Title: Mexican Muralism | Art History Teaching Resources
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Content: A Critical History (Berkeley: University of California Press, 2012) also provides shorter thematic essays that cover the main three and also give an idea of how muralism evolved past 1940, until (and beyond) the death of last remaining grande Siqueiros in 1974. Each of the muralists also spent some amount of time in the 1920s and 30s in the United States, and their art and politics possessed a decidedly different value when marshalled outside of the Mexican governmental apparatus. Anthony Lee, “Workers and Painters: Social Realism and Race in Diego Rivera’s Detroit Murals,” in Alejandro Anreus, ed., The Social and the Real: Political Art of the 1930s in the Western Hemisphere (University Park: Penn State University Press, 2006), 201–20 is an excellent treatment of Rivera’s work at the Detroit Institute of Art as it relates to art and social engagement. Robert Linsley’s “Utopia Will Not Be Televised: Rivera at Rockefeller Center,” Oxford Art Journal 17.2 (1994), 48–64 handles the political situation created in 1933 by John D. Rockefeller, Jr.’s decision to have a radical Communist paint a mural in the heart of New York City, and the fiasco that occurred when Rockefeller decided to censor it.