Relevant bibliographies by topics / Muralism

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Academic literature on the topic 'Muralism'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Muralism"

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Bellisario, Antonio, and Leslie Prock. "Arte ConTexto." Latin American and Latinx Visual Culture 2, no. 3 (2020): 29–52. http://dx.doi.org/10.1525/lavc.2020.2.3.29.

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The article examines Chilean muralism, looking at its role in articulating political struggles in urban public space through a visual political culture perspective that emphasizes its sociological and ideological context. The analysis characterizes the main themes and functions of left-wing brigade muralism and outlines four subpolitical phases: (i) Chilean mural painting’s beginnings in 1940–1950, especially following the influence of Mexican muralism, (ii) the development of brigade muralism for political persuasion under the context of revolutionary sociopolitical upheaval during the 1960s and in the socialist government of Allende from 1970 to 1973, (iii) the characteristics of muralism during the Pinochet dictatorship in the 1980s as a form of popular protest, and (iv) muralism to express broader social discontent during the return to democracy in the 1990s. How did the progressive popular culture movement represent, through murals, the political hopes during Allende’s government and then the political violence suffered under the military dictatorship? Several online repositories of photographs of left-wing brigade murals provide data for the analysis, which suggests that brigade muralism used murals mostly for political expression and for popular education. Visual art’s inherent political dimension is enmeshed in a field of power constituted by hegemony and confrontation. The muralist brigades executed murals to express their political views and offer them to all spectators because the street wall was within everyone's reach. These murals also suggested ideas that went beyond pictorial representation; thus, muralism was a process of education that invited the audience to decipher its polysemic elements.
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Pinheiro Queluz, Marilda Lopes, and Gilson Leandro Queluz. "Muralismo libertário: comunicação e educação emancipadora." REVISTA INTERSABERES 12, no. 25 (May 22, 2017): 26. http://dx.doi.org/10.22169/intersaberes.v12i25.611.

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RESUMO Este trabalho pretende, através do exemplo do muralismo libertário latino-americano, problematizar as relações entre educação e emancipação. É nossa compreensão que as práticas de ação direta pertinentes ao muralismo libertário, são processos constituintes de uma comunicação igualitária em franca antítese e resistência a um modo de comunicação autoritário característico da sociedade capitalista e de sua indústria cultural. Analisaremos algumas obras dos coletivos muralistas anarquistas contemporâneos nas cidades latino-americanas, demonstrando sua orientação temática, suas estratégias de produção e representação imagética, e sua concepção explícita de uma formação cultural ampliada. Consideramos que o muralismo libertário, ao se apropriar do espaço urbano como meio de comunicação, ao ressignificar nos muros os demarcadores das desigualdades sociais, procura constituir uma cultura da resistência, materializando os fundamentos de um modo de comunicação igualitário. Palavras-chave: Muralismo Latino-americano. Muralismo Libertário. Educação e Emancipação. ABSTRACT The following paper aims to problematize the relationship between education and emancipation through the example of Latin American libertarian muralism. It is the authors’ understanding that the practices concerning the libertarian muralism belong to an egalitarian communication, which is openly against an authoritarian communication peculiar to the capitalist society and its culture industry. The authors will analyze some studies of the contemporary anarchist collective muralists in Latin American cities, demonstrating their thematic orientation, their strategies of image production and representation, and their explicit conception of a broad cultural formation. In addition, the authors consider that libertarian muralism, by using urban space as a means of communication, and re-defining the main aspects of social inequalities, seeks to establish a culture of resistance, materializing the foundations of an egalitarian way of communication. Keywords: Latin American Muralism. Libertarian Muralism. Education and Emancipation.
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Cortés, Alexis. "The Murals of La Victoria." Latin American Perspectives 43, no. 5 (July 8, 2016): 62–77. http://dx.doi.org/10.1177/0094582x16646104.

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Muralism is one of the most striking expressions of one of Chile’s most emblematic working-class neighborhoods, La Victoria, which is known for the land takeover in which it originated and its resistance to the military dictatorship. Muralism served as the physical carrier of messages of resistance during the dictatorship and later consolidated an imaginary of political condemnation and venting in the face of repression. With democracy, muralism has made the memory of the neighborhood graphic, propitiated a dialogue between the experience of the land occupation and the dictatorship, and generated a discourse that, emerging from the popular, continues to confront the mechanisms of forgetting circulated by the official truths imposed by the compromised democratic transition. El muralismo es una de las expresiones más propias de uno de los barrios populares más emblemáticos de Chile: La Victoria, conocida por la toma que le dio origen y por su resistencia a la dictadura militar. El muralismo cumplió la función de ser el soporte físico de mensajes de resistencia durante la dictadura, consolidando posteriormente un imaginario de denuncia política y de desahogo frente a la represión. Con la democracia, el muralismo ha tenido la función de hacer gráfica la memoria de la población, propiciando un diálogo entre la experiencia de la toma y de la dictadura, generándose una discursividad que, desde lo popular, continúa enfrentando los dispositivos de desmemoria accionados por las verdades oficiales impuestas por la transición democrática pactada.
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Martínez-Carazo, Eva-María, Virginia Santamarina-Campos, and María de-Miguel-Molina. "Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism." Sustainability 13, no. 11 (May 25, 2021): 5953. http://dx.doi.org/10.3390/su13115953.

