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Revolutionary Art at the Centro Escolar Revolución: Examining Murals and Scrapbooks in a Mexico City Primary School

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Revolutionary Art at the Centro Escolar Revolución: Examining Murals and Scrapbooks in a Mexico City Primary School Revolutionary Art at the Centro Escolar Revolución: Examining Murals and Scrapbooks in a Mexico City Primary School Item Type text; Electronic Thesis Authors Becker, Hallye Citation Becker, Hallye. (2020). Revolutionary Art at the Centro Escolar Revolución: Examining Murals and Scrapbooks in a Mexico City Primary School (Master's thesis, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 10:24:13 Link to Item http://hdl.handle.net/10150/656766 REVOLUTIONARY ART AT THE CENTRO ESCOLAR REVOLUCIÓN: EXAMINING MURALS AND SCRAPBOOKS IN A MEXICO CITY PRIMARY SCHOOL by Hallye Becker ____________________________ Copyright © Hallye Becker 2020 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by: Hallye Becker titled: Revolutionary Art at the Centro Escolar Revolución: Examining Murals and Scrapbooks in a Mexico City Primary School and recommend that it be accepted as fulfilling the thesis requirement for the Master’s Degree. _________________________________________________________________ Date: ____________Dec 28, 2020 Stacie Widdifield _________________________________________________________________ Date: ____________Jan 6, 2021 larry busbea _________________________________________________________________ Date: ____________Dec 28, 2020 Irene B Romano Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. _________________________________________________________________ Date: ____________Dec 28, 2020 Stacie Widdifield Committee Chair School of Art 3 Acknowledgments This thesis occupied a portion of my consciousness for at least five years, planted as a seed during my sophomore year at the University of Arizona. Questions regarding Aurora Reyes and her artistic body of work were inspired from a singular article as part of an introductory Mexican art class. It was in those first explorations of Reyes’s work and, ultimately, the Centro Escolar Revolución as an institution, that my advisor Dr. Stacie Widdifield encouraged me to develop those initial ideas into the thesis that exists here today. The shape those first ideas have taken has stretched across numerous disciplines and spaces, following me through my classes in Art History and Latin American Studies, my many trips to libraries, shuffling through archives, and throughout my travels to Mexico. As such, this project has required much assistance, support, patience, and dedication from a large number of individuals and institutions. My parents, Dr. Brian Becker and Suzi Becker, have always been my greatest supporters, consistently encouraging me and reminding me that anything is possible with drive, dedication, and an attention to detail. I am grateful for the sense of work ethic, worldly curiosity, and determination they have instilled into me, and have exemplified in their own life choices. I owe thanks to my mom, in particular, for accompanying me on many of my travels, her own desire to have new experiences making her an ideal travel companion, and for being forever willing to offer her assistance to me in any way possible. My brother, Max Becker, has always been my favorite breakfast partner and great source of both laughs and enjoyable conversation – thank you for always supporting me, and being up to go grab some coffee and pancakes. And to my dog, Rocky, thank you for being with me for eighteen full years, and for always being willing to cuddle up with me over countless long nights. The faculty of both the Art History and Latin American Studies departments at the 4 University of Arizona have dedicated a great deal of time and effort to help me see this through to completion, and I am thankful for the guidance, faith and inspiration. Dr. Widdifield continually offered interesting and valuable suggestions, perspective, and feedback. Her unfailing confidence in my intellectual development has been a driving force behind my academic success at University of Arizona, in both my undergraduate and graduate work. I am also grateful to Dr. Irene Romano and Dr. Larry Busbea for their roles as my thesis committee members; a role that they both graciously took on despite their lack of familiarity with my area of research. Their insight and feedback were deeply appreciated. In the Latin American Studies department, Dr. Marcela Vásquez has been a deeply influential figure in not only my research, but also the way in which I carry myself and interact with the world. Her unfailing encouragement (and persistence) to pursue my studies in Latin American politics, history, and art have shaped both my academic career and my sense of self as a person. Gracias por todo lo que has hecho por mi. I thank those who made my research trip to Mexico City possible. Institutional support for this project came from the Tinker Foundation, who graciously funded a portion of my travel expenses, and made it possible for me to spend two weeks in Mexico City. It was during this trip that the true shape of this thesis began to take form, and my time spent in the field activated my art historical imagination. I am indebted to every single person who assisted my in contacting the Centro Escolar Revolución and earning governmentally-approved access, including (but not limited to) Dr. Vásquez and Beatriz Medina. I was accompanied by a wonderful team of helpers who assisted me in moments where I struggled with translation, photographing the murals and archive, and were generally lovely company: Sylvia Amado, Ana Brewton, Efrain Izaguirre, and Suzi Becker being among some of the notable members. Thank you for entertaining the 5 numerous excursions I asked all of us to go on in the name of “research,” taking me to some of Mexico City’s best places to eat, wander, and dance, helping me explore the Zócalo, and for indulging in many a michelada in the sweltering summer heat. The faculty and staff at the Centro Escolar were incredibly good-humored and patient while answering my barrage of questions about the school and their experiences, and were equally enthusiastic about my research in kind. Maestro Gerardo Villegas was my reliable point of contact and took me on my first tour of the school. Antonio Alvarez, the school’s temporary archivist, informed me of the archive’s existence and graciously came in on his day off while I spent hours poring over photographs. Maestra Patricia Llébenes Mendoza, the school supervisor for the Centro Escolar, asked thoughtful questions about my research and gave me intriguing answers in return. The librarians and other various faculty treated me and my team of assistants kindly, and I thank them for continually offering their assistance and sharing their personal knowledge and anecdotes about the school. I would also like to thank my colleagues at the University of Arizona, who commiserated with me at every low point, and were there to help me celebrate every success. Without their companionship and guidance, I am not sure I would be in the position I am today. I enjoyed every shared lunch, every time the same ten dollars were sent back and forth over Venmo, and every visit to Kimberly Mast’s, Megan Bartel’s, or Carrie Scharf’s office for moments of humor, levity, and sound advice. Without them, I am sure the College of Fine Arts would simply cease to exist. My friends and colleagues in the Art History Graduate Student Association in particular were steadfast supporters, and were critical in ensuring the success of the 30th Annual Graduate Student Symposium; I look forward to attending the 31st Annual symposium, and to seeing their continued academic and personal excellence flourish. To my co-President, Dorothe Santistevan, 6 and her partner Grace Atwood, I no doubt have the both of you to thank most of all. Every moment of patience, humor, insight, exhaustion, and sip of earl grey tea have immensely improved both this thesis and my experience in writing it. I will never be able to fully express my gratitude for every moment – both large and small – that helped me get through both my undergraduate and graduate degrees. It cannot be ignored that this thesis was written during the Covid-19 global pandemic, placing an additional strain on an already stressful time in the life of not only graduate students, but the public at large. These times were truly bizarre, and I could not have asked for a better group of colleagues and friends to have experienced it with. Thank you for all your hard work. Here’s to hoping for a sense of normalcy in the coming years. As mentioned, this thesis as a concept has existed for several years in my mind and, as such, it would be impossible for me to to acknowledge every single person who has accompanied me on this journey. To those who have read drafts or pieces of my work, who have sat down with me and helped me discuss ideas or listened to me explain the project, who have compassionately listened to every moment of frustration or doubt: thank you. I am lucky to share all of my successes and shortcomings with every person who made this work possible. 7 Table of Contents Abstract……………………………………………………………………………………………9 I. Introduction.…………………………………………………………………………………...10 II.
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