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¡¡Asesinos!!
1924This article by Diego Rivera denounces the “reactionary” agents of Delahuertismo who were the true architects of the conspiracy to infiltrate Masonic lodges at the beginning of 1924 in order to murder the governor of Yucatan, Felipe Carrillo [...]ICAA Record ID: 763275 -
¡¡Fíjate, Trabajador!!
1924This document is a didactic-political text directed toward the working class organized around identification of its enemies. These include the fake socialist parties (equated with the Italian fascists). And also the intellectuals unable to understand [...]ICAA Record ID: 763293 -
¡Que hable el diablo!: ¿La Bienal es falsa?... ¿es derroche de dinero?... ¿agente del ninguneo?
1958Fausto Castillo interviewed Mr. Miguel Salas Anzures who—when asked about the accusation that he was spending a great deal of money on the first Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking], [...]ICAA Record ID: 758326 -
¡Que viva Trotsky!
1986This was the headline of the supplement—dedicated to the muralist on the centenary of his birth—that published a document dated December 19, 1929 in which Diego Rivera explained “My Expulsion from the PCM.” The text discusses his reasons and [...]ICAA Record ID: 754283 -
¡Rivera y Siqueiros lo acaparan todo!
1952Juan B. Climent interviews Manuel Rodríguez Lozano, who leaves no doubt about his position regarding the figures of Diego Rivera and David Alfaro Siqueiros in Mexican art. Lozano talks about the need to vindicate the native figure stemming from [...]ICAA Record ID: 776602 -
¡Tamayo es un hipócrita! : dice Siqueiros en una entrevista exclusiva para Hoy sobre la Bienal
1958In this interview, David Alfaro Siqueiros expressed his views on the Biennial. He began by critiquing the paintings exhibited by the United States, and warned Latin American painters against imitating hybrid ideas that made no sense, such as Tachisme [...]ICAA Record ID: 768083 -
¡Tamayo se rebela! : Rufino Tamayo, “Cuarto grande” de la pintura mexicana se subleva en un vibrante mensaje artístico
1951The art critic Juan Climent thought that Rufino Tamayo’s painting was caught in the crossfire of conflicting opinions. Some thought that his œuvre represented the decadent formalism of the School of Paris, but others saw it as the dawn of a new [...]ICAA Record ID: 759012 -
¿Artistas provocadores y delatores? : Los efectos de la intromisión corruptora del departamento de Estado Yanqui en la vida artística de nuestro país
1954The exhibition at Perls Gallery in Beverly Hills, Los Angeles, presented Rufino Tamayo as one of the four great Mexican artists. His works were part of the great modernism and, unlike those of his colleagues, no Communist symbols could be found in [...]ICAA Record ID: 785817 -
¿Cómo quiere que responda a Tamayo, en broma, o en serio?
1947José Clemente Orozco believed that opposition to political painting was nothing new in Mexico; it had been around since the start of the mural movement. Some painters tried to stamp out all forms of figurative or representative expression. When [...]ICAA Record ID: 755517 -
¿Cómo respondieron los públicos de Europa?
1952This interview consists of fourteen questions regarding the reception that the Mexican art exhibition experienced from the Parisian public. Fernando Gamboa believed that the event was a great opportunity for the Mexican people, and also was a great [...]ICAA Record ID: 779913 -
¿Cuál es el pintor más grande de México?
1922In the Survey Section, the journalist Ortega decided to go to the Escuela Nacional Preparatoria to ask the painters there the following question: Who is the greatest painter in Mexico? The caricaturist Ernesto García Cabral ironically responds that [...]ICAA Record ID: 755251 -
¿Cuál es la pintura revolucionaria?
1955In artistic circles in those days, according to Rufino Tamayo, anything that was not purely Mexican was roundly rejected, and works that reflected our own experience and personal expression were lavishly praised. This had its positive aspects, but it [...]ICAA Record ID: 759040 -
¿El abandono de su tradicional plataforma ideológica servirá a la pintura mexicana?
