Showing papers on "Mural published in 2019"
Book•
24 Jan 2019TL;DR: In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions as discussed by the authors, which provided crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world.
Abstract: In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond.
58 citations
TL;DR: In the baptistery of the church of Santiago de Curahuara de Carangas, built at the end of the 16th century, a complex mural painting program was executed in the last quarter of the 18th century as discussed by the authors.
Abstract: In the baptistery of the church of Santiago de Curahuara de Carangas, built at the end of the 16th century, a complex mural painting program was executed in the last quarter of the 18th century. Th...
13 citations
TL;DR: In a Montreal neighbourhood in the fall of 2013, a community mural celebrating "diversity, adversity and solidarity" was vandalized: the image of a Black woman was spray-painted white as discussed by the authors.
Abstract: In a Montreal neighbourhood in the fall of 2013, a community mural celebrating ‘diversity, adversity and solidarity’ was vandalized: the image of a Black woman was spray-painted white. In this pape...
10 citations
TL;DR: In this article, an art therapist facilitated mural within a refugee camp in Greece is explored, where a "psychosocial" frame of art therapy and its considered relevance is discussed.
Abstract: This paper will explore an art therapist facilitated mural within a refugee camp in Greece. It will present literature regarding a ‘psychosocial’ frame of art therapy and its considered relevance w...
8 citations
TL;DR: The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.
Abstract: The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.
7 citations
04 May 2019-ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences
TL;DR: In this paper, a 3D informative model of the hall of the Church of the Resurrection of Christ at Sansepolcro (Italy) is presented, which can represent a technical and organizational support for future conservation operations.
Abstract: . The Resurrection of Christ by Piero della Francesca (about 1460) at Sansepolcro (Italy) is a masterpiece in the development of painting. The painting is located in a hall of the city government building, which today holds the Civic Museum of Sansepolcro. This mural painting was realized on a brick wall (15 cm thick) located in a different place as it is today. Shortly later, the painting was moved by means of a transport to solid-wall and placed against a pre-existing wall (60 cm thick), where it is today, erecting against this wall a counter wall (15 cm thick) where the mural painting wall-panel (225 × 200 cm) had been inserted. Within the studies aimed at restoration and conservation of the painting, the type and characteristics of the walls of the museum hall and of the wall where the painting is located have been defined through different types of diagnostic surveys. Geometric, physical, mechanical and material data from surveys are knowledge that must be archived and made accessible for future maintenance operations. Building Information Modeling (BIM) is a valid methodology that allows to build a three-dimensional database in which to collect information about diagnostics and conservation of the historical building. The aim of this paper is digitalization through the HBIM methodology of the hall of Resurrection, in order to create a “3D informative model” that describes the geometry with objects linking them the information related to knowledge of cultural heritage and it can represent a technical and organizational support for future conservation operations.
7 citations
TL;DR: In 2016, a new David Bowie mural appeared on a wall in Turnpike Lane, North London as discussed by the authors, which was stenciled by the street artist Gurewitz et al.
Abstract: Less than a week after the physical death of David Jones in New York, on 10 January 2016, a new David Bowie mural appeared on a wall in Turnpike Lane, North London. Stencilled by the street artist ...
7 citations
6 citations
TL;DR: The results of the first pilot study in which CT scan and MATLAB have been utilized in combination for the non-destructive evaluation and investigation of Coptic mural paintings in Upper Egypt are presented.
