In today’s society many successful artists portray their personal life experiences, historical movements, events they witnessed etc. through their art work. Frank Romero is an American Chicano artist, who created the master piece of The Death of Ruben Salazar. Through Romero’s painting we see how Ruben Salazar’s death occurred and the historical event behind it and the impact it, had in the East Los Angeles Community. In Romero’s art work, he calls attention and the injustice of “police brutality.” In 1941, Frank Romero was born and raised in East Los Angeles. While attending High School Romero got offered a scholarship to Otis Art Institution and Design College to purse his artistic career . Frank Romero was a young Chicano artist who was fascinated by the Chicano culture. Romero painted murals, cars,skeletons, highways and important historical events that …show more content…
His art work reminds me of the Latino culture. This art piece has lots of details that tell the story of Ruben Salazar death and how “police brutality" did occur and how they killed an innocent person without any reason. The picture does not display any threat to anyone besides the officer that shot the tear gas projector. In the Death of Salazar painting we see on the right side, the movie theater that is showing the death of Ruben Salazar. Moving toward the left in the center of the portrait we see the Silver Dollar Bar. To the left side of the of the Silver Dollar Bar we see how police officers are outside with their gun pointing up, and an officer shoots a tear gas projectile. On the left side of the Silver Dollar Bar, there is a Casa de Cambio. This portrait demonstrates a historical event that happened in East Los Angeles, and how it made an impact in many people’s life especially on Frank Romero whom after 16 years of the tragedy was inspired to create the painting of The Death of Ruben
Romero has the right to sue them because a year before destroying Romero's mural, Kent Twitchell's portrait was destroyed which was painted on a federally owned building in downtown L.A. and won $1.1 million against the U.S government. Romero was not notified that the government will be erasing one of his most famous morals, which is not allowed to do because the artist should have been given a notice that provides for the artist to save or relocate works of public artwork before the building's owner can remove it. In 2007, Frank Romeor's mural "Going to the Olympics,1984" was restored and painted over with gray paint, the painting process was said to be placed on November 26, but was delayed due to the weather, and the restoration would take about 10 weeks. The murals "L.A. Freeway Kids" and "Luchas del Mundo" was also restored after Romero's mural. After years of graffiti and tagging on the murals of Los Angeles it has been said that this is the end of hundreds and thousands of murals in Los Angeles.
This painting is a powerful image that represents the reality of many Afro-American families of the time. Contrary to “Good Night Irene”, this painting shows a more two-dimensional perspective in which the shapes and lines are sharper. The members of the body, such as arms and neck, look longer than they should be, but that rather than look artificial creates a continuity in the picture. As well as in the last painting, this one is very realistic and natural, the shapes are not ambiguous or dubious so for the admirer is easy to identify what the artist wanted to express. In terms of technique, the strokes and lines in “Good Night Irene” are very defined, and in “Lynch family” are too.
In the mural,"Going to the Olympics" the painter Frank Romero portrays a wide variety of colors in his painting. The first thing I saw in the painting were most obviously the cars passing by with big hearts over them. This means that the drivers loved their cars maybe and loved to drive around Los Angeles. You can also see palm trees and the ocean behind the cars signifying that they're somewhere around Los Angeles where there is water. As we look up at the sky we can see an iron for some reason, a GoodYear Blimp which is quite common in the city of Los Angeles, a horse, and two men wrestling in the sky.
LA does have issues with vandalism and graffiti as shown in Romero's mural in 2009 you can tell that a lot has happened through out the years you can see lots of graffiti all over. Romero's art is now ruined, this is all because of some "taggers". In the "LA Times" newspaper article Romero states " if restoration is not possible he wants the mural removed to another safer spot." In 2013 the city of Los Angeles decided to just cover the mural that Romero put his sweat and tears to paint. The people also seemed to enjoy looking at it while they passed the freeway.
He is suing the Caltrans for painting over a mural he created in the Hollywood Freeway downtown in 1984 Olympics. He has painted more than 15 murals in Los Angeles also studied in Otis art institute. Government agencies toward restoring murals say that they are running educational programs. The people also think that the murals cost lots of money to create. In my opinion I think it was wrong to paint over the mural that Frank Romero had made.
In the artwork "Going to the Olympics , 1984" by Frank Romero, i see that is has a lot of meanings to it. it has a lot of little pictures in the big picture. The biggest thing that stands out are the cars. The cars mean there is a lot of traffic out here in Los Angeles. As you can tell the cars have the same colors as the olympics logo.
