Showing papers on "Mural published in 2012"
TL;DR: In this article, various examples of the use of the stimulated infrared thermography to help restore mural paintings are presented, including the possibility of in situ detection of detachments in different mural paintings.
Abstract: In this work, various examples of the use of the stimulated infrared thermography to help restore mural paintings are presented. First, the principles of this technique are expounded. Then, examples of devices used for the study are described. Finally, we show the possibility of in situ detection of detachments in different mural paintings: “Saint Christophe” belonging to the “Campana” collection in the “Louvre”, painted walls in the “Saint Florentin” church in “Bonnet”, painted ceilings in the “Saint-Savin-sur-Gartempe” abbey (classified in the UNESCO world heritage), and the “Cocteau” frescoes in the “Saint Pierre” vault in “Villefranche-sur-Mer”.
61 citations
Book•
17 Apr 2012
TL;DR: Coffey et al. as discussed by the authors explored the relationship between Mexico's mural art and its museums and argued that those gendered representations reveal a national culture project more invested in race and gender inequality than in race-and class equality.
Abstract: A public art movement initiated by the postrevolutionary state, Mexican muralism has long been admired for its depictions of popular struggle and social justice. Mary K. Coffey revises traditional accounts of Mexican muralism by describing how a radical art movement was transformed into official culture, ultimately becoming a tool of state propaganda. Analyzing the incorporation of mural art into Mexico's most important public museums—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum—Coffey illuminates the institutionalization of muralism and the political and aesthetic issues it raised. She focuses on the period between 1934, when Jose Clemente Orozco and Diego Rivera were commissioned to create murals in the Palace of Fine Arts, through the crisis of state authority in the 1960s. Coffey highlights a reciprocal relationship between Mexico's mural art and its museums. Muralism shaped exhibition practices, which affected the politics, aesthetics, and reception of mural art. Interpreting the iconography of Mexico's murals, she focuses on representations of mestizo identity, the preeminent symbol of postrevolutionary Mexico. Coffey argues that those gendered representations reveal a national culture project more invested in race and gender inequality than in race and class equality.
41 citations
TL;DR: In this article, the authors focus on the long history of mural painting in Northern Ireland and specifically on the changing relationship between mural painting and the state in various eras, and critically assess the outcome of the state's Re-imaging Communities Programme.
Abstract: This article focuses on the long history of mural painting in Northern Ireland and specifically on the changing relationship between mural painting and the state in various eras. Originally unionist murals were state-friendly, painted as part of the annual celebration of King William’s victory at the Battle of the Boyne in 1690. Later, murals were seen as beyond the pale, each for their own reasons; republican murals supported the armed struggle of the IRA against the state, while loyalist murals glorified the campaign of the loyalist paramilitary groups to terrorise the nationalist population. As the peace process took hold in Northern Ireland, republicans began to transform their own images; loyalists found this task more problematic, leading the state to intervene to fund the re-imaging of murals, thereby seeking to remove all offensive and military iconography. The article ends by critically assessing the outcome of the state’s Re-imaging Communities Programme.
28 citations
Book•
01 Jan 2012
TL;DR: Greeley as discussed by the authors discusses the origins, development, ideologies, and national responses of Mexican Muralism and their relationship with the state in post-revolutionary Mexico, including the state's role in the Muralist movement.
