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Journal articles on the topic 'Muralism'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

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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Jaimes, Héctor. "Octavio Paz: (re)lecturas del muralismo mexicano." Araucaria, no. 43 (2020): 252–67. http://dx.doi.org/10.12795/araucaria.2020.i43.13.

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Olishevska, Yulia A. "Murals as the newest tourist resources: the case of Kyiv." Journal of Geology, Geography and Geoecology 29, no. 2 (July 8, 2020): 364–76. http://dx.doi.org/10.15421/112032.

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The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under the influence of street art. In the process of researching the murals as a tourist resources of cities, we have introduced the term “conceptual tourist resources”, which in our opinion most accurately reflects their semantic charge. Murals are the alternative resources towards traditional tourism resources (natural, historical, cultural, socio-economical or socio-historical) that are widely used in the classifications of leading researchers in the tourism industry (Kvartal’nov V., Smal’ I., Beidyk O., Mal’s’ka M., Kuzyk S., Liubitseva O., Pankova Ye., Stafiichuk V., etc.). The study identified the 32 biggest murals in Kyiv and found that the murals are the relevant forms of street art that focuses on social, cultural, and historical topics. Mural paintings have been found to be motivating objects to visit and affect the formation of city’s new symbols. In the route we have developed, we have selected 24 representative murals made in different styles, dedicated to several topics: milestones of Ukrainian history, the fight between good and evil, friendship and devotion, freedom and equality. Thus, the involvement of murals in excursion routes allows residents and guests of the capital city to track the change in the image of the urban environment under the influence of street art. In the course of the study, it was found that murals are ambiguously perceived in society. The analysis showed that the appearance of modern murals on the streets of the capital began in the mid-2000s, a sharp increase in their number occurred during 2015 - 2017. It was determined that the main factors that influenced the development of muralism in Ukraine were the demands of society and the organization of art festivals, including Muralissimo, City Art, Dynamic Urban Culture Kyiv, Mural Social Club, Art United Us, Mural Social Club Back to school! Ukraine, French Spring, etc. The largest art festivals include City Art 2015, Dynamic Urban Culture Kyiv 2015, Mural Social Club 2016, 2017, Art United Us 2016, 2017, within which 88 works were created. The results of the study identified the trend in the development of muralism in Ukraine, which consists of the gradual change from spontaneous, anonymous street art to the development of concerted and commissioned by state bodies paintings, which are spread not only on the walls of industrial sites, residential buildings, but also on the walls of educational institutions, government institutions and the police department. Kyiv is the first city in the world where a mural was created on the walls of the police department. The study found that since the mid-2010, the murals began to establish in the central part of the city, and since 2014 they have spread to the so-called “gray” residential areas of Sviatoshyno, Darnytskyi, Desnyanskiy and Solomianskyi districts and Obolon’, etc. Today, the total number of murals in the capital is 160.

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Sagarena, Roberto Lint. "Making a There There: Marian Muralism and Devotional Streetscapes." Visual Resources 25, no. 1-2 (March 2009): 93–107. http://dx.doi.org/10.1080/01973760802674374.

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Manjarrez, Maricela González Cruz. "Tina Modotti and Muralism: Notes on a Common Language." Third Text 28, no. 3 (May 4, 2014): 271–81. http://dx.doi.org/10.1080/09528822.2014.913348.

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Cruz, Lourdes. "Muralism and Architecture: Art Fusion at Mexico’s University City." Art and Architecture, no. 42 (2010): 24–33. http://dx.doi.org/10.52200/42.a.gblrp8hz.

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University City is one of the best examples of twentieth-century Mexican architecture. It has been declared a World Heritage Site by Unesco for it managed to synthesize tradition and avant-garde to create a place where the articulating landscape design is able to assign emptiness a compositional value; while the harmonious layout of the buildings and their careful construction merge with murals that play an important role in forming their identity. These grand scale murals (1952-1956) were capable of communicating the values and spirit of the Mexican revolutionary movement, such as progress and social reform, while also teaching people about the country’s history and its social struggle. The result is a very realistic, didactic, and even narrative art which appeals to the masses.