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The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas. Therefore, these new creative landscapes were conceived as important examples of the resilience of cultural tourist destinations. The results emphasize that, until now, the idea of giving muralism a new use as a tool for local economic development had not been envisaged with reference to mural art in Uruguay. This new rethinking has given rise to the so-called Regionalization Processes of Uruguayan wall production. The most relevant cases are those developed in the municipalities of San Gregorio de Polanco (1993), Rosario (1994), and Pan de Azúcar (1998).
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Solano Roa, Juanita. "The Mexican Assimilation: Colombia in the 1930s - The case of Ignacio Gómez Jaramillo." Historia Y MEMORIA, no. 7 (July 1, 2013): 79. http://dx.doi.org/10.19053/20275137.2194.

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<p>During the 1930s in Colombia, artists such as Ignacio Gómez Jaramillo, took Mexican muralism as an important part of their careers thus engaging with public art for the first time in the country. In 1936, Gómez Jaramillo travelled to Mexico for two years in order to study muralism, to learn the fresco technique and to transmit the Mexican experience of the open-air-schools. Gómez Jaramillo returned to Colombia in 1938 and in 1939 painted the murals of the National Capitol. Although Gómez Jaramillo’s work after 1939 is well known, his time in Mexico has been barely studied and very few scholars have analyzed the artist’s work in light of his Mexican experience. While in Mexico, Gómez Jaramillo joined the LEAR (La Liga de Escritores y Artistas Revolucionarios) with whom he crated the murals of the Centro Escolar Revolución. These murals depict politically engaged images that, apparently, little had to do with his more historical work back in Colombia. This text proposes a careful reading of the artist’s work at the CER and a re- reading of the National Capitol murals in light of a more politicized vision.</p>
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Колісник, О. В., and Н. С. Пономарьова. "МУРАЛИ ЯК ЗАСІБ СОЦІАЛЬНИХ КОМУНІКАЦІЙ. ПОРІВНЯННЯ СВІТОВОГО ДОСВІДУ." Art and Design, no. 2 (September 24, 2019): 62–72. http://dx.doi.org/10.30857/2617-0272.2019.2.6.

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Investigation of the phenomenon of murals as a modern form of art and means of social communication, analysis of world experience in this area of communicative interactions. The research methodology includes historical and cultural studies of art, comparative methods, as well as a method of social analysis aimed at identifying the cultural contexts of muralism, which are determined by the socio-political, national and economic peculiarities of different countries of the world.
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Hirsch, Silvia, Ana Bonelli, and Florencia Valese. "“These murals give life”: revalorization of public space, history and identity in mural art, Martín Fierro Festival, San Martín, Argentina." Revista de Antropologia Visual 2, no. 29 (August 30, 2021): 1–27. http://dx.doi.org/10.47725/rav.029.09.

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The purpose of this article is to analyze a muralism festival organized by the municipality of San Martin, based on the theme of Martin Fierro and the notion of “Encounters at the border”. This study is based on qualitative research carried out between 2017 and 2020. We seek to understand the ways in which the themes of the Muralism festival are interpreted and resignified by Latin American artists. We also examine how these artistic practices transform a deteriorated public space, and how the Muralism festival, which is part of the Program San Martin Pinta Bien, constitutes a vehicle to de-stigmatize the neighborhoods, and generate a positive identification with the history and memories of the space.
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Ospishcheva-Pavlyshyn, Mariia. "Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010." Contemporary Art, no. 17 (November 30, 2021): 183–94. http://dx.doi.org/10.31500/2309-8813.17.2021.248447.

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On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works
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Gómez, Juan Carlos. "En los muros del Palacio: Pedro Nel Gómez en el imaginario social en Medellín, 1930-1950." HiSTOReLo. Revista de Historia Regional y Local 5, no. 10 (July 1, 2013): 53–91. http://dx.doi.org/10.15446/historelo.v5n10.37039.

