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In her book, From Out of the Shadows, Viki L. Ruiz argues the contributions to history that was made by farm workers, activists, leaders, volunteers, feminists, flappers, and Mexican women. She explores the lives of the innovative and brave immigrant women, their goals and choices they make, and how they helped develop the Latino American community. While their stories were kept in the shadows, Ruiz used documented investigations and interviews to expose the accounts of these ‘invisible’ women, the communities they created, and the struggles they faced in hostile environments. The narrative and heartfelt approach used by Ruiz give the reader the evidence to understand as well as the details to identify or empathize with.
In Siqueiros Street meeting piece his mural “ is twice life-size and in more brilliant color than Siqueiros generally uses.” ( Rogo, 7) This mural was painted on the side of the Chouinard School of Art, this was seen as political as in the period racism was at its peak and this was seen as daring to be put in a public area. Siqueiros also tended to “ paint outside the lines.” When making the work, Plastic exercise, He painted the walls, along with the floor (Rogo, 7). The materials he used were different from what Rivera used.
When amazing rocker chick Gwen Stefani first began her music career, she quickly became an inspiration to aspiring female singers. At just seventeen-years old, Stefani was a vocal powerhouse. Teenage girls attempted to emulate this courageous young woman. They wanted to be an independent, talented, young woman who could support herself, all on her own. Gwen Stefani paved the way for a certain type of independent woman.
Introduction Frank Romero’s art served the purpose of illustrating and empowering Chicano culture in Los Angeles through colorful paintings and murals. Through his art, one can examine the impact the chicano movement and its rich cultural backgrounds and significance in Los Angeles. Chicano, once an ambiguous term, could be defined and represented through his artworks by communicating messages of culture, love, identity, and oppression, such as those depicted in works that will be discussed in this essay. Chicano culture has impacted the history of the United States for decades.
• African Americans – The cultural transition from the 1970-1960 promoting African Americans literature, was also a musical and vocal movement for a culture coming of age after the liberation of slavery. The fierce anxiety of post-Civil War racism created a “voice” through artistic creativity, making a deliberate statement of the status of America through African American eyes. The timelines show artist telling a story of character and circumstance. • Asian Americans – The timelines showed advancement in music, literature and theatrical fields. They also showed more popularity of this sub-culture during the last fifty years.
Charlie Works Mrs. Tomczak Language Arts 12 March 2024 Graffiti is art, it can be one of the best creations you have ever seen, and it can be anything you can imagine, but all of that can come at a cost. Graffiti is also vandalism, it can promote gang violence, racial slurs, damage property, and make property value go down. In the article “Wiping Out Graffiti in Houston” it claims “all graffiti is vandalism” by the city of Houston, department of neighborhoods. Graffiti comes at a hefty price to clean, in one year it costs 300-900 million dollars a year to clean up graffiti. Anyone can do graffiti.
The Gradual Unbinding of Revolutionary Women Women back in the 17th to 18th century were labeled insignificant and served no major roles in any life-changing events. The fate for most of the women, was being confined in their own living spaces- left to prioritize housework duties such as cooking and cleaning. The etiquette of women was subjected to remain obedient to men. The inferiority of women forced imposition of loyalty and obedience towards men; the respect to women remained unrecognized in society. Preluding to the beginning of the 18th century, before the American Revolution arose, the position of a woman was strictly only to maintain household orders and comply towards the necessities of men.
In Society, women face struggles when it comes to their gender, but they have also struggled in working during hard times and what they want to do. Many stereotypes have been made about women due to them working and women having to struggle with the hardships of work. Women have struggled with these challenges for many years, but the great depression made it harder for them. Women back in that period had a hard life staying home and caring for their children while men went out looking for a job or working hard enough to buy at least a piece of bread. Although men had these hardships, what would have it been for a single mom during this terrible period?
The documentary director Sean Fine and Andrea Nix Fine depicts the life of Mexico-born, 15-year-old Inocente Izucar, an artist living in San Diego, California that uses with brilliant colors and unique pieces art from her demanding reality rise and pursue their dreams from a career as a painter. By chronicling the journey of this immensely talented young woman, the documentary sheds light on the current lightning rod issues of immigration and homelessness in America in a strikingly personal way. The documentary is about a homeless teenager but because Izucar is undocumented the film also explores other issues like deportation, domestic violence and suicide.
In Los Angeles, writers such as Saber paint on billboards and water towers to escape arrest and still make art. Even though the Los Angeles Police Department (LAPD) can see artists working on such surfaces, officers cannot safely land helicopters nearby and climb narrow stair-ladders to catch writers. However, concerned citizens like “Graffiti Guerrilla” Joe Connolly prevent the spread of graffiti by climbing up onto billboards and water towers to “buff,” or paint over, graffiti. In other words, residents of Los Angeles who are not police officers but dislike graffiti have succeeded in eliminating graffiti from water tower and billboard walls that the police cannot
Introduction Attention Getter ( Capture): Anyone walking down the street in a big city will see the bright, colorful, and illegal “eyesore.” Introduce the topic: Graffiti is illegal in many places but many larger cities also have “legal yards” where artists can paint without the fear of being arrested, like Freak Alley. But some people don’t like of any street art.
Graffiti, at its very core, is the act of committing a crime in order for an artist to be heard. Is this really the way an artist would prefer to be remembered? Artists like Lady Pink for example, have witnessed first hand the ruin of their graffiti paintings however, she still advocates the fact that it is “young, cool and creative” (Pink, 2014). She also believes that it is a medium for young artists to express their talent and prevents stagnancy of creativity in society. In spite of the fact that graffiti may provide a way for struggling artist to gain access to a platform where they can share their political views in a peaceful and anonymous manner, graffiti could degenerate into vandalism by defacing property that does not belong to the artist and encouraging rebellious
The word graffiti comes from the Italian word “graffito”, which in turn comes from the word “graffio” that means scratch. In fact, at the beginning graffiti was not painted on walls, but scratched into the surface. The word evolves through the centuries: first, the term referred to the inscriptions, or figure drawings, found on the walls of ancient ruins; now, it is linked to the metropolitan environment and the hip-hop culture. It is interesting to see its development through history. Although it is common to think of graffiti as a very modern way of expression, its origin is to be tracked back to the ancient world.
Graffiti is considered an art form and is becoming more popular all over the world. This type of artwork has transformed into “a more legitimate form of art through artists like Banksy, who has had his
“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.