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Morrison, Chandra. "Public Art Replacement on the Mapocho River: Erasure, Renewal, and a Conflict of Cultural Value in Santiago de Chile." Space and Culture 23, no. 2 (April 27, 2018): 149–63. http://dx.doi.org/10.1177/1206331218770782.

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On January 18, 2011, the Museo Arte de Luz opened along Santiago’s Mapocho River. Developed by artist Catalina Rojas and the Santiago municipal government to mark Chile’s 2010 bicentenary, the light-art museum proposed to revitalize the river as a public space by converging heritage, contemporary art, and citizenship. Yet controversy lurked behind the newly gleaming lights: museum preparations included the erasure of several large graffiti murals painted along the canal walls. This article examines how the installation of the Museo Arte de Luz systematically removed graffiti muralism from the Mapocho River, drawing out deeper cultural tensions entangled in this aesthetic dispute. It analyses three interconnected discourses about the museum’s desired impact on the river—environmental regeneration, historical restoration, and symbolic recuperation—to illustrate how the erasure corresponds to official narratives of renewal. Ultimately, through its contradictions, this public art replacement raises important questions about public authority and cultural value in Chile.

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Campbell, Bruce. "Unofficial Revisions in National Form: Muralism of the Mexican Crisis." Journal of Latin American Cultural Studies 10, no. 1 (March 2001): 11–23. http://dx.doi.org/10.1080/13569320020030024.

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Herrera, Juan Carlos Arias. "From the Screen to the Wall: Siqueiros and Eisenstein in Mexico." Mexican Studies/Estudios Mexicanos 30, no. 2 (2014): 421–45. http://dx.doi.org/10.1525/msem.2014.30.2.421.

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The relation between Russian filmmaker Sergei Eisenstein and “The Three Greats” of Mexican muralism has been widely discussed. The opposite connection, the influence of Eisenstein’s ideas and techniques on Mexican artists, however, has been less analyzed. This text examines the relation between Eisenstein’s aesthetic theories and David Alfaro Siqueiros’ poetics of mural painting. Through the analysis of the work The March of Humanity, I propose that Eisenstein and Siqueiros established a productive dialogue focused on the concept of dialectics that, according to them, was the key to producing a new link between art and the masses. La relación entre el cineasta ruso Sergei Eisenstein y los llamados “Tres Grandes” del muralismo mexicano ha sido ampliamente discutida. La conexión contraria, sin embargo, esto es, la influencia de las ideas y técnicas de Eisenstein sobre los artistas mexicanos, ha sido menos analizada. Este texto examina la relación entre las teorías estéticas de Eisenstein y la poética de la pintura mural de David Alfaro Siqueiros. A través del análisis de la obra La Marcha de la Humanidad, me interesa mostrar que Eisenstein y Siqueiros establecieron un diálogo productivo centrado en el concepto de dialéctica, el cual, de acuerdo con los dos autores, era la clave para la producción de un nuevo vínculo entre el arte y las masas.

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Alberti, Chiara Stella Sara. "Muralism as a field of exchange between Mexico and Italy, 1950-1980." Anclajes 25, no. 2 (May 2, 2021): 145–65. http://dx.doi.org/10.19137/anclajes-2021-25210.

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Alberti, Chiara Stella Sara. "Muralism as a field of exchange between Mexico and Italy, 1950-1980." Anclajes 25, no. 2 (May 2, 2021): 145–65. http://dx.doi.org/10.19137/anclajes-2020-24210.

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de la Rosa, Natalia. "The Taller de Gráfica Popular: Collectivity, Popular Prints and Transient Muralism." Afterall: A Journal of Art, Context and Enquiry 52 (September 1, 2021): 38–55. http://dx.doi.org/10.1086/719769.