The book, The Forgotten Dead by William D. Carrigan and Clive Webb, tells of the Mexican lynch victims from the 19th and 20th century whose stories’ were lost to history. The main idea of the book is to show the reason why Mexicans were lynched and to show how their under representation was due to the lack of documentation of their deaths. According to the authors, the book’s purpose is to unravel why the victims were lynched, why the witnesses of the murders did not share the victims’ stories, how their “fellow Mexicans” reacted to these lynching’s and what the meanings behind their deaths were (Carrigan et al). The book wants to get to the root of why the Mexicans lynched were not as acknowledged as other races; for example the African Americans’ lynched. In essence, the book is entitled The Forgotten Dead because “more than almost all other victims of lynching, Mexican victims have been the “forgotten dead” (Carrigan et al 13).
Diego Rivera, a Mexican-born artist, used his murals and frescoes to influence the communication of shared interests and problems in many countries including Mexico and the United States. His cultural background inspired most of his artwork, as seen in his work, Man at the Crossroads, in which Rivera showed North America and the world that humanity as a whole was meant to unite and become greater than God himself. Through his work and connections with other artists, Rivera proved the importance of art as a form of communication and left a lasting effect on the art of today. Diego Rivera’s artistic prowess can be traced back to his youth. Born in 1886 in the city of Guanajuato, Mexico, Diego Rivera came from a humble family.
Daniel Lezama Daniel Lezama is committed to the practice of painting and his aesthetic vision is focused on constructing narratives that find their referents in the vernacular context of Mexico, in the unofficial stories of memory, dream and desire, as well as in A sort of new romanticism that also deals with art as an issue under an existential perspective. Usually using large format painting as a medium and sometimes drawing, monotype and engraving, Lezama expresses his unprecedented and profound vision of the Mexican in an era marked by postconceptual practices and by an artistic dominant interested in works that occur more In the factual space and less in the virtuality of the two-dimensional image. Daniel Lezama (Mexico City, 1968)
This piece does a stellar job of uncovering how Andy puts his Warhol on. In close analysis Thirteen Most Wanted Men reveals the man, the myth, and the legend of Andy Warhol in the respective socio-political context of 1960s America. The mural was commissioned for the New York World’s Fair
The painting depicts the real prostitutes from the red-light street district often attended by Picasso. The background of the painting is extremely compressed, almost non-existent. The nudes, some of them also replicate the earlier masters’ postures including one of Matisse’s nude, but painted very fractured and decomposed, sharp, and wearing African tribal masks symbolizing the fear of Venereal diseases and aggression. The nudes are striped out of their beauty, they are scary and demanding at the same time. (“Picasso, Les Demoiselles d 'Avignon”, n.d.)
Romero’s opinion on car culture is that it is everybody connected into one community with it. Everyone in Los Angeles loves their cars because it is involved in their daily business and is universally shared by a great population. The artist’s choice of colors show a very vivid and alike mix like that of Los Angeles. The colors shown on the mural are mainly red, green, yellow, and blue. The red and yellow represents the usual sunshine that Los Angeles gets on a daily basis.
There is nothing better than art to enlighten and enhance our civic duty in dire times. The full-scale war declared on immigrants by the current administration in the United States makes it almost imperative for artists to respond and challenge the oppressive environment that our immigrant communities are forced to endure. When I first read the script for Gazoline I was immediately taken by the intricately nuanced voices of its young immigrant characters, their explosive unpacking of duty, and the urgency of their plight. They arrive at the play’s crucial moment of decision from such differing perspectives and opinions, yet their paths can’t help but collide with nail-biting speed in their Parisian suburb. The story’s resonance with what
Francisco Goya – Tres de Mayo Francisco Jose de Goya was born on March 30, 1746. He was born in a small town called Fuendetodos that is located in Aragon, Spain. His family later moved to Saragossa, Spain and by the age of 14, he became a student to Jose Luzan, who was a local painter. He found inspiration in the arts of many famous artists and copied their style for many years.
“No Trespassing.” It’s a message that we’ve all seen before, on street signs and on fences, but that most of us stopped considering as part of our daily lives. These signs just sort of blend into the background, no more noticeable than a crack in the sidewalk or a plain, solid-colored exterior wall. On the ordinary brown-painted brick backside of a bar in San Francisco’s Mission District, a bold, red No Trespassing sign is the center of a piece of thought-provoking street art. Below and to the right of the sign are some run-of-the-mill graffiti tags: pale yellow spray paint forming illegible words marking the territory of a gang or juvenile delinquent.