logical salvation." The wind blows invisible radiation through the ancient pueblos; the Indians offer·corn in order to redeem their traditional ways. The central, Christ-like figure bearing the mask of the weeping god looms titanically within the atomic symbol as a crucified victim of man's supreme intellect. Basic notions of good vs. evil prevail thematically throughout as a warning to contemporary society not to become more alienated and divorced from simple life visions. • Manuel, on the other hand, seeks to sh~w a harmony of man and nature through the living, both young and old. The child's eyes reflect innocence and beauty, constantly reaching out to touch the world. The nostalgic, wise eyes of the central viejito (old one) reflect love, knowledge and enduring faith: La viejita (the old woman) sets la paloma (dove) free in a symbol of peace and harmony with all living things. Here, in a bubble of time, the dynamic relationship between the winding river and Bosques (forest next to the river) are contrasted with the antagonism of an abstract metropolis reaching deep within the sky. Hence, a dynamic tension is created signaling the need to protect the innocent, remember the old ways and preserve las cosas sagradas (sa·cred things). On the windy afternoon of November 1, the unveiling of the murals took place to the rhythmic chants of poetry and music. EvSUGGESTED READINGS Mural Manual, Beaco~ Press, revised edition 1975. • Towards A People's Art, The Contemporary Mural Movement, .E.P. Dutton, 1976. Street Art, Robert Sommer, Links Books,.1975. Mexican American Artists; Professor Jacinto Quirarte, University of Texas Press at Austin, 1973. • • "The Art of the Chicano Movement and the Movement of Chicano Art," Aztlan: An Anthology of Mexican American Literature, edited by Luis Valdez and Stan Steiner, 1972. "Barrio School Murals," Jerry and Sally Romotsky, Children Today,, Sept.-Oct. 1974. • "Chicano Street Murals: People's Art in the East Los Angeles Barrio," David Kohn, Aztlan: International Journal of Chicano Studies Research, Spring 1975. ' Raza Murals'and Muralists, Rupert Garcia, 1974. (Available through the Public Arts Workshop, Chicago.) Mexico's Art and Chicano Artists, Raymond Burrio, Ventura Press, 1975. • "Barrio Mural, A Bicentennial Special," Revista Chicano-Riquena, Fall 1976. "Perspective: Muralist A,rt in the Southwest," Jaime Chavez and Ana Maria Vallecillos, Rayas, 1978. Art and Society: Essays,in.Marxist Aesthetics, Adolfo S.µichez Vasquez, Monthly Review Press, N_ew York City. May 1980 RAIN Page 21 eryone was eating·pos<?le and the children were waving balloons in the air. One could not help but feel a true sense of accomplishment. The aged, smiling eyes of los viejitos (the old ones) signaled acceptance of this gift, an homage to their culture given to them by young p~ople who took the time to create a message and paint it onto the walls of their center where it would be seen daily for years to come. Numerous politicos (politicians) walked_among the gente (people) with extended hal'!ds, glancing up from time to time wondering how these magical murals came to be. Was it state monies or could the project have been federally funded? Maybe it was just people, with hearts and hands willing to explore and create collectively, visions of the many ·horizons just outside the window -A Reprinted from The Workbook, subscriptions $10/yr., from So'uthwest Research and Information (:enter, P.O. Box 4524, Albuquerque, NM 87106. The Workbook is one of the very best access periodicals around. Each issue contains articles, book review~, listings (with address updates) of groups around the country doing similar things and more. It's the sort of magazine that you'll want to keep in a handy file for .regular reference. -CC NETWORK ORGANIZATIONS • John Weber, Chicago Mural Group, 2261 N. Lincoln Ave., Chicago, IL 60614, 312/871-3089 · • . • Jose G. Gonzalez, MARCH, P.O. Box 2890, Chicago, IL 60690 • Barbara'Russum, Public Art Workshop,·5623 W. Madison Street, Chicago, IL 60644, 312/626-1713 • Wall Painting Artists, 11 East Lake Street, Minneapolis, MN 55408 • Tim Dre_scher,,211 Vicksbury, San Francisco, CA 94114, 514/2856192 , • • Salva.do Roberto Torres (Queso), 2153-1/2 Logan Ave., San Diego, CA 92113- • • Kicanindo Artists Coalition, c/o Zarco Guerro, P.O. Box 1242, Mesa, AZ 85201, 602/964-6121 • • Canto Al Puebio 1980, c/o Tigre Roymundo ferez, 563 N. Pasad~na, Mesa, AZ 85201 • • Taller Liberarte, c/o Jaime Chavez, 2620 Duranes Rd. N.W., Albuquerque, NM 87104 • Neighborhood Arts Programs, National Organizing Committee (NAPNOC) National Office: 2013 Columbia Rd. N. W., -Washington, DC 20009 202/667-4200 • Southern Office: 1538 Highland Aye., Knoxville, TN 37916, 615/ 637-7022 Western Office: 1095 Market Street, Room 420, San Francisco, CA 94103, 415/626-0070 • •• Tomie Arai or Lucie Mahler, City Arts Workshop, 525 E. 6th St., New York, NY 10009, 212/673-8670
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