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in eastern Ukraine in July. AP file Stacie Pettyjohn, the director of the defense program at the Center for a New American Security, a Washington, D.C.-based military think tank, does not believe the world’s latest defense innovations are critical to turning the tide in the conflict. She and Cancian said they feel much more lies in Ukraine’s ability to train up enough personnel to operate its new, often complicated missile systems, because they need to have enough mechanics to maintain the machines, on top of enough people able to staff them. “F-16 fighter jets would take years to integrate,” Cancian said. “Iron Dome could be helpful, but [even] the U.S. doesn’t really have any. We have been testing some, but we don’t have any” in the field. Ukraine must also fully shift to NATO’s standardized ammunition as soon as possible, which would enable more countries to donate compatible artillery and components for when the machines go wrong, Cancian and Pettyjohn said. “In the end it might come down to some of the more mundane, less sophisticated systems like the 155 mm artillery shell rounds,” Pettyjohn said, referring to large-caliber projectiles typically fired from armored vehicles. “Right now, Ukraine has so many pieces of equipment from so many countries that keeping them all working and having spare parts for them will be a real challenge.” Mary-Ann Russon Josh Lederman, Daryna Mayer, Courtney Kube and Mosheh Gains contributed.
Aug. 12, 2022, 1:04 AM +07 / Source: Associated Press By Associated Press POXINDEJE, Mexico — A painter in orange overalls touches up the image of a hand holding a rifle while an artist perched on scaffolding painstakingly places bits of colorful ceramic in a mosaic of a guerrilla fighter. The artists aren’t just decorating a wall: Together, they are helping to revive muralism, a movement that put Mexico at the vanguard of art a century ago. Just as their famous predecessors did shortly after the Mexican Revolution, teachers and students of the Siqueiros School of Muralism are on a mission to keep alive the practice of using visual imagery to share messages of social and political importance. The mural in progress is on three walls of a municipal building in San Salvador, a small town of about 29,000 people north of Mexico City in Hidalgo state. The Siqueiros School is based in a converted elementary school in the nearby hamlet of Poxindeje, and one of its co-founders is Jesús Rodríguez Arévalo, a pupil of disciples of Mexico’s three muralism masters: Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. “The school is small, a humble space, but it is very serious and it is professional,” Rodríguez said. Mexican artist Jesus Rodriguez paints the finishing touches on a mural he is painting on the facade of an auditorium in San Salvador, Mexico, on July 30, 2022. Fernando Llano / AP One hundred years ago, Rivera, Siqueiros and Orozco also started out at a colonial-era school-turned art laboratory. It was 1922, and they were charged with fulfilling the then-Mexican education minister’s mission to take art out of
the galleries and into public spaces. The plan, part of a national literacy campaign sponsored by the national government, transformed Mexico and permeated the entire continent. The artists’ manifesto was to make “ideological propaganda for the good of the people” and give art “a purpose of beauty, of education and combat for all.” They identified with the agrarian and proletarian revolutions and mingled with European artists who fled to Mexico from both world wars. Sponsored by the government, they had access to the country’s most majestic buildings and the necessary resources to experiment with new techniques. Eventually, they began to paint in other nations: Argentina, Chile, Cuba and the United States among them. Despite the backing of Mexican political leaders, their work turned out to be too provocative in some places outside the country: A mural Rivera painted in New York’s Rockefeller Center was censured and then demolished because it glorified communism. “We are a bit more cowardly,” said Ernesto Ríos Rocha, 53, a muralist who is currently trying to found Mexico’s first muralism university in the Pacific coast state of Sinaloa. “We talk more about peace.” The murals being created in San Salvador and other small towns today still have much in common with those created in the early 20th century, however: They encapsulate themes of war, injustice, and oppression — as well as 21st century issues such as climate change and violence against women. Mexican mural artist Yanet Calderon paints on the facade of a municipal building in San Salvador, Mexico, on July 30, 2022. Fernando Llano / AP But Rodríguez and his students don’t anticipate monumental reverberations from their work. Their aspirations are lower and their income more modest, coming mostly from local governments that commission them to paint murals and support from community members who donate meals and house foreign students. The Poxindeje school bets on recycling and reusing discarded materials donated by glassmakers or flooring manufacturers, said Janet Calderón, who co-founded the Siqueiros School with Rodríguez five years ago. They’re even making murals from garbage. Get the Morning Rundown Get a head
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