Abstract: List of Illustrations Acknowledgments Introduction Robin Adele Greeley Part 1. Mexican Muralism: Beginnings, Development, Ideologies, and National Responses 1. Muralism and the State in Post-Revolution Mexico 1920 1970 Robin Adele Greeley 2. Los Tres Grandes: Ideologies and Styles Alejandro Anreus 3. All Mexico on a Wall": Diego Rivera's Murals at the Ministry of Public Education Mary K. Coffey 4. Siqueiros' Communist Proposition for Mexican Muralism: A Mural for the Mexican Electricians' Syndicate Jennifer A. Jolly 5. Jose Clemente Orozco's Use of Architecture in the Dartmouth Mural Leonard Folgarait 6. Murales Estridentes: Tensions and Affinities between Estridentismo and Early Muralism Tatiana Flores 7. Young Muralists at the Abelardo L. Rodriguez Market Esther Acevedo 8. Nietzsche contra Marx in Mexico: The Contemporaneos, Muralism, and Debates over Revolutionary" Art in 1930s Mexico Robin Adele Greeley Part 2. Muralism's Hemispheric Influences 9. Siqueiros' Travels and Alternative Muralisms" in Argentina and Cuba Alejandro Anreus 10. Social Realism and Constructivist Abstraction: The Limits of the Debate on Muralism in the Rio de la Plata Region (1930 1950) Gabriel Peluffo Linari 11. Mexican Muralism in the United States: Controversies, Paradoxes, and Publics Anna Indych-Lopez Part 3. Contemporary Responses to Muralism 12. Murals and Marginality in Mexico City: The Case of Tepito Arte Aca Leonard Folgarait 13. Radical Mestizaje in Chicano/a Murals Holly Barnet-Sanchez 14. An Unauthorized History of Post Mexican School Muralism Bruce Campbell Part 4. Chronology and Primary Texts Chronology Alejandro Anreus with Holly Barnet-Sanchez and Bruce Campbell Primary Texts edited by Alejandro Anreus Manifesto of the Syndicate of Technical Workers, Painters and Sculptors (Mexico City, 1923) Jose Clemente Orozco, New World, New Races and New Art" (New York, 1929) Diego Rivera, The Revolutionary Spirit in Modern Art" (Baltimore, 1932) David Alfaro Siqueiros, A Call to Argentine Artists" (Buenos Aires, 1933) David Alfaro Siqueiros, Toward a Transformation of the Plastic Arts" (New York, 1934) Jose Clemente Orozco, Orozco Explains' " (New York, 1940) Bibliography Contributors Index
19 citations
TL;DR: This article explored the relationship between community mural making and art therapy as social action, and their critique of dominant cultural narratives and assumptions, and explored an understanding of the relationships between the two.
Abstract: Through a hermeneutic phenomenological study of interview data from 8 community artists, the author sought to discover commonalities and differences in the worldviews and philosophies of self that underlie community mural making as they relate to art therapy as social action and art therapy practice within a traditional Western cultural framework. Using qualitative methodology, the author explored an understanding of the relationships—metaphorical, philosophical, and actual—between community mural making and art therapy as social action, and their critique of dominant cultural narratives and assumptions. Art therapists may align their work with larger social and cultural purposes through awareness of cultural paradigms and the underlying philosophies that drive them.
17 citations
TL;DR: The Untitled series of graffiti-painted walls along a quarter-mile stretch of retaining walls on Sunset Boulevard in the Echo Park and Silver Lake neighbor hoods of Los Angeles as discussed by the authors depicts cartoonish chickens riding bicycles and small, masked Zapatista characters raising their fists in playful defiance.
Abstract: Los Angeles: Untitled is a series of murals running along a quarter- mile stretch of retaining walls on Sunset Boulevard in the Echo Park and Silver Lake neighbor hoods of Los Angeles. Painted by graffiti writers Cache and Eye One, the murals depict cartoonish chickens riding bicycles and small, masked Zapatista characters raising their fists in playful defiance. Various incarnations of the central mural have depicted smaller chickens playing ball and reading books, Zapatistas gleefully stopping the wheels of industrial production, the LA skyline, the Hollywood Sign, and cat characters painted by recent collaborator Atlas from the CBS (City Bomb Squad) graffiti crew. Visually arresting, they are also, in the words of Department of Cultural Affairs (DCA) Murals Manager Pat Gomez, “technically vandalism.” 1 However, since no one has complained about the murals to Gomez’s office or to the Department of Building and Safety that oversees the public walls on which they are painted, no action has been taken to paint over the murals or criminalize the artists who painted them. Given their large size and placement on a busy stretch of Sunset Boulevard, these unsanctioned “graffiti- murals” appear to be legally produced.2 And because they are a welcomed alternative to the “tagging” that had previously covered the walls, they have been tacitly tolerated, if not outright welcomed, by law enforce
16 citations
01 Nov 2012
TL;DR: Collaboration, inclusion, and empowerment: A Life Skills Mural as discussed by the authors is a life skills mural with a focus on inclusion, empowerment, and collaboration in art education.
