SIGNS FROMTHE HEART:CaliforniaChicano MuralsEdited with an introduction byEva Sperling CockcroftHolly Barnet-SanchezSocial andPublic Art Resource Center Venice, CalifomiaSOCI AL ANDPUBLI C ARTRESOURCE CENTERPublished bySocial andPublic An Resource Ce nte r685Ven iceBoul evardVeni ce, California 90291(213) 822-9560 Copyrighr Soc ial andPubli cArt Resource Ce nter, 1990Allrights reserved.Printed in SingaporeCover: Las Lecosgneras, 198 3, Juana Al icia279424t h Sr.. Mission Di st rict , SanFranciscototal mural 30 x SO' , phoro: TimDrescherBook design by CynthiaAnder son andChrisriennede TournayFundedin partby:Ahmanson Foundat ionARCaFoundationCaliforn ia Communi tyFoundat ionCaliforniaCouncil on t he Humanit iesMcDonnel l-DouglasLear Siegler FoundationPacific Bell CorporationNational Endowmentfor the Art s, Visual ArtsUniversity of Cal ifornia atIrvine, Fine Art s DepartmentISBN ' 0-9626419-0- 1~ . PREFACEJ udit h F. Baca1 - 3 INTRODUCTI ONEva Sperling Cockcrofr andHoll y Barnet-Sanchez5 - 21 HOW,WHY,\'(IHERE ANDWHENIT ALL HAPPENED:Chicano Murals of Californi aShifra M. Goldman22 53 ARTE CHICA NO: Images of a CommunityTomas Ybarra-Frausto54 - 67 QUEST FOR IDEN TI T Y : Profile of Two Chicana MuralistsbasedonInterviews wit h Judi thF. Baca andPatri cia RodriguezAmalia Mesa-Bains68 - 83 MURALES DEL MOVIMIEN TO:Chicano Murals andt he Discourses of Art andAmericanizationMarcos Sanchez-Tranq uilino84 - 101 CONTRIBUTORS102 LIST OF PLATES103 -104 SUGGESTIONS FORFURTHER READING105IIII,his book can be seen as t he fulfillment of a dream begun in1974 when the firstslide was collected of t he Archive of the Social and Public Art Resource Center(SPARe). This process, whi ch began among muralists as one collects pictures fora family al bumco record memories, changed as we realized we were in the midst of something important . As theChicano artist communitybecameincreasingly committedtothe goals of the Chicano Move-ment, the purpose of our communal work became clearer . What had begun as a casual recordingof our murals to share and exchange would soon outgrow irs picture taking phase and becomethebasis of nationwide photo documentation of a powerful communitybasedart . WhiletheChicano coll ection represents only onepart of SPARes larger collection of international muralslides, it is an extremel ysignificant one as Chicano murals have infl uenced internationalmuralism greatly and contri butedto t he shiftin emphasis fromMexi co to the United States asthecenter of mural production inthe world.We are now at a junct ure where we can bring together t his photographic docu-mentation with essays by scholars on Chicano moralism in California, i ts art ists, its imagery, anditssocial andhistorical development . Asone of the"cultural workers"oft heearl y Chi canoMovement , I recall our desire to develop a new visual language which spoke from our own culturalprecedents in pre-Columbian art and our experience of contemporary popular Chicano cult ure.~ h a t wasappropriatevisual languagewast hesubject ofconsiderable intellectual (and notsointellectual) debateamongus. Thehundredsofmuralsproduced inMexican-Ameri canneighborhoods across the counrry attest ro the realizat ion of a personal and collective voice, as1NO COMPRE V/NO GALW1974Carlos Almaraz with youngpeople from the 3rd St. gang2 L3 South Sow Sr. formerly All Nations Center, East Los Angeles8' x 30'truly "public" art provides society wit h the symbolic representation of collect ivebeliefsaswell as acont inuing re-affirmationofthecollect ivesenseofself.Paintings on