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Sonia Romero was born in 1980 in Los Angeles and is the granddaughter of the founders of the Craft and Folk Art museum in Los Angeles and daughter of two artists, Nancy and Frank Romero. Her artistic upbringing influenced her to pursue a career in art. Romero attended Los Angeles County High School for the Arts and earned her Bachelor in Fine Arts from Rhode Island School of Design, with the emphasis in printmaking. She believes her printmaking artworks can mass communicate the prevalent social and political issues in society. In fact, Sonia Romero is a Chicana artist known for her printmaking, mixed media linocut prints, and public art work. She uses her artistic skills to depict the diversity of Los Angeles, exhibit female empowerment, and embrace the Chicanx identity. Although, many artist use their art to express their creativity …show more content…
Sonia Romero is recognized for representing Latin American imagery and unity in her public works. Specifically, her public work located at MacArthur Park, Urban Oasis, 2010. The mural was commissioned by the Los Angles Metro and it is composed of 13 ceramic mosaic tile that are installed along two facing mezzanine walls. Each panel contains a white and black illustration centered in a circle contained within a square panel that is made of a cement to represent the industrial buildings around the neighborhood (“MacArthur,” n.d.). In the process of making this public work, Sonia Romero initially conducts research and observation studies of the community (Dambrot, 2016). In fact, the 13 illustrations either authentically represent the inhabitants of the community or the historical events that took place in MacArthur Park (Gilbert, 2012). Unfortunately, in society many diverse
Chavez Ravine was a self-sufficient and tight-knit community, a rare example of small town life within a large urban metropolis, but no matter how much the inhabitants loved thei...
Najarro.Adela. "Angles in the Kitchen:Latino Poets and the Search for Identity." Adela Najarro's Website. 24 Oct. 2002. 16. Sept. 2003
Because of the importance of original Tepeyac for Spanish governors to render the religious conversion of indigenous residents under the name of the Lady Guadalupe during the colonial Mexico, Pena points out the physical significance of the first Tepeyac, which is also shown by the replica in Des Plaines. However as Pena emphasizes, “the act of reproducing a place... Is only the first step”[ Elaine A. Pena, Performing Piety: Making Sacred Space with the Virgin of Guadalupe (Los Angeles: University of California Press, 2011), 43.]. She believes that the space becomes sacred only when devotees’ embodied performances “inscribe their histories, beliefs, and aspirations on the environment”[ Elaine A. Pena, Performing Piety: Making Sacred Space with the Virgin of Guadalupe (Los Angeles: University of California Press, 2011), 43.]. Pena also clarifies that “the Second Tepeyac solidified its dual role as religious sanctuary and political safe haven”[ Elaine A. Pena, Performing Piety: Making Sacred Space with the Virgin of Guadalupe (Los Angeles: University of California Press, 2011), 48.], which is not only a place in which the worshipers can fulfill their spiritual appeals, but also a center for immigration services. As a result, the Virgin of Guadalupe here embodies the struggle of immigrants from all over the world rather than just being a national symbol of Mexico, as that
In addition, the Chicano artists sought to demonstrate pride and air their grievances while empowering the community. The number one aesthetic goal was the continued search an organic unity between art and the real social living. However much the content and styles of the art forms and murals were distinct, there was a constant theme that continued to develop such as the reclamation of the lost indigenous history. The return of the practices, ceremonies, and their ancestral ways gave the Chicano people strength and direction. This can be certainly viewed as the evolution of the Chicano struggle and development of their artistic nature. Through the many art forms created by the Chicano people, they have been able to their history and represent their struggle hoping for a better future (Arreola,
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
Throughout the piece, Lopez tone reflects a strong reverence for Pena, demonstrating his interest in the subject. For example, he describes how Pena’s work highlights the “soul of Bogota” and is a “hard, translucent jewel of integration” (Lopez). He emphasizes how he admires Pena’s ability to encapture the beauty
Diego Rivera and his wife Frida Kahlo are an important aspect of the Hispanic World and well-known names in Latino art. Rivera and Kahlo knew many famous painters such as Duchamp, Siqueiros, Orozco and Picasso. Picasso became a great friend of the family. Kahlo has influenced many places in Mexico. There are many land marks not only in Mexico but around the world. The Frida Kahlo Museum is located in Coyoacan Mexico in her Casa Azul home (blue house), this is the same place Kahlo was born, grew up, lived with her husband Rivera and died (Gale, 1996). The museum holds collections and embraces the personal effects of both artists shining light on the way of life for affluent Mexican writers and artist during the first half of the century. The Dolores Olmedo Museum at Hacienda La Noria is another museum-house from the 16th century monastery, includes many of Kahlo’s famous paintings such as “The Broken Column,” “Luther Burbank,” and holds a large amount of Rivera’s works of art (Gale, 1996). Rivera’s murals of his wife Frida, himself, and various members of their family and friends can be found at the Secretariat of Public Education (where he met his wife), the Mexico City’s National Palace, the Museo de la Alameda, and the Palace of Fine Arts (Gale, 1996).
