3/20 José Painting RL #2

Transcript (Download)

you you you you you you you you you you you you scene six you're rolling scene six take one roll two right you you you mom you you you you you you you you you you you you scene seven take one yeah what are we going to name the mural after he finished oh yeah we have to come up with another name so I got one where he said everybody put none and we put them in a bucket and we take it out to go apart district workers yeah I thought of putting it up there on top of the toaster You should follow party history, man.

What do you think? The side of it? Well, no.

Right on the top.

To the honor of their working class or to the working men of party history, because I remember, these all are traits.

And how would you say, labor? About unity.

Unity and people.

You could put like a banner up there.

And then write whatever it is that must be written in the banner.

In the banner, yeah.

Maybe somebody hold a banner.

It's put the Salgas in Pocos.

Or East Coast Union.

Something like that? That big one.

I thought you could place it almost anywhere.

Well, you can place it anywhere.

But the idea is that this is the center of the picture.

It would be nice to be on top of it.

When everybody look at it, can read at the same time.

What is the size of it? From there, you know.

Like I said, you can keep working over and over on this stuff, because it all needs to be like the can and everything else needs to be retouched again.

It's got holes, and we've got to make the lines.

And then the symbols that we're going to put up on the top, like a snowflake or whatever.

When I say we, I don't mean me.

I mean, you know, a half of us.

Because anybody listen to me, eh? What is he? Well, we'll give you a paintbrush.

Huh? We'll give you a paintbrush.

Well, most everybody can.

He's brushing his hand one time, or another, or another, and this little.

Even Escudero went up there in Iceland.

You've still got to do the windows, and then put some trees on there, you know, like it's supposed to be.

By the way, where is Dennis? Dennis, I left him outside.

We're supposed to bring him in, because he's part of the mirror.

We might as well bring him in, and all those figures got to be like, you know, retouched to give more dimension.

When you say dimension, what are you telling me? Explain.

Not to look at his face.

It goes like 3D.

I'm looking at it.

Escurito por el lado.

Ready? Métete en el retrato.

Scene eight, take one.

Métete acá para que gente, que tú también estás observando la hora.

Yo, Hector, que se metan en el retrato, gente.

Pero quítate el coche, porque van a decir, no, este concoño está mirando la hora, pues, se ve que fue, que fue, en tu lado.

No, pero primero, yo miraba esa esquina ahí, y yo no veía más que el hander.

You're talking Spanish, you've got to look at him, though, because I don't understand Spanish.

When I look at the hander, I just say, what is that? But then you have to throw it, and then you can grab the concept of the truck.

You remember you used to tell me, that's the truck, that's the truck, you only see the handle.

You said that was the handle of the mower.

That's what I thought up there, maybe you put two back up lights.

And that, you have definitely, no, it's definitely got to be done, because when you first look at it, you cannot, you know, grab it, but then when you get more attentive, then you can get it.

If you put the two lights in there and make it more distinctive, that it's a truck.

And then some lights up there on the top of it.

That one, we just was talking about, because before, I just looked at the handle, and I knew that was the handle of the truck, but I could see the truck.

And then there's the handle, which is...

But that's too wide.

We need to get the guitarist, because when they're painting...

Yes, because if he was painting, he would have done that.

But the man said, you said, come on, because when you...

Because when you...

When you trip, you're too pretty.

Identifier

F.2021-10-0039

Date Of Production

March 20 1989

Abstract

Artist José Guerrero works on a mural that features plumbers, landscapers, painters, and carpenters.

This footage was shot for an unfinished documentary about the visual language of murals in Chicago's Hispanic communities.

Format

16mm

Color

Color

Sound

Silent

Reel/Tape Number

1/1

Has Been Digitized?

Yes

Notes

The digital representation attached to this record consists of a 16mm negative picture element (F.2021-10-0039) synced with portions of a separate ¼" magnetic audio reel (Dobinsky 089).

Element

Negatives

Genre

Documentary

Form

Unedited

Subject

Art
Street art
Hispanic Americans

Related Collections

Susan Dobinsky Collection

Main Credits

Dobinsky, Susan (is co-producer)

Dobinsky, Susan (is filmmaker)

Bayly, Ronn (is co-producer)

Regele, Susan (is co-producer)

Kurtz, Julia (is co-producer)

Participants And Performers

Guerrero, José (is interviewee)

Do you know more about this item?

If you have more information about this item please contact us at info@chicagofilmarchives.com.