walls, or "murals" as t heyare commonly called, are perhaps the quintessent ial publ icart in this regard. Since before t he cave pai nt ings at Altamira some15,000 years before Christ,wall paintings have served as a way of communicat ing collect ive visions within a communi ty ofpeople. Duringthe Renai ssance in Italy, consideredby many to bethe gol den age of WesternArt, muralswereregardedasthehighest forminrhehierarchy of painting. They servedroillusrrare thereligiouslessons of the church andto embody thenewHumanism of t he periodthrough artistic innovat ions like perspective andnaturalistic anatomy.Mter the Mexican Revolution of 1910-1 917, murals again served as the artis ticvehicle for educati ngalargely illiteratepopulace abourtheideals of theDewsociety andthevi rtues and evils of the past. As parr of a re-evaluation of t heir cultural ident ityby Mexican-Americans during the Chicano movement for civil rights and social justice that began in t he mid-1960s, murals again provided an important organizingtool and a means for the reclamat ion oftheir specific cul tural heritage.The desire by people for beauty and mean ing in thei r lives is fundamental co theiridenti ty as humanbeings . Some form of art , therefore, has existedin every societyrhroughourhiscory. Before the development of a significant private picture market in Seventeenth Cent uryHolland, most art was public, commissionedbyroyalty, clergy, or powerful cit izensfor theg reater glory of their country, church, or city andplacedin public spaces. However, aftertheIndustrial Revol ut ion andthe development of modern capitalismwithits stressonfi nancialrat her than social values, the art worldsystemaswe knowit today wit h galleries, crit ics, and6museums gradually developed. More andmore, art became aluxury object co beenjoyed andtradedlike: any other commod ity. T he break-up of t he stable structures of feudal society andthefluidit yand dynamismofpost- Industri al society was reflectedsymbolically in art by thedisruption of naturalistic spaceandt he experimentation charact er ist ic of Modernism.Modernismhas beenamixedblessingforart andart ists. Alongwithanewfreedom for Innovation and the opport uni ty ro express an individual vision t hat resulted from theloss of d irect control by pat rons of artistic production, artists experienced a sense of alienat ionfromthe materialisti c values of capitalism, loss of a feelingof clearl y defined social ut ili ry, andthe freedom to st arve. This unstable class sit uat ion and percepti on of isol ation from society wasexpressedinrhe arrirude of the bohemian avant garde art ist who scorns bot h t he crass commer-cialism of thebourgeoisie andthe unsophisrocaredtastes of the worki ngclass, creeri ngworkexclusivelyfor the appreciation of a new arist ocracy of taste. Especiall y inthe Uni tedStates oft he196Os, for most people art had become an irrelevant andmysterious thing enjoyed only bya small educated el ite.When mural ism emerged again as an importanrart movementin Mexico duringthe1920s, themurals served as a way of creati ng a newnational consciousness - arole quitesimilar to that of the reiig ious murals of the Renaissance although directed toward a different formof social cohesion. Unlike the murals of the Ital ian Renaissance wh ich expressed t he commonlyheld beliefs of bach rulers and masses, the Mexican murals port rayed the ideology of a worker,peasantandmiddle classrevoluti on against t heformer rul ingclass: capitalists, clergy, andforeign interests. Since rhac rime in the eyes