Main content
Course: The Museum of Modern Art > Unit 1
Lesson 8: MoMA Learning- "Collective Suicide" by David Alfaro Siqueiros, 1936 | MoMA Education
- "Girl Before a Mirror" by Pablo Picasso, 1932 | MoMA Education
- "To Lift" by Richard Serra, 1967 | MoMA Education
- "Self-Portrait with Cropped Hair" by Frida Kahlo, 1940 | MoMA Education
- Five Tips for Teaching with Works of Art | MoMA Education
- "Dive Bomber and Tank" by Jose Clemente Orozco, 1940 | MoMA Education
- "Wall Drawing #1144, Broken Bands of Color in Four Directions" by Sol LeWitt, 2004 | MoMA Education
- "Bicycle Wheel" by Marcel Duchamp, 1951 | MoMA Education
- "One: Number 31, 1950" by Jackson Pollock, 1950 | MoMA Education
- "Map" by Jasper Johns, 1961 | MoMA Education
- Meet Me | Art Discussion Programs for Individuals with Dementia
- Meet Me | Art Making Programs for Individuals with Dementia
© 2024 Khan AcademyTerms of usePrivacy PolicyCookie Notice
"Collective Suicide" by David Alfaro Siqueiros, 1936 | MoMA Education
A MoMA educator discusses how she teaches "Collective Suicide" by David Alfaro Siqueiros, 1936. Visit MoMA Learning for more teaching and learning resources. Created by The Museum of Modern Art.
Want to join the conversation?
- So is it just me or does this work have a distinctly Jackson Pollock feel in the middle there? I know this was way before his time, but is it possible this was an early influence? Thanks, T.S.(7 votes)
- good catch! Jackson Pollock was actually part of a core group of artists that was working in Siqueiros' Experimental workshop in New York during that year. A lot of the work that was done within this workshop was done so through experimentation with the new materials available, one of them being lacquer (the same medium that Pollock used for much of his work, if not all). The methods that came out of this workshop, such as "dripping, pouring, and splattering the paint on the painting panel...poured directly from the can or dripped from a stick," are all methods that we later see in Pollock's explosive style.(1 vote)
- What does MoMA stand for?(3 votes)
- How do artists name their paintings?(3 votes)
- Some artists name their paintings that reflect on the story it is trying to tell the audience. "Starry Night" by Van Gough, is literally the night sky. Or, this painting "Collective Suicide", is about the a civilization turning the weapons against themselves committing suicide. Since it is a lot of people, its almost "collective".(1 vote)
- Is this art sort of a classic?(1 vote)
- I'm curious now--where DO painters put the titles of their paintings? Is it written on the back? Or does the artist just tell people the title?(1 vote)
- To me, the picture says that starting war is equal to using the weapons against yourself. But I don't know anything about the historical context of this, so maybe this wasn't the message at all. Does anyone something about that ?(1 vote)
Video transcript
- Hi, my name is Lisa Libicki. I'm a School Programs
Educator here at MoMa. This is Collective Suicide
by David Alfaro Siqueiros. So usually when I bring students here they immediately notice the sort of top two thirds of the painting and how sort of crazy
the paint application is. They notice these applied panels. Looking at this set of figures students immediately notice
they're on horseback, they have weapons, the
coloring suggests a sense of armor that they're
wearing, and helmets. We see a second population of figures. You notice that they have weapons too, but they're not directly engaging
in battle with this group rather the weapons have
been turned on themselves and we start noticing blood and that they seem to
be committing suicide as the title also explains. All these observations
together start building this very social and
politically minded conversation about okay, why are they doing this? And whether or not they've studied 17th century Mexican Spanish history they can get sort of
like a generalized notion of like two civilizations in conflict. So I think this piece really
resonates with students. One of the reasons I think has to do with sort of the form of the painting. I like to introduce the idea
that Siqueiros really felt that if you're going to be talking about radical social and political sort of themes content-wise then you're method of producing that image should be equally radical. Secondly, on sort of
like a different note, is like hey, this guy was
so politically engaged. He fought in the Mexican Revolution, he went over to Spain and
was about to at this moment when he painted this,
fight in Spain's Civil War. And yet, in the 1930's did he choose to paint about any of those things? No. Instead he reflected back on
this incident from the 1600's. And I think students find
that sort of curious, I find that sort of curious, and we start to have a discuss
about why would you do that? What would be the value to kind of reflect on contemporary ideas and situations and concerns by reflecting
back on past issues? And I think that's something that really almost like challenges them and really makes their brains
turn in new directions.