Abstract: Investigations of Coptic mural paintings in historic churches and monasteries demand a deep understanding of the micro structure of the mural painting layers. The main objective of the present study is to study the efficiency of new avenues of computed X-ray tomography (CT Scan) and MATLAB in the analysis of Coptic mural paintings, either in the form of images or videos made to collect information about the physical characteristics of the material structure of the layers of mural paintings. These advanced techniques have been used in the investigation of samples of Coptic mural paintings dating back to the V–VIII century A.D, which have been collected from several locations in the Coptic monasteries in Upper Egypt. The application of CT-scanning is a powerful non-destructive tool for imaging and investigation which can be applied to the preservation of monuments made from many different materials. The second stage of research will be to characterize the materials through analytical techniques including XRD, XRF, EDX and FTIR to confirm the findings of CT scanning and to provide additional information concerning the materials used and their deterioration processes. This paper presents the results of the first pilot study in which CT scan and MATLAB have been utilized in combination for the non-destructive evaluation and investigation of Coptic mural paintings in Upper Egypt. The examinations have been carried out on mural painting samples from three important Coptic monasteries in Upper Egypt: the Qubbat Al Hawa Monastery in Aswan, the Saint Simeon Monastery in Aswan and the Saint Matthew the Potter Monastery in Luxor. This multi-stranded investigation has provided us with important information about the physical structure of the paintings, grains dimensions, grain texture, pore media characterization which include the micro porosity, BET and TPV, surface rendering, and calculation of the points in the surface through calculations completed using MATLAB. CT scanning assisted in the investigation and analyses of image surface details, and helped to visualize hidden micro structures that would otherwise be inaccessible due to over painting.
6 citations
01 Jan 2019
TL;DR: In this paper, the authors analyse the links between the revisionist historiography of the Mexican Revolution of 1910-20 and revisionist literature on the Mexican murals produced in the period immediately afterwards, as well as the theoretical arguments that underpin both, before making a call for a post-revisionist reading of the art.
Abstract: In this paper I will analyse the links between the revisionist historiography of the Mexican Revolution of 1910–20 and the revisionist literature on the Mexican murals produced in the period immediately afterwards, as well as the theoretical arguments that underpin both, before making a call for a “post-revisionist” reading of the art. I will then finish by making a post-revisionist iconographical analysis of Diego Rivera’s History of Mexico mural produced between 1929-35 as a counterpoint to revisionist ones that instead read it as government propaganda pure and simple.
6 citations
TL;DR: In this article, the authors deal with the 16th century mural paintings that cover the walls of the parish church of San Miguel Arcángel, a former Augustinian mission in Ixmiquilpan.
Abstract: Abstract This paper deals with the 16th century mural paintings that cover the walls of the parish church of San Miguel Arcángel, a former Augustinian mission in Ixmiquilpan. The paintings represent warriors in battle and mixing the Western iconography with the prehispanic one. They are associated with the Chichimeca War (1540-1590), a conflict that threatened the existence of the Viceroyalty of New Spain (1535-1821). The article examines the images of “otherness” and related stereotypes conceiving the paintings as a place, where the identity of local inhabitants was discussed and putting particular emphasis on the pair of categories – barbarism and civilization. In terms of method, it is interdisciplinary and interpretative. It combines the classical historical, art historical concepts and methods with terms and procedures of anthropology and social science.
TL;DR: The authors examines Frank Mechau's infamous mural Dangers of the Mail as an opportunity to theorize the force of memories contingent upon immediate sensual encounters that operate largely in the form of memories.
Abstract: This essay examines Frank Mechau's infamous mural Dangers of the Mail as an opportunity to theorize the force of memories contingent upon immediate sensual encounters that operate largely i...
TL;DR: In this paper, the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico is discussed.
Abstract: Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.
TL;DR: The authors explored the history of the Northcote photograph, its background, the image itself, and the aftermath of publication, and analyzed the discursive contexts of exposure and elision, which pointed to a more difficult and less palatable discursive relationship with the past.
Abstract: A dramatic photograph, published in 1994, depicted Australian athlete Cathy Freeman running at Northcote’s Koori Mural in inner-north Melbourne, beneath scenes of Aboriginal elders in chains in the late nineteenth century. Two months later, she famously posed for photographs carrying the Aboriginal flag in a victory lap following her win in the 400 metres at the Commonwealth Games. While the flag photographs remain an iconic image of sport and race in Australia, the Northcote photograph is forgotten. This article explores the history of the Northcote photograph—its background, the image itself, and the aftermath of publication. We analyse the discursive contexts of exposure and elision: unlike the flag pictures, which spoke to the present and to a recognised and saleable discourse (national pride), the Northcote mural image pointed to a more difficult and less palatable discursive relationship with the past (racism, abuse and disenfranchisement).
