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Relevant bibliographies by topics / Mexican Muralism

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Academic literature on the topic 'Mexican Muralism'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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Journal articles on the topic "Mexican Muralism"

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Bellisario, Antonio, and Leslie Prock. "Arte ConTexto." Latin American and Latinx Visual Culture 2, no. 3 (2020): 29–52. http://dx.doi.org/10.1525/lavc.2020.2.3.29.

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The article examines Chilean muralism, looking at its role in articulating political struggles in urban public space through a visual political culture perspective that emphasizes its sociological and ideological context. The analysis characterizes the main themes and functions of left-wing brigade muralism and outlines four subpolitical phases: (i) Chilean mural painting’s beginnings in 1940–1950, especially following the influence of Mexican muralism, (ii) the development of brigade muralism for political persuasion under the context of revolutionary sociopolitical upheaval during the 1960s and in the socialist government of Allende from 1970 to 1973, (iii) the characteristics of muralism during the Pinochet dictatorship in the 1980s as a form of popular protest, and (iv) muralism to express broader social discontent during the return to democracy in the 1990s. How did the progressive popular culture movement represent, through murals, the political hopes during Allende’s government and then the political violence suffered under the military dictatorship? Several online repositories of photographs of left-wing brigade murals provide data for the analysis, which suggests that brigade muralism used murals mostly for political expression and for popular education. Visual art’s inherent political dimension is enmeshed in a field of power constituted by hegemony and confrontation. The muralist brigades executed murals to express their political views and offer them to all spectators because the street wall was within everyone's reach. These murals also suggested ideas that went beyond pictorial representation; thus, muralism was a process of education that invited the audience to decipher its polysemic elements.

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Solano Roa, Juanita. "The Mexican Assimilation: Colombia in the 1930s - The case of Ignacio Gómez Jaramillo." Historia Y MEMORIA, no. 7 (July 1, 2013): 79. http://dx.doi.org/10.19053/20275137.2194.

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<p>During the 1930s in Colombia, artists such as Ignacio Gómez Jaramillo, took Mexican muralism as an important part of their careers thus engaging with public art for the first time in the country. In 1936, Gómez Jaramillo travelled to Mexico for two years in order to study muralism, to learn the fresco technique and to transmit the Mexican experience of the open-air-schools. Gómez Jaramillo returned to Colombia in 1938 and in 1939 painted the murals of the National Capitol. Although Gómez Jaramillo’s work after 1939 is well known, his time in Mexico has been barely studied and very few scholars have analyzed the artist’s work in light of his Mexican experience. While in Mexico, Gómez Jaramillo joined the LEAR (La Liga de Escritores y Artistas Revolucionarios) with whom he crated the murals of the Centro Escolar Revolución. These murals depict politically engaged images that, apparently, little had to do with his more historical work back in Colombia. This text proposes a careful reading of the artist’s work at the CER and a re- reading of the National Capitol murals in light of a more politicized vision.</p>

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Herrera, Juan Carlos Arias. "From the Screen to the Wall: Siqueiros and Eisenstein in Mexico." Mexican Studies/Estudios Mexicanos 30, no. 2 (2014): 421–45. http://dx.doi.org/10.1525/msem.2014.30.2.421.

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The relation between Russian filmmaker Sergei Eisenstein and “The Three Greats” of Mexican muralism has been widely discussed. The opposite connection, the influence of Eisenstein’s ideas and techniques on Mexican artists, however, has been less analyzed. This text examines the relation between Eisenstein’s aesthetic theories and David Alfaro Siqueiros’ poetics of mural painting. Through the analysis of the work The March of Humanity, I propose that Eisenstein and Siqueiros established a productive dialogue focused on the concept of dialectics that, according to them, was the key to producing a new link between art and the masses. La relación entre el cineasta ruso Sergei Eisenstein y los llamados “Tres Grandes” del muralismo mexicano ha sido ampliamente discutida. La conexión contraria, sin embargo, esto es, la influencia de las ideas y técnicas de Eisenstein sobre los artistas mexicanos, ha sido menos analizada. Este texto examina la relación entre las teorías estéticas de Eisenstein y la poética de la pintura mural de David Alfaro Siqueiros. A través del análisis de la obra La Marcha de la Humanidad, me interesa mostrar que Eisenstein y Siqueiros establecieron un diálogo productivo centrado en el concepto de dialéctica, el cual, de acuerdo con los dos autores, era la clave para la producción de un nuevo vínculo entre el arte y las masas.

