Abstract:

Mexican artist Diego Rivera is commissioned by the Minister of Education, Jose Vasconcelos, to teach Mexican history on the walls of public spaces. In Mexico, where 80% of the illiterate people are illiterate, he wants to paint the people's own history on the walls of public buildings with the aim of educating and developing them. The art of (...) belongs to the people, it is great, and because it belongs to the people, it is a collective because it belongs to the people.' Collective art is seen positively for the first time, with the support of the original thought of the work that a team will make. Jean-Michel Basquiat, on the other hand, is the first black artist to draw attention with his anti-racist works, discourses and graffiti towards the end of the 1970s. With graffiti, she draws the realities of urban life, the invisible, death, events in the city streets on the walls of the New York subway and streets. Meeting and befriending artists such as Andy Warhol and Madonna makes him more recognizable. He says that his problem is not to make art, but to make money. He cannot ignore the violence of the police against African American street artists painting on the walls of the New York subway and shows his opposition by drawing this in his graffiti. He had friends who died on the streets, whose only concern was to paint and graffiti, but faced racism, thus, exposed to oppression and physical violence. This study was carried out in order to focus on the function and effect of the art of a Mexican artist known for his revolutionary personality who made large murals in public spaces, and another artist who expressed the problems of urban life, which stands against self-expression and racism, and to understand it by looking at art from their perspective. Data were collected with the literature review technique and the data were evaluated with the hermeneutic (interpretation) method. Hermeneutics, in general, is the art of interpreting any expression, meaning, text or work of art.

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