{"title":"Art, folklore, and industry: popular arts and indigenismo in Mexico, 1920–1946","authors":"Haydeé López Hernández","doi":"10.1080/17442222.2022.2064099","DOIUrl":null,"url":null,"abstract":"ABSTRACT The construction of popular arts in Mexico is a process that is generally attributed to the proposals of the plastic artists of the post-revolutionary period. Here, I explore some of these (Exposición Nacional de Artes Populares, 1921; y Museo de Artes Populares, 1930–1942), along with others not yet analyzed by historiography, mainly developed by anthropologists (at the Museo Nacional, 1920–1924; in the Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional, 1936–1937; and in the Departamento de Asuntos Indígenas, 1936–1946). The goal is to show their affinities (a purist and primitivist notion) but, above all, to highlight their differences regarding the aesthetic (art), cultural (folklore), and identity (Mexican, indigenous, national) valuation of the objects (industry/crafts), as well as the need for its conservation vs. transformation. I argue that, far from being a linear and homogeneous history derived exclusively from post-revolutionary plastic arts, it is a heterogeneous process that was not consolidated into a single centralized and institutionalized project until the middle of the century, within the framework of the modernization of the Mexican State and the inter-American indigenism.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"495 - 518"},"PeriodicalIF":0.6000,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Latin American and Caribbean Ethnic Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17442222.2022.2064099","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"ETHNIC STUDIES","Score":null,"Total":0}
引用次数: 1
Abstract
ABSTRACT The construction of popular arts in Mexico is a process that is generally attributed to the proposals of the plastic artists of the post-revolutionary period. Here, I explore some of these (Exposición Nacional de Artes Populares, 1921; y Museo de Artes Populares, 1930–1942), along with others not yet analyzed by historiography, mainly developed by anthropologists (at the Museo Nacional, 1920–1924; in the Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional, 1936–1937; and in the Departamento de Asuntos Indígenas, 1936–1946). The goal is to show their affinities (a purist and primitivist notion) but, above all, to highlight their differences regarding the aesthetic (art), cultural (folklore), and identity (Mexican, indigenous, national) valuation of the objects (industry/crafts), as well as the need for its conservation vs. transformation. I argue that, far from being a linear and homogeneous history derived exclusively from post-revolutionary plastic arts, it is a heterogeneous process that was not consolidated into a single centralized and institutionalized project until the middle of the century, within the framework of the modernization of the Mexican State and the inter-American indigenism.
摘要墨西哥大众艺术的建构是后革命时期造型艺术家提出的一个普遍的过程。在这里,我探索了其中的一些(Exposición Nacional de Artes Populares,1921;y Museo de Artes Populares,1930-1942),以及其他尚未被史学分析的作品,主要由人类学家开发(1920–1924年在国家博物馆;1936–1937年在国家大学科学研究所米西翁大学;1936–1946年在印度阿汤托斯部)。目标是展示它们的亲和力(一种纯粹主义和原始主义的概念),但最重要的是,强调它们在物品(工业/工艺)的美学(艺术)、文化(民间传说)和身份(墨西哥、土著、民族)估价方面的差异,以及保护与改造的必要性。我认为,这远不是一部完全源于革命后造型艺术的线性和同质历史,而是一个异质的过程,直到本世纪中叶,在墨西哥国家现代化和美洲土著主义的框架内,它才被整合为一个单一的中央化和制度化项目。