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JUDITH FRANCISCA SACA685 Venice Boulevard, Venice, California, 90291

(310) 822-9560

"Oanzas Indlgenas"

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• BIOGRAPHY

• RESUME

• PRESS ARTICLES

(Slides of arlwork- available upon request)

NtXa.bU Hu ' ..(1fttriclm Womm

MlJril1 TIff34 Babin

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 Babinleft Washington Square ColIegc to join the !aaIJ<y DCLdlman Collcgr: o{lhe City l1niYc:rsity ofNewYon GMldu­ate Center. It was during hc:r tenure at Lehm:an Conege.19S9...72, that Babin founded and he2ded the tint Depart.ment of PuertO Rlcm Studi~ in the Unit&!d States.

In 1970, &bin took on the 3dditional d\1ti~ ofproCessorof Spanish at the City University of New York CraduateCenter, me W3S named profcs.scr emeritus in 1978. Onceapin, Babin blended he aodemic duties a.t both LehmanCoUcgc and Ci.ty Univcnity with her writing c:areer andprOduced a nwnbcr of notable litt:rary worn. indudingfour wdl-n:<:eivctl. books; 1M p..Mf1D Ru:tnU' Spirit: 'ThmltislQry. Lif. """ Cu/llm. I.4 pam. galUfo d< C.- Lc=.Es:udios Lorquiano$, and Cmio]Jif;u'ro tUNt"ff'Wio R. CmuJie.

Although busy with her variOU3 fuU·dme toching posi·tiOtU and writing -wgnmenu, Babin :lisa found time toshare her extensive knowledge md love of Puerto RicanCulture and literat~with omen by lectUring at numerous'.mivenitiC3 i.CfO$3 the United Sr;;u.cs and co~uJ.ting withvariou:l univenitio, organizations, and government agen­cies. Babm. received numerous awards md honon for herworK, including several prestigious prizes for her writing,the Instituto de utcntura Puenorriqucna !iter.ll'y pri%e,1954, the Atenco Puenorriquc:do literary prize. 1955. the

B.

Uni6n Mujel"~ Amcricanas literuy pme. 1962. and lhUtcr:uy Prize: o{thc Year from the Imtiwto Pucrteniqueno1970.

Sources:

Boo..

L1 Tntista tU1 Cmuu t.U Estudios Avcn:.ado.l' tU Puma Rial, EUribe, 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, Scpotemba 9 and 10. 1992, Sanjuan, PuertO Rico.

Judith F. Baa(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 c1isplaythe nutory;and eu!ture ofa variety of races in her artwoR..In :o.ddition to hc:r work as. a inuralist and communityorganizer, Baa helped found the: Social and Public AnResource Crnter (SFARC) in Venic!:' California. an organi-­.z:uion dcdie:ated to the promotion and cultivation ofLatinoartisu. Baa's .statUre in the an world ro.se with her projectthe "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 beendisplayed in locations as diverse as Corky Pad in Mosc:owand the Smithsonian lrutitution in Washington. D.C. "Apivou.l figure since the early 19705 is Chicano muraJisL.teacher. and communitY a.crivistJudy B3C1,," wrote PaulVon Blum in Z .....f~ "Her combinll!ld et:roru as amuntin and artistic director of SPARC have brought hernational 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 consciousimagery."

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

When Sao W3J six her mothcrm3rricd CQ.rence F~Tjand m~ to Plcoima. wnere Baa would spc:nrl hefor: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~oldWlth he:- gnndmothcr. who Strled behind in .south coU<1JLos ..\nge..'e5. Oueofthu aiien.:lCion.ho~, c:::une he UMt?PPOruutity to Pr'aC'..icc art. Her te:u:hcr ~lo....ed. he" to ::;ilIn :t. COr:"l.a 3nd. paint. while the rest o( the!' dass o....,.;e1l)n.

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. ,·tV"'.I3W~~ .. ,he said. 'lbc groU?, m:lde up of 2{) k:r."m fcur differt::l~ganS'and neghborhood groups, painlher first mural for her, in Hollenbeck Park. '1be city \0­

amazed;t the work I w;u doing," she rcCl.1Ied, "puttingmuraLs with k.kb who'd I"UO director']' out ofncighborho,Ce':'HetS. Tne city let me: do roy own thing. '.

by the Sistcn 1)( Sc.joscph Carondelet.. A YCU" l2.tc:"wouJd m:uT)' at the ~ge of 19. The m:trriage would w: ~

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 erbarkcd on he" first coope-:uive ;an: venture when :sirounded 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: ""OUemploy time 100 ag3in in her future projeC'.Ji.

&let's days al the high school were numbcn=d.. Batxame 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 cschool'" adI:ini.nnnon resulted in a nOtorious incide:~c: purge of the N."-ldD3.ny Elghttt:1," she: said. Ten nurBolO., 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 me: u[icBOlCl Aid she was "quite a;:;.urru.tized°' by the ~nl, for s.1)diC"."ed her tclching career was over.

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: classom:Jnl mate:ials 'UU1 technjau~ at Siqucirw', studlo :lJ

tr:lvc!ed. :lrCund the COwltrY look.ing it the mur.tls. -rpret:edence oC all mural painting in Amc::'ic:a lies with lTres Cr.:mdc=." me S3id in:an in~ewwith.-\noM:d33pi:&0. is tinnJy fi.'CC'd in that tradition. .01 bc.!ieve Clking anthe 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 hto grow 3I1d c:han~."

aaa. in Los .~gdcs. with the sUpport of the: dty 5mt.ehind her. 8a.o.~dcd her ?"'gr:un into rhe CICf""i>Munl P:-ojl:C"_ .-\lldSt~O muni.s~ painted unde:- hsU9C'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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juJiJA F. 8=

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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 inthe HuntingtOn Pm neighborhood.. me~brou~t".:p ina stranS' fOlate household. which included he:' mJ;d':er,gr.mdmothe:-. :md rwo :lUnC3. one of whom wa" men!.aJI~·

retolrtic:d.. 'vVhiIc&o's mothc:r, Orte:r..s.ia.BaC1('''Sbtdrnppct;1the 'H' beo\UC she didn't lik.c the Angie' caJl:r:g her'Horte:ue.~"Raosaic1 in a telephone interview with Ylc::m:lMartinez), workcd:U:l tire f.tcr.ory. Sao wa.s r.:Useci prim:;.ri.Iy by her gnndmother. AltholJ!h she did not know herfather,:l mtuidan named Valentino Marcd. Baa \IoOS vcr....happy. She rec:illed.: "It was a. very strong, wond~uLrlT.Uri3rch:Li housCold.. I was ~l'"s ",~Id.. I had ;z

wonderful playmate in my grown-up :lunt .",ho ~'tgrown uP.in her hCld. It was like she w:I.S five. my ~g:t:.l)n;yshe was big. ,.

