Jennifer Jolly
Biographic Data
| ID | 3950093 |
|---|---|
| NAME | Jennifer Jolly |
| GIVEN NAMES | Jennifer |
| FAMILY NAME | Jolly |
| SIGNATURE | JOLLY J |
| AFFILIATIONS | Ithaca College |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
David Alfaro Siqueiros’s Indictment of the New York Market for Mexican Art and Antiquities: Race, Alienation, and Ethnography
When David Alfaro Siqueiros exhibited Ethnography in New York in 1940, a reviewer recognized its heroic Mexican campesino imagery but also described it as “scary.” Towering above a stormy horizon, the campesino’s face is obscured by an Olmec mask, recently looted and smuggled to New York. Examining Ethnography within three traditions of racial thought—modernist primitivism with its temporal artistic discourses, official indigenismo’s culturalist …
José María Morelos, Brownness, and the Visibility of Race in Nineteenth-Century Mexico
Independence hero José María Morelos y Pavón has been described racially as criollo, mestizo, Indigenous, mulato, and moreno, and scholars have long turned to his portraits to support claims made about his racial identity. However, the ambiguity of his social status during life and in his portraits has allowed scholars to project and reaffirm racial thinking rather than challenge its assumptions. Departing from this perspective, this essay examin…
Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s
This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period t…
Stephanie J. Smith. The Power and Politics of Art in Postrevolutionary Mexico
Stephanie J. Smith’s historical study The Power and Politics of Art in Postrevolutionary Mexico makes two important contributions. First, it offers a sustained look at the relationship between the Mexican Communist Party (PCM), artists, and the Mexican state between 1920 and 1950. In doing so, it joins Mary Coffey’s How Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (2012) in providing a nuanced understanding of…
Creating Pátzcuaro, Creating Mexico: Art, Tourism, and Nation Building under Lázaro Cárdenas
LASA Visual Culture Studies Section Book Prize, Latin American Studies Association (LASA) Winner, Arthur P. Whitaker Prize, Middle Atlantic Council of Latin American Studies, 2019 In the 1930s, the artistic and cultural patronage of celebrated Mexican president Lázaro Cárdenas transformed a small Michoacán city, Pátzcuaro, into a popular center for national tourism. Cárdenas commissioned public monuments and archeological excavations; supported n…
No prominent works on this page.
Creating Pátzcuaro, Creating Mexico: Art, Tourism, and Nation Building under Lázaro Cárdenas
LASA Visual Culture Studies Section Book Prize, Latin American Studies Association (LASA) Winner, Arthur P. Whitaker Prize, Middle Atlantic Council of Latin American Studies, 2019 In the 1930s, the artistic and cultural patronage of celebrated Mexican president Lázaro Cárdenas transformed a small Michoacán city, Pátzcuaro, into a popular center for national tourism. Cárdenas commissioned public monuments and archeological excavations; supported n…
Stephanie J. Smith. The Power and Politics of Art in Postrevolutionary Mexico
Stephanie J. Smith’s historical study The Power and Politics of Art in Postrevolutionary Mexico makes two important contributions. First, it offers a sustained look at the relationship between the Mexican Communist Party (PCM), artists, and the Mexican state between 1920 and 1950. In doing so, it joins Mary Coffey’s How Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (2012) in providing a nuanced understanding of…
Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s
This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period t…
José María Morelos, Brownness, and the Visibility of Race in Nineteenth-Century Mexico
Independence hero José María Morelos y Pavón has been described racially as criollo, mestizo, Indigenous, mulato, and moreno, and scholars have long turned to his portraits to support claims made about his racial identity. However, the ambiguity of his social status during life and in his portraits has allowed scholars to project and reaffirm racial thinking rather than challenge its assumptions. Departing from this perspective, this essay examin…
David Alfaro Siqueiros’s Indictment of the New York Market for Mexican Art and Antiquities: Race, Alienation, and Ethnography
When David Alfaro Siqueiros exhibited Ethnography in New York in 1940, a reviewer recognized its heroic Mexican campesino imagery but also described it as “scary.” Towering above a stormy horizon, the campesino’s face is obscured by an Olmec mask, recently looted and smuggled to New York. Examining Ethnography within three traditions of racial thought—modernist primitivism with its temporal artistic discourses, official indigenismo’s culturalist …
Art (3 works) · Art history (3 works) · Political science (3 works) · Politics (3 works) · Aesthetics (2 works) · History (2 works) · Law (2 works) · Sociology (2 works) · 1895-1970 (1 works) · Allegory (1 works)