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Indych-López, Anna. "Mural Gambits: Mexican Muralism in the United States and the “Portable” Fresco." Art Bulletin 89, no. 2 (June 2007): 287–305. http://dx.doi.org/10.1080/00043079.2007.10786343.

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Batenko, A. O. "MURALART AS A COMPONENT OF THE CULTURAL SPACE OF THE CITY." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 65–68. http://dx.doi.org/10.17721/ucs.2020.2(7).11.

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The aim of the article is to define the role of mural art as a part of street art in the context of the cultural urban space. Identification of mural art in cities, its transformation depending on the place of creation and changes in the perception of the viewer requires needs research that is more detailed. А lot of people do not distinguish between concepts in street art; do not understand the artistic value of murals. Therefore, it is useful to show all functions, which murals can have. The quantity and quality of murals in the urban space affects its reputation, culture, development trends. That is, murals can both spoil urban visions and aestheticize them. Murals often engine enrichment of human consciousness, because artists raise important social issues, motivate the viewer to think. They try to turn the city into a large gallery, to influence people who involuntarily become spectators and connoisseurs of street art. It is also appropriate to explore the trends of Ukrainian muralism in the urban space. After all, street art has become very popular in Ukraine, as evidenced we can see various thematic festivals and competitions. The research methodology involves an interdisciplinary approach, analysis of scientific works of cultural and art history, review of thematic media and creative work of street artists to determine the characteristics and purposes of their activities. The works of modern Ukrainian researchers who study the issues of the cultural space of the city, mural art and street art in general are involved. The scientific novelty lies in the study of the influence of mural art on personal perception on drawing attention to socio-political problems in the urban context. On the example of the analysis of works of world street artists the tendency to social and educational function of murals, instead of simply aesthetic, is traced. The practical significance of the study is to emphasize that murals have artistic value, a unique semantic message, and are not just a means of aestheticization. The article can be useful for specialists in culturology, history, art history, architecture and for artists.

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Coffey, Mary Katherine. "Muralism and the People: Culture, Popular Citizenship, and Government in Post-Revolutionary Mexico." Communication Review 5, no. 1 (January 2002): 7–38. http://dx.doi.org/10.1080/10714420212350.

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López, Rick A. "Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927 – 1940." Hispanic American Historical Review 91, no. 3 (August 1, 2011): 581–83. http://dx.doi.org/10.1215/00182168-1300678.

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Davis González, Ana. "La vanguardia de los Contemporáneos, una estética de la dilación." Literatura Mexicana 33, no. 1 (March 6, 2022): 149–77. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x15.

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This paper seeks to dialogue with the preceding critic about the possible classification of Contemporáneos texts as avant-garde. Our proposal is that some of their poems can be classified as avant-garde if we understand the avant-garde as a 20th century art paradigm and not only as a historical category during the beginning of the century. For this purpose, in the first place, the dichotomy “threshold aesthetics / dilation aesthetics” is proposed to explain two avant-garde poetic modalities, starting from the expression “threshold aesthetics,” coined by Luciana Del Gizzo (2017). Secondly, the “aesthetics of dilation” is applied in the poetic Contemporáneos texts in contrast to the threshold aesthetics of stridentism or muralism, in the Mexican context.

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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (January 11, 2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.

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Niergarth, Kirk. "Art, Education, and a “new world society”: Joseph McCulley’s Pickering College and Canadian Muralism, 1934-1950." Journal of Canadian Studies 41, no. 1 (January 2007): 172–201. http://dx.doi.org/10.3138/jcs.41.1.172.

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Sanchez, Estefanía, Rubén Vinueza, Xiomara Izurieta, and Nuria Rey. "Use of muralism to promote awareness about aquatic ecosystems and wise water consumption in northwestern Ecuador." Ocean & Coastal Management 190 (June 2020): 105165. http://dx.doi.org/10.1016/j.ocecoaman.2020.105165.

