Extracted Annotations (3/31/2015, 4:13:11 AM)
\n\"All of the Set B stones once formed part of an earlier hieroglyphic stairway of considerable size that presumably existed elsewhere at La Corona. In total we are aware of at least thirteen all-glyphic blocks of the Set B series (Elements 1-8, 20, 25, 29, 32, 38). Given the similarities in shape, size, and material, it is likely that the well-known ballplayer stones looted from La Corona were once figural scenes that accompanied the all-glyphic stones of Set B.\" (Stuart et al :2)
\n\"9.13.5.15.0 2 Ahau 3 Pax December 15, 697\" (Stuart et al :2)
\n\"the larger inscription recorded several events in the life of the Calakmul king Yuknoom Yich'aak' K'ahk', a major historical ally and overlord of the local La Corona court. As far as we know this original stairway did not mention the defeat of Calakmul by Tikal's ruler, but it did delve into many historical details about this important ruler, including his death in 697, recorded on Block 4. From this text we now know that Yuknoom Yich'ahk K'ahk' lived for two years after his inglorious defeat at the hands of Jasaw Chan K'awiil of Tikal in 695.\" (Stuart et al :5)
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MoMA's Americans Exhibitions -- Postscript: What Happened to Earnest Modernism? -- Appendix: Selected Artists' Biographies / by Sarah Beth Wilson
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It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.", "publicationTitle": "Pacific Historical Review", "publisher": "", "place": "", "date": "August 1, 2012", "volume": "81", "issue": "3", "section": "", "partNumber": "", "partTitle": "", "pages": "337-370", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "Pacific Historical Review", "DOI": "10.1525/phr.2012.81.3.337", "citationKey": "", "url": "http://www.jstor.org.ezproxy.lib.uh.edu/stable/10.1525/phr.2012.81.3.337", "accessDate": "2015-03-18T19:28:36Z", "PMID": "", "PMCID": "", "ISSN": "0030-8684", "archive": "", "archiveLocation": "", "shortTitle": "Modernism in the Borderlands", "language": "", "libraryCatalog": "JSTOR", "callNumber": "", "rights": "Copyright © 2012 University of California Press", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2015-03-18T19:28:36Z", "dateModified": "2015-03-20T17:13:55Z" } }, { "key": "R8EWM9UA", "version": 10, "library": { "type": "group", "id": 337658, "name": "Greater Texas and Panamerican", "links": { "alternate": { "href": "https://www.zotero.org/groups/greater_texas_and_panamerican", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/337658/items/R8EWM9UA", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/greater_texas_and_panamerican/items/R8EWM9UA", "type": "text/html" } }, "meta": { "createdByUser": { "id": 4868, "username": "bayouwillie", "name": "Rex Koontz", "links": { "alternate": { "href": "https://www.zotero.org/bayouwillie", "type": "text/html" } } }, "parsedDate": "1937-05-31", "numChildren": 1 }, "data": { "key": "R8EWM9UA", "version": 10, "itemType": "newspaperArticle", "title": "Art of the Americas", "creators": [], "abstractNote": "Notes Alexander Hogue designed the catalog cover for the Art of the Americas: Pre-Columbian and Contemporary", "publicationTitle": "Dallas Morning News", "publisher": "", "place": "", "date": "May 31, 1937", "volume": "", "issue": "", "edition": "", "section": "", "pages": "4", "ISSN": "", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2015-03-20T17:04:28Z", "dateModified": "2015-03-20T17:05:58Z" } }, { "key": "F97BQIG3", "version": 11, "library": { "type": "group", "id": 337658, "name": "Greater Texas and Panamerican", "links": { "alternate": { "href": "https://www.zotero.org/groups/greater_texas_and_panamerican", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/337658/items/F97BQIG3", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/greater_texas_and_panamerican/items/F97BQIG3", "type": 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\n45,000 visited the DMA space during the 1936 Centennial; 30,000 visited the same space over the course of the Greater Texas and Panamerican Exposition of 1937 (note on p.1)
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\n\"When Mexican-born sculptor Octavio Medellín made a new life for himself in Texas during the 1920s and 1930s, he too integrated the \"customs of past ages\" with the values of mainstream American society.\" (Lewthwaite 2012:339)