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Durante la década de 1920 apareció en Latinoamérica una serie de vanguardias culturales que cuestionaron la realidad nacional de sus países buscando cambios en la estructura social y política. Los políticos liberales colombianos, en su intento por llegar al poder, reconocieron en ellas diferentes ideas que influyeron en su desarrollo político. Con las reformas de Alfonso López Pumarejo se buscó un acercamiento con los artistas para que estos desarrollaran una tipología de arte en la que se involucrara a la sociedad y así ésta tomara conciencia de su historia e idiosincrasia. Bajo estos lineamientos Pedro Nel Gómez fue contratado para decorar el Palacio Municipal de Medellín con diferentes murales al fresco que cumplieran este propósito. El artista presentó nueve frescos que despertaron polémica debido al llamado de conciencia social que realizó al retratar los principales problemas de su país, situación que no solo le ganó el apelativo de socialista sino que años más tarde lo llevó a la censura. Con este texto se pretende interpretar esos murales como fuente de conocimiento histórico y ver en ellos los problemas sociales de la Colombia de los años treinta expresados por el artista desde su pensamiento socialista e influencia marxista.Palabras clave: Muralismo, denuncia social, Palacio Municipal de Medellín, socialismo, política colombiana.In the Palace Walls: Pedro Nel Gómez in the Social Imaginary of Medellín, 1930-1950Abstract The 1920s was a decade that witnessed in Latin American the appearance of a number of cultural vanguards that questioned the reality of their countries seeking changes in the social and political structure of their nations. The Colombian Liberal politicians, in their desire for to govern to Colombia, recognized in them a number of ideas that influenced his political development. The reforms of Alfonso Lopez Pumarejo sought a rapprochement with the artists looking a series of artistic proposals that involved the society for to aware of its history and identity. Under these guidelines Pedro Nel Gómez was contracted to decorate the town hall of Medellin with a series of murals for to meet this purpose. The artist presented nine frescoes arousing controversy for of the call of social consciousness that did painting the main problems of the country. This not only earned him the nickname socialist but that years later led to censorship. This text tries to interpret these murals as a source of historical knowledge and see in them the social problems of the thirties Colombian expressed by the artist from his Marxist socialist thought and influence. Keywords: Muralism, social criticism, City Hall Medellín, socialism, Colombian politics.
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AZUELA, A. "Public Art, Meyer Schapiro and Mexican Muralism." Oxford Art Journal 17, no. 1 (January 1, 1994): 55–59. http://dx.doi.org/10.1093/oxartj/17.1.55.

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Dissertations / Theses on the topic "Muralism"

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Rosette, Arturo. "Critical muralism /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2009. http://uclibs.org/PID/11984.

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Estrella, Rachel Joy Tancioco. "Lessons from the wall muralism and the art of empowerment /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324368911&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Gonçalves, Josilena Maria Zanello. "Integração das artes no Paraná - 1950 - 1970: a conquista do espaço público." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-10102006-143702/.

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A partir da segunda metade da década de 1940,a arte moderna deixa o confinamento das galerias e ganha as ruas através de sua integração com a arquitetura. Esta pesquisa estuda a relação entre arquitetura moderna e arte no Paraná , no período compreendido entre os anos 1950 e 1970, e sua ação conjunta no sentido de consolidar o projeto moderno no Estado, através do estudo de murais concebidos integrados a obras de arquitetura.
From the second half of the decade of 1940, the modern art leaves the confinement of the galleries and gains the streets through its integration with the architecture.This research studies the relation between architecture and modern art in the Paraná, in the period between years 1950 and 1970,and its joint action in the direction to consolidate the modern project in the State, through the study of murals conceived integrated with architecture.
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Healey, Gavin A. "American Indian Graffiti Muralism: Survivance and Geosemiotic Signposts in the American Cityscape." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613132.

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American Indian graffiti muralism is a terminology that embodies the contemporary public art form of mural production by American Indian artists using public art installations to express ontologies of sovereignty, self-determination, and identity in different public spaces and on different objects. To date, there is no scholarship that has focused solely on American Indian graffiti muralism and ethnic markers within the medium of graffiti muralism. The dissertation, "American Indian Graffiti Muralism: Demystifying the Graffiti Medium and the Visual Harmonics of American Indian Signatures on the Modern Landscape," centers on the functionality of American Indian graffiti murals as markers of sovereignty, self-determination and identity in off-reservation municipal urban settings. Using a mixed methods framework of both qualitative and quantitative analysis this dissertation will provide new scholarship within the field of American Indian/Native American Studies and discourses on Native art and Native public art. Due to the fact that these public artworks contain multiple functions and meanings a mixed methods interdisciplinary analysis using the American Indian theoretical model of Survivance coupled with a social science theory of Geosemiotics, interviews with American Indian graffiti muralists, and quantitative empirical data collected through community-based Q survey creates a multi-narrative on the functionality of American Indian graffiti muralism. The aim of this research is to explore the functionality of different American Indian graffiti mural installations using Gerald Vizenor's Indigenous theory of survivance and the social science theory of geosemiotics. The theory of survivance aids analysis on how American Indian graffiti muralists infuse iconography and visual semiotic elements in their public art installations that (re)claim public spaces and infuse ontologies of sovereignty, self-determination, and identity in cityscapes. This is the first usage of survivance theory with Native public art and provides an ethnically appropriate means to investigate American Indian graffiti muralism. Geosemiotics theory provides analysis on how different American Indian graffiti murals interact with the physical landscape they reside within to create ideals of place and place perceptions in the populace. Geosemiotic analysis of American Indian graffiti murals illuminates how the art adds to a pluralistic public dialectic of place. By creating a dualistic theoretical lens this research addresses the suggestion that new discourses on Native art and Native public art require more analysis involving theoretical models and Indigenous ways of knowing through use of survivance theory, while also showing how a secondary social science theory can bolster a qualitative narrative on the functionality of Native public art. Artistic analysis is inherently subjective and the multi-theoretical application in this dissertation addresses how subjectivity and socio-political elements of American Indian graffiti muralism require a fully rounded framework to explore the function of these installations in our cities. The narratives of American Indian graffiti muralists regarding their mural installations offer intimate knowledge on the function of this art form and in this research provides first-person accounts of how artists approach public art differently than their studio art productions. It was also important to offer the perspectives from the artists themselves to illuminate how this graffiti muralism came to be the chosen form of artistic expression. The conversations with Yatika Fields and Jaque Fragua offer a secondary perspective to those of the researcher and public citizens. To further capture all of the perceptions surrounding American Indian graffiti muralism a public survey using Q methodology was completed to provide a platform for community-based input. Q methodology was used as a means to collect empirical data on the subjective attitudes towards American Indian graffiti murals. The output of Q surveying provided the first empirical data on American Indian graffiti muralism and concluded the multi-narrative of this project in the statements generated and tested by multiple public citizens. Furthermore, this multi-narrative foundation furthers future discourses in American Indian/Native American studies, the social sciences, and Native art historical research by offering elements that each can utilize as points of discussion and dissection.
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Ahmanson, Kathryn. "Images of the Part Sharing Stories for the Future: The Social, Political, and Aesthetic Influence of Chicana Revisionist Muralism in Los Angeles." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2272.

