272:. The mural is thirty by fifty feet and was begun in 1982. The building the mural is painted on is a Mexican meat market and the owner specified that they wanted a mural that had something to do with food. Alicia came up with a design and immediately she faced criticism that seemed insensitive and racist, but she stood by her work and the design was approved and became the final mural. The mural's main focus is on six women harvesting lettuce heads. One of the women is pregnant (and her uterus is transparent, allowing the viewer to see the fetus) and the others are picking lettuce, wrapping it in plastic or looking out at the field. An airplane sprays pesticides overhead while white men driving in a car pass by. The mural is in a public area and is meant to be community art. This mural depicted female workers and their struggles against working conditions and pesticide poisoning in California. Her experience as a female farm worker as well as an organizer for the United Farm Workers helped shape the mural's content, and so the mural itself is autobiographical. In addition, Alicia intended the mural to be for the largely Latino neighborhood where she painted it. She also wanted viewers, especially American viewers, to think about where their food comes from and who is involved in its production.
432:. The artwork focuses on the experience of life inside the prison industrial system and paints a positive image of life after being behind bars. As sponsored by SFSU's Rebound Project, a specific department at SF State that offers special admission to ex-convicts, the mural speaks to this particular community as well as the wider university student body and faculty. Ultimately, the mural placed on the San Francisco State University campus will be used to raise awareness of this organization and garner support for it. As stated by the SFSU website, "Project Rebound is a special admissions program assisting formerly incarcerated individuals who might not normally qualify for university acceptance because of application deadlines and minor academic deficiencies."
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community-based organizations. True Colors helps create one or more public murals each year. This project aims to support the development of young artists and activists for the improvement of the urban environment through a creation and collaboration of public murals. The purpose of the murals is to both educate urban residents. Also, beautify the urban environment with positive messages and images that advocate for ecological sustainability, conservation and restoration. The project recruits, engages and employs under-served, at risk youth from
Berkeley and the greater East Bay, in vital community environmental mural arts projects. True Colors trains young artists to design and create community murals with social and
404:'s Centro Chicano wrote to Juana Alicia, offering a new commission for the Centro. Since a mural that she had created with the Yo Puedo Program during the mid-eighties had been destroyed during a renovation. The Centro requested that she create a new work of art in its place. After touring the site, Juana Alicia drew up several proposals for the exterior and interior walls. She proposed an exterior mural that resembled her work she had recently created for the
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She created her in the spring of 2004 at the corners of York and 24th
Streets. With sponsorship by The San Francisco Women's Center and the Galeria de la Raza, the support of Las Trenzas Latina Student and Alumnae Organization of UC Berkeley, and funding from The Potrero Nuevo Fund, The San Francisco
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Juana Alicia is the founder and director of the True Colors Mural
Project. True Colors is a public mural program at Berkeley City College. Through her Mural Design and Creation course at BCC, and also in collaboration with the City of Berkeley's Youth Works Program, Earth Island Institute and other
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History, Design and Technique. The workshops will finish in a mural at the university's new location, in the neo-Mayan art deco train station. Which is an architectural landmark in downtown MĂ©rida. ESAY is a multidisciplinary arts university, featuring visual arts, music, theater, dance and
239:. Dedicated to the development of young artists, she co-founded and co-directed the San Francisco Early Childhood School for the Creative Arts and the East Bay Center for Urban Arts. Through her teaching jobs, Juana Alicia has fostered several generations of young muralists and activist artists.
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is a mural which deals with the subject of violence. The main figure, a young man with a mountain behind him, has several rifles aimed at his chest by unknown aggressors. Two large hands are placed between the rifles and the man. The boy is smiling as he confronts the violence. The mural, while
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I am committed to having an impact on the visual vocabulary of my contemporaries, to work towards peace, and to preserve the environment. I want my work to contribute to the transformation of a violent world into a humane one, reflecting values of love, mutual respect, and awe at the beauty of
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Alicia's painting style is colorful, complex and dynamic. Through her art, she attempts to convey a sense of shared humanity and appreciation for the environment. Alicia paints in a style that blends realism, abstraction and surrealism together, as needed depending on her subject matter.
219:. Her son was born in December 1976 and she never went back to work in the fields. In 1981, she moved to the Mission District of San Francisco and began to exhibit her art, all while working outside of the arts to make ends meet. Juana Alicia has taught at
200:. Instead of doing direct cultural work, Juana Alicia went to work in the agricultural fields as a field organizer. During the strikes in Salinas in 1973 and 1976, she worked for FreshPict, a strawberry grower. She also worked for Interharvest, a
326:. This mural depicts environmental struggles involving women around the world. The mural takes its title from the widespread Mexican myth of a woman who allegedly drowned her children and spends the rest of her life weeping for them.
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Over time, the mural has degraded from weathering. Alicia has tried several times to raise money to restore the mural, although she would prefer to do a permanent mosaic based on the mural in its place.
