{\rtf1\ansi\ansicpg1252
{\fonttbl
{\f1\fswiss\fcharset0\fprq0 Tahoma;}
{\f2\fnil\fcharset2\fprq0 Wingdings;}
}
{\colortbl;
\red0\green0\blue0;
\red0\green0\blue255;
}
{\stylesheet
{\s1\qc\shad\f1\fs44\ppscheme-3\lang1033\level1 heading 1;}
{\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\level2 heading 2;}
{\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\level3 heading 3;}
{\s4\li900\fi-180\shad\f1\fs24\ppscheme-1\lang1033\level4 heading 4;}
{\s5\li1260\fi-180\shad\f1\fs20\ppscheme-1\lang1033\level5 heading 5;}
{\s6\li1620\fi-180\shad\f1\fs20\ppscheme-1\lang1033\level6 heading 6;}
}
\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 David Alfaro Siqueiros (1896-1974)\line }{\f1\fs16 Rogalery}{\f1\fs16  }{\field{\*\fldinst HYPERLINK "http://rogallery.com/Siquieros_David_Alfaro/siqueiros-biography.htm"}{\fldrslt\cf2\ul{\f1\fs16 http://rogallery.com/Siquieros_David_Alfaro/siqueiros-biography.htm}}}{\f1\fs16  accessed 3/21/11\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 \'93was among the most famous of all Mexican painters and muralists, ranking alongside the great Diego Rivera and Jose Clemente Orozco. Siqueiros was born in Chihuahua and trained at the }{\f1\fs24 Escuela}{\f1\fs24  }{\f1\fs24 Nacional}{\f1\fs24  de Belles }{\f1\fs24 Artes}{\f1\fs24  in Mexico City. He participated in the revival of fresco painting initiated by government sponsorship of murals in public buildings, later creating frescoes in the United States.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 A political activist as well as artist, Siqueiros' exterior frescoes focused on dynamic revolutionary themes to help inspire the lower classes. His bold and vividly-colored paintings, often representing contorted and intensely emotional figures, soon became famous throughout the western hemisphere.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \'93Art and Corruption,\'94 1969\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 The Mexican Revolution\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 \'93was a major armed struggle that started in 1910, with an uprising led by Francisco I. Madero against longtime autocrat }{\f1\fs24 Porfirio}{\f1\fs24  Diaz. The Revolution was characterized by several socialist, liberal, anarchist, populist, and }{\f1\fs24 agrarianist}{\f1\fs24  movements\'85. After prolonged struggles, its representatives produced the Mexican Constitution of 1917.\'94  Wikipedia }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Mexican_Revolution"}{\fldrslt\cf2\ul{\f1\fs24 http://}{\f1\fs24 en.wikipedia.org/wiki/Mexican_Revolution}}}{\f1\fs24   accessed 3/21/11 However Siqueiros dates the revolution back to 1906. The revolution continued into the 1920s. \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Attacks on }{\f1 Muralism}{\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 [In the early 1920s] There were [left-wing] theorists who claimed that film and photography were better as a tool of revolution.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Certain reactionary [right wing] professors said our paintings were obscene, destroying the architecture by not complementing the colonial style, and our aims were subversive (in promoting agrarian reform, workers rights, social security, etc.)}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Siqueros}{\f1\fs28  \'93The Elements\'94  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 1922\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 National Preparatory School\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 His first mural\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Vasconcelos}{\f1  and }{\f1 Obreg\'f3n}{\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 1922\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0\'a0 \'93Siqueiros returns to M\'e9xico City [from Paris]. Secretary of Public Education Jos\'e9 }{\f1\fs24 Vasconcelos}{\f1\fs24  initiates a muralist movement by commissioning artists to paint on public walls, depicting a contemporary view of Mexican culture and history to reflect the ideals of a new society. Siqueiros, Diego Rivera, Jos\'e9 Clemente Orozco, and others begin working together under the patronage of }{\f1\fs24 Vasconcelos}{\f1\fs24 .\'94\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 General }{\f1\fs24 \'c1lvaro}{\f1\fs24  }{\f1\fs24 Obreg\'f3n}{\f1\fs24  }{\f1\fs24 Salido}{\f1\fs24  (1880\'961928) was the President of Mexico from 1920 to 1924. He was assassinated in 1928, shortly after winning election to another presidential term.}{\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Diego Rivera\'92s first mural 1922-23\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\b\f1\fs24 Jos\'e9 Clemente Orozco,  1923. 'The Rich Banquet While the Workers Quarrel.' }{\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 Occupy Wall St protesters 'fight for downtrodden'\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 By Sebastian Smith (AFP) 10/18/2011\'a0 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 NEW YORK \'97 Protesters at the Occupy Wall Street camp in New York say they are fighting for America's downtrodden 99 percent.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs18 Eric }{\f1\fs18 Drooper}{\f1\fs18  (}{\i\f1\fs18 The New Yorker}{\f1\fs18 , }{\i\f1\fs18 Howl}{\f1\fs18 ) poster for Occupy Wall Street, Oct. 2011}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Armed students attacked and partially destroyed the murals: this was against the Mexican Revolution \'93of which our work was a manifestation in the field of art.