DOI•
29 Apr 2019TL;DR: In this paper, the authors report on and analyze the mural works with historical figures of the elementary schools in Chihuahua city, and reflect on their importance within the institution, the possible status they may have, their educational attributes to the students, and their relationship to art history and Mexican Muralism.
Abstract: Educational institutions tend to have sober, simple facades, using only their official colors. Nevertheless, school murals are painted to create a more cheerful and lively atmosphere and to give a sense of identity to the people who study and work there. This article reports on and analyzes the mural works with historical figures of the elementary schools in Chihuahua city, and reflects on their importance within the institution, the possible status they may have, their educational attributes to the students, and their relationship to art history and Mexican Muralism. In addition, it presents a brief interpretation of the most important elements of the different murals presented here.
TL;DR: In this paper, the authors reported the result of identification of pigments and binders used in wall painting fragments in Bezeklik Grottoes (5th-14th ce), now housed in the Central Asian collection of National Museum, New Delhi.
Abstract: This paper reports the result of identification of pigments and binders used in wall painting fragments in Bezeklik Grottoes (5th–14th ce), now housed in the Central Asian collection of National Museum, New Delhi. The tiny pigment samples (100-200 μm in size) extracted from some of the artworks have been analyzed to gain information on the art materials and painting techniques. Analysis by Micro-Raman spectroscopy, complemented with Scanning Electron Microscopy –Energy Dispersive X-ray Spectroscopy (SEM–EDX) and Wavelength Dispersive X-ray fluorescence (WD–XRF) allowed identification of lamp black, azurite, atacamite, gypsum, red lead and haematite as pigments and gypsum as a ground layer. The unsaturated and saturated fatty acids and terpineol extracted from the micro sample were identified as organic binders by Gas Chromatography-Mass Spectrophotometer (GC-MS) analysis. The multi-analytical studies have allowed material characterization in terms of the elemental composition of pigments.
TL;DR: These murals form an unusual group of special interest to historians because they took on an uncommon subject for the fine arts – the history of medicine – rather than what had long been the far more common portrayal of medicine by artists, namely contemporary medical scenes from their own era.
Abstract: To illuminate popular notions of medical progress during the inter-war era, this article examines four large mural projects depicting medical history. Aside from portraits of individual medical heroes, such as Pasteur and Lister, artists also created imagery strongly contrasting traditional and modern medicine in general. This analysis features the works of four stylistically distinct artists (Bernard Zakheim, Charles Alston, William C. Palmer, and Victor Arnautoff), whose 1930s murals may be viewed today in San Francisco, New York City (Harlem and Queens), and Palo Alto, California. These murals are significant works of art in themselves, and they form an unusual group of special interest to historians because they took on an uncommon subject for the fine arts - the history of medicine - rather than what had long been the far more common portrayal of medicine by artists, namely contemporary medical scenes from their own era.
TL;DR: A study of samples of the mural painting The Allegory of the Industrial Development of Sao Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of Brazil, is presented in this paper.
Abstract: This work presents a study of samples of the mural painting The Allegory of the Industrial Development of Sao Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of Sao Paulo,...
08 Apr 2019
TL;DR: In this article, the authors discuss how ethnographic methods were used to develop mural themes, as well as the ways that the mural itself, and the process of its creation, reveal student anxieties about and responses to the policies and rhetoric of the Trump administration.
Abstract: In May 2017, twenty “student-artists” at Mary Baldwin University collaborated to create a mural about our institution and our very diverse student community. As a three week May Term course, the mural project continued a difficult conversation about diversity and inclusion on campus that occurred in the aftermath of Donald Trump’s election as president of the United States. The purpose of this article is to discuss how ethnographic methods were used to develop mural themes, as well as to discuss the ways that the mural itself, and the process of its creation, reveal student anxieties about and responses to the policies and rhetoric of the Trump administration. Despite the very real threats to their own safety and that of their family and friends, student-artists challenged the inherent insecurity caused by administration policies through their insistence on inclusion, tolerance, and co-existence.
