ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 4/1/2017

MoMA Presents 'Arbus Friedlander Winogrand: New Documents, 1967' at the Strand

DATE 3/24/2017

Join ARTBOOK | D.A.P. at the AIPAD Photography Show

DATE 3/24/2017

Karl Blossfeldt: Masterworks

DATE 3/23/2017

Models Matter

DATE 3/22/2017

Trisha Brown, 1936 - 2017

DATE 3/21/2017

Christopher Niquet to Launch 'Models Matter' at BOOKMARC

DATE 3/21/2017

Merce Cunningham: Common Time - Rei Kawakubo

DATE 3/20/2017

Felix Gonzalez-Torres: Specific Objects Without Specific Form

DATE 3/20/2017

Marsie Scharlatt & Aram Saroyan Launch 'A Breathed Yes' at ARTBOOK @ Hauser & Wirth Los Angeles

DATE 3/19/2017

Miralda: El Internacional (1984–1986)

DATE 3/18/2017

Yayoi Kusama Takes On Hans Christian Andersen's 'Little Mermaid'

DATE 3/17/2017

Yayoi Kusama: Give Me Love, The Obliteration Room

DATE 3/17/2017

Joan Rothfuss & Nancy Dalva on 'Merce Cunningham: Common Time' at 192 Books

DATE 3/16/2017

Renoir: Intimacy

DATE 3/16/2017

Nancy Perloff launches EXPLODITY at ARTBOOK @ Hauser & Wirth, Los Angeles

DATE 3/15/2017

Nothing Is Real: When the Beatles Met the East

DATE 3/14/2017

Masao Yamamoto: Small Things in Silence

DATE 3/14/2017

Antoni Miralda to Launch 'El Internacional (1984–1986): New York's Archaeological Sandwich' at MoMA PS1

DATE 3/13/2017

Andy Warhol: Prints

DATE 3/13/2017

Larry Fink to Launch 'Fink on Warhol' at Rizzoli

DATE 3/13/2017

Rizzoli Presents Philip Trager and Ken Schles on NYC Photography

DATE 3/12/2017

Cubism and War: The Crystal in the Flame

DATE 3/12/2017

The "Odessey": The Zombies in Words and Images Launch at the Strand

DATE 3/11/2017

Linda Foard Roberts: Passage

DATE 3/10/2017

Mark Klett: Camino del Diablo

DATE 3/9/2017

Justin Kimball: Elegy

DATE 3/8/2017

Merce Cunningham: Common Time Has Arrived!

DATE 3/7/2017

David Taylor: Monuments

DATE 3/6/2017

Costume & Fashion

DATE 3/5/2017

Karl Blossfeldt: Masterworks

DATE 3/4/2017

Jimmy Wright: Bathhouse, Meatpacking District and the Dream Cards

DATE 3/3/2017

Josef Albers: Midnight and Noon

DATE 3/3/2017

Digital Collages from Béatrice Dupire @theiye

DATE 3/2/2017

Masterworks: Rare and Beautiful Chess Sets of the World

DATE 3/2/2017

In Memory of Gustav Metzger, 1926-2017

DATE 3/1/2017

Masterworks: Rare and Beautiful Chess Sets of the World

DATE 3//2017

ARTBOOK | D.A.P. at the Society for Photographic Education Conference

DATE 2/28/2017

Valérie Belin

DATE 2/27/2017

Hollywood and the Ivy Look

DATE 2/26/2017

We Go Out

DATE 2/25/2017

Miralda’s El Internacional (1984–1986): New York’s Archaeological Sandwich

DATE 2/24/2017

Clare Rojas: Plain Black, Abstract Paintings

DATE 2/24/2017

Valérie Belin Book Launch at Albertine

DATE 2/23/2017

The Exhibitionist: Journal on Exhibition Making

DATE 2/22/2017

Yayoi Kusama: I Who Have Arrived in Heaven

DATE 2/22/2017

Small Wonders: Late Gothic Boxwood Microcarvings from the Low Countries

DATE 2/21/2017

Separate Cinema: The First 100 Years of Black Poster Art

DATE 2/20/2017

The Photographs of Abraham Lincoln

DATE 2/19/2017

Jacob Lawrence: The Migration Series, Panel 14 ("injustice in the courts"), 1941

DATE 2/18/2017

Jacob Lawrence: The Migration Series

DATE 2/17/2017

Jacob Lawrence: The Migration Series, Panel 58 (Girls), 1940-41


EVENTS

HAYDEN ANDERSON | DATE 8/26/2015

Mexico Illustrated 1920–50

RM/Conaculta's gorgeous new edition of Mexico Illustrated 1920-1950 is an expansion of the 2011 volume of the same name—already the most comprehensive and indispensable tome on the subject ever compiled. Both lush and scholarly, the 2015 edition includes more than 300 illustrations ranging from revolutionary pamphlets to travel guides, avant-garde manifestos, poetry collections and children’s books—all situated around seven essays and a wealth of short biographical texts on masters of the form including Diego Rivera, José Clemente Orozco, Rufino Tamayo and David Alfaro Siqueiros, alongside lesser-known artists such as Ramón Alva de la Canal, Jean Charlot, Miguel Covarrubias, Dr. Atl, Gabriel Fernández Ledesma and Leopoldo Méndez. Taken together, these works and histories tell the story of a search for national identity in the wake of the long, bloody and contentious Revolution that ripped through national life roughly from 1910 until 1920.

book design Mexico Illustrated 1920–50
ABOVE: El Nacional. Diario popular (Mexico City) III, XII, “2ª época,” 29 November 1931 | Cover by S.M. Báez | Hemeroteca Nacional, Universidad Nacional Autónoma de México.

