TY - BOOK ID - 78494336 TI - The Power and Politics of Art in Postrevolutionary Mexico PY - 2017 SN - 1469635690 1469635704 9781469635699 9781469635705 9781469635675 1469635674 9781469635682 1469635682 9798890846822 PB - Chapel Hill : Baltimore, Md. : University of North Carolina Press, Project MUSE, DB - UniCat KW - Art and state KW - Women artists KW - Artists KW - Art KW - Arts KW - Politics and art KW - State and art KW - Art and society KW - Cultural policy KW - Education and state KW - Artists, Women KW - Women as artists KW - Persons KW - History KW - Political activity KW - Government policy KW - Partido Comunista Mexicano KW - Coalición de Izquierda (Mexico) KW - Partido Socialista Unificado de México KW - Partido Comunista de México KW - Meksikanskai︠a︡ kommunisticheskai︠a︡ partii︠a︡ KW - PCM KW - P.C.M. KW - Mexico KW - Anáhuac KW - Estados Unidos Mexicanos KW - Maxico KW - Méjico KW - Mekishiko KW - Meḳsiḳe KW - Meksiko KW - Meksyk KW - Messico KW - Mexique (Country) KW - República Mexicana KW - Stany Zjednoczone Meksyku KW - United Mexican States KW - United States of Mexico KW - מקסיקו KW - メキシコ KW - Influence. KW - History of Mexico KW - anno 1900-1999 UR - https://www.unicat.be/uniCat?func=search&query=sysid:78494336 AB - Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters.While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy-and what it meant to be authentically Mexican. ER -