How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State

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9780822350378: How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State
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"This is a major work of scholarship, a sorely-needed and comprehensive treatment of the relationships between muralism and nationalist political culture, and between mural production and museum practice, in mid-twentieth-century Mexico." Leonard Folgarait, author of Mural Painting and Social Revolution in Mexico, 1920-1940: Art of the New Order "How a Revolutionary Art Became Official Culture is art history and socio-cultural analysis at its best. We now have, for the first time in English, a detailed discussion of how murals were integrated into museum practice in the one country in the Americas where muralism underpinned the development of state ideologies and popular culture." Barry Carr, author of Marxism and Communism in Twentieth-Century Mexico

Reseña del editor:

A public art movement initiated by the post-revolutionary state, Mexican muralism has long been admired for its depictions of popular struggle and social justice. Mary K. Coffey revises traditional accounts of Mexican muralism by describing how a radical art movement was transformed into official culture, ultimately becoming a tool of state propaganda. Analyzing the incorporation of mural art into Mexico's most important public museums - the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum - Coffey illuminates the institutionalization of muralism and the political and aesthetic issues it raised. She focuses on the period between 1934, when Jose Clemente Orozco and Diego Rivera were commissioned to create murals in the Palace of Fine Arts, through the crisis of state authority in the 1960s. Coffey illuminates a reciprocal relationship between Mexico's mural art and its museums. Muralism shaped exhibition practices, which affected the politics, aesthetics, and reception of mural art. Interpreting the iconography of Mexico's murals, she focuses on representations of mestizo identity, the pre-eminent symbol of post-revolutionary Mexico. Coffey argues that those gendered representations reveal a national culture project more invested in race and gender inequality than in race and class equality.

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Descripción Duke University Press, United States, 2012. Paperback. Estado de conservación: New. New.. 251 x 201 mm. Language: English . Brand New Book. A public art movement initiated by the postrevolutionary state, Mexican muralism has long been admired for its depictions of popular struggle and social justice. Mary K. Coffey revises traditional accounts of Mexican muralism by describing how a radical art movement was transformed into official culture, ultimately becoming a tool of state propaganda. Analyzing the incorporation of mural art into Mexico s most important public museums-the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum-Coffey illuminates the institutionalization of muralism and the political and aesthetic issues it raised. She focuses on the period between 1934, when Jose Clemente Orozco and Diego Rivera were commissioned to create murals in the Palace of Fine Arts, through the crisis of state authority in the 1960s. Coffey highlights a reciprocal relationship between Mexico s mural art and its museums. Muralism shaped exhibition practices, which affected the politics, aesthetics, and reception of mural art. Interpreting the iconography of Mexico s murals, she focuses on representations of mestizo identity, the preeminent symbol of postrevolutionary Mexico.Coffey argues that those gendered representations reveal a national culture project more invested in race and gender inequality than in race and class equality. Nº de ref. de la librería AAJ9780822350378

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Descripción Duke University Press, United States, 2012. Paperback. Estado de conservación: New. New.. 251 x 201 mm. Language: English . Brand New Book. A public art movement initiated by the postrevolutionary state, Mexican muralism has long been admired for its depictions of popular struggle and social justice. Mary K. Coffey revises traditional accounts of Mexican muralism by describing how a radical art movement was transformed into official culture, ultimately becoming a tool of state propaganda. Analyzing the incorporation of mural art into Mexico s most important public museums-the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum-Coffey illuminates the institutionalization of muralism and the political and aesthetic issues it raised. She focuses on the period between 1934, when Jose Clemente Orozco and Diego Rivera were commissioned to create murals in the Palace of Fine Arts, through the crisis of state authority in the 1960s. Coffey highlights a reciprocal relationship between Mexico s mural art and its museums. Muralism shaped exhibition practices, which affected the politics, aesthetics, and reception of mural art. Interpreting the iconography of Mexico s murals, she focuses on representations of mestizo identity, the preeminent symbol of postrevolutionary Mexico.Coffey argues that those gendered representations reveal a national culture project more invested in race and gender inequality than in race and class equality. Nº de ref. de la librería AAJ9780822350378

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Descripción Duke University Press. Paperback. Estado de conservación: new. BRAND NEW, How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State, Mary K. Coffey, A public art movement initiated by the post-revolutionary state, Mexican muralism has long been admired for its depictions of popular struggle and social justice. Mary K. Coffey revises traditional accounts of Mexican muralism by describing how a radical art movement was transformed into official culture, ultimately becoming a tool of state propaganda. Analyzing the incorporation of mural art into Mexico's most important public museums - the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum - Coffey illuminates the institutionalization of muralism and the political and aesthetic issues it raised. She focuses on the period between 1934, when Jose Clemente Orozco and Diego Rivera were commissioned to create murals in the Palace of Fine Arts, through the crisis of state authority in the 1960s. Coffey illuminates a reciprocal relationship between Mexico's mural art and its museums. Muralism shaped exhibition practices, which affected the politics, aesthetics, and reception of mural art. Interpreting the iconography of Mexico's murals, she focuses on representations of mestizo identity, the pre-eminent symbol of post-revolutionary Mexico. Coffey argues that those gendered representations reveal a national culture project more invested in race and gender inequality than in race and class equality. Nº de ref. de la librería B9780822350378

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