Reader For Whose Monument Where Part 1

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JUDITH FRANCISCA SACA 685 Venice Boulevard, Venice, California, 90291 (310) 822-9560

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"Oanzas Indlgenas"

• BIOGRAPHY • RESUME • PRESS ARTICLES

(Slides of arlwork- available upon request)

NtXa.bU Hu

B.

' ..(1fttriclm Womm

Uni6n Mujel"~ Amcricanas literuy pme. 1962. and lh Utcr:uy Prize: o{thc Year from the Imtiwto Pucrteniqueno 1970.

Sources: Boo..

L1 Tntista tU1 Cmuu t.U Estudios Avcn:.ado.l' tU Puma Rial, E Uribe, Department of PUerto Rican Studic:l. CQlteT fot ..\.dvanced Studi~ on Puerto Rico, 1989, p . .25. Rivc:n de A1va.rez, Joscfina. Dicdo114riO dI litnaturtf, ~ Instituto de Cultur.:J. Pucnorriqucm. 1974~ pp.158-161. Other

Riven. Carmen, tdephone interview with Pam Betry, Scpo temba 9 and 10. 1992, Sanjuan, PuertO Rico.

MlJril1 TIff34 Babin

Judith F. Baa

second husband, Jose Nieto, il Spanish-bom e:onegc pn> fl:3sor. In 19157, il bock entitled 1A gCS14 d6 Pu.trfD JUco Wil3

publiohed, as well as AntoIop> po;ua: II. E _ Ribm> Chrvrnrumt, written wichJaime Luis Rodriguez. And Babin left Washington Square ColIegc to join the !aaIJ
(1946-) Artist. muralist, professor JUdith Francisca Baa ruu risen from the role of pre:miere mUI'llJist of the streets of Los Angelc:l to that of an' intenutioru1I chronicle:". In more than (wo dll:Odes o~ painting 12rge-so1e projecu. B3Cl'lu.s sought to c1isplay the nutory;and eu!ture of a variety of races in her artwoR.. In :o.ddition to hc:r work as. a inuralist and community organizer, Baa helped found the: Social and Public An Resource Crnter (SFARC) in Venic!:' California. an organi-.z:uion dcdie:ated to the promotion and cultivation of Latino artisu. Baa's .statUre in the an world ro.se with her project the "Crcu: Wall," the 1:l.rgest outdoor mur.U in the world. He- next large-sole public 3rt project, the "World Wall" which i3 a .study of envuiooing 3. world. without fQt. includes participation by international artists and tw been displayed in locations as diverse as Corky Pad in Mosc:ow and the Smithsonian lrutitution in Washington. D.C. "A pivou.l figure since the early 19705 is Chicano muraJisL. teacher. and communitY a.crivistJudy B3C1,," wrote Paul Von Blum in Z .....f~ "Her combinll!ld et:roru as a muntin and artistic director of SPARC have brought her national acclaim.... (Her) initial projects esClblished Baa. as a major public artist who!e work encompassed a COI1l"

mun:ll. process cu1min:lting in vivid.. .sociaJly conscious imagery."

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by the Sistcn 1)( Sc.joscph Carondelet.. A YCU" l2.tc:" wouJd m:uT)' at the ~ge of 19. The m:trriage would ~ yc:lt'S. She: rewmcd to her :ilim. mater to (cach af, rccci..-ing a b3chclor' j dc:grce in art. in 1969 from C:tJiCor:: SQtC C'cive:3ity in Northridge. "TInt ~e yor. she er barkcd on he" first coope-:uive ;an: venture when :si rounded up a numbcT of cthniC111y dive~ nudenL:! D3int ::L mur:li ae the schooL It was -a method to force to; group inco coopcnaon." .she: :s:l.id. 2. method she: ""OU employ time 100 ag3in in her future projeC'.Ji.

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&let's days al the high school were numbcn=d.. Ba txame involved widllbc: poee movc:ncnt:a.gainst the w in \''It'.:( :"un and put:icipaLed in marcho. along3ide m~: ~(the nuns who also taught at the 3Chool A change in c school'" adI:ini.nnnon resulted in a nOtorious incide: ~c: purge of the N."-ldD3.ny Elghttt:1," she: said. Ten nur BolO., md seven other lay toehers wen fired for their:u: .....-u ;.cti>.-icc:s. Shortly thcrc::Uter' the rest of the nuns wi I d.-"ew from opc:ruing the 3d:tool in protest of u[ic BOlCl Aid she was "quite a;:;.urru.tized°' by the ~nl, for s.

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1)diC"."ed her tclching career was over.

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juJiJA F. 8=

SaC2., a secDnd-genC'r.ltion QUQJl3., waJ bor.l. S-:ptc:m· be 20. 1!)46. in routh centra.! Los ..l,ngel0. Cro....ing up in

the HuntingtOn Pm neighborhood.. me ~ brou~t".:p in a stranS' fOlate household. which included he:' mJ;d':er,

gr.mdmothe:-. :md rwo :lUnC3. one of whom

How~!'. Sao. soon found employmenl in a spc,:; Progr"4JTl: for artists with the Gry of l.o3 Angdes Cultu: .~'hin Division. Baa tnveled from schools to p:ar' tc=':lChing ut. eve:1tu:ally forming her own group. ,·t V"'.I3W ~~ .. ,he said. 'lbc groU?, m:lde up of 2{) k: r."m fcur differt::l~ganS'and neghborhood groups, painl her first mural for her, in Hollenbeck Park. '1be city \0amazed;t the work I w;u doing," she rcCl.1Ied, "putting muraLs with k.kb who'd I"UO director']' out ofncighborho, Ce':'HetS. Tne city let me: do roy own thing. '.

wa" men!.aJI~·

retolrtic:d.. 'vVhiIc&o's mothc:r, Orte:r..s.ia.BaC1('''Sbtdrnppct;1 the 'H' beo\UC she didn't lik.c the Angie' caJl:r:g her 'Horte:ue.~" Raosaic1 in a telephone interview with Ylc::m:l Martinez), workcd:U:l tire f.tcr.ory. Sao wa.s r.:Useci prim:;.ri. Iy by her gnndmother. AltholJ!h she did not know her father,:l mtuidan named Valentino Marcd. Baa \IoOS vcr.... happy. She rec:illed.: "It was a. very strong, wond~uL rlT.Uri3rch:Li housCold.. I was ~l'"s ",~Id.. I had ;z wonderful playmate in my grown-up :lunt .",ho ~'t grown uP.in her hCld. It was like she w:I.S five. my ~g:t:.l)n;y she was big. ,.

When Sao W3J six her mothcrm3rricd CQ.rence F~Tj and m~ to Plcoima. wnere Baa would spc:nrl he for:na.u~c y~. She .-cn.c::nbc:rs Wt .she spoi:.c E.-:gfu:~ POOrly In ele.on~ school J.Dd fclt vet"V 3lien in tt!.~ ~ool She ::ttisxd liVing :n 2. Spanish-5pc::ajng housc~old Wlth he:- gnndmothcr. who Strled behind in .south coU<1J Los ..\nge..'e5. Oueofthu aiien.:lCion. ho~, c:::une he UMt

?PPOruutity to Pr'aC'..icc art. Her te:u:hcr ~lo....ed. he" to ::;il In :t. COr:"l.a 3nd. paint. while the rest o( the!' dass o....,.;e1l)n.

Baa gr:tduated in I!)64 from 3bbop Alemany High dtool. a Cuholic sc."1ool in Mission Hm.s. ClJifOr.IQ.., t"..m

ShOrtly after thc complC"Jon of the Hollenbeck p~ :r.llr:U. snme:me handed he' J. book l)n "Los Tn:s Cr.lndes'·

Diego Rlvc:":1. D:a.vid Alfaro Siqueiros, ~d Jose Ceme:: Orozco-thc ~mou.s Mcxi~ munliso. and aao. beg, to- lCU':"l about !.he Mc:xicnlr.ldition ofmuraI painting. me mid·19iO·s, she: did go to Me:::cico to Clkt: classo m:Jnl mate:ials 'UU1 technjau~ at Siqucirw', studlo :lJ tr:lvc!ed. :lrCund the look.ing it the mur.tls. -r pret:edence oC all mural painting in Amc::'ic:a lies with l Tres Cr.:mdc=." me S3id in:an in~ewwith.-\noM:d33pi: &0. is tinnJy fi.'CC'd in that tradition. .01 bc.!ieve Clking an the pr:ople is _ politiaJ KC.·' she .said. echoing her fa: ~n. "r Lon a McUo.n munJ p2inter in the true sensc. b ! ~nd, i( ~o the nat level To lc.eQ an ut fonn Jiving, it h to grow 3I1d c:han~."

COwltrY

aaa.

in Los .~gdcs. with the sUpport of the: dty 5m t.ehind her. 8a.o. ~dcd her ?"'gr:un into rhe CICf""i> Munl P:-ojl:C"_ .-\lldSt ~O muni.s ~ painted unde:- h sU9C'f'Yision. Baa em rightfully cbim to be the: ant in l .\nge!es to _ark with muJticuJruraJ youth to produce ::::Us. "W:ills wen aJrcdy used 4S community billboards

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Baca L~.so the e:xtc.sionofgnBiti to im1ges was nOltbatbig:a. lap to rrulkc." me aid in ber telephone infe:"Yicw.

Hcr'mO$t ambioOU1 project during the. 1970s was the "Crc:u W:ill, a hall-mi1c: long namuivc: mutaJ painted on h ~ anal in San Femondo V>Ilcy. it:! subject is Los Angdo' mu1ti-ethnic history from neolithic timo up to the 195{);, andencompaJSO'uch evc1U~ the .Freedom Bus Rides. Japanoc: •.uncric2n Internment during World Wull. tbe gn::u DuSt BowfJoumq. and the infamous Zoot Suit Rioa of 1942. The "ereu WaIl" w:u painted over fiye swnmen in nine yon: Bac::l ~ped the concept, hired. people. and helped I'2lSC money ror the projea. ";bich .she likc:ned in a. tdephone inu::rview to "devdoping a. miliary cnampmcnL" to

aaca bcpn

to JCt:: the value in worXing with ciiw=se to cre:ue public an. MIt niIl is ~ only ~.le of inte":'"Jdal wort chat foc.1Sd on working on I'2ci:JJ difTc· e."1CO in Los .~=- 11 ~ not only a. mural p ~ but it addrl:!Sed. ethnicity and 2Cknowicdged the ditraencl:3 between cu1tunl groups." $he.said. Using the "Grell Wall" project as 3. model.. Sa.ca. went an to found in. 1976 .the S~ciaJ and PubticArtRdource Center(SP.UC), In Vernee. Cilifomia.. The non-profic. muilicu1tl1n.1 ~ cemer continUC$ a. progr.un of involving;umu. comrnUDity groups and youth to present and prt:sc:rve mur2Js and olhcr public an. The im~a.tionaDy ~ a1te:nacive art a:na:r J.1.so bow~ an;arch.ive of more than 16,000 slides of public art grou~

from uouod the: world.

''World Wall" Mural btablisbed RcputoDoe

In 1987 Baa cnbartl:d on an CYC1 grande:" projea. "Wand. Wall: A V'uion of the Future Without Fc::u-.'· 113 theme of global impora.nce,. war, ~ md cooperation greo.... out ofbnio.norming sessions W'lth pcopk sdected. to provide cultur.t.l diVt:r.rity 3nd c:xpC"tise in ~ of concern to the project. The porable tnUt"3l is made oC X"tC:l. lo-by· .3Q-fOOt pmel.s to be painted by aaa ant! arranged. in a !OOfoot se.'"I1i
for Bac:::L the jump from producing murals with neighgroups to werling 'With zrtists from uound the: world ~ :l natUta.l tr2IUition. '"My idCl was that what wc had learned with the in~ wort in Los Angdes could be applied to an intenwional scope, from the neighborI'1OQd to the global" she :mid. '"The World Wail ~ an utempt to pusb the scue of 3I'U in lD'Ur2fum jQ ~t the mur.U c-c:atC:S its own ~ It makes io own lpace and c::U1 be :wc:nblcd. bv any DeaDle ~ .. Second., she asked the participating uUsa' to aa u vi3iorw-:=. to envision the fuwce withoutfe:u-, she Aiel The l'DUr:J.I, when completed. -will be llfOl'!dowidc: col1a.bor.Wcn. .. The tides bornood.

cf the pancb p:rinted by B.acJ. U'C '"Triumph. of the Hen." "Nonviolent R.c;,utanCC'.," "New World Systems." "1blana:," "Hwmn Based T e:dmoiogy,'" ~ to SQOh.iPS. ~ ;md "Triumph aCme Hands." The paneb wiD usc striJting imolgery lO prc:scnt 3peCfic allegories. In her artist's SCltemO[ fer ··Wcrld Wall." Baca wrotc: - ... Many oC\U re:ad]oaathan Schen', Feu ojtJu E.crth. in which he .wd thou we must imagine the evenwa.lity of nudor war WOR we an change our d.cstiny. It OCCJn'ed to Inc b.ter th2t it....., n~t imagining destrUCtion that W85 so 1w'd lO tn but mber imaginiDg pe:u::e. One of the: JWdenu on the 'World WaIl' teLm said, 'ls pc::at:e C'Ylef'YODe .sitti"S" around wau:hing rv?' If we c:::lJmO[ ~ peace as U1 aaive CODttpt. how an "'te: ~ bope for it lO happenr