Abstract: (2012). Collaboration, Inclusion, and Empowerment: A Life Skills Mural. Art Education: Vol. 65, No. 6, pp. 50-53.
13 citations
TL;DR: The deterioration of mural paintings in Takamatsuzuka Tumulus was not only caused by microorganisms like fungi, but also by spalling of lime plaster as discussed by the authors, and the deterioration of the mural paintings was attributed to spalling lime plaster.
Abstract: The deterioration of mural paintings in Takamatsuzuka Tumulus was not only caused by microorganisms like fungi, but also by spalling of lime plaster. Following excavation of mural paintings, the em...
12 citations
13 Dec 2012
TL;DR: In this article, the authors investigated the mural paintings made by the PCtP/MrPP in the Lisbon Metropolitan area, in the aftermath of the 1974 Portuguese revolution, and found that these paintings translated the visual ideology of social transformation and revolution underlying its politics.
Abstract: This article investigates the mural paintings made by the PCtP/MrPP in the Lisbon Metropolitan area, in the aftermath of the 1974 Portuguese revolution. Drawing on erwin Panofsky’s iconographic method of interpretation, murals are explored from an integrated landscape approach that combines two perspectives: landscapes as representations and landscapes as material artifacts. findings suggest that the PCtP/MrPP mural paintings translated the visual ideology of social transformation and revolution underlying its politics. furthermore, they also crystallized performative revolutionary landscapes, in the sense that they materialized acts of collective artistic citizenship, in which the social space of mural production played a fundamental role.
8 citations
Book•
01 Jan 2012
TL;DR: In the late 19th century in northern Spain and southern France prehistoric mural paintings and engravings were discovered as discussed by the authors, and they were used to investigate epistemic questions in the early 20th century.
Abstract: In the late 19th century in northern Spain and southern France prehistoric mural paintings and engravings were discovered. Cave Art, Perception and Knowledge inquires into epistemic questions relat ...
8 citations
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TL;DR: Jidariyya (Mural) by Mahmoud Darwish was intended as his last poetic work, following a brush with death during heart surgery in 1999 as discussed by the authors, and is in a sense his testament.
Abstract: Jidariyya (Mural) by Mahmoud Darwish was intended as his last poetic work, following a brush with death during heart surgery in 1999. Mural combines many strands of Darwish's poetry and is in a sense his testament. The entire collection is one long poem with many movements. It wavers between the lyrical impulse and the epical grandeur of a national classic. This essay analyses the verse genres of epic and lyric in terms of content, form and reception, and the fluidity of literary genres where artistic transgression of conventions is valued. Then it explains how and why Mural, while aspiring to be an epic, stops short of one, mixing lyrical reflections with a discontinuous verse narrative. This poetic strategy is not only a poetic choice of a hybrid form, but also the state of mind of the ailing poet caught between life and death. It further reflects the state of Darwish's homeland where Palestine paradoxically is and is not, caught between being and non-being. Epics celebrate national achievements, but as...
01 Jan 2012
TL;DR: Art in the Streets as mentioned in this paper was a show of the most prolific graffiti writers and street artists from the 1960s to the early 1990s in the US, and the removal of an artwork by the Italian artist BLU caused controversy within the street art world itself.
