Gilberto Gil

Here is an interesting interview with Gilberto Gil from The Guardian....

Among many other things, Gil discusses the legal battle with Time Warner over his statement that he would attain rights to some of his music and provide it for free downloading. Time Warner disagreed, because they owned the rights and, naturally, they want to provide things that aren't free.

More Tropicália

Another article on the art movement Tropicália...

The original exhibition of Hélio Oiticica's Tropicália was in 1967, an installation at the Museum of Modern Art in Rio de Janeiro. Some interesting tidbits about Oiticica: he studied samba, was the passista in 1965, known for his Parangolé pieces, where audience is encouraged to put on a cape and become the art by dancing the samba, participating in a parade, etc... the word is slang for 'sudden confusion among peoples.' Also, interestingly, he had a terrible drug habit and died of a stroke at age 43, also studied with Grupo Frente (1954 -1956). Grupo Frente was a leftist circle of abstract artists including Ivan Serpa, Lygia Clark, and Lygia Pape. He later broke away and helped found the Neo-Concrete group with Lygia Clark. His Tropicália work is an important work from his career, and gives the name to the movement we think of when we talk about Caetano Veloso, Gilberto Gil and Os Mutantes. The piece features palm trees, narrow pathways, puddles, nooks and crannies with sand and trash... Oiticica referred to his installations in this genre as 'trashiscapes.' The article discusses this recent exhibit which featured scaffolding and presents a view of the piece that was not available to the original audience in 1967. Interesting, we have to wonder what the artist would think of that... I feel that he may be uneasy about the birds eye view, simply for the fact that he intended the piece to be a participatory experience where you would get your shoes wet, literally and figuratively, in the slums of Brazil.

Here is another article from the New York Times about a recent Oiticica exhibit in Houston.

A bit more on Tropicália

Tropicália refers to an art collective that came about in Brazil in the 1960s. The movement was undeniably linked to the tenets proposed in Brazil more than thirty years earlier by Oswald de Andrade in his “Manifesto Antropófago” – the work itself and the surrounding movement which celebrated not the internationalism of other contemporaries, but rather turned back toward Brazil to create a cultural cannibalism and embrace the juxtapositions so prevalent in modern Brazilian life. Tarsila do Amaral, Anita Malfatti, Vicente do Rêgo Monteiro and other modernistas of Andrade’s time thought of themselves being of both ‘the jungle and the school.’ This was an idea that the tropicalists of the 60s embraced fully; this philosophy “fit… like a glove.”
The name ‘Tropicália’ used to describe the counter-cultural movement of late 1960s Brazil is derived directly from the work of the same name by Hélio Oiticica in 1967, an installation at the Museum of Modern Art in Rio de Janeiro. The work is a seminal piece in Brazilian art history, and Art History as a whole, and of its purpose Oiticica said that: “…The myth of ‘tropicality’ is much more than parrots and banana trees: it is the consciousness of not being conditioned by established structures, hence highly revolutionary in its entirety. Any conformity, be it intellectual, social, or existential, is contrary to its principal idea.”
The fascinating part of the movement as a whole, to me, is its ability to take parts of Brazilian past and apply them in a modern sense – the products seem modern and groundbreaking, never folkloric. Some parts are embraced, other parts of the culture are parodied – still the result is cohesively Brazilian. Very few artists the world over have achieved this goal with estimable success. To use elements so strongly tied to the Brazilian past – both indigenous and colonial – without it transcending into historical recreation-ism (like the Brazilian version of a Renaissance Fair) is quite impressive. The way in which Tropicália oversteps this obstacle is impressive.
Hélio Oiticica stated that, “Any conformity, be it intellectual, social, or existential, is contrary to its principal idea.” He also said we should all ignore his work prior to 1959. Perhaps it was too conformist. I'm not a huge fan of his work, but I can see its influence.

Os Mutantes

Here is an interesting article by Todd Simmons from The Brooklyn Rail about Os Mutantes, a little bit on their history, a little musical history, a discussion of their contribution to modern music and their influence as it is still being felt...

Interesting discussion of their adverse experiences of being bombarded with eggs and fruit by upset audience members. Although, wouldn't we all prefer that to the torture or deportation visited upon some of their contemporaries?

FridaTube...

