Chicano/a Wall Murals



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DE ANZA COLLEGE

ICS 5/ARTS 2F MULTICULTURAL ARTS IN THE US
PUBLIC ART: WALL MURALS

Chicano/a Wall Murals


1973-1980

Panamerica, Mujeres Muralistas, 1973. 25th and 26th & Mission, San Francisco.

Centro Cultural de la Raza, Toltecas en Aztlan, 1975, Balboa Park, San Diego

Geronimo


No Compre Vino Gallo, Carlos Almarez with young people from 3rd St Gang, East

LA. 1974


Freeway Pylon, Jose Montoya & Royal Chicano Air Force, 1975, Chicano Park,

San Diego.

Song of Unity, Commonarts, 1978. Ray Patlan, Osha Neumann, Anna de Leon-

O’Brian.


Fantasy World For Children, Patricia Rodriguez, Graciela Carillo, Irene Perez,

Ralph Maradiaga 1975, Mini Park, 24th and Bryant, Mission District, San

Francisco.

La Familia from Chicano Time Trip, Wayne Aldniz, 1977

Viva La Raza, Daniel Galvez with Osha Neumann, B. Thiele & S. Barrett. 1977,

1572 Adeline St., San Francisco.



1981 - 1996

The Broadway Mural – detail, John Valdez, Victor Clothing Co., interior. 1981

History of LA, A Mexican Perspective, Barbara Carrasco, 1981-1988.

Portable and unmounted mural.

Hitting the Wall, Judith F. Baca, Harbour Freeway, Los Angeles, 1984

Instant Mural, ASCO Chicano Performing Group, Whittier Blvd., Los Angeles.

Patssi Valdez & Umberto Sandoval taped to wall by GRONK. 1974
Who are the patrons? How does that affect the appearance of the wall?

What is the organization of the images?

How are the colors distributed? Is there an emphasis on any particular group of colors?

Latino Artists 1970 – 2002


Dia De Los Muertos, ASCO Performance directed by Diane Gamboa. Patssi

Valdez as The Universe, 1974

Photo, Patssi Valdez, 1980

The Magic Room, Patssi Valdez, 1994

Homenaje a Frida Kahlo, René Yaňez, Installation, 1978

Camas Para Sueňos (Beds for Dreams), Carmen Lomas Garza, gouache, 1985

El Vato Loco, Chaz Bojorquez, mixed media on canvas, 1985

Somos La Luz, Chaz Bojorquez, oil, aluminum paint, aluminum leaf. 1992


CARA EXHIBIT

Exhibit takes place in a mainstream art insititution

Interpretive visual history of goals and struggles of El Movimiento


  • Artists identify themselves NOT as Mexican Americans, Latinos or Hispanic

  • Term Chicano – expresses reistance to hegemonic structures within mainstream America. Multicultural, multilingual, pro-plural society

  • There are three opositional themes within the CARA exhibit -

Rasquaschismo - Resistance and Affirmation

CARA logo, Willie Herron and Patrice Roberts, 1990

Instalation shot - “Selective Time Line: - the Civil Rights Resistance

José Montoya’s Pachuco Art Show, Jose Montoya, Rudy Cuellar, Luis Gonzalez,

Serigraph, 1977

Ester Hernandez, Sun Mad 1982, Screen Print

Amando Peña, Jr., Chicano Gothic

Homage to Cesar Chavez, Jose Ramon Lerma, Mixed Media construction, 1994

Ernesto Martinez, Si Se Puede, 1973
Alter-Nativity – Rites of Passage

Delilah Montoya, Se Abre del Mundo, 1981, cibachrome

Victor Ochoa, Border Meez-teez-o, 1993, silkscreen

Nepantla – a Nahuatl word for “in between” or liminality – neither here nor there

but in-between.

Amalia Mesa-Bains, An Offrenda for Dolores del Rio

Yolanda Lopez, Our Lady of Guadalupe, 1978
Politics of the Native Eye/ I

Who has the authority to speak/explain about a culture? (Insider or outsider?)

The Solar is not the same as the Western European cultural house that is stacked one floor above the other. The Solar is one story, contiguous rooms surrounding a patio.

Marcos Raya, Through Frida’s Eyes, 1984, acrylic on canvas.

Frank Romero, Death of Ruben Salazar, 1986, oil

Martina Lopez, Heirs Come to Pass, 1991

Rudy Martinez, A Juanderful Piece, Polhchrome ceramic scraps, 1976

Judith Baca, Las Tres Marias, 1976, colored pencil on paper.

Jesus Morales, Waves Diamond-back Column, 2003, Texas pink granite,

Santa Fe


Hispanic Santeros in New Mexico 1980 – 1995

Women of the Bible, Marie Romero Cash

La Santa Familia, anonymous, pine, gesso, water colors, piňon sap, varnish,

1994


San Rafael, Le Roy Lopez, aspen, redwood base, gesso, natural pigments,

varnish, 1994

Luis Tapia, Santero, 1994, Santa Fe, NM

Dos Pedros sin Llaves, Tapia, pine, acrylic, gesso, paint. 1994

Gustavo Victor Goler, Taos, New Mexico. 1994

Neustra Seňora de los Dolores, 1986 and 1993, Goler

Other religious notes in New Mexico:

Teresita Por de Niňo Jesus in El Torquillo, northern New Mexico

Cross decorated shrine next to New Mexico highway


Secular and Public Art in New Mexico


The Mermaid and the Cowboy, Jacques Tixier, Gallup. Pre-2000.

Trail of Painted Ponies – public art 2002, multicultural artists participating

Cow Pony, Lori Musil, 2001

Lowrider, Ramona Sakistewa



War Pony, Rance Hood, Commanche, 2002


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