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this artical is about graffti that can inspire people mant people call the art vandalism and other cal it art .

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George C. Stowers wrote that based on aesthetic criteria, graffiti has to be considered an art form. He makes a distinction between simple tags and more complicated pieces, stating that tags have little aesthetic appeal and probably should not be considered art. However, larger pieces require planning and imagination and contain artistic elements like color and composition.

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Cheech Marin and riverside musem team up

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Cheech Marin and riverside musem team up

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the famous actor cheech has teamed up th riverside musem he colleted alot of art picures and he puts the art in a walk through.

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Actor and comedian Cheech Marin, who for decades has been a noted collector of Chicano art, is teaming up with the city of Riverside and the Riverside Art Museum to create a Chicano art center.

The proposed museum, tentatively titled the Cheech Marin Center for Chicano Art, Culture and Industry, would be housed in a roughly 60,000-square-foot building now occupied by the main branch of the Riverside Public Library, which will be moving to a new structure a few blocks away.

"It'll be the one place worldwide that everybody can go to for all things Chicano art," says Marin. "And it will not just be display, but it will have an academic feature so Chicano art can be seen and can be studied. There are five universities in the area."

It'll be the one place worldwide that everybody can go to for all things Chicano art.

Once the agreements are ironed out, the City Council will vote again to finalize the deal.

"It's a great re-use for the building in the middle of a cultural center," says John Russo, city manager, who notes that the Chicano art center would bolster the city's downtown cultural district, which includes the RAM, the California Museum of Photography (operated by UC Riverside) and the Riverside Metropolitan Museum, which organizes historic and anthropological exhibitions.

"It was this idea that the museums and the cultural institutions hadn't been effectively serving a vast majority of our community," Oberjuerge says. "Like most museums, our board and our staff don't reflect the diversity of the region. This was a realistic look at own own sustainability."

Russo says it will be a concept that appeals to a wider audience too. "I'm the child of parents who were immigrants," he says, noting his family's Italian heritage. "This experience of being bicultural, of how cultures intertwine, of what its means to be an American - that is something that rings true."

Attendance for the exhibition's opening night drew a record 1,476 attendees, and admission revenue at the museum tripled in the first month.

"For people to see this here, to not have to drive to L.A. or Palm Springs," says Oberjuerge, "it was really important."

Russo, who had attended some of the programming related to the exhibition, says he was impressed with the enthusiasm he saw - which got him thinking about the library's midcentury modern building. Plans for a children's science museum on the site were scrapped earlier this year when the Discovery Science Foundation, which operates spaces in Orange County and Los Angeles, withdrew. Once the library moved (in roughly three years), the building would likely sit empty.

"Riverside is a cool place," he says. "That the city would want to back this, that's a big deal. They want to use this as a big draw for their city."

Moreover, he is also interested in the proximity to universities such as UC Riverside and Cal State San Bernardino, to the north, both of which have Chicano studies programs.

"There will be a strong educational component," says Oberjuerge, who adds that education is an important part of RAM's core mission. "We really want people, whether it's collectors or scholars, to really think of the center as this thriving space where there is research, where there are connections between emerging and established artists. We're looking at an artist residency program, a scholar-in-residence program - these are all things we are interested in."

If the City Council approves the memorandum of understanding, the museum and the city can move forward on developing a formal managerial and curatorial plan and begin raising $3 million toward renovations. (Construction will likely cost more, Russo says, but the team wants to get ahead on the fundraising for construction, which will be paid for with private funds.)

"Our board is really excited about this," says Oberjuerge. "They know that there is a lot of work that has to be done in the next nine months in terms of working with Cheech and working on developing a capital campaign to fund it, but they are ready to take it on."

And though the institution already has a tentative name, Marin says he's already come up with a nickname of his own.

"The intimates call it 'The Cheech,'" he jokes. "I'll meet you at 3 o'clock at the Cheech!"

'Papel Chicano Dos: Works on Paper'

From the collection of Cheech Marin

Where: Riverside Art Museum, 3425 Mission Inn Ave., Riverside.

When: Tuesdays through Saturdays 10 a.m. to 4 p.m., Sundays noon to 4 p.m. through May 7.

Admission: $5; students and seniors, $3, members, military and children under 12, free.

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Cheech Marin teams up with city of Riverside and Riverside Art Museum to develop Chicano art center

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Actor and comedian Cheech Marin, who for decades has been a noted collector of Chicano art, is teaming up with the city of Riverside and the Riverside Art Museum to create a Chicano art center.

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this artical about a woman by the name of Michelle Papillion. sshe has a art gallary that is inspraional to peopleandis devoted to black culture of new york  she is a black only aydience.

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Boy, can artist Derek Fordjour remember the first time he met Michelle Papillion. They were in a room full of big names and up-and-comers at the estate of a very important Black artist. Papillion stood up in her purple pants and great shoes and proclaimed: "I run a gallery in the hood."

