American Indian graffiti muralism is a terminology that embodies the contemporary public art form of mural production by American Indian artists using public art installations to express ontologies of sovereignty, self-determination, and identity in different public spaces and on different objects. To date, there is no scholarship that has focused solely on American Indian graffiti muralism and ethnic markers within the medium of graffiti muralism. The dissertation, "American Indian Graffiti Muralism: Demystifying the Graffiti Medium and the Visual Harmonics of American Indian Signatures on the Modern Landscape," centers on the functionality of American Indian graffiti murals as markers of sovereignty, self-determination and identity in off-reservation municipal urban settings. Using a mixed methods framework of both qualitative and quantitative analysis this dissertation will provide new scholarship within the field of American Indian/Native American Studies and discourses on Native art and Native public art. Due to the fact that these public artworks contain multiple functions and meanings a mixed methods interdisciplinary analysis using the American Indian theoretical model of Survivance coupled with a social science theory of Geosemiotics, interviews with American Indian graffiti muralists, and quantitative empirical data collected through community-based Q survey creates a multi-narrative on the functionality of American Indian graffiti muralism. The aim of this research is to explore the functionality of different American Indian graffiti mural installations using Gerald Vizenor's Indigenous theory of survivance and the social science theory of geosemiotics. The theory of survivance aids analysis on how American Indian graffiti muralists infuse iconography and visual semiotic elements in their public art installations that (re)claim public spaces and infuse ontologies of sovereignty, self-determination, and identity in cityscapes. This is the first usage of survivance theory with Native public art and provides an ethnically appropriate means to investigate American Indian graffiti muralism. Geosemiotics theory provides analysis on how different American Indian graffiti murals interact with the physical landscape they reside within to create ideals of place and place perceptions in the populace. Geosemiotic analysis of American Indian graffiti murals illuminates how the art adds to a pluralistic public dialectic of place. By creating a dualistic theoretical lens this research addresses the suggestion that new discourses on Native art and Native public art require more analysis involving theoretical models and Indigenous ways of knowing through use of survivance theory, while also showing how a secondary social science theory can bolster a qualitative narrative on the functionality of Native public art. Artistic analysis is inherently subjective and the multi-theoretical application in this dissertation addresses how subjectivity and socio-political elements of American Indian graffiti muralism require a fully rounded framework to explore the function of these installations in our cities. The narratives of American Indian graffiti muralists regarding their mural installations offer intimate knowledge on the function of this art form and in this research provides first-person accounts of how artists approach public art differently than their studio art productions. It was also important to offer the perspectives from the artists themselves to illuminate how this graffiti muralism came to be the chosen form of artistic expression. The conversations with Yatika Fields and Jaque Fragua offer a secondary perspective to those of the researcher and public citizens. To further capture all of the perceptions surrounding American Indian graffiti muralism a public survey using Q methodology was completed to provide a platform for community-based input. Q methodology was used as a means to collect empirical data on the subjective attitudes towards American Indian graffiti murals. The output of Q surveying provided the first empirical data on American Indian graffiti muralism and concluded the multi-narrative of this project in the statements generated and tested by multiple public citizens. Furthermore, this multi-narrative foundation furthers future discourses in American Indian/Native American studies, the social sciences, and Native art historical research by offering elements that each can utilize as points of discussion and dissection.

A partir da segunda metade da década de 1940,a arte moderna deixa o confinamento das galerias e ganha as ruas através de sua integração com a arquitetura. Esta pesquisa estuda a relação entre arquitetura moderna e arte no Paraná , no período compreendido entre os anos 1950 e 1970, e sua ação conjunta no sentido de consolidar o projeto moderno no Estado, através do estudo de murais concebidos integrados a obras de arquitetura. / From the second half of the decade of 1940, the modern art leaves the confinement of the galleries and gains the streets through its integration with the architecture.This research studies the relation between architecture and modern art in the Paraná, in the period between years 1950 and 1970,and its joint action in the direction to consolidate the modern project in the State, through the study of murals conceived integrated with architecture.

A partir da segunda metade da década de 1940,a arte moderna deixa o confinamento das galerias e ganha as ruas através de sua integração com a arquitetura. Esta pesquisa estuda a relação entre arquitetura moderna e arte no Paraná , no período compreendido entre os anos 1950 e 1970, e sua ação conjunta no sentido de consolidar o projeto moderno no Estado, através do estudo de murais concebidos integrados a obras de arquitetura. / From the second half of the decade of 1940, the modern art leaves the confinement of the galleries and gains the streets through its integration with the architecture.This research studies the relation between architecture and modern art in the Paraná, in the period between years 1950 and 1970,and its joint action in the direction to consolidate the modern project in the State, through the study of murals conceived integrated with architecture.

