Hello everyone, hope you’re having a great week 9 so far; I can’t believe the quarter is almost over!
After this second round of presentations I wanted to look into and write a little bit about Yreina Cervantez; she caught my attention during the presentations because she went through UCLA’s Masters of Arts program and I was curious about learning more of her narrative of navigating the program, space, and teachers. Much of that wasn’t available to me but instead I found the interesting narrative of Cervantez working with SPARK to put up a mural, La Ofrenda, “under a bridge on 2nd and Toluca in downtown Los Angeles.”
The politics of her mural going up, and probably covering tags that were placed there from before, and then new tags completely covering, La Ofrenda, over time was interesting to learn about. The article was also interesting because it went into the technical aspects of SPARK restoring the mural at various stages. It showed me how big public works of art, like murals, are part of an ongoing restoration process after they’re made, particularly if they’re located in an ever-changing site that’s susceptible to other forces like tags and weather and sunlight. I assumed large pieces of art like murals would be around for a lot longer than other forms of art, probably because of the sheer size of most murals, but in reality they’re a lot more susceptible to change than a lot of other art is, that’s seemingly forever preserved in the white museum.
That’s why I think murals are a lot more interesting; they’re more reflective of humanity and societies that are under constant wear, tear, and change.
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