Full Description
The Noisemakers examines Estridentismo, one of Mexico's first modern art and literary movements. Founded by poet Manuel Maples Arce, Estridentismo spurred dynamic collaborations and debates among artists, writers, and intellectuals during the decade following the Mexican Revolution. Lynda Klich explores the paradoxical aims of the movement's writers and artists, who deployed manifestos, journals, and cubo-futurist forms to insert themselves into international vanguard networks as they simultaneously participated in the nationalist reconstruction of the 1920s. In crafting a cosmopolitan Mexican identity, Estridentista artists both circulated images of modern technologies and urban life and updated such traditional subjects as masks and Mexican types. Klich reads the movement's radical cultural production as a call for active sociopolitical engagement and characterizes Estridentismo as an ambitious program for national cultural and social modernity in the early twentieth century. Exploring the tensions that emerged from these divergent cosmopolitan and local proposals, The Noisemakers brings Mexico into the dialogue of global modernisms.
Contents
Acknowledgments / ix
Introduction / 1
1. The Invention of the Vanguardia / 15
2. Actual No. 1's Mexican Nexus, circa 1921 / 47
3. Public Art, the Vanguardia, and the Postrevolutionary Body / 87
4. Estridentista Portraits: Forging Vanguardia Identity / 124
5. Art as Action / 164
6. Estridentópolis: Vanguardia and the State / 217
Epilogue / 268
Notes / 273
Bibliography / 309
List of Illustrations / 327
Index / 333