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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, to a hall-mi1c: long namuivc: mutaJ painted on<be Tujunga Wa>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 Internmentduring World Wull. tbe gn::u DuSt BowfJoumq. and theinfamous Zoot Suit Rioa of 1942. The "ereu WaIl" w:upainted over fiye swnmen in nine yon: Bac::l~pedthe concept, hired. people. and helped I'2lSC money ror theprojea. ";bich .she likc:ned in a. tdephone inu::rview to"devdoping a. miliary cnampmcnL" -

aaca bcpn to JCt:: the value in worXing with ciiw=segrou~ to cre:ue public an. MIt niIl is~ only ~.le ofinte":'"Jdal wort chat foc.1Sd on working on I'2ci:JJ difTc·e."1CO in Los.~=- 11~ not only a. muralp~ butit addrl:!Sed. ethnicity and 2Cknowicdged the ditraencl:3between cu1tunl groups." $he.said. Using the "Grell Wall"project as 3. model.. Sa.ca. went an to found in. 1976 .theS~ciaJ and PubticArtRdource Center(SP.UC), In Vernee.Cilifomia.. The non-profic. muilicu1tl1n.1~ cemer contin­UC$ a. progr.un of involving;umu. comrnUDity groups andyouth to present and prt:sc:rve mur2Js and olhcr public an.The im~a.tionaDy~ a1te:nacive art a:na:r J.1.sobow~ an;arch.ive of more than 16,000 slides of public artfrom 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-.'· 113theme ofglobal impora.nce,. war,~ md cooperationgreo.... out ofbnio.norming sessions W'lth pcopk sdected. toprovide cultur.t.l diVt:r.rity 3nd c:xpC"tise in~ ofconcernto 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<irdc. With four p:aneb completed. the: pttt:premiered. in Finland in june 1990. It the Q'%VCcd. to theSoviet Union. when' it W2.1 displayui in Gor1ty Part.. 111cmunl includes sncn pandS to be painted by utisa !romme countries in whidl it wU1 bedispLayed. Thc:sc additionalpane, will be hung on the outc' circle.

for Bac:::L the jump from producing murals with neigh-~ bornood. groups to werling 'With zrtists from uound the:

world~ :l natUta.l tr2IUition. '"My idCl was that what wchad learned with thein~wort in Los Angdes couldbe applied to an intenwional scope, from the neighbor­I'1OQd to the global" she :mid. '"The World Wail ~ anutempt to pusb the scue of 3I'U in lD'Ur2fum jQ ~t themur.U c-c:atC:S its own~ It makes io own lpaceand c::U1 be :wc:nblcd. bv any DeaDle~ .. Second.,she asked the participating uUsa' to aa u vi3iorw-:=. toenvision the fuwce withoutfe:u-, she Aiel The l'DUr:J.I, whencompleted. -will be llfOl'!dowidc: col1a.bor.Wcn. .. The tides

-Baca

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 striJtingimolgery 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. inwhich he .wd thou we must imagine the evenwa.lity ofnudor war WOR we an change our d.cstiny. It OCCJn'edto Inc b.ter th2t it....., n~t imagining destrUCtion that W85 so1w'd lO tn but mber imaginiDg pe:u::e. One of the: JWdenuon the 'World WaIl' teLm said, 'ls pc::at:e C'Ylef'YODe .sitti"S"around wau:hing rv?' If we c:::lJmO[~ peace as U1aaive 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 ultedthem 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=<iwhite han~. all these various hands," Baa reolled... Thenshe would tell the: te-::nagcn: '"We need <:very ~d here.Wt: h:lve nine wecks and we b:Lve MO feet of wall, it's thC3Cl=ds _ wiD make that.•

Oesoice her ,ucccs on n.umcrotn levels. Bact. has strUg­gkd With nising funds: for ber work. In :I.tI. interView withthe lAs Angela- Tnna, Bac:a s:rid it wu "irooic" th1t she: h:Ldreceived more support for the "World wan" from abroadthm on ;l leal Jcvcl She: said olber countries have soon­soce:1 visits for her aud he:' :asUstants by providing 'fTerilCCOmmodatioru and othC':ln'2Dgcment! but thatsbc l?dbc= tumed down by~ influential U.s. foundatio",:md :let c:ouncih.. However. she did seco..u'e funding fromgroups including the: Rodc.e!e!lcr Foundation. the Worn·en's fow1d:uion. ~d Art:o. 'rnte intention is to acne adWogue 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 ofspreading icic2s. and this i.! :3­

way in which the power of ideas an move around the:world... she said.

Baa'J art n::±1ccD her commitment lO 2d.drosing JOcia.IiIls. This interest. 'he: c!2iuu. nems from being nixd byher snndmotha, who'" >h. d<3cribcd .. being • ""1'rdig::ous penon and the ccighbcrhood', resident h~c:-.She an rec:ill that her grandmotherused herbs and pnycrto make her wdL She bciieve:s that her artWOrk exhibit.!much of me ccnscientiousnos iwtiIIed in her by he!'g=u1motha "'"'usb <b.~ of healing and makin,the family work. "(My wod] focu.sc:s OQ social1trU.8'8'1C.

issues, :u.uJ ills that come 3.bout from r.td:sm." she saic:l

BaahoJd:s amaste's: degree inntfrom Uliromi:a.Seat.~

Univc:sity at Nonhridge 2%1.d U a. full profes$Or ofart:lL theUniversity ofUliComia. at Irvine.

Great Walls Unlimited: Neighborhood PridePutting Communities and Artists Together

A MODEL PROGRAM

The Social and Public Art Resource Center (SPARC) Is a multi-culturaI arts center thatproduces, exhibits, distributes and preserves pUblic art works. PubUc art is a vital part ofevery culture because it exists where people live and work--in schools, OD publictransportation and In our neighborhoods. SPARC Is particularly committed to enhancing thevisibility 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 ultimatepurpose for all of SPARe's programs is to eIaJDine what we choose to memoriaUze throughpublic art and develop alternative processes for the creation of public monuments forcommunities.

Administered by SPARe, the Great Walls Unlimited: Neighborhood Pride mural program beganin 1988, when SPARe received funding through the Los Angeles Mayor's Office to producenine new murals within the city. Six years and over sixty murals later, the NeighborhoodPride 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 peopleliving 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 learnartistic skills firsthand under professional guidance. For many oCthem, i~ is their first formalexposure to art.

Great Walls Unlimited is inspired by the model of the Great WaIl of Las Angeles, the longestmural in the world, located on Coldwater Canyon Avenue in the Tujunga Wash. In thisproject, which lasted from 1976 to 1983, artists worked with local youth teams and solicitedcommunity advice, producing a public mural monument, thereby making a lastingcontribution to life in Southern California through art.

SPARC's mural program is an important nationwide model for developing publlc art forethnically diverse neighborhoods. Careful selection of artists ensures the compatibility ofthe artwork with the sites. Muralists include both locally and nationally recognized namesas well as first·time muralists.