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AZUELA, A. "Public Art, Meyer Schapiro and Mexican Muralism." Oxford Art Journal 17, no. 1 (1994): 55–59. http://dx.doi.org/10.1093/oxartj/17.1.55.

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Jaimes, Héctor. "Octavio Paz: (re)lecturas del muralismo mexicano." Araucaria, no. 43 (2020): 252–67. http://dx.doi.org/10.12795/araucaria.2020.i43.13.

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Cruz, Lourdes. "Muralism and Architecture: Art Fusion at Mexico’s University City." Art and Architecture, no. 42 (2010): 24–33. http://dx.doi.org/10.52200/42.a.gblrp8hz.

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University City is one of the best examples of twentieth-century Mexican architecture. It has been declared a World Heritage Site by Unesco for it managed to synthesize tradition and avant-garde to create a place where the articulating landscape design is able to assign emptiness a compositional value; while the harmonious layout of the buildings and their careful construction merge with murals that play an important role in forming their identity. These grand scale murals (1952-1956) were capable of communicating the values and spirit of the Mexican revolutionary movement, such as progress and social reform, while also teaching people about the country’s history and its social struggle. The result is a very realistic, didactic, and even narrative art which appeals to the masses.

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Campbell, Bruce. "Unofficial Revisions in National Form: Muralism of the Mexican Crisis." Journal of Latin American Cultural Studies 10, no. 1 (2001): 11–23. http://dx.doi.org/10.1080/13569320020030024.

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Indych-López, Anna. "Mural Gambits: Mexican Muralism in the United States and the “Portable” Fresco." Art Bulletin 89, no. 2 (2007): 287–305. http://dx.doi.org/10.1080/00043079.2007.10786343.

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Harp, Tania Osorio. "Is forensic architecture the new muralism of the Mexican state? A reflection on racialized violence and the construction of Mexican identity." Journal of Urban Cultural Studies 5, no. 3 (2018): 371–80. http://dx.doi.org/10.1386/jucs.5.3.371_1.

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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.

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Dissertations / Theses on the topic "Mexican Muralism"

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BARBOSA, Luciana Coelho. "Uma perspectiva sobre a identidade mexicana na obra de David Alfaro Siqueiros (1920-1959)." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2290.