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Through the analysis of Judy Baca's mural, The Great Wall of Los Angeles, Baca's reevaluates muralism to create her revisionist take on the Mexican tradition of muralism. The piece combines different cultural and historical perspectives that convey the diversity of California, and bring people together through shared experiences. In addition to portraying the histories of minority races, ethnicities, religions and sexuality, the piece was created by a diverse team of community members who each contributed their own viewpoints to the piece. Unlike the traditional practice of muralism, Baca works with community members to create a mural that includes a varied sense of identity so as to facilitate social change and foster community.
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Arbaiza, Aguilar Lorena Milagros. "La influencia de la gráfica popular en la identidad cultural del distrito de Barranco." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655964.

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El objetivo de la presente investigación es determinar la influencia que ejerce la gráfica popular dentro de la identidad cultural del distrito de Barranco. La hipótesis para este trabajo parte por considerar que cada artista que elabora gráfica popular en el distrito contribuye a la construcción de una identidad cultural que lleva años gestándose. Cada uno de estos artistas, partiendo desde su propia idiosincrasia y contexto, aporta en conjunto contenidos ricos en cultura que van transformando constantemente la identidad del distrito. Para la metodología del trabajo se escogieron quince piezas de gráfica popular plasmada en zonas específicas de Barranco que fueron estudiadas bajo los parámetros de una ficha de análisis visual. También se recopilaron los datos de las entrevistas a tres informantes clave que brindaron alcances sobre lo que involucra el fenómeno. Los resultados fueron clasificaron dependiendo de la zona en la que están ubicadas, específicamente entre la Avenida Pedro de Osma con 28 de Julio, en la Bajada de Baños con el pasaje Oroya y por último la zona del puente San Martín. Como parte de los resultados, se evidenció que el contenido de ciertas piezas responde al contexto y espacio en el que están inscritos y que no son necesariamente creados desde la espontaneidad de cada artista. Por último, se llegó a la conclusión de que los artistas de la gráfica popular resignifican el espacio urbano mediante su obra, marcando tendencias y aportando contenido visual que construye y configura constantemente la identidad cultural de Barranco.
The objective of the present investigation is to determine the influence that popular graphics exerts within the cultural identity of the Barranco district. The hypothesis for this work begins by considering that each artist who produces popular graphics in the district contributes to the construction of cultural identity that has been brewing for years. Each of these artists, starting from their own idiosyncrasy and context, together contribute content rich in culture that is constantly transforming the identity of the district. Fifteen pieces of popular graphic captured in specific areas of Barranco were chosen for the work methodology, which were studied under the parameters of a visual analysis card. At the same time, the data from the interviews with three key informants who provided insights on what the phenomenon involves were also collected. The results were classified depending on the area in which they were located, specifically between Av. With 28 de Julio with Pedro de Osma, Bajada de Baños with the Oroya passage and finally the San Martín bridge area. As part of the results, it was evidenced that the content of certain pieces responds to the context and space in which they are inscribed and they are not necessarily created from the spontaneity of each artist. Finally, it was concluded that the artists of popular graphics resignify the urban space through their work, setting trends and providing visual content that builds and configures the cultural identity of Barranco.
Trabajo de investigación
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BARBOSA, Luciana Coelho. "Uma perspectiva sobre a identidade mexicana na obra de David Alfaro Siqueiros (1920-1959)." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2290.

