Mural

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

Hombres Y Mujeres Muralistas On a Mission: Painting Latino Identities in 1970s San Francisco

Abstract: This article argues for the importance of murals as cultural texts, consciously formed to entertain, influence, and solidify local and transnational communities. In 1974, two teams of artists painted two legendary murals in San Francisco's Mission District: In “Homage to Siqueiros,” the trio of male muralists presented themselves as heirs to famed Mexican muralists in order to solidify their indictment of conditions in the Americas and counter the participatory role of their patron, the Bank of America. In “Latino America,” the female muralists rejected the Chicano Movement's emphasis on Mexican masters and declared a new feminist, collaborative iconography. Although the murals were dissimilar in terms of gender, approach, and aesthetics, the muralists were joined in their desire to unite the local Latino community through their depictions of a shared homeland, or an imagined Latin America. This article highlights the aesthetic, cultural, political, gendered, and regional dimensions of Latino identities through the lens of mural creation.

Reflections of Feminism in Contemporary Mural Painting between Occidental and Oriental societies

Abstract: Feminism as a global movement was and is still working on achieving women rights & liberation in different ways and by using different tools. Art in general and mural painting as a public art in specific, are very eloquent tools to help present feminist causes to different societies. These societies vary from a nation to another, from a culture to another, depending on the extent of suffering that women endure and also depending on how strong the feminist movement is in that particular society. Despite the fact that feminism is a global movement, each society's identity is reflected differently in such kinds of arts, especially when looking at occidental and oriental worlds where ethics and traditions are distinctly different. These differences shall be normally reflected in contemporary public art, like in subjects, messages, styles, and even concerning the amount of the architectural or structural available areas for such kind of arts. This is what the researcher will try to clarify through a kind of analytical comparison between occidental and oriental societies concerning the feminist movement. This includes its murals as a public art, especially in Egypt where feminist public art can be considered limited, the matter that may lead to some significant conclusions about the importance of such art, its role and its effect on the society.

Mural art as a media on making urban kampung's public space

Abstract: The lack of public space is one of the main problems in the big cities in Indonesia. Urban kampungas part of the city is also no exception. Rapid growth on population sparks uncontrollable physical development that erode open space inside urbankampung. Sometimes, what is left is just neglected space which don‟t "live‟ and far from the definition of public space. Mural art has been existed since the beginning of human civilization. Now, it has evolved into one of the popular urban art. The previous research has proven that the process of urban art making through participatory approach could trigger community interaction in a space. Interaction itself is a main factor that may trigger the establishmentof a public space. With the same method, this research attempts to build mural in a neglected space inside urbankampung named Palsigunung. After all of the process done, the space still haven‟t changed from the previous condition, which is still a neglected space. Together with facilitator, kampung‟s residents need to be involved identifying the problem and also the solution to the lack of public space in their kampung. Particularly for urban kampungPalsigunung, the needed solution might not be mural.

William Morris Hunt, 1824-1879

Abstract: List of illustrations Acknowledgements Introduction 1 Early life, travel and training abroad 2 Newport and Boston 3 Second European trip and teaching in Boston 4 Years of recovery and renewal: 1873-1878 5 Hunt's mural paintings and his last years 6 Hunt and art in America Notes Selected bibliography

Mural art in the work of José Ríos. From personal experience and glancing through history

Abstract: After an introduction to mural art and a glance through history for its contextualization, this article focuses on an interview with the artist Jose Fernandez Rios on the integration of his plastic work in contemporary architecture. This article draws attention to an aspect that often, in the world of art, takes second place to the work itself: the thoughts and words of those who create it. The paper takes a look at different forms of mural expression of civilization, from the first manifestations in caves to contemporary architecture, its techniques and styles, from classic mural art to clandestine graffiti, in order to establish analogies and differences. Walls are part of our daily landscape and streets and buildings have been increasingly transformed into a cosmos of pictures where citizens become viewers with ambivalent opinions. This kind of intervention is a modern way of expression that is increasingly extended and sometimes overwhelming. It can express protest and criticism and can function as a tool for social and educational integration (Martinez y Barba, 2013). Contemporary mural art, authorised, tolerated or clandestine is increasingly gaining ground in our culture, turning into a tourist attraction for many cities. This is the case in Berlin, Melbourne, New York, London, Rio de Janeiro, Bologna and Barcelona, among many others, where specialised companies offer urban art guided tours. Through this article we try to learn more about this phenome- non from the perspective of a creator: Jose Rios. DOI: https://doi.org/10.20365/disegnarecon.24.2020.10