Cr=ing the: World Wall ""I"'cialIY waddog wilh c!liJd. rc:n-was a labor of love. In ~ Baca. rccouncr:d an ~ c she oftc::t did with hcryoung 2.Isj1cmcs. She ulted them to pthe:' in ~ large cirde U1d hold out their hanm. ~ And then YOu'd see all thC5e wondc::ful litt!c hand1. thee: little b..",m £ini=. .wbby h1W. h=d5, 1Iim-fing=
:md :let c:ouncih.. However. she did seco..u'e funding from groups including the: Rodc.e!e!lcr Foundation. the Worn· en's fow1d:uion. ~d Art:o. 'rnte intention is to acne a dWogue of a vision of the future where there: 'Will be 2. world without fcar;o she told the LtJs AngdG Tz:ma. .0& artists. we have tht: powcr of spreading icic2s. and this i.! :3way in which the power of ideas an move around the: world... she said. Baa'J art n::±1ccD her commitment lO 2d.drosing JOcia.I iIls. This interest. 'he: c!2iuu. nems from being nixd by her snndmotha, who'" >h. d<3cribcd .. being • ""1' rdig::ous penon and the ccighbcrhood', resident h~c:-. She an rec:ill that her grandmother used herbs and pnycr to make her wdL She bciieve:s that her artWOrk exhibit.! much of me ccnscientiousnos iwtiIIed in her by he!' g=u1motha "'"'usb
BaahoJd:s amaste's: degree inntfrom Uliromi:a.Seat.~ Univc:sity at Nonhridge 2%1.d U a. full profes$Or of art:lL the University of UliComia. at Irvine.

Great Walls Unlimited: Neighborhood Pride Putting Communities and Artists Together A MODEL PROGRAM

The Social and Public Art Resource Center (SPARC) Is a multi-culturaI arts center that produces, exhibits, distributes and preserves pUblic art works. PubUc art is a vital part of every culture because it exists where people live and work--in schools, OD public transportation and In our neighborhoods. SPARC Is particularly committed to enhancing the visibility of work which reneets the lives and concerns of America's diverse populations, including ethnic groups, women, career people, the youth and the elderly. The ultimate purpose for all of SPARe's programs is to eIaJDine what we choose to memoriaUze through public art and develop alternative processes for the creation of public monuments for communities. Administered by SPARe, the Great Walls Unlimited: Neighborhood Pride mural program began in 1988, when SPARe received funding through the Los Angeles Mayor's Office to produce nine new murals within the city. Six years and over sixty murals later, the Neighborhood Pride program is going strong, serving as a model program to cities across the country.

The Great Walls program has several goals: To foster community pride among the people living In the areas where the murals are placed; to beautify neighborhoods with InsPIrin& works of public art; and not least to provide young people with the opportunity to learn artistic skills firsthand under professional guidance. For many oCthem, i~ is their first formal exposure to art. Great Walls Unlimited is inspired by the model of the Great WaIl of Las Angeles, the longest mural in the world, located on Coldwater Canyon Avenue in the Tujunga Wash. In this project, which lasted from 1976 to 1983, artists worked with local youth teams and solicited community advice, producing a public mural monument, thereby making a lasting contribution to life in Southern California through art. SPARC's mural program is an important nationwide model for developing publlc art for

ethnically diverse neighborhoods. Careful selection of artists ensures the compatibility of the artwork with the sites. Muralists include both locally and nationally recognized names as well as first·time muralists. Through Great Walls Unlimited: Neighborhood Pride, SPARC supports artwork that expresses the many cultures and interests in Los Angeles. Together, these murals eloquently reflect the multi-cultural nature of the city for which they were created, making a free outdoor gallery of the streets. For further information on SPARC and its many programs, please call or write:

685 Venice Blvd. Venice, CA 90291 (310)822-9560 -1'a1: 13101 827-8717

Ul.6 Angcles (Urncs '~,'

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Is L.A. Public Art aPie in ~.~.the Sky? ;:

Let critic

Christopher Knight show you the high .points, tfgm this ~u1/Jture ~ched

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'¢terrection to an

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qnc mUral al6ng a city !lood ch~l. ~,Page4c:'

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Not Just an Exercise in Futility ---- - .--

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Public art is almost always controversial but sometimes it's even popular. .As it be~ome$ more commonplace, isn:t it worth considering a few pieces that really work?

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By ChristoPtter Kaicht M ·G~al \\"~Il of LA...· u"furhn, for nNr,., half a mi~ alonf an unlo~ejr ("O;'>Cl'C'It' no.>
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What ,t U :h..1 m.. keoc !'Om<' pu!ll,e U\ <'Clio ...."leI I'e5OI.lIld lIl\he 1"",S"""uon, "'hile """" of lI;u.t MM of Ioaklllg "a"OU$l~' pompoltJ or ;o:-;orn, :umoyin« ~ loc!iff~1. In Ihe "'a.~ CIT out o! place7 Why 0Cl lOme "'orks of .. n set'!!I born to inMOlI the ptIblK realm ....11ler ,~" \Q :'t'qUIl'C' Lh-r mol"f encloH
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Art iI: ~. to a e'VlIl;r:t'd ...·orld. Thl'Olll!t>out history.lJOv~t$ of aU k,m.. have bH-n pnnc""" for ..,-.. . In orMr to aclue"e .. ovilW!d d=>oc... _

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c~·. publIC pa\r'llnfiltl' . - to ~~all' U\ in lhe pUbJl1' ,,"IPl. 'I'he prolll~hDn of publlC ..n Ioe~Uy,~ a mull of ~h., cwnu..l.aun "'I.e'" of fedl:n1. sla'" and (:ny !aWl..... h"'h I' "btpn.-ith the lUuanaI Endowmcml fCIT lhe Aru' An • in Pubhe Ptaca p:lIJRIII d the I.aUl IS6OI. TClll.ay. man: th;f.r. h;t./f the 1Il.a1"" ;and "f Clt~ m;r,r.cl.ale pen:enl_I«.an wmPli~ lram a mix of puW..: anc! ..

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lClui ~ t~1 r~ port"", of redev,,1apcoenj. or cil.• COftS\1VC1JCITl funds to be ok"utl'd to the comrnssaoni"ll' ~ ~UtIi'I of publie work. of an. A bfc bcul lw _ ltom MetJ'Q Rail .....,th iU hiChly vl:Sib~ SlO-mLllio:ln AM lor Rail Tn"mt Pfqt'Ct ..-hK:b has invol..w UliIts m $\IbW')' Sl.;f.tJCJll dt'sIlft\. In IOSlliDn top:lVernme>tI." f"", pnv'le IocaJ entities a1Ic Itf... becoIDe mVDIwd. Foun:tatlans .. nd incll'pl'nd_ mt reaJ-etate Oevelopen ~ an mten
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Terry Allen',

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bron7J: ac Cirirol'Jl P\az;a is all too lttOptaat!k-hr is IlL

c:auId le:I!UDWoely utJlly .. pertt'tll-ror.an 1"I'OU1l"t:'.

ment.. it is the Jarwu phlkMlphy of public an that "tues t1wbea\. (Tba~~ stUlsimme>'s.)

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Pl'od\ll:1l'l( pubbe' a.., II b«om1nI 10 f~r an -,unl,. II: r- A~Ies. _lull' _ ~ tJw \OpK: mD&ilIllOI ~)' blurred. ~ t. fou:-.d.ly conl~ includlnl t.., Gays o! pana cIixIIaicns Friday and sawrday It I.M BiI~ Houl ..... baWwd

Ul apIonlU!!WI)' ~ ""Public An. ReallWs. Tlleorie$ aDd . . . . .~ '"It.b bKkmIJ t:om lIM ~ IJU Counl::il. lIM

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th.""'fIOloIlSL 11M art ~y

'Great W.II of LA.'

the~txlft.

.., ... _ _ .........

~

_.

what bdIilldauessuehuX_ ro:i<.~Vlli~·e:'l Seoullit in pnr.'llUIl( po:bfit :an_"",,", on'Pt~1 wwk ~.as indHd bftn compiow
p:"Od\Xlt tlltlI..·...1 !las bMI'l daKo.ert'd dlll'ial

-

lis'""

A"

~ GI the dulJeR. _ Lediou$ly academoe pubbc an ,.u lIUlk Wt ...,.. .-r_ AfriaII spbonsm ....ens tNt n', StillnctOl\lycloa!be In«llod t'Iouri5h. u's '1'CIOIY CAIDUr': Sida Armljanl$ ouldoor TOOI'D lOr ~ and dvtrinJ. 1M I_.-ho ~ 10 It'll the~· of roftlu\lJhtm.rudKds, the Ia:e1lttodio}·, The puntinl;, fonna1t}· IJl1focl :he ""~;l War!'! upWrDq_lou 01 It. eoven !>den n I'¥W ~ ........ -In publx: an.- Am>a)anI told mterV>eW'tT Cal'·m 3olunl, HIIUI"~" of C.M:......_~ brf1n." ..,tll I btl of The p1an n~ \0 be n:plaineC' lO pauons IlI'K! Tomkms Itt 19S1O, ~ II no room!Ol" f _ on tM t'fO. CUlOAur_ltuddtd Fft,Ul.Dr)-, qt:lCkl~· JUfI'ltIl'

e;lc! '" commnues 01 bUTNlICnUl and reY_ Iloanis and Yau have \O,et lost III tMt:Onlen of lhework.- _ 1M nrl~· m'pUOll of HtllertI fl"O:;"l-....... In the' f;:ll. poIiticiI.ns mel fundml! ;qfcncM!:l_.ny or aU of..,1lCIIll ConvenllOllaJ ..1Idom has tonI hekl thai the f~ "Illlennl\lftl and ~n eeu ~, .., 'I' main pu~. may rqan! ~ an •·...h NlPlC:lOlL The show-andrqn of ...""tlSl.K: flO COIn "Teak IIsvot Wlth.rt dI:fI.,nt'
o

for the ptIbtic rnlm. Con ..~uo.... 1 'Il'1SdQm I\u bH'n rilhL Yel II hun·1 'OM 1M filii llifu.nce. SotICe t!"..at Annajani cbd IlOl 'IltO!y ,,-IIOIl' ir.L"Il'I.e q'o~ POW problems. ~Ol' t!Id h.. limit the il!t'nl1t~ of who II is ......al finally needs 10 !;Ie !"t;ease
Seit!leT. brililani UWlIC fotm. bYI:Hlf, nor s nch pubIie lite. by 'tMlf. ill mourlt to pl...",u a work of PIIblic an. SecaMr)' umud IS s IPUkh", ~

When the public or lU ....".......,LI\.lY_tlle p&11'ON for public: L"'\_
telllcl>ool _ _ 60ubts by "\'~I e.tTYClOe. comfon· sble iJlllest.Or}' 10 t1lIbnee. ConYe:monllJ ""\SIloIr: al.lo hal il thai sllsU'Kt an w ~I avOt6ecl in pub!lC pIKes, IlIK't abslrac:uon III S1lPpcoedJy Irltompal1ble wllh U:e IIItt1"UU of a..... pubh<:. If lhal·. t~, """y IS h thai Msrs Un·. bruthtski", Vielnam Vetel"Sou 101"""",,,1 III WahlnllOn, 1JIt' IlIIlI'le ,,"Ulnt_snd mor. ww:lel~· heloY~work or contelllponry public: SM. il: W lInll~ :SUItS. II .n -....nCt Kwpu.re~

~l

.

.'

..

.

...

uun.

- ,- ..... ,

,;..

-AU: ~ LA.": The !IIIur.aL pcainttel ~. 187 .. nisrs from 1'116 lO 1911. dt"pins *

..,

~

,...

...... Ind libenuon for cthrno: mtnOnUC'S...-omen. J....... p~' men and le.IlNoov. Oust Bowl rl:f~ Llbor Ol"pnlZcn. pollticsl clw:lOknua:'l
,...

.

_.

~ ~ ,~~.'.-

hit~, orearrfoi'ng arid 5 ~ monument 10 ~ ri-it rf#htS·mo\tml:'nl.

I

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COVER:iTORY

...

Piililic Art Couia....

~ of

,...,.J

priDdpaUJ' led by vtiII. JrJdy k1 wtID CCIDClIiI"f'td t!lI! projld. .md bnl the ttalIlO do tL~. G'.dM_oI1171:1~~

tlM wall. wiliie • IhiftizII amy of "'tel wumt. eoipcnt.e and prinrc ...... is aim icimti.

. liad

CIII

....