Abstract: My paper discussed two controversies surrounding the exhibition Art in the Streets, which was shown at the MOCA in Los Angeles April 17th - August 8th 2011. One focal point was the reaction of conservative American commentators to the exhibition in general; another the reactions of agents within the street art world to the removal of one specific artwork. Contrary to the session chairs’ suggestion that there is a tendency for art museums to “avoid contentious topics”, MOCA actively decided to bring non-institutional art into the museum, creating a show of what the curators deemed the most prolific graffiti writers and street artists from the 1960s onward. The show did not sit well with American conservative commentators. For instance, contributing editor of City Journal Heather Mac Donald called it a “shallow, abominably irresponsible show” which “assiduously ignores the moral and civic issues raised by any glorification of graffiti”. There is an interesting debate on the role of the museum here: On the one hand, it could be seen as reprehensible for museums (as socially responsible institutions) to sanction as art what is commonly perceived as vandalism. On the other hand, it could be argued that MOCA is living up to its role as a museum by engaging with the public and problematising our commonsense understanding of art and society through a conscious use of controversy. Apart from conservative criticism of the show, the removal of an artwork by the Italian artist BLU also sparked debate within the street art world itself. The removal has been seen as a failure to bring a non-institutional art form into the institutional confines of the museum. However, it could be argued that the controversy provided the mural, the artist and Art in the Streets with more attention among a core audience of street art aficionados than might otherwise have been forthcoming. BLU is well-known for his political murals, and it is hard to believe that the curators were unaware of this when they assigned a high-profile outer wall to him. It is unlikely that the mural controversy was a conscious construction used as a means to increase attention for Art in the Streets. However, the fact remains that it did raise the profile of the show within the street art world, and that it here sparked a debate on institutionalisation, gentrification, commercialisation and the very nature of street art, which in itself can be seen as one of the most significant outcomes of the exhibition. (Less)
Patent•
12 Dec 2012
TL;DR: In this paper, a high-imitation copying method for a Chinese classical mural is described. But the copying method is limited to a single image and cannot be applied to a large number of paintings.
Abstract: The invention relates to a high-imitation copying method for a Chinese classical mural and belongs to the technical field of decoration. The high-imitation copying method comprises the following steps: taking a sandy drawing material, utilizing a digital technology to collect an image digital data of a copied original mural; adding water and gelatin into clam meal, thereby preparing a clam meal base material; uniformly coating or brushing the clam meal base material on the surface of the sandy drawing material, naturally drying, and painting a pattern of the original mural by using a color spraying machine, thereby preparing a base image; repairing; and spraying a natural resin on the surface. A classical mural copied according to the method provided by the invention has the advantages: all details and figure sizes are accurate; the clam meal base material is adopted, so that the copied classical mural has ultrahigh chemical physical stability and is never faded; a traditional mineral pigment has a color developing function, so that the copied classical mural is more bright and colorful; the copied classical mural can be hung on a wall, rolled and stored in a box; the copied classical mural has quality, color, texture and unique frame effect of a sandy picture which are almost as same as those of the original mural; and the service life of the copied classical mural is far more than that of the classical mural.
TL;DR: The design of the mural paintings can be dated back to the beginnings of the first medical college at Chakpori, and it can be concluded that the physician and teacher Tsangmen Yeshe Zangpo's written instructions served as the template for the Labrang murals.
Abstract: In the inner courtyard of the medical college at Labrang Monastery the visitor finds 19 murals depicting the contents of the first two parts of the Four Tantras (Gyushi), the well-known treatise on Tibetan medicine. The origins of these murals raise questions about a number of substantial differences in style and structure of the ‘tree metaphor’ that exist between them and the famous medical thangka illustrations based on the important commentary on the Gyushi, the Blue Beryl. The physician and teacher Tsangmen Yeshe Zangpo was the first principal of the medical college at Labrang Monastery. But whether he also created this particular tree metaphor on the murals at Labrang is uncertain. A text written by the Lhasa-based scholar, Lozang Chodrak, explains the structure of the second part of the Gyushi in such a similar way, that it can be concluded that his written instructions served as the template for the Labrang murals. This reveals that the design of the mural paintings, which have been repainted at least two times, can be dated back to the beginnings of the first medical college at Chakpori.1
01 Jan 2012
TL;DR: A 15m-long frieze of mounted knights, over 15m long, dominates the nave of the Church of All Saints, Claverley, Shropshire as mentioned in this paper.
Abstract: A frieze of mounted knights, over 15m long, dominates the nave of the church of All Saints, Claverley, Shropshire. It is part of an extensive mural scheme from the first quarter of the thirteenth century. For the first time the status of Claverley as a Royal Chapel is recognized and the royal and crusading character of the imagery is discussed. The emperors Constantine and Heraclius are identified as part of the Exaltation of the Holy Cross subject on the north wall, and the Holy Cross is suggested as the unifying theme, pre-dating the Florentine mural cycle by Agnolo Gaddi by some 170 years. Claverley is also shown to have the only medieval mural of Roland, hero of the Chanson de Roland, to survive in situ. The historical background of the early years of Henry iii is examined and the possible role of Ranulf de Blondeville, earl of Chester, in commissioning the frieze is considered.
