F. K. Ferenz, with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street, Los Angeles, 1932
1 2023-06-01T03:10:49-07:00 Vanessa Salgado bda00098d30b38b2229c2907b310043e9362a3ab 42723 2 F. K. Ferenz (director of the Plaza Art Center), with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street. They are looking at a document, perhaps a plan. This is probably at the time that Siqueiros painted a mural at Olvera St. titled "América Tropical." David Alfaro Siqueiros was a Mexican social realist painter, best known for his large murals in fresco. His mural, América Tropical, at Olvera Street, is still in place. Dean Cornwell was a muralist and illustrator. Among his most famous works are 16 panels at the Los Angeles Public Library depicting a pageant of California history. plain 2023-06-01T03:10:58-07:00 UCLA Digital Library https://digital.library.ucla.edu/catalog/ark:/21198/zz002dc32g October 1932 Los Angeles Times Vanessa Salgado bda00098d30b38b2229c2907b310043e9362a3abThis page has paths:
- 1 2023-06-01T12:36:31-07:00 Adelmar Ramirez a4bf3b19b77c9f4b12cc64aa3ed1a273dcebf85a Thumbnail Gallery Adelmar Ramirez 2 structured_gallery 2023-06-01T12:37:34-07:00 Adelmar Ramirez a4bf3b19b77c9f4b12cc64aa3ed1a273dcebf85a
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2023-05-23T13:19:16-07:00
David Alfaro Siqueiros: Social Realist Painter
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Abstract: Social realist painter and muralist, David Siqueiros is recognized for his large public murals. Recognized as one of the most famous of the "Mexican muralists", Siqueiros's artwork often carried strong political and social messages, depicting themes of social justice, revolution, and the struggles of the working class. His passion for social activism and artistic expression made him a significant figure not only in the art world but also in the broader context of political and cultural movements of his time.
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2023-06-12T02:04:45-07:00
One of the most notable muralists known during the Chicanx art movement is David Alfaro Siquieros. This social realist painter and muralist, most famously recognized for his large public murals, Siqueiros is known as one of the most famous of the "Mexican muralists". Siqueiros painted dynamic images of revolution and human struggle. His accentuation/emphasis of the human body was meant to show the strength of the working class and often used symbols from the natural world to evoke broader political and social themes. Siqueiros's artwork often carried strong political and social messages, depicting themes of social justice, revolution, and the struggles of the working class. His passion for social activism and artistic expression made him a significant figure not only in the art world but also in the broader context of political and cultural movements of his time. His most popular mural pictured above, America Tropical, is one of his most popular murals, as its significance over time has grown, drawing discussion from many of its observers.
To briefly summarize the revolutionary life of David Alfaro Siquieros, it is important to recognize his intent and motivations. In this Youtube video pictured aside, Siqueiros highlights his reasoning for creating his vast murals. The video quotes, “Quiero que el tema no sea solamente la marcha de la humanidad en México, si no la marcha de la humanidad en toda América Latina en particular / I want the topic not only to be the march of humanity in Mexico, but the march of humanity in all of Latin America in particular” (David Alfaro Siqueiros).