When I arrived at the Centro I was greeted by a volunteer by the name of Bertha “Birdie” Gutierrez who has been a volunteer there for five years, I asked for a tour of the establishment. Birdie is also a jewelry designer and sells pieces she creates that are Chicano inspired there. She does this in order to raise money for Chicano causes. I was told that the building itself used be a water tank, which explains its circular shape. Birdie explained that the circle is sacred in the Chicano culture. The first mission that took place was the large mural that is spread upon the circular wall of the old tank. It was designed by Guillermo “Yermo” Aranda and it is titled “La Dualidad”. The mural took 12 years to complete. There were other artists that contributed to this piece, and a lot of those artists also contributed to the artwork in Chicano Park.
Albuquerque has various mural. They are all unique and they all have a different story. The mural that I will be analyzing is called “Our Community Our Family”. It is located in Kirtland Park on university Blvd. the mural was designed by Leah Lee and Joe Stephenson, the artist assistant was Leticia Thompson and it was painted with students from Lowell elementary school, Wilson middle school and Albuquerque high school as well as other volunteers. It was painted in April of 1996.
Atzlán is a significant symbol in the art, folklore, music, poetry, dance, sculpture, theatre. It represents cultural identity, values, activism, history and the struggle for parity. In Chicano Poetics, Alfred Arteaga writes, “Atzlán aims at the homeland, at the nation as people, as state. It offers an interwoven history and myth if presence. It provides the principle of definition in the present and dines an idealized state in the future. As such it functions as the national myth” Atzlán is often used as a literary device that signifies the territory seized unjustly by the United States from Mexico. Latinos function as a diasporic population in regard to Atzlán. Their homeland has been appropriated by the “gringo” and, by extension, so has their national
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Sonia Sanchez is an African-American writer regularly connected with the Black Arts Movement. She has composed over twelve books of poems, and in addition short stories, essays, plays, and kids' books. She was a beneficiary of 1993 Pew Fellowships in the Arts. In 2001, Sanchez was the recipient of the Robert Frost Medal for her poem and has been compelling to other African-American female artists, including Krista Franklin. Sanchez was born in Birmingham, Alabama, on September 9, 1934. Her mom died when Sanchez was just two years old, so she stayed with different family members for a while. One of those was her grandma, who passed when Sanchez was six. In 1943, she moved to Harlem to live with her dad, her sister, and her stepmother, who was
Soto is a standout amongst the most critical voices in Chicano writing. He has notably depicted the life, work, and delights of the Mexican American rural worker. Moreover, he has done this with awesome lovely ability. He has an eye for the telling picture in his verse and composition, and he can make startling and fundamentally viable analogies. Soto’s poetry focuses on everyday experiences while evoking the harsh forces that often shape life for Chicanos, including racism, poverty and crime. His style is concrete and established in the dialect of the fields and the barrio.
For the public art project, I decided to write about The Pena Family Ceramic Mural. I chose this ceramic mural for my public art project because while I strolling through downtown Davis it caught my eye because the colors were vibrant, I liked how it was a ceramic mural instead of a regular painting, and I enjoy the outdoor sceneries of agriculture. Also, once I looked up information pertaining to the ceramic mural I was sold because the mural holds important significance within a community. The purpose of this essay is to explore the true meaning of The Pena Family Ceramic Mural and what community values it promotes. Working as a community is a foundational part of life.
Another form of expression and bringing awareness was through the way of art. The style of art and representation solely raised from the Chicano movement. Murals played a big part in the activism and progression people wanted to see. Most, if not all murals represented native Mexicans and their struggles of being oppressed. All murals told a story whether it was Mexico’s poverty or the farming industry. Many popular symbols and images were used again in the Chica...