TL;DR: In this article, the authors explore the representational implications of an ongoing project along Belfast's main peace wall to transform the loyalist side of the barrier into an outdoor art gallery, and suggest that the wall's art is not necessarily received or experienced by the Protestant community in the manner it is intended, it broadly serves as a touchstone by which narratives of conflict and communal ties are activated, and the neighbourhood's evolving identity as an element in a new tourist-oriented economy is brought to the fore.
Abstract: This article explores the representational implications of an ongoing project along Belfast’s main peace wall to transform the loyalist side of the barrier into an outdoor art gallery. Drawing in part on the interplay between social production and social construction (Low 2000) in the analysis of public space, the wall’s art is assessed as one means through which both elites and ordinary people inscribe meaning in the landscape. Particular attention is focused on a recently added mural, created as part of a European Union-funded initiative to promote ‘shared cultural space’, and the identity this promotes for the local population. Using ethnographic data gathered through participant observation as well as interviews with policymakers, artists, community stakeholders and residents, I suggest that while the wall’s art is not necessarily received or experienced by the Protestant community in the manner it is intended, it broadly serves as a touchstone by which narratives of conflict and communal ties are activated, and the neighbourhood’s evolving identity as an element in a new tourist-oriented economy is brought to the fore.
01 Jan 2012
Dissertation•
01 Jun 2012
TL;DR: In this article, the authors build their analysis on another work, the triptych War (1929-1932), painted in Europe, following the First World War, by the German artist Otto Dix.
Abstract: The Iraqi army entered the border town of Khoramshahr, in Iranian territory, on September 22, 1980, triggering a war that lasted for eight years The Khoramshahr mosque houses a mural painted by Nasser Palangi (born 1957) after the liberation of the city in 1982 This work is becoming the pictorial support of a pilgrimage I seek to understand—through its modes of elaboration, its contents and the echo that the painting still receives in Iran today—what this war painting shows To this end, I build my analysis on another work, the triptych War (1929–1932), painted in Europe, following the First World War, by the German artist Otto Dix
05 Nov 2012
TL;DR: A framework to provide cross-modal semantic linkage between semantically annotated content of a repository of Indian mural paintings, and a collection of labelled text documents of their narratives is proposed, based on a multimedia ontology of the domain.
Abstract: In this paper, we propose an archiving scheme for heritage mural paintings. The mural paintings typically depict stories from folk-lore, mythology and history. These narratives provide content-based correlations between different pieces of art. Our e-heritage scheme for archiving the mural paintings is based on an ontology which captures the background knowledge of these narratives. Media features and patterns derived from the mural content are used to enrich the ontology with multimedia data. We have used the multimedia web ontology language as our ontology representation scheme, as it allows perceptual modelling of domain concepts in terms of their media properties, as well as reasoning with uncertainties. Besides the mural content and its knowledge, the ontology also helps encode other aspects of the mural paintings like their painting style, color, physical location, time-period, etc., which are important parameters of their preservation. We propose a framework to provide cross-modal semantic linkage between semantically annotated content of a repository of Indian mural paintings, and a collection of labelled text documents of their narratives. This framework, based on a multimedia ontology of the domain, helps preserve the cultural heritage encoded in these artefacts.
TL;DR: In this paper, the authors tried to find cultural and aesthetic values for using different techniques and motifs for wall decoration in contemporary period and they tried to understand the influence of Mughal art culture on career, employment, livelihood and social innovation.