15 Jul 2019
TL;DR: In this paper, the purpose and meaning of portrayals of Muslims in Thai traditional art and architecture of temples and palaces was examined, where the focus was on the Siamese concepts of Muslims and the features of Muslims.
Abstract: The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows: 1. The otherness of Muslims from afar in the late Ayutthaya. 2. The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama I-II. 3. The multicultural guests in the Reigns of King Rama III-IV. 4. Unity under the royal patronage in the Reigns of King Rama V-VI. The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.
12 Jul 2019
TL;DR: A method to reveal the restored areas of the Tang Tomb murals, by extracting the main components of the Multi-Hyper-spectral image of the mural with the Minimum Noise Fraction (MNF) Rotation, and the location of the restored area is clearly observed from the main component.
Abstract: The murals of the Tang Tomb are important materials for studying the social life of the Tang Dynasty, which have important protection and research value. In order to protect the tomb murals as longer as possible, it is necessary to restore the murals and accurately record the restore location. Nevertheless,the restored murals are difficult to observe directly the restore area through the human eye. This paper proposes a method to reveal the restored areas, by extracting the main components of the Multi-Hyper-spectral image of the mural with the Minimum Noise Fraction (MNF) Rotation, and the location of the restored area is clearly observed from the main component. In addition, the mural sketch reflects the main content of the mural of the Tang Tomb murals, which are of great significance to the restoration and protection of the Tang Tomb murals. In this paper, we also proposed a new method to extract the sketch of Tang Tomb mural. For the bands sensitive to the composition of the sketches, the sparsely constrained sparse non-negative matrix under- approximation method is used to decompose the optimal sketches composition, and then the sketches are automatically extracted based on the idea of layer superposition. Through the experiments on the mural paintings in the three tombs, the results demonstrated that the proposed method could effectively perceive the area of mural restoration and automatically extract the sketch accurately and clearly, while saving manpower.
TL;DR: In this paper, the authors analyze the graffiti in the streets of Nicosia regarding the protection of fundamental universal rights and freedoms of lesbian, gay, bisexual, transsexual and intersexual individuals and communities that conduct activities towards raising awareness about such matters.
Abstract: Since prehistoric eras, people have expressed their emotions and ideas on the walls. With the invention of writing and fast development of technology, murals also have evolved and gained new dimensions. Graffiti, which is a type of mural, has its place among street arts with its oldest historical background. It is scribbled, scratched or painted on the city walls; hence, they become a protest communication tool with implicit messages. This study discusses the graffiti in the streets of Nicosia regarding the protection of fundamental universal rights and freedoms of lesbian, gay, bisexual, transsexual and intersexual (LGBTI) individuals and communities that conduct activities towards the raising awareness about such matters. The LGBTI-themed graffiti, which are analyzed in the current research, have been collected from the North Nicosia streets during the last five years. The semiotic analysis of all the LGBTI-themed graffiti indicates that these graffiti provide the marginalized communities and individuals with a tool to express their suppressed feelings, to protest the negative reaction toward them, and also to redefine their presence in the society and occupy the urban area. This study offers the first analysis and investigation into the LGBTI-themed graffiti in the North Nicosia.
20 Aug 2019
TL;DR: In this paper, a multi-sensory experience was organized together with the Professional Conservatory of Music of Teruel (Spain) for a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and a mural intervention was designed.