\n\"For example, the dominance of Mexican muralism in studies of Mexican American and Chicano art has positioned the latter as merely \"derivative\" of Mexican art. Meanwhile, as Lowery Stokes Sims has noted, the \"primitivist\" view in art-historical discourse has often \"obscured the contributions of artists of color who have engaged modernism in a fruitful dialogue that incorporates specifics from their own cultures.\" (Lewthwaite 2012:339)
\n\"He explained that \"The trend of my art is toward the common people and everyday life, the kind of people and environment I myself come from.\"36 In many ways, Medellín expressed a central tenet of New Deal art and its affiliate, regionalism: Art should express an egalitarian ethos and the drive toward cultural democracy by reflecting a \"folk\" or vernacular element and the relationship between humankind and the environment\" (Lewthwaite 2012:349)
\n\"Texas regionalism fostered a haven for \"independent modernism\" in the state where style was employed for itself, as much as for its ability to articulate a regional consciousness.38 Bywaters and others were quite prepared to move beyond \"local subject matter,\" as Rick Stewart noted, and toward an \"abstract regionalist aesthetic.\"39 Bywaters, Medellín's artist friend, founding member of the Dallas Artists' League, and director of the DMFA between 1943 and 1964, affirmed this trend when responding to his critics:\" (Lewthwaite 2012:349)
\n\"Embedding their art in the landscapes, people, and diverse cultural backgrounds that forged the state, regionalists also underscored that Texas was a \"unique kind of meeting ground for several American cultures\"—the Old South, the plains of the Midwest and, most significantly, the \"Hispano-Indian past.\"42 The \"Hispano-Indian past,\" however, was present in Texas regionalism through the influence of both ancient and modern Mexican art north of the border\" (Lewthwaite 2012:350)
\n\"Texas regionalists drew on Mexican mural art and an evolving pan-American ethos which, through Mexican muralists Diego Rivera and José Clemente Orozco in particular, expressed a hemispheric nationalism counterposed to European modernism. Bywaters worked with Rivera in 1928 and was strongly influenced by the Mexican School's blending of European modernist form and indigenous content.\" (Lewthwaite 2012:350)
\n\"Medellín's patron, Lucy Maverick, also worked with Rivera and the muralists after visiting Mexico during the 1920s. She became an avid collector of Mexican arts and crafts and participated in archaeological excavations in Central America. Her fascination with pre-Columbian themes helped secure Medellín's second trip to Mexico in 1938\" (Lewthwaite 2012:351)
\n\"Medellín's work epitomized a pan-American spirit, something that Dr. Cora Stafford, his next patron and an enthusiast of Latin American art who studied and taught south of the border, emphasized when she invited Medellín to teach alongside Mérida at North Texas College in Denton in 1941. Both artists contributed to what Mérida called \"our . . . splendid future of the Americas.\" (Lewthwaite 2012:351)
\n\"Texan artists took special ownership of these sources. They viewed them not simply as identifiably American sources, but as specific to the region and central to the state's unique contribution to a \"Good Neighbor\" policy based on cultural diplomacy and transnational art flows. Harwell's references to \"our border\" and \"our art\" assumed ownership of these influences, mimicking the artistic appropriation that underpinned modernist primitivism.\" (Lewthwaite 2012:351)
\n\"Whereas Dozier and Bywaters employed the form of the Mexican mural to shape their regionalism, Medellín went a step further. He oriented his work not simply toward formal influences from south of the border, but toward explicitly Mexicanist narrative content as well.\" (Lewthwaite 2012:353)
\n\"Unlike many European and European American modernists, Medellín contextualized pre-Columbian art. His works, even those produced prior to the 1938 Yucatán trip, exhibit some understanding of the contextual references and complexities of pre-Columbian civilization. For example, Mixton (1930), one of Medellín's few animal sculptures, experiments with the formalist design elements of direct carving. The jaguar's hunched, rounded mass is hewn into large, curved planes devoid of detailing, anticipating the squat stone forms that Medellín would witness at the Temple of the Tigers in 1938.\" (Lewthwaite 2012:354)
