DE ANZA COLLEGE
ICS 5/ARTS 2F MULTICULTURAL ARTS IN THE US
PUBLIC ART: WALL MURALS
Chicano/a Wall Murals
1973-1980
Panamerica, Mujeres Muralistas, 1973. 25th and 26th & Mission, San Francisco.
Centro Cultural de la Raza, Toltecas en Aztlan, 1975, Balboa Park, San Diego
Geronimo
No Compre Vino Gallo, Carlos Almarez with young people from 3rd St Gang, East
LA. 1974
Freeway Pylon, Jose Montoya & Royal Chicano Air Force, 1975, Chicano Park,
San Diego.
Song of Unity, Commonarts, 1978. Ray Patlan, Osha Neumann, Anna de LeonO’Brian.
Fantasy World For Children, Patricia Rodriguez, Graciela Carillo, Irene Perez,
Ralph Maradiaga 1975, Mini Park, 24th and Bryant, Mission District, San
Francisco.
La Familia from Chicano Time Trip, Wayne Aldniz, 1977
Viva La Raza, Daniel Galvez with Osha Neumann, B. Thiele & S. Barrett. 1977,
1572 Adeline St., San Francisco.
1981 - 1996
The Broadway Mural – detail, John Valdez, Victor Clothing Co., interior. 1981
History of LA, A Mexican Perspective, Barbara Carrasco, 1981-1988.
Portable and unmounted mural.
Hitting the Wall, Judith F. Baca, Harbour Freeway, Los Angeles, 1984
Instant Mural, ASCO Chicano Performing Group, Whittier Blvd., Los Angeles.
Patssi Valdez & Umberto Sandoval taped to wall by GRONK. 1974
Who are the patrons? How does that affect the appearance of the wall?
What is the organization of the images?
How are the colors distributed? Is there an emphasis on any particular group of colors?
Latino Artists 1970 – 2002
Dia De Los Muertos, ASCO Performance directed by Diane Gamboa. Patssi
Valdez as The Universe, 1974
Photo, Patssi Valdez, 1980
The Magic Room, Patssi Valdez, 1994
Homenaje a Frida Kahlo, René Yaňez, Installation, 1978
Camas Para Sueňos (Beds for Dreams), Carmen Lomas Garza, gouache, 1985
El Vato Loco, Chaz Bojorquez, mixed media on canvas, 1985
Somos La Luz, Chaz Bojorquez, oil, aluminum paint, aluminum leaf. 1992
CARA EXHIBIT
Exhibit takes place in a mainstream art insititution
Interpretive visual history of goals and struggles of El Movimiento
 Artists identify themselves NOT as Mexican Americans, Latinos or Hispanic
 Term Chicano – expresses reistance to hegemonic structures within mainstream
America. Multicultural, multilingual, pro-plural society
 There are three opositional themes within the CARA exhibit -
Rasquaschismo - Resistance and Affirmation
CARA logo, Willie Herron and Patrice Roberts, 1990
Instalation shot - “Selective Time Line: - the Civil Rights Resistance
José Montoya’s Pachuco Art Show, Jose Montoya, Rudy Cuellar, Luis Gonzalez,
Serigraph, 1977
Ester Hernandez, Sun Mad 1982, Screen Print
Amando Peña, Jr., Chicano Gothic
Homage to Cesar Chavez, Jose Ramon Lerma, Mixed Media construction, 1994
Ernesto Martinez, Si Se Puede, 1973
Alter-Nativity – Rites of Passage
Delilah Montoya, Se Abre del Mundo, 1981, cibachrome
Victor Ochoa, Border Meez-teez-o, 1993, silkscreen
Nepantla – a Nahuatl word for “in between” or liminality – neither here nor there
but in-between.
Amalia Mesa-Bains, An Offrenda for Dolores del Rio
Yolanda Lopez, Our Lady of Guadalupe, 1978
Politics of the Native Eye/ I
Who has the authority to speak/explain about a culture? (Insider or outsider?)
The Solar is not the same as the Western European cultural house that is
stacked one floor above the other. The Solar is one story, contiguous rooms surrounding
a patio.
Marcos Raya, Through Frida’s Eyes, 1984, acrylic on canvas.
Frank Romero, Death of Ruben Salazar, 1986, oil
Martina Lopez, Heirs Come to Pass, 1991
Rudy Martinez, A Juanderful Piece, Polhchrome ceramic scraps, 1976
Judith Baca, Las Tres Marias, 1976, colored pencil on paper.
Jesus Morales, Waves Diamond-back Column, 2003, Texas pink granite,
Santa Fe
Hispanic Santeros in New Mexico 1980 – 1995
Women of the Bible, Marie Romero Cash
La Santa Familia, anonymous, pine, gesso, water colors, piňon sap, varnish,
1994
San Rafael, Le Roy Lopez, aspen, redwood base, gesso, natural pigments,
varnish, 1994
Luis Tapia, Santero, 1994, Santa Fe, NM
Dos Pedros sin Llaves, Tapia, pine, acrylic, gesso, paint. 1994
Gustavo Victor Goler, Taos, New Mexico. 1994
Neustra Seňora de los Dolores, 1986 and 1993, Goler
Other religious notes in New Mexico:
Teresita Por de Niňo Jesus in El Torquillo, northern New Mexico
Cross decorated shrine next to New Mexico highway
Secular and Public Art in New Mexico
The Mermaid and the Cowboy, Jacques Tixier, Gallup. Pre-2000.
Trail of Painted Ponies – public art 2002, multicultural artists participating
Cow Pony, Lori Musil, 2001
Lowrider, Ramona Sakistewa
War Pony, Rance Hood, Commanche, 2002