1948In this short article by Antonio Rodríguez, the art critic shows his support for an article published in the previous issue of the journal Espacios by the artist Roberto Berdecio, in defense of “social painting.” Rodríguez believes that “ [...]ICAA Record ID: 799572 -
¿México tendría hoy una escuela de pintura propia, de haber seguido la ruta de Tamayo?
1948Antonio Rodríguez analyzed Rufino Tamayo’s work, basing his remarks on the retrospective of his paintings exhibited at the Palacio de Bellas Artes. According to the exhibition catalog, Tamayo’s greatest contribution was his handling of color. [...]ICAA Record ID: 758248 -
¿Qué opina usted del estridentismo?
1923Based on the criticisms that the emergence of Estridentismo gave rise to, Oscar Leblanc, a journalist of El Universal Ilustrado carries out a survey about the movement, interviewing several personalities. The responses are really extreme. The writer [...]ICAA Record ID: 737534 -
"Gran-boa" asfixia a los escultores mexicanos
1958This brief article, illustrated by a large caricature, uses a humorous tone to comment on the disputes generated by the declarations of sculptors, who were unable to reach an agreement. “Instead of joining forces to fight the little dictator who [...]ICAA Record ID: 772048 -
"The Route of Friendship" : sculpture
1970Mathias Goeritz describes two projects proposed to the then-president of the organizing committee of the 19th Olympic Games, architect Pedro Ramírez Vázquez: the International Meeting of Sculptors and The Route of Friendship. The artist describes [...]ICAA Record ID: 741733 -
“Estéticamente reaccionarios” son los pintores modernos : Dice el pintor David Alfaro Siqueiros
1947Antonio Rodríguez portrayed painter David Alfaro Siqueiros as an avant-garde artist because of his approach to using new pictorial materials. In this interview, Siqueiros declared that contemporary painters remained “impassive before the progress [...]ICAA Record ID: 758048 -
“La Piedad” : un fresco de Rodríguez Lozano en la penitenciaría del D. F.
1942In this article the Spanish writer José Bergamín analyzes the mural, La Piedad [Mercy] that Manuel Rodríguez Lozano painted at the Lecumberri prison in Mexico City. He finds aspects of Lozano’s work within the Hispanic heritage adopted by [...]ICAA Record ID: 789210 -
[¿Quiénes levantaran el monumento a Posada?=Who will raise the monument to Posada?]
1930This issue contains more than 400 engravings by José Guadalupe Posada, with a preface by Diego Rivera, in which he redefines the engraver as a “worker,” “warrior of leaflets,” the “greatest artist” produced by the people, and the [...]ICAA Record ID: 757821 -
[C'est avec la Mort de Maximilien...]
1929André Salmon introduces Lola Cueto’s work by referring to certain moments that he considers important. He suggests that Edouard Manet’s painting, La Muerte de Maximiliano [The Death of Maximilian], was Mexico’s debut in the visual arts. [...]ICAA Record ID: 1104283 -
[Chicago Latino]
1992This exhibition catalog, Chicago Latino, was part of an intercultural dialogue initiated by two “socially-minded arts groups,” the 369 Gallery of Edinburgh, Scotland, and the Near Northwest Arts Council of Chicago, Illinois. The exhibition [...]ICAA Record ID: 1056360 -
[Chicago State University observed the sixty sixth anniversary of the Mexican Revolution of 1910]
1979In this text, Victor Alejandro Sorell writes that Chicago State University observed the 66th anniversary of the Mexican Revolution with a dedication of an eight-panel portable mural by Raymond Patlan entitled El Grito de la Raza Cósmica, [The Cry of [...]ICAA Record ID: 801909 -
[Comité Ejecutivo de la Liga de Escritores y Artistas Revolucionarios (LEAR) to Joseph Freeman, National Secretary of the John Reed Club (JRC). Communique]
1935This communiqué outlines the growth of the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists] in the last ten months, explaining the organizational structure and activities. It highlights the [...]ICAA Record ID: 800989 -
[Digno es de notarse que mientras mas pura es la Raza...]
