|Vintage Pulp||Nov 9 2015|
|Reader Pulp||Mar 16 2013|
Last year we shared some unusual pulp influenced crate paintings from a French artist named Jacques Puiseux, and this morning we received more scans of his Marxist themed pieces via email. Last time we shared Puiseux’s work, we mentioned that we avoid posting modern art, and that’s true, but we didn’t want to leave you with the impression that we find it inferior to vintage art (if that were true we wouldn't bother to have a "Modern Pulp" category on the website). What we find inferior is modern promotional art—e.g., book covers, movie posters and the like. And obviously we find modern movies inferior, but then who doesn’t? However modern fine art is something we very much like, and more to the point, we like the relationship it has to the viewer. We aren’t art majors or anything, so bear with us while we try to explain ourselves.
|Intl. Notebook||Oct 27 2010|
In 1932, during the heyday of pulp and in the midst of the Great Depression, a Mexican artist named José David Alfaro Siquieros was commissioned to paint an 18 by 80 foot mural on a wall above Olvera Street in downtown Los Angeles. Olvera Street at that time was a contrived copy of an idyllic Mexican village market, designed mainly to bring tourists to that part of town and help clean up L.A.’s image, which due to gangsterism and police corruption was as bad as those of places like Chicago and St. Louis. The mural’s theme was to be “Tropical America,” and when completed the piece would be partially visible from the street and would fully face City Hall.
But Siquieros was aware that all around Southern California police were breaking up union meetings, beating ethnic minorities and deporting Mexicans—even those who were American citizens—by the boxcar-load. So instead of the idealized tropical mural his benefactors expected him tounveil, he used spray paint and bold colors to create a shocking protest piece. The central figure of the mural was a Mexican or Indian man bound to a strange, double cross with an American eagle perched above, talons extended.
The piece embarrassed city fathers. It was immediately condemned and whitewashed, but not forgotten. Almost from the day of its censoring, Mexican-American activists fought to have the mural restored and now they’re getting their wish. Because of the covering of white paint, the original piece survived where it would otherwise have weathered into nothingness. Now the white paint is being cleaned off, and what remains of the original mural is set to go on display in 2012, with a digital image projected on top to fill out the colors and missing segments.
Siquieros died in 1974 after a long career and many political adventures. For a time, he was forced to go into hiding because of his links to a group that tried to assassinate Leon Trotsky. These activities cost him commissions, yet the quality and influence of the pieces he completed was undeniable, and he continued to grow in stature. Today his art resides in places as far flung as Mexico City, Teheran, and Washington, D.C.’s Smithsonian Institute. To that list, almost eighty years late, he’ll finally be adding L.A.’s Olvera Street.