Stablemen 1943

Curator: Leopoldo Méndez created "Stablemen" in 1943, using the woodcut technique, a printmaking method that reveals intricate designs. What are your immediate thoughts when viewing this piece? Editor: Well, the figure at the center exudes an interesting blend of melancholy and stoicism. The rough textures create a rather somber mood. It seems as though the person has the weight of the world on their shoulders, what do you make of it? Curator: I find it particularly interesting to consider Méndez's deep engagement with printmaking as a socially conscious mode of artistic production. He chose a medium that was easily reproducible and accessible to the masses, so it can convey his political and social messages in 1940s Mexico. Editor: Precisely! Think about the context – it's 1943, World War II is raging. Méndez was part of the Taller de Gráfica Popular, which was politically engaged and using art as a vehicle for social commentary and as an educational tool. Are the oxen around this "stableman" literally surrounding the person or maybe alluding to the plight and suffering of ordinary people during turbulent times? Curator: Definitely. Looking at the craft, his ability to carve such powerful forms using such a demanding material is striking. There's a directness and rawness in the marks. Méndez’s background clearly shows his dedication to his technique. Woodcuts don’t easily lend themselves to correction; it takes an expert’s precision to yield such sophisticated results. Editor: Absolutely, that’s such a key point about the artistic skill here. There are crosses placed sparsely on the ground of the artwork, I believe this is referring to the cost this man might pay due to some form of injustice and political repression, in which a group of powerful people might threaten and endanger his safety. It speaks of how intertwined this piece is with social activism. The artist makes powerful political commentary and tells us of social activism rooted deeply within art's realm. Curator: It is clear the materiality of the artwork and his methodology speak to an agenda for change. This piece is charged, to this day, to incite activism in every person who sets their eyes on it. Editor: Absolutely, that's a powerful way to think about it.