1926This text underscores the originality, expression and strength of the works created at the Escuelas de Pintura al Aire Libre [Open-Air Schools of Painting], arguing that these qualities are the product of racial purity and that as mestizaje [racial [...]ICAA Record ID: 825947 -
[El café de nadie]
1924This stylized painting portrays some of the members of the Estridentista movement in their meeting place: El Café de Nadie [No Man’s Café]. Manuel Maples Arce is in the upper center of the picture, flanked by both Germán List and Salvador [...]ICAA Record ID: 799703 -
[El caso de Germán Cueto en la escultura contemporánea...]
1948In this essay, the painter Carlos Mérida emphasizes Germán Cueto’s capacity to work with different materials such as iron, tin, and plastics, by connecting them to a new aesthetic modality called “design.” For Mérida, design is the vital [...]ICAA Record ID: 736834 -
[El conocimiento de la vanguardia internacional en México...]
1970Luis Mario Schneider carried out the first documented study on Etridentismo; he interviewed the members of the group and thoroughly examined the archives of this 1920s avant-garde movement. Although the group left some accounts to history, this was [...]ICAA Record ID: 752823 -
[El expresionismo a partir de Kokoschka,...]
1964In this book, Margarita Nelken, a Spanish critic based in Mexico, discusses the development of Expressionism in Mexican art. She argues that Mexican Expressionism has a native origin that, with the passage of time, has been enriched by the different [...]ICAA Record ID: 748151 -
[El siglo XIX estalla en una granada fantástica...]
1939In the introduction to this catalog, César Moro (a celebrated Peruvian poet and artist) alludes to the antecedents of Surrealism within the avant-garde movements of the beginning of the twentieth century. He also identifies the contact points that [...]ICAA Record ID: 752617 -
[En la Escuela de Pintura al Aire Libre de Guadalupe Hidalgo...]
1926This text by Fermín Revueltas, the director of the Escuela al Aire Libre de Guadalupe Hidalgo [Open-Air School of Guadalupe Hidalgo], is very concise. He states that the school he directs teaches art methods so that works can be created to be both [...]ICAA Record ID: 825937 -
[En la forja de América...]
1916The prologue to Forjando patria: pro nacionalismo, published in 1916 by leading Mexican anthropologist and archaeologist Manuel Gamio, compares the forging of metal out of an amalgam of bronze and steel to the ideal societal intermixing of Mexicans [...]ICAA Record ID: 1125463 -
[En presencia del fenómeno observado en las escuelas libres de pintura...]
1926This text presents the Escuelas de Pintura al Aire Libre [Open-Air Schools of Painting] and its creative production as evidence that Mexican children have a natural artistic disposition. It also associates this disposition with their indigenous blood [...]ICAA Record ID: 825942 -
[Estoy harto]
1960Mathias Goeritz states that he is fed up with logic and reason; with functionalism, decoration, and individualism; with the fashion of the moment, with vanity, ambition and egocentrism; with the -isms and -ists, both figuration and abstraction. He is [...]ICAA Record ID: 825113 -
[Hoja Popular Ilustrada]
1938The Taller de Gráfica Popular (TGP) [People’s Graphic Workshop] explained its working plan for graphic propaganda in a flyer that specified the following: it could be incorporated into wall newspapers, mailed as if it were postal correspondence, [...]ICAA Record ID: 822757 -
[La casa marcada con el número 000...]
1906This novel by Eduardo A. Castrejón is based on the Baile de los 41 [The Dance of the 41], a notorious raid that took place in Mexico City in which 42 homosexual men were arrested. It tells the tale of a gathering hosted by a couple, Mimi and Ninón, [...]ICAA Record ID: 779575 -
[La teoria de nuestra labor docente puede muy bien fundarse...]