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Penix-Tadsen, Phillip. "Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927–1940 (review)." Revista Hispánica Moderna 64, no. 1 (2011): 111–13. http://dx.doi.org/10.1353/rhm.2011.0011.

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de la Rosa, Natalia. "El taller como escuela, el taller como fábrica. Diálogos entre la Bauhaus y el muralismo de Siqueiros." Economía Creativa, no. 12 (November 18, 2019): 8–43. http://dx.doi.org/10.46840/ec.2019.12.02.

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Este texto retoma la formación y desarrollo de la Bauhaus, tanto en Weimar como en Dessau, con el objetivo de remarcar un tipo de enlace que el movimiento tuvo con el programa artístico de David Alfaro Siqueiros. El diálogo permite comprender con mayor profundidad las líneas de investigación y práctica de Siqueiros, centradas en las propuestas de taller-escuela y taller-fábrica que el artista puso en marcha a partir de la década de 1930. El muralista readaptó y reactivó en diversas ocasiones este modelo a lo largo de su práctica artística, debido a la importancia que dicha resolución tuvo para su apuesta político-estética. Asimismo, la investigación remite a los estatutos de Walter Gropius expresados en el manifesto de 1919 que aludieron a la unificación de las artes (pintura, escultura, arquitectura), ya que mantiene una conexión directa con el proyecto que Siqueiros definió en 1933, a través de la “integración plástica”.

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Carletta, The Rev David M. "Muralism Without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940 by Anna Indych-López." Latin Americanist 55, no. 2 (June 2011): 101–3. http://dx.doi.org/10.1111/j.1557-203x.2011.01115_7.x.

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Sokol, David M. "Muralism Without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940 by Anna Indych-Lopez." Journal of American Culture 34, no. 2 (February 2011): 208. http://dx.doi.org/10.1111/j.1542-734x.2011.00775_8.x.

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Gutiérrez-Vicario, Marissa A. "More than a Mural: The Intersection of Public Art, Immigrant Youth, and Human Rights." Radical Teacher 104 (February 3, 2016): 55–61. http://dx.doi.org/10.5195/rt.2016.229.

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“….What makes somebody an American is not just blood or birth, but allegiance to our founding principles and the faith in the idea that anyone from anywhere can write the next great chapter of our story.”-U.S. President Barack Obama, January 2013 I am most interested in exploring the idea of the construction of global citizenship and engagement around human rights education of young immigrant youth through the arts, particularly public art in the form of muralism. I will use some of the work of Art and Resistance Through Education (ARTE), an organization that engages young people around human rights through the arts, as a case study. Some questions that may be explored include:How can educators break down unfamiliar human rights jargon and demonstrate the relevance of human rights on both a local and global level to young immigrant youth? How can young people be galvanized into exploring the human rights of their home countries and the countries they have immigrated to, utilizing the arts?How can art be used to cultivate global understanding and human rights education among young people, most specifically through public art?In efforts for communities to construct more democratic public spaces, one often finds that these spaces manifest themselves as murals or similar forms of public art. What are more creative ways of building a more democratic form of community art? What are more creative ways for young immigrant youth to develop a sense of belonging through the arts? Overall, this proposal seeks to explore the intersection between public art, human rights education/global competency, and immigrant youth empowerment. The proposal will discuss the involvement of immigrant youth, predominately from Latin America, in various art projects, as they explore their own sense of identity and belonging in New York City.

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Cortés-Cely, Oscar Alfonso, and Iván Mauricio Eraso Ordóñez. "El arte del muralismo en Toribío y Jambaló, Cauca:." Arkitekturax Visión FUA 3, no. 3 (October 5, 2021): 77–101. http://dx.doi.org/10.29097/26191709.302.

