Showing papers on "Mural published in 2002"

A Second Look

Abstract: Rise of the Picture Press: Photographic Reportage in Illustrated Magazines 1918-1939 International Center for Photography New York, New York March 27 - June 16 "Rise of the Picture Press: Photographic Reportage in Illustrated Magazines 1918-1939," held at the International Center for Photography (ICP) in New York City, took as its subject large-format illustrated magazines produced in Europe and the United States between the World Wars, including examples of well-known publications such as Harp Harper's Weekly, Life, Picture Post, Match and Vu; as well as lesser known publications such as USSR In Construction, Let's Produce!, BIZ (Berliner Illustrirte Zeitung), Muncher Illustrirte Presse, Voila, Lilliput, Look and Regards. Work by several now-canonized art photographers appeared in the exhibit, including Bill Brandt, Brassai, Alexander Rodchenko, El Lissitzky, Andre Kertesz, John Heartfield, Man Ray, Margaret Bourke-White and Robert Capa, to name just a few. However, the work of these photographers blended relatively smoothly into the larger context of the exhibit, which is to say that name-recognition was, for the most part, sacrificed to the social, historical and formal contribution of illustrated magazines. In fact, the exhibition organizers, Christopher Phillips and Venessa Rocco, and the exhibition designers Julie Ault and Martin Beck highlighted the collaborative nature 'of illustrated magazines by defining the different roles played by photographers, writers, editors, layout designers and various press agencies in determining the look and content of the end product. They also included wall text showcasing Stephan Lorant and Henry Luce, the most prominent and influential editor and publisher, respectively, of illustrated magazines at the time. The most provocative example highlighting the collaborative nature of magazine work, however, was the wall-sized mural of marked-up contact sheets from a photo-essay entitled "How the Picture Post is Produced" that ran on December 24, 1938. The enlarged contact sheets show editor Stephan Lorant sorting through newswire photographs at his desk; men and women working the printing presses, collating the pages and finally bundl ing up the finished product. Next to the wall mural, in a small case, the issue in which the story originally appeared was opened to reveal the first two-page spread of the essay, in which one of the pictures of Lorant, circled in yellow on the wall mural (and thus probably selected by Lorant himself), leads the story. This kind of innovative exhibition design was unfortunately not consistent throughout the entire show. Most ineffective was a large section of the exhibit in which framed spreads from the magazines jutted out from the wall. Some of these displays appeared beneath a row of images at eye-level, placed flush with the wall, but others were placed above those at eye-level, making the images, and especially the print, barely legible. At first I dismissed this slight annoyance and vowed to have my eyesight checked until I noticed several other visitors experiencing the same difficulty. A quibble hardly worth mentioning except that it raised questions about how one might ideally display such printed matter without doing irreparable damage to the essential character and context of the magazine format. This commentary is not meant to diminish the accomplishment of "Rise of the Picture Press," for it takes on a body of material often neglected by museums and galleries. While there have been several major exhibits in the last five years focusing on photojournalism or the work of particular photojournalists, the material selected for this exhibit is different. Primarily because the photographs on display are shown in their original context of the magazine, rather than reprinted and framed as single images hung separately on the wall without text, save the typical wall-label identifying artist, title and date. …

Muralism and the People: Culture, Popular Citizenship, and Government in Post-Revolutionary Mexico

Abstract: This paper examines the history of Mexican muralism within the governmental development of a national cultural infrastructure after the Revolution of 1910. Treating mural art as a technical apparatus of popular communication, the paper argues for a more complex understanding of cultural communication through analysis of the institutional apparatuses of heritage as discursive sites of popular citizenship. In addition, this paper theorizes and historicizes Mexican state formation through the insights of Michel Foucault's essay on \ldblquote Governmentality\rdblquote for the purpose of providing a more nuanced theory of the relationship between culture, power, and the people