I wish the changes were a bit slower, and I am not exactly sure the music fits well with the work, but I like the fact that all these pieces are in one place...

Can't get enough Siqueiros???

In Los Angeles a few months ago there was a speaker's panel discussing the work of DAS, his murals, censorship, public art, some about the history of Los Angeles. There is a video online of the evening here...

Scroll down through the list at right - video is labeled "Siqueiros Speaker Series: The Art of Censorship"

My essay...

Here is the essay I put together about the way Siqueiros created his figures and what I believe he is trying to accomplish by doing so...
*there are many links throughout, so be sure to check them out.

The Faces of Siqueiros

David Alfaro Siqueiros (1896-1974) is widely known as one of the tres grandes of the Mexican mural movement. Siqueiros and many others consider his work a political and revolutionary tool whose concepts could not be separated from the aesthetic aspect. Throughout his oeuvre there is a continuum of subjects with noticeably non-descript facial features. There are a few exceptions to his technique, most notably with figures from Mexican history. Beginning with his early works and continuing through his murals from the last years of his life, the faces of his subjects are uniform and rather expressionless, in what appears to be a statement about humanity. Through a brief discussion of his technique and with closer examination of several of Siqueiros’ key works this paper will demonstrate his adherence to this artistic principle for the duration his lifetime.

Two works each from his early period, Campesino, Obrero, Soldado (Fig 1) and Ethnography (Fig 2), two from the middle of his oeuvre, The People for the University. The University for the People. (Fig 3) and The People in Arms (Fig 4), and one piece from his late period, The March of Humanity on Earth and Toward the Cosmos (Fig 5 & 6), are concrete examples of the surreal, anonymous characteristics of his subjects. In the works I will examine, the consistency of method is quite pronounced. The only information Siqueiros gives us comes in the form of dress and situational surroundings of the character(s). Many of those portrayed are iconographic in nature and Siqueiros fills the works with the large volume of the subject in almost every case. It is fascinating that he manages to accomplish so much with a face that says so little. Quite often we think of faces as being the necessary vehicle of emotion; these works effortlessly defy that rationale.

Figure 1
From his earliest works, Campesino, Obrero, Soldado and Ethnography both have subjects with cartoonishly generalized features. The three equivalent figures in Campesino, Obrero, Soldado (1924) have what appears to be the same face and same figure with different dress. This, along with their hand-in-hand gesture presents them as a singular political unit with the same wants and needs. Siqueiros notes that the unavoidable “…problem was to express [oneself] with a figurative art capable of saying things which were important to our people.” Using these faces of uniformity may have presented a way of making the important things applicable to everyone. This work was created for the artistic-revolutionary journal El Machete that featured many artists who often took no credit for their works or writings. The group of artists dedicated to the cause of El Machete was a rather unique historical phenomenon that forcefully put into action a weighty social ideology.

Figure 2
Ethnography (1939) features a huge figure that towers over the piece who wears a pre-Columbian mask. This gesture may be the pinnacle of facelessness, since we are unable to discern any of the true facial features of the subject. His subject fills the frame wholly, and the man is clad in the rural, white cotton or linen garb the artist associated with indigenismo. Siqueiros placed an equal importance on his work as an artist and his political activism. Through his use of native symbolism and subject matter we can sense the import the artist placed on such grand representations of native culture. This is one of the most striking pieces by Siqueiros in my opinion, I feel he is saying a great deal about the people of Mexico and their struggles in a powerful way.

Figure 3
During the 1950s he painted more works in this vein, notably The People for the University. The University for the People. and From the Dictatorship of Porfirio Díaz to the Revolution - The People in Arms. With his huge mosaic entitled The People for the University. The University for the People.(1952-6) Siqueiros intended to make a national experience one that was ‘universally valid.’ Perhaps his usage of the mosaic technique was a metaphor for the anonymity and uniformity of humanity as a whole. The five people depicted in the mosaic have the same hair and facial features, alongside similar gestures. The eyes and eyebrow arcs of all four front-facing figures are indistinguishable.