Abstract: Breaking the usual dynamics of the classroom to improve students´ performance and to encourage their learning spirit and creativity leads us to accept challenges to generate meaningful learning. In this article we approach a multisensory experience which was organized together with the Professional Conservatory of Music of Teruel (Spain). Visual Arts collaborate as guests in a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and, for this, a mural intervention was designed. The subject of Color I, from the Painting Area, developed a project from the selected repertoire, taking as a starting point synesthesia, which acted as a bridge between both forms of artistic expression and creation. In this way, music and painting were conjugated in a joint work within a collaborative project that was being constructed simultaneously. In our proposal, we chose Claude Monet and his water lily paintings, to recreate a pond in four mural panels that would be painted in situ by the first course’ students. Working together, we projected a collaborative work based in sensory perception, the technical skill, and as a point of union between both disciplines, the colors and sounds, which invited to feel and perceive tones, brightness and harmony in an activity of innovation. The mural intervention and the transformation of the space allowed the notes of color and sound to dance within the same melody, metaphor of a sensorial landscape created on the stage.
TL;DR: For instance, when we walk past a faded mural, what changes when that mural is finally restored? As we place our feet on the ground, and brush past a painted brick wall, is it possible to see, feel,...
Abstract: What happens when we walk past a faded mural? What changes when that mural is finally restored? As we place our feet on the ground, and brush past a painted brick wall, is it possible to see, feel,...
TL;DR: In this paper, the authors argue that the term "edge" that refers in to the end line between two opposing milieus, became redundant in the expanded urban surface; and necessitates a critical review through a new concept.
Abstract: This article intends to question changing spatiality and position of the “urban edge” in the expanding cities; and argues its spatial manifestation as an “urban fissure”. The term “edge” that basically refers in to the end line between two opposing milieus, became redundant in the expanded urban surface; and necessitates a critical review through a new concept. Edge, demarcating the communication/interaction line between two milieus, acts also as a “productive frontier” and generates an edgescape that subsequently appears as urban fissure in the expanded city. Herein, Istanbul Land Walls, with their immense size and multi-layered spatiality, present a unique case in the search for urban fissure. The triple defense architecture of the Land Walls forms a complex system, composed of open and enclosed spaces; inner wall, outer wall, moat, terraces between the walls, towers and gates. Besides their architecture, Land Walls have also triggered the generation of edge spaces on and around them; gates, Byzantine Imperial Palaces, Yedikule Fortress, bostans , cemeteries, sacred spaces, industrial sites, circulation infrastructures, recreational areas and neighborhoods. The coexistence of these spaces has formed a mural zone that has been molded by spatial removals, impositions or superimpositions in the course of the history. In this respect, mural zone might be identified as a spatio-temporal ground, having diverse representations in different times; the material expression of the territorial defense for centuries; derelict defense architecture in the Ottoman Istanbul; ruined edgescape in the 19 th century; urban wilderness in the 1950s; and urban interstice by 1980’s. Especially after 1980’s, increased number of (inter)national efforts/regulations/planning attempts, informal occupancies and spatial removals/injections, have highly influenced the spatiality of the mural zone that ended up with spatial fragmentation, over-programming, and razed characteristic landscape fabric. To this purpose, this article discusses the multi-scaled and multi-layered spatiality and landscape of the mural zone through an integrated historical and conceptual reading that will present the mural zone as an urban fissure. Such spatio-temporal analysis will reveal currently endangered spaces and landscape reminiscences in the mural zone; and will liberate mural zone from over-programmed urban and landscape scenarios.
26 Feb 2019
TL;DR: Ogura et al. as mentioned in this paper investigated the effects of adhesion and the collision of windblown sand as factors contributing to the deterioration of the east wall of the Mogao caves.