of many, contemporarymural ism has been identifiedwit hpoorpeople, revol ution, andcommunism. Thisassociationhas beenamajor factor inchangi ngmuralism's rankwit hi n the hierarchy of the "fi ne arts"from che highest to t he lowest.Once the favored art of popes and potentates, murals, especially Mexican-style narrat ive murals,now considered a "poor people's art ", have fallen to a level ofonly marginal acceptance within t heart world.The t hree g reat Mexican art ists whose names have become al most synonymouswi th that mural renaissance, Diego Rivera, J ose Clemente Orozco, andDavidAlfaro Siqueiros,were all influenced by st ylist ic currents in European moderni sm - Cubism, Expressionism, andFuturism _ but they used t hese stylistic innovations to create a new socially moti vated real ism.Rather than continuing to use the naturalisti c pictorial spaceof Renaissance murals, t heMexicans explorednewforms of compos ition. Riverausedacol lage- like d iscontinuousspacewhich juxtaposedelements of d ifferent sizes; Orozcoemployed non-nat uralist icbrushwork,dist orted for ms, and exaggerat ed light and dark, while Siqueircsaddedexpressive usesofperspective wi t h ext reme foreshort eni ng t hat made forms burst right our or the wall. The sryl isricinnovations of rheMexicanshaveprovidedchebasisfor amodernmural languageandmostcontemporary muralism is basedto some excenr or anot her on the Mexican model. The Mexi canprecedent hac: been especially irnporranr in the United States for the social realist muralists of theWotks Prog ress Admini stration (WPA) and Treasury Section programs of the New Deal periodandthe contemporary mural movement t hatbeganin the late1960s.Mote rhan25 00 murals were painted with government sponsorship duringtheNew Dealperiodin t he United St at es. By the beginning of World War II however. support forsocialreal ist paintingandmural ismin general , hadended. Duringt he Cold War period thatfollowed, rea. iscic pai nting becameidenti fi edwith t otal itarian systems like t hat of the SovietUnion , while abstract ion, especially New York-style Abscracc Expression ism, was seen as sym-bolizi ngindividual freedom in avant gardearr circles. By the early 19605, only the various kindsof absrracrartfromt hegeometrict ot eebio-morphicwereevenconsideredtoreall ybean .Endorsed by crit ics andthe NewYorkmuseums, abstracti onwaspromulgated abroadastheInremarional Style and cons idered to be "universal " - in much the same way as st raig ht -nosed ,straight -hai red, blondes were conside red to be the "universal" ideal of beauty. Those who d ifferedor complained. were d ismi ssedas ignorant , unculrured, or ant i-American .The concept of a "universal"ideal of beautywas closely related to t he "rnelringpoe"theory, thentaught inschools, wh ichheldthat all thedifferent immigrants, racesandnat ional groups which composed the population of the Uni ted States could be assimilatedincaa single homogeneous "American". This theory ignored cheexistance ofseparate cul t ural enclaveswirhin t he United Scares as wel l as blaranr d iscriminarion and racism. Ic also ig nored the complexdialecticbetweenisolat ionandassimilat ionand theproblemof ident it yfer peopleliketheMexican-Americans of California who were neither wholly "American" nor "Mexican"but a new,unique, andconstantl y changi ngcompositevariouslycalled"American of Mexicandescent: '"Mexican-American, " Lat ino or H ispanic. Int he1960sthererm"Chicano" wi t hits populistorigins wasadopted bysocially-consciousyout has aformofpositi vesel f-idenrificac ion fo rMexican-Americans. Its use beca me a formof pol it ical statement inand of icsel f. 