1926This essay, written by Francisco Díaz de León, director of the Escuela de Pintura al Aire Libre [Open-Air Schools of Painting] in Tlalpan, explains that the Schools favor an aesthetic education and individual expression over technical education. He [...]ICAA Record ID: 826063 -
[Letter] [ca.1952]
1952In this letter, Fernando Gamboa tells José (his last name is illegible) that the exhibition has been received positively. According to Gamboa there are those who have discovered an authentic pictorial path in Mexican painting, a possible escape from [...]ICAA Record ID: 779926 -
[Letter] 1930 Junio 18, México D.F. [to] Ignacio García Tellez, Rector de la Universidad Nacional Autónoma
1930In this letter, the interim director of the Escuela Central de Artes Plásticas [Central School of the Visual Arts] informs the rector of the Universidad Nacional Autónoma de México [UNAM National Autonomous University of Mexico], and attorney-at- [...]ICAA Record ID: 795917 -
[Letter] 1934 Enero 11, Isla de Trinidad [to] Blanca Luz Brum
1934In this letter, David Alfaro Siqueiros tells Blanca Luz Brum that the Troubadour—the ship on which he sailed from Buenos Aires in December 1933—had arrived in Port of Spain, Trinidad and Tobago. Siqueiros talks about the book he wrote on the trip [...]ICAA Record ID: 1238692 -
[Letter] 1935 December 4th, México D.F [to] League of American Writers
1935Juan de la Cabada reports on progress in organizing a Congreso Continental de Científicos [Scientists’ Continental Congress] in Mexico City under the direction of Víctor Manuel Villaseñor in accordance with the resolutions of the American [...]ICAA Record ID: 801625 -
[Letter] 1935 June 6th, México D.F. [to] New masses
1935This document proposes an exchange of publications between Frente a Frente and New Masses, but its main goal is to convince the North American publication to use its influence to help connect LEAR to the Association d’Écrivains et Artistes [...]ICAA Record ID: 801041 -
[Letter] 1935 Junio 14, México D.F [to] Angel Flores
1935This essay discusses LEAR’s decision to establish a “Bureau Editor for Mexico” to publish the continent-oriented magazine, Sin Fronteras / All America—the roots of the future “Congreso Continental de Escritores y Artistas de Toda América [ [...]ICAA Record ID: 801551 -
[Letter] 1935 Octubre 16, New York [to] Luis Arenal
1935“The Red International”—as Ramón Pi, Jr. referred to himself—describes his vehicle for distributing revolutionary words and images from his base in New York. His goal is to place his publication in the hands of professionals whose names he [...]ICAA Record ID: 801576 -
[Letter] 1936 December [to] Pollock, Sandy, Lehman
1936In this brief letter, David Alfaro Siqueiros advises Jackson Pollock and his team that the studio in New York will be closed during the day while he prepares for his forthcoming exhibition in Manhattan. Siqueiros explains that he needs to be alone to [...]ICAA Record ID: 751122 -
[Letter] 1951 [to] Fernando Gamboa
1951The Instituto Nacional de Bellas Artes y Literatura (INBAL, 1947) invited Rufino Tamayo to participate in the Mexican Art Exhibition that would take place in Europe. The Oaxacan painter responded that he could not give them an answer until “he knew [...]ICAA Record ID: 779846 -
[Letter] 1951 Junio 14, París [to] Carlos Chávez
1951When no agreement could be reached to present the exhibition of Mexican art at the Petit-Palais in Paris, Fernando Gamboa was forced to find an alternative space. In this letter to Carlos Chávez, Gamboa informs him of the results of attempts to hold [...]ICAA Record ID: 779948 -
[Letter] 1951 Septiembre 24, Acapulco [to] Rufino Tamayo
1951This document is Carlos Chávez’s response to the letter that Rufino Tamayo had written to Fernando Gamboa on August 20, 1951. In it, Tamayo asks to know the government’s point of view on the Mexican Art Exhibition that would take place in Europe [...]ICAA Record ID: 779827 -
[Letter] 1958 Mayo 26, México D.F. [to] Fernando Gamboa, Bruselas
1958While he was in Brussels, Fernando Gamboa stayed in close communication with the architect Enrique Yáñez, who informed him of the progress of the artists working on the Centro Médico [Medical Center]. In addition to designing the Centro, Yáñez [...]ICAA Record ID: 796080 -
[Letter] 1979 August 3, Austin, Texas [to] Javier Pacheco
1979This a letter requesting support for the promotion of the first international conference of Chicano art, organized by Santa Barraza and Consuelo Avila in 1979. The stated objective of the conference is to provide an overview of the history and [...]ICAA Record ID: 1082353