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Made available in DSpace on 2014-07-29T16:17:33Z (GMT). No. of bitstreams: 1 Luciana coelho.pdf: 5663456 bytes, checksum: 7956b919163e0885341f8f3a7dbb81f2 (MD5) Previous issue date: 2009-10-23<br>This work has for proposal the analysis of the construction of a Mexican identity under the perspective of David Alfaro Siqueiros. This artist is an important character for the understanding of the transformations occurred in the Mexican society under the revolutionary context. The Mexican Revolution succeeded in motivating and involving the whole society and, due to the great popular participation in the uprisings, engendered the need to rethink this population contingent, surpassing the political and military character, and greatly affecting the culture. The muralist movement, on which Siqueiros took part, was significant to this question, since it tried to represent the inferior classes, inserting them in the official discourse. Under this perspective it is valid to point out that the analysis of the construction of identities is intrinsically connected to the social and political imaginary. In the Latin-American countries and especially in Mexico, object of this study, this relationship is directly connected to the notion of miscegenation. We cannot discuss Mexican identity without taking into consideration this question that is crystalline in the muralist movement and consequently in the work of Siqueiros. This identitary process is essential for the individual to engender the nation since it makes possible the integration between individual and society, despite its ocurrence in a contradictory manner, since it includes and excludes simultaneously. Hence, the emphasis of this work consists in the comprehension of how the Mexican historical context supported the Siqueirian identitary discourse.<br>Este trabalho tem como proposta a análise da construção de uma identidade mexicana sob a perspectiva de David Alfaro Siqueiros. Este artista é um personagem importante para a compreensão das transformações ocorridas na sociedade mexicana sob o contexto revolucionário. A Revolução Mexicana conseguiu dinamizar e comprometer toda a sociedade e, devido à grande participação popular nos levantes, engendrou a necessidade de se repensar este contingente populacional, ultrapassando o caráter político-militar, afetando sobremaneira a cultura. O movimento muralista, do qual Siqueiros fazia parte, foi significativo nessa questão, uma vez que buscou representar as classes subalternizadas inserindo-as no discurso oficial. Sob esta perspectiva é válido destacar que a análise da construção das identidades está intrinsecamente ligada ao imaginário político e social. Nos países latino-americanos e em especial no México, objeto desse estudo, essa relação está diretamente ligada à noção de mestiçagem. Não podemos discutir identidade mexicana sem levarmos em consideração essa questão que é cristalina no movimento muralista e conseqüentemente na obra de Siqueiros. Esse processo identitário é essencial para que o indivíduo possa engendrar a nação haja vista que possibilita a integração entre indivíduo e sociedade, mesmo ocorrendo de forma contraditória, pois inclui e exclui simultaneamente. Assim, a ênfase desse trabalho consiste, pois, na compreensão de como o contexto histórico mexicano subsidiou o discurso identitário siqueiriano.

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Rodriguez, Abigail E. "Playing With Fire: An Examination of the Context and Conservation of Jose Clemente Orozco's Prometheus." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/860.

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Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.

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Ruiz, Janette Cynthia, and Janette Cynthia Ruiz. "Los Murales de Osaka: Mexican Modernism at the 1970 World's Fair." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/622864.

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In 1969 curator Fernando Gamboa commissioned eleven abstract artists to paint a collective mural to be displayed in the Mexico Pavilion at the 1970 World’s Fair held at Osaka, Japan. He instructed the artists to paint large sized individual paintings on stretched canvases that when joined collectively would form a mural measuring 400 sq ft. The artists selected by Gamboa were working in a style that broke the conventions of traditional Mexican muralism. They were a generation of painters who abandoned the ideologies of José Vasconcelos and the conception that artists should be responsible for changing society. Instead they embraced the words of José Luis Cuevas and based their work on the individual’s subjectivity. The binary Gamboa raises by linking Mexican muralism and modern painting problematizes the conception of murals in Mexico. Traditional muralism focused on public spaces and state forums for social communication. In contrast, mural-sized stretched canvases, which hung on the walls of the pavilion intended to provoke an international audience, produced an alternative meaning of muralism and questioned what artistic attributes constituted a Mexican mural in the 1970s

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Grene, Ruth. "The Colonizers and Their Colonized." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/99233.

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This study is concerned with the Self/Other dichotomy, originally formulated by scholars of South Asian history in the context of European imperialistic treatments of the peoples whom they colonized for centuries, as applied to Mexican history. I have chosen some visual, cinematic, and literary representations of indigenous and other dispossessed peoples from both colonial and post-colonial Mexico in order to gain some insights into the vision of the powerless, (the 'Other'), held by the powerful (the colonizers, whether internal or external), especially, but not exclusively, in the context of race. Some public and private works of Mexican art from the 18th , 19th. and the 20th centuries are used to understand the perceptions of the Other in Colonial Mexico City, at the time of Independence, in state-sponsored pre and post-Revolutionary spectacles representing indigenous peoples, cinematic representations of the marginalized and the dispossessed from the Golden Age of Mexican cinema, and in the representation of the marginalized in the literary and photographic works of Juan Rulfo. I conclude that an ambivalent mixture co-existed in Mexican culture through the centuries, on the one hand, honoring the blending that is expressed in the word 'mestizaje', and on the other, adhering to a thoroughly Eurocentric world view. This ambivalence persisted from the 18th century through Independence and the Revolution and its aftermath, albeit in transformed '<br>M. A.