'The dialectic between assimilat ion and separat ismcanbe seenin the hi story ofl os Angeles, for example, first founded in1781as a part of NewSpain. In spite of constant1. 1hroughoul thisboo k severa l termswill beusedtoide ntify Ameri cans of Mexicandescent : U.S.Mexicans; ' and "Chicanos: Each carries Sl>l."t' " fromthe- GREA T WALL OF LOS ANGELES1983J ud ith F. BacaTujunga Wash Drainage Canal, SanFernando Valley, Los tot al mural over 1/2mile long. [his derail epprcx- 13' x 35'82indignation, res istance and struggle for justice that permeates her murals. Through her work shehas forged a new defi nit ion of the urban art ist:I consider myselfan urban artist, ' hal is, I'mparliadady toned into an urban environ-man which couldhe the barriothaI I grew lip in. I believe that OJ an erban artist Jhautto be respomioeto theurbanenoiromnem. I'm interestedin tbetransformation of/hephysicalel1t1;r0Il1Iie111 aswt!/1andtberreation of a sparethaI initselfreflectsthepeoplewholive there.I see nl)'seljas an imlrJI11le111to gitlt ooias (0 the the general sentiment. CONCLUSIONThe parallelsbetweentheidenu ry development of Parrica Rodriguez and JudithBaea atenorsurprisi ngwhentheyareviewed inthecontext of their generation, their region,and theirhi storical epoch. The forces of migrat ion, extended family, racism, and sexism were encounteredin a historic period of massive social change for countl ess orher Chicanas of t hei r age. The mannerof transformation available to t he arrisr has al lowed them to use what was personal and individualinservice of t heir group. LikeotherChicanas undersi milarci rcumstances of migrationandchange, the grandmorheeserved as a sanct uary ofcult ure and a bridge to memories and heritage,serving both as conrenr and model for t heir murals. In the same fashion, t he folk ceremonies andhealing and religious arri facrs of t heir famiIies formed aspiriruali ryand sense ofcontinui ty crit icaleo their development.The crisis of adolescence, as well as the discrepancy bet ween the accepted normsof Anglo America and thei r own experiences propelled these women into t he development oftheirtalent, their only avenue ofselfesteem. Most important is the conti nuous st ruggle eo resolve t herole of woman as art ist. Beset by the gender-bound image ofa whi te male art ist, both) udi rh BecaandPatriciaRodrIguezredefined , inthei r individ ual manner, t hearcisr asfema le. Forgoingmarriageandchildren, thejourney oftheself hasbeenmarkedbythecreat iveexpressionofcult ural belief.Aswomenof amovementdominatedbymen, t heyhaveprovidedrheirownreparations for the pain of personal confli ct, societal racism andt he limi tat ions of gender roles.In the largest sense t he women 's models ofcol lecri vi ty, inel usiveness, spat ial retrieval , and histori cand personal memory have become shared elements in the development ofmural narrat ives amongChicanos. In each, life history has encountered his torical moment ina juncture where only womenof their" unruliness, gifeedness and compet ence" couldhave risen to leadership. The explorati onof individ ual identity hasbecome a reflection of a g reat er cult ural identi ty amongChicanos. Inthis period of historic redefi nit ion t he role of these leading women mural ists provides a study ofintention andbelief commonto Chicanos of their generat ion."Pi ckers" from GUADALUPE" ' l U R A l ~1990J ud it h 11. BacaLeroy Park, Guadalupeacrylic on pl ywood , total mural (4panels}, S' It 2S' S' . [hi s panel S'x 72.MarcosSanchezTranquilino85A Cbicano is 0 Aftx;( a 1l Amtri{on who doe!1/ot Milt011 Anglo imoJt ofhim!tlf_ Ruben Salazar, 1970~Murales delMovimiento:ChicanoMuralsand theDiscoursesof Art andAmerican- Ilation"O RALE RAZA!," t he textual focus of Frank Fierro's colorful1974 mural at t he Est rada Courts Housing Project in East LosAngeles, is an exuberant greet ing to all Chicanos. The literalEnglish t ranslat ionofthisg reeti ng is awkward, meaning"Right On! Mexican AmericanPeople: ' However, the idio-mat ic Chicanot ranslat ion wouldbe close r to "Right on!myPeople," or even "my Community." The g reeti ngimrnedi-arel y establishes a cult ural recognitionbetween t he Chicanomuralist andt he Chicano viewer, acknowledgingboth as be-longi ng tothenat ional Chicanocommunity. The muralsas well astheotherartsofthiscommunity played a seminal role in the establishment of this importantintra-cul tural bridge,the effect s of wh ichulti mately had significant implicat ions for United States societ y in generaland Chicanos in pat t icular. As wit h t he majori t y ofChi cano murals of its period, "Orale Raza!"art iculated a cult ural represe ntationof bot h reg ional and nat ional political agendas for elmooimiento, the Chicanocivil rightsmovement wh ichbeganint hemid- 1960s andcont inuedthrough various nansforrnarions into thelate1970s andbeyond.Chicanos (men) and Chicanas (women) representing this newcultural/pol it icalidentity emergedfromthe long establ ishedU.S. Mexican(or Mexican Amer ican) community,and sought to red ress t heir plight through a series oforganized pol itical efforts desig ned to recovertheir civi l rights as American ci tizens. Towards its goal to effect substantial change, t hisnewcommuniryenlisted theassistance of Chicanosonall fronts, i.e. fromlabor, educat ion, andpol itics, as well as fromt hevisual and performi ng arts. The responsefromeveryonewasONAL[ RAZtl1974f rank FierroEsrrada Court5HousingProjecr East LosJ\ , Iapprox. 20' x 30' ' nge es86overwhelming, incl udi ng that of the artistic communi ty, due inparttoits particular excl usionfrommeaningful partici pation wi t hint hemai nstreamartworld.T he call to arrisrs to activel yparticipat e in this movement coinc ided wi t h theirpersonal and political needs for individual self-fulfi llment andt he opportuni tyto demonst ratet heir capaci ty to create legitimate forms and practices equal cot hose of Anglo culture. There wasno Chicano art produced before1965; ir came inroexisrence wit h t he Movement. What is calledMexican American art fit s a categ ory of artproductioninwhich boththeworks andthe artistsrepresent various degrees of assimilati on. ' Unlike Chicano art which was considered an integralcomponent ofChicano liberation, Mexican American art was mainly concerned with formal andartistic resolut ions. Chicano art represented t he artist icoutput ofmenand women who:identifiedthemselves asbeingin alliance withthemeans andends of el movimiemo: bel ievedt hat an was never for its own sake; survived Americanization and sought to reclaim their Mexicanheritage asnecessaryto their cu rre nt U.S. identities.For Ch icanos, "Ame rican history" hasnot been a fair retelli ng of t heir histories.Ithasinsteadmeant the imposit ion of awhi te Ang lo-Saxonproresranr cul t ural t rajectory overti me and space as t he United Scates increased it political borders int he19th century to includeTexas, Arizona, California, N ew Mexico, Utah, Nevada, parts of WyomingandColorado, thatis the terri t ories and