In order to promote Olvera Street in Los Angeles, CA in the 1930s, David Alfaro Siqueiros was invited to paint a mural with the intention to be the embodiment of an idealized painting, however he did the opposite. Siqueiros instead, painting a radical mural. At the America Tropical Interpretive Center in Los Angeles, CA, there is a direct quotation from Siqueiros himself, “I believe. I have done something interesting here. I have initiated a movement of outdoor murals that I judge to be very serious - murals under the sun, under the rain, facing the street. If one muses over this, one recognizes…. the basis of art of the future that [will] be public to its fullest extent” - David Alfaro Siqueiros (1932), writing after his deportation from the United States.As depicted aside, this image includes F. K. Ferenz, with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street in Los Angeles in 1932. Siqueiros faced many criticisms surrounding América Tropical after it was unveiled on October 9th, 1932. The image shocked many. A consequence of this was The U.S. Department of Labor’s Immigration Service requesting his immediate departure from the United States. América Tropical held a big significance about imperialism and the lives of Latine peoples during the time. The mural reflects the oppression and exploitation of Latine people by the United States, and the controversy surrounding it reflects the ongoing struggles of marginalized communities for visibility and recognition. This mural is noted as a mural too powerful to be hidden.Pictured above, a rendered image of América Tropical is depicted. As mentioned previously, Siqueiros was commissioned to paint a romanticized version of Mexico, however ironic enough, business owners from the area at that time described it as scandalous, heinous, or atrocious. Siqueros truly believed art had the power to change the world and change the perception of everything we know. América Tropical is a depiction of how art during the Chicano movement was used to empower Chicanos and their struggles. The censorship of the mural itself can be seen as a representation of how power structures seek to silence and erase the experiences of oppressed communities. As seen, images depicting imperialism are present. Right at the center of the image, sits the image of an indigenous man being crucified on the cross, representative of Jesus Christ. It can be inferred that this is possibly a criticism of the imperialistic history of Christianity and its forced conversion on marginalized communities. Also depicted are revolutionary soldiers and Mayan ruins. Siqueiros highlights the destruction and the attempts to overlook the harm done on Indigenous communities.
Pictured below is what América Tropical looks like now. As seen, the mural is faint and holds damage from the white paint used to censor Siquieros. There have been efforts made to preserve and restore the mural, which has suffered damage over the years due to neglect and censorship. The Getty Conservation Institute completed a three-decade-long project to conserve the mural which included carefully removing the paint that was used to cover it, working to save what was left, and making it accessible to visitors once again. After the public had reacted to the mural, it was decided that it would be covered up with white paint as an attempt to cover the mural up. Many believe that the slow revelation of the original mural under the white paint over time is a prime example of how we cannot be silenced in the face of oppression. According to the Aztecs, there is a god, Huitzilopochtli, the god of the sun and war. It is said that through the power of the sun god cracked the white paint and made América Tropical visible again, symbolizing resilience in the face of discrimination and structural violence.
In addition to América Tropical, Siqueiros has other murals, two of which are located in Mexico City, Mexico at the Universidad Nacional Autónoma de México (UNAM). Both of the murals included below are located on different sides of buildings at UNAM. One titled “The People for the University. The University for the People” and the other “Mexican History or the Right for Culture”.
Seen to the left, “The People for the University. The University for the People” depicts a community of people with their arms out. The format of the mural itself is a relief, with an emphasis on the arms of the people depicted being pushed out of the mural. As mentioned previously, Siquerios’ accentuation/emphasis of the human body was meant to show the strength of the working class. The title itself being a representation of how the University is for the people and the people at the university deserve to be at the University itself. The mural in itself is a depiction of bringing a community together through muralist.
Seen to the right, “Mexican History or the Right for Culture”. Just as the mural above, the format is a relief, with an emphasis on the hands in the mural. The title references the mural itself, representing Mexican history and the right to understand the culture in it of itself. The murals at UNAM by Siquieros highlight the themes of community and communication through murals.David Alfaro Siqueiro's works allowed for many to have a voice in times of oppression. Utilizing art as a bridge to communication with marginalized communities holds power to this day. Although América Tropical may not be available to view in its purest form, we are able to view it and understand that even in times of censorship, it remains tall and mighty. Referencing the course reading Keywords: Art by Rita Gonzalez, “Latina/o art is the shaping, iterating, and/or interrogating of the cultural expressions of one’s relationship—even if contested—to latinidad. Just as “Latina/o” and “Latin American” are heavily contested terms, so too is “Latina/o art” in that it can be used as an umbrella term to encompass diverse artistic practices from geometric abstraction to activist driven social practice art” (Gonzalez). In times of oppression, art allows us to communicate our wants and needs. Siqueiro’s contribution to the Chicanx art movement is something that should not be overlooked, as his works are prime examples of utilizing art as a form of communication.