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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.

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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.<br>Master of Arts

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Martinez, De Luna Lucha Aztzin. "Murals and the Development of Merchant Activity at Chichen Itza." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd1026.pdf.

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Racine, Nathaniel. "Unusual Occurrences in the Desert: Symbolic Landscapes in the Cultural Exchange between the United States and Mexico, 1920-1939." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488068.

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English<br>Ph.D.<br>What does Mexico mean to the cultural imagination of the United States? What has it meant in the past? In what ways has the U.S. incorporated aspects of Mexican culture into its own? This dissertation explores these questions of cultural and intellectual exchange between the U.S. and Mexico during the 1920s and 1930s by positioning itself amid the present “transnational” and “hemispheric” turn in U.S. literary study. Its subject matter ranges from architecture and urbanism to journalism and travel writing to short stories and novels to muralism and the visual arts. Such an interdisciplinary approach is bolstered by crossing scales of geography from the international to the continental, the national, the regional and the local. Positioning the discussion in geographic terms allows one to see how the possibilities for cultural exchange could never be fully realized, as the ways in which U.S. writers and intellectuals understood Mexico-- then and now-- can rarely be separated from either the physical proximity or the cultural dissimilarity of the two countries, a relationship that has been described as one of “distant neighbors.” This dissertation takes the spatial components of culture seriously, employing useful concepts from the disciplines of human geography and cultural landscape studies to inform its understanding of how diverse figures ranging from Conrad Aiken, Stuart Chase, José Clemente Orozco, Katherine Anne Porter, Sophie Treadwell, William Carlos Williams-- among others less widely known-- understood Mexico and presented it to a U.S. audience during the interwar period. Their narratives often employ the symbolic landscape of Mexico to communicate the qualities of Mexican culture while unwittingly obscuring the reality of what the country itself. Nonetheless, each example points to possible correctives in the pattern, offering a hemispheric perspective from which much can still be learned today.<br>Temple University--Theses

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Raymond, Edith. "Une étude de l'histoire de l'art contemporain mexicain à travers l'utilisation du legs précolombien : métissages et interactions." Paris 1, 2004. http://www.theses.fr/2004PA010517.

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Etudier l'Histoire de l'Art contemporain mexicain à travers l'adaptation du legs précolombien est une vaste entreprise. Qui n'a pas évoqué, voire revendiqué, ce lien qui unit les artistes et les anciennes civilisations ? Certains l'ont abordé à propos de peintres français comme Paul Gauguin, d'autres en se référant à des artistes américains, tels qu'Henri Moore ou Frank Lloyd Wright. Au Mexique, les cultures préhispaniques ne sont pas seulement une source d'inspiration formelle, philosophique ou poétique, comme elles ont pu l'être pour certains artistes en quête d'authenticité ou de mysticisme. Elles reflètent une histoire nationale et sont porteuses d'une part identitaire essentielle dans la construction du peuple mexicain. Elles prennent différents visages et incarnent une symbolique qui varie selon les époques. C'est ce rapport complexe qui existe au Mexique entre la création artistique contemporaine et le passé préhispanique que soutient cette thèse.

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Valladares, Gisel Corina. "Maybe She's Born With It, Maybe it's Mexicanidad: Depictions of Mexican Feminine Beauty and the Body in Visual Media During the 1950s." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493336026688153.

