Chicano Park Research Paper

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.

Jose Orozco was an influential social realist painter who painted his most celebrated murals after the Mexican Revolution. His murals (and other Mexican artists’ work) inspired the political programs by Franklin D Roosevelt, in the United States, to encourage the employment of unemployed Mexican artists through the development of the Public Works for Artist Project that was under the Work Administration Program.

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

Diego Riviera was working on a piece at Escuela Nacional Preparatoria, where Frida was attending. He was commissioned by the government to work on a mural depicting Mexican culture and pride. Diego was a member of The Revolutionary Syndicate of Technical Workers, Painters and Sculptors. The organization, as the name implies was made up of technical workers, painters, and sculptors, the intention of the organization was to revitalize Mexican nationalism through the arts by displaying an authentic Mexican

Her paintings represented “the cultural nationalism of [Mexico]” (Meadows). She had a strong artistic style in which she showed her Mexican patriotism and her communist ideals. In addition, she also made political statements on the U.S. and the industrialization.

Diego Rivera was known for a muralist of the Mexican Social Realism. This movement was the brutality of WWI. It attacked capitalist. Rivera was a communist, he believed in the common ownership in social, political, and economic ideology that strived to maintain social order. One example of this

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 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.

     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

It shows the struggle and emotions of the Chicanos. Some of the murals like the mural of Mexican history and an unknown really shows all the aspect of their history. It shows the natives, women, men, revolutionaries and the major figures in Mexican history. The home page shows a drawing that represents the mixture of race which makes up the Chicano identity, the Native, Spaniard, and mestizo. This is a very visual history and one can pick some of the emotions and struggle through the paintings but one needs to understand the written history in order to appreciate it better because it makes it easier to identify especially with the major figures. Michelle Rosado makes an interesting point about the murals in the Chicano web site, when she mentions that "one may think that this is the history of all Mexican-Americans, but it is not. The effect of certain events that occurred in Mexican-American history on this community and California, such as the Chicano Civil Rights Movement and the Chicano Moratorium march against the Vietnam war, is addressed. The major outcome of these events emphasized by the web site is the influence it had on art in the Mexican-American culture. However, the history and other effects on all Mexican-Americans throughout the United states is not discussed". I agre with Michelle Rosado that "similar to the web site it [the documentary] does not talk about the very beggining of the Mexican-American

Hispanic art, food, and entertainment all have a common theme; they are all fun, light-hearted, yet fulfilling and rich in cultural heritage. On one side, Mexican culture in particular loves to make fun of itself. There are many depictions in song and art of lazy Mexicans in large sombreros with thick mustaches eating burritos. On the other hand artists like Diego Rivera paint large murals depicting rich historical events like the revolution, in bold colors on controversial topics (This Old, n.d.).

Bright colors jumping at you asking for attention, images so real viewers can not tell the difference. These are the thoughts that came to my head as I gazed at two works of art by two Mexican artists at MoLAA museum of art . I visited two museums, Bowers Museum of cultural Art in the heart of Southern California and the Museum of Latin American Art in Long Beach for my report unfortunately I only liked the works in MoLAA and will talk about it through out my paper. I will talk about two Mexican artists Rafael Cauduro and David Alfaro Siqueros that caught my eye, and made me want to learn more of them and their approach to art. Siqueiros caught my eye and interest because according to his biography “no

This image may interpret parts of Diego Revers past where he was apart of the Mexican Communist party in 1992 to 1999. He was beginning to form ties with mexico which the party disapproved of. He was able to explore his own passions and became well liked in the United States. The people who opposed his ideas asked for his art to be removed. He was a very popular artist but, also popular in those who disagreed with his views.

He brought together European Modernism and parts of Cubism into his work and combined with Mexico's bright colors to represent his people, especially the working class, as noble and glorious. Orozco, who also had battled in the revolution, used European expressionism to represent the suffering of mankind, the horrors of war and the panic of a future dependence of technology in a simple way. Siqueiros was young and radical. He used progressive techniques and materials in his murals that sometimes blended visions of science and machinery to show progress. Although all three of the artists definitely had different political beliefs and ideals, but they agreed that art, the highest form of expression, should be the important part of Mexico's reconstruction and post-revolutionary identity.

     During the 1920’s, many young artists, suck as Diego Rivera, David Alfonso Siqueiros, and Jose Clemente Orozco were commissioned to decorate numerous public buildings with dramatic large scale murals. These were done to try