Through Great Walls Unlimited: Neighborhood Pride, SPARC supports artwork that expressesthe many cultures and interests in Los Angeles. Together, these murals eloquently reflectthe multi-cultural nature of the city for which they were created, making a free outdoorgallery 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

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Let criticChristopher

Knight showyou the high

.points, tfgm this~u1/Jture ~ched". over a Venicet.:~·.. ....'¢terrection to anqnc mUral al6ng a- .city !lood ch~l.~,Page4c:' .

-_J~~;,-,Z~!:,-.l-;.~.u.,., ..i· '* ... ~"'..,1t ............. •_ .......

- .,. " or_

Is L.A.Public ArtaPie in

;:

~.~.the Sky?

Ul.6 Angcles (Urncs'~,' .

too.: .

CO\Tr~ ::IOl~)

Not Just an Exercise in Futility

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......1oCIZ\'O"-'"'QOC I ...__

~T[ ...'": Terry Allen', head~ bron7J: ac Cirirol'Jl P\az;a is all too lttOptaat!k-hr is IlL

Public art is almost alwayscontroversial but sometimesit's even popular. .As it be~ome$more commonplace, isn:t itworth considering a fewpieces that really work?

By ChristoPtter Kaicht

TM ·G~al \\"~Il of LA...· u"furhn, for nNr,.,half a mi~ alonf an unlo~ejr ("O;'>Cl'C'It' no.><le~ lh.Il sllCft Ihroulth Va" :\"U.H an(:Nortl'; Holl~·"..aod. mllFI ~IY rani; amoroe Ihe~ p;Ilntlnp anp"he,"" In lh~ l'nlle'd

S.~Th~ mu:-al. a lCOlle;.\" linkf'd sNIU<n« 0; 41 J<'Cm',

punted ,"~lttenll~'btl ......n 1m 'O...c 19S3. lei;. a..,alllIOlIl cirmnaue: hLl'tory of Cah;omla from the preh",.\.OneeralD thepraoml d;I~'.

A$iOe fnlrn Ihe adchl.'· of 'UI mammoth AU. lM m"r,,:a.bo n",lu: u a SlJTUficanl and compelL"'ll ..vrk gf ""hhcar.-.. sarwllIlt Ii'... : IS no ,,,,,"Ii aehl("'e~nl In thatIYP)l;;l!J~' be~ucred re.>lm. :\"ol.l.blC SlXC......~ CI Lh,'pUblic-an ".nre ...... i..." tholn ..bu~nL. even tl\oul:htJM, I~lci .. 1~~i1Slnll In '''Slbih'~' lhroullltoul l..o>A.Ies,

What ,t U :h..1 m..keoc !'Om<' pu!ll,e U\ <'Clio ...."leII'e5OI.lIld lIl\he 1"",S"""uon, "'hile """" of lI;u.t MM ofsit-r theTe. 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 ,."'J<tl.,.inMOlI the ptIblK realm....11ler ,~" \Q :'t'qUIl'C' Lh-rmol"f encloH<lwwid of th!' llalk-r.'· ;1nd m\l$C\lm 7

n.e QU8UOn "" wanh eon5ldc:n1lfl'. In par: tl«"..ll&<'pubhc~ .. iI('comiO-!l t'Ot1lmonp~ In LA. and III parIbtcause !he IflIn ill l!$elfof pnl S1rn"flCa~.

Art iI:~. to a e'VlIl;r:t'd ...·orld. Thl'Olll!t>outhistory.lJOv~t$ of aU k,m.. have bH-n pnnc"""~ for ..,-... In orMr to aclue"e .. ovilW!d d=>oc... _c~·. publIC pa\r'llnfiltl' .- to ~~all'U\ in lhe pUbJl1',,"IPl.

'I'he prolll~hDnof 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: Ith;f.r. h;t./f the 1Il.a1"" ;and a...ns "f Clt~ m;r,r.cl.alepen:enl_I«.an wmPli~ lram a mix of puW..: anc! ..pnn"'de..lup",s.

Sanl.a "oruca. Clllwr CIty ..nd l.D$ A"lIe,"", arc"raonc lClui~t~1 r~ a port"", ofredev,,1apcoenj. or cil.• COftS\1VC1JCITl funds to be ok"utl'dto the comrnssaoni"ll' ~ ~UtIi'I of publie work. ofan. A bfc bcul lw _ ltom MetJ'Q Rail .....,th iUhiChly 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 entitiesa1Ic Itf... becoIDe mVDIwd. Foun:tatlans ..nd incll'pl'nd_mt reaJ-etate Oevelopen~ an mten<!<'d notI« prjva", 0CIIIIlllIIpU0n but lelT the publIC realm.

Cuau'D.... cm&inly a~'t aL"'" IG lhe """fII'c1. ISClmeumeI .. lIPft:ifie \lIOri: ell'*" a flap. as happencod in I19111 wben • conp"I:IIm.In .Ind • fC!denI.iudl!' o/;IJc'elCd Ito. newletliplural ef"oRmole by Tnm Ottnnas.ll 1....1' I­Roybal Fedenl BuiJdut&: dcJ""nlOWTt. (Their ClO;ecUo.'UI I'did not prn'Iil.) .

Otbe" tinl<f$. u in a l"Ktn1 stomI in Cul""" Citv oyer I '. whether .... not \he quality of Mwly buill .....,hit«lul'C' .

c:auId le:I!UDWoely utJlly .. pertt'tll-ror.an 1"I'OU1l"t:'. I',ment.. it is the Jarwu phlkMlphy of public an that "tuest1wbea\. (Tba~~stUlsimme>'s.)

Pl'od\ll:1l'l( pubbe' a.., II b«om1nI 10 f~r an bet_ ttwm. ADd lbe di&IoI\R. as wtUI an)" po..~ be~ on perpru.w cIispla)\ tMre IIIlQ~ roc= ~~r

-,unl,. II: r- A~Ies. _lull' _ ~ tJw .:onwnation.. S'OI!"' be .-ort..'l mucll ID'IloI!II I!Iorn L"e V1ol'Wff7 ""to~ bI\ lI'I~ o:onten~ l.'lan Lhtft" .. !Ir.:\OpK: mD&ilIllOI~)' blurred.~ t. fou:-.d.ly plenty of opmmc:s Ie:' u u,,~ pubIk to~ all V\IS\'J b1c:.IK"" of.u D~~. fillinlcp:::rconl~ includlnl t.., Gays o! pana cIixIIaicns i:L IpKe.Friday and sawrday It I.MBiI~Houl ..... baWwd Seulpur Siah~~ hu~ • .-eaI For e¥tdeMe. IoDk arWIlIII 10'00.... A1tilou(h 1MUl apIonlU!!WI)'~ ~u1-ens oIJl1,lb1X:In~ lbeCOUDlrY. once IIUllltIft$ we trIOda\-L.- Anftles ha$~_.

