Murals: WPA to 1960s - Revision history

Ccarlsson: updated photo

2023-12-19T01:59:31Z

updated photo

← Older revision		Revision as of 18:59, 18 December 2023
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	[[Image:art1$diego-rivera-engineer-worker.jpg]]		[[Image:art1$diego-rivera-engineer-worker.jpg]]

	'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros" (above). -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998		'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros" (above). —'''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998

	The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grassroots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.		The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grassroots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.
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	The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's [[Coit Tower Politics\|Coit Tower fresco]], painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.		The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's [[Coit Tower Politics\|Coit Tower fresco]], painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.

	[[Image:Las ~~lechugeras~~.jpg]]		[[Image:Las-Lechugeras-mid-1980s IMG00042.jpg]]

	'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''		'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''
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	The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.		The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.

	''~~--Excerpted~~ from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998		''—Excerpted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

Ccarlsson at 04:46, 22 November 2021

2021-11-22T04:46:39Z

← Older revision		Revision as of 21:46, 21 November 2021
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	[[Douglas Tilden: Monument Sculptor \| Prev. Document]] [[Community Murals \| Next Document]]		[[Douglas Tilden: Monument Sculptor \| Prev. Document]] [[Community Murals \| Next Document]]

	[[category:Public Art]] [[category:Mission]] [[category:1930s]] [[category:1980s]] [[category:murals]] [[category:2000s]]		[[category:Public Art]] [[category:Mission]] [[category:1930s]] [[category:1980s]] [[category:murals]] [[category:2000s]] [[category:Reclaiming San Francisco]]

Ccarlsson: added photo

2018-09-07T23:11:54Z

added photo

← Older revision		Revision as of 16:11, 7 September 2018
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	[[Image:art1$diego-rivera-engineer-worker.jpg]]		[[Image:art1$diego-rivera-engineer-worker.jpg]]

	'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] ~~(above)~~ was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros." -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998		'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros" (above). -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998

	The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grassroots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.		The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grassroots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.

			[[Image:Maxine-Albro orange-pickers Coit-Tower 9979.jpg]]

			'''Orange pickers in California fields, 1934.'''

			''Maxine Albro, Coit Tower, photo by Chris Carlsson''

	The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's [[Coit Tower Politics\|Coit Tower fresco]], painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.		The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's [[Coit Tower Politics\|Coit Tower fresco]], painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.

Ccarlsson: upgraded photo

2018-09-07T23:04:04Z

upgraded photo

← Older revision		Revision as of 16:04, 7 September 2018
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	'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''		'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''

	[[Image:Juana-~~alicia~~-~~blue-straight-on1123~~.jpg]]		[[Image:Juana-Alicia La-Llorona 1122.jpg]]

	'''''La Llorona’s Sacred Waters''' mural by Juana Alicia on same wall at York and 24th Streets, replacing her earlier mural ''Las Lechugeras.		'''''La Llorona’s Sacred Waters''' mural by Juana Alicia on same wall at York and 24th Streets, replacing her earlier mural ''Las Lechugeras.

Ccarlsson: added link

2014-05-28T05:30:38Z

added link

← Older revision		Revision as of 22:30, 27 May 2014
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	'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] (above) was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros." -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998		'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] (above) was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros." -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998

	The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting ~~grass-roots~~ murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.		The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grassroots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.

	The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's Coit Tower fresco, painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.		The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's [[Coit Tower Politics\|Coit Tower fresco]], painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.

	[[Image:Las lechugeras.jpg]]		[[Image:Las lechugeras.jpg]]

Ccarlsson: Protected "Murals: WPA to 1960s": excerpted essay [edit=sysop:move=sysop]

2009-01-04T08:12:30Z

Protected "Murals: WPA to 1960s": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:12, 4 January 2009
(No difference)

Ccarlsson: PC and protected

2009-01-04T08:12:15Z

PC and protected

← Older revision		Revision as of 01:12, 4 January 2009
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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Timothy W. Drescher''

	[[Image:art1$diego-rivera-engineer-worker.jpg]]		[[Image:art1$diego-rivera-engineer-worker.jpg]]

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	The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.		The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.

	''--Excerpted from the essay ~~Street~~ Subversion: The Political Geography of Graffiti and ~~Murals~~ by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998		''--Excerpted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

Ccarlsson at 21:01, 10 August 2008

2008-08-10T21:01:52Z

← Older revision		Revision as of 14:01, 10 August 2008
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	'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''		'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''

	Fifty years later, Juana Alicia painted Las lechugueras/The Women Lettuce Workers across town at 24th and York Streets, determined to articulate a different reality. The style is still basically realistic, and is also beautifully painted. The mural shows women lettuce workers following behind a harvester, whose pace is set by the bosses in the background (or is it the Immigration Service, the dreaded ''migra''?). The women, including one visibly pregnant, are being sprayed with pesticides as they work.		[[Image:Juana-alicia-blue-straight-on1123.jpg]]

			'''''La Llorona’s Sacred Waters''' mural by Juana Alicia on same wall at York and 24th Streets, replacing her earlier mural ''Las Lechugeras.