\n\"Medellín replicated the vision of Mexican indigenists, who collapsed time and difference by equating contemporary indigenous communities and \"folk\" art with ancient cultures and pre-Columbian art. Yet the primitivizing gaze of Mexican indigenists and nationalists worked in an opposite direction from that of European and American modernists. The latter gaze, as Braun noted, challenged the notion of western conquest by \"revers[ing] the normal procedure in which the European assimilates the primitive by having the primitive absorb the European, so that modern art would feed into the native tradition.\"49\" (Lewthwaite 2012:354)
\n\"Carlos Mérida was one of the first artists to evolve a modernist vision based on integrating indigenous aesthetic\" (Lewthwaite 2012:354)
\n\"In many respects, Medellín replicated Rivera's \"materialist\" vision of Mexican history. As in Rivera's similarly titled mural series from 1930, The History of Mexico, time is rendered upward, mirroring the pictorial modes of Mayan frescoes. Medellín's vision of history also reflects the dialectic between \"progress and reaction,\" a process captured in the figures of warriors, priests, and soldiers who become, as in Mexican muralism and classical painting, symbols redolent of key epochs in national history.\" (Lewthwaite 2012:356)
\n\"Medellín's status as an \"insider ethnographer\" certainly differentiated his work from mainstream modernism.63 Yet Medellín also differed from Mexican School artists because he worked outside the confines of the Mexican nation-state\" (Lewthwaite 2012:362)
\n\"The misappropriation of local culture also shaped his understanding of pre-Columbian art. While Medellín's testimony of the 1938 visit is peppered with references to Latin American artists such as Charlot, Orozco, and Mérida, he could only grasp what he saw at Chichén Itzá by framing it within the tradition of European art\" (Lewthwaite 2012:363)
\n\"His experiences in the art world reflect the broader political, socio economic, and cultural marginalization of people of Mexican descent in the United States during the 1930s and 1940s—rejected by Mexico as \"too Americanized\" (and often condemned as \"orphans,\" or, worse still, \"traitors\") and racialized in the United States as \"foreigners\" without entitlement to citizenship, regardless of nativity. These forces explain why Medellín faced the contradiction of having to reclaim and appropriate his own ethnic and artistic heritage.\" (Lewthwaite 2012:365)
\n\"He engaged what W. Jackson Rushing has called a \"critical cosmopolitanism.\" Thus, Medellín critiqued modernism's appropriation of pre-Columbian art by asserting his ancestral origins and drawing attention to his own tenuous status as a fine artist in the United States. In doing so, he demanded that a so-called universal art open itself to \"all of humanity,\" instead of the privileged few.77\" (Lewthwaite 2012:366)
\n\"The tension between the local and the universal reflected his status as an emerging Mexican American subject and, as Lowery Stokes Sims has noted in relation to other artists of color, the \"dichotomy between asserting the integrity of one's racial or cultural identity and being assimilated into the dominant culture.\"78 If Medellín's statements called for the citizenship denied Mexican Americans in the United States, he called for a type of citizenship that reflected the Mexican American condition as bicultural, transnational, and \"American\" (Lewthwaite 2012:366)
\n\"Nowhere was Tejano biculturalism stronger than in San Antonio, the city that shaped Medellín's formative years: San Antonio was most heavily affected by the immigration flows of the 1920s and by the nationalist indigenismo brought by recent Mexican migrants, a trend evident in the Spanish-language press during the period.\" (Lewthwaite 2012:367)
\n\"It is no surprise to find the sculpture of a man cradling his young child in Father and Son (1937) alongside El Ahorcado, or even in a single work such as The Struggle (1938), the imperceptible line between fragmentation and wholeness, as two near-identical figures entwine and couple in a cyclical movement, generating not the interminability of struggle but the possibility of renewal and creation.\" (Lewthwaite 2012:370)
\n\"LULAC activism in Texas during the 1930s and 1940s was \"as much an aesthetic project as it was a legal or political one.\"\" (Lewthwaite 2012:370)
\n\"Medellín's artistic journeying also reminds us of the multiple and circuitous pathways to modernism, pathways that crisscrossed geographic, ethnic, and temporal boundaries and that spoke of the transcultural journeys of early twentieth-century Latino artists in the United States.\" (Lewthwaite 2012:371)
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