Tbe -ere-t Wall~ buiIdt 011 an ilnp:lnanl C!lIcIno U'dtioo of D-

wmblinI fiuid, lIl\lJtifacfted ye1" Itr\ICWNcI Jl"OIlIl' of people ill

order to ~ • vital lJItene· tioa bet..'tt!1 ttSthme pis and mc:iIII ~ The mural'. IIIUcn WlNld ~ and -'ed. IliNn:al . . . . for de$IlaiDIl. aDd thew woald tit ~ iDUJ pEtanaI fcrm lIDdIr tbe SI4lt"ilion 0/. Bla.1Ild ocber lad artiItI. Tblt Ol'pIliptiDIW _ of "stnEuInd fllliditJ'- it; bnc:illIIr I'1!OKtad in tbr arunI.". coqaIi.

m,.p

• J.q S- N £\t Jlrmtl~. nw -G.- w.a.,c:a,n LA..~ 1'lIiafI: ll'__ A_ _

C=ri

6ft--. Bw6a.t lIoUuInI' a i

tIIiMId b

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~ y tripp

.t.nm., __ fiItn: fII "l i IlIi1i

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e-diDlUilmdliot-'CII"l"J"/Ilr ;

,trim~"'!IiI"""".!

iIakte:l..;-', 4"t ~ llIII· dered lib ~ pcldI ill •

clowmowfl', ~ Olicarp PIa_ i IL n. &zaiIlc pc. . . . . . , : Iimp!t lIf:\ of !lcDIfe at tlw ptas ! c( I royal paIKl! d. .IIM:ldem ~_ : aD lift. Simu1~. it prI_ ~ Mnta tbe f~', ipominioUl; bKUIdI 10 UIt buatlizlI ctOW'lIa i

-,

a=t ItI"ip. lz:Nad.. itt:," ~r dIIIrfed..

~

Dow In aDd out of _ aDCllhef. ~ the wall", hoIi:lI::rfIw G-

T

he vituaJ ftfKt is tD encIoY \lit ~ of llX:iDpo!iueaJ 1\riT. ~ With • _ of both timr. ~ aDd Pf't!RlItneIL The bu· - . IU'\IqIt for irldepe~ iI IbDwD to Ill" I hiIu:Iry. wiIlk ~..,.. n'abtiatl!lli lICIUIIt t"te'Y «bet.

arc

~

PIIIIIP up tbt ~ ~ iI:lto • hicbI,. IilIplliftiated If*PIak - . . wtdl • dlIdDctIy hp -.ibilfr.,.-JCIIIf 0eInIme _ _ MIdlIaa . - . Tbe .-!lIft . . . . . 1 _. .WlIDd~

er-

!Or tbe mur.j", tullfIet.

In all ~ me\IJIbllri. cal ~ 01 ttl ~ c:mtaL the lIure IDUrllI UIlfokb IlioDI • bIIf·tIdk ItftW:l of tIw Wbic:b II ..,. of tbt SUI hmI.sD fIoodCXlIIUOl. ~ ~ mio tlIt 1.af ...... RiYu. n. munl ~ ,..net to CazI]'IlIlA 'Ie- . amdliac .... tlw ...-m

,.....w. v..-. c:.c.r-.

w.

..n rr- Irlnat ......so-.

~ 10

n. 'n.l;.q:t1Q:t. _ Dood m.-I lII!Y .....

iI • _ _ IpII:Ie

--a....

.....-m

by tilt . IYIlGI piYDtaI 10

L.L', ....,.. 11Ie tn.l dMp

=--

ew tIln:iuP middle·ea.

. . . . . . . . . . . . . boocb CIlIa..,.

fnlIII Hamal Dam 10 tilt I'tr'er. W1llIre thI aa-I ~ Grant

HiIb Sc1Iool. \bt min! sud6alIy

--. The

ZIIl;nI'I COIltelU. celeI:ntcIry aDd 0I&at. . . an del:tric 011'_ nat throQp I a.b-CNWD 110-

_',.1lmd" wtlitlIlWIdI. __

~ 10 IllOIIlpIa: W'Ib r;l cmc: ..,.. IrI L.A."• .biIcary

n.r.

cbi

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IIZIfoWs ~ I.IziDIt dM

GoocI.-dlIIlMl',

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- . . , . . . . 1lOCJt

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to ..

n4 Jl4iJr

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sa. Lbt _

ft _

~ iI1la1l1 ~. die ICUipWra _MIIlI~IIWtqy Vatct ~ of A ..... :lilt ItWSlIaiI::I 0.,"' [mad ~ u y hy

sa-.

a-

a pri't'W cIII't'elGper far the rae.dt of I a-d'1lII boiIdiftI of I:bopf. ~ mil ClOallDalin.

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IIaI. 8cIrcIMT1 mapifieently id.

-uw-

~ sc:uIpa;n it Ie. poiDltd ill ~ thr pubIle ,..." III tIct. _ ~ of ill: ItIIDDizlc "'P.itl. e fa Lbt WI)' if. III5*b UI the -oam ~ d

p

pubIie an itIIIf.

"BIDeiaa ao-~ illIZI imItI d

da . .UIaa . . -UI' add wllo _-.apMuIrt I:IOlhirlc ___

ItWS ...,. Ullht world but Wt10 fa

aliIbOy !atI'er·lhe.1lfeala fiI!,n:. wbo would be IIbout 7 fftl. lIII tf be eouId IIWld uprtpl. " II 0IlC:'t flmll.", tmalelliftl, IlIld poiInanL He • pm Nodrhad pan untfonntd alrtOnIIton. b _ ny tnpped In IIIOOtm 1m.

: !

~ bIillf IIIade I iIJJPilJIstod.. Ia theM brutiab limn.

:

1bt briPtb' pClIltcI fftZlllt un: of a bta1lec. ~ UI a nuny

t

~1ikI1Dmiat~IM.

'

pan:

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. her. . . IDaantIy fecopiIt him A

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torm..

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,..., n.

• J-u.- lN7'of$kJ.

of r...a.ide ~ - .....pabIie ICUIpDna. par. UI -'r. b7 pd't'at .... 11 ..__ 1'hI>' _ . . _ _ far JolI_

+-_

&all . . . . 0I1D ~JlOPIlirIr per_

bus tba. _ _ "725 Scuh.

-

BI( .".. t!la J*fUlb' atm a s:iPade barpr III ,..q -....

~. ' fllll7 - - . -SIne. rtaa 00wL- a can-idl30-foot_

wbo hllrriedl,. qomd tbt IMpI ; hItdDr:l him. i ODe man t!IInf' Tbt broaa ~ ~ hal Del bead. Or. rat!l· . •. !iii IllldI: 1'"" 1111 tlnD die piDkkb craDilt aIah d. die offior ~ t!lu n- lJiIln tam. ;~lb the potiIbed.tn. DllIIl_ F'ipItroe.

lttiI:u and alMlientti. both of -*- Ini! boW1d br dMpt,. t111llWl dIsirt IIld eqaalIJ hUmll:1 fIibl:I.

IlM:D ....,.,.-. wildly ........

dIe~blfcndle~llIi

SuddmIy. tlw ..... l b10cU It'OUDIl i lIbI Oft UIt "ririd .... d. '! ~"'WilI:Iw~ ........... ~UII-'pnjel::t. I 't'iIaII .; 01 talk art;; tM un. . It _ _ lbe ~ ' , braia . . . ; St)1ilUc:ally•• abcp l:Il'-.k IX·

an in 1m Tbe twu.mer-.1

0.... ,10_

:i

-=-u, am. doWn. bobo _,... I'tCIlJa Emmeu Kell,. or

w~

Pound 11 UIt .::aIpwrt., Ie« cw· ~ ,.. PIlllip LewiDt', brW poiI!IIl> i

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...

. . , . poIlIjoQ 01 tilt bWl m Rid lib )'OIIr plm!! ill. !bw bdd!ld

"Corplnte a-s.- I 1111 colIIb(ftUal brt_ • poet IDt! m '1nIal 1I'I"!ttt «lid IIlUIic:ian. ill tht .......""ina mmmlwjm fer QtI. cmp PiuI', PaN' Walk. , p q l 01 bItf • cll:IRD coUahana.. proj. i tal _ _ .nina mt paN i ICItta'wd aboDt lbt bui!diDl'. :

I

lftIIIIld·aoar pabk.-. ; ID d* ~CllIII:iIt_!' UloaPtfuI -=aIpQn. dlt w__ ;

c:Mt ~ d. die IlI!ro ftDdIrecI : iD hrua it ~iI:nlI wtUllltlll'tie- : __ lbt CCIa_ • ~

.....-.....!

fi,.

Ultu it parehed 011 • ~ lqll ilUIp In Il"ChlWClUl'll peclft:tIl: il tPOI'U hup. and Lbt biI. buLb--a muir. of I

:

tn. piaqw ~ iD UIt :

"'" . .11 .., "j(Jr -----'1'Il!r.., rt','_.__

,,~., out lbt ~'I mcx:Itrn dillmlmll iI: iiI iu pll.'i:';': u"'dIiJwss and bope{u1 pathol. Hu sc:uipl.lln! it &II unlikrl~' C'lVl( 'ymbill flll" lbt ~ t brt,,'f'C

UIIt pro't'idt _aX IfpIp .-daI t u j lib tbr friead!)' . . . . UIat. .IooIa __ ~ __ « the IriMinc

.... on.

!

Red Slw!uIft. Ilthind the dmc:er

bUazxizIa ~Y CllI poilu. ,

-"DOili(lned elUUirl pro't"idea a ~

~::.;;

Barcl&t~.

Iar

f_=-- Ii

C:r.::-.c:;n

mour

CIown'

E't'~ ill 0lIIIllf0nahI,. famil. iar wttlt the .-urtnI Fanta

of wt-lbt i ~pMlsbKkiD ..o'ocali" :

...... T..". IDl:IIl1tDOUI

PwW Wilit. Cf-

1%$

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.....,., Imnwljllely ~ as

~ W«'t

s.-1.,.,...,.sr.

_

out_loud_funn,. ICUlptU" blclr.ed b,. , ~Ye r-..:e that Iinpn Ionc after U. Itll:iM ,;

Wi&tl t:M

WI:rili.It\.er DfCly 'ct'tIWI'Y.

'

II that rvt

aeeomplilhmull. , lallftl-

• ..-nbY

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tioDr",1

T"" ........ "IIJL..-.

IZI ilMp-watdl for'

"''''''''11brrinf.llm-

-~

'Corporate H....'

'Caqlln1e ~~

,

a::'~ ~ r I

muit.. ~ IUi.l L!:e oc:~:-... W'pt of CilPitLeC ~...' 1liIlI. Tht hoI:tililt WI some ~')f'.... r:: flel ~ BcntJky',Ie\1!pt:J-"e:: e=bIealux of tbr iI."tW pc:~ ~ lOWVc! ~ ar.. 5;:: "BaJIiIriDa Qown- fa br"Jl;m: p....... aid)' ~ It 11.... st='.lll YiIllal fClnD UI tbr 0lht:n.1R l:\"U. lbJt .-ill _ ellli rtl'a1m 0: 1M. time..

: • f''"I' .dra .." ",., ~.

- . wttletI ~ • • aIIIbaU·

_l'IIr'I'IUYt. N 41 - . " _ - .

Public Art

apa: tbI

iiumY ~ t.etdnlp.

'nllt ~ it • modem 'ra'_ Iioa d. thI aniM CIIIl: II do-!! « i&Dd:* emeuizla'. IUIljen U1 tlw "'Ol.UiJt . . . . 01 .._ _ f.ormI d. -=ill md potidc:ai ~ bIIppI'Il UI bokIsway. nm itI:I.Ip iI at. iIut II old .. WI_'s Jab-Cmwry ~ 01 Lbt 1l'lri&l1cIIolk mimt. ""Om-.. llI" VelUq\Ia:r, pullflmt pclI"U'"Uu: of lht d ~ ill Ult 17t11-Cemur) SpIniIb CO\II'L In tht faUCOQll c:lmII of OQDtempOnl")' lift. 8on:laIr:y'. -BIlltMa Clown" . . . . forwvd 10 Wte iu plau It

a....- ...

--I IU!Iitr' Q

the buraueraue lIbJ!'UlW of

dl.y,o,awwrll. pecuIiiII' iOtas ~y ret hat.dleli.

e- of the - . otn1Indiah "'alI

Il'I gption provided UI .IllI.iOr LA.. devclopm., "'M Il"t rtqUil'td b.-· dlY llniirlanoe UI COI11llUt I pa-. «nap of their buildinI eOIlJ 10 public: II'L A dtYeioptr, tf lit Of It1t WiII'Ia. an aetiIe the option Ul I ~ tilt Pf'OJItl &I'ld !be utiIt.

_

tol

It. wilbar.It any puticipI_

tina ....\t't'eT blo' ~utives I d. the public:. Tbilia 'Pl:lIuzwideJft nriIm of ' u1Itoaaue nobl_ ~ in '

I

wbidl'~~.!