Abstract: The Mogao caves in, Dunhuang are a United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage Site located in the inland desert region of China. Within this site, cave 285 is one of the most important caves. Because a great deal of deterioration has taken place within this cave, and a large amount of research has been carried out on the environmental effects of these changes. Results show that the east wall has been least affected by moisture, solar radiation, and daylight compared to the other walls and ceiling. However, the effects of deterioration, including scratches, detachment, and discoloration, are nevertheless seen on the east wall. In this study, we investigated the effects of adhesion and the collision of windblown sand as factors contributing to the deterioration of the east wall. We conclude that sand blown by high-velocity wind has led to detachment, flaking, and losses to the east wall including fading of the paintings. Research and Development Center, Daiken Corporation, Tokyo, Japan Kyoto University, Kyoto, Japan Department of Architecture and Architectural Engineering, Kyoto University, Kyoto, Japan Tokyo National Research Institute for Cultural Properties, Tokyo, Japan Dunhuang Academy, Gansu, China Corresponding author: Daisuke Ogura, Department of Architecture and Architectural Engineering, Kyoto University, KyotodaigakuKatsura, Nishikyo-ku, Kyoto 615-8540, Japan. Email: ogurad@archi.kyoto-u.ac.jp
TL;DR: In the spring of 2015, I took my students of international trade law to visit the World Trade Organization (WTO) in Geneva as discussed by the authors for a two-day trip, organized around lectures and discussions with staff from different divisions of the organization, the Advisory Centre of WTO Law and the permanent missions of two countries.
Abstract: In the spring of 2015, I took my students of international trade law to visit the World Trade Organization (WTO) in Geneva. It was a two-day trip, organized around lectures and discussions with staff from different divisions of the organization, the Advisory Centre of WTO Law and the permanent missions of two countries. None of my students had been there before, and even though I had taught international trade law for several years, it was also my first time visiting the headquarters of the organization. We were excited and curious. The building looked big and majestic. The back side opened to a spacious park overlooking Lake Geneva. It made for a pleasant tour on a cool, sunny morning. The WTO was celebrating its 20th anniversary, and there were banners hanging from the walls in the internal atrium marking the occasion, as well as announcements of events to come.
In our second session, we were led to a room with wooden panels and a colorful mural that spanned the four walls. It depicted industrial workers — strong men making a car, miners, shipbuilders, men using heavy equipment, but also women, seamstresses, teachers and a few children. In the center a bare-chested man between two goddess-like women was holding a torch. The mural struck me as an ode to work, to achievement and to emancipation. A tale of the human race transforming the world through physical and intellectual labor. The painting, by Dean Cornwell, reminded me of the frescos of Mexican artist Diego Rivera in its depiction of industrial workers, although this one had no reference to exploitation or the confrontation between capital and labor. It was an incredibly optimistic image of work and human progress.
I was surprised to see a mural of workers in the WTO. The painting seemed not only vintage but also out of place. What was it doing here?
TL;DR: In this article, the authors conducted a qualitative study of street art in interior design and found that street art used as a part of interior design in principle plays the role of communicating messages to the public.
Abstract: The street art culture continues to flourish after the Reformation in Indonesia. Its development has not only been in the public space, but also in the field of interior design in certain segments. The high rate of consumerism has triggered a shift in the artistic function of street art, from street decoration to becoming part of the interior design of a cafe. The method of qualitative research with data collection techniques of interviews and direct observation was used in this research. Data was validated using data triangulation. Research results show that the development of street art used as a part of interior design in principle plays the role of communicating messages to the public. These messages serve as a way of conveying social issues and personal expressions of the artist. Murals in interior design communicate messages of aesthetics, sponsor, commerce, illustrations, and a “new lifestyle” that supports the concept of themes in a space. Street art murals that are used as a part of interior design have experienced a conceptual shift, but in regard to technique and motif are still the same as street art in general. The types of street art murals used in public spaces do not use only one mural motif; instead, they use a combination of several styles. Trends of street art murals di Malang include hand lettering, illustration, and character murals.
Keywords: street art mural domination, cafe interior, Malang
TL;DR: In this article, the authors present various approximations to the practice of urban mural painting in San Cristobal de Las Casas, Mexico and analyze the characteristics of graphic-pictorial urban intervention and creative processes through talks and interviews with artists and examination of their works.
Abstract: This article presents various approximations to the practice of urban mural painting in San Cristobal de Las Casas. The analysis of the characteristics of graphic-pictorial urban intervention and creative processes through talks and interviews with artists and examination of their works made it possible to glimpse the projects, ideas, and discourse that flow from the creativity in this city. In this way, we can approach some of the senses and meanings that allow us to conceive urban mural painting as a youthful, artistic-social, collective, and community practice.