary, the celebrations were in reality quite modest. At that time the group was undergoing a period of crisis during which the dissemination, quality and content of its engravings were being questioned. The artists belonging to this workshop had reflected upon these problems throughout the year before; they give reasons in the article for why their activity has been limited: among them, that they were prohibited from displaying their work in the streets. The group did not accept this prohibition in any way. Fanny Rabel (1922-2008) expressed her opinion: “we should demand the walls, they are our platform.” Leopoldo Méndez (1902-69), the leader of the organization, believed that TGP’s work consisted of searching history “with emotion” Devoted to what he believed was a “patriotic responsibility . . . considering the danger in which Mexico finds itself.”