-*Y _ _

i

Lbt bI.a1dIId - . h hal bmClU ~ lou at lind AlIfl iIldudiq 111

i

f'I'qlIind WI t1dlI~

a lkyacnper'l JIiIhueh lir.ccn:litianinI tYMm 1 _ l thtrllWlC:ia!dilux:U. Onr m"ftificenl uetption i . pro\'" 1l1e Imtrallooninta of the rule. That', beeltlM \lit &rUsts. • VlIaJy KGma:r IDti AI.e:IandeI' "e- ! I.Imld. han 111 lIIIIIIIlIlIy rood IJ'UP of the izIto1W W«kiDp of ; poUtie&l buraucnc,. P'O'"l' reIat.iorlal1ipa ilM ,Iorioua. ciVic:mmdedodta IOnw....... , EIJIi(re fnIID Lbt 5o't'WI. Union , ..1tlI _ a cIeadr btfon iU coI- " tar-. lbty __ . . . , . rr- a . YIll,Il1f . . m Lbt at!iciaw.. piaoriaI i I1ltu:Irie 01 ..sal gptift +m1llClecl ' by tbIir p"aiitiWill. Tbty know bow U1 WI'Q It.c:m iU bIK. On tht JI'lIUIld floor at down. lOWl!', nn:t rm..w.e Worid Can- , ttl'. Kocrtw and 1It!Amid., pIlDled ! mtlapIlor fot

i

I

i

I

I

II

1993 nlief·munl PUllity" I, iI btluUfu!ly tHC\IUld., wUaIy fUnny ..tire 011 tlIIt rhelDric:', hard)" A1'Im'ICIII COUIin. lu Nh;eet. it the

pl"tdlear!llmlof mlliticuJu,lralilm in • capiWial. all paekiIIfd for COIlIUIIlpticll b)' \.lit public. U Tbt ~ bas reeei't'eCl iU AI1Iuic:aDa of evtry fllOralilW:: . . . til ('DUft ~ from Lbt atnpe _ conViDeed that ll1e . . . . . lIUdieaa: lOG. A few DeiIh· OlIIy food 1M. is an thai. iI food for bors--wtlo waIId IitI!)' Ila't'e pDf you. 111m it 1oUowI Ulu CIlrpOral.e: 1iWe~"a~pIlit m\tftN wiIJ ebiIlapiaD (W,. an WI.-.s rood for buai-. bad MIll p.:t ' " OIl the bIoc:k~ bid!)' wberl 8lroDIr:y'l \;nil,.- it I nMnlatilll' tnp~ _ fira B'Wdad.. It 1laa PIrar_hfttW

--.

i

'elual dJme-llOft tnielttnact i blown '" UlIIIOIIlDtI1UI tcaloI lUI I Ul.T.k Tot)'D1 and • sc:ulpwraJ,'

_Y.

taco

;

I

I 1

! ;

I

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'------ -'

CUvER5TOHY

Public Art Ccr!UiJIv.ed tr- ". 88

t}'c:t; ....IIOM !cna IS utnpOlIted hom 13l.h·Ctnu..-, paintinp of qds rOl.:r.ll in till! PwtiIOtleW.l C'!'LIpel nut A.sist. luly-lht C!:ll:"e!I f:o= ..'hie!: Los AqeOu tabs its aaa:e. The t."'iplyeh ce· InS IXI all e:o.:be:ra:lt I'tlid It .. ~·rUl.~ aJlpi...~ iI rGI-

dm4 .,.;:lh I

__

V1:f'X!y ~~

lX-

n e ~ w t l : e

moan,y loot of ai:1t/;Dea l)'Jlieal o! ilIroquIt pa:."ltiqI by Guido Rei

The cia'o::I:latic ll&!me:a o!. Ow 1)'mbol·1a.c!c~i:r~

o! ~ fWai&l:: ieo:1. 11'$ doaked iI: ezq-DiWy ar~ ~ 11 red·aw:I·r~ 8ul!Cl::ic ba=er,l ~ l:.alo bc:nowed ~ JftO·hrl!hiln imqa af an Azl&c beadpieer ~ Ce'ived t=!Io-~masQ. ne UlpI'. ~l"u=r silye· wm,p an! JlCB'ofd tD .-!UP; tile ffiaual erw.ture t;uye...w. cue!l u ~ l::rulk d ~ m the labby bUIw sta:llb ready tD H:ll! 70lJ up. llP-1:P-1O t!le: e:1lcr'f· .al ratms o! tbe ~'.13rd &lor. IJ"IDC! 1ri:Ip dC: I n:.ber dlffC't'IU .II:C"t'f lbarI. the . . . . other ~ PU--l. llDl! tbI:ll eotIIiderabIy cJoHr tD !lome: 'I'bey'n toJ*(I aaalr fro:ll \be wizlp ll! an ~., aaJc. u cIep:atd en the bKt of a::I ~ qllIl'W dire:U:r be::la.U:l the mono

0e:t.1 PIC! • 1Mbopn,.

n.e.

£~."UL

In ""tinit}'.M X - 1nC!)felIzDid b
*

l;tibme tD • =uluewwral mir.JI..iDI 01 fun)•• Afncan_, ~tino- a:ld .ui&II.A:Iltl'ia:l ewWfW. the~­ .u-! UnlIt o! IOciaI har'mlmJ II fulIlly beInr ,,,~ by. GO S\:b;ec.~ 10. the eotr. n ~ preTlIptivu of bulinta. At • but of the Wlal bank builcliq lr. UlWn. -Unity"

Jolo_-.. '1lMTr': A trip)'dl mural by Komar and ~kbmid. il!Im in deWL is a..,itty satire 00. an and multiculluralism in a ca¢tali:sI: economy. FWtTy ~ ~ deftly :::erps: .t I.I:'pr et:~:xla c! ~ !loft o! c=fliaiIlI ~ ShIkr. ~t. 1ll"'hicb&1lan m-.. Rylf be:Jcbesof aokIaI-i::ard _oed· • SUit _.......jIlai. ~rM Pwt.,., GIIr. sWad lib tbe c:!:I;:lboc11s of f,D old m. LGltlU:lt Flt'"ldo'Iiolt. Hl.il K_ EncJ.md nou.. f, p:rUrl' M

WithUl·f,·p.rdeJI ~e.ll.t

of

:IlDIl1:lM:l11l.l

ple'n~' .~ st~iIr

reca11J nri,._2001~ RmEI.:I CoJlstnx:lj'risl. piaN U1: pub!ic il;fa:"tllf,UOl:l tiosIu: f, ~ 1"0_ of Ulthtopon1o:-pllic emelt }l1"lI stiCUc! ~vtiy one I.l.Oj) Ul0I.!lIr.

liJl Ul tip: lbe hfo:ld.U'n:

o! • Spmlish MisslDn. $I,.1f =tyL"'l!: eeo!o&ictlly Illl:llC ~

plfon:.s, t.appec! br • flII,(lIi!krr.1

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so m..eh IIOCial d.WoA;ue toeIay wa piau.

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inI GUlOcc::'llOll: ir: ..'h>e!I

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The pniu:, pnnwy ~ . Iicned fo~ an tlOsti:l( 5O-IOOt-b,.11).foo: COI::'".y&l"d adjamI:t til the offia:s ar.c:l pllcia: crt :!le La:-.nan FlllIlld.luo::t. ..-as 1:1ta:xle:1 as I kiDcl 01 Vft'.-pocU1. pl.; llpCl Ul tU pIObbc: in A:: C"..!:erwlM blair; lIJttino,!us;.."1Il ~DUl'~.

u6l:lRey. l.0Ul.b(>n:.. YilllUSOt.l-bu«. AmencI.:l ania. SW: ~ tn&til!. I. piaee t.;'l Upir'a; til be I. I!VilI&' c .....apbo:' of DOt!:inc ksl UIn Ow ciemlIaI.tic i6uL

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PtrsiaiI a:.iDifou::-es: • 4.'"U.lI.I.tk.

Lou mOl'l'. Two ir.$pit"J:~ Sftt:l pi,'ol.l.l 10 Utl' lia:g:1. One is ~ Anecdotl' of the Jc;' .t potm by Ame:ic:Ir. pot't Wfollael' S1.fVl'lIS. "'hid: the

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artISt prominl'ntly ..nnttd

or.

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bl'ndles. Th~ othf:" is the If:'lfnl layOOl: of f, ciuslcal Islantit pari' m..prdfn, ....hich A."1DI..JIllIKnr..' !:om cc"dbcoct

The S~!I:S pam: ~ LO:t l'tiitio:lsl'lip betWft1l Cltur1! mel CItlt:ur. Th.-cI¢ tbr mqic&l1Ula;::or of f, jc ~ i:: the wiIQe. ness d Tm..--r. w c:vilW:II f1meUctl of art iI drftl)' U5l'lUC. An 1sII.mic jlUIQiR-p..-dr.t. Itll.. cioIed by hifh w:aJJs iIllli e.t.~ pil.nttd acccni!nc to ct:SUllll. iI lIleet as a ~ aneu.:a:y ~ the brutal ~ fllVi1utlIlen: br)'OlK! iu fo:':ificaUClllS. lb «=,,~"X'CtiO.:I bItt.ec ~ ccie::.: ~ .E::astc1l fann a:.i SteYftlS' CIlil' to. ~ ja:- \oIICe, dcmu:icIr: OVe'" the .o\JIlenan wil~

ti::.J<s twO dispI.nl.r c:z:= Tbry are. ol CC\I:'Ilt. tU ~

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:.he Roybl.l 8ui14inc I.nC I l:'.a(lli!'.u:ll PI.::' of ma;:.-onf of t!'!f hcttic R:=. thl' otNl' cl IW':'y to:lSlflll.UON_m

apalllivt l.fn'UZO riOOl" ortirntd by Alem Smiti': II t.'ll' lIf'" L.as A:lfelt$ Convfnuoo Cenle:'.

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Tbt ~ rapor.sUlle for III tiltH nlI'.ark.lblf Jr.'OIf'CI,.I hive rr~Cr "'OTks in whfcil thl' lOX1I.I "W.d:ftClUIlCI IlId phyriel.l l'nvlron!llent 01 UI_1U; COnlflrt_l'llve llHr. proI"llItlll!.ly fllllfeG. T~: ellfi,emtnl is tfY 1.0 thfU" ~erptioM1 lfvd of ICcomplislunf'nt. Yft It's ... ort.'l t::tP!l.uil'.ttf tl'tal c:or.s-..cIft'aUons of CO:tt.ul. Co not 't.OP at tM ph)'IiW. ~lUe. $OCiI.!.. po!ltial. ~ ll:" an)' othe: l(,Idfr:Utl.ii)' rrselrt:l:Iblf COlll1itioo of t.'lf t1lf- F'or the con· tf:Xl. ol In)' wort of Il"l. public 01" ~.isproflll:lll1ly~b~ O'.lr IS$UIl:puon$ abolIt &r.

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PARTI\G SHOT AMulticultmul Mural

T

he fJrncc~~ of cremin/!: ~ ffillrJ.] is ~ fasc:irutin.f:, cumplcx uyn:Jmic. I(s about Ittili:ljn~ m:m'\" forms "f l~,mmunil"l[ion. tr.tnsfo;min,t: ~

corn,:cjlt frunl a wriw,:n ivc;! inCH a \,j'
'I'he .,j{j..(ool-h'\"·IO-ftlOl mUr;ll illxm:

t1csil::nco w he "inH:llkd in liCLi\'~ Danl'c BuiIJin:l:. was stich a II"nrk. the Fail QlJ;Ifrcr prujn't of:J. Wmld "nl> and Cultures nlur~c tau.eh! by celehrated mur.. lis{ luui,h flal";l. • The d:t'l.-~ initiated the rnuel-'J<.;; Iw f;lk. in~ a hiuh-c~c sc:lt in the build in!!.. dc,,\cI\' tlh5cn'in~ dancers anu pcopk who work there comin/.: and going, n"tin~ ch:lngcs in liJ!:ht :;1.." uour" ClI)Cn~tl ;lnd

..

duscd.:l1I the while t;!kinL: ph"lCl'...rr.1ph~, Ihl\';n.!.: dctincu rhcir :wdicnt'c from Th,,~c "h~cr":Iti(ln~. tlu.: ~tlldcllt~ Ill:ldc scI'cr.11 :'~~lIIllflti"n~, I'rnpcHinl! tht- I'm.. jc..:! (0 the nex! lel'cI flf hrain~wrmin.l! the {'tln{'ept. while always them:Hil-:llly um.Jerpinnin;: u:mcc. TllU<;e iue:Jx were rhen uen.:lor>t:u into :l ~rfJ~'ho:lru fi,fm:lr and forther rcline:d. -\Vc wantcd [0 pm rhe wmk inro ;\ n.lwral conte:u ~howin~ Ihe different people of I.os t\n~c1cs mixin,g in daily life, 'ii~nifyin.::. the meltin,!!: por "f Ihe l'ity.- SOIy" U:JC:I, ,\uu III thaI rht: uime:n~i"n of tillle, :IOU th::: Illural Wllk un rhe ~II-eql uf hi,rIIry w the prc~m day. ill\lstr~tin,l!: the tli.. \crsity "f Ihc dry rhmu/.:h the prism uf a non-Eur"pean pcrspenil'c. ,\lIu!1lcr ,'isll....1::',,:'11 \\";1.. to link unc Sl.:CIlC rn thc 111..'''1.

sil!nifyin/.: cultures anu people inte:lConm.:uill~, :. Ill.:s~~e of 1-.'Teat imporranl"C: 10 the stuuenrs, :\nd all Ihill OIXUm:d before one dtop of p"int had telllchcd the l-:lnVas. The t3lcnted slOlknts. like the: city they wen: illusu:lrin~ were amninJ!.ly tli"crsc:. They maue: up a multicultural mCl'Ca of majorx :lnd cullUre:s. from anthrul'ulo.L:Y ttl u:mcl;. Axi.." 10 Chk:mu, "me da$.<;rlJom di~~·ux..<;iun \\":lS ennxr~nrly animaleu, atl{lin~ ~mUlher dinH.:nsi"n [Il rh..- prfll,"C:Xx.. ~·Il.is mHfaL- sa~":'I R"""2. -is lik..: ~n ~r· l,;hacpillj!il-:d di~ tlf L.:\.. mll\'inS! ,,~'rn,~X Ji~t'lIlt'..:s lI"ilh:1 c"mm{ln:llir~' "f ille~s,- • H. J, l,,,!rrl

t :CL\ MAGAZINE W1NTE'R 19!M

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Visitors pose by the World Wall in East los Angeles.

m~ny

ROPle express themselves in ways. Artists often use their paintings to express how they feel about things. Some artists paint their pictures on canvas. Some paint on walls. Huge outdoor wall paintings, or murals, are works of art that tell about the hopes and concerns of the people who have created them. Some cultures, especially Mexican and Chicano, have long, proud histories of mural-making. For many Chicanos, people of Mexican origin living in the United

Finnisn artists created this colorful panel. A Diaiogue of Alternatives.