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En este artículo se reflexiona sobre el arte del muralismo y se analiza su proceso artístico y de investigación con los registros obtenidos de los levantamientos cartográficos, fotográficos y documentales de los murales indígenas realizados al norte del departamento del Cauca, en los municipios de Toribío y Jambaló. Las pinturas murales se analizan y categorizan mediante los íconos de expresión cultural utilizados por los artistas y colectivos que hacen presencia en las Mingas de Muralismo. La iconografía presente en los murales indígenas reviste interés científico y artístico por el uso de metáforas, que comunican la cultura ancestral y la resistencia social por medio de signos, trazos y colores de connotaciones simbólicas contribuyentes a preservar la memoria de la comunidad indígena en territorio colombiano. El análisis de la iconografía se estudia a través de tres categorías: i. Temático natural (formas puras); ii. Significado intrínseco (valor simbólico), y iii. Contenido alegórico (metáfora). El método utilizado con enfoque participativo establece parámetros de diseño y acción entre academia y comunidad, que contribuyen a la construcción social del territorio.

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De Rooy, Fidel. "Los murales de la Nicaragua revolucionaria, 1979-1992. David Kunzle. Managua: Instituto de Historia de Nicaragua y Centroamérica de la Universidad Centroamericana (IHNCA-UCA), 2017." Anuario de Estudios Centroamericanos 43 (December 1, 2017): 493. http://dx.doi.org/10.15517/aeca.v43i0.31564.

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Debieron transcurrir veintidós años para que, finalmente, se confabularan los esfuerzos y los recursos necesarios para producir la edición en castellano de The Murals of Revolutionary Nicaragua, 1979-1992, el conocido estudio de David Kunzle publicado por la University of California Press, en 1995. Producto de un extraordinario trabajo colectivo del programa editorial del Instituto de Historia de Nicaragua y Centroamérica de la Universidad Centroamericana (IHNCA-UCA) en Managua, y con traducción a cargo de Frances Kinloch y David Traumann, vio la luz en mayo del 2017 el libro Los murales de la Nicaragua revolucionaria, 1979-1992. Esta publicación recoge el estudio –enriquecido– que el Dr. Kunzle realizó sobre el muralismo nicaragüense entre 1981 y 1993, doce años en los cuales el autor se dedicó a registrar, catalogar y reflexionar en torno a más de trescientas obras de arte público monumental con las que la Nicaragua revolucionaria vistió las avenidas, calles, caminos, escuelas, parques, instituciones y demás espacios públicos tanto de sus ciudades como del interior del país.

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Massaro, Thomas. "If These Walls Could Talk: Community Muralism and the Beauty of Justice by Maureen H. O'Connell (review)." American Catholic Studies 124, no. 2 (2013): 89–90. http://dx.doi.org/10.1353/acs.2013.0023.

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Traspadini, Roberta Sperandio. "América Latina no século XX: revoluções, muralismos, imperialismo e dependência." Revista Katálysis 22, no. 3 (September 2019): 566–76. http://dx.doi.org/10.1590/1982-02592019v22n3p566.

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Resumo O objetivo deste artigo é apresentar os elementos basilares para entender a arte mural mexicana, passada e presente, como parte integrante do pensamento crítico latino-americano e caribenho do século XX e os impactos de seus ensinamentos para os sujeitos políticos de diversas áreas ao longo da luta de classes do século XXI. O faz a partir de uma revisão histórico-crítica bibliográfica tanto do muralismo como da Teoria Marxista da Dependência (TMD). Coloca em diálogo dois conhecimentos: a arte política engajada do muralismo mexicano e a práxis militante revolucionária da TMD. Entende o debate da arte política muralista oriundo da escola mexicana como uma fecunda referência de marxismo latino-americano, a partir da centralidade que deu à história das resistências e revoluções como contrapontos à história hegemônica tanto na invasão colonial como em todo período seguinte. Toma como pergunta norteadora: o que o muralismo mexicano tem a nos ensinar no século XXI?