""Public An. ReallWs. Tlleorie$ aDd .....~ '"It.b ~ lbe crur;:aJ~ or auilIC f..u tbt what bdIilldauessuehuX_ ro:i<.~Vlli~·e:'l

bKkmIJ t:om lIM~ IJU Counl::il. lIM e-mu. IaiddIl!D.~~ c:ornat ...Iom l:IllkiIlI pubhe an. Seoullit in pnr.'llUIl( po:bfit :an_"",,", on'Pt~1

DityR_~~-the cst"', wwk ~.as indHd bftn compiow<l r~ ...CullW'al AlJan~ Yill IttemPt lbe IulIO 01' 12 years. Ie. \~. v.fno:lto addreS lbe~m:m ulll'lll1lLlJ&la -- at tile ... to __hell 1.M .er.....•~ -..ra. as ..d/ U 1M~ oj tomImt· I~ ilL of eourM. DO ... ~. """"'I 1ftK~~ "·!'I>c:t. '\ I

bullet _ to lIM...-..on 0/. _Ily _ C<lIDI!I II:to~ IputJbc art......u and _ d-.'- 'Tbe ...'lIalfolJo)ws ... M'Iecuo::>.t.... ""mn:w"'G1'Ul. W~ 01 LA..~ _ ~y ~~.otfjye ....u_k.l:iooo.." ..~1<s ipruc!l.ftd by - tJI~ drawn 0/. pubIx L"'I.. 1'lIot hs: ~~ 10 f!:'cal YW1DIlS _1llJIQI!I-'"~ 01 ~ • YWWI..l' « ~"peI d JIl'ClIKU.t!Ie public:. 1<;101 couk! Ia}'. ""lPPd II! """'.....""'Wd in I VW'IftY 01 ...,.,~... T."o ImaltiI'I' publiC an_blrI ochI'r. amd&r1y ..-- IlIoaICR ~ • ~)' ..... dUI af...-r-:I_~__daD't_ ~ PD'IteJ'S ~~ "'i>odca ID eurtl:lW !he~..... ,..u d. Nptd ~Vft ~1Cl1!,. AI puD'.lCthe~ lAo'an.- aniNo O'lrft -... IlCll. •

Sysmuuc fonnlll.u jw;l dal"t wort. b' If tlIiI cl!Vft'W crouP Q..., be sud 10 "...~an_wh>c:!l _ Dllt W iii:" Uwy doIl't pi. ~ 1ft -. It IS ceK .-.r. ~tne4. FllI' 1ftSUDl:lL. rubD.I conyeftlal 01 CI'UllOft of:o..,iru~ ot,tc"_ ::r...."' ....pubUc an \OGi:y _ tb.a1. tbilrouIIh ""*r· "1J ~ lO be loobd.t IX' '-_1II~ o!n-=a cI 1lw pubbc: IlW 1ft w~ tbI ... aMW lM:" ha>.-e.all 60De u..:. -...n triJ..I aIIl II'~ '" UM u-t·s Crnx:aI \0 their IUttftJ III lhe lI:>Q.C.":'.

-. pCl9Ot1" u.- oqrcu: and pbal lis'"" l:)

So_WUSlSU')' lOco=pt'ehellds siw plvan:ze tb m'~, ..-heft <1"...,.by beclollulW .-."'dMn-SJl _ ~. FIX' I'ubbt.n.. o:ontnl. is C'I'\>C".al •hlsuIrian.~: ,raphet',.".th.""'fIOloIlSL 11M art ~y p:"Od\Xlt tlltlI- 'Great W.II of LA.'~ ..·...1 !las bMI'l daKo.ert'd dlll'ialthe~txlft. ..,...__.........~ GI the dulJeR. _ Lediou$ly

academoe pubbc an ,.u lIUlk Wt ...,.. .-r_ A" 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~· ofroftlu\lJhtm.rudKds, the Ia:<lbro. In tile ""GlUt w.1i of

One I'eQtlD n tltnyU III WI II mues for LA...- lM ivIlbl -.uuly uke In-an art WI', cay \0 e:q:JWn.. And public: an.. wlike an h~~ «.he:" lJqa the~ iUuRJ"llted pllcoo althe pod".....IIlSolk in the pnvaey oJ tile stlldill, UIUldly needs ranrclnopnllftll>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 ofThe 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' <li>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-and- rqn of ...""tlSl.K: flO COIn "Teak IIsvot Wlth.rt dI:fI.,nt'<! lellml ~IllOIltc.nont1'ofIM-~bc:IWft'II !'O'P""'"telllcl>ool __ 60ubts by "\'~I e.tTYClOe. comfon· for the ptIbtic rnlm. Con..~uo....1 'Il'1SdQm I\u bH'n ...... Ind libenuon for cthrno: mtnOnUC'S...-omen. J.......sble iJlllest.Or}' 10 t1lIbnee. rilhL p~' men and le.IlNoov. Oust Bowl rl:f~ Llbor

ConYe:monllJ ""\SIloIr: al.lo hal il thai sllsU'Kt an w Yel II hun·1 'OM 1M filii llifu.nce. SotICe t!"..at Ol"pnlZcn. pollticsl clw:lOknua:'l<!........,.~I avOt6ecl in pub!lC pIKes, IlIK't abslrac:uon III Annajani cbd IlOl 'IltO!y ,,-IIOIl' ir.L"Il'I.e q'o~ POW Ot/1e.c\·~nl$<lo rei t!tl'OnlCLed a!oru:~ .·:..·. .uch uS1lPpcoedJy Irltompal1ble wllh U:e IIItt1"UU of a..... problems. ~Ol' t!Id h.. limit the il!t'nl1t~ of who II is ......al Ih.. ~\·"I""m('lll o! ,he Il1O.,.. lIIC!unr)·· ancl Ih..pubh<:. If lhal·. t~, """y IS h thai Msrs Un·. finally needs 10 !;Ie !"t;ease<l able ·'10 ,..t IclSt ,n ,hi: mobihzsuon of emun troops", Worlo:! Wal'll 1 ano:! II,bruthtski", Vielnam Vetel"Sou 101"""",,,1 III Wahlnl- <:olI1.U1 of l!'le wart..~ But.. ..·,tll rOlJ"t'('~~lOn,lh*, III not a h1Sl.On' of lh~ ,.,..t~

lOn, 1JIt' IlIIlI'le ,,"Ulnt_snd mor. ww:lel~· heloY~- The often Cisreprded. f<lel II thll, It ,m'l onl~· \M ulOId Ihl'OlJf:'1: tlle hYKof btsbllAAmenl f;lt'J"t$.work or contelllponry public: SM. il: W lInll~ :SUItS. II arlilll's tlI'O thai mllSl. bt' COlISCIOUSly It! UIOt' for As tueft. it 11 also a "",nu~ 10lMftlloSIISlvmeuof.n -....nCt Kwpu.re~ .uccessful public arL W<:.1\lSt tht'l't' are 1.'0 I'da In tM 1M CIYi! ",hIS """'('menl Ibn'tll« the.' {<lte/111 penoc! 'n

pub!ic an equation. ilIt burnptioul flO of l.tlt' ""'lron "'''ICh lh.. m....~l ".... ~, .. well as 10 lhe munlllltJo eanlllltlctJllSlumlJt'h/'llyocuWKllNllve.ofllte ..'1'\0 m.ae it.. Th~ P.tlnUIIK WItS t'ftCUlecllII f,v.. to".

