000			03976nam a22006017a 4500
001			008633
008			160926s2009||||xxua|||| |||| 00| 0 eng d
020			_a9780822943846
245			_aMuralism without walls : _b Rivera, Orozco, and Siqueiros in the United States, 1927-1940
100	1		_aIndych-López, Anna _918056
260			_aPittsburgh, Pa: _bUniversity of Pittsburgh Press, _c2009
300			_axi, 250 p. _bil., col.
650			_aArte y Política _915522
650			_aPintores mexicanos _99659
650			_aArte y Revolución _915523
650		0	_aPintura Mural _97740
500		0	_aIntroduction: The circulation of Mexican muralism in the United States -- Horrores -- Mexican curios -- Mural gambits -- "Explaining" muralism
942	0	0	_cLIBRO
901			_a751.7 _b751.7 _cI49
902			_aM
903			_aM
904			_aD
905			_aAnna Indych-López
906			_a111227
907			_a011174
913			_aIndych-López, Anna
915			_aMuralism without walls : Rivera, Orozco, and Siqueiros in the United States, 1927-1940
917			_axi, 250 p.
928			_aUniversity of Pittsburgh Press
929			_aPittsburgh, Pa
930			_aUS
932			_ail., col.
933			_a2009
934			_a20090000
936			_a9780822943846
946			_aThe art of muralists Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros emerged after the violence of the Mexican Revolution. Beginning in the 1920s, promoters sought to bring the work of these artists to the U.S. public, who had acquired a newfound taste for Mexican culture. Muralism without Walls examines the introduction of Mexican muralism to the United States and seeks to account for the specific strategies and networks by which the muralists both engaged and resisted the broader fascination with "south of the border" culture. Anna Indych-López investigates the dynamics of cultural exchange for the artists and the viewing public. She analyzes the presentation of works by Los Tres Grandes in three influential exhibitions of the 1930s, probing critical reactions to the exhibitions, the visual strategies utilized to convey and downplay cultural nationalism, and how U.S. attitudes toward Mexican muralism evolved over time. The presentation of muralism in the United States faced numerous ideological, logistical, and aesthetic challenges. Perceptions of Mexican cultural identity as rural and folkloric initially skewed the reception of the politicized, vanguard art of the muralists. And the reinterpretation of murals in entirely new media (small-scale portable frescoes, paintings, prints, photographs, and drawings) intersected with debates in the United States and Latin America about the role of public art in society. Indych-Lo´pez reveals that despite the tendency of U.S. institutions to attempt a stifling of the revolutionary and panoramic power of the work, the museum-going public still held expectations for political content from the muralists. Although Mexican culture is often used as a tool for diplomacy in the United States, this study reinserts the work of the muralists into the broader story of international modernism. Muralism without Walls opens a new perspective on the cultural politics of modern Mexico and the United States and the ways in which muralism fashioned Mexican modernity.
947			_aEN
948			_aIntroduction: The circulation of Mexican muralism in the United States -- Horrores -- Mexican curios -- Mural gambits -- "Explaining" muralism
954			_aPintura Mural
956			_aRivera, Diego _e1886-1957
956			_aOrozco, José Clemente1883 - 1949
956			_aSiqueiros, David Alfaro1896-1974
960			_a _aMéxico
960			_aEstados Unidos
961			_a _a _aSiglo XX
964			_a120807
965			_aset
966			_a120807
999			_c12354 _d12354