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Yin, Yaopeng, Zongren Yu, Duixiong Sun, Maogen Su, Zhuo Wang, Zhongwei Shan, Weiwei Han, Bomin Su, and Chenzhong Dong. "A potential method to determine pigment particle size on ancient murals using laser induced breakdown spectroscopy and chemometric analysis." Analytical Methods 13, no. 11 (2021): 1381–91. http://dx.doi.org/10.1039/d0ay01546f.

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Information on pigment sizes in murals is a key factor in determining the suitable processes of possible restoration and conservation on ancient murals and is also significant for the investigation of a mural's historic value and analysis of its technical process.

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Harp, Tania Osorio. "Is forensic architecture the new muralism of the Mexican state? A reflection on racialized violence and the construction of Mexican identity." Journal of Urban Cultural Studies 5, no. 3 (September 1, 2018): 371–80. http://dx.doi.org/10.1386/jucs.5.3.371_1.

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Ocaña, Sandra Zetina, Manuel Espinosa Pesqueira, Nora Ariadna Pérez Castellanos, and Renato Robert Pappereti. "Xavier Guerrero, De México a Chile (From Mexico to Chile), Some Remarks About the Use of Portland Cement in Mexican Muralism." MRS Proceedings 1374 (2012): 73–85. http://dx.doi.org/10.1557/opl.2012.1379.

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ABSTRACTXavier Guerrero (1896-1974) had an important role in the so-called Mexican Mural Renaissance, as a technical leader in the murals painted by Roberto Montenegro and Diego Rivera in the early 1920’s. Jean Charlot, Diego Rivera and David Alfaro Siqueiros considered him as a sophisticated fresco craftsman, whose knowledge came from a popular mural painters guild.In 1941 the Mexican Government donated a School to Chillan, a Chilean town almost destroyed by a strong earthquake. David Alfaro Siqueiros and Xavier Guerrero were commissioned to paint murals on the Mexico School. Between 1941-1942 Guerrero decorated several walls and the staircase ceiling, the mural program is called De México a Chile (From Mexico to Chile). In 2010 another earthquake destroyed part of the ceiling. This study is part of the diagnosis project of De México a Chile, and consists in the characterization of the mortar and painting layers with optical microscopy, X-ray diffraction (XRD), scanning electron microscopy (SEM) and thermal analysis (TGA), while textural properties of the mortars were studied with nitrogen adsorption-desorption techniques.Analytical results show a stratigraphic sequence composed of several layers of Portland and lime combinations, and also an interesting painting technique that possibly involves the Portland cement setting process, with the development of specular gypsum.

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Liddiard Cárdenas, Adán Erubiel, and Guillermo Hernández Orozco. "La figura histórica en los murales de escuelas primarias de la ciudad de Chihuahua." Debates por la Historia 7, no. 1 (April 29, 2019): 123–57. http://dx.doi.org/10.54167/debates-por-la-historia.v7i1.107.

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La institución educativa suele tener una imagen sobria en su fachada, decorada únicamente con los colores oficiales. En este contexto, son pocos los establecimientos en los que se crean murales escolares, brindando vida y color al ambiente, pero también identidad a las personas que ahí estudian o laboran. El presente trabajo documenta y analiza las obras murales con figuras históricas encontradas en las escuelas primarias de la ciudad de Chihuahua, abriendo la reflexión hacia la importancia que este tipo de mural cobra dentro del plantel, el status institucional que puede llegar a tener, su carácter educativo hacia el alumnado y la relación que guarda con la historia del arte y la escuela del Muralismo Mexicano. Igualmente ofrece una breve interpretación de los distintos elementos a resaltar en las obras expuestas.

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Vilchinskaya-Butenko, Marina E. "Public art as a form of visual sublimation of power." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 330–42. http://dx.doi.org/10.37816/2073-9567-2021-59-330-342.

