Description
In the years following Nicaragua’s 1979 Sandinista Revolution, more than three hundred work of art were created by Nicaraguan and international artist brigades. David Kunzle used to be profoundly moved by the aesthetic and political power of these work of art, and when he saw that they were being destroyed after the Sandinistas were voted out in 1990, he resolved to document them. This visually exciting, emotionally compelling book is the results of his efforts.
Today many of Nicaragua’s work of art have been obliterated, and Kunzle’s book could also be the only record of these works. Approximately eighty percent of the work of art are reproduced here, many with extensive statement. Artistic styles from the primitivist to the highly sophisticated are represented, showing themes of literacy, health, circle of relatives, and all the time the Revolution.
Kunzle outlines the historical conditions in Nicaragua—including U.S. interference—that gave rise to the Revolution and to the work of art. He chronicles the politically vindictive destruction of among the best work of art and the upward thrust and fall of Managua’s Mural School. Kunzle also refers to other Nicaraguan public media such as billboards and graffiti, the great mural precedent in Mexico, and the more latest attempts at socialist art in Cuba and Chile.
Nicaraguan work of art became blackboards of the people, a forum for self-image, self-education, and popular autobiography. Kunzle pleads for the restoration of the surviving work of art and for the revival of the mural movement, for it is, he says, “art that belongs to and benefits us all.”
Today many of Nicaragua’s work of art have been obliterated, and Kunzle’s book could also be the only record of these works. Approximately eighty percent of the work of art are reproduced here, many with extensive statement. Artistic styles from the primitivist to the highly sophisticated are represented, showing themes of literacy, health, circle of relatives, and all the time the Revolution.
Kunzle outlines the historical conditions in Nicaragua—including U.S. interference—that gave rise to the Revolution and to the work of art. He chronicles the politically vindictive destruction of among the best work of art and the upward thrust and fall of Managua’s Mural School. Kunzle also refers to other Nicaraguan public media such as billboards and graffiti, the great mural precedent in Mexico, and the more latest attempts at socialist art in Cuba and Chile.
Nicaraguan work of art became blackboards of the people, a forum for self-image, self-education, and popular autobiography. Kunzle pleads for the restoration of the surviving work of art and for the revival of the mural movement, for it is, he says, “art that belongs to and benefits us all.”
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