Making Merit, Making Art: A Thai Temple in Wimbledon

Abstract: Sandra Cate's pioneering ethnography of art-making at Wat Buddhapadipa, a Thai Buddhist temple in Wimbledon, England, explores contemporary art at the crossroads of identity, authority, and value. Between 1984 and 1992, twenty-six young Thai artists painted a series of temple murals that continue to attract worshippers and tourists from around the world. Their work, both celebrated and controversial, depicts stories from the Buddha's lives in otherworldly landcapes punctuated with sly references to this-worldly politics and popular culture. Schooled in international art trends, the artists reverse an Orientalist narrative of the Asian Other, telling their own stories to diverse audiences and subsuming Western spaces into a Buddhist worldview. In her investigation of temple murals as social portraiture, Cate looks at the ongoing dialectic between the "real" and the "imaginary" as mural painters depict visual and moral hierarchies of sentient beings. As they manipulate indigenous notions of sacred space and the creative process, the Wat Buddhapadipa muralists generate complex, expansive visions of social place and identity.

Facultatively oligotrophic bacteria in Roman mural paintings

Abstract: 6 pages, 5 figures, 4 tables, 26 references. Proceedings of the 5th International Symposium, celebrado del 5-8, abril, 2000, en Sevilla, Espana.

El Pueblo : the historic heart of Los Angeles

Abstract: El Pueblo de Los Angeles was founded in 1781 as a Spanish colony by settlers from present-day Mexico, as well as settlers of Indian, African and European descent. Its story represents a microcosm of the city's multiethnic history and heritage. Capital of Mexican California in the 1840s, the town grew with the influx of Anglo-Americans, Europeans and Chinese later in the 19th century. As Los Angeles blossomed into a modern metropolis, the old pueblo fell into disrepair. It was revitalized with the opening in 1930 of the Mexican marketplace at Olvera Street, which reflected popular romantic notions of old California. In 1953 the historic district was made a California state park; it is now a department of the city of Los Angeles. Illustrated in colour throughout, this volume combines text with historical paintings, archival photographs and newly-commissioned photography to create a portrait of the pueblo, its history, and its heritage. Initial chapters survey life in the Spanish, Mexican and early American periods. The work then discusses the transformation of Olvera Street and tells the story of the Siqueiros mural "America Tropical", a remarkable tale of art, ideology and politics in 1930s Los Angeles. The final chapters tour the pueblo's historic buildings and discuss initiatives for preserving its rich heritage, including the collaboration between the Getty Conservation Institute, El Pueblo Historical Monument, and others to conserve "America Tropical".

An Analysis on The Materials of Murals in Potala Palace、 Norbuglinkha And Sa-Skya Monastery, Tibetan

Abstract: This article are mainly introduce the existing condition of murals at Potala Palace 、Norbuglinkha And Sa-Skya Monastery in Tibetan and the types of disaster exist there、the structure layers of the temple wall and the plaster as well as the construction ways and technical skill of mural making.

The Importance of Oriki Yoruba Mural Art

Abstract: In visual art, inspiration and concept are the driving forces in the execution of a particular art piece, be it in the Fine or industrial Art. Yoruba traditional mural has been executed in most cases in veneration of the and most of the products are for the Oba as well as for rich or influential individuals. Despite the painters claim to have been moved or inspired by the spiritual powers of the in the execution of such murals, Or cognomen has been discovered to be a very important driving force in these paintings. This paper tries to examine the importance and impact of orgin the execution and interpretation of selected Yoruba traditional murals.

"Something of his Own Soil": Jewish History, Mural Painting, and Bernard Zakheim in San Francisco

Abstract: When Franklin Delano Roosevelt agreed to support artists struggling to make a living during the Great Depression, arts administrators in San Francisco received funding for a major mural project in which Jewish artist Bernard Zakheim (1896-1985) would participate. Zakheim was one of approximately twenty-five artists commissioned to paint the interior of Coit Tower, the large monument constructed atop Telegraph Hill in 1932.-33 with funds bequeathed to the city by Lillie Hitchcock Coit. These murals have traditionally been viewed in the context of San Francisco labor relations during the early 1930s. All during the spring of 1934, while the muralists were painting, unemployed longshoremen and their union were threatening to strike, and by early summer they had brought waterfront commerce to a grinding halt. Several of the murals in Coit Tower contain references to labor, the union, and far-left political ideals, and San Francisco newspaper writers and later scholars have carefully focused on these details in their discussions of the works. What has not been previously recognized is the ethnic content, specifically the Jewish content, that is also apparent in the mural cycle because of Zakheim's participation.2 Zakheim's contribution to the Coit Tower project (figure 1), a representation of the main reading room in a public library, played a key role in the controversy over political imagery, especially after the editors of the San Francisco Examiner took the hammer and sickle—the symbol of the Communist Party—from another artist's mural in the tower and placed it above a reproduction of Zakheim's painting. The doctored