peoples ofwhat is nowcalled t he Sout hwest. Those populations representeda regionallyd iverse development of Mexicancul tures in t he UnitedStates whohad to be"Americani zed" under t he mandate of Manifest Desti ny, t he prevaili ng expansionist philosophyof t he times.The Americanization ofMexicans in this country can be seenas a history of bathresistance andaffi rmat ioni ntheir struggletosurvivenot as analienresidenr underclass, butrather as amulti plici t y of cit izen classes contributingco t heAmerican social whole. Unfortu-natel y, their history also has unt il very recen tl y been circum scribedby social assignment on t hepart of thedomi nant class. Al thoughcl ass ified asan American minority, U.S. Mexicansnevertheless found li t tle acceptance unless t hey would assi milate, This meant that acceptancewas predi cated upont he expressed display ofa preference for Ang lo cult ure - especially the useofEr.glish- over Mexicancult ure, Whi lesome membersofthisgroupcouldand wouldassi milate, others werenot wi ll ing cr able.I . For funllige/u(FalJ 1989):p. 4-5 : (mng J amesCl Ifford s observation onthepresent sta teof increasedglobal ization, "wheresyncret ismand parodiclIl vent lon an- r..,coming t he rul e, nott he except ion, an urban mult i-national world of insrirurional uansience - where American made inKorea wornby youngpeople in Russi a, whl' re ,,"eryonl" s ' roots" arein some degree cut _ in such a world,t becomes inc reasinglv difficulcto attach hu man ide ntity and meaning ro a ccherenr ' culrure' or ' language' ,. McWi1 1ie concludes",ma.' s communicat ionst ravel. t he et hnitheterogeneit y of nat ions andt he accelemrionof our planerhave made t hetsolatlo nlstprograms of previous generat ions obsclcr e.",Assimilation through the Hispanic model is a legacy ofAmericanization effortsinheritedfromtheN ixonadminisrrarionwhichsought toreplace Johnson'sW ar on Povertyprograms withthe Office of Minorit y Enterprisein aneffort to"encourageBlack andbrowncapital ism." \6 It represents a process of Americani zat ionby default for t he convenience of t headmini srrati ve and business secrors which tend to tradic ional ly support conservative political andcultural agendas. Fot Chicanost hetermisespeciallyinsensiti ve. For it robs themoft heopportun ity to acknowledge their indigenous Mexican heri tage while it privileges t he coloni alistEuropean culture of Spai n,The q uest ionmustremain open whethert hese seccors, in addition to all of t hiscountry' s citizens who consider themselves American, can appreciat e t helegacy of t he ChicanoMovement in thi s context: t hat (he Chicano experience represents a model for all Ameri cans toacknowledget heir current idencicy asanourcomeof ewe(or more) livinghistori escomingtogether; charthereis a mult iplicit y of waystobeAmerican; that t heword"Chicano"is anAmericanword(not onlyanEnglish, or on ly aSpanishword) becauseit sig nifi es t heuniqueamalgamat ion of t he old and new identities wirhout t he denial of one in favor of t he other . Thatis Chicano; t har is American.Los AngelesOctober 198916. RodolfoF.Acuna, ACO/mlllmilyUnder Siege."ACbronidc of Cbicanes EnS! of I-os Angeles RiVl' r 1945 -1975(LosChicano Studi es Research Cors er Publ icat ions, Universit y of Cal ifornia, Los Angeles. I984), p. \ 80.10 1102 CONTRIBUTORS Holly Barnet-Sanchez is an anhistorian, one of rwo project coordinators for the UCLA W ightGallery 's interpret ive exhibition of the Chicano arr movement: "Chicano An: Resistance andAffi rmation, 1965-85," was an archi vi st