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Made available in DSpace on 2014-07-29T16:17:33Z (GMT). No. of bitstreams: 1 Luciana coelho.pdf: 5663456 bytes, checksum: 7956b919163e0885341f8f3a7dbb81f2 (MD5) Previous issue date: 2009-10-23
This work has for proposal the analysis of the construction of a Mexican identity under the perspective of David Alfaro Siqueiros. This artist is an important character for the understanding of the transformations occurred in the Mexican society under the revolutionary context. The Mexican Revolution succeeded in motivating and involving the whole society and, due to the great popular participation in the uprisings, engendered the need to rethink this population contingent, surpassing the political and military character, and greatly affecting the culture. The muralist movement, on which Siqueiros took part, was significant to this question, since it tried to represent the inferior classes, inserting them in the official discourse. Under this perspective it is valid to point out that the analysis of the construction of identities is intrinsically connected to the social and political imaginary. In the Latin-American countries and especially in Mexico, object of this study, this relationship is directly connected to the notion of miscegenation. We cannot discuss Mexican identity without taking into consideration this question that is crystalline in the muralist movement and consequently in the work of Siqueiros. This identitary process is essential for the individual to engender the nation since it makes possible the integration between individual and society, despite its ocurrence in a contradictory manner, since it includes and excludes simultaneously. Hence, the emphasis of this work consists in the comprehension of how the Mexican historical context supported the Siqueirian identitary discourse.
Este trabalho tem como proposta a análise da construção de uma identidade mexicana sob a perspectiva de David Alfaro Siqueiros. Este artista é um personagem importante para a compreensão das transformações ocorridas na sociedade mexicana sob o contexto revolucionário. A Revolução Mexicana conseguiu dinamizar e comprometer toda a sociedade e, devido à grande participação popular nos levantes, engendrou a necessidade de se repensar este contingente populacional, ultrapassando o caráter político-militar, afetando sobremaneira a cultura. O movimento muralista, do qual Siqueiros fazia parte, foi significativo nessa questão, uma vez que buscou representar as classes subalternizadas inserindo-as no discurso oficial. Sob esta perspectiva é válido destacar que a análise da construção das identidades está intrinsecamente ligada ao imaginário político e social. Nos países latino-americanos e em especial no México, objeto desse estudo, essa relação está diretamente ligada à noção de mestiçagem. Não podemos discutir identidade mexicana sem levarmos em consideração essa questão que é cristalina no movimento muralista e conseqüentemente na obra de Siqueiros. Esse processo identitário é essencial para que o indivíduo possa engendrar a nação haja vista que possibilita a integração entre indivíduo e sociedade, mesmo ocorrendo de forma contraditória, pois inclui e exclui simultaneamente. Assim, a ênfase desse trabalho consiste, pois, na compreensão de como o contexto histórico mexicano subsidiou o discurso identitário siqueiriano.
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Racine, Nathaniel. "Unusual Occurrences in the Desert: Symbolic Landscapes in the Cultural Exchange between the United States and Mexico, 1920-1939." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488068.

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English
Ph.D.
What does Mexico mean to the cultural imagination of the United States? What has it meant in the past? In what ways has the U.S. incorporated aspects of Mexican culture into its own? This dissertation explores these questions of cultural and intellectual exchange between the U.S. and Mexico during the 1920s and 1930s by positioning itself amid the present “transnational” and “hemispheric” turn in U.S. literary study. Its subject matter ranges from architecture and urbanism to journalism and travel writing to short stories and novels to muralism and the visual arts. Such an interdisciplinary approach is bolstered by crossing scales of geography from the international to the continental, the national, the regional and the local. Positioning the discussion in geographic terms allows one to see how the possibilities for cultural exchange could never be fully realized, as the ways in which U.S. writers and intellectuals understood Mexico-- then and now-- can rarely be separated from either the physical proximity or the cultural dissimilarity of the two countries, a relationship that has been described as one of “distant neighbors.” This dissertation takes the spatial components of culture seriously, employing useful concepts from the disciplines of human geography and cultural landscape studies to inform its understanding of how diverse figures ranging from Conrad Aiken, Stuart Chase, José Clemente Orozco, Katherine Anne Porter, Sophie Treadwell, William Carlos Williams-- among others less widely known-- understood Mexico and presented it to a U.S. audience during the interwar period. Their narratives often employ the symbolic landscape of Mexico to communicate the qualities of Mexican culture while unwittingly obscuring the reality of what the country itself. Nonetheless, each example points to possible correctives in the pattern, offering a hemispheric perspective from which much can still be learned today.
Temple University--Theses
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Malo, Martínez Elena. "Muralismo en Loja, Ecuador." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/284970.