States. paiming murals is a \\"<.lY to !let in touch with their roots. Xu\\,. in two cities in California. East Los .-\.ngeles and San Diego. special art programs help people carryon this grem .:\Iexican tradition. Judith Baca. a Chicana artist. believes it is important to remember her roots. :\'1s. Baca feels that he!' dose connection to her culture has helped her to create beautiful murals. During the 1970s. Ms. Baca began several mural programs in Los Angeles. Teenagers from the barrio. or neighborhood. worked with her to create more than 250 murals~

made up of seyen coiorful panels created by Chicano and international artists. The pictures on the panels express feelings about peace. war. cooperation. interdependence. and growth. Cnlike traditional wall murals. these panels can be moved. They ha\-e tra\"eled to Finiand. Russia. and 7\Iexico.

In 1987 in Los Angeles..Ms. Baca began World Wall: A Vision of the

Three of the finished panels are Triumph oftlze Hean. A Dialogue of

Future ~Vithollt Fear. This mural is

THE GREAT WALL

Altematives, and Triumph a/the Hands. Triumph a!the Heart shows how people from many races can work together for world peace. The candles in the painting For many Chicanos. painting murals is a way to get in touch with their roots.

More than 600 people. including

450 teenagers from nearby barrios and 40 scholars. helped Chicana artist Judith Baca create The Great

represent hope for peace and understanding. A Dialogue of Alternatives shows how artists can join together to create a new language that evervone can understand. 1liumph of the Hands shows how people working together can create good things. The people in the mural look to the power in their own hands for hope and change. _

Wall of Los Angeles. This spectacu·

lar mural. which is half a mile long, is in California's San Fernando

Valley. The work of art W3.S painted during five summers and completed in 1980. It s.h~- ' .... ::,~",,::

local histOry and describes the contributions and struggles of California's diverse. multicultural

residents-frorn prehistoric time by Claudia M. Caruana

In 1990. Ms. Ba.a's Triumph of the panel was shown in Moscow's Gorky Park. H~nds

until the late 19505.

L.A. TH1ES

7/27/93

Journey Back in Time At the Baldwin Park Rail Station, DC! Art Prof"""rJudy Baca PaysH~tothe Area's Indian Herirage

w..

By ZAN DUBIN nAf1 ....rru

For the BaldwiD Park

TlWU

BALDWIN Artist

anwcrk. she wanted to

PARK-

judy Baca did a liUle daDce here the other day, a vt:r'f old

little dance. In the dry heat of a midday sun, Baea st:i:pped along a concrete footpath that represents cenmonial steps performed by early California inhabitants:. the Gabrielino and Chumash Indian'.

The winding lane is part of "DaNa l~ (In·

dilenous Dances), the public arlwork she de· siIned to spruce up the Baldwin Park Metrolink commUltt' rail Ntion.. ., wanted to put memo· ry into a piece of the land" thal once was home to the Indian culturu. said the Los Angela: muralist, La· tino activist and UC lryinf art professor. She bopes to have the project finished within a few day&. Central to &ca's desiCn is the 2O.foot.high re·ere· . ation of an archway in one wall of the nearby San Gabriel Mission. Beneath it stretches the mission's abstracted floor plan, etched into the eo1ared <:tJllcrtle of an open plaza.. From it extends the footpath. which links shelters where commuters wait for trainJ. Located at the comer of Downing Avenue and Ramona Boulevard in the San Gabriel Valley, the $60.000 projeel is part of the four·year.oId Art for Rail Trao.&il Program ins'JtlO".zd b:.. t..'1e t.A. Cc::&l}' Me~""C· polilan Transportation Authority. To date, 65 artists have been comminVmed to adorn stations throughout Southern California. "We believe it', important to make the train system DOl only efficimt but attractive and user·frie'Ddl1'.n said Jessica Cusick. rail-art prc:cram directot. "It', also really important to . . _ provide commw1ities with a sense of ownership in the statioDs. N

B

aea., who was chosen for the job from amoag roughly 25 other artists, bas been involved in mural·making fot as many yean. Among her murals is the half·mile· Ioag "Great Wall of LA.... purported to be the world's longest. She has oveneen creation ab:Iut 200 works as a founder of two mnrrieipl.1J.y funded mural programs in

«

portray an "authentic" mel. ..truthful" vision of the ar· ea's biItary. Et.c.hed into the weath· end adobe·like cmtral arch iI the word Slilnigna. the Gabrielino name for the area. and a quote from Latino lUthor Gloria Anuidul' "This land was Mexican once. was Indian always and is. and will be opln." Lettering on the plaza floor speI1s out, in English, the statement ''When the Indianl died. the villages

endm" When the Spanish arrived. Baa aid.. so1dien raped scores of Gabridino women, Including the chief's wife. The chiefs protest.Iled to his decapi. tation. "It was in that climate that the Miasion San Gabriel wu founded. she

...... stone

N

A mound, like one the Gabrielinos would have de:siBna\ed as a place of prayer, embodies a feminist ideology the arttSl worked into the project. It is a tribule to Toypurina. a 23-year.old Gabrielino woman who leel a nvoll againsl the Spanilh missionaries. she said. '"I'oypurina was depict.ed (by the Spanishj as a seduetrea and sorceress because she organized large groups of native people to fight the Mission San Gabriel and bring it down. For that, she was banished from her natin land. I felt it was approprlatt to pUl her back into her own territory." "Dana IodiImu" was a eoUaboration lnvolving Bac:a and_ LA architects Kate Diamond at _ MebJteeU and

Gusta'VO Leclerc of Adobe LA

Typical of her mural-making metbods. 8K:a abo iIlterYiewed e.tJrie:l.iIa aDd other residenll of Baldwin Part. a quaint, 1argeI.y Latim town of '70,000.

"In

the procea. I dn'eIoped a . , . of wba1 was IQi:nI on with the wheNe p1ace.... she said. aDd p&hered quota she emblamned on the arcbw1.y. Amcng the residents' statements. "u this pl.aee wu good enoucb for me to grow up in. then it iI sood enough for my children" and "'The kind of community that people dream of, ricb and poor, brown, yellow. red, white, all living to«ether."

To further "personalize" the train station. Baa imp1'inted into the concrete beneath each of four

ToypumJa 'was banished

from her native land. I felt It was appropriate to put her back Into her own territory.' JUlYIIACA UCI art professor

shelt=., (also ~-"18' floor plans of California missions) such phrases as "my mother" and " am i Gabridino," rendered in Gabridi-

no. Chumash. English and Spanish. At the shelter farthest from the main plua are the words "memory and will pcnnr." which "are what any cultUZ"e-the ones living then and those living now-bas to have to prue: Ye itself," she lUi. So fa!'. community response bas ~ y ~ positive. Children dance akm.g the footpath and people driviDg by give thumbs up. said Chris Wille, job supervisor with Rock and Water Scapes. the proj. ect's Irvine-based contrac:tot'S. "'I'bey dig it.; they think it's an awful fancy transit station," Wille wd. • Baldwin Park J(etroiink lt4tion is IocaUd at 3825 Do1oning Ave., Ba1Jj. win Parle, at 1M COT'RotJ' of Downing A WftIU' mid Rarrumo. BoW.mmt.

UCI Professor Honors Indians tiC JrviM an profrnor Judv Bag is sprucing up the Baldwin Park Metrolink commute: rail sutlon with public artwork that pays hom.,e to tribes that inhabited the area. the Gabrielino and Chumash Indians. FeaturM is a recreation of a San Gabriel Mission archway. Fl

TONY l>.\.RNARO I Los Alllein Tl-.

Artist Judy Saca re-created archway trom Mission San Gabriel at Baldwin Park's MetroJink rail station.

UCI Professor Honors Indians uc

Irvine art prQjessor Judv Baa is spruc:ng up the Baldwin Pa~k Metrolink commuter rail station with public artwork that pays homage to t~ibes that inhabited lhe area, the GabrieHno and Chumash Indians. Featured is a recreation of a San Gabriel Mission archway. Fl

L

ocated at the comer of 001lOl:.· _ A YUIlle aDd Rarilor::; &0/01. "ud in 1M San c.~.cl Vailey. the $6Q,Q(X) prqeet Is ...." "i 01 W 4.,._-0101 An fot Ra£ Tr.nli~ Protnm irDtitut«l 0] the L.A.

Cowny Metl'opoUcan TTanspon.l. lion Alrthcril.y_ To 41te.·~ art1st& bave been ~ to ado.-n -.aUDn& ~ Southern Cali-

--

' "We

~

a.b the train

Judy 8aca's "Danza ~ .. is a coIIabcntiYe wark of a't.

BylANDCBJN nMU nAfT • • ITD &

li.ue

lWJce in Bald-,;rj., h-k tile other ~. ;II ''ier'7 oicl Ii'Ole

In the dly hat of i. ~:.m. 8Ic:a skipped akmi ~ O:::':-h~~ fooqath that.~.:= ctn::=:Ii-

aI . . . pa1'ormed 07 c:-,:, CaJi·

fon:m mbabiWlU, the ~ and 0wlDab lDdial'&. 'Jbt wiDdiDI laDe Is pan ~ "DaIUll.

J.ndl.rmq"

Baca. who wu ebosen for the job ff'Oll1 aIDODIl"OIChi}" 25 other artiIU, bat been inn),nd il: :au· rai-muq for about. • QlWU: ce:nwry. AmDnI her zunis is 1M half-mile-loa( nCrnt Wali Df LA... purpxud to be: til:: ':'1'0:;0"1 ~ 8M bat ov<::---.. ~ t of abcU 2lIO wcna as c. ic=dc:" 31 two munir:ipally furllk'u m;,o:~ ;4-0JI'tIN in Las Anfta FOI' !.be Baldwin pJl..-'.:: ~=Il.. aile wanted l.O portl"aj';M1 w::UU~"l' UC" and '"truthfuJ" viIiar:I 01 tilc M

project to spruce up tm Baldwin Park Metrolink rail station puts 'memory into a piece of land.'

""""

o.oIy

ership in !he stations."

• Art: Judy 8aca's 160,000

A

& ~ DDI.

eftk:iall but ~ and IUC:" friISldIy," aid JeIIic:t o..act. nil. an pracram direcl.O:l". ~l>:". ~~ really ialporUnt to . . . provi(>c QlIClmunities With .. RnIIe of owt;.

Muralist Honors American Indians.

rtist Judy 8aQ Gid

it', ir.Jponan. w

(I~G.iBenc;a

.0.-1. the public art":lOr'il: me desiped to 'PJ"IICt up the Bakiwin ParIr. Metrolink eonllr.a\.a':all N-

.....

, wanted ttl put rneIA.;;.,-y ~to • pieee of the 1and~ that ~ _ bome to the Ameriem:i Indian Wi· tuNI:, aid the 1001 An6..xs m\~­ itt. Latino KtiYist a:xl UC 1niIw!

=.

vt prof_. She hci=a to plae firUIbmI touches 0Ye" the nen two weelu..

