An Inspiration Across Cultures
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.
Judy Baca graduated from California State University, Northridge in 1969. This was a time when very few artists openly supported the Civil Rights Movement in their work and Mexican muralists were not considered to be of any importance to the fomalists that dominated the art world (Barlow 1999, 125). The mural scene began to grow in 1967 when Allan D’Arcangelo painted the first decorative mural on the side of an East Ninth street tenement in New York City. In 1968, the first photo-realist mural were painted in Venice, California. The collective youth murals done in Latin areas of Chicago and New York City in 1968 also had an impact on the moving forward of the mural movement (Cockcroft et al. 1977, 31).
The city began to take mural painting seriously and in 1974 the Inner City Mural Program was brought about by the efforts of the Cultural Arts Section of Los Angeles county Department of Parks and Recreation. The Department set out to accomplish six specific goals. The first was to fulfill the inherent need of those with low-income backgrounds to develop a sense of identity through public artistic expression. This goal became specifically important to enhancing the lives of the youth in certain areas. The second goal was to improve the community through fine art murals that express its culture and ethnic heritage. Third, to draw attention to and emphasize the difference between commercial and fine art. The program sought to stimulate a higher awareness of, and support for, the fine arts and also to showcase the w...
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...nner city kids that their ethnic history is something to be proud of and celebrated. She has even made an impact on the upper class of our society by asking them to understand her artwork and why it is so important to create art that invokes social change. Judith Baca’s determination for change and desire to teach the youth of the world has immensely contributed to the successfulness of the Los Angeles mural movement and its continuation today.
Bibliography
Barlow, Margaret. 1999. Women Artists. New York: Hugh Lauter Levin Assoscites.
Barnett, Alan. 1984. Community Murals: The People’s Art. New York: Cornwall Books.
Brown, Betty Ann. 1996. Expanding Circles: Women, Art and Community. New York: Midmarch Arts Press.
Cockcroft, E., Cockcroft J., Pitman J. W. 1977. Toward a People.s Art: The Contemporary Mural Movement. Albuquerque: University of New Mexico Press.
Hooks, bell. 1981. Ain’t I a woman: Black women and feminism. Boston, Ma: South End Press.
Merken, Stefan.1987. Wall Art: Megamurals & Supergraphics. Philadelphia, Pa.:Running Press.
Piland, Sherry. 1994. Women artists: an historical, contemporary, and feminist bibliography. Metuchen, New Jersey: Scarecrow Press.
Tuele, Nicholas. British Columbia women artists, 1885-1985: an exhibition. Victoria, B.C., Canada: Art Gallery of Greater Victoria, 1985. Print.
Work breakdown is an essential tool in project management. Project manager make very good use of the WBS. That is to say, it
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Banner, Lois W. Women in Modern America a Brief History. New York: Harcourt Brace Jovanovich, 1974.
In the time of war between the men of Athenian, Lysistrata calls upon all the women of Athenian to give up all acts of sex towards the men in combat. Empowered by her idea of celibacy, Lysistrata preaches to the women, “From now on, no more penises for you!” (Lysistrata 829). In unison, the women of Athenian chant a promise to stay abstinent until all chaos is resolved. Furthering into the strike, many women have tended to feel deprived of sex, as well as lust. Lysistrata massive persistence in staying true to the seldom promise veers the weak into a hopeful direction. In conclusion to the Greek mythology of “Lysistrata”, the abstain notions of interacting in sex, lead to the war ending. Lysistrata was praised as a heroic figure and respected by her district of
One can hardly deny that in Euripides’ plays women are often portrayed as weak, uncertain, and torn between what they must do and what they can bring themselves to do. Other women appear to be the root of grave evils, or simply perpetrators of heinous crimes. In a day when analysis of characters and plot had yet to be invented, it is easy to see why he might have been thought to be very much against women. However, when looking back with current understanding of what Euripides was doing at the time, armed with knowledge of plot devices and Socratic philosophy, this argument simply does not hold up. In fact, a very strong argument can be made to the opposite, that Euripides was in fact very much in support of women’s rights, and thought they were treated unfairly.
“Let’s quickly swear an oath, my friend, and set our concord up unbendable as bronze,” Lysistrata declared, when the other women of Athens and Sparta decided to ban together to with her (Puchner, Akbari, Denecke, and Fuchs 790). The Peloponnesian War had raged on for years and the women of Athens and Sparta were ready for their husbands to come home (Puchner, Akbari, Denecke, and Fuchs 788). Lysistrata assembled all the women to devise a duplicitous disposition to end the war. The women of Athens and Sparta barricaded their selves in a temple and refused to give in to their husbands’ sexual desires (Puchner, Akbari, Denecke, and Fuchs 788). Lysistrata and the women of Athens and Sparta used their sex appeal for to benefit both Athens and Sparta
“Lysistrata,” written following the trouncing of Athenian forces in Sicily in 413 BC, harkens back to this time of war. As is traditional in Athenian theater, males in drag played all of the female parts. This ritual increases the play’s absurdity. The play begins with the streets empty as the men are at war. The women speak to each other of both emotional and sexual starvation. They both
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