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Introducción: La investigación histórica en el arte de los murales es compleja, especialmente en nuestro país, donde no se ha llevado un protocolo de registro de contratos de realización, obra o autores. La importancia de incrementar nuestro conocimiento sobre arte ecuatoriano y específicamente el de Loja, me han llevado a iniciar una investigación que por su magnitud ha tomado aproximadamente cinco años. Dentro del proceso histórico analítico se ha revisado el contexto de la producción mural en la Provincia de Loja, desde sus inicios a finales del siglo XIX, hasta el 2006. Objetivos: 1. Obtener un inventario de los Murales producidos en esta provincia a lo largo de un periodo de 30 años, considerando además sus antecedentes históricos como parte del levantamiento. 2. Generar conocimiento del fenómeno mural que se produce en Loja desde el año 1971 hasta la finalización del presente estudio en 2006, donde se incluyan los autores, así como un análisis de obras y técnicas artísticas. 3. Producir un libro donde se evidencien los resultados obtenidos en esta investigación. Metodología: Se utiliza el método histórico crítico, basado en Kant, mediante el cual la presencia de la obra en tanto fenómeno se explica por una secuencia de causas-efecto. Para este proyecto partimos del registro de lo físicamente visible, los murales, con cuyo apoyo estudiamos los aspectos formales, técnicos y su razón histórica. Esto se hizo efectivo mediante una tesis de licenciatura que recogió 500 obras. Nuestro estudio ha reducido a 356 las obras consideradas murales dentro del período de estudio, las cuales has sido a su vez sometidas a un proceso de descripción e interpretación, hasta llegar a aplicar la crítica artística a aquellos autores, reconocidos como de singular importancia. Resultado y discusión: Consideramos innovador este trabajo ya que, metodológicamente, rompe los esquemas trazados por los estudiosos de arte en el país. Sin embargo nuestro enfoque ha tenido que sortear la dificultad de la falta de bibliografía e información para su verificación. Dejamos constancia de nuestro aporte al poner en evidencia temáticas variadas, enfocadas en religión, cultura, ciencia, deporte, indigenismo y costumbrismo; generadas mediante diversas técnicas artísticas que van desde el fresco hasta piroxilina, pasando por acrílico y la aplicación de placas cerámicas; y, considerando la interpretación artística, siempre, dentro del grupo selecto de autores mas productivos, que no llegan a más de diez y cuyo trabajo es analizado a profundidad.
In Ecuador, it is a very complex task to research the art of the muralist, even more so since there are not systemic records of the assignments, placement and even authors of the murals. I consider it very important to increase our knowledge of Ecuadorian -and most specifically Lojan- art. This has led me into this investigation which has taken approximately five years. As a historic-analytic process, I have been able to analyze the murals produced in Loja from the late 1800’s to the end of 2006. Goals: 1. To procure an inventory of all murals painted in Loja over a period of 30 years, considering the historical backgrounds. 2. To spread the knowledge of this artistic manifestation that took place in Loja from 1971 until the conclusion of this study in 2006. This should include the artists, and an analysis of the artistic works and the techniques used. 3. To publish the results of this research. Methodology The Historical criticism approach from Kant was used. The cause and effect chain observed in this artistic phenomenon helps to explain its sequential movement. In order to achieve my goals, I had to begin from what was visible, the murals. From there came the formal study going through the technical and historical analysis. I started by analyzing and classifying 500 art works. Finally, only 356 were considered “murals” according to the criteria used throughout the investigation. These paintings have been subjected to a process of description, interpretation and finally art analysis that made possible to further study those made by the most important artists. Results: This is a pioneer study. The methodology used is ground-breaking because it has not used before by art historians in Ecuador. Nevertheless, I did encounter some setbacks due to the lack of bibliography and verification sources. I have been able to cover a variety of topics, most of them focusing on religion, culture, science, sport, indigenism and traditions. All made using different artistic techniques going from fresco (wall painting) to pyroxilin (guncotton, pyrites), through the application of acrylic and ceramic plaques. All of these pieces made by a select group of the most productive authors, not more than ten, and whose work is analyzed deeply.
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Moreno, Camilla Cafuoco. "Os sentidos do olhar sobre a identidade: Diego Rivera e Octávio Paz." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/2103.

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Made available in DSpace on 2016-03-15T19:45:12Z (GMT). No. of bitstreams: 1 Camilla Cafuoco Moreno.pdf: 775493 bytes, checksum: 3de01e168a771cc6e5f0d327a6d48bdb (MD5) Previous issue date: 2011-02-16
This paper is about an existent dialogue between texts with a distinct nature, meaning, it is a study about the dialogism in literature and mural painting. For that, is used as a analysis corpus, a chapter that is a part of the book El laberinto de la soledad, by Octavio Paz, title De la independencia a la revolucion, in which, the author brings up a reflection about the constitution of the identity formation and ideological of the Mexicans in the XIX century. As a imagery analysis corpus are in two murals of Diego Rivera title The marriage of the artistic expression of the north and south of the continent e la lluvia. The theoretical foundation used to develop this paper comprises authors that discuss the dialogical relations in art and also politics issues and imagery, such as Bakthin, Ferrara, Kristeva, Barros among others, in the matter of dialogical issues and intertextual; Gomes Filho, Dondis, Arnheim, Manguel and others in order to support the imagery analysis and to clarify politics issues and the rehearsals Krauze, Fuentes, Vasconcellos, among others.
O presente trabalho desenvolve o diálogo existente entre textos de naturezas distintas, ou seja, estuda o dialogismo existente na literatura e na pintura mural. Para tanto, utiliza-se, como corpus de análise, um capítulo que compõe o livro El laberinto de la soledad, de Octavio Paz, intitulado "De la independencia a la revolución", em que o autor propõe uma reflexão sobre a constituição da formação identitária e ideológica do ser mexicano do século XX. Como corpus de análise imagética estão presentes dois murais de Diego Rivera, intitulados The marriage of the artistic expression of the North and South of the continent e La lluvia. A base teórica utilizada para o desenvolvimento do trabalho compreende autores que discutem questões políticas, identitárias e ensaísticas, tais como Krauze, Fuentes e Vasconcellos, e autores que discutem a questão dialógica e intertextual, como Bakthin, Ferrara, Kristeva e Barros. Para embasar a análise imagética, recorreu-se às considerações de Gomes Filho, Dondis, Arnhei e, Manguel.
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Books on the topic "Muralism"

1

Mexican muralism: A critical history. Berkeley and Los Angeles, California: University of California Press, 2012.