Figure 4
The People in Arms (1957-65) is one of the most obvious examples of Siqueiros’ use of comparable facial features as an important part of his work and beliefs. It is a part of his 4500 square foot mural in the National History Museum that describes the Revolution of 1910. The mural features a mass of armed men and a few women bearing forward, heavily toward the viewer as revolutionary soldiers; all seem to hold the same stance and wear roughly the same uniform. Apart from moustaches on a few of the men, the faces are strikingly similar. Even the women are only distinguishable as such because of their dress. As the faces and hats blend into each other in the background they become even more surreal in their consistency. They meld into a mass of sombreros and rifles united againstPorfirio Díaz, the agreed-upon villain of the time, and his Porfiriato.

Figure 5
From his later years, the grand mural The March of Humanity (1971) depicts some subjects with black circles for faces, the ultimate in facelessness. This mural became his largest work, exceeding 50,000 square feet. Such a massive undertaking, professor and art historian Leonard Folgarait refers to the work as “…not only a work of art, but also as a symbol and carrier of Mexican political ideology.” The massive mural encompasses the entire Polyforum Siqueiros, interior as well as exterior. Part of the interior portion features recognizable human beings with dehumanized features.
Figure 6
Portions of the exterior take this cohesion of humanity and facelessness to a new level, where many of the figures have only black circles where their faces should be. Siqueiros used this blurring of form and technique to emphasize the mass communication purpose of the Polyforum Cultural Siqueiros. The building is only a building because it has certain architectural characteristics; mostly it serves as a permanent structure to showcase this momentous work. The mural is often seen as being reflective of the time in which it was created, although Siqueiros intended it to transcend the moment and the country in which it was created; being somewhat stronger in rhetoric than in analysis of reality. Throughout the work, around the building, the figures meld into and out of humanness; their facial features continuously characterless.

The works of David Alfaro Siqueiros use subjects with facial features that have little if any reference to a non-fictional person. The artist creates a blending-together of his people, which indicates his belief of humanity as a singly immense, interwoven unit with similar lives and goals. His work succeeds in conveying an emotion and purpose without the conventional use of facial expression or characteristics. His mastery of technique is evident in the care and detail in the lack of detail where he intends it. His convictions and beliefs about humanity seem to be so strong that they were persistent and evident in his technique spanning his career. When criticized by a newspaper reporter about his presentation of the problems of humanity, Siqueiros replied, “Paint what you wish, or permit me to paint what I wish. Leave me alone, en libertad.” In freedom, indeed.

Here are my sources for this essay:
Ades, Dawn. Art in Latin America. New Haven: Yale University Press, 1989.

Azuela, Alicia. “El Machete and Frente a Frente: Art Committed to Social Justice in Mexico.” Art Journal 52 (Spring, 1993): 82-7.

Campbell, Bruce. Mexican Murals in Times of Crisis. Tucson: University of Arizona Press, 2003.

Derr, Virginia B. “The Rise of a Middle-Class Tradition in Mexican Art.” Journal of Inter-American Studies 3 (July, 1961): 385-409.

Folgarait, Leonard. So Far from Heaven: David Alfaro Siqueiros’ ‘The March of Humanity’ and Mexican Revolutionary Politics. New York: Cambridge University Press, 1987.

Goldman, Shifra M. “Siqueiros and Three Early Murals in Los Angeles.” Art Journal 33 (Summer, 1997): 321-27.

King, John. Review of So Far from Heaven: David Alfaro Siqueiros’ ‘The March of Humanity’ and Mexican Revolutionary Politics, by Leonard Folgarait. Journal of Latin American Studies 21 (October, 1989): 610-11.

Kline, Herbert, Gertrude Ross Marks, Edmund F. Penney, Ricardo Montalbán and David Alfaro Siqueiros. Walls of fire: The story of Los Tres Grandes. Produced and directed by Herbert Kline et al. 81 minutes. Mentor Productions, 1971. Videocassette.

Rochfort, Desmond. Mexican Muralists: Orozco, Rivera, Siqueiros. San Francisco: Chronicle Books, 1993.

Siqueiros, David Alfaro. Iconografía de David Alfaro Siqueiros. Mexico: Instituto Nacional de Bellas Artes, 1997.

Siqueiros, David Alfaro. Lectures to Artists. Chicago, Illinois: New University Thought, 1962.

Shorris, Earl. The Life and Times of Mexico. New York: WW Norton and Company, 2004.