Catlett and Mora, two artists and a creative front: capturing social injustice

The artists Elizabeth Catlett (1915-2012) and Francisco Mora (1922-2002) are an example of resistance to the racism, segregation and violence that prevailed in both Mexico and the United States during the 20th century, situations that are still valid. This is stated in the exhibition dedicated to both creators that opens tomorrow at the National Museum of Prints (Munae).

The sample Elizabeth Catlett and Francisco Mora, companions in art and life, It is made up of 99 pieces, including engravings, paintings, sketches and pamphlets, and was curated by Arturo Rodríguez Döring, who explained: In addition to a common struggle front, it is a snapshot of the couple’s life.

Catlett was born in the city of Washington, United States, the daughter of black workers and teachers who suffered marginalization as a result of racism.

“He came to Mexico for a scholarship he received from Howard University, a study center where blacks could study. Later he attended the La Esmeralda National School of Painting, Sculpture and Engraving; There, Pablo O’Higgins introduced him to Francisco Mora, with whom he fell in love, with whom he married and they had three children,” explained the curator.

Mora, originally from Uruapan, Michoacán, also the son of teachers, grew up in a context of poverty. From the moment he joined Esmeralda, with support from the state government, he professionalized his engraving and painting work. After meeting Elizabeth, he agreed with her on the issues of lack of human rights and segregation in their respective countries.

“Both captured and discussed issues of social injustice, although it is true that they worked separately, each in their own studio, but the theme they raised always went hand in hand: the human rights of workers and the oppressed.

He worked closely with the great muralists of the time and joined the educational project promoted by Lázaro Cárdenas, in which he created images about oil expropriation, education and work in the mines.explained Rodríguez Döring.

Emblematic events in ink

Without losing the relevance of what was happening with the resistance movements of the Afro-American population, Elizabeth Catlett captured the most emblematic moments of her people’s struggle: she recorded portraits of Frederick Douglass (one of the most important leaders who fought for the freedom of black slaves), Harriet Tubman and Malcolm

I consider myself very ordinary, a member of four exploited groups: blacks, Mexicans, women and the poor.Catlett said at the time.

Meanwhile, Francisco Mora worked very closely with the communist movements, interested in exposing the living conditions of the most marginalized populations. The couple illustrated sketches, pamphlets and manuals related to rights and the revolutionary struggle.

In Mora’s work you can see his perception of the lack of rights in the United States. He painted workers, farmers and cotton pickers. Their mutual work would last a lifetime, since the death of Francisco Mora separated them in 2002.

The exhibition includes a video, in which testimonies of Francisco Mora and Elizabeth can be seen, while they work in their studios. Many of the pieces were contributed by the Catlett Mora heirs, who reported that they have plans to build a cultural center with the collection of both artists, which remains almost intact.

The exhibition Elizabeth Catlett and Francisco Mora, companions in art and life, It can be visited starting this Saturday and until June 23 at the National Print Museum (39 Hidalgo Avenue, Plaza de la Santa Veracruz, Centro neighborhood, Cuauhtémoc mayor’s office, Mexico City).