Mayan Murals Research Paper

After the Mexican Revolution, which took place from 1910 - 1920, Mexican art saw a change in the type of art being created. Although the focus of creating art with an indigenous and Mexican theme continued, the country saw a shift to art presenting socialist ideals. The government saw value in working with local artist and commissioning them to create murals that would influence their political agendas. However, what these murals mostly did was strengthen the Mexican culture and bring pride to the indigenous heritage. Although this time period has come and gone, its influence over Mexican art and culture is still very apparent today and can even be seen in Mexican American communities today.

Murals are the quintessential public art embodying the spirit of the community in which they are created. They say this is who we are, this is what we think, this is where we come from, and this is what we want, reflecting most clearly any changes in the sociopolitical environment. Murals lay out a powerful visual image of the ideology of their creators or sponsors, be it the Church during the Renaissance, government funded projects, or individuals expressing opposition. In Mexico, after the Mexican Revolution of 1917, the government commissioned a vast number of mural projects to transmit its revisionist history of the country, and celebrate the empowerment of the underclass in their recent victory. Predominate themes were cultural

The artist paints a work of art “Chiapas Paz Mexico” which is influenced by the way of life of the people living in a river valley in Mexico. For the composition, he paints the mural by dividing two main parts by using flat form style to tell the story. He doesn’t show perspective or overlap objects on the mural. However, the right side of the mural, he paints an unrealistic shape and forms little village with buildings, trees, hills and people into the background of the mural, making them appear far away. At the top of mural, there is an army standing above the mountains of the village. The other interesting part is the old woman at the left side of the mural. She has the biggest portrait on black the background and is separated from a part of the village by the 3 soldiers. However, there is a rainbow ribbon connecting two parts together and the woman is a starting point of the rainbow. The rainbow ribbon shows the movement from the old woman to the river at the bottom right and continues moves

     Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her

The idea of the Chicano community muralism as a requirement for the “art of place” shows that the practice is specific to an area. Even though they are understood in the context of the history of a location, they rarely remain to be a still symbol of a certain moment or a place in the record of events from the past.

The "Going to the Olympics" mural by Frank Romero painted in the 1980's to signify and walcome the 1980 olympics. Around that time graffiti was very popular and was going on every wall a grafitti artist could reach. Romero's art was on a freeway and had enough space between the wall and the road to be accessible to anyone and that lead to graffiti artist being able to access it and paint of hi art. INstead of the city buffering Romero's art they just painted over it making it a bland wall again.

Local student Sylvia Abernathy’s layout was chosen as a blueprint for the mural. Her design allocated a section of the wall for each artist to paint a prominent Black figure that adhered to a certain category (literature, music, religion, government, athletics, etc.)

Frank Romero had officially finished the mural in 1984. Showing the people of Los Angeles what we truly love. Few years later taggers began to spray paint over his mural ruining it. The people of Los

A mural is more than just a painting on the wall. Murals bring together a sense of community and make the city a more welcoming place. According to the Merriam-Webster Dictionary, the word mural means a painting or other work of art that is directly executed on to a wall. In many aspects, murals originated from graffiti, which comes from the Latin word graffio, meaning scratching or scribbling. Mural Arts programs are popping up in cities across the nation. However, I decided to focus on two cities that were closer to home for me. I focused my research on Newark and Asbury Park, New Jersey, in comparison to Philadelphia, PA. All of which, are cities that are not the nicest, but with the help of murals are becoming more welcoming places.

Mural art showed a great importance to Chicano communities by showcasing indigenous history or even romanticized beliefs.That gathered people together to focus on topics inside and outside their communities. Made young Chicanos and Chicanas focus on issues around them and let's their creativity, explore out for the best and not bad. To let people become more entwined in the cities and not create violence. For neighboring cities or visitors to see how strong and creative young and old muralists are in their art. One example is the “we are not a Minority” mural created by Mario Torero created due to the chicano right movements,located in east la, boyle heights area. Its importance was due to the fact cities were banning mural work and instead

What this means is legitimate street art it's an attractive mural, instead of people writing scribble. artists take the time to actually masterpieces that allows the audience to be amazed.

In Source #1, Philadelphia, known for its community murals, is a prime example of how government-funded public artwork can revolutionize places that are bare and motivate its citizens. The Mural Arts Program oversees all the murals in Philadelphia, with a budget that totals to around four and a half million dollars from government and private partnerships. Numerous buildings within Philadelphia have been embellished with beautiful murals, as the number of paintings done totals to a hundred and fifty annually. The murals in Philadelphia also serve as inspiration for many of its people, as the goal of the program is to “bring a sense of pride and the hope of better times” (Murals: Making a, 2011). People within the city look to the murals for

The history of graphic art and the cycle of politicization, depoliticization and then repoliticization span the late 19th century through and into the 21st century. Evolving from humble beginnings into the commercial behemoth it’s become to today this essay will explore graphic design’s evolution and the politics that affected this growing art movement during this influential timeline.

The awareness of the idea of giving art its proper freedom of expression, only came into being in the 1900s. During the pre-Hispanic time pottery, tattoos, textiles, ornaments, etc. were the art works considered by most as art forms but were actually objects of utility and convenience. The creation of these objects was a way of life rather than just something made for the pleasure of viewing or admiring.

As graffiti recently transitioned to a more respectable art form, it developed a more respectable name: street art.