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If these walls could talk: Community muralism and the beauty of justice. Collegeville, Minnesota: Liturgical Press, 2012.

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Muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. Pittsburgh, Pa: University of Pittsburgh Press, 2009.

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Indych-López, Anna. Muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. Pittsburgh, Pa: University of Pittsburgh Press, 2009.

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Indych-López, Anna. Mexican muralism without walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. Pittsburgh, Pa: University of Pittsburgh Press, 2009.

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Muralismo morte: Street art murals conquer the world. Berlin: From Here to Fame, 2010.

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Celis, Pérez. Pérez Celis: Pinturas, murales, esculturas = paintings, murals, sculptures. Buenos Aires: Planeta, 1999.

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Theisen, Ollie Jensen. The murals of John Thomas Biggers: American muralist, African American artist. Hampton, Va: Hampton University Museum, 1996.

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The muralist. Toronto, Ontario, Canada: HarperCollins Publishers Ltd, 2015.

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Hillstrom, Kevin. Diego Rivera: Muralist. Detroit: Lucent Books, 2007.

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Book chapters on the topic "Muralism"

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Raussert, Wilfried. "Muralism." In The Routledge Handbook to the Culture and Media of the Americas, 402–13. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-37.

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Martínez-Carazo, Eva-María, Virginia Santamarina-Campos, and María De-Miguel-Molina. "Consequences and Needs of Uruguayan Contemporary Muralism." In Cultural and Creative Mural Spaces, 131–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_9.

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Santamarina-Campos, Virginia, Eva-María Martínez-Carazo, María De-Miguel-Molina, and M. Ángeles Carabal-Montagud. "Challenges and Opportunities of Uruguayan Contemporary Muralism." In Cultural and Creative Mural Spaces, 3–14. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_1.

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Subirats, Eduardo. "Mexican Muralism and the North American Anti-Aesthetics." In Imperialism and the Wider Atlantic, 113–33. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58208-5_6.

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Martínez-Carazo, Eva-María, Virginia Santamarina-Campos, and María De-Miguel-Molina. "The Abstraction, the Unknown Part of Uruguayan Contemporary Muralism." In Cultural and Creative Mural Spaces, 69–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_5.

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Latorre, Guisela. "Indigenous Images of Democracy on City Streets: Native Representations in Contemporary Chilean Graffiti and Muralism." In Street Art of Resistance, 87–112. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_5.

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Hodge, Susie. "Muralismo." In 50 Schlüsselideen Kunst, 144–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-39328-0_37.

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Barentine, John C. "Quadrans Muralis." In The Lost Constellations, 293–305. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-22795-5_19.

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Azimova, Shakhnoza S., and Anna I. Glushenkova. "Diplotaxis muralis (L.) DC." In Lipids, Lipophilic Components and Essential Oils from Plant Sources, 224. London: Springer London, 2012. http://dx.doi.org/10.1007/978-0-85729-323-7_709.

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Hamlett, Lydia. "Murals and Metamorphoses." In Mural Painting in Britain 1630–1730, 60–83. New York, NY : Routledge, 2020. | Series: Routledge research in art history: Routledge, 2020. http://dx.doi.org/10.4324/9781315466170-03.

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Conference papers on the topic "Muralism"

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Milaeva, O. V., and V. B. Dumnov. "«WHEN THE PAINT WILL DRY OUT, IT WILL TURN INTO GUNPOWDER»: MEXICAN MURALISM AS A REFLECTION OF THE IMAGES OF THE REVOLUTION." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.13.

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Murillo Jaramillo, Paula Andrea. "Murales para la vida, en el marco de la cultura ciudadana." In Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2018. Cali, Colombia: Red Académica de Diseño - RAD, 2019. http://dx.doi.org/10.53972/rad.eifd.2018.1.17.

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Como reflexión a los diferentes espacios de la ciudad donde la mirada permite cambios sociales y nuevas perspectivas de vida, en los que por lo general o para el imaginario de las personas se pretende ignorar u olvidar. Siendo los espacios que requieren intervención con urgencia desde un diseño con conciencia social en aras de solucionar problemas como el caso del consumo de sustancias psicoactivas, autoestima, violencia intrafamiliar, delincuencia común, entre otros que aquejan a la juventud, colombiana. Con el ánimo de sensibilizar a los estudiantes de séptimo semestres del Programa de diseño Gráfico de la Institución Universitaria CESMAG frente a dicha problemática, al Sur de Colombia en San Juan de Pasto capital del departamento de Nariño, mediante el trabajo colaborativo al interior de la Institución Santo Ángel con los jóvenes en discordancia con la Ley, en el desarrollo de murales, con el objetivo de embellecer las instalaciones arquitectónicas y paralelo a ello incentivar el arte del muralismo como herramienta de expresión, en un nuevo camino hacia la Paz.
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Jerding, Dean F., and John T. Stasko. "Using information murals in visualization applications." In the 8th annual ACM symposium. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/215585.215660.

