Vida Americana Mexican Muralists Remake American Art 1925 1945

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 José 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.

This is a study of the reciprocal relationship between Mexican muralism and the three major Mexican museums&—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum.

In this comprehensive collection of essays, three generations of international scholars examine Mexican muralism in its broad artistic and historical contexts, from its iconic figuresÑDiego Rivera, JosŽ Clemente Orozco, and David Alfaro SiquierosÑto 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 artistsÕ murals transcended borders to engage major issues raised by the many different forms of modernity that emerged throughout the Americas during the twentieth century.

An account of the author's experience in Iraq, presents photographs and commentary that convey the terror and exhilaration of photojournalism in an age of embedded reporting.

Before communism, anarchism and syndicalism were central to labour and the Left in the colonial and postcolonial world.Using studies from Africa,Asia, Eastern Europe, and Latin America, this groundbreaking volume examines the revolutionary libertarian Left's class politics and anti-colonialism in the first globalization and imperialism(1870/1930).

"The Strachwitz Frontera Collection is the largest repository of commercially produced Mexican and Mexican American vernacular recordings in existence. It contains more than 130,000 individual recordings. Many are rare, and some are one of a kind. Although border music is the focus of the collection, it also includes notable recordings of other Latin forms, including salsa, mambo, sones, and rancheras. More than 40,000 of the recordings, all from the first half of the twentieth century, have been digitized with the help of the UCLA Chicano Studies Research Center and are available online through the University of California's Digital Library Program. Agustin Gurza explores the Frontera Collection from different viewpoints, discussing genre, themes, and some of the thousands of composers and performers whose work is contained in the archive. Throughout he discusses the cultural significance of the recordings and relates the stories of those who have had a vital role in their production and preservation. Rounding out the volume are chapters by Jonathan Clark, who surveys the recordings of mariachi ensembles, and Chris Strachwitz, the founder of the Arhoolie Foundation, who reflects on his six decades of collecting the music that makes up the Frontera Collection."--Publisher description.

In this splendid poetry collection, Reading the Infinite, the Mexican Jewish poet Jenny Asse Chayo meditates on the relationships among God, man and the written word. From ever-changing vantage points: this poetry is focused on the acts of reading and writing about the Jewish Bible; God writes; Man reads what God has written. Man writes; and here, God reads what Man has written. The eternal themes of Jewish existence are reconfigured through Jenny Asse Chayo's verse. She ponders the nature of God, faith, light and darkness, the wandering in the wilderness, exile, life in the Diaspora, return and redemption. In some poems, well-known stories from Genesis are reworked and become like Midrashim or biblical interpretations in the style of the Talmudists, but always with a modern twist. This is a book about reading and writing about the divine; the reader, whether religious or not, is drawn in, feeling the need to meditate on or argue with a premise, a line or even the use of an individual word. Reading the Infinite promotes a deeper spiritually among the devout of any religion and even provokes those who usually don't think about these topics. Many poems here should be read as prayers, be they by an individual or in a synagogue service. Some would not be out of place in a church or a mosque.The English translations are by Stephen A. Sadow and J. Kates. The poetry, in the original Spanish.is also included