for SPARes California Chicano Mural Slide Archive,andhaslectured andwri tten on Pre-Columbian and Chicano art. Eva Sperli ng Cockcrofc is a muralist, photographer and writer. An author of Towarda PtQpleJArt: The Contemporary Mllral Afovtmenl, (N. Y.: E. P. Dutton, 1977), she has also wrircenextensively for books and national magazines on mural art, arr and society, Lati n American andChicano art. Shifra M. Goldman is an art historian. She teaches atRancho Sant iago College in Santa Ana,California, is a Research Associate witht he Lat in American Center, VaA, the author of Con-temporary Mexican Painting ina Tillie ojCha'lge, and co-compiler of Arte Chicano.A ComprehensiveAnnotaled Bihliography, 1965-/ 981 , wit h Tomas Ybarra-Frausto. Amal ia Mesa-Bai nsisaPhDinpsychology, educat ionalconsultant tot he SanFranciscoUnifi ed School Dist rict, an artist, and the aut hor of several articles deali ngwith contemporaryChicano cultural representation. She currently is servi ng as Commissioner of Art for the City ofSan Francisco. Marcos Sanchez Tranquilino is an art histori an, one of t wo project coordinators for "ChicanoArt: Resisrance and Affirmation, 1965-85,"and wasan archivist for SPARe s Cal ifornia ChicanoMural SlideArchi ve. Hehas written, lectured, andpublishedont he subject of Chi canoan ,includingthe relat ionshipsberween Chicano mu rals and Chicano graffi t i of the early 1970s. Tomas Ybarra-Frausto teaches Lat in American literature, literary t heoryand Chicanoliterature at StanfordUniversity. He has wr it ten extensively on Chicano cul t ural product ion, aa recent publ icat ion being ArteChicano, A COlllprehens;,:eAnno/atedBibliography,1965- 198 1, co-authored withShifra M. Goldman. Currently, he is t he Associate Di rector of Arts andHumanities for the Rockefeller Foundation. LISTOFPLATESCover. J uana Alicia, Las Lech"glleras, 1983, photo: TImDrescher.1. Carlos Almaraz wit hyoung people fromthe 3rd S(. gang, Nocompre oinc Gallo, 1974,photo: Shifra M. Goldman, p. 42. EastLos Srreerscapers, "La Familia" from Cbicano Time Trip, 1977,photo: Wayne Healy, p. 83. J ose Montoya andt he Royal Chicano Air Force, Chicano Park Freeu1ay pylon, 1975.photo: Centro Cul tural de la Raza, p. 114. Cornmonarrs, Song oj Unify, 1978, photo: Tim Drescher, p. 135. Judith F. Baca, Hitting the Wall,1984 , photo: Gia Roland, p. 156. Yreina Cervantez, La Ojjrenda, phoro: J im Prigoff, p. 197. Mike Rfos, Inspire ( 0 Aspire, 1987, photo: Ti mDrescher, p. 208. Antonio Bernal, The Del Rey Mural, 1968, photo: Robert Sommer , p. 229. Manuel Cruz, Untitled(Homeboy), 1974, photo: Al Flores, p. 3110. Barbara Carrasco, The History oj LA., AMexican Perspeaioe, 1981-3,photo cour tesy Barbara Carrasco, p. 3211. Daniel Galvez with Osha Neu man, Brian Th iele and S. Barrett , Viva fa Reza, 1977 ,phoro: Linda Ebcr, p. 3312. Mike Rios, Frida. Billboard,1978, phoro: TimDrescher , p. 3713. Las Mujeres Muralisras, Para el Mercado, 1974, photo: Eva Cockcrofc, p- 3914. Tortuga Patrol , Ball/Jiayers (TIt1chit), 1978, phoro: Ti mDrescher, p. 421S. W illie Herr6n andGronk, Black and \'(Ihite Moratorium Mllral,1973,phoco: SPARC archive, p. 4516. J ohn Valadez, The Broadway Mural, 198 1, phoco: Eva Cockcrofr, p. 48103 SUGGESTIONS FOR FURTHER READING. noStudiesAZTLAN: Chicanojonrnal of tht Social Sciences and the Arts. Los Angeles: Chic'Research Center, Universi ty of Cal ifomia, Los Angeles. 1970-to the present.. ."er,i tyPresses,Barnett, AlanW ., Community Murals. Cranbury, New J ersey: AssociacedUniInc., 1984.1989.Munoz, Carlos , J r. Youth, ldentity. Power, Tbe Chicano lHOlfemmt . London: VerSo,. .. 