Extract - Estados Unidos Mexico

Dafne Cruz Porchini

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José Clemente Orozco: Final Cut

EXTRACT is an online section where we share some of the texts published by Temblores Publicaciones, Terremoto’s publishing house. Today we present our fourth extract, “The Final Years,” by Dafne Cruz Porchini, from José Clemente Orozco: Final Cut, a catalog of the exhibition of the same name—held at the Arizona State University Art Museum (ASUAM) in Phoenix, USA. As an accompaniment to the show, this publication revises the artist’s late production and displays a selection of unseen materials from his personal archive, while at the same time puts into dialogue the influence of the painter in contemporary artistic practices in Guadalajara.

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  1. José Clemente Orozco, Cartas a Margarita (1921-1949), Mexico City: Era, 1987, p. 333. Author’s emphasis.

  2. Justino Fernández, Textos de Orozco, 2ª ed., Mexico City: Universidad Nacional Autónoma de México-Instituto de Investigaciones Estéticas, 1983, p. 128.

  3. Richard Posner, “Orozco,” in Clemente Orozco Valladares, Orozco: verdad cronológica, Guadalajara: Universidad de Guadalajara, 1983, p. 486-7.

  4. Fernández, op. cit., p. 103.

  5. Translator’s note: pintorcillos is a diminutive of the Spanish word pintor, meaning “painter.” While it can be a term of endearment, here Orozco uses the term derisively.

  6. Orozco, op. cit., p. 322. Orozco refers to Inés Amor, the director of the Galería de Arte Mexicano (GAM), the first private gallery in Mexico, founded in 1935. The painter complained bitterly about group “Mexican exhibitions” that were organized in the United States thanks to GAM during these years, which served a transnational and diplomatic interest—that had grown since the twenties—in exhibiting Mexican art and culture.

  7. Martín Acero, “El mundo a la deriva. José Clemente Orozco nos narra sus impresiones a su regreso de Nueva York,” in Clemente Orozco Valladares, op. cit., p. 494. The original comment was published in Nosotros in May 1946.

  8. See Barbara Haskell, ed., Vida Americana: Mexican Muralists Remake American Art, 1925-1945, New Haven: Whitney Museum of American Art–Yale University Press, 2020; and Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War, Minneapolis: University of Minnesota Press, 2013.

  9. José Gómez Sicre, “Un gran premio para Orozco,” in Clemente Orozco Valladares, op. cit., p.521. The original comment appeared in Caracas’s El Nacional in March 1947.

  10. The Colegio Nacional, founded in 1943 at the behest of the government, is a public institution that to this day continues to bring together notable Mexican intellectuals and scientists.

  11. Fernández, op. cit., p. 127.


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