Seit!leT. brililani UWlIC fotm. bYI:Hlf, nor s nch uun. Cllllnb_I976. 197'8, 1990. IIlllI alX! 19!3_"~' ~,vr

pubIie lite. by 'tMlf. ill mourlt to pl...",u a work of When the public or lU ....".......,LI\.lY_tlle p&11'ON fI'OUIlS of mW'.1 mskt'l"S. mostly yo..",. poeople ;lnc!PIIblic an. SecaMr)' umud IS s IPUkh",~ for public: L"'\_<lemancllhll ilS prideful ViIo\ of 'u.elf Pfftw_~.\;

. .' .. . ... - ,- ..... , ,;.. .., ~ ,... ,... . _.~~ ,~~.'.-

~l -AU: ~ LA.": The !IIIur.aL pcainttel ~. 187 ..nisrs from 1'116 lO 1911. dt"pins * hit~, orearrfoi'ng arid 5 ~ monument 10~ ri-it rf#htS·mo\tml:'nl.

COVER:iTORY

a::'~ ~r I C:r.::-.c:;n ~::.;;

muit..~ IUi.l L!:e oc:~:-...W'pt ofCilPitLeC ~...'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='.lllYiIllal fClnD UI tbr 0lht:n.1R l:\"U.lbJt .-ill _ ellli rtl'a1m 0:

1M. mour time..Barcl&t~. ,,~., out lbt ~'I

mcx:Itrn dillmlmll iI: iiI iu pll.'i:';':u"'dIiJwss and bope{u1 pathol. Husc:uipl.lln! it &II unlikrl~' C'lVl( 'ym­bill flll" lbt~t brt,,'f'ClttiI:u and alMlientti. both of-*- Ini! boW1d br dMpt,. t111llWldIsirt IIld eqaalIJ hUmll:1 fIibl:I.• J-u.- lN7'of$kJ. ~B4JU.ritlca....- ... A_Ill n4 Jl4iJr~.rftQ.

'------ -'

IU!Iitr'---I 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 10public: II'L A dtYeioptr, tf lit Of It1tWiII'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 Id. the public:. I

Tbilia 'Pl:lIuzwideJft nriIm of 'u1Itoaaue nobl_~ in 'wbidl'~~.!f'I'qlIind WI t1dlI~ -*Y __ iLbt bI.a1dIId-. h hal bmClU i~ lou at lind AlIfl iIldudiq 111 i'elual dJme-llOft tnielttnact iblown '" UlIIIOIIlDtI1UI tcaloI lUI IUl.T.k Tot)'D1 and • sc:ulpwraJ,'mtlapIlor fot a lkyacnper'l JIiIh­ueh lir.ccn:litianinI tYMm 1_ lthtrllWlC:ia!dilux:U. i

Onr m"ftificenl uetption i. pro\'" 1l1e Imtrallooninta of the Irule. That', beeltlM \lit &rUsts. •VlIaJy KGma:r IDti AI.e:IandeI' "e- !I.Imld. han 111 lIIIIIIIlIlIy rood iIJ'UP of the izIto1W W«kiDp of ;poUtie&l buraucnc,. P'O'"l' re- IIat.iorlal1ipa ilM ,Iorioua. ciVic:- Immdedodta 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 iI1ltu:Irie 01 ..sal gptift +m1llClecl 'by tbIir p"aiitiWill. Tbty know Ibow U1 WI'Q It.c:m iU bIK. I

On tht JI'lIUIld floor at down.lOWl!', nn:t rm..w.e Worid Can- ,ttl'. Kocrtw and 1It!Amid., pIlDled !1993 nlief·munl PUllity" I, iI ;btluUfu!ly tHC\IUld., wUaIy fUnny I..tire 011 tlIIt rhelDric:', hard)" IA1'Im'ICIII COUIin. lu Nh;eet. it thepl"tdlear!llmlof mlliticuJu,lralilm in 1• capiWial. _Y. all paekiIIfd !for COIlIUIIlpticll b)' \.lit public. U ;AI1Iuic:aDa of evtry fllOralilW:: Iatnpe _ conViDeed that ll1e j'OlIIy food 1M. is an thai. iI food foryou. 111m it 1oUowI Ulu CIlrpOral.e: Im\tftN wiIJ ebiIlapiaD (W,. an IWI.-.s rood for buai-.

\;nil,.- it I taco nMnlatilll' tnp- IPIrar_hfttW I

C=ri "''''''''11I , .) WI:rili.It\.erbrrinf.llm-tIIiMId b DfCly 'ct'tIWI'Y.

: • f''"I' .dra .." ",., ~.-~s.- PwW Wilit. Cf-tioDr",1 1%$1.,.,...,.sr.

' CIown'--_E't'~ ill 0lIIIllf0nahI,. famil.iar wttlt the .-urtnI FantaUIIt pro't'idt _aX IfpIp

Iar .-daI tuj- lib tbrfriead!)' .... UIat. .IooIa __~ __ « the IriMincBI( .".. t!la J*fUlb' atm as:iPade barpr III ,..q -........ on. +-_ of r...a.ide~ - .....pabIie ICUIpDna.par. UI -'r. b7 pd't'at .... 11 ..__1'hI>' _ ..__ far JolI_

IlM:D ....,.,.-. wildly ........~. ' fllll7 --. -SIne.rtaa 00wL- a can-idl30-foot_&all .... 0I1D ~JlOPIlirIrper_torm.. sa. Lbt _ ft _

~ iI1la1l1 ~. die ICUipWra_MIIlI~IIWtqy

Vatct~ of a- A .....:lilt ItWSlIaiI::I sa-.

0.,"' [mad~uyhya pri't'W cIII't'elGper far the rae.dtof I a-d'1lII boiIdiftI of I:bopf.

~mil"** ClOallDalin.IIaI. 8cIrcIMT1 mapifieently id.~ sc:uIpa;n it -uw­Ie. poiDltd ill~ thrpubIle ,..." III tIct. _ ~ of

ill: ItIIDDizlc "'P.itl. e fa Lbt WI)'if. III5*b UI the -oam~ dpubIie an itIIIf.

"BIDeiaa ao-~ illIZI imItI dda ....-' wllo -.a I:IOlhirlc___ UIaa UI add _ pMuIrt

ItWS ...,. Ullht world but Wt10 fa~ bIillf IIIade I iIJJPilJI­stod.. Ia theM brutiab limn.~1ikI1Dmiat~IM.