1973,Qui rarte,]acinto. Mexican American Artists. Austin: Univers ity of Texas Press -. . . ' . UP Angeles,Rfos-Busramanre, Antonio andPedro Castillo. An ltlnstrated History of MexICa" h# 12178 1- 1985. Los Angeles: Chicano Stud iesRes earch CenterPubli cations MonOgfol P,Universi ty of California, Los Angeles,1986.105"ca nPress,Be'ltI,pfme.Aztldn: An Antboiogy of ,Hexican AlJi/11"ican LI Valdez, Lui s and Stan Steiner, eds.NewYork: Vintage Books,1972.Rogovi n, Mark, MarieBurton andHolly H ighfi ll. Mural A1anual. Boston:1975., ,h COl1 fempOI"dIJ'Cockcrofr, Eva, J ohnWeber, and James Cockcroft. Toward a Peoples Ar/: TeMural M(Well/ent. NewYork: E. P. Dutton &Co., 1977 .. . . , pie fromCommsmty Mlirais i\lagazine, 1978-1 988. ComPlmllty Murals Magazme IS availoCMM, 1019 Shat t uckAvenue, Berkeley, CA94707.. . Al/1IototedGoldman Shifra M andTomas Ybarra-Frausto. Am Chicano: A ComprehenslI/l . ., ., . .' Ibl lCatiOnSBibliography ofChicano Art, 1965 ~ 1981. Ber keley: Chicano St ud ies LibraryPvUnit, University of California, Berkeley, 1985 .. . ' . {states. NewMcW ill iams, Carey. North From A1exICO: [ he Spanish-Speaking Peopleoffht UnlltlYork: GreenwoodPress,1968 .17. Emigdio Vasquez, Nuestra Experiencia in el Siglo XX, 1980, photo: Shifra Goldman, p. 5018. Viccor Ochoa, Geronimo,198 1, photo: Centro Cultural de la Raza, p. 5 119. Andy Zermeno, Hll e/ga, 1965-70, photo: Marcos Sanchez-Tranquili no, p. 5420. Cordova, PuertoAlegre Bm", 19805, photo: Marcos Sanchez-Tranquilino, p. 5721. Anonymous, Sacred Hearl o/Jes"s, 20th Century; Mexican, photo: Blair Part ridge, p. 5822. J uan Ordufiez, Where Heroes art Born, 1983, photo: Marcos Sdncbez-Tranquili no, p. 6023 . RalphMaradiaga, Dolor,1979, photo: Marcos Sanchez-Tranquilino, p. 6324. Malaqufas Montoya, Abaj ocon la A{igYa, 1979. photo: BlairPartridge, p. 6625 . ] udithF. Baca, "ZOOt Suit Riots" fromthe Great\Vall 0/ UJ; Angeles, 198 1,phoco: Linda Eber, p- 6826. Pat riciaRodriguez, Graciela Carillo, andIrene Perez , Famasy \floridf or Children, 1975,phoro: TimDrescher , p. 7 127 . Las Mujeres Muralisras, Latinoamenca, 1974, photo: Eva Cockcrofr, p. 7328. JudirhF. Baca, Uprising ofthe Mlij ereJ, 1979, photo: Li nda Eber, p. 7729. J ud ithF. Baca, "Division of the Bar rios andChavez Ravine" fromthe Grea/\rIall of LosAngeles, 1983, photo: G iaRoland, p. 8030. j udithF. Baca, "Pickers" fromGlIadalllpe Mural, 1990, phot o: GiaRoland, p. 833 1. Frank Fierro, Orate Rozo, 1974, photo: SPA RC archive, p. 8432. DavidRivas Botello, Read Ben oeen the Linn , 1975, photo: DavidBotello, p. 8933. Ccngresso de Ar cisras Chicanos enAztlan, We are not a Minority, 1978 ,photo: T imDrescher , p . 9334. Willie Herron, The \'(Iall that Cracked Open , 1972, photo: Will ie Herron, p. 9635. ASCO,/ns/amA1ural , 1974, photo: Harry Gamboa, p. 9736. PrankRomero, GOiflg to the Olympics, 1984, photo: Doug las M. Parker , p. 99104Over theput twenty,..., ChicanoArlists have made a uniquecontribution to public an in california "ansfcHmill9lhousandsofwallsintocolorful artworks that uprcssthedreams, achieve-ments, aspirationsandculturalldcnlityoftheMulcan-Amcricancommunity. Sign. From th. Hean tells the inside story of thedevelopment of this n_ a nd important American art form infourInterpretive essaysby noted Chicano scholars about Itshistorical, artistic, and educational significance.Social and Public Art Resource Center.UIl ...I....'.C:i .:"... '.,....... leln ...... . .... ' k it "'''a .,P. ".ted In Sin&..-e$14.95