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Yuan, Minjie, Wenfeng Sun, Xinke Wang, Sen Wang, Qunxi Zhang, Jiasheng Ye, and Yan Zhang. "Investigating murals with terahertz reflective tomography." In International Conference on Optical Instruments and Technology 2015, edited by Cunlin Zhang and Xi-Cheng Zhang. SPIE, 2015. http://dx.doi.org/10.1117/12.2190174.

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Zalbidea Muñoz, María Antonia, and Tamara Macías Lara. "PUESTA EN VALOR DEL MURALISMO CONTEMPORÁNEO DE BLU EN LA CIUDAD DE VALENCIA." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5839.

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El trabajo que se desarrolla emerge con la fi­nalidad de estudiar la posibilidad de conservación del mural realizado en 2011 por el artista italiano Blu, uno de los mayores exponentes internacionales de arte urbano. Dicha obra se sitúa en la medianera de la plaza del Tossal, lindando con el número 5 de la Calle Quart en Valencia. El tema de estudio genera controversia en la distinción de su reconocimiento como arte, los conservadores se hallan en complejas tesituras condicionadas por cuestiones legales, por arduas tomas de decisiones e incluso por otros componentes ajenos a la conservación. He ahí, tal vez, la polémica sobre el reconocimiento, la legitimidad y la propiedad de las intervenciones. Simultáneamente, el uso de materiales modernos, su ejecución y la inexistente y/o inadecuada preparación del soporte acelera el deterioro de su estado. Resaltando la dificultad que supone la intervención y conservación; y la importancia que tiene la documentación fotográfica en estas intervenciones artísticas. En vista de ello, ha sido necesario un estudio profundo de la obra mediante examen científico de la materia constitutiva y la técnica de ejecución, así como el análisis formal y conceptual de la obra, antecedido por su contexto histórico-artístico; Mediante examen organoléptico se ha determinado las patologías que presenta el mural trazando un estudio de su estado actual. Finalmente, se concluye con la elaboración de una propuesta de intervención, y del mismo modo, se propone unas pautas para conservación de la obra. En resumen y por estas razones, nace la necesidad de estudiar y analizar la obra del ya consagrado muralista contemporáneo y gran influencia para el Street Art, Blu.http://dx.doi.org/10.4995/ANIAV.2017.5839
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Flores Flores, Nallely Natali. "Relación entre la revista literaria estridentista Horizonte y la primera generación del muralismo." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4841.

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En el presente trabajo se pretende establecer un puente entre dos de los movimientos artísticos del México posrevolucionario, mismos que representan una parte del proyecto hegemónico de tal periodo. Dicho puente va de lo visual a lo escrito, a través del muralismo y el estridentismo, o viceversa. Lo anterior, gracias a que uno de los productos estridentistas más notables, la revista Horizonte (1926-1927), contiene imágenes tomadas de los muralistas de la primera generación. Es así que logran unirse dos textos artísticos de distinta naturaleza para delinear someramente un discurso dado por el Estado a través de los artistas y escritores, un discurso que habla del contexto sociocultural de los veinte en México pero también de la marcada influencia ideológica tanto de Latinoamérica como de Europa; e, incluso, de la situación política añeja que se vive actualmente en el país.Se realiza, entonces, una selección de textos de la revista Horizonte - aquellos que se acompañan con las imágenes mencionadas - para analizarse de manera conjunta a las imágenes que les acompañan. De tal selección deriva un análisis en el que se piensan como signos tanto los códigos escritos como visuales. Tal análisis se rige por categorías que cuestionan a quién escribe, a quién se escribe, desde qué perspectiva se hace y, en algunos casos, también a los objetos que rigen el discurso. Es decir, cuestionan al enunciador, el enunciatario, el espacio, el tiempo y los objetos que intervienen, en caso de hacerlo. Con tales cuestionamientos es que se vuelve posible hablar de ciertos aspectos ideológicos, que aparecen como constantes, entre los dos movimientos que se estudian.http://dx.doi.org/10.4995/ANIAV.2017.4841
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Huang Wei and Wang Shuwen. "Dunhuang murals inpainting based on image decomposition." In 2010 3rd IEEE International Conference on Computer Science and Information Technology (ICCSIT 2010). IEEE, 2010. http://dx.doi.org/10.1109/iccsit.2010.5564944.

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Dongping Wang, Hui Zhao, and Juebang Yu. "Chaos in memristor based Murali-Lakshmanan-Chua circuit." In 2009 International Conference on Communications, Circuits and Systems (ICCCAS). IEEE, 2009. http://dx.doi.org/10.1109/icccas.2009.5250352.

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"Research on the Artistic Language of Fiber Murals." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29168.

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Wang, Qi, Dongmin Lu, and Hongxin Zhang. "Virtual Completion of Facial Image in Ancient Murals." In 2011 Workshop on Digital Media and Digital Content Management. IEEE, 2011. http://dx.doi.org/10.1109/dmdcm.2011.20.

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