Evidence for Thailand's Missing Social History: Thai Women in Old Mural Paintings

Abstract: With the burning of central Thailand's capital city, Ayudhya, in 1767 and the destruction of virtually all the records kept there by the centralized bureaucracy of that kingdom, and with the Burmese occupation of the north and the devastating years of fighting around 1800 to drive them out, there is virtually no written record left at all for Thailand prior to the nineteenth century. There is a little material on rulers and some of their activities, but for social history the record is nearly blank. Is there then no way to write a social history or a gender history for Thailand?

Mike Alewitz, Labor Muralist

Abstract: The reappearance of the mural marks the return of painting from the museum to its public role in the human community. The work of muralist Mike Alewitz and the collective character of his projects draw upon centuries or eons of collaborative activity, from cave paintings to Michelangelo, the Dada and Surrealist movements to political graffiti. Alewitz's approach is ideally suited to the postmodern and post-state socialist era when everything rebellious must be created anew and when "culture" along with "labor" is urgently needed to salvage a world from eco-disaster, perpetual war, and the plundering of human possibility. The art of Alewitz and Co. (with the Co. constantly changing) has already been part of labor's recovery from decades of poor leadership, part of the struggle for democratic unions in a changing global marketplace and with a rapidly changing workforce.This article can also be found at the Monthly Review website, where most recent articles are published in full.Click here to purchase a PDF version of this article at the Monthly Review website.

Creating room : Canadian women's mural painting and rereadings of the public and the private

Abstract: Feminist theorists have used the literal and symbolic meanings of public and private spaces as a framework for understanding the marginalization of women within social structures. Interpreting mural paintings by Canadian women as incursions into a space that is commonly seen and understood as having a limited availability allows for the explication of those works as confounding simplistic understandings of the relationships between women and space. Stringent definitions of the public necessarily cast women as victims of a system within which their experiences are, in fact, marginalized, but that also may be reread to acknowledge their contributions. Like women themselves, mural paintings hover uneasily on the boundaries of the mainstream--neither completely integrated into the art history canon, nor absolutely excluded. In addition, women have often chosen as their subjects the epic topics to which murals are customarily dedicated and which symbolize the social discourses wherein women's contributions are habitually disregarded. By choosing to participate in the construction of those discourses, women have insisted on the incorporation of their experiences. At the intersection of women/murals/public I will seek a more inclusive Canadian art history with the structure of exclusion dismantled, reexamined and reconstructed to acknowledge the contributions of women artists.

Concerning the chronology of Cimabue's oeuvre and the origin of pictorial depth in Italian painting of the later middle ages

Abstract: A study devoted to the gradual emergence of pictorial depth in Cimabue's paintings, and how it applies, together with other factors, to the understanding of their sequential chronology. The conclusions reached underscore the vast difference in Cimabue 's conservative art and the exceptional naturalism of the evolving Life of Saint Francis mural cycle lining the lower nave walls in the upper church of San Francesco at Assisi.

La ocupación francesa de Sevilla y la difusión del neoclasicismo: la decoración de la casa de los Cavaleri

Abstract: This article analises the renovation of sorne buildings in Seville in order to be occupied by high officials from the French army during the Napoleonic war. This work specially deals with sorne mural decorations made by the painter Juan Escacena in the so-called House ofCavaleri family, where General H. Gazan was living. These paintings are examined as a revival of artistic styles and they are considered as an early example of the Neo-classicism aesthetic in the city.