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2018, Nuevas miradas a los murales de la Secretaría de Educación Pública, Simposio Internacional, Salón Iberoamericano, Secretaría de Educación Pública, Mexico City
In 1928 the French journal La Renaissance de l’art français et des industries de luxe published the first images of Diego Rivera’s SEP murals to circulate in Paris. Accompanying the photographs was a condensed and translated reprint of an essay by Mexican born Latvian-American historian and art critic Anita Brenner “A Mexican Renascence,” which had originally appeared in the United States in 1925. The images chosen to illustrate the French publication were entirely different from the US version, however, and therefore told a different story. Following Brenner’s lead, in 1929 French critic Jean Cassou wrote an article entitled “La Renaissance de l’art Mexican” for the journal L’Art Vivant which also discussed Rivera’s murals, and in 1930 L’Art Vivant dedicated the entire January issue to Le Mexique, publishing an extensive spread of photographs of Rivera’s SEP and Chapingo murals, thereby significantly expanding on the images made available in 1928. This paper will examine the presentation of Diego Rivera’s SEP murals in the French Press, looking at how French journals served as a curatorial platform and shaped perceptions of Mexican muralism abroad through their selection, arrangement, and analysis of imagery.
2011 •
Choice Reviews Online
Muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-19402010 •
Alejandro Anreus, Robin Adele Greeley, Leonard Folgarait, eds., Mexican Muralism: A Critical History (University of California Press, 2012)
Mexican Muralism: A Critical HistoryIn this comprehensive collection of essays, three generations of international scholars examine Mexican muralism in its broad artistic and historical contexts, from its iconic figures—Diego Rivera, José Clemente Orozco, and David Alfaro Siquieros—to their successors in Mexico, the United States, and across Latin America. These muralists conceived of their art as a political weapon in popular struggles over revolution and resistance, state modernization and civic participation, artistic freedom and cultural imperialism. The contributors to this volume show how these artists’ murals transcended borders to engage major issues raised by the many different forms of modernity that emerged throughout the Americas during the twentieth century.
Journal of History of Modern Art (Seoul, South Korea)
Whose Side Are We On? Artistic Rivalries in Mexican Avant-Garde Art2012 •
This article follows Diego Rivera's trajectory from his early days in Montparnasse to his controversial incursion in North American artistic circuits. A central figure of Mexican Muralism along Orozco and Siqueiros, Rivera was the first artist to have a one-man exhibit in the newly created Museum of Modern Art in New York. This paper examines the visual and discursive strategies he utilized to consolidate as a paramount figure of Modern art in America in the Twentieth Century.
Pinta la Revolución. Arte moderno mexicano (1910-1950). catálogo de la exposición
Everything was for the Revolution: Muralismo en la Secretaría de Educación Pública2016 •
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