This week topic focuses on community activism in San Francisco in the 70s plus an oral history interview with Carlos Villa to give us brief overview of San Francisco art scene in those days. It is remarkable to note how our school (SFAI/ CSFA) plays a major role in shaping the local art scene here in the Bay Area particularly the “community mural movement” of the seventies. Are there any differences between community murals in the seventies (mentioned in Lost Murals of the Seventies by Timothy W. Drescher and Art and Social Consciousness by Margo Machida) and street/urban art today in San Francisco? in terms of subject matter, style and concern?
What was distinctive about Mujeres Muralistas on collaboration and how they deal with funding? Does it have something to do with the “rasquache” strategy of resistance and resilience?
In the article, “Third World Art is a State of Mind” by Paul Kagawa (Other Sources: An American Essay), do you agree that such “cultural cartel” exists in the art world?
In 1976, Carlos Villa organized an exhibition entitled Other Sources: An American Essay about “Third World” artists, activism and multiculturalism. Why is community action such as “bringing people together or bring cultures together” (page 274, Machida) integral to Carlos Villa’s art practice? Do you think his concerns with ethnic and cultural diversity are somewhat autobiographical? ( Oral History interview with Carlos Villa, 1995 June 20-July 10 by Paul Karlstrom)