Viewing Frank Romero's art piece titled "Going to the Olympics" that was at the edge of the 101 freeway you can notice a lot of pieces of the mural that pops out. I can see beautiful, vibrant colors, colorful low-riders that seem to be driving on the freeway, above them there is wrestlers that are locked in combat and a horse that's running full speed. Bright and colorful Romero's mural stands out no one would miss it.
Based on Romero's art I can conclude that he feels good about the car culture in the city. This is due to the fact of the vibrant colors he uses in his mural also the ginormous hearts above the cars. His choice in colors and shapes create a mood of happiness in Los Angeles. In the background of the picture it looks as if there is a beautiful sunset there is also ad blimp that says "A Goodyear" which to me is a sign telling people there will be a good year.
The mural “Going to the Olympics” shows us a very significant meaning of how cars are a big part of our culture because it is was the painting has its focus on. Above these cars we see really big hearts with bright
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colors. I believe this is the painters way of showing us that cars are what people treasure in Los Angeles. This is because cars are our way of transportation and without our cars we couldn't be able to go places. The colors used by Frank Romero show how bright and happy Los Angeles is. In the news article “Going to the Olympics Mural to Return to the Hollywood Freeway” by Ed Fuentes it tells us how taggers ruined a beautiful mural.
Frank Romero was very upset when he had found out that the city of Los Angeles had painted over his mural without telling him they were going to be completely removing his mural. The article says "...painted over in solid coats of Caltrans gray and judging by the paint, it looks like it was an official wipe-out. Located alongside the 101, they were important enough be conserved, but evidently the constant tagging made it too costly to consider restoring them yet again." Due to the Taggers they had no choice but to cover it up the article says "End is Near for some LA Freeway murals due to Graffiti” which is really sad to the artists who paint murals on freeways because of taggers are destroying a beautiful
mural. I believe Frank Romero's reaction to his artwork being covered up is reasonable. This isn't just some random mural he spend a lot of time and hard work to make this mural. It was not just bad that it was destroyed they didn't even give Romero an advance notice telling him his mural would be completely painted over. Nobody would like to see any of their hard work destroyed. He must have felt really upset when they just decided to cover it up with no warning. Frank Romero's reaction to this was acceptable without a doubt. There's no question that destroying someone's hard work is really sad and disrespectful. It doesn't only hurt the artist it can hurt the community as well. These murals should be saved we shouldn't let something ruin our accomplishments. I believe that the city needs to take problems like this more serious because little by little our culture is being dragged down.
Often times, an inanimate object can be as important and sometimes more important than the characters of the story. In Louise Erdrich's "The Red Convertible," the car played an equally important role with that of the characters, but for different reasons.
The artist Leo Tanguman painted morbid murals within the walls of the Denver airport. The scenes signify death and rebirth. One mural shows dead women, destruction of our world, and a little girl with a Mayan tablet representing the 2012 doomsday which is the phase of rebirth. Secondly, another portrays a military figure with a gas mask, gun and a sword. The figure is stabbing a dove which symbolizes peace. Furthermore, painted are weeping women surrounded by deceased girls holding lifeless infants behind the military figure. A smog or gas seems to engulf them along with dead children. Even more, a third painting shows children from all over the world giving weapons to a German boy who is molding them into an uncertain object showing there is no longer a need for weapons in a New World. In addition, the military man is dead with 2 doves above him signifying such peace that has been brought. The final image is of a man in the middle signifying Jesus. This mural symbolizes the New World where everything is in peace and harmony after massive, ugly
One of the examples is the “Stampede” cow, near the historic Water Tower. This cow achieves an incredible much in terms of promoting the city and is a true example of a public art figure that celebrates the city’s diversity of events. This cow is painted with images of Chicago’s celebrations, such as the “Taste of Chicago”, the “Venetian Night” and the air show. It is mostly delightful to see a smile on little children’s faces as well as the faces of adults.
...eam, as Romero showcases the fact that the flaws shown within the characters end up turning their situation into something far worse than it had been in the beginning. It shows just how depraved, violent and absolutely terrifying humans can easily become when put into situations without consequences. Romero’s film is dredged in cynicism towards the modern American Dream, the way he deals with symbolism towards how “just” the American system is during battles and war, and how incredibly messed up our generalized view on racism and the ever ongoing struggle for certain ethnic groups to survive is. “The negativity of the characters extends, in fact, into every facet of their lives; indeed, the film implies the deepest denial of the goodness of effectiveness of every facet of human life in general. Every kind of human relationship is ridiculed or negated in the film.” 4
Overall, the reader can see that this community does band together to support Romero. Romero is a bit touched, but he manages to teach everyone in the town some important lessons. He exemplifies a work ethic that is probably stronger than any else’s in the community. Despite his affliction, Romero is always cheerful and full of vitality. Even though he is the "village idiot" by conventional definition, he is a blessing to this barrio.
Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her work in everyday places she has encouraged social change.
In Frank Romero freeway mural " Going to the Olympics " painted in 1984, we can discern his engaging artwork by the colors he's using and the area he chose. In the mural there's five old fashion cars, five brilliant hearts on top of the car, and if you look closely you can see two sports that are involved in the Olympics, the mural speaks LA. He chose this location and kind of idea because in 1984 there was a Olympics at LA. Something unacceptable occur to the mural. Romero artwork was unfortunately ruined by street taggers.
(68). The use of the symbolic automobile can be seen as a demonstration of how a...
These two elements give the piece an excellent sense of realism, it’s almost like you’re there with pitcher at that patriotic moment. Shape also plays a huge elemental role in this piece. In this painting the geometric shapes of the car draw the eye. Almost every basic shape one could think of stands out in this piece: the circular headlight and rectangular front end were two of the first things to catch my eye. These geometric shapes in combination with the underlying tone of the organic shapes of the flags and Cobra give this piece contrast as well as the light and dark elements of
In Frank Romero's mural "Going to the Olympics," the artist delineates life in Los Angeles through bursting colors and defined shapes. In the image I see cars, hearts, palm trees, a good year blimp, horses, two men wrestling, a stamp and an iron. The choice of colors the author uses is very fun and pleasing to the eye.The color that I believe dominates the entire mural is the color blue. Each image in this mural has many possible meanings. The cars, in my opinion, symbolizes the importance of cars and transportation on people and it is demonstrated by the beautifully colored hearts. It can also symbolize the insane traffic we have here in Los Angeles but choose to deal with it because we love it here. The palm trees symbolizes the weather
Within the last few years, graffiti has been deemed an acceptable and tasteful genre of art. Long gone are the days where the spray can belonged exclusively to the local delinquent. From the past to present, there has been a shift in how street art is recognized by the general public and the government. Laws and policies are being put into place that both defend and threaten the promulgation of this creative medium. By both protecting and prohibiting, the government displays an inconsistent and confusing relationship with street art. When art is so subjective, it can become challenging to delineate the fine line between vandalism and creativity. This essay will discuss the changing public perception of graffiti, the trademark and copyright battles between graffiti artists and property owners, the categorization of street art as an artform, and the beneficial aspects of commissioned street murals.
The author of the passage mainly tries to make the reader look beyond a screen and enjoy the beautiful aspects of nature which are given to us every day. The way the author explains that car ride gives the reader a feeling nostalgia because it reminds them of when they were kids and enjoyed the outdoors and experienced it with such joy, peace, and harmony. But when returning to the present children only rely on being the highest ranked person in a call of duty game or having the most amount of likes and their Instagram page which is the new way of entertainment for children and teens as well. These are the many consequences of technology.
The stance proves to be relatively ambiguous. While it initially seems to carry a pessimistic, and concerned ideology, the artists have actually said that the intended purpose wasn’t to abase or belittle California but rather to express patronage towards his hometown and its many wonders. However, both the lyrics and the visuals seem to overshadow that intent and do the exact opposite. Accompanied by a melancholy arrangement of instruments that sounds either dreamy and relaxing or pessimistic and moody depending how you interpret it, the Red Hot Chili Peppers’ video portrays the controlling lure that Hollywood has over the people of California. It preys on people’s desire to acquire fame and fortune, by promising celebrity status and untold riches.
By focusing on the Graffiti that is vulgar and gang related they are saving the city thousands of dollars and time while still keeping what is considered street art. The mayor believes that tags will become even more unlikely because they are taken down so fast due to the focused effort of the clean up teams. Getting rid of street art is censoring people’s opinions and their way to voice In the 1960s displaying war was common for artists. Many artists during this time were against the Vietnam war and displayed that in their artwork. Artists such as Ronald Haeberle, Peter Saul, and Carl Andre raised awareness against the war through their art and in doing so produced a call to action.
For Thao, the car is a symbol of his newfound independence. Automoblies are significant representations of the American dream because of “the unrestrained capacity to move,” which became equated early in the American cultural imagination with personal reinvention and self-determination. Those who could control their own movement were deemed self-sufficient, independent agents” (Heitmann & Uhlman). For Thao, he is no longer restrained by the gang to follow his dreams. The last scene in the movie, at 1:50:00, is the true embodiment of the American Dream.