What does Mexico mean to the cultural imagination of the United States? What has it meant in the past? In what ways has the U.S. incorporated aspects of Mexican culture into its own? This dissertation explores these questions of cultural and intellectual exchange between the U.S. and Mexico during the 1920s and 1930s by positioning itself amid the present “transnational” and “hemispheric” turn in U.S. literary study. Its subject matter ranges from architecture and urbanism to journalism and travel writing to short stories and novels to muralism and the visual arts. Such an interdisciplinary approach is bolstered by crossing scales of geography from the international to the continental, the national, the regional and the local. Positioning the discussion in geographic terms allows one to see how the possibilities for cultural exchange could never be fully realized, as the ways in which U.S. writers and intellectuals understood Mexico-- then and now-- can rarely be separated from either the physical proximity or the cultural dissimilarity of the two countries, a relationship that has been described as one of “distant neighbors.” This dissertation takes the spatial components of culture seriously, employing useful concepts from the disciplines of human geography and cultural landscape studies to inform its understanding of how diverse figures ranging from Conrad Aiken, Stuart Chase, José Clemente Orozco, Katherine Anne Porter, Sophie Treadwell, William Carlos Williams-- among others less widely known-- understood Mexico and presented it to a U.S. audience during the interwar period. Their narratives often employ the symbolic landscape of Mexico to communicate the qualities of Mexican culture while unwittingly obscuring the reality of what the country itself. Nonetheless, each example points to possible correctives in the pattern, offering a hemispheric perspective from which much can still be learned today. / English

Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.

El objetivo de la presente investigación es determinar la influencia que ejerce la gráfica popular dentro de la identidad cultural del distrito de Barranco. La hipótesis para este trabajo parte por considerar que cada artista que elabora gráfica popular en el distrito contribuye a la construcción de una identidad cultural que lleva años gestándose. Cada uno de estos artistas, partiendo desde su propia idiosincrasia y contexto, aporta en conjunto contenidos ricos en cultura que van transformando constantemente la identidad del distrito. Para la metodología del trabajo se escogieron quince piezas de gráfica popular plasmada en zonas específicas de Barranco que fueron estudiadas bajo los parámetros de una ficha de análisis visual. También se recopilaron los datos de las entrevistas a tres informantes clave que brindaron alcances sobre lo que involucra el fenómeno. Los resultados fueron clasificaron dependiendo de la zona en la que están ubicadas, específicamente entre la Avenida Pedro de Osma con 28 de Julio, en la Bajada de Baños con el pasaje Oroya y por último la zona del puente San Martín. Como parte de los resultados, se evidenció que el contenido de ciertas piezas responde al contexto y espacio en el que están inscritos y que no son necesariamente creados desde la espontaneidad de cada artista. Por último, se llegó a la conclusión de que los artistas de la gráfica popular resignifican el espacio urbano mediante su obra, marcando tendencias y aportando contenido visual que construye y configura constantemente la identidad cultural de Barranco. / The objective of the present investigation is to determine the influence that popular graphics exerts within the cultural identity of the Barranco district. The hypothesis for this work begins by considering that each artist who produces popular graphics in the district contributes to the construction of cultural identity that has been brewing for years. Each of these artists, starting from their own idiosyncrasy and context, together contribute content rich in culture that is constantly transforming the identity of the district. Fifteen pieces of popular graphic captured in specific areas of Barranco were chosen for the work methodology, which were studied under the parameters of a visual analysis card. At the same time, the data from the interviews with three key informants who provided insights on what the phenomenon involves were also collected. The results were classified depending on the area in which they were located, specifically between Av. With 28 de Julio with Pedro de Osma, Bajada de Baños with the Oroya passage and finally the San Martín bridge area. As part of the results, it was evidenced that the content of certain pieces responds to the context and space in which they are inscribed and they are not necessarily created from the spontaneity of each artist. Finally, it was concluded that the artists of popular graphics resignify the urban space through their work, setting trends and providing visual content that builds and configures the cultural identity of Barranco. / Trabajo de investigación