			Fifty years later, [http://juanaalicia.com/ Juana Alicia] painted ''Las lechugueras/The Women Lettuce Workers'' across town at 24th and York Streets, determined to articulate a different reality. The style is still basically realistic, and is also beautifully painted. The mural shows women lettuce workers following behind a harvester, whose pace is set by the bosses in the background (or is it the Immigration Service, the dreaded ''migra''?). The women, including one visibly pregnant, are being sprayed with pesticides as they work.

	The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.		The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.
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	[[Douglas Tilden: Monument Sculptor \| Prev. Document]] [[Community Murals \| Next Document]]		[[Douglas Tilden: Monument Sculptor \| Prev. Document]] [[Community Murals \| Next Document]]

	[[category:Public Art]] [[category:Mission]] [[category:1930s]] [[category:1980s]]		[[category:Public Art]] [[category:Mission]] [[category:1930s]] [[category:1980s]] [[category:murals]] [[category:2000s]]

Ccarlsson: added Las Lechugeras

2008-08-08T00:16:28Z

added Las Lechugeras

← Older revision		Revision as of 17:16, 7 August 2008
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	The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's Coit Tower fresco, painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.		The public art images of the New Deal, with very few exceptions, tended more to narrate history than grapple with the realities and complexities of multiple determinant histories. Maxine Albro's Coit Tower fresco, painted in 1934, depicts exclusively white workers in the orchards and flower farms of California, busily harvesting the state's rich agricultural bounty under the aegis of the National Recovery Act. That the state's labor force had never been monolithic in race or attitude went unmentioned.

			[[Image:Las lechugeras.jpg]]

			'''''Las Lechugeras''' mural by Juana Alicia, photo by Chris Carlsson''

	Fifty years later, Juana Alicia painted Las lechugueras/The Women Lettuce Workers across town at 24th and York Streets, determined to articulate a different reality. The style is still basically realistic, and is also beautifully painted. The mural shows women lettuce workers following behind a harvester, whose pace is set by the bosses in the background (or is it the Immigration Service, the dreaded ''migra''?). The women, including one visibly pregnant, are being sprayed with pesticides as they work.		Fifty years later, Juana Alicia painted Las lechugueras/The Women Lettuce Workers across town at 24th and York Streets, determined to articulate a different reality. The style is still basically realistic, and is also beautifully painted. The mural shows women lettuce workers following behind a harvester, whose pace is set by the bosses in the background (or is it the Immigration Service, the dreaded ''migra''?). The women, including one visibly pregnant, are being sprayed with pesticides as they work.

Ccarlsson: categories and links

2008-08-07T23:05:41Z

categories and links

← Older revision		Revision as of 16:05, 7 August 2008
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	[[Image:art1$diego-rivera-engineer-worker.jpg]]		[[Image:art1$diego-rivera-engineer-worker.jpg]]

	'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists SF Art Institute]] (above) was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros." -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998		'''Diego Rivera's enormous engineer-worker in his fresco for the [[Haunted Tower Spooks Wannabe Artists\| SF Art Institute]] (above) was inspiration for Chuy Campusano in the B of A mural, "Homage to Siqueiros." -- '''Timothy Drescher, from SF Bay Area Murals, Pogo Press, 1998

	The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grass-roots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.		The sixties (the period from 1960 to approximately 1974) saw mass political activism at unprecedented levels throughout the United States. Beginning in mid-decade, artists and community activists began painting grass-roots murals on the walls of their neighborhoods, a movement which added community to the historical mural tradition. Not since the earliest cave paintings had artists engaged in mural painting ''with'' community residents. Earlier murals were painted at the behest of various aristocrats, or were painted ''for'' the general population; public art, but not community art. An example of the shift from New Deal to community murals can be seen in two separate San Francisco murals, one painted in Coit Tower and the other in the Mission District.
Line 11:		Line 11:
	The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.		The impact of the more recent mural indicates a major shift from the New Deal piece, and not least in the differences is the fact that it was painted on the street, and not inside a building (Coit Tower). The mural's audience is invited not only to behold the finished image, but to observe the process of its painting, with the consequent opportunity for discussion with the muralist while she painted.

	''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture		''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

	~~Contributors to this page include:~~

	~~''Alicia,Juana - Photographer-Artist ''~~		[[Douglas Tilden: Monument Sculptor \| Prev. Document]] [[Community Murals \| Next Document]]

	[[~~Douglas Tilden~~: ~~Monument Sculptor Prev. Document~~]] [[~~Community Murals Next Document~~]]		[[category:Public Art]] [[category:Mission]] [[category:1930s]] [[category:1980s]]