The book begins with works that deal directly with the Revolution, including texts on historical figures like Emiliano Zapata, revolutionary novels, poems by the Groupo Agorista, a collection of engravings by the Taller de Grafica Popular, and more. These illustrations all engage in a similar graphic vernacular encompassing a clear moral struggle between right and wrong. The agrarian revolutionary hero is both humble and powerfully defiant, while the oligarchs of the old regime are as cruel as they are greedy. These early illustrations include iconic images of slain combatants by Diego Rivera, commemorative lithographs by J.C. Orozco and engravings by the Taller de Gráfica Popular.

Mexico Illustrated 1920–50
ABOVE: El Sembrador. Órgano de la Secretaría de Educación Pública (Mexico City) 2, 5 May 1929 | Cover by Diego Rivera.

But as the Revolution faded and the government came into its own, illustration evolved to provide a cultural space that could define a new national identity. In his essay contribution, historian Mauricio Tenorio Trillo defines the resulting conception of “Mexicanness” as the “Brown Atlantis"—the idea of Mexico that “evokes prickly pear cactuses, millennial traditions, close-knit, pristine indigenous communities, sombreros, pistols, pyramids, Toltec, Aztec or Mayan frets, evolution, siestas, spiritual superiority, amatory incontinence, unhurriedness, ever-present past, anti-mechanism, the mixing of races and brown skin, plenty of brown skin”—a representation of Mexico that spread to (and was often fetishized by) other countries, especially the bordering United States. Rather than combat these images of “Brown Atlantis,” many of Mexico’s great post-revolutionary illustrators inhabited them as a framework, including the more radical avant-gardists, whose aesthetic innovations often upheld Mexican stereotypes rather than challenge them.

Mexico Illustrated 1920–50
ABOVE: Carlos Mérida, Carnival in Mexico. Mexico City, Talleres Gráficos de la Nación, 1940 | plate 6, Huejotzingo, Puebla.

In contrast, Juan Manuel Bonet’s essay, On the Trail of the Mexican Avant-Garde, provides an extremely detailed history of the period’s experimental art movements and the journals through which the associated artists distributed their work. For anyone interested in the mid-century's international avant-garde, this chapter provides an invaluable web of names, groups and titles to flesh out later. The estridentistas are featured prominently, as well as Dr. Atl and reproductions from many small-run journals. Though producing distinctly Mexican work, these artists created in close dialogue with the international movements in Spain, France and, of course, the Soviet Union, whose influence is apparent in the chapter devoted to radical, left-populist, anti-fascist political illustration of the 1930’s.

Mexico Illustrated 1920–50
ABOVE: Xavier Villaurrutia, Dama de corazones. Mexico City. Ediciones de Ulises, 1928.

Mexico Illustrated 1920–50
ABOVE: El Machete. Periódico obrero y campesino (Mexico City) 404, 1 May 1936 | Unsigned cover.

Politics remain a theme even in the chapter on children’s book illustration, which places special attention on the efforts of the government’s Secretaria de Educacion Publica (SEP) to promote literacy and education through cheap, large, editioned books aided by the “seductive elements of illustration.” The illustrations in this section are seductive, and stand out from the rest of the book with their whimsical imagery and bright coloring (like the top hat-wearing, bicycle-riding frog, Rin-Rin Renacuajo). Especially enjoyable are Manuel Ávila Camacho’s moralistic “hallelujah” stories; in one, a canon comes to life and refuses to continue fighting in war.

Mexico Illustrated 1920–50
ABOVE: Antoniorrobles, Aleluyas de Rompetacones. 100 Cuentos y una Novela. Illustraciones de Peinador. Nº8 Ved a un balón pintoresco que sube con viento fresco.

Perhaps the greatest testament to Mexico Illustrated is that despite the physical and academic density of the book, the vivacity of the images makes the book feel light—and alive. When I bumped into a friend while flipping through the book at a cafe, he pointed to the table and said, “That’s a huge book.” I had been lost in a Xavier Villaurrutia drawing, and only then did I realize the open book’s spread pages had taken up the whole surface of the table, my coffee cup about to fall off the edge.
Mexico Illustrated 1920–50
Mexico Illustrated 1920–50

Mexico Illustrated 1920–1950

Mexico Illustrated 1920–1950

RM/CONACULTA
Clth, 9.5 x 12.75 in. / 336 pgs / 405 color.

DATE 10/19/2016

STEIDL x STRAND

STEIDL x STRAND


ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com