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.
In commemoration of the XV anniversary of the weekly magazine Hoy [Today], the Instituto de Bellas Artes (INBA) suggests the periodical publish a selection of images representing local painting throughout the ages. An article written by the critic Antonio Rodríguez accompanies the images. It examines the importance of the paintings found at the ruins of Bonampak (Chiapas) as an example of pre-Hispanic art, then covers the colonial period of the New Spain, followed by the independence period of the 19th century, and finally the 20th century, identifying the latter as a product of the 1910 Revolution. This final section includes, in addition to the names of Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco, the paintings of Francisco Goitia, Rufino Tamayo, Frida Kahlo and Manuel Rodríguez Lozano.
As stipulated by INBA, in particular the curatorial discourse of its sub-director Fernando Gamboa, the Mexico-based Portuguese born critic Antonio Rodríguez (1914-93) recounts the history of art in Mexico using some of the works considered canonical by the aforementioned institution. Rodríguez’s discourse avoids the majority of the 19th century artistic production so that it may focus on that period’s popular painters. It only mentions the Jalisco painter José María Estrada and the Guanajuato artist Hemenegildo Bustos within the context of that century. The majority of the article focuses on post-revolutionary painting, which is metaphorically described as “the great awakening.”