Chicano Park History

The reason I think Chiapas Paz Mexico mural at City Lights bookstore on Jack Kerouac alley is art because the artist communicates with the viewers by using art theory such as color theory, lines and shapes, and composition on his mural.

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

In George J. Sanchez’s, Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles 1900-1945, Sanchez brings forth a new understanding of Mexican-American culture through the presentation of how the culture made substantial adaptations under limited economic and social mobility (Sanchez 13). Unlike other historians who studies the variations of Mexican American cultural identity from a national prospective , Sanchez creatively selects Los Angeles as his site of research because, not only is the city home to the largest Mexican population in the United States, but also because Latinos play a profound role in shaping the city’s culture. Growing up in an immigrant family himself, Sanchez undoubtedly has many personal

As the happiness of the community came together when the people created the Chicano Park as they were making their own historical landmark.

     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 portrayal and the representation of the Chicano Art Movements are entrenched by the Mexican-American artist who institute artistic personalities and identities in the United States. The plenteous amount of the artist is massively influenced by the immense Chicano Movement (El Movimiento) which, was established in the 1960’s. The influence of Chicano Art was due to the Mexican- Revolution philosophy, art of Pre-Columbia and indubitably European techniques of painting, cultural, social, political issues. The movement took a stand to fight against stereotypes of Mexican- Americans conducive and to resist typical social norms. The movement to concentrate on awareness of collective history, equal opportunity, grants and social mobility. Chicanos have used the movement in pursuit of expressing their cultural values. Ever since it first appeared in America the art of Chicanos has matured to illustrate common struggle and social issues in conjunction with uniting the youth of the Chicano people to their culture and history. Chicano Art is not only Mexican- American artwork; it further emphasizes and accentuates the histories of the Chicano people in a superb and sublime way of American art.

When Octavio Paz first visited the largest Mexican population center outside of Mexico’s international borders, Los Angles, he said the city had a "vague atmosphere" of Mexicanism in that manifested itself through "delight in decorations, carelessness and pomp, negligence, passion and reserve." But he felt that his "ragged but beautiful" ghost of Mexican identity rarely interacted with "the North American world based on precision and efficiency." Instead, this Mexicanism floated above the city, "never quite existing, never quite vanishing.1By the time Paz visited the exterior Mexico, a generation of Mexican revolution immigrants had their children in the United States and they had matured. These people had heard the corridos of the Revolutionary

In the essay “Reading A Mural: Diego Rivera’s Man at the Crossroads” artist and Professor Eric Hongisto explains how Rivera’s famous mural is art. While most murals are generally painted on the outside buildings or on walls, Rivera’s “Man at the Crossroads”, was commissioned by John D. Rockefeller Jr. in 1933, as a fresco, to be painted on the walls inside of Rockefeller Plaza. Murals traditionally contain a story or narrative relating to the social and political issues. Hongisto reminds the reader that the year 1933, America was at the height of the great depression, as well as being between two world wars. Additionally, Rivera, was a Mexican artist, whose works often reflected the various relationships between innovation, race, individuality and workers’ rights, along with the fact that Rivera was a blatant communist. Apparently the Rockefeller’s were surprised that Rivera had painted a portrait of Russian communist leader Vladimir Lenin within the mural, and Rivera refused to remove Lenin’s image. Hongisto explains how the Rockefellers paid Rivera, and proceeded to remove his work from the plaza walls, in a sense censoring Rivera’s work, which also affected Rivera’s future income, as future projects were de-commissioned over the next decade. Hongisto concludes how Rivera repainted this mural in Mexico City, and explains how the mural relates to our current social and political climate, as they are

At that time there were a Chicano Movement which also called the Chicano Civil Rights Movement and that’s for Mexican American educational, social, and political equality rights in the United States, which also students originations played an important role in that movement and if we focused more in education we will find that many Mexican-American have no option but to accept the unfair rules at schools like Terry the little girl.

murals in the walls in Mexico City and I really think is very hard to

During the summer of 2015, I was a camp counselor for my local YMCA. As one of the special trips for the children, El Museo Del Barrio was a destination that was new to both the campers and me. It wasn’t a museum they were familiar with, nor was it one of their traditional museum tours either. Located in East Harlem, our visit to El Museo Del Barrio began with a walking tour. Walking away from Central Park you leave the nicer streets and enter the more residential areas. At first glance all you see is project housing and corner stores, but if you look at the details you can pick up on the more artistic Spanish culture, specifically Puerto Rican culture. East Harlem is actually known as Spanish Harlem. The tour guide

The building of Central Park was one of nineteenth-century New York’s most massive public works projects. Some 20,000 workers – Yankee engineers, Irish laborers, German gardeners, and native-born stonecutters – reshaped the site’s topography to create the pastoral landscape. After blasting out rocky

In Puebla, Mexico, along with many other places, the idea of gentrification in neoliberal times is intertwined with the importance of culture representation and recognition. In Mexican cities, the culture of the city took priority over how ‘valuable’ it was economically. In Puebla, early gentrification caused an uproar from lower class citizens because they thought it was the upper classes response to the perception of the centre as being ‘popular’, Indian, and having lost all of its ‘dignity’. The inhabitants of the city were infuriated at how little attention was being given to the barrios “which were, after all, the ‘natural’ space for the popular class and represented as indigenous even though this was inaccurate of their ethno-demography”(Lees,

Sadik Khan mentions, “For lunch we’d grab deli sandwiches and bring them back to the office. There was nowhere and no reason to sit outside” (17). The city would benefit from the seating outdoors to enjoy the views from the manicured lawns of Hartford’s Old State House, try foods from the different food truck vendors and marvel at the unique architecture of the “Boat Building” at Constitution Plaza. The population who be able to take advantage of the opportunities that Hartford has to offer, and would not be stuck behind closed doors. Rather, people in Hartford, would be able to use the welcoming outdoor lounging areas, as Sadik-Khan references, “a place where people wanted to be” in her words, “Workers in nearby buildings brought lunches to the tables sheltered beneath the plaza’s umbrellas with coffees and snacks purchased at local cafés and food trucks. The transformation was fast—a couple of weeks—and easily integrated into the neighborhood” (Sadik-Khan, 82). In other words, the outdoor space will be greatly utilized by both the working population and also the students at the nearby schools and universities. A transformation to the space will quickly encourage others to enjoy the new open-air additions and will accommodate the city community. The older facade of the unused, blank streets will not be missed.

What is the purpose of art? There is art for art’s sake, there is the ‘percent for art’ ordinance, and there is art with the intention of popularity or even to push societal norms. The list can go on and on, but one of the most respectable purposes is the intention of giving the under privileged a voice of their own in an environment of oppression. Public muralists single handedly achieve that goal. The service a muralist gives is not only added aesthetic value to a neighborhood with his or her art piece, but also giving the community a voice of representation.