Diploma thesis Motifs of pre-Columbian America in modern Mexican art deals with the pre- Columbian motifs in the work of three leading representatives of the Mexican muralism - Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Muralism, monumental painting with a clearly defined socio-educational function, started to develop on the initiative of the post- revolutionary Mexican government, since the 1920s of the 20th century. During its development, it gained international fame and today it is widely regarded as a uniquely Mexican style of art. An integral part of muralism form scenes from the life of pre-Columbian cultures. The main objective of this work is to analyse these scenes, the origin of particular motifs, their original meanings and meanings, which they assumed in the context of the murals. The work also reflects where muralists acquired knowledge about the Indian civilizations and what image of pre-Columbian past they created. The work also seeks to clarify the question in what specifically was the muralist access to pre-Columbian cultures innovative. The paper uses qualitative methods of analysis of the available written sources and analysis of visual materials.

Made available in DSpace on 2014-07-29T16:17:33Z (GMT). No. of bitstreams: 1 Luciana coelho.pdf: 5663456 bytes, checksum: 7956b919163e0885341f8f3a7dbb81f2 (MD5) Previous issue date: 2009-10-23 / This work has for proposal the analysis of the construction of a Mexican identity under the perspective of David Alfaro Siqueiros. This artist is an important character for the understanding of the transformations occurred in the Mexican society under the revolutionary context. The Mexican Revolution succeeded in motivating and involving the whole society and, due to the great popular participation in the uprisings, engendered the need to rethink this population contingent, surpassing the political and military character, and greatly affecting the culture. The muralist movement, on which Siqueiros took part, was significant to this question, since it tried to represent the inferior classes, inserting them in the official discourse. Under this perspective it is valid to point out that the analysis of the construction of identities is intrinsically connected to the social and political imaginary. In the Latin-American countries and especially in Mexico, object of this study, this relationship is directly connected to the notion of miscegenation. We cannot discuss Mexican identity without taking into consideration this question that is crystalline in the muralist movement and consequently in the work of Siqueiros. This identitary process is essential for the individual to engender the nation since it makes possible the integration between individual and society, despite its ocurrence in a contradictory manner, since it includes and excludes simultaneously. Hence, the emphasis of this work consists in the comprehension of how the Mexican historical context supported the Siqueirian identitary discourse. / Este trabalho tem como proposta a análise da construção de uma identidade mexicana sob a perspectiva de David Alfaro Siqueiros. Este artista é um personagem importante para a compreensão das transformações ocorridas na sociedade mexicana sob o contexto revolucionário. A Revolução Mexicana conseguiu dinamizar e comprometer toda a sociedade e, devido à grande participação popular nos levantes, engendrou a necessidade de se repensar este contingente populacional, ultrapassando o caráter político-militar, afetando sobremaneira a cultura. O movimento muralista, do qual Siqueiros fazia parte, foi significativo nessa questão, uma vez que buscou representar as classes subalternizadas inserindo-as no discurso oficial. Sob esta perspectiva é válido destacar que a análise da construção das identidades está intrinsecamente ligada ao imaginário político e social. Nos países latino-americanos e em especial no México, objeto desse estudo, essa relação está diretamente ligada à noção de mestiçagem. Não podemos discutir identidade mexicana sem levarmos em consideração essa questão que é cristalina no movimento muralista e conseqüentemente na obra de Siqueiros. Esse processo identitário é essencial para que o indivíduo possa engendrar a nação haja vista que possibilita a integração entre indivíduo e sociedade, mesmo ocorrendo de forma contraditória, pois inclui e exclui simultaneamente. Assim, a ênfase desse trabalho consiste, pois, na compreensão de como o contexto histórico mexicano subsidiou o discurso identitário siqueiriano.

Visual Reinterpretation of National Identity in the Public Space of Mexico Visual communication in public spaces of Mexico has been significantly shaping collective identity, from pre-Columbian times to nowadays. This PhD thesis analyzes the visual aspect of cultural and religious identity in pre-Columbian and colonial eras, later, the discussion is led through the development of the modern day national identity that followed while concurrently explaining how former structural characteristics were partially maintained. Those phenomena are explored from two vantage points: that of the cultural and political elites and that of the general population. However, these perspectives aren't presented in a sharp opposition, rather, as two conjugating cultural streams that have been continuously negotiating and shaping cultural and national identity in correlation with historical and cultural events, including influence from significant others. Accordingly, the thesis explores the official version of national identity, that is promoted by state power, but also how official identity is received into intimate spaces, the everydayness of the bearers of such identity, its reinterpretation and alternatively, the rejections. Since public art (mural art, popular graphics, graffiti, stencil art and other diverse means of...