Mural

About: Mural is a research topic. Over the lifetime, 1144 publications have been published within this topic receiving 5050 citations.

Convivio: Tolerance, Diversity, and Campus Identity During the Trump Era

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.

La détection de polysacchorides dans les matériaux constitu-tifs des oeuvres d'art

Abstract: Polysaccharides are frequently found in gums used as binders in mural paintings, painting miniatures and water-colours. Water-soluble binder extracts were analysed by infrared spectrography followed by thin-layer chromatography. Examples of analysis from paintings of Mayan, Pompeian, and Chinese origin are given.

The Siamese Concept of Muslims through Mural Paintings

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.

Riot and remembrance: Puerto Rican Chicago and the politics of interruption

Abstract: On the corner of Division Street and Washtenaw Avenue, just east of the green expanse that is Humboldt Park, Cristian Roldan and his collaborators are nearing completion of the latest mural to adorn the history-rich walls of this rapidly gentrifying barrio. The mural spans half-a-block, but its length in physical space pales in comparison to its length in historical time. With an array of vivid colors and characters, images and intimacies, Roldan tells a story that stretches centuries, from the Spanish conquest of the Taino island of Boriken to the volatile formation of Puerto Rican Chicago. Anchored in this history, the mural commemorates the 50th anniversary of the "1966 Division Street Riot."A decade ago, in 2006, an earlier mural was commissioned on the same wall for the same proposition.1 While that mural, painted by the local artist Martin Soto, also paid homage to the community's history, it did so differently. With large, blossoming amapolas as its backdrop, the mural focused on the Puerto Rican institutions that arose out of the literal and metaphorical ashes of the riot. In contrast, the new mural places the riot in a much longer history of colonization, slavery, migration, and resistance. In other words, while the older mural narrated what came after the riot, the new one describes what came before it.These temporal divergences aside, both murals share a visually similar depiction of the riot itself: burning, overturned police cars and melees between white nightstick-wielding police officers and enraged Puerto Rican residents. Although not specifically acknowledged in either mural, this imagery could easily have stood for the second Division Street riot, which erupted in 1977, after the Chicago Police murdered two young Puerto Ricans. That scene, which unifies both murals, feels-at least to this observer-simultaneously distant and familiar. In a certain sense, it seems out of place with the political rhythms of Humboldt Park today, and yet, in another sense, seems quite of the moment, as police brutality has again begun to trigger urban uprisings.In both murals, the representation of the 1966 Division Street Riot is jarring, almost unto itself, as if qualitatively distinct from its other elements. While this may very well have been the intention of their respective muralists, I want to take this visual discordance as an invitation to reflect on the nature of the riot. As I reflect on this history and its significance, I should admit, I do so less in my capacity as a trained sociologist, and more so as a member of the Humboldt Park-Paseo Boricua community. Here I came of age politically, while immersed in campaigns to free Puerto Rican political prisoners, struggles to resist gentrification and displacement, and grassroots efforts to build Puerto Rican-focused organizations, from youth spaces to community newspapers. In what follows, I attempt to narrate and meditate on the riot as a political act. I do so, however, not by engaging with ongoing definitional debates about whether the event is best characterized as a "riot" or "rebellion." Rather, I draw assistance from the work of the French philosopher Jacques Ranciere to consider the riot political in a specific way-as an act of interruption.Politics as InterruptionRanciere's political philosophy is anchored in a distinction between what he calls "police" and "politics." To understand this distinction, it is necessary to say a brief word on his conception of the social. Ranciere conceives of human society as an ordered, partitioned space that "assigns individuals to roles and attributes [and] advantages and entitlements to those positions based on their worth to the social order" (Baiocchi and Connor 2013: 91). These individuals and groups have a "part" in society and therefore share in the distribution of the commons. But this community is founded, Ranciere (2004: 9) contends, on a fundamental miscount, as it excludes-for its very existence-those that have "no part. …