~r.ral to Btu', 0eIiIn 15 lhe 2O-foot.hi,sh re-ereation of all. an:hway from the neari)1 San Gabriel Mission. BmuUt it ~..retches the miKion'. a ~ f1c(l;' plan. eWM:d inUl the eo.IomI eonco"et.e of an gpm pLaa From il ~ tbe footpath. _Md1 1iniuI pel~ wben: c:or:ammas WlIi.t for~

am', history. te.bed iino the

E

we:l~j ~.

be_like ce!lU'llI. ardll:.- tho: ~ S~ \be GabrieU::.:; ll
.... Moican Met. ~ lndia., Il_ysand is. and Wili On ipin.Lettering OD Ib.:' .. Iuo: nc:::r .,111 OUI.. in EncIW!. IN: Nl(:· men", nWhen the Indiw~ died. Uu:

viJ1alt'S ended...

When lhe Spanish arrtv-...:'. ~ Aid. aXdien raped :oc= "" Ca· bmllno women. Ineluditli the ebIel""l WifL The dlId':; ~ ~ }ed to his
tbat tIimate that UK: ~ San Gabrid _ foundeQ.; A Slone: mound. .~~ one ttl.:: Cabrieanc. would ~7C ~rn'l~ u • place of prayer. =bodie= a feminist kleoIocY the :l.~t 1'llT."iced Into the prn;ecL. It Is 1". trib-..itc to ~:;akl

Toypurin.a. a 23- YUf. ~d Gl:<Jnw· DO -.oman who led a :-evtllt ar~.sI. the Spanish miaioaaric:..4::ill: :iii(. "oypurina wu depico.<:z: {b;; the Spanilhl ~ :cd :;orc:eraI beo::alaIt the ot.....~ lati" crouPS of rwin peopk' 11) fi&h:. the: M\uioll San Gabriel ;,.,-,c ~ 11 down. For thaI. she .....e.; ::-:;;!::beQ from her IllItin IIi1Ki. 1 felt I;. ....:a appropriate to put her ~ ~-:';C 'Ieu.c ~. BACh, t:'S'..

u.

LOS ASGf':"

TI~.1ES

BACA:Art Pays Homage Continued fnm F8 her own territory." "Danza Indigenas" was a collab· oration involving Baca and L.A. architects Kate Diamond of Siegel Diamond Architects and Gustavo Leclerc of Adobe L.A. Typical of her mural-making methods. Baca also interviewed GabrieHnos and other residents of Baldwin Park, a largely Latino town of 70,000.

"I

n the process, I developed a . sense of what was going on with the whole place," she said, and gathered quotes she emblazoned on the archway. Among the residents' statements, "If this place Cent:raI to Judy Baca's work is a 20-foot-high archway. re-created after was good enough for me to grow up San Gabriel Mission, from which a footpath links commuter shelters. in, then it is good enough for my children": "The kind of community dance along the footpath and peo"They dig it: they think it's an that people dream of. rich and poor, ple driving by give thumbs up, said awful-fancy transit station," Wille brown, yellow, red, white, alllivsaid. ingtogether." Chris Wille, job supervisor with To further "personalize" the Rock and Water $capes. the projtrain station, Baca imprinted into ect's Irvine-based contractors. the concrete beneath each of four shelters (also bearing floor plans of California missions) such phrases as "my mother" and "I am a Gabrielino." rendered in Gabrielino, Chumash, English and Spanish. At the shelter farthest from Ute main plaza are the words memory and wUlp
I Z MAGAZINE W01t1EN POLITICAL Iarxc ARTISTS IN LOS ANGELES:

OCTOBER 1991

mural's planning and execution. Young people often work closely with mawre artists in large-scale anistic expression. As a medium of public art. munls have impact far beyond traditional a."tisric produclS in museums. and other traditional an worid instinnions. Their presence on interior and exterior walls of major buildings makes them easily accessible to numbers of people who live and work among them. Chicano anisTS in particular have made a unique contribution to this expression of public art. For more than 20 years in California. Chicano murals have transfonned Thousands of dreary walls into vibrant expressions of cqlor. ful anwotks that reveal the culnmal identiTy and as~iralions of the Mexican-American corrununiry. Los Angdes. with its enormous Latino population. has been at the forefronT of the modem mural movement. Well documenTed in national and rea:iooal books and articles. this work has collcoively added a dtam.atic dimension to the broader lradition of American political alt. Women artists have been extremely prominent in the modem mural movement in southern California. Its participatory flavor and democratic charnaer have increased the opponWliTics for women to achieve wide recogniTion for their artistic ac:complishmcnts. A pivoral figure SiDCC the early 1970s is Chicano muralist. teacheT. and community activist Judy Baca.. Her combined effons as a muralist and anistic director of the Social and Public An Resource Center (SPARC) in Venice. Califomia. have brought her national acclaim. Re...--ent reviews of her woIk in Signs from th~ H~art: California Chicano Murals by Eva Cockcroft and Holly Barnet-Sanchez and Mixtd Blasings by Lucy Lip-

JUDY BACA'S

PUBUCART BY PAUL VON BLUM

A

T VARIOUS times throughout tbe 201h ccnlUly. the

mural has served as a major medium of political commentary and criticism. Rooted in the Mexican

mural renaissance of the 19205. many conlen1pomy muralists have =aled works of impressive mistie stature and dnmatic social impact. lbese artWorks typically call attention to social ills and reclaim lbe neglected history of marginalized peoples. Above all they express the hopes and frustrations of millions of people. Socially conscious muralists througnoul the country view their an as a powerful means [0 foster social cohesion and political awareness in working class and ethnic com· munities. They usually seek neighborhood panicipation in a

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DIVISION OF TilE B/,RRIOS

CHAVEZ RAVINL

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pard have enhanced her high standing in the prog~ssive

mistie community.

Born and raised in the Los Angeles area.. Baca developed a commitment early in her

career

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a collaboralive misfic process

rooted in her involvement wim the Chicano movement of the early 19705. Her wort as

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a community an teacher brought her ima contact with young people from diverse eth-

nic backgrounds. many gang members among them. She felt deeply attached to these young people. identifying with Ebcir spirit of ~bellion and sympathetic 10 their daily slIuggles for dignity in a hostile, racisl:

society. lbese enCOunten led to the (onnation of the Citywide Mural Project, which produced hundreds of murals throughout the

Los Angeles area. many of which she directed herself wim the extensive panicipation of these young men and wamm. These initial projects established Bac.a as

a major pUblic anist whose wad:. encompassed a communal process CUlminating in

vivid. $OCially conscious imagery. As she has regUlarly nored. the images produced are the final pan of the entire proceu-and nor at all rhe most signific3nl. Th.e collaboration irself empowers young people to rake control of their own lives and imbues them with the respect I()[)~ denied them by

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Z MACAZINE OCTOBER 1991

American societv, This feature of Baca:s work has enduring political impact even as the actual irnzges fade Ihrough time, weather, and the general atmospheric pollution of Ihe Los Angeles basin. In 1976. Bata oJ!anized and directed a massive team of young people. including rival gang rrx:mbers. 10 produce one of the most monumenla1 projects in the entire history of an. -rbe Oreal Wall of Los Angeles" employed dozens of white. Asian. African American. and Chicano youths [0 produce a people's history of California. Located in a flood " control channel in the San Fernando Valley. [his mural is the lllll!est outdoor mural in the world. The most remaIkable accomplishmem of the Greal Wall. an ongoing proj«t throughout lhe 19805 :md 1990s.. has been the cooperative effons of the teenagers involved in the project. A politicai anist v.;th a comprehensive eoucarional vision. Baca implemented an amazing instructional process that forced the young panicipants !O confront e
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w'd"t from the original Kative American inhabitantS to Ihe

A similar episode occurred the following year. when wlors slormed. intO bars and other establishments. beating young Chicanos and tearing their zoot suits from their bodies. Civilian and military police encouraged tbe rampage. even assisling the ferror by arresting young OliCBno's on baseless charges. The local press meanwhile intensified the hysteria. The riOt eventually ended. but the consequences aff~ted southern California for decades to come. Judy Baca has captured this deplorable historical re3]ity in a Great Wall panel known as "Zoot Suit Riots" (figure l). The work highlights the black. Gestapo-like boots of the local police. an image with uncomfonable contemporary resonance in light of the savage beating of Rodney King by the Los Angeles police in early 199L The anisfs focus is StaIk and unsubtle. a powerful reminder of the repressive history of police misconduct throughout U.s. history. A companion detail in the Great Wall updates the history of oppression against the Chicano community of Los Angeles.. "Division of the Barrios and Chavez Ravine- (figure 2) reveals the human consequences of various political decisiOf'.5 made by elite forces in Los Angeles. The con· muction of a f~ay for the benefit of suburban commuterS split a long-established OIicano community in IWO. fostering family disruption and frustration and generally diluting the historical stability and cohesion of thaI community. The 1958 move of the Brooklyn Dodgers to Los Angeles similarly wreaked social and emotional havoc on the Chicano neighborhood. City powers constructed Dodger Stadium in Chavez Ravine. bringing enormous profits to

present. A major theme is !he oppression against various ethnic groups whose contributions to California have been as profound as they bave been ignored Similarly. Ihe mural

highli£hts the accomplishments of many elhnic heroes whose lives and works seldom grace the leJ::lbooks of public and privale schools in California or elsewhere. Baca'S commitment to the neglected hislory of her own Chicano communily finds dramatic expression in the Great Wall. The bombing of Pearl Harbor spawned enonnous wanime hysteria throughout the United States. Mosl tragi. cally. this hysteria caused the unconscionable and unconstitutional incarceration of IIO.OClO persons of Japanese ancestry on the West Coast. 3 theme ponrayed in one of the Grell! Wall panels. Less weU known is tholl incidents of racial violence ....-ere common throughout the nation during the early 1940s. The annosphere in Los Angeles W3S tense and volatile. especially against the large Chicano population. In 1942 the press promoted fears of Mexican crime. focusing especially on young Mexican-American men wearing ~zoot suits.~ ~ n flared at the knees and tight at the ankles. 'The Los ..l\ngcles City Council passed an ordinantt prohibiting the wearing of zoot suits. and police roamed Chicano areas making sea:n:hes and terrorizing the population. In August 1942. a young Mexican-American was found near deaIh by !he Sleepy Lagoon just outside the city. After his death. police used the corpse as an excuse to round up 22 gang members and beat confessions out of them. Several were convicted of murder and Other serious criminal charges: only later was this miscarriage of justice re~rsed.

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Z MAGAZINE OCTOBER 1991

memation project encourages communication across communities. cultures. and nations. enabling progressive anists everywhere [0 learn from one another and enhance Ihe power of mural art in their respective locales. This resource is largely unavailable elsewhere: the established media. universities. and museums rarely bother with artWork lhey regard as ephcmer.a.l and politically suspect. Baca's jnfluence on the SPARC Gallery equally benefits progressive artists and activists in the Los Angeles area. Unlike private an galleries. SPARe is a nonprofit enterprise showcasing artists typically excluded hom mainstream artistic institutions. The SPARC Gallery also emphasizes an with social and political coment. which sustains a centuriesold tradition of visual political criticism. In recem years the gallery prog.ram has presenled exhibitions of works by African American women artists. Los AogclcslNew York urban activist an, views of homelessness. graphics by South Korean student protestors, recent Chicano an from Los An· gcles. and many other socially conunined artworks. Perhaps above all, Baca's most enduring influence as SPARC artistic director is the continuing mural production program, Under SPARC auspices. scores of murals have been produced throughout Los Angeles. generally incor· p:>rating the collaborative process that characterizes Baca's mwal art. Since 1988. SPARC has administered a neighbor· hood pride: program for the city. with mural works directed by professional artists with the assistance of young people referred by schools and social service agencies. One typical SPARe·sponsored example is an effon in progress by Sandra Drinoin. Entitled ''The Living City of Los Angeles" (figure 5). this work continues the tradition of working people with young people in the community. This wort.: will be completed on a supennarket wall in ccntral Los Angeles. in a neighborhood populated by Latinos. Asians. and African Americans. Mwals arc no panacea for the vast complex of urban problems in Los Angeles. Nevertheless. they encourage communiI)' youths to develop artis· tic and organizing skills. providing tremendous significance for personal and social change. This focus also extends 10 young children. AI the recent exhibition of Baca's World Wall in predominantly Latino Easl Los Angeles. SPARC amnged for elementary school children 10 panicipate fully in the festivities. Figure 6 shows Neighoorhood Pride Coordinator Alan Nakagawa discussing the won: with a group of children. lbcy tOO have the opponunity to express their vision of a world of peace and justice-opponunities oflen denied in their inslitutional scnings of school. church. and elsewhere. As an anist and community organizer, Judy Baca has had a profound impact on the p:>litical an world of Los Angeles and beyond. Her murals complement her leader· ship effons in building alternative cultural institutions. She has established the highest standard for progressive artists througnout the United States and fortified the stature of women artists in the broader struggle for a decent and numane society. Z

