Mural

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

Medieval Armenian Art and Architecture: The Church of the Holy Cross, Aght'amar

Abstract: Davies' study of medieval Armenian architecture focuses on one of Armenia's most outstanding medieval monuments, the Church of the Holy Cross at Aght'amar. The church, built a thousand years ago, has survived intact and provides a valuable glimpse of the art of the 10th-century kingdom of Vaspurakin. The sculptural and mural programmes are discussed in detail as are the influences on the artwork and the subsequent history of the church up to the present day.

Public art, affect, and radical negativity: the wall of daydreaming and man’s inhumanity to man

Abstract: “The Wall of Daydreaming and Man’s Inhumanity to Man” is a mural that was painted in 1975 at 47th Street and Calumet Avenue in Chicago by William Walker, Mitchell Caton, and Santi Isrowuthakul. It depicts violence, including images of the Ku Klux Klan, Nazis, and the assassination of Martin Luther King Jr. The mural was restored by Damon Lamar Reed in 2003. By analyzing discourse around the production and restoration of the mural in 1975 and 2003, this article argues that the mural functions as an example of negative-content muralism that demonstrates how negative affects, materialized and emplaced by public art, create a nodal point for questioning racial violence and neoliberal urban development that activates rhetorical agency and shapes subjectivity.

Murals: Fine, Popular, or Folk Art?

Abstract: The Mexican American mural movement in Southern California has often been viewed as folk art by anthropologists, art historians, and others. This view neglects the historical antecedents of the murals in the Mexican art tradition. However, this expressive form needs to be explained from various perspectives since social, political, and economic factors have dictated the direction taken by this movement. By a movement I mean action by a person or group of people working concertedly toward a particular goal. This action stems from dissatisfaction with popular norms or beliefs that have been universalized and that exclude a particular segment of the population. The Mexican mural movement of Los Angeles started not solely to beautify a neglected area of the city, but to serve as a voice and a political statement for the Chicanos. The founding artists of the mural movement were immigrants or firstand second-generation U.S. citizens. Each of these groups possessed a different artistic background and training that ranged from the university trained to the self-taught artist. Of paramount importance is the fact that this particular artistic movement is distinguished from other art movements. It originated from a tradition-bound network of affective relationships between individuals or between an individual and a group, as compared to the intellectual relationships of one painting to another-whether the latter relationship be one of political or aesthetic importance, as are various

Populism Repackaged: The World Bank's Perspective on Equity and Youth

Abstract: shows a 1948 mural by communist artist Diego Rivera titled ‘Dream of aSunday Afternoon in Almaeda Park’ and is a fantastic representation of theinequalities in Mexican society, of aristocratic men and women enjoying thepark oblivious to poor workers and peasants around them, while state policeareshownpushingawaypoorcountryfolktocleartheparkfortheenjoymentof the rich. Lenin’s lookalike peers at the scene from above. An ironic thoughrefreshing choice for the cover of a World Bank report. One must mentionhere that in 1934 Diego Rivera’s depiction of a similar Lenin likeness in hismural ‘Man at the Crossroads’ in the lobby of the Rockefeller Center in NewYork City created such controversy that the large mural was taken apart anddestroyed overnight. In the absence of the ‘communist threat’, the WorldBank appreciates Rivera’s painting as just that, as art

Art intervention in the sub-urban area visual characteristic

Abstract: Indonesia Art Institute of Yogyakarta is one of well- known art college in Indonesia. This institution has graduated many Indonesian famous artists. Located at Sewon, Bantul, this institution has a significant effect on the suburban area development of the institution surrounding area. The art atmosphere of surrounding area shaped by Art-activities that happened there. Many formal or informal artspace also located there stimulate the activities to become intense and sustain. Beside that One thing that enriching the art atmosphere is mural drawing that done in private properties in the public spaces. The mural drawing spreading around the suburban area surrounding the college building. 20 mural has been recorded only in one village, and its enrich the visual aspect of the sub-urban area and beautifully blending to the suburban area. The mural draws also expresses a message for people who have seen it as a sightseeing object and makes the suburban area as a public artwork gallery. This research aims to know the factors how the mural drawing can be blend to the area and strengthen the place identity of the area by knowing the relationship between mural drawing and where it is made. Observation has been done in the sub-urban area surrounding the Indonesia art institute of Yogyakarta. The concept of the mural is contextual to the site. Its usually represent the social or environmental issue that happens there. The space and sensitivity of selection the mural drawing theme not only make the artwork blended naturally with the area but improve place-identity of the area. Furthermore the phenomena have potential to be a theme of this suburban area development.