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Public art of the USSR and Mexico during the 1920s and early 1950s was chosen as the object of research. Both powers saw public art, especially frescoes, as the most direct and appropriate way of expressing a new revolutionary system of values, and considered it an ideal medium for creating metahistory. Established chronological framework is determined by the fact that during this period, similar changes took place in a political structure of both countries, which led to a transformation of the understanding of artistic production. The author highlighted the relationships between socio-political transformation of images in Mexican muralism and Soviet socialist realism of the 1920s and 1950s (prior to the period of Soviet modernism); she also identified the relationships between the system of images and their influence on the viewer and detected stylistic similarities and differences between both artistic trends, bearing in mind historical and political differences. Similarities in the relations of art and power in Mexico and the USSR manifested in redefining the structures of power; rethinking the concept of the nation and history; recreating the past and controlling it to build the future; rejecting contemporary trends in art of that time and turning to didactic art to educate people and transmit the ideals of the new state. They were also displayed in artistic legitimization of the new political order and creation of public art through appealing to a complex of beliefs, feelings, universal images and fetishes be revered and turned into national cults.

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Bingham, Paul O., and Beverly Bubar Denenberg. "Maynard Dixon as Muralist: Sketches for the Mark Hopkins Hotel Murals." California History 69, no. 1 (1990): 52–59. http://dx.doi.org/10.2307/25177307.

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Conrad, David R. "A Democratic Art: Community Murals as Educator." Teachers College Record: The Voice of Scholarship in Education 97, no. 1 (September 1995): 116–31. http://dx.doi.org/10.1177/016146819509700102.

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The community mural movement serves an important educational role by articulating, clarifying, and expanding community values. Through examining the community mural movement as democratic art and education, I argue that murals can be aesthetically challenging and ask profound questions at the same time. I explore the history of the modern mural movement and discuss murals that serve to educate artists and community alike. I show that community murals are expressive as well as didactic, that they stimulate community pride and commitment to justice while teaching outsiders about the struggles of traditionally oppressed people. Murals have immense capacity to expand multicultural understanding at a time when multiculturalism is central to the educational process. The community mural movement in the last thirty years has moved in a democratic direction by involving artists and neighborhood residents in collaborative public endeavors. I conclude that if the muralists and scholars examined in this article are taken seriously, it is difficult to deny that community murals are a democratic art form and that community murals have great educational potential.

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Cancienne, Mary-Paula. "If These Walls Could Talk: Community Muralism and the Beauty of Justice. By Maureen H. O'Connell. Collegeville, MN: Liturgical Press, 2012. xix + 336 pages. $39.95 (paper)." Horizons 42, no. 1 (May 21, 2015): 209–10. http://dx.doi.org/10.1017/hor.2015.33.

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Montevecchio, Arlene F. "If These Walls could Talk: Community Muralism and the Beauty of Justice. By Maureen H. O'Connell. Collegeville, TN: Liturgical Press, 2012. Pp. ix + 319. Paper, $39.95." Religious Studies Review 40, no. 3 (September 2014): 144–45. http://dx.doi.org/10.1111/rsr.12148_6.

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Osorio Vergara, Felipe, José David Chalarca Suescum, and Luis Emmanuel Zapata Bedoya. "Incidencia de los murales en la reapropiación del territorio en el municipio de San Carlos (Antioquia) entre 2009 y 2019." Revista Indisciplinas 6, no. 11 (August 30, 2020): 67–79. http://dx.doi.org/10.24142/indis.v6n11a5.

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En este artículo se presenta al municipio de San Carlos, oriente del departamento de Antioquia, como caso de reapropiación territorial de los sitios, que eran reflejo del pasado violento que vivió dicho municipio durante el conflicto armado. Los muros, que antes eran usados por los actores armados para intimidar y amenazar, fueron resignificados mediante la práctica del muralismo para recuperar los lazos de los habitantes con su entorno. Los ciento cuatro murales que hay en el área urbana y rural de la localidad se han convertido en referente del turismo de memoria, y han aportado a diluir el estigma de pueblo violento atribuido a esta localidad antioqueña.

