Mary K. Coffey
Associate Professor of Art History
Mary Coffey specializes in the history of modern Mexican visual culture, with an emphasis on Mexican muralism and the politics of exhibition. She also publishes in the fields of American art, Latin American cultural studies, and museum studies. She has published essays on a broad range of visual culture, from Mexican folk art to motorcycles to eugenics exhibitions.
Mary Coffey studied Art History and Cultural Studies at the University of Illinois, Urbana-Champaign. Before joining the faculty at Dartmouth she taught at Pomona College (1999-2001) and was a Faculty Fellow and Internship Coordinator at New York University's Graduate Program in Museum Studies (2001-2004).
Mary Coffey's book How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State was published by Duke University Press in 2012. This book offers the first study of the reciprocal relationship between Mexican muralism and Mexican museum practice. Through case studies of the nation’s three most significant public museums, all of which include major works of mural art—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum—it traces the transformation of Mexican muralism from a public art with radical social intentions into a form of state propaganda. The book reveals that artists often willingly and at other times inadvertently participated in the official construction of national art, history, and ethnic origins proclaimed within these museums. Simultaneously, it shows how the museum brought mural art to the popular audiences its artists hoped to reach, albeit in ways they did not anticipate. How a Revolutionary Art Became Official Culture received the Charles Rufus Morey Prize from the College Art Association for a distinguished book published in Art History in 2012.
She is currently conducting new research for two books. The first is a monograph on Jose Clemente Orozco's Epic of American Civilization. The second analyzes the exhibition of folk art, exploring the impact of privatization on how folk artists produce and market their work and on how their art is exhibited and consumed.
At Dartmouth Mary Coffey gives public lectures and tours of the José Clemente Orozco murals in Baker-Berry Library, as well as current exhibitions at the Hood Museum of Art.
Mary Coffey is an affiliated professor with the Latin American, Latino, and Caribbean Studies and the Women and Gender Studies Programs. She has also taught specialized courses on public art, José Clemente Orozco, Fluxus, and museum practice, as well as the introductory survey of Western Art History.
Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms, ed. Elaine O'Brien, Everlyn Nicodemus, Melissa Chiu, Benjamin Genocchio, Mary K. Coffey, and Roberto Tejada (Wiley-Blackwell, 2013).
"Coffey: Droning on About the Facts," The Dartmouth, Op-Ed, Thursday, October 3, 2013.
How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State" (Duke University Press, 2012). Winner of College Art Association’s Charles Rufus Morey Award for a Distinguished Book in Art History in 2012.
"'All Mexico on a Wall': Diego Rivera's Murals at the Ministry of Public Education," in Mexican Muralism, A Critical History, ed. Alejandro Anreus, Leonard Folgarait, Robin Adele Greeley (Berkeley: University of California Press, 2012).
"An 'AMERICAN Idea': Myth, Indigeneity, and Violence in the Work of Orozco and Pollock," in Men of Fire: José Clemente Orozco and Jackson Pollock (Hanover, N.H.: Hood Museum of Art, Dartmouth College; Habover, NH: University Press of New England, 2012), 21-36.
"The 'Hovey Mural' and the 'Greening' of Orozco's Epic of American Civilization" in Walter Beach Humphrey's 'Hovey Mural' at Dartmouth College: A Cultural History, ed. Brian P. Kennedy and Katherine Hart (Hanover, N.H.: Hood Museum of Art, Dartmouth College; Hanover, NH: University Press of New England, 2011), 79-106.
"Banking on Folk Art: Banamex-Citigroup and Transnational Cultural Citizenship," Bulletin of Latin American Research 29, no. 3 (July 2010): 296-312.
"A Mural Imperative," The Dartmouth, Op-Ed, Thursday, November 11, 2010.
“’I’m Not the Fourth Great One’: Rufino Tamayo and Mexican Muralism,” in Tamayo: A Modern Icon Reinterpreted , D du Pont (ed.), (2007) 247-267.
“‘We Other Romantics’: Wenda Gu, Dartmouth, and the Investment in Art’s Transcendence,” Dartmouth Free Press, 8.4 (2007).
“Toward an Industrial Golden Age? Orozco’s The Epic of American Civilization,” in Orozco at Dartmouth: The Epic of American Civilization, (2007) 12-15.
“Of Bodies and Embodiment: Fred Wilson’s So Much Trouble in the World, Believe it or Not!,” in So Much Trouble in the World-Believe it or Not!, B Thompson (ed.), (2006) 44-57.
“The American Adonis: A Natural History of the Average American Man, 1921-1932,” in Popular Eugenics: American Mass Culture in the 1930s, ed. Sue Currell and Christina Cogdell (Athens: Ohio University Press, 2006).
“Angels and Prostitutes: José Clemente Orozco's Catharsis and the Politics of Female Allegory in 1930s Mexico,” CR: The New Centennial Review 4, no. 2 (2004): 1-33. http://muse.jhu.edu/journals/new_centennial_review/v004/4.2coffey.html
Co-authored with Jeremy Packer, “Hogging the Road: Cultural Governance and the Citizen Cyclist,” Cultural Studies 18, no. 5 (July 2004): 641-674. http://www.informaworld.com/smpp/content~content=a738563333~db=all~order=page
"Histories that Haunt: A Conversation with Ann Hamilton," Art Journal 60, no. 3 (Fall 2001): 10-23.
Podcast on the Orozco mural http://hoodmuseum.dartmouth.edu/collections/overview/americas/mesoamerica/murals/tour.html
Works in Progress
Jose Clemente Orozco’s Epic of American Civilization: Myth, History, and the Redemptive Play of Mourning (book manuscript)
Selected Works and Activities
Exhibition: Paint the Revolution: Mexican Modernism 1910-1950, Philadelphia Museum of Art,
October. 25, 2016 - January. 8, 2017.
Catalog: Paint the Revolution: Mexican Modernism, 1910-1950, ed. Matthew Affron, Mark A. Castro, Dafne Cruz Porchini, and Renato Gonzalez Mellos (Philadelphia: Philadelphia Museum of Art/ Yale University Press, 2016). Professor Coffey's essay: “State Ritual, Mass Politics, or Mythopoesis?” 3-11.
Link to exhibition: http://www.philamuseum.org/exhibitions/840.html
Exhibition: Prometheus 2017: Four Artists from Mexico Revisit Orozco, Pomona Museum of Art,
September 5 - December 16, 2017.
Catalog: Prometheus 2017: Four Artists from Mexico Revisit Orozco, ed. Rebecca McGrew and Terri Geis (Claremont: Pomona Art Museum, forthcoming 2017).
Professor Coffey's essay: “Putting Orozco’s Prometheus in Motion: Reframing Mural Art’s Meaning for Contemporary Art Practice.”
Link to exhibition: https://www.pomona.edu/museum/exhibitions/2017/prometheus-2017