Exile and Montage: Josep Renaus Reckoning with Community and Self

This paper examines Spanish photomontagist, Josep Renaus artistic progression through two exiles (the first in Mexico and the second in East Germany) as an example in which an individual defines his cultural identity first in the context of community, a collective leftist-socialist identity, and then as Stuart Hall points out in terms of \u27difference.\u27 When history reveals to Renau his separation from the community, he has no choice but to find himself in an expression of difference — not from the home he makes for himself in Mexico so much as from the neighbor he must criticize in order to earn his space among Mexican artists. Ironically Renau cannot express that difference until he leaves Mexico, and reintegrates back into a community, at least with ties to the one he initially lost in a communist European setting.\u2

General Villa and General Pershing: Digitizing the Photographic Record of their Border Pursuits. Power Point presentation only.

Power point presentation on a collection of postcards depicting the 1916 Punitive Expedition into Mexico. Postcards includes scenes of battlefields, military parades, soldiers in barracks, and some tourist postcards