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Santiago, Maycom Pinho. "México mural : Rivera, Siqueiros e Orozco em perspectiva decolonial." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/32521.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Estudos Latino-Americanos, Programa de Pós-Graduação em Estudos Comparados Sobre as Américas, 2018.<br>Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-22T21:39:21Z No. of bitstreams: 1 2018_MaycomPinhoSantiago.pdf: 1832903 bytes, checksum: 59270e69a34a3f37ae12dafaa65c47e2 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:27:45Z (GMT) No. of bitstreams: 1 2018_MaycomPinhoSantiago.pdf: 1832903 bytes, checksum: 59270e69a34a3f37ae12dafaa65c47e2 (MD5)<br>Made available in DSpace on 2018-08-27T22:27:45Z (GMT). No. of bitstreams: 1 2018_MaycomPinhoSantiago.pdf: 1832903 bytes, checksum: 59270e69a34a3f37ae12dafaa65c47e2 (MD5) Previous issue date: 2018-08-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES).<br>Este é um estudo sobre o movimento muralista mexicano em diálogo com a perspectiva decolonial. São analisados os trabalhos de Diego Rivera, José Clemente Orozco e David Alfaro Siqueiros, respectivamente, a partir dos murais Historia de Morelos, Conquista y Revolución (1930); La Conquista Española de México (1939) e Cuauhtémoc Contra el Mito (1944). A partir de uma abordagem comparativa entre os três pintores proponho uma discussão sobre a possibilidade de o discurso estético do muralismo mexicano guardar pontos de interseção com os pressupostos da perspectiva decolonial.<br>This is a study of the Mexican muralist movement in dialogue with decolonial perspective. The works of Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, respectively, from the murals Historia de Morelos, Conquista y Revolución (1930); La Conquista Española de México (1939) e Cuauhtémoc Contra el Mito (1944). From a comparative approach between the three painters, this work proposes a discussion about the possibility of discourse esthetic of Mexican muralism to establish points of intersection with the assumptions from a decolonial perspective.

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Books on the topic "Mexican Muralism"

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Mexican muralism: A critical history. University of California Press, 2012.

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Indych-López, Anna. Mexican muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. University of Pittsburgh Press, 2009.

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Muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. University of Pittsburgh Press, 2009.

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Hargrove, Jim. Diego Rivera: Mexican muralist. Childrens Press, 1990.

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Cerezo, Antonio Martínez. El muralismo Mexicano. Museo Municipal de Bellas Artes de Santander, 1985.

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Plâa, Monique. Aspects du muralisme mexicain. Presses universitaires de France, 2008.

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Aspects du muralisme mexicain. Presses universitaires de France, 2008.

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Mexican muralists: Orozco, Rivera, Siqueiros. Chronicle Books, 1998.

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Rochfort, Desmond. Mexican muralists: Orozco, Rivera, Siqueiros. Laurence King, 1993.

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Charlot, Jean. El renacimiento del muralismo mexicano, 1920-1925. Domés, 1985.

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Book chapters on the topic "Mexican Muralism"

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Subirats, Eduardo. "Mexican Muralism and the North American Anti-Aesthetics." In Imperialism and the Wider Atlantic. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58208-5_6.

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Malott, Maria E. "Evolution of the Mexican Muralist Movement: A Culturo-Behavior Science Account." In Behavior Science Perspectives on Culture and Community. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45421-0_15.

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Snow, K. Mitchell. "The Philosopher as an Artist Writ Large." In A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0005.

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Mexican muralism began as a manifestation of José Vasconcelos’ belief that beautiful environments produced more effective learning. He thought of muralism as decoration and hired his artists for that purpose. That what they created was to be Mexican was a given, but how it was to be Mexican went unspecified. The stained-glass window he commissioned from Roberto Montenegro, unveiled at the outset of the nation’s centennial celebration in 1921, took the jarabe tapatío (Mexican hat dance) as its theme. The commemorative events which followed the window’s unveiling underlined the post-revolutionary government’s intent to separate itself from the French taste associated with the dictatorship it had overthrown. Although the nation’s new leaders may not have had the means to impose a national aesthetic at the time, through its centennial celebration it pronounced itself firmly in favor of folk art as a sign of the national.

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"Reinventing Muralism: Pollock, Mexican Art, and the Origins of Action Painting." In Mexico and American Modernism. Yale University Press, 2013. http://dx.doi.org/10.37862/aaeportal.00082.006.

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"Octavio Paz, Mexican Muralist." In Octavio Paz. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839413043-005.

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Turner, Andrew D. "The Murals of Cacaxtla." In Migrations in Late Mesoamerica. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066103.003.0008.

