Carlos Callejo Presents Murals in Action: From El Chuco to Los Angeles

Join Campo de Cahuenga Museum for a talk with celebrated Chicano muralist, Carlos Callejo, as we delve into the Art History of the Chican@ Art Movement and its lasting legacy on art making in the United States and abroad. From its grassroots methodology in funding to its committed practice of Community Art, the Chicana/o Art Movement sparked a revolution in the art scene that could not be contained within art institutions.

Formulating artist collectives, organizations, street theater troupes, wheat-pasting, music, and murals, the artists sought to innovate new ways of community engagement and grassroots funding for these projects. These artists took a stand and rejected the notion of "making it" within the established museums, art galleries, and private collections. Instead, they sought to tell the stories of their own communities, and spoke to the history, culture, traditions, and community struggles that were palpable in their everyday lives. Learn about the distinction between Public Art and Community Art, and how these have shaped Public Art policy today, and how these artistic strategies can help artists today!
"Murals that truly speak for a community and its social concerns are a real inspiration, both as a model for the artist and a monument to the struggles and aspirations of the community"-Carlos Callejo.

About the Artist:

Carlos Callejo studied art at Cal State LA and Otis College of Art and Design. As a celebrated international artist, he was invited by the Smithsonian to create a mural and received the prestigious Leila Wallace Reader’s Digest Fund International Art Grant which led to his residency in Italy and his conservation work on Michelangelo's frescoes . His murals have been commissioned across the U.S., Cuba, Nicaragua, and elsewhere. He takes great inspiration from the post revolutionary Mexican muralists, and is a mentor to many Angeleno artists today.

Q&A to be followed by a reception with light snacks and beverages.
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