1bt briPtb' pClIltcI fftZlllt fi,.un: of a bta1lec.~ UI a nunyUltu it parehed 011 •~ lqllilUIp In Il"ChlWClUl'll peclft:tIl: iltPOI'U hup. 0.... ,10_ andLbt biI. buLb--a muir. of I-=-u, am. doWn. w~bobo _,... I'tCIlJa Emmeu Kell,. orRed Slw!uIft. Ilthind the dmc:erbUazxizIa~Y CllI poilu. ,

-"DOili(lned elUUirl pro't"idea a~ 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'IlUI bokIsway. nm itI:I.Ip iI at. iIutII old .. WI_'s Jab-Cmwry~ 01 Lbt 1l'lri&l1cIIolk mimt.""Om-.. llI" VelUq\Ia:r, pullflmt

pclI"U'"Uu: of lht d~ ill Ult17t11-Cemur) SpIniIb CO\II'L In thtfaUCOQll c:lmII of OQDtempOnl")'lift. 8on:laIr:y'. -BIlltMa Clown"

.... forwvd 10 Wte iu plau It--.Tbt~ bas reeei't'eCl iU

... til ('DUft~ from Lbt

..... lIUdieaa: lOG. A few DeiIh·bors--wtlo waIId IitI!)' Ila't'e pDf1iWe~"a~pIlit

bad MIll p.:t '" OIl the bIoc:k­~ bid!)' wberl 8lroDIr:y'l~ _ fira B'Wdad.. It 1laa

Public Art

'Corporate H....'

~ of m,.p apa: tbI...• J.q S- N £\t Jlrmtl~.nw -G.- w.a., LA..~ 1'lIiafI:ll'__~ c:a,n A__

6ft--. Bw6a.t lIoUuInI' ai0nmIStTa!t. FaA'..

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

'Caqlln1e ~~ II that rvtaeeomplilhmull. , lallftl­out_loud_funn,. ICUlptU"

blclr.ed b,. , ~Ye r-..:ethat Iinpn Ionc after U. Itll:iM ,;.....,., Imnwljllely~ as iIZI ilMp-watdl for' f_=-- i• ..-nbY~y tripp IWi&tl t:M~ W«'t of wt-lbt i~pMlsbKkiD ..o'ocali" :...... !

T..". .t.nm.,__ fiItn: fII "l iIDl:IIl1tDOUI IlIi1i 'I 1lIaiI1:e-diDlUilmdliot-'CII"l"J"/Ilr ;,trim~"'!IiI"""".!dIe~blfcndle~llIi

clowmowfl',~Olicarp PIa_ iIL 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 iwbo 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 diepiDkkb craDilt aIah d. die offior~ t!lu n- lJiIln tam. ;­~lb the potiIbed.tn. DllIIl_bus tba. __ "725 Scuh.F'ipItroe.p SuddmIy. tlw ..... ltIl~t flll" b10cU It'OUDIl ilIbI Oft UIt "ririd .... d. '!...........~UII-'pnjel::t. Ilbe ~', braia ... ;-,...,n. aliIbOy !atI'er·lhe.1lfe- :ala fiI!,n:. wbo would be IIbout !7 fftl. lIII tf be eouId IIWld uprtpl. t" II 0IlC:'t flmll.", tmalelliftl, IlIld :poiInanL He • pm Nodrhad 'pan untfonntd alrtOnIIton. pan:b_ ny tnpped In IIIOOtm 1m. :

. her. .. IDaantIy fecopiIt him i_I&. :A tn. piaqw~ iD UIt :

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

"'" ..11 .., I '_"j(Jr j-----'1'Il!r..,rt',.__I j1I··..,.,....'""' ...'lh-'*'~J....,_,

""..'10.... _' ,~......,.."4iII.,...

""1Oll bmdlllnaddlt .......-.rt'iclr·1 __ you __ lbe

..,. poIlIjoQ 01 tilt bWl mRid 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 I.......""ina mmmlwjm fer QtI.cmp PiuI', PaN' Walk. , pql01 bItf • cll:IRD coUahana.. proj. ital __ .nina mt paN iICItta'wd aboDt lbt bui!diDl'. :lftIIIIld·aoarpabk.-. ;

ID d*~CllIII:iIt_!'UloaPtfuI -=aIpQn. dlt w__ ;c:Mt~ d. die IlI!ro ftDdIrecI :iD hrua it~ wtUllltlll'tie- :__~ iI:nlI lbt CCIa_ •

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

PiililicArtCouia....,...,.JpriDdpaUJ' led by vtiII. JrJdy k1wtID CCIDClIiI"f'td t!lI! projld. .mdbnl the ttalIlO dotL~.G'.dM_oI1171:1~~

. liad CIII tlM wall. wiliie • IhiftizIIamy of "'tel wumt. eoipcnt.eand prinrc ...... is aim icimti.....

Tbe -ere-t Wall~ buiIdt 011 anilnp:lnanl C!lIcIno U'dtioo of D­wmblinI fiuid, lIl\lJtifacfted ye1"Itr\ICWNcI Jl"OIlIl' of people illorder to~ • vital lJItene·tioa bet..'tt!1 ttSthme pis andmc:iIII~ The mural'.IIIUcn WlNld~ and -'ed.IliNn:al .... for de$IlaiDIl.aDd thew woald tit~ iDUJpEtanaI fcrm lIDdIr tbe SI4lt"i­lion 0/. Bla.1Ild ocber lad artiItI.

Tblt Ol'pIliptiDIW _ of

"stnEuInd fllliditJ'- it; bnc:illIIrI'1!OKtad in tbr arunI.". coqaIi.-. wttletI~ •• aIIIbaU·_l'IIr'I'IUYt. N 41 -."_-.iIakte:l..;-', 4"t~ llIII·

dered lib~ pcldI ill •a=t ItI"ip. lz:Nad..~rdIIIrfed.. itt:,"~

Dow In aDd out of _ aDCllhef.~ the wall", hoIi:lI::rfIw G­-,The 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~ iIIbDwD to Ill" I arc hiIu:Iry. wiIlk~..,..n'abtiatl!lli lICIUIItt"te'Y «bet.

St)1ilUc:ally•• abcp l:Il'-.k IX·

an in 1m Tbe twu.mer-.1~"'WilI:Iw~'t'iIaII ..- 01 talk art;; tMun. It ; __~

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

.....1_..WlIDd~!Or tbe mur.j", tullfIet.

In all~ me\IJIbllri.cal~ 01 ttl~c:mtaL the lIure IDUrllI UIlfokbIlioDI • bIIf·tIdk ItftW:l of tIw,..... w. Wbic:b II ..,. oftbt SUI hmI.sD v..-. fIood­CXlIIUOl.~~mio tlIt 1.af...... RiYu. n. munl ~,..net to c:.c.r-. CazI]'IlIlA'Ie­-. amdliac .... tlw ...-m..n rr- Irlnat~ 10......so-.n.'n.l;.q:tw. Doodm.-I

iI • __ 1Q:t. _ lII!Y .....IpII:Ie --a.... by tilt ......-m IYIlGI piYDtaI 10L.L', ....,.. 11Ie tn.l dMp=-- ew tIln:iuP middle·ea.............. boocb CIlIa..,.fnlIII Hamal Dam 10 tilt I'tr'er.W1llIre thI aa-I~ GrantHiIb Sc1Iool. \bt min! sud6alIy--.