Abstract: Mughals are not required to any introduction. Their glory, living style, beautiful architecture with its unique decoration is known to all. Babur was the founder of Mughal dynasty. They made very attractive architecture in India. The architectural decorations reflect the taste, interest, living- standard style and customs of Mughals. These monuments are world famous for its beautiful wall decoration. The contemporary mural decoration has its roots in Mughal art. Inlay, painting and stucco decoration in Mughal era has a unique place in this content. Not only Indians but many foreigners are also impressed from this art. In present time this art has been used on the facade of modern architecture. Before Mughals, Indian architecture was colourless. This contribution goes to the Mughals who brought new techniques with beautiful colours in India. This paper is an attempt to find cultural and aesthetic values for using different techniques and motifs for wall decoration in contemporary period. The objective of the study is to have a better understanding of the influence of Mughal art culture on career, employment, livelihood and social innovation. Apart from the above objectives, this paper tries to find out the answer of several questions, like why do foreign delegates are attracted towards Mughal art and culture. Why do different hotels and restaurants want to resemble with Mughal art? What is the social function of artistic and cultural creativity? On the whole this paper is based on Mural decoration during Mughal era. By the end of this paper it will be clear that what type of mural decoration was used in Mughal era, its history, style, aesthetic pleasure, importance and impact on contemporary art and architecture. The study concludes that the mural decoration in present time has its root from Mughal (Persia).
TL;DR: The Rijksmuseum Amsterdam will re-open in 2013 after extensive renovations, and one of the leading principles of the museum's restoration has been the partial revival of the 1885 interior, which contained paintings by the Viennese Georg Sturm installed as murals.
Abstract: The Rijksmuseum Amsterdam will re-open in 2013 after extensive renovations. One of the leading principles of the museum's restoration has been the partial revival of the 1885 interior, which contained paintings by the Viennese Georg Sturm installed as murals. In strong colors, these paintings celebrate national history, civic virtue, and the glory of Dutch art. Sturm's paintings constitute the culmination of nineteenth-century nationalistic decoration schemes in the Netherlands, in which a single, uniform collective memory of national history was taken for granted. Soon after 1885, however, the paintings were criticized, not only because of changing ideas about museum aesthetics, but also because of a growing disagreement as to what constituted national glory, especially among Catholics and socialists. But though critical of nineteenth-century ideas, these same groups appreciated the didactic possibilities of Sturm's wall paintings and commissioned mural paintings elsewhere with different historic...
TL;DR: In this paper, the authors place Rufino Tamayo's mural Dualidad within the historical framework of the 1960 decade, when State nationalism is redefined in Mexico and a multiplicity of discourses and works of art related to the prehispanic cultures of Mexico, proliferates.
01 Jan 2012
Book Chapter•
01 Jan 2012
TL;DR: A case study examines a mural project, Family Interrupted, completed by artist Eric Okdeh and the Philadelphia Mural Arts Program in 2012 as mentioned in this paper, which gave voice to the impact of incarceration not only on inmates but on their spouses, partners, parents, children and communities.
Abstract: This case study examines a mural project, Family Interrupted, completed by artist Eric Okdeh and the Philadelphia Mural Arts Program in 2012. The project gave voice to the impact of incarceration not only on inmates but on their spouses, partners, parents, children and communities. From letters left in inmate designed and fabricated mailboxes, to email, tweets and spoken word, messages found their way into the complex imagery, text and Quick Response Codes embedded into the mural design. The process and product of creating the 140foot mural became the basis for the inaugural exhibition of the newly renovated Philadelphia History Museum and its Community Voices Gallery. Both the project and its re-casting for the Museum's audience proved valuable lessons in authority, interpretation and collaboration.
08 Jul 2012
TL;DR: A general overview of this type of painting, together with an analysis of the content and influence of Mexican art on Venezuela during the XX century is presented in this article, where the authors offer a comprehensive overview of the history of large-scale painting in Mexico.
Abstract: The author has deliberately shied away from the term “mural painting” or
“muralism” in order to discuss Venezuelan art which, since the arrival of
the Spaniards, has been expressed on walls, roofs and vaults, on surfaces
ranging from whitewashed temple walls to mosaics, reliefs or stained-glass
windows. This practice also includes covering walls with wallpaper,
hangings, pictures or paper, despite only containing geometric or floral
motifs. Roldan Esteva-Grillet has preferred to utilize the term “mural
decoration” for a simple reason: the phenomenon of large-scale painting
designed to cover architectural spaces, or mural painting, has a social
nature and historical connotation that differ considerably from those
characterizing Mexico since pre-Hispanic times. This article offers a
general overview of this type of painting, together with an analysis of the
content and influence of Mexican art on Venezuela during the XX century.