Dod!!er owners. doubtless a far greater concern than the resu~ing dislocation for the Ol.icano residents of the area. Once auin. Baca has used the power of mural an to reveal the political and human realities concealed by the glitz of LA's entry infO major league base~1. . , More recently. the artist has pamted a majOr mural In the central California town of Guadalupe. where Chicano and other ethnic farmworl.:ers work for major agribusiness inter· ests. Consisting of four panels. the Guadalupe mural highlights the people whose eff~ns truly u.~erli~ the ~a's commercial and cultural achIevements. Ethnic Conmbutions to Guadalupe" (figure 3) emphasizes the diversity of the lown. Baca's depiction of various immigrant Lalino. Ol.inese. and European workers and shopkeepers reveal a ~ accuf3te account of California's historical develo~ menl than usually ponrayed in textbooks and other instructional materials. In 1987. Baca embarked on another large·scale participatory projeCt concerning the issues of peace. human cooperation. and global interdependence. Like her previous effons. this mural was initialed by involving people of diverse backRrounds. Baca held brainstonning sessions with historians. ~holars. leachers, students. and others whose feelings inform rhe entire effon.. -World Wall: A VISion of the Future Without Fear" consists of a series of 10' by 30' ponablc panels that envision a future world radically dif· £emu from George Bush's -new world order.- A traveling installation system enables the work to be reassembled anywhere. reflecting its highly public character, World Wall premiered lasl year in Finland. where local anists joined the project by adding their own visions about a peaceful and humane world fUlure. Later in 1990 the mural went on to the Soviet Union. where it was exhibited in Moscow's Gorky Pari:... A Soviet anist added another panel to the effon. continuing the panicipatory process. Four of the work's projected seven panels ~ now complete. A panicularly slriking panel. photographed in Moscow, "Triumph of Ihe Hands" (figure 4). illustrales the rransfonnation from a war to a peace-based economy required for global peace and social juslice. The mural's mu)licolored people realize their own power by seizing the military machinery. demanding the -peace dividend" aboned by Ihe Bush administraIion's repressive domestic policies and brutal military adventures. Baca's commitment to panicipalion has led her 10 Si2niflCantly broaden the definition of public an. Realizi';g that visual images alone. however politically critical. are insufficient. she has pionec~d the crealion and maintenance of alternative anistic instilutions. In 1976. Baca. painter Christina Schlesinger. and filmmaker Donna Deitch fOUnded SPARe as a multicultural an center to produce. exhibit. documcoL and preserve public artworks. In the en· suing 15 years. SP.-'\RC has become one of the nation's most Successful institutions for p:>litical anists. Baca's in-tensive dfom as anistic director of SPARC have been crucial to Ihal Success. The Social and Public An Resource Center perfonns man~ functions of vital imponance 10 Ihe progressive communlly. Its mural resource center. for eltample. contains 16.000 slides of murals from around lhe world. including 7.000 slides of Chicano murals in Califomia. This docu--

SP.~RC is C'OfldUC1ifl~ a m~mb~rship dril'~ 10 Sllppon its multifaceted C'lIllIIral and artistic octh'ities, iflcllld;fI/l Ih~ complerion andfllnher exhibition 0{ Jlldy BDC'o's ~World Wall." Write SPARe. 685 V~nice SlId.. \'enice. CA 90191.

74

"The World Wall: A VISion of the Future without Fear," An Interview with Judith R Baca Frances K. POW In • recent issue dIm Angela MJJgadne Judilh F. Baca was refemd 10 as "'the \he Iw tried to keep alive and in me public eye the cultures and traditions of the many difl:rcut peoples of 50lIthcm CaUlbmia. Baca was born and raised in die Los AnceJes area... She dcscn"bes her early years in Pacoima•• 5Uburb oi Los A1J. gdes, as ... time when eYet)'body was ~ very hard at just being American."' Edmic &fOUPS ~ 10 '1J&cnd in," 10 dowDplIy their diffeJeoces from the nile CXImInLIIli1y. This meaDl speekinc Eaa1ish. prdeRbIy wiIbouI an acceDl. Olildm:I from Spaaisb-speakinJ f.unilic:s who were lIIIIlbie 10 masaer d:lc E..aclisb . . . . ill r\cmrncary scbooI: SOOIl bmd lhc:msdves tabdc:d slow or rewded _ bdd Nck. FunmaIdy hi' Baca. sbc bad • quick miDd aDd amodler who bdic¥cd $lJOIICIY in the wlue of ,............ In Ihe I96Os. afier canpIdiac hiIb scbool. she earoUed • • SIUdio an: majo£ at Calibuia Stale UDiYaUy at NonhridF. Ew::n then she was COIItCrlXd abouI the rdevance 01 bet an. a coocem dull . was prompu:d in pan by her fiuniJy's douba abouI her cboscu probsioo. What impKt wooJd her an brc 00 reallik? Wbal woWd it mean 10 her grandmolher? How praaica! was it wbc:n it came lD earning a living? Thillaacr cp::sOon led her 10 minor in hisIory and educatioo. disciplines thai: pn:Md invaluable in her Iaref work. The I960s ~ important years br Baca. People of color were beginning 10 agiwe on campuses across die counuy fOr African-American stUdies, alicano scudies. HarM:: American srudics. AJian...A.mcric Sbtics. s.:a pWc:4:ad in Ibe mugga cI this decade and became C¥en more axwinccd thai: sur-

viva) br pc:opk: of color" meant the prt:SCmllion of their various cultures. "1f)'OU deDy the presence of another people and their culwre.," she has commented, ''and you deny them their traditions. )'OU arc basically conuninif!8 culrum genocide.") Baca had experienced such a denial at Northridge, where wtSIem EuropeaD an bad been held up as the model for aU an. No one told her about the: MeUcan mwaI rrtOYement, about Diego Rivera or Jose Clemence Orozco or David Alf.uo Siqueims. The surrealists studied included the Spaniards Joan MinS and SaJ'Iador Dali bul: not the: Maican Frida KahJo. From 1969 through 1974 Baca worked specifICally within the Oaicano and MeUaoo communiIy cryinc ~ reYerSe Ihis denial. W~ her B.F.A. in baAd, she IaUIhI ata CaIhoIic high school where she orpniz.cd her first munJ proje:a as a 'WrJ 10 briJIg JOF:ther SIUdenu from diflereal oeia;hborhoods.. In thc: summer r# 191O, Mille Vo'Of'kinB b 1be Lo5 Aa£des Rccn:alioD aDd Parks Dtputmalt, she agreed 10 take on 1be CUr.I cast r# ClfPoiring aDDlber mun1 am r# twmry from b.tr oaIykids _ _ _

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buI also about understaDdinc the put aod making COIlnectioos betwceD the past and the praenL Rcaliring boch the educarional. and 1be political power of rmnIs, Baca submined to the Los AJlBeIes City Council in 1974 a proposal b' a citywide mural program. Forty murals would be produced each year. c::oo.oerinc a radius r# om- a hundred miles in r:very ethnic communiry in chc: ciry, at a cost of approximately $L5O,OOO a)UC. The progfUI was funded, and Baca lBVeled from me black comnwniry to the 0Ucan0 communiry to the Thai cornmuniry to the Chinese communi· ty, _ ........-. hmne _Ie, and nogotiatine wid> ciry officials. OYer 1be course of iu aisIcnc:e (1974-1984) the program funded 250 murals and empkJyed KXXl crew mem· ben. Baca acquired \'a)' early on, lbereb'e. bolh thc: admiJl..

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Frrmcu K. PohI r«dved her B.A. ond M.A. tU8rus in an history.from lhe Uniwniry of British Colwrtbia (Jbncouver) tutJ lin Ph.D. tkgree ill Q1T history from lite llniwmry of CaJi./onUo, Los An~ks. SM Iw publisMd 0 s~ri~s ofonidu ""feminist an ~ an history in IN Uniuti SImu; Hbmans Building ar Ihe 1893 Mbrld's Columbian &posilj,," in DriallO; llIIIi the I~ onisr MirellD &mil'08lio. Her book Ben Shahn: New Deal Anise in a Cold War Clinwe, 947·1954, KW m:DI11y ptb lisIttuJ by me University of Tam Press. SN is cunmrly an auisIant pro{enor of an history ar 1bmona CoII~ge.

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fAl:WTIRS \bI. XI, No. 1 e 1990 FJOIT£RS &IIofiaI Ct*cIiw

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bition. Sevm JO' by 30' mur:als au be hung OIl the opposite sides of the original panels. and an additional twemy-eip smaner murals (10' by ICY) can be Ioc:aIed on the bmeeD tr.mdevices projectirc at right ansles from the outside of the main Slt\JCtUre. Baca wanU these smaller murals 10 be erealai by chiJdmJ. Viewing the murals. re:Jding the documema·

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lion ~ their creation. and serine the addition 01 new visions is i'*"ndtd 10 make rhe exper tel'llce oIthis exhibition an acIiwe one. an experience IhaI will ,.nI1d the message rI the murals Ihcmselves-that people 01 an ethnic, culnml. and nalional backgrounds musI bqin 10 WOfk &ogdhet if work! peace is 10 be achiew::d.

WORLD WALL

NEW 'NOALO SYSTEMS

BALANCE

HUMAN BASED TECHNOLOGY

NON-VIOLENT RESISTANCE

TRIUMPH OF

THE HEARTS

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MISSILES 10 STARSHIP

WEAPONS CONVERSION

TRIUMPH OF THE HANDS

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BACA' T'bey we:Je diflerml in the sense dw the brainsIorm1be World w.u" b:usc:d 011 just ODe .-JIobal c:oaftict. for eumpIc. we bad speakers come calk ., us nor . . . . hisIory but about tbf:; arms race. ~ Mel a wtde ct.y 011 lhe ~ «the American &rIaIa1. And we Jearr.:d alxu the MX missile, Then we had anocher dIy wheu people came ., speak ., us Ibout NatiYe Americ:aIl c:onccps rL baJanc:e and whII cheir poinr of view was 011 why the wortd had &'JCIal OUI and why we were in {our cumut:) sirualion euvUO'pnmglly and in ICJ11'lS rL conflict berwem nIboas. .. The b:us was not: an hiSlOricaI cwerview. tt"'lC..br~. b!.a. very spDcific b:us on the cooccpl eX peace. Vk had scmcone come aDd mIt. 10 us about parallel systanS aDd how one orpni7a • pwalld systan that ooukI mlM alongside. mainsuam ee:a. amy. aDd lben how the Cf'OSS(JYC'" could occut when: )'OU coukt acnWIy sutwert the mainstream economy aDd ab$orb il _

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1MICriaI. and dlat these two categories could tben be divided _ pmeIs that roWd be named as we hatoe named than, (with) pae:nJ CIlqOricaI lides br bodies 01 inbrmalion that came frnm diu coIlccti'o'e grouping. All the lnbnn8boD from Ihe braiDsbming sessions came in • really tudom order. OrpaiziDc it u.o specific carcpies. giviac cac:b pad • tide. *-, __ the work thal J did with Mao (Wuc:rbr•• Los AD&des pXitical aaivisl and political carblaiIll. ThcD we bnJucbr whM we had come up widl bKt 10 me group and funher imagined each one of dIoie ,..mom ~ how long • period ti time did cbese tJrainsIorm. . . ta:IIoJIs wicb the group ol bty-five peop&e cake piKe? BACA.: We had tweDry weeb. ~ would 'MJril: all d.y OD Sardays. The mornings woWd be cIaoIed 10. more thl:on:ticaI dilculsion. wish speakers brouaht in from tbf:; 0UI$idc. ~ in the .l1eaUOOllS we woukJ work on dw:: ....,.. *p,pliza~ IIQd dcYdopmenc ti the imagery. The emphasis u me eotift: program was training people 10 be nwraI painras but noc decorative painters. And in faa. It the dose of this training, ~ could hive nude anything-. peri:lrmance, a book, • video. They wouldn't oecessarily have 10 make • mural. The

