{"title":"活跃的国际主义:大卫·阿尔法罗·西奎罗斯和20世纪30年代的反法西斯艺术","authors":"Jennifer Jolly","doi":"10.1111/1467-8365.12677","DOIUrl":null,"url":null,"abstract":"<p>This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period transnational – artists and journal editors' work of clipping, replicating, and reusing images, texts, and ideas in new contexts, with new meanings – created chains of transnational iconography, and rendered montage as the period's central aesthetic. Period debates and polemics, waged at conferences and in journals, weaponized this culture. Siqueiros and Josep Renau's 1939–40 mural for the Mexican Electricians' Syndicate began as a final homage to the fallen Spanish Republic; the transformation of the mural, however, ultimately marked the end of Popular Front art.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"45 4","pages":"798-831"},"PeriodicalIF":0.3000,"publicationDate":"2022-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s\",\"authors\":\"Jennifer Jolly\",\"doi\":\"10.1111/1467-8365.12677\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period transnational – artists and journal editors' work of clipping, replicating, and reusing images, texts, and ideas in new contexts, with new meanings – created chains of transnational iconography, and rendered montage as the period's central aesthetic. Period debates and polemics, waged at conferences and in journals, weaponized this culture. Siqueiros and Josep Renau's 1939–40 mural for the Mexican Electricians' Syndicate began as a final homage to the fallen Spanish Republic; the transformation of the mural, however, ultimately marked the end of Popular Front art.</p>\",\"PeriodicalId\":8456,\"journal\":{\"name\":\"Art History\",\"volume\":\"45 4\",\"pages\":\"798-831\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-10-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Art History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12677\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art History","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12677","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s
This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period transnational – artists and journal editors' work of clipping, replicating, and reusing images, texts, and ideas in new contexts, with new meanings – created chains of transnational iconography, and rendered montage as the period's central aesthetic. Period debates and polemics, waged at conferences and in journals, weaponized this culture. Siqueiros and Josep Renau's 1939–40 mural for the Mexican Electricians' Syndicate began as a final homage to the fallen Spanish Republic; the transformation of the mural, however, ultimately marked the end of Popular Front art.
期刊介绍:
Art History is a refereed journal that publishes essays and reviews on all aspects, areas and periods of the history of art, from a diversity of perspectives. Founded in 1978, it has established an international reputation for publishing innovative essays at the cutting edge of contemporary scholarship, whether on earlier or more recent periods. At the forefront of scholarly enquiry, Art History is opening up the discipline to new developments and to interdisciplinary and cross-cultural approaches.