Between 1932 and 1934, Jose Clemente Orozco painted the
twenty-four-panel mural cycle entitled The Epic of American
Civilization in Dartmouth College's Baker-Berry Library. An
artifact of Orozco's migration from Mexico to the United States,
the Epic represents a turning point in his career, standing as the
only fresco in which he explores both US-American and Mexican
narratives of national history, progress, and identity. While his
title invokes the heroic epic form, the mural indicts history as
complicit in colonial violence. It questions the claims of Manifest
Destiny in the United States and the Mexican desire to mend the
wounds of conquest in pursuit of a postcolonial national project.
In Orozco's American Epic Mary K. Coffey places Orozco in the
context of his contemporaries, such as Diego Rivera and David
Alfaro Siqueiros, and demonstrates the Epic's power as a
melancholic critique of official indigenism, industrial progress,
and Marxist messianism. In the process, Coffey finds within
Orozco's work a call for justice that resonates with contemporary
debates about race, immigration, borders, and nationality.
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