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Goulding, Stephen, and Amy McCroy. "Propagandistic Atavism in Post-conflict Northern Ireland: On Riots As Discursive Events." Tripodos, no. 51 (January 27, 2022): 85–107. http://dx.doi.org/10.51698/tripodos.2021.51p85-107.

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In Northern Ireland (NI), riots are frequently employed by communities as a means of voicing political discontent. In the post-conflict era particularly, NI has witnessed a growing pattern of (reactionary) riots enacted by marginalised communities who feel increasingly disenfranchised. Yet, this communicative capacity of riots remains largely unsung in the literature on political communication in NI. Significantly, such marginalised groups remain side-lined in NI’s public sphere in order to stabilise power-sharing arrangements. Historically, through state-censorship imposed during NI’s political conflict, “the Troubles”, such peripheral status impelled marginalised movements to utilise alternative media practices (e.g., political muralism) to draw attention to their agendas (Rolston, 1991, 2003; Hoey, 2018). In the post-conflict era, however, these marginalised actors are increasingly instrumentalising riots as publicly performed spectacles to publicise their political grievances. The loyalist riots of spring 2021 stand out as one such case study, wherein a marginalised community utilised a riot as a mediatised public platform to disseminate messages to external audiences that, up until then, had been inattentive to the concerns of loyalism. In lieu of the above, the following article’s objectives are two-fold: firstly, we expound a conceptual understanding of riots as “discursive events” before presenting an analytical instrument capable of analysing riots in this light. Secondly, relying on primary data, we apply this framework in an analysis of a case study of the 2021 loyalist riots in NI. Beyond demonstrating the expediency of discursive approaches in the analysis of riots, the findings of our case study illuminate the strategic, propagandistic and instrumental dimensions of the 2021 loyalist riots which research has so far neglected.

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De Miguel-Molina, María, Virginia Santamarina-Campos, Blanca De Miguel-Molina, and María del Val Segarra-Oña. "Creative cities and sustainable development: mural-based tourism as a local public strategy." Dirección y Organización, no. 51 (December 1, 2013): 31–36. http://dx.doi.org/10.37610/dyo.v0i50.429.

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Creative locations become a key element of public regeneration strategies and develop innovative services based on intellectual proper ty. Some communities that have chosen to develop their tourism potential through the use of murals have improved their local development in a sustainable way, thus meeting a need expressed by tourists to create a more active experience with an opportunity for the destination to embed experiences in the locality. In this study, which was carried out as part of an international cooperation research project with Uruguay, we have explored whether Uruguayan mural art may be a way for Uruguayan towns to develop sustainable, creative, mural-based tourism. We used a qualitative content analysis, through in-person interviews, and found that its potential has not been exploited due to the lack of an organized public strategy.Keywords: creative cities, mural art, local sustainable development, mural-based tourism.Ciudades creativas y desarrollo sostenible: turismo basado en el arte mural como estrategia pública localResumen: Las localidades creativas son un elemento clave para el impulso de estrategias de regeneración pública y de creación de servicios innovadores basados en la propiedad intelectual. Algunas comunidades que han optado por desarrollar su potencial turístico a través del arte mural han mejorado su desarrollo local de manera sostenible, uniendo la necesidad de los turistas de vivir una experiencia más activa con la oportunidad de incluir en esas experiencias a la localidad. En este estudio, llevado a cabo en el marco de un proyecto de investigación de cooperación internacional con Uruguay, analizamos si el arte muralista uruguayo podría ser una vía para las localidades uruguayas de desarrollar un turismo sostenible y creativo. Para ello hemos realizado un análisis cualitativo del contenido de diversas entrevistas observando que dicho potencial no ha sido explotado debido a la falta de una estrategia pública organizada.Palabras clave: ciudades creativas, arte mural, desarrollo local, turismo basado en el muralismo.

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