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As an instructor for the Yale-New Haven Teachers institute Maria Cardalliaguet Gomez-Malaga has posted the contents of her Curriculum Unit 06. 02. 01. The Idea behind a final for this class is a discussion of how Modern Mexican, Latino/a, Chicana/o art during the twentieth century turned revolutionary propaganda of the 1920s and 1930s, into a significant 20th century art form to young Chicano artists and activists. These artists developed a strong new Mural Movement that has had strong influences on the social, political and cultural development to support social activism during the 1960s.
Her curriculum enabled me to find a starting point in the development of a thesis where I believe this Art form “The Mural” is able to describe a historical picture of life from one society to another through a Painted Medium. This thesis is preliminary in scope and needs to be defined more precisely in its description of historical life, though it is a beginning or a starting point for additional research. Campbell, Bruce. Mexican Murals in times of Crisis. Tucson: University of Arizona Press. ISBN 0-8165-2239-1.
This book traces the ongoing critical contributions of mural arts to public life in Mexico to show how post-revolutionary murals have been overshadowed both by the Mexican School and by the exclusionary nature of official public arts. By documenting a range of mural practices—from fixed-site murals to mantas (banner murals) to graffiti—Bruce Campbell evaluates the ways in which the practical and aesthetic components of revolutionary Mexican muralist have been appropriated and redeployed within the context of Mexico’s ongoing economic and political crisis.
I think I can show how art can be used by public officials to influence public perception of political cause’s Author: Eva Sperling Cockcroft; Holly Barnet-Sa? nchez; Social and Public Arts Resource Center. Venice, Los Angeles, Calif. Signs from the heart : California Chicano murals Publisher: Venice, Calif. : Social and Public Art Resource Center : Albuquerque : University of New Mexico Press, 2001, ©1990 In this book the authors began as just photographers collecting of pictures of Chicano murals for a family album.
This would outgrow the picture taking phase as they discovered the social significance as these photos would become a nationwide photo documentation of powerful community based art. The book only one part of SPARC’s collection of mural slides is significant in that it helps to show the shift from Mexico to the United States as the center of mural production in the world. Art and Identity in Mexican and Chicano Social Movements by Edward J. McCaughan.
http://bss. sfsu.edu/emccaughan/art_and_identity_in_mexican_and. htm This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U. S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Young artists played a central role in projecting the public identity and agendas of powerful social movements that emerged in Mexico and among Chicanos in the United States in the 1960s.
This paper is a good starting point for me in that the issues young artists were trying to depict are described in greater detail with the inclusion of female artists in the paper with internationally born artists I feel I have the material to start a solid project. Art and social change, or is it the ability of that art to provoke change in society’s view of? A view of what? Is this racial, social, class, or cultural differences among groups of people that art changes the perceptions of? I still am faced with a question that I would like to have answered for myself!