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in 1979. Alicia also received her Single
Subjects Credential in Art Education in 1980. Three years later, in 1983, Alicia earned her Fifth Year Certificate in Bilingual Education, and received her
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After it went up, the artist was given a 90-day warning that the mural would be destroyed because of water damage. Coincidentally, this opened way for her project that was much related to
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who advocate against government's irresponsible dam projects that damage their homes. Finally, the women in black protesting the unsolved murders of women in the city of Juarez, in the
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in 2018, in collaboration with the San
Francisco Rebound Project as well as Alicia's BCC's True Mural Colors Project created a mural at SF State's campus. The name of the mural was
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204:-owned lettuce company. She worked up until September 1976 in the fields but then stopped because at the time she was seven months pregnant with her son and was exposed to
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is also significant because of its feminist message in its depiction of strong women at work. It also has a strong environmental and human rights message signified by the
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1982 – National
Endowment for the Humanities, BIRTH MURAL Best Visual Art Work with a Chicano/Mexicano Theme, through the University of California, Santa Cruz.
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In 1972, Juana Alicia was recruited by labor organizer Cesar Chavez on one of his national speaking tours, to work for the United
Farmworkers Union as an
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Mayor's
Neighborhood Beautification Fund, the Greppi and Leone family and private donors, the artist was able to complete this mural project.
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1993 – NACS (National
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412:(UTM). She began the process by creating new murals for the Centro Chicano. The theme of the murals depicted the legacy of
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2006-2007 – Fulbright Fellowship, Escuela Superior de Arte de Yucatán (ESAY), Visiting Professor in Mural Arts/Painting.
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1992 – Distinguished Visiting Professor, Oakes College, University of California, Santa Cruz.
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Mazurana, Dyan (January 2002). "Juana Alicia's Las Lechugueras/The Women Lettuce Workers".
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Latin American Women Artists of the United States: The Works of 33 Twentieth-Century Women
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dealing with violence also provides a sense of hope that the violence will be prevented.
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268:(The Women Lettuce Workers). It is located on the corner of York and 24th Street in
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https://www.estria.org/2018/07/juana-alicia-from-incarceration-to-liberation-mural/
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107:. She has been an educator for forty years. Juana Alicia, as part of the faculty
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together. It helps highlight Bolivians in Cochabamba who have advocated to keep
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765:"Juana Alicia – From Incarceration to Liberation Mural | The Estria Foundation"
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Edgardo Cervano-Soto: Juana Alicia creates for El Centro Chicano de Estanfor
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Archives of American Art, Smithsonian Institution: Oral History Interview
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2000 – Woman of Fire Award, Women of Color Resource Center, Berkeley, Ca.
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The Spiral Voice: Codex Estánfor Juana Alicia's New Murals at Stanford
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674:. Jefferson, North Carolina: McFarland & Company, Inc. pp.
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2020 – San Francisco Arts Commission (SFAC), Golden Capricorn Award
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Guide to The Juana Alicia Collected Works Digitized Art Collection
568:"Oral History Interview with Juana Alicia, 2000 May 8 and July 17"
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Incarceration to Liberation / De la EncarcelaciĂłn a la LiberaciĂłn
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University of California, Santa Cruz, San Francisco Art Institute
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and Indigenous literature. The working title for the piece is
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Juana Alicia's first big mural project in San Francisco was
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Stanford report on The Spiral Word: El Codex Estánfor
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448:Mural Arts Center, Master Muralist Award.
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406:University of California, San Francisco
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330:mural illustrates stories of women in
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176:(M.F.A.) in Drawing and Painting from
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823:UCSF Art Collection: Juana Alicia
311:La Llorona Project, San Francisco
37:Newark, Essex County, New Jersey
883:Artists from Newark, New Jersey
270:Mission District, San Francisco
208:. The poisoning led to chronic
233:San Francisco State University
229:University of California Davis
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340:Mexico–United States border
198:United Farm Worker Movement
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140:in 1953. She grew up in an
91:(born 1953) is an American
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379:The ESAY/Fulbright Project
574:. Smithsonian Institution
366:True Colors Mural Project
136:Juana Alicia was born in
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566:Karlstrom, Paul (2000).
296:Alto al Fuego/Cease Fire
146:Detroit Institute of Art
666:Henkes, Robert (1999).
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531:"Juana Alicia Araiza"
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243:Art & chronology
180:(SFAI) in May 1990.
160:Alicia attended the
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221:Stanford University
217:United Farm Workers
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174:Master of Fine Arts
144:community near the
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717:La llorona Project
704:2014-12-03 at the
138:Newark, New Jersey
878:Chicana feminists
500:"About/BiografĂa"
392:film/multimedia.
320:The Weeping Woman
184:Teaching and jobs
150:Detroit, Michigan
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853:1953 births
356:maquiladora
278:crop duster
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847:Categories
685:0786405198
486:References
352:Rio Grande
338:, and the
328:La Llorona
316:La Llorona
170:Credential
132:Early life
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634:1536-6936
614:Meridians
400:In 2007,
302:Alicia's
210:pneumonia
156:Education
148:(DIA) in
127:Biography
113:Nicaragua
51:Education
770:March 3,
702:Archived
578:April 4,
540:April 2,
510:April 1,
402:Stanford
375:themes.
354:and the
101:activist
97:educator
93:muralist
79:Movement
46:American
868:Chicano
481:nature.
460:2004 –
444:1992 –
389:Chicano
344:Bechtel
332:Bolivia
105:painter
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475:Quotes
436:Awards
298:(1988)
260:(1983)
235:, and
190:artist
117:Mexico
638:S2CID
336:India
103:and,
772:2020
680:ISBN
676:5–11
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580:2015
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