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At the Crossroads - Diego Rivera and his Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts (Paperback)
Loot Price: R760
Discovery Miles 7 600
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At the Crossroads - Diego Rivera and his Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts (Paperback)
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Collaborations during the Great Depression between the Mexican
artist and Communist activist Diego Rivera and institutions in the
United States and Mexico were fraught with risk, as the artist
occasionally deviated from course, serving and then subverting his
patrons. Catha Paquette investigates controversies surrounding
Rivera’s retrospective at the Museum of Modern Art in New York
City, his Rockefeller Center mural Man at the Crossroads, and the
Mexican government’s commissioning of its reconstruction at the
Palace of Fine Arts in Mexico City. She proposes that both the
artist and his patrons were using art for extraordinary purposes,
leveraging clarity and ambiguity to weigh in on debates concerning
labor policies and speech rights; relations between the United
States, Mexico, and the Soviet Union; and the viability of
capitalism, communism, and socialism. Rivera and his patrons’
shared interest in images of labor—a targeted audience—made
cooperative ventures possible. In recounting Rivera’s shifts in
strategy from collaboration/exploitation to antagonism/conflict,
Paquette highlights the extent to which the artist was responding
to politico-economic developments and facilitating
alignment/realignment among leftist groups for and against Stalin.
Although the artwork that resulted from these instances of
patronage had the potential to serve conflicting purposes,
Rivera’s images and the protests that followed the destruction of
the Rockefeller Center mural were integral to a surge in
oppositional expression that effected significant policy changes in
the United States and Mexico.
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