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The sudden appearance of Maya-style characteristics in the art of Epiclassic sites in Central Mexico has sparked debate regarding the relationship between the polity of Cacaxtla and the distant Maya Lowlands. Early studies linked these developments, described in ethnohistoric sources, to migrations of the Olmeca-Xicalanca of the southern Gulf Coast. Recent studies assert that Cacaxtla’s artists adopted an “eclectic” assortment of foreign stylistic elements in order to proclaim ties to distant sources of wealth and power that were not necessarily rooted in historic reality. This study argues that Cacaxtla’s artists deployed stylistic, technical, and iconographic conventions in a manner that reflects deep and sustained engagement with specific Maya cities rather than superficial claims of aggrandizement. Evaluation through current anthropological understandings of how and why people migrate and how group identity is expressed in the midst of population movements suggests that Cacaxtla’s monumental art programs constitute an additional line of evidence in support of Epiclassic migration from the southern Gulf Coast, or western Maya Lowlands, to Central Mexico.

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Flaherty, George F. "Gestures of Hospitality." In Hotel Mexico. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520291065.003.0005.

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In Chapter 4 the unfinished mega Hotel de México (started in 1966) performs as the double to the nation-state. The hotel—archetypal building of modernity—conceals its operations and administrative apparatus, very much like the ruling PRI. By extension, the metaphor of hospitality illuminates how this self-proclaimed host treated its citizens, “limiting” or “conditioning” their status as perpetual guests. The analysis of the late major mural by the famous Mexican muralist David Alfaro Siqueiros The March of Humanity on Earth and Towards the Cosmos (1964–71), housed in the cultural center adjacent to the Hotel, reveals contradictions that parallel the challenge of reconciling the revolutionary rhetoric with capitalist modernization faced by the regime and its elites. The chapter argues that militant Siqueiros contradicted the official vision of “cosmic communion” proposed by the architect Guillermo Rossel de la Lama by crafting the mural whose story lines and gestures, especially the motif of hands, contested Mexico’s political status quo, echoing the unruliness of the 68 Movement after the Tlatelolco massacre.

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BRAY, WARWICK. "The Pre-Columbian City." In Mexico City through History and Culture. British Academy, 2009. http://dx.doi.org/10.5871/bacad/9780197264461.003.0003.

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This chapter attempts to visualize how Tenochtitlan may have looked and functioned before the Spanish invasion. This usually assumed barbaric society with a culture of sacrificing thousand of captives for the blood-thirsty Aztecs was truly a civilized city by any criteria used to define civilizations such as the existence of bureaucracy, sophisticated agricultural technology, ceremonials and monumental architecture. Aztec Tenochtitlan was built and has been civilized more than 2,000 years ago. This ancient Mexican city started in the year Two Reed, it proliferated into stone-built city larger than Europe and had functions and bureaucracy similar to that of the sixteenth century Madrid. In terms of agriculture, the Aztec city has sophisticated agricultural technology—the chinampas which provided for the Aztecs and which provided insight into the chinampa ownership history of this ancient civilization. Complex architectural buildings also graced the Aztec civilization before the invasion of the Spaniards. Palaces, temples and avenues were dominant in this old Mexican civilization. These buildings were characterized by their complex decorations of serpents, murals and sculpture celebrating the state, its rulers, its gods and their conquests.

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Leyva-Gutiérrez, Niria E. "Painting the Revolutionary Body: Anatomy and the Remaking of Mexican History in the Murals of Diego Rivera." In Visualizing the Body in Art, Anatomy, and Medicine since 1800. Routledge, 2019. http://dx.doi.org/10.4324/9781351004022-11.

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"27. Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972–1978." In Chicano and Chicana Art. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478003403-038.

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Conference papers on the topic "Mexican Muralism"

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Milaeva, O. V., and V. B. Dumnov. "«WHEN THE PAINT WILL DRY OUT, IT WILL TURN INTO GUNPOWDER»: MEXICAN MURALISM AS A REFLECTION OF THE IMAGES OF THE REVOLUTION." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.13.

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