Art Analysis

Throughout history, marginalized groups, particularly in white, predominantly male, Anglo-Saxon-shaped American society, have turned to alternative forms of expression in order to gain access to "voice" and in order to help fashion an "identity" that is outside of the mainstream dominated images that typically define them as the "other," most often in a negative manner. Mural painting is one form of expression and Frank Romero's Going to the Olympics is one such "voice" in the mainstream that helps affirm Mexican "identity" as surely as it "helps to bind us into a kind of warped citizenship," (Cintron, p. 129). This analysis of Romero's Going to the Olympics will explore the ideas and theories offered by Cintron in "A Boy and his Wall" as they relate to the artwork.

Frank Romero's murals often convey a number of themes that affirm the identity of his culture, the social ills that plague his culture, and a connection betwden his culture `nd mainstream culture that both affirms his own culture while promoting optimism for both cultures in future. As one art history for the Getty maintains, Romero's works often present the following themes: "an acute sense of history; the influences of the Latinos on the political and cultural fabric of America; the ongoing environmental and racial problems facing our communities; an unabashed love for this city; and an optimism for the future," (Mexican, p. 1).

Romero's love for the city of Los Angeles ca

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elinos suffer from en route to and driving home from work. It also represents a potential threat to the sunny environment that is pictured in the mural and is part of the city's universal appeal. In one respect, Romero's mural achieves a quality that Cintron addresses in "A Boy and His Wall," that is, the ability of murals to feature conditions of respect for marginalized groups that often are not provided with such respect. In the case of Going to the Olympics, the automobiles represent the route to the Olympics as well as the route to a number of social ills for Angelinos. Indeed, the cars being lined up may represent gridlock, but they may also, in different colors, represent the different groups who are marginalized on the basis of ethnicity in society in line for access to opportunities of upward mobility. As Cintron (p. 112) maintains, "Valerio described his own �innerscape,' was paired as a rather precise response to the conditions of his outerscape. �Feeling strong,' then, was one way to create respect under conditions of little or no respect." Many Angelinos resent the gridlock and pollution in their city they love, often feeling little respect from policymakers whose strategies have done little to undermine either s

Category: Arts - A