History Of Visual Arts In Latin America And The United States

When viewing graffiti and other related visual arts, one experiences “life in motion.” Tracing the history of visual arts in both Latin America and the United States, one notes that visual artists have fomented revolution by altering aesthetic practices and transforming social contexts. One links modern graffiti tags and pieces, defined as “unauthorized writing or drawing on a public surface,” to other visual art forms such as sketchbook work, prints, murals, and portable frescoes because all illustrate ideas through writing. Upon building and train walls in addition to other surfaces, artists have advertised their nametags and spread their views of race, politics, gender, and economics among the greater public. During the nineteenth and twentieth centuries, artists sketched two trends of similarity and charted two paths of difference characterizing the histories of graffiti and other visual arts. While modern graffiti writers opposed political racism and chose anonymity to enrich visual arts traditions, they also reformed gender hierarchies and altered cultural visions to distance modern graffiti from

As revolutionary sentiments developed in Mexico, painter Gerardo Murillo incited masses of indigenous and mestizo peasants to oppose Díaz’s Eurocentric values through strong symbolism. Murillo’s fiery volcano painting features brown hues that symbolized indigenous agency and reds that signified uprising, predicting that an army of non-white Mexicans would unite around land reform to overthrow Díaz. In Mexico in the 1910s, Murillo and other artists who created large-scale murals resisted the dictatorship’s prevailing Eurocentric culture and inspired thousands of Mexicans to revolt. Unlike future artists, Mexican revolutionary painters promoted broad visions of social