Since then, Papillion's gallery has shifted quarters, but not too far, and today you can find it below a neon sign - PAPILLION, it spells, in flamingo-pink capitals - in Leimert Park, Los Angeles. Nearby, there's Jamaican food, African-style silhouette murals and a whole lot of dudes drumming in the parking lot for a Friday afternoon. Maybe it's an unlikely birthplace for the next great renaissance of African-American art. Or maybe it's the perfect one. Whatever the case, Papillion's ambitions recall nothing less than the Harlem of 90 years ago. Her shows, which feature the work of Black artists on the rise, already draw some of the most powerful collectors in the world. "We're in the beginning of it," she tells me when I visit.

She looks weirdly fashionable in her oversize gray hoodie, hoop earrings, black pants and all black sneakers - even the Reading Rainbow mug she's clutching seems somehow cool. Papillion isn't the only reason that New York and London bigwigs like Jeffrey Deitch and Jay Jopling have come calling on the L.A. art scene, of course. Los Angeles looks a lot more like Brooklyn nowadays, with artists going at giant canvases in abandoned warehouses and an accompanying gentrification. But art in the City of Angels has a different kind of aesthetic - bigger pieces, bolder colors, outdoor installations - and a more inclusive, less elitist vibe. "People need to feel comfortable in this environment," Papillion says.

To me, Papillion's gallery recalls W.E.B. DuBois' dream for Black drama: It would be by, for and near African-Americans - though it'd be inaccurate to suggest that Papillion is only for Black audiences. Visitors are greeted by one of Fordjour's canvases, featuring faceless Black men lined up as targets in a carnival game. Two panels of a Black man at an ATM cover an entire wall of Papillion's office; it's the work of Haitian-born, New York-raised, L.A.-based artist Andy Robert. A collage of magazine photos by Suné Woods (formerly a photographer), stressed and manipulated, hangs with a texture like overlapping tissue papers. "Curatorially she's doing all mediums," Shelley Holcomb, cofounder of Curate L.A., says, with "really young artists that are subsequently gaining attention internationally." Indeed, the day I visit, she's just met with a couple of collectors from Tokyo.

In some ways, Papillion's work runs parallel to that of Theaster Gates, the South Side Chicago revitalist, in whose property she made that declaration about the gallery in the hood. Making the space around her beautiful is Papillion's art project. "There are no galleries on this side of town owned by people of color. Period." To do good for a community is an art in and of itself, she says. And there's much good to be done in Leimert Park, a predominantly Black neighborhood with the second-highest property crime rate in the city, according to the Los Angeles Times.

Papillion is protective, even possessive, of the dozen Black artists she's shepherded to wider renown. Sometimes she is downright political. In Artforum, in the pages where owners typically advertise upcoming exhibitions, she took out an ad that said, "Dear Art World, Let's End Police Terrorism #blacklivesmatter." Last Martin Luther King Jr. Day, Papillion underwrote a colorful float, designed by one of her artists, to represent the Crenshaw neighborhood, near Leimert Park. One of the sayings plastered on it was "Black money matters." It's rare of a gallerist to be that explicit - and loud - about her politics.

But activism was in the water she drank, growing up in Oakland. Her mom was an educator, and her dad an architect. At Howard, she studied the classics at first, learning Latin, Greek and Egyptian (yes, she can read all three and waves off my impressed expression). She joined an Egyptian art class, and in terms of falling in love with visual arts, that was "the tip of an iceberg for me," she says.

It's not easygoing, of course. Finding emerging artists is like winning the lottery, and turning unknowns into collectors' darlings takes an eye, nurturing, skill, advocating, branding - as well as time and justice. Of the 10 people on the Most Powerful Art Dealers list that Forbes put out in 2012, none were women of color. But Papillion, has already come far, says Fordjour, who remembers coming up with her: "We were all at this scrappy space at the same time," he says. Things have changed: "Now people know her name when she comes into the room, and that's a different way to advocate."

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The Powerful Young Gallery Owner Shaping L.A.'s Art Scene

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Boy, can artist Derek Fordjour remember the first time he met Michelle Papillion. They were in a room full of big names and up-and-comers at the estate of a very important Black artist. Papillion stood up in her purple pants and great shoes and proclaimed: "I run a gallery in the hood."

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this artical  is about a islamic and arbaian art institute that is in new york with a challenge against stereotyes. Arab and islmic people have been in a Muslim traveling band made from trump and is trying to show people hat islamc and arab people are not bad.

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Islamic and Arab art institute opening in New York aims to challenge stereotypes

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The city's first Institute of Arab and Islamic Art aims to counter misconceptions and provide a hub for exhibitions and interfaith dialogue