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A 'Living Art' University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 5-2012 A 'Living Art': Working-Class, Transcultural, and Feminist Aesthetics in the United States, Mexico, and Algeria, 1930s Tabitha Adams Morgan University of Massachusetts Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the Literature in English, North America Commons Recommended Citation Morgan, Tabitha Adams, "A 'Living Art': Working-Class, Transcultural, and Feminist Aesthetics in the United States, Mexico, and Algeria, 1930s" (2012). Open Access Dissertations. 590. https://scholarworks.umass.edu/open_access_dissertations/590 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A ‘LIVING ART’: WORKING-CLASS, TRANSCULTURAL, AND FEMINIST AESTHETICS IN THE UNITED STATES, MEXICO, AND ALGERIA, 1930S A Dissertation Presented by TABITHA A. MORGAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2012 English American Studies © Copyright by Tabitha A. Morgan 2012 All Rights Reserved. A ‘LIVING ART’: WORKING-CLASS, TRANSCULTURAL, AND FEMINIST AESTHETICS IN THE UNITED STATES, MEXICO, AND ALGERIA, 1930S A Dissertation Presented by TABITHA A. MORGAN Approved as to the style and content by: __________________________________ Randall Knoper, Chair __________________________________ Susan Jahoda, Member __________________________________ Joseph T. Skerrett, Member ____________________________________ Joseph Bartolomeo, Department Head English Department DEDICATION This dissertation is dedicated to the many people, spaces and moments of life that have held me and let me go – from Manning Lane and Narberth to Mallorca and Berkley and Honesdale, and most recently from Bangor to Northampton and Holyoke and back home to Philly once again. ACKNOWLEDGMENTS Towards the end of her life, Dorothea Lange said: “How much I would really like to devote myself to really living the kind of life that I know it takes.” To the tribe I am lucky enough to call home, may we all know what it takes and devote ourselves to it fully. In gratitude and awe for all the fierce and patient loving that has gotten me through this part of the journey: Ksenya, Stella, Gordito, Mom, Donn, Robin, Laurel, Gram, Josie, Jo, Carol, Cathy, John, Angie, Tim, Herve, Raihana, Julie, Myla, and Kelly – you are brave and generous souls, and I deeply thank you and most sincerely love you. Thank you Randall, Susan, and Joe for your time, effort, consideration, and unwavering support over the years. Thank you also for inspiring me with the work and art you create and how diligently and graciously you teach your students. Your belief in me and my work has sustained me through many days both academic and personal. Thank you also to Djelloul and Marilyn Marbrook for their warmth and generosity. I would also like to thank the steadfast and constant support of Wanda Bak, the kindness and patience of the Graduate School of UMass and all its offices and staff, and Commonwealth College for employing me through most of my graduate degree and to the Community College of Philadelphia for engaging me now. v ABSTRACT A ‘LIVING ART’: WORKING-CLASS, TRANSCULTURAL, AND FEMINIST AESTHETICS IN THE UNITED STATES, MEXICO, AND ALGERIA, 1930S MAY 2012 TABITHA A MORGAN, B.A., TEMPLE UNIVERSITY M.A., UNIVERSITY OF MAINE ORONO P.h.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Randall Knoper The cultural productions of Katherine Anne Porter, Anita Brenner, Tina Modotti, Maria Izquierdo, and Juanita Guccione represent a distinctive interweaving of gender and class consciousness, national identification and political resistance, as represented in their artistic work. These five women became transnational carriers of a radical realist and modernist thought, culture, and ideology that became transported through their art when their gendered and classed bodies were left otherwise silenced and boundaried. These women, their cultural productions, and the ways in which their art generates a counter discourse to the dominant and institutionalized conceptions of transculturalism, aesthetics, and re-production, are vital to understanding the co-construction of nationhood as well as the self-determined creation of the individual self. From this overarching framework, I will explore how these women negotiated political conceptions of nationhood, artistic genres such as realism and modernism, and then created their own feminist, transcultural and working-class aesthetics to counter otherwise limited conceptions of individual agency. vi TABLE OF CONTENTS Page ACKNOWLEDGMENTS ...................................................................................................v ABSTRACT ....................................................................................................................... vi LIST OF IMAGES ........................................................................................................... viii INTRODUCTION: BORDERS UNBOUND: TRANS-NATIONAL/-CULTURAL WORKING-CLASS WOMEN DIALOGUINGWITH THE NATION AND SELF ..........1 CHAPTER I. ‘INHERITED IMAGES’: KATHERINE ANNE PORTER AND ANITA BRENNER ON ART, INDIGENISMO, AND WORKING-CLASS AND TRANSCULTURAL AESTHETICS ..............................................................21 II. ART FOR THE REAL: TINA MODOTTI’S GENDER AND WORKING- CLASS AESTHETIC FOR THE MASSES ....................................................97 III. THE ‘REALEST REALITY’: MARIA IZQUIERDO, MEXICANIDAD, AND THE AESTHETICS OF NATION AND SELF ............................................139 IV. ‘THE WHITE WITCH’: JUANITA GUCCIONE’S TRANSCULTURAL AESTHETIC OF ALGERIA AND FEMINIST AESTHETIC OF A TRANSFORMATIVE SELF .........................................................................173 CONCLUSION: TRANSFORMATIVE AESTHETICS: WOMEN ON SELF, NATION, ART AND BELONGING ..............................................................................233 BIBLIOGRAPHY ............................................................................................................248 vii LIST OF IMAGES Image Page 1. Edward Weston. Tina, Mexico .......................................................................................97 2. Edward Weston. The White Iris ...................................................................................100 3. Gertrude Kaseiber. Blessed Art Thou Among Women .................................................104 4. Tina Modotti. Roses .....................................................................................................108 5. Dorothea Lange. Migrant Mother ................................................................................110 6. Telephone Wires...........................................................................................................117 7. Tank No. 1 ....................................................................................................................118 8. Poverty and Elegance ..................................................................................................121 9. [Untitled; Feet in Sandals] ..........................................................................................122 10. Hands Resting on Tool ...............................................................................................123 11. Hands of the Puppeteer ..............................................................................................125 12. Labor 1 or Hands Washing ........................................................................................126 13. Mexican Peasants Reading El Machete .....................................................................127 14. Mother and Child, Tehuantepec ................................................................................130 15. Baby Nursing .............................................................................................................131 16. Woman Carrying Jecapixtle Gourd, Tehuantepec .....................................................134 17. Woman with Olla .......................................................................................................135 18. Maria Izquierdo. Autorretrato. Self Portrait……………..…………………………147 19. Viernes de Dolores. Good Friday…………………………………………………..149 20. La raqueta. The Raquet..............................................................................................152 21. Naturaleza Viva. Still Life…………………….……………………………………153 22. La tierra, dolor. The Earth, Pain……………………………………………….......154 viii 23. Alegoria del trabajo, Allegory of Work…………………………………………….157 24. Madre proletaria, Proletarian Mother……………………………………...……...160 25. Maternidad, Motherhood………………………………………………….…..……162 26. Consolacion. Consolation……………………………………………………..……164 27. Prisoneras. Prisoners…………………………………………………………........166 28. Suenos y presentimiento. Dreams and Premonitions………………………….…...167 29. Alegoria de la Libertad. Allegory of Liberty………………………….…………....170 30. Juanita Guccione. Self Portrait…………………………………………………......176 31. Long Gown with Sleeves……………………………………………………………177 32. Anais Nin……………………………………………………………………………178 33. The Velvet Collar…………………………………………………………………...178
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