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pnx:ess of wortiDB from die YeI')' geaeraI down 10 Ihe more specific is the concqJt that I u.oe beea. dewdopiDc in this nttaI ~ prognm. which is i'*'""cd to Ir:actl people bow 10 di=ct ct.nae. hcMo 10 SO Ihroogb. traabiilMi~pocas l-J efIieca c:haee in themseha aDd therebc mates than more abie 10 make • piece m. has some kind rL UilPOWd lUa. base.. _ of ... people ..... _ _ oauaIly """'" " ' 11baI) ••. I \1WOf"kc:d out Wer it*) the (mal imaFs- Some d them were not two-dimc:nsiona utisu, Otawing was DOC their skill. Some ol them were ~ pcopIe. Some d them were media people, Buc ew:rybody panicipartd in the cooctp"'lIljzarion and conaibuted iOmClhina. POHL: How f&r Uong an: you now .on the piece? BACA: I hZ"C • full-scale maqueUC-ODC: inch to one fOot. J ~ one panel c:omplc:tc and two pands nearly c:omplde. or me bu' remainin& pneIs J have dtawinp b "Nonviolem Resistance.. and I'm missing "New \\brld Sys&ans"-wfUctt are all Ihoac peopie-fo-peopI corM:nIions lie juscX:e: aad aJOvivWiry and an aid 10 racism-"Hwnan·Bascd Techrdogy," aDd "Missiles to Starships. Those three need II'IClCe work and more coac:qxii.lizabon. POHL: Ihc:R atIY panicularly difficult bmaI or ir:::orq.....UcaI probk:ms thai: c:.DC up in die ecune oldie discussiont? . BACA: When we were initially dIinkirw.!xU doiDs this b abe GrcM Pcac:e Man::b. our paobkms ~ UIOi'1t1WS. How could we mae the pieces in time and what kind d treabDeII: could we give them so 1baIl:bey c:ouJd be pained YeI')' qWd.:. ly aDd wicb 1arze iUDbers ol ~ ill Iddition 10 me initial am. allihe whik beping • COdinuity ti imIp:s? If 1herr: were going to be ~ paods, bow coukl we wort. • series d Iit:amS through Jhose ~ paacls and SliD I-.: continuity belwem Ihem? J ta.d Deed sDnilu lssues on 1he GtaI WI." I had diflere:nt people each summer. and yet the piece ta.d 10 .•. match the pm'Klus piece in termS of iu Sl)'listic lrQtmenl. What hcld it a1110gether was the 5tT\ICCUre I Ct'CIted and the syslCmalized .pp1tcation, SO thai the bodies could dwlge and the hands could clwige but the application remained the same. So that was one ol the issues. On '1'he \\brid Vtall" I also led a whole series of workshops called "8e)tlnd the Obvious Symbol." wtw we fiJund was that we ta.d huDdreds of examples aDd knew \'CI)' well how 10 image c:oafIict and violence and that those were the first images that came 10 our minds.. But imaging peace was more difficult. In ocher words. we could define peace by sayiDe the abacDce d war, but we couldn't say what it was. ~ couldn't say what it kd:ed like. Vk got stuck. As. Ibis poiol: • studatt said "What is peace? EYeJ}'body s.ittiDc around and wau::hiDs 'IV?" ADd Ihai we really realized thai pan 0( wbM was happeninc was cbat the media and the ~ ambieal adlUre in p::umJ supponcd. very..aonalistic. Q)lupc.1itioe., YioiaIl situatKlaal kind u politics. It was much easier b us 10 see the world as • soccer mak:b. or-. ixlcbaI1 pme than t:) see while would happal wbal we weft: wotting c0operatively. whaI: we chanp:d the rules rL the game. ThinkiDa u peace was YC:l'}' hard 10 do, it required mudl more etative thinking. I drink this is me reason why. inherently, we (1$ • society) doo't u.oe reaDy strong images or very clear ideas.bouI wtw it would be like if we were \loUicing on an international rooper.live level lOr the development of. suucture or • model fOr Of

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POHL: ~ you thinkine abouIthe viewing of these: murals by an imanational audience when you were working through your imagery and symbols? 8ACA: Definitely. But the wir. mat we set br ourselves. and my idea abouc '1'bc \\brld Wall," is dw: the inraior piece is an American vision, and while iIs a"dicace will be inIematioaal, out job is 10 come from u American perspccti~ I think that tbc: most profDwld thiac about die piece is _ it is lD come from a mlllrindcul2J paspeaiYe widUD the UDilaI sa.s. wtUch is of a:lW'Se • miDoriIy posirion The cuerior IDIU'&ls wouJd thea do die work of each alUIID)' spcakinc specifically lD iIs ilatllMX:cal-Jdicnce So I dd1't miad die speci-

_ct;,.

POHL: H.w:)'OU decided wtUch cnuntries)'Oll wouJd like 10 haw: the piece visit yet!

BACA: Actually, that will RO( be br me 10 decidc.. A JEld or turd wilJ be Sd up thai will pq:oinI1be places in 1be world at this moment tha1 are the most signific:anl CCIlWrieI in termS of coming 10 some relationship with each other lOr peace. In other words. wtUdl counaies are the hoc. spots. I suspect the SoYict Uuion and Latin America will be among mem, and probably some Ewopean aJUnUy. I would lib: 10 ICC it SO 10 Mexico.. POHL: Who is goias lD be 011 die boanf? BACA: ThaI is wbaI we are wortiDB 011 ricbt DOW. ~ are

abouc 10 bin: a ~ iJr the project aDd are aOO JCUia& ltOJO.tpwbrjons iJr eIqIaU, pcopk who make Ibe JOIdy d g10bal conflict their CODCCrD. For ~, we are taJkiDB II) _ ..... " _ . - . . . mM.........,w. Tbey bria& IIJgCthcr scboWs there 10 diIaw specific policy as it afkts. Y)'. ~ educaaioD. We would also lib: lD bN: as membecs a number of promiDaIC women of eokK from duou&hout me UDiIed States who could help us with visibili1)' and fwx1raising. The baud would also ultimaIdy be resp0nsible tlr me tmd, security, aDd disIribuUon of the piece and would decide what wouJd happco with it when it l'tl\Ir'ned home. I would like II) see the '4rious murals so&d and me money pa _ • fund that woWd caabIe adler artias II) produce

socially conscious public an. If. group wants 10 do an ea Jocic:aI piece in wtUcb they absolutdy transbrm the ~ in Sal ta Monia or, on III international ~I, take on the desuuctio of the Amazon, then there's the money. Public an of this t)'J1 is fraught with difficu,lties., both orpnizational and fi~ We need more of this end of wad, though, and havinc iii mooey there would be half me ban1e woo.

NarES l I*lokGec, ........ 1'tMu.~ l M ~ ...... 33 (O:I:Ibcr I!ilII llI. 1. JrIdidl; ~ s.c., "'Our PIII:lpk I..... EaaD- ( t - I ....... __ o - . ~... c...a .. Cll n·DN.1IIiIed by Dull till JCIM MIl ~ ~ (s-k: The ItAI e - PI-. 1915). 6: 3. Ibid•• 61 -t. a.c:. is _!be &c.d of ~ 01_ AJDmc. ea.-i! of_ An

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A Panel Discussion BY KERRY BLANKENSHIP

'The W:wtd WaD: A VISion fA the Future Wltbout FaD'. A porl4blt muralun dis:p/4Jat tht SnUx GardDu at titl 5.B" Conty Cowl'thbwst throwglt

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t is l'IOI: without much effort that the art conununity continues its attemp( 10 spread peace ~

out theworld. An example of one of the most ambitious efforts ye! can be viewed in the Sunken Gardens at the courthouse. T1tt HOrld WIlll: A V"lSioJI of titl Fftblrt W"rtfImd FltlT combines six portable murals that together try to picture a fu1l1l'e of global harmony through ~ conten\pOl"al')' gl0bal issues and e:xpbringways in which communities can learn to rT\OYt beyond war and confIicL Conceived in 1987 by the Los Azt. gdes-based Social "and Public Art ~ ~~, Tht H0rid Wall, when compW:, will consist of 14 lo.fooc by 3O-foot paneis-seYen by Chicana art· istJudith F. Baca mel &eYeD byvarious

artist Alexi BegIov, and one by the FIJUlish Arts Group. Baca has been irIYotved in 5eYeIaI mural projects and is the founder of SPARC and of the city of LosAngeles's C~ MunUs Project. Her acrylic on canvas panels in 1Jtt MJmJI Wall (Including, so far, "Triumph of Heans.• "Non-VIOlent ResisIance.~ '"Triumph of Hands. ~ and ~Ba1ancej show a message that SPARe hopes to :sprN:!1O other activist artists and communities. For example, "Non-VIOlent Resistance· encou~ change through indMduil commitment and commw1ity

...........

1Jtt mmd Wall is a direct desct'ndent of the Great WaIl of Los Angeles. the nearly haJi.mile-long rmnI in the Son F""""'" """. prod""" by SPARe. thaJ dePcts the history of California from an ethnic viewpoint From the Great WallofLosI\ngeks 10 TM"1%rld Wall. Baca has expanded her bros from barrio and urban em cernS to e'obal issues. 1M nbrld Wall will tn0'e from Santa Barbara 10 Mexico..(.anada. South Africa. Korea. and -...o.w........._""'. ing lJ"aVds abroad. 'iJ date. six ofthe 14 Japan. wj(h SPARe highlighting perti.,_'~; ... ",-m"""""..." _ ~ ............ h ... hv1l;,...." ............ RI.«......

NOVEMBER 14,1991

\ULU1oiE 22, NUMBEB. 38 SlSO PER COPY

Towards a World in Balance SiDct the late ei.Jhties.. 1.01 Aasdcs D:1walistJady B_

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Judith F. Baca: Community and Culture in the United States

]UDrrn F. BACA is known nationally and internationally as a muralist and a public educator and has taught in the University ofCalifomia system since 1981. Her commitment to community-based an m3king led her to found. along with filmmaker Donna Dieteh and artist Christina Schlesinger. the Social and PublicAn Resoun:e Center (SPARC) in the mid-1970s in Venice, California. Through SPARG, Baca has not only facilitated the creation, preservation and documentation of public an in the Los Angeles area. but has also provided a space for the images and voices ofpeoples ofcolor. She has coordinated two major citywide mural projects in Los Angeles and has organized, along with the staff of SPARG, symposia and exhibitions that draw attention to the multiplicity ofcultures that make up the greater Los Angeles area and the nation at!arge. Her most famous mural, The Greal Wall of lAs Angeles (1976-1983) (Figures 1,2, and 3) extends for almost haifa mile along a drainage canal in the San Fernando Valley and documents an alternative history ofCalifornia, one that acknowledges the presence ofNative Americans. Asian Americans, African Americans. Latinos. Chicanos, gays and lesbians, and working class people. She has brought her coalitionbuilding skills to other parts ofCalifornia, indudingthe farming community of Guadalupe, just north of Santa Barbara (Figure 4), and the city of Baldwin Park,just east ofLos Angeles (Figures 5 and 6). She has also taken these skills and applied them to an international project, The World Wall: A Vuion oftIu Future Wzthout Fear (Figures 7 and 8), a series of!0' by 30' portable murals that has traveled around the world, joined by similar panels painted by artists from the host countries. I first met Baca in 1988, when I invited her to speak to a women's studies class I was co-reaching at Pomona College. I was impressed by the nature

K'"-s StsuDa. 1996

Vol 25, pp. 215-%117 Reprints anilab&e direc:dy &om the: ~ Ph"""""yin, pamiaed by - . . oaIy

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216

FRANCES POHL

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Figure I 77uGrt4t Wallo!LosA",elG.1976-8S,aaylic:oDconacte,lS·x2,43S·, Tujunga Wash dninageanal. San Fernando Valley. Group photogn.ph. summer 1981 (JudithBac:a

in center or foreground group.)

of her work and her commitment to education, and subsequently organized a retrospective exhibition, judiJh E B=: Sites and Insights, 1974 -1992, for the Arizona State University, Tempe Art Museum in 1992 (it appeared the following year at the Pomona College Montgomery Gallery). I interviewed Baca in her studio in Venice, California on July 10, 1994.

In a December 1993 interview of a Bill Jensen exhibition for the Y"l1lag. Voice, Peter Schj~ wrote: '~ere is DO art community, only more or less an art ,society.,::" .. Society is formal. Community is soulfuL Many in the art are so soul-starved they convince themselves ofbelonging to a community when they rea11ydon'L The art world is a fairly savage social -.

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JUDITH F. BACA

217

and economic zone where values are always in doubt and often in conflict." What has been your experience of this "savage" society and where do you see the "soulful" art community? .

My first thought is that the "savage" art world truly is a non-community. There's a certain brutality to it because it co-ops the truth of community and uses this language in such a way that people, particularly srodents, become extremely confused about professional group life. They talk about a professional group life as opposed to a community, which I would define more as a group ofpeople who have shared values, mores, perhaps share a geographical space in which they have to live in some way in relatedness and connectedness. I think what the art community is really about is disconnection. in the sense that we really foster individuation. We foster competitiveness. We foster within our an schools and universities the sense of inscantly disconnecting people from where they came to engage in the creation ofwhat is called a -universal aesthetic." and that "universal aesthetic" is essentially a western-European aesthetic and it's very specific. It's ge0graphically specific, ethnically specific. It's intellecrually specific. And yet we call that "univerul" and what happens is that people become very isolated. Right now we are recruiting the creme of the crop from our ethnic communities, for example the Chicano community. We're recruiting California students or people out of neighborhoods and we are putting them into the university and, as we recruit them and bring them in. we foster the disassociation from their origins. We say to them, "this is the highest form of achievement." It was put to me repeatedly-the highest fonn of achievement is to disassociate entirely, in totality, from where I came from. This means that, essentially, we're talting California taxpayer's money to recruit Califox:ma.swdents out of California neighborhoods so that they will never address the most salient issues. the most diflicult and incredibly troublesome problems. We take the best of them and we take them away. Essentially we're doing a brain drain ofthose places, so that we can never solve the problems that plague those communities. We have a continuing cycle offeeding people offinto this never-never land or nonspace of professional group Jife. Basically what it means is we serve corporations with those people. Those kids never come back to where they came from. The biggest, biggest struggle in all of my life bas been to stay connected in somry to where I came from. They've offered me every ki!>d ofimaginable1@odyiflwouldleaveandevengotasfarastellingme rm a failure because 1 haven't.