\'94  This lead to \'93mobilization of the people\'94 in support of their work.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The theorists who saw the work as politically useless now changed their minds, seeing it as academic and backward.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-7{\pntxtb n}}{\f1\fs24 They wanted to return Mexican art to imitation of Europe.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The government at that time favored mural painting.  However, it said that if we continued to publish }{\i\f1\fs28 El Machete}{\f1\fs28  they would withdraw their mural contracts.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs28 Siqueiros, Rivera, Orozco, et al., El Machete, }{\f1\fs28 \'d3rgano}{\f1\fs28  del }{\f1\fs28 Sindicato}{\f1\fs28  de }{\f1\fs28 Pintores}{\f1\fs28 , }{\f1\fs28 Escultores}{\f1\fs28  y }{\f1\fs28 Gr\'e1ficos}{\f1\fs28  de M\'e9xico, 1924}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 As a member of the Mexican Communist Party, Siqueiros helps to found the union, Syndicate of Revolutionary Mexican Painters, Sculptors and Engravers. Siqueiros, with Diego Rivera and Javier Guerrero, starts a weekly paper called }{\i\f1 El Machete.}{\f1  The publication later becomes the launch pad for M\'e9xico\'92s Communist Party. \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 \'93Public art\'94 is for everyone, not just for the elite.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Mural painting as a collective phenomenon had disappeared in previous centuries.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The bourgeoisie [the rich], with their concepts of individualism and private property, created private art as we know it today, including pop art, op art, and other frivolous variations.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 As the class in power, they wanted happiness and  tranquility.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs32 Pop Art:  Roy Lichtenstein }{\i\f1\fs32 Drowning Girl}{\f1\fs32  (1963)}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs24 Aesthete: One who cultivates an unusually high sensitivity to beauty, as in art or nature.}{\f1  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 [In the beginning] Mexican muralists still had bohemian and aesthete attitudes  and chose buildings for their beauty.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The working class said:  begin with political content. \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Art cannot break down the barriers which society erects, except in a relative way.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Originally the art of }{\f1\fs28 muralism}{\f1\fs28  was based on the best aspects of the Mexican Revolution.  Later the government sought to limit this.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 But we have always tried to create art that could reach the multitudes.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1 Portrait of Mexico Today, }{\f1 1932\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 \'93is one of three murals painted by David Alfaro Siqueiros while he was a political refugee in Los Angeles between April and November 1932. It is the only surviving intact mural in the United States by the world-renowned Mexican muralist. }{\i\f1\fs24 Street Meeting}{\f1\fs24  was destroyed due to the elements and }{\i\f1\fs24 Tropical America}{\f1\fs24 , due to its controversial subject matter, was whitewashed and left abandoned for decades until the J. Paul Getty Museum undertook to maintain it.\'94 }{\field{\*\fldinst HYPERLINK "http://www.sbma.net/siqueiros/mural_imagery.html"}{\fldrslt\cf2\ul{\f1\fs24 http://www.sbma.net/siqueiros/mural_imagery.html}}}{\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 \'93Portrait of Mexico Today\'94 is in Santa Barbara.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1\fs24 Portrait of Mexico Today, }{\f1\fs24 1932\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\b\f1\fs20 Portrait of the Bourgeoisie\line }{\f1\fs20 1939\line Mexican Electricians Union, Mexico City}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1\fs36 Death of the Invader}{\f1\fs36 , Chile, 1941-43\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs16  }{\f1\fs20 David Alfaro Siqueiros mural in }{\b\f1\fs20 Tecpan}{\f1\fs20 , c. 1944\line }{\f1\fs40 \line \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs24 "La Nueva }{\f1\fs24 Democracia}{\f1\fs24 " David Alfaro Siqueiros (Palacio de }{\f1\fs24 Bellas}{\f1\fs24  }{\f1\fs24 Artes}{\f1\fs24 ) 1944\line \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1\fs28 From the Dictatorship of }{\i\f1\fs28 Porfirio}{\i\f1\fs28  Diaz to the Revolution\'97The Revolutionaries}{\f1\fs28  by David }{\f1\fs28 Alafaro}{\f1\fs28  Siqueiros\line Acrylic on plywood, 1957-65}{\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1\fs40 Del }{\i\f1\fs40 porfirismo}{\i\f1\fs40  a la }{\i\f1\fs40 Revoluci\'f3n}{\f1\fs40  1957-1966\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs20 Larger detail\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 In 1962, the Mexican government sentenced Siqueiros to eight years in prison for organizing left-wing student riots in 1960 (when Siqueiros was 64 years of age); two years later, in 1964, Siqueiros was pardoned. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 In 1964, as candidate for People\'92s Electoral Front, I argued for the freedom of artistic creation and in defense of our mural movement.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Every revolution in social life brings with it an equivalent transformation in artistic forms and consequent modifications in esthetics.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Easel painting is limited by the environment\'85\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 The environment dictates the themes which are used to those set by the buyers.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 Modern buyers always prefer something light and amiable.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 Although the artist creates for man, it is class that determines art.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 The true artist creates for everyone.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 I did a painting of architect Carlos Lazlo but did not sell him my ideology.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The tourist market of the United States contributed to the distortion of pictorial production, taking artists away from }{\f1\fs28 muralism}{\f1\fs28 .\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-7{\pntxtb n}}{\f1\fs24 \'93Mexican curios\'94 became increasingly innocuous.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-7{\pntxtb n}}{\f1\fs24 The younger generation has no contact with the living realities of the country.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Archaeologism}{\f1\fs28  is typical of Mexican art today [late 1960s]. \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Against Picasso\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The avant-garde extracts styles:  they are stylish stylists and anti-realist formalists.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Picasso should not be seen as an exception in a world of decadence but as an active expression of decadence.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\b\f1\fs20 Picasso }{\b\i\f1\fs20 Television: Quaker, }{\b\i\f1\fs20 Peau}{\b\i\f1\fs20 -Rouge, }{\b\i\f1\fs20 Ecuyere}{\b\f1\fs20 , from the 347 Series, 26 September, 1968, }{\b\f1\fs20 Mougins}{\b\f1\fs20 \line }{\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 The Basic Problem is One of Class\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Democratic governmental organization leads to democratic expressions in art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The class that governs is the one that orients culture.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The threat to the muralist movement comes from imperialist penetration in the realm of culture.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The state aims to replace socially conscious }{\f1\fs28 muralism}{\f1\fs28  with murals that are exclusively ornamental.}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Only the state can promote transcendent art:  only revolutionary states have promoted art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The struggle for a progressive State is the duty of all Mexican artists.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\i\f1 March of Humanity}{\f1 , 1971\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Diego Rivera Mural\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 San Francisco City College\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\b\f1\fs28 "Pan-American Unity Mural" (detail) Artists: Diego Rivera, with assistants Emmy Lou Packard and Arthur }{\b\f1\fs28 Niendorff}{\b\f1\fs28 .}{\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 San Jose Airport Mural, Millard Sheets, 1977\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Judy Baca, Cesar E. Chavez monument, San Jose State, 2008\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\b\i\f1\fs24 Everyday Aesthetics\line }{\b\i\f1\fs24 Prosaics}{\b\i\f1\fs24 , the Play of Culture and Social Identities}{\b\f1\fs24 \line (2007)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 \'93}{\f1\fs28 Katya}{\f1\fs28  }{\f1\fs28 Mandoki}{\f1\fs28  advances in this book the thesis that it is not only possible but crucial to open up the field of aesthetics (traditionally confined to the study of art and beauty) toward the richness and complexity of everyday life. She argues that in every process of communication, whether face to face or through the media, fashion, and political propaganda, there is always an excess beyond the informative and functional value of a message. This excess is the aesthetic.\'94 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Katya}{\f1  }{\f1 Mandoki}{\f1  }{\f1 es}{\f1  }{\f1 profesora}{\f1  de }{\f1 est\'e9tica}{\f1 , }{\f1 teor\'eda}{\f1  de la }{\f1 cultura}{\f1  y }{\f1 semi\'f3tica}{\f1  en la Universidad }{\f1 Aut\'f3noma}{\f1  }{\f1 Metropolitana}{\f1  de M\'e9xico }{\f1 donde}{\f1  }{\f1 coordina}{\f1  el }{\f1 \'e1rea}{\f1  de }{\f1 Est\'e9tica}{\f1  }{\f1 aplicada}{\f1  del }{\f1 Posgrado}{\f1  en }{\f1 Dise\'f1o}{\f1 . }{\f1 Estudi\'f3}{\f1  }{\f1 filosof\'eda}{\f1  y }{\f1 artes}{\f1  }{\f1 visuales}{\f1  }{\f1 obteniendo}{\f1  el }{\f1 doctorado}{\f1  con la }{\f1 tesis}{\f1  }{\f1 Est\'e9tica}{\f1  y }{\f1 poder}{\f1 . \par 
}
}