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In 1931, Diego Rivera was the subject of The Museum of Modern Art's
second monographic exhibition, which set attendance records in its
five-week run. The Museum brought Rivera to New York six weeks
before the opening and provided him a studio space in the building.
There he produced five portable murals large blocks of frescoed
plaster, slaked lime and wood that feature bold images drawn from
Mexican subject matter and address themes of revolution and class
inequity. After the opening, to great publicity, Rivera added three
more murals, taking on New York subjects through monumental images
of the urban working class. Published in conjunction with an
exhibition that brings together key works from Rivera's 1931 show
and related material, this vividly illustrated catalogue casts the
artist as a highly cosmopolitan figure who moved between Russia,
Mexico and the United States and examines the intersection of
art-making and radical politics in the 1930s.
An in-depth look at the transformative influence of Mexican artists
on their U.S. counterparts during a period of social change The
first half of the 20th century saw prolific cultural exchange
between the United States and Mexico, as artists and intellectuals
traversed the countries' shared border in both directions. For U.S.
artists, Mexico's monumental public murals portraying social and
political subject matter offered an alternative aesthetic at a time
when artists were seeking to connect with a public deeply affected
by the Great Depression. The Mexican influence grew as the artists
Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros
traveled to the United States to exhibit, sell their work, and make
large-scale murals, working side-by-side with local artists, who
often served as their assistants, and teaching them the fresco
technique. Vida Americana examines the impact of their work on more
than 70 artists, including Marion Greenwood, Philip Guston, Isamu
Noguchi, Jackson Pollock, and Charles White. It provides a new
understanding of art history, one that acknowledges the
wide-ranging and profound influence the Mexican muralists had on
the style, subject matter, and ideology of art in the United States
between 1925 and 1945. Published in association with the Whitney
Museum of American Art Exhibition Schedule: Whitney Museum of
American Art, New York (February 17-May 17, 2020) McNay Art Museum,
San Antonio (June 25-October 4, 2020)
Behind the fascinating public artist's practice of collaboration
Judith F. Baca is best known for the Great Wall of Los Angeles
(1976-83), a vibrant 2,740-foot mural in Los Angeles that presents
an alternative history of California-one that focuses on the
contributions of marginalized and underrepresented communities. The
mural is emblematic of Baca's pioneering approach to creating
public art, a process in which members of the community are
essential contributors to the conception and realization of the
work. Anna Indych-Lopez explores Baca's oeuvre, from early murals
painted with local gang members in the Boyle Heights neighborhood
of Los Angeles to more recently commissioned works. She looks in
depth at the Great Wall and considers the artist's ongoing work
with the Social and Public Art Resource Center (SPARC) in Venice,
California, a nonprofit group founded by Baca in 1976. Throughout,
Indych-Lopez assesses what she calls Baca's "public art of
contestation" and discusses how ideas of collaboration and
authorship and issues of race, class, and gender have influenced
and sustained Baca's art practice.
Behind the fascinating public artist's practice of collaboration
Judith F. Baca is best known for the Great Wall of Los Angeles
(1976-83), a vibrant 2,740-foot mural in Los Angeles that presents
an alternative history of California-one that focuses on the
contributions of marginalized and underrepresented communities. The
mural is emblematic of Baca's pioneering approach to creating
public art, a process in which members of the community are
essential contributors to the conception and realization of the
work. Anna Indych-Lopez explores Baca's oeuvre, from early murals
painted with local gang members in the Boyle Heights neighborhood
of Los Angeles to more recently commissioned works. She looks in
depth at the Great Wall and considers the artist's ongoing work
with the Social and Public Art Resource Center (SPARC) in Venice,
California, a nonprofit group founded by Baca in 1976. Throughout,
Indych-Lopez assesses what she calls Baca's "public art of
contestation" and discusses how ideas of collaboration and
authorship and issues of race, class, and gender have influenced
and sustained Baca's art practice.
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