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NOTES
ACKNOWLEDGMENTS
I thank Michele Fiedler, Gina Arizpe, Marcela Quiroga, and the Sala de Arte Público Siqueiros for all of their help researching this piece, Christine for her advice, and my family, friends, and advisor, Maria Gough, for their support.
Notes
1 Gina Arizpe, video-call interview with the author, May 19, 2019.
2 Marcela Quiroga, email conversation with the author, Aug. 8, 2019; and Virgen, “Hacia la globalización norteña,” 19–21.
3 “Estábamos inmersas en una sociedad hyper-machista, hyper-conservadora, y dentro del mundo del arte también era muy difícil figurar. Entonces era un tema en general en que siempre trabajábamos, no había un ‘evento en específico,’ digamos, pero muchas cosas acumuladas: la televisión de Monterrey, como trataban de las mujeres, que habían esas cambias a lo pornográfico. …Si tu aspirabas a salir en la tele tendrías que salir con una minifalda, enseñando la nalga, enseñando la teta. …Entonces, sí pensábamos mucho en esta crítica. …Si no eres una chica bien, pues eres una puta. Entonces no nos interesaba ser como artistas unas chicas bien, nos interesaba más ser unas putas.” Arizpe, video-call interview.
4 Colectivo marcelaygina, “Texto para catálogo,” personal archive of Arizpe, 7–9.
5 Hernández et al., Sin límites, 76.
6 Arizpe, video-call interview; and colectivo marcelaygina; “Texto para catálogo,” 20–23, 3.
7 Fajardo-Hill and Giunta, “Introduction,” 17–18.
8 Quiroga, email conversation; and Fajardo-Hill and Giunta, “Introduction,” 17.
9 “acciones”; and Arizpe, video-call interview.
10 Arizpe, video-call interview; and Arizpe, email conversation, Aug. 1, 2019.
11 Three pieces of the wall were somehow lost between the Revolución Proletaria installation and the work’s appearance Bienal FEMSA; Arizpe, video-call interview.
12 Pimentel, “To Order Call Us.”
13 Arizpe remembers that the mural did begin to attract garbage, a condition to which it is difficult to attribute intentionality. Arizpe, video-call interview; and Pimentel, “To Order Call Us.”
14 Dines, Pornland, xxvi; and Williams, Hard Core, 111.
15 Williams, Hard Core, 96–98.
16 Mulvey, “Visual Pleasure,” 840.
17 Adult actor and industry professional Bill Margold speaking to Robert J. Stroller; Stroller and Levine, Coming Attractions; cited in Jensen, Getting Off, xxvi.
18 Dines, Pornland, xxvii.
19 Arizpe, video-call interview.
20 See Feldman and Fernández-Barkan, “Sarah Lucas’ Self Portraits”; and Manchester, “Summary.”
21 Manchester, “Summary.”
22 Arizpe, video-call interview.
23 Arizpe, video-call interview.
24 Arizpe, video-call interview; see Campbell, Viva la historieta.
25 “Historia,” El libro vaquero.
26 See Rivera and Rivera Marín, José Guadalupe Posada.
27 Pimentel, “To Order Call Us.”
28 “Pueblo de Mexico.” “Historia SAPS,” Sala de Arte Público Siqueiros.
29 Quiroga, email conversation; Antivilo Peña, Mayer, and Rosa, “Feminist Art and ‘Artivism,’” 38.
30 Coffey, How a Revolutionary Art, 45–46.
31 Coffey, How a Revolutionary Art, 49, 45.
32 Coffey, How a Revolutionary Art, 46.
33 Krauss, “ARTS ABROAD,” E2.
34 Coffey, How a Revolutionary Art, 33.
35 Coffey, “‘Without Any of the Seductions,’” 110–112.
36 See Lee, Painting on the Left, 72.
37 O’Rourke, “Science and Sex,” 9–40. For more on the allegory and distortion of the female body in muralism, see O’Rourke’s article. O’Rourke argues that Rivera’s manipulations of the female nude’s proportions functions as a subversion of the patriarchal and technocratic policies of the department.
38 Arizpe, video-call interview. Arizpe explained that the photographic quality of the mural caused viewers to see a sexual act where in fact there was none.
39 Farley, “Prostitution, Trafficking,” 123; and Paul, Pornified, 61.
40 United Nations Convention Against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, 1465 U.N.T.S. 85, cited in Farley, “Prostitution, Trafficking,” 122.
41 Farley, “Prostitution, Trafficking,” 126.
42 “El cuerpo como frontera, la frontera de la imagen mediatizada, el espacio entre el proceso y la obra terminada, la frontera entre la razón la intuición y la locura.” “Texto para catálogo,” 28.
43 Zembrano and Vázquez, “Un vistazo,” 3 ; and colectivo marcelaygina, “Texto para catálogo,” 27–38.
44 Amnesty International, “Mexico: Submission to the Committee.”
45 Becerril, “En 6 estados.”
46 Amnesty International, “Mexico: Intolerable Killings.”
47 Bridges et al., “Aggression and Sexual Behavior,” 1070–75. The videos reviewed were taken from rankings published by Adult Video News. Bridges et al. found instances of “pushing/shoving,” “biting,” “pinching,” “hair pulling,” “spanking,” “open hand slapping,” “gagging,” “choking,” “kicking,” “bondage/confining,” and “using weapons.” Although Adult Video News is an American company, these trends have implications beyond the United States. As Paul argued, “The Internet has thoroughly internationalized the world of pornography so that to speak of international borders with regard to production and tastes is increasingly meaningless.” Paul, Pornified, 59.
48 “han sido parte del instrumento para mantenerlas calladas, una forma de dominio que resulta en la falta de voces femininas en el discurso público.” Fiedler, “Tapete lúcido/Cuestión de tiempo.”
49 See Pérez-Ratton, “Central American Women Artists,” 140.
50 Mayer, “A Personal History,” 54. This is how Mayer translated the name of the collective. Alternative translations of “polvo” are “dust” and “grit.”
51 Mayer, “A Personal History”; and “30 gr de polvo de voices que desmitifiquen la violación,” “7 gotas de hombres que apoyen la lucha contra la violación.” Mayer, “Sobre el arte feminista,” 93.
52 Movement between the public and the private is a phenomenon that colectivo marcelagyina reference repeatedly in “Texto para catálogo.”
53 Alejandro Hernández et al., Sin límites, 18.
54 “Loren Wolffer,” Artraker.
55 Mayer, “A Personal History,” 54.
56 Decker, “Mónica Mayer.”
57 “EXIGIMOS UN ALERTO DE GÉNERO NACIONAL,” “NO + FEMINICIDIOS.”
58 Cholbi, “Femicide in Mexico.”
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Davida Fernández-Barkan
Davida Fernández-Barkan is a PhD candidate in the history of art and architecture at Harvard University and a predoctoral fellow at the Smithsonian American Art Museum. Her work focuses on the relationships between art, the public and the state over the past century in Latin America, the United States, Russia and Western Europe. Titled Mural Diplomacy: Mexico, the United States, and France at the 1937 World’s Fair in Paris, her dissertation project explores the connections between the mural-related contributions of Mexico, the United States and France to the 1937 International Exposition of Art and Technology in Modern Life. Davida’s research interests include the means and motivations for government sponsorship of art, transnational relationships among artists and governments, the history of muralism and mural painting’s implications for social practice and performance. She has worked or interned in curatorial departments at the Harvard Art Museums, Centre Pompidou, Institute of Contemporary Art/Boston, National Gallery of Art, Tate Britain and the Hirshhorn Museum and Sculpture Garden.