The ZIIl;nI'I COIltelU. celeI:ntcIryaDd 0I&at... an del:tric 011'_nat throQp I a.b-CNWD 110­_',.1lmd" wtlitlIlWIdI. __~ 10 IllOIIlpIa: W'Ib r;lcmc:..,.. IrI L.A."• .biIcaryn.r. cbi ,...,.=IIZIfoWs~ I.IziDIt dMGoocI.-dlIIlMl',~ Dow

~ ",- -..,.... 1lOCJt to ..

CUvER5TOHY

• SUit _.......jIlai. ~rM Pwt.,., GIIr.m.M

LGltlU:lt Flt'"ldo'Iiolt. Hl.ilJlllCCOOIltril .... n'_

o

TbtTf Loot WIt :JlU'tI"llrti:,. a·I.a:l)la « public art III tllYT~

~h u tbf Otlen:f:lIS r"'p­u:nl f:lHmble n :.he Roybl.l8ui14inc I.nC I l:'.a(lli!'.u:ll PI.::' ofma;:.-onf of t!'!f hcttic R:=. thl'otNl' cl IW':'y to:lSlflll.UON_mI.e apalllivt l.fn'UZO riOOl" or­tirntd by Alem Smiti': II t.'ll' lIf'"L.as A:lfelt$ Convfnuoo Cenle:'.Tbt~ rapor.sUlle for III tiltHnlI'.ark.lblf Jr.'OIf'CI,.I hive rr~Cr

"'OTks in whfcil thl' lOX1I.I "W.d:­ftClUIlCI IlId phyriel.l l'nvlron!llent01 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:IblfCOlll1itioo 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. Itsel!.n.- sww uacpJes cf p:Jl:l!Jc

of:':. 4ir~ thl':IlftIves_1ll I:D

n.a.U "'-f,r-b)' bo:ir., clftpl)' IlltotM eo."om:lO.'lIJ J'.tJ:l]eca. !;::\C­tior:s &Ill! !llpKUtxlI'".s "'l' bole! forIn Ill4 fa:- L'1:IU. I.CC lot the:reiltiolIsbl;> til t!:f lOCI.! rRlm.~.,WNt &:'t ;tst!f 1I".IIt:tbe Is CIt ::ICIf: bISlc job~fa:- f,ll)' I1t:s:: ,.ito eel..., to be I.citizlul of~ _O:iC.,w~ is ...il.a~p:blE &1"1. c!l'lT~.4s. c:• For "'~ 011 :4r aN/tT­_ ~~ An.·.'!tceia. TAtWWsawl:~.~ n.....,. ~ IOez:I S...•'*'rei' w~Houl.al1t rl1JJZSI-4ll2f.

~E~if=n-orr.-

Jolo_-..'1lMTr': A trip)'dl mural by Komar and ~kbmid. il!Im in deWLis a..,itty satire 00. an and multiculluralism in a ca¢tali:sI: economy.

I.I:'pr et:~:xla c!~~t.1ll"'hicb&1lan m-..

FWtTy ~~ deftly :::erps: .t!loft o! c=fliaiIlI~ ShIkr.Rylf be:JcbesofaokIaI-i::ard _oed·sWad lib tbe c:!:I;:lboc11s of f,D oldK_ EncJ.md nou.. f, p:rUrl'WithUl·f,·p.rdeJI ~e.ll.t ofPtrsiaiI a:.iDifou::-es: • 4.'"U.lI.I.tk.:IlDIl1:lM:l11l.l ple'n~' .~ st~iIr

reca11J nri,._2001~ Rm­EI.:I CoJlstnx:lj'risl. piaN U1: pub!icil;fa:"tllf,UOl:l tiosIu: f,~ 1"0_ ofUlthtopon1o:-pllic emelt }l1"lI

stiCUc! ~vtiy one I.l.Oj) Ul­

0I.!lIr. liJl Ul tip: lbe hfo:ld.U'n:~ o! • Spmlish MisslDn.$I,.1f =tyL"'l!: eeo!o&ictlly Illl:llCplfon:.s, t.appec! br • flII,(lIi!krr.1C.t1ilorni;1 live~ I;IPI'OPli.I.tl' 10iU Sl'IIli-vid dl'RM. .tung. L'll!-Lou mOl'l'.

Two ir.$pit"J:~ Sftt:l pi,'ol.l.l 10Utl' lia:g:1. One is~ Anecdotl'of the Jc;' .t potm by Ame:ic:Ir.pot't Wfollael' S1.fVl'lIS. "'hid: theartISt prominl'ntly ..nnttd or. u­l"IIl'lie :ile!" Ibo"f thf baeU of thfbl'ndles. Th~ othf:" is the If:'lfnllayOOl: of f, ciuslcal Islantit pari'm..prdfn, ....hich A."1DI..JIllIKnr..'!:om cc"dbcoct

The S~!I:S pam:~ LO:tl'tiitio:lsl'lip betWft1l Cltur1! melCItlt:ur. Th.-cI¢ tbr mqic&l1Ul­a;::or of f, jc~ i:: the wiIQe.ness d Tm..--r. w c:vilW:IIf1meUctl 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. iIlIleet 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.rc:z:=

Tbry are. ol CC\I:'Ilt. tU twO~ WTed by.t.llL~ im­~tO~~t:I".

pJofts a!>d memcr~ his ow:!

!listorT in ""The~ Guden.­bet be <klft all i:::I wa,. tt.at I:lb­st:mf t!w~~ imc f,

10 SUSDAY.~ Z3. 1991

Ccr!UiJIv.ed tr-". 88t}'c:t; ....IIOM !cna IS utnpOlItedhom 13l.h·Ctnu..-, paintinp ofqds rOl.:r.ll in till! PwtiIOtleW.lC'!'LIpel nut A.sist. luly-lhtC!:ll:"e!I f:o= ..'hie!: Los AqeOutabs its aaa:e. The t."'iplyeh ce·InS IXI all e:o.:be:ra:lt I'tlid It ..~·rUl.~ aJlpi...~ iI rGI­dm4 .,.;:lh I V1:f'X!y~~ lX­__ ne~wtl: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!. Ow1)'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&c0e:t.1 PIC! • 1Mbopn,. beadpieer ~

Ce'ived t=!Io-~masQ.ne UlpI'. ~l"u=r silye·

wm,p an! JlCB'ofd tD .-!UP; tileffiaual erw.ture t;uye...w.cue!l u ~ l::rulk d~ mthe labby bUIw sta:llb ready tDH:ll! 70lJ up. llP-1:P-1O t!le: e:1lcr'f·.al ratms o! tbe ~'.13rd&lor. n.e. IJ"IDC! 1ri:Ip dC: In:.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 \bewizlp ll! an ~., aaJc. ucIep:atd en the bKt of a::I~

qllIl'W dire:U:r be::la.U:l the mono£~."UL

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

b<lve lIl&IIaled I do..ble·eo~~t. at ox. ce!r.l..,.1.lIrY* fObcnD.. W"nill! UW beaUty d.lhe nlitl·mllTaJ pay••estheticl;tibme tD • =uluewwral mir.JI..iDI01 fun)•• Afncan_, ~tino- a:ld.ui&II.A:Iltl'ia:l ewWfW. the~­.u-! UnlIt o! IOciaI har'mlmJ IIfulIlly beInr ,,,~ by. GO S\:b;ec.~

10. the eotr. n ~ preTlIptivu ofbulinta. At • but of the Wlalbank builcliq lr. UlWn. -Unity"n::::bly c1&:1fies the lXIllte:n "'1thi."l.....mu. so m..eh IIOCial d.WoA;uetoeIay wa piau.

• K~ fJ'Id .llrillll\Xl. "1i"Uy.~

1'1r,f lllf"'$ICIf World: Cen.lv.WW.5lhSI.

Public Art

Neilher II p&Ulti:!& DOl' I XIl1p­UOTt. -rhe Poeuy Garde:!!­fi9S21 it IlUlW:! .. fu:leuonaJ

eIlYi:oeme:'ll CuiJ::ed as UI inVit­inI GUlOcc::'llOll: ir: ..'h>e!I VU;lOnc:e "l aM: t&lk Ill4ra~

The pniu:, pnnwy~.Iicned fo~ an tlOsti:l( 5O-IOOt-b,.­11).foo: COI::'".y&l"d adjamI:t til theoffia:s ar.c:l pllcia: crt :!le La:-.nanFlllIlld.luo::t. ..-as 1:1ta:xle:1 as I kiDcl01 Vft'.-pocU1. pl.; llpCl Ul tUpIObbc: 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 kslUIn Ow ciemlIaI.tic i6uL

I: werts.I.llla:lC iu clII:tlizl( m.,. crt

siIIlpk ,Itt eIepll eJemelI:a. "'Tbt .

tThe Poetry Garden'...-

PARTI\G SHOT

AMulticultmul Mural

The 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'<ll:ll

imaJ!c. ii's anOUE tryin.e. to l'Cm\'cy [hem~s:.I~c or swnl..'$ while l1mn:mtly bcin,t::lien to Ihl: ;mdicncc fm whom {he workis intended.

'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. theFail QlJ;Ifrcr prujn't of:J. Wmld "nl> andCultures nlur~c tau.eh! by celehratedmur.. 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 pcopkwho 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:ldcscI'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-:lllyum.Jerpinnin;: u:mcc. TllU<;e iue:Jx wererhen uen.:lor>t:u into :l ~rfJ~'ho:lru fi,fm:lrand forther rcline:d.

-\Vc wantcd [0 pm rhe wmk inro ;\n.lwral conte:u ~howin~ Ihe differentpeople of I.os t\n~c1cs mixin,g in dailylife, 'ii~nifyin.::. the meltin,!!: por "f Ihel'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~mday. ill\lstr~tin,l!: the tli..\crsity "f Ihc dry rhmu/.:h the prism uf anon-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: 10the stuuenrs,

:\nd all Ihill OIXUm:d before one dtopof p"int had telllchcd the l-:lnVas.

The t3lcnted slOlknts. like the: citythey wen: illusu:lrin~ were amninJ!.ly tli­"crsc:. They maue: up a multiculturalmCl'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

; .:

oj,

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\.1 ....., ~ "?i'J :_';..l:';;~

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Visitors pose by the WorldWall in East los Angeles.

ROPle express themselves in m~nyways. Artists often use their paintingsto express how they feel about things.Some artists paint their pictures oncanvas. Some paint on walls. Hugeoutdoor wall paintings, or murals,are works of art that tell about thehopes and concerns of the peoplewho have created them. Some cultures,especially Mexican and Chicano, havelong, proud histories of mural-making.

For many Chicanos, people ofMexican origin living in the United

Finnisn artistscreated this colorfulpanel. A Diaiogue ofAlternatives.

States. paiming murals is a \\"<.lY to !letin touch with their roots. Xu\\,. in twocities in California. East Los .-\.ngelesand San Diego. special art programshelp people carryon this grem .:\Iexi­can tradition.

Judith Baca. a Chicana artist.believes it is important to rememberher roots. :\'1s. Baca feels that he!' doseconnection to her culture has helpedher to create beautiful murals. Duringthe 1970s. Ms. Baca began severalmural programs in Los Angeles.Teenagers from the barrio. or neigh­borhood. worked with her to createmore than 250 murals~

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

Future ~Vithollt Fear. This mural ismade up of seyen coiorful panelscreated by Chicano and internationalartists. The pictures on the panelsexpress feelings about peace. war.cooperation. interdependence. andgrowth. Cnlike traditional wallmurals. these panels can be moved.They ha\-e tra\"eled to Finiand.Russia. and 7\Iexico.

Three of the finished panels areTriumph oftlze Hean. A Dialogue of

Altematives, and Triumph a/the Hands.Triumph a!the Heart shows how people

from many races can work together forworld peace. The candles in the painting

For many Chicanos. paintingmurals is a way to get in touch

with their roots.

represent hope for peace and under­standing. A Dialogue ofAlternativesshows how artists can join together tocreate a new language that evervonecan understand. 1liumph of the Handsshows how people working together cancreate good things. The people in themural look to the power in their ownhands for hope and change. _

by Claudia M. Caruana

In 1990. Ms. Ba.a's Triumph of theH~nds panel was shown in Moscow'sGorky Park.

THE GREAT WALL

More than 600 people. including

450 teenagers from nearby barrios

and 40 scholars. helped Chicana

artist Judith Baca create The Great

Wall ofLos 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

until the late 19505.

By ZAN DUBINTlWU nAf1 ....rru

BALDWIN PARK-Artist judy Baca dida liUle daDce here

the other day, a vt:r'f oldlittle dance.

In the dry heat of amidday sun, Baea st:i:ppedalong a concrete footpaththat represents cenmonialsteps performed by earlyCalifornia inhabitants:. theGabrielino and ChumashIndian'.

The winding lane is partof "DaNal~ (In·dilenous Dances), thepublic arlwork she de·siIned to spruce up theBaldwin Park MetrolinkcommUltt' rail Ntion..

., wanted to put memo·ry into a piece of the land"thal once was home to theIndian culturu. said theLos Angela: muralist, La·tino activist and UC lryinfart professor. She bopes tohave the project finishedwithin afew day&.

Central to &ca's desiCnis the 2O.foot.high re·ere· .ation of an archway in one wall of the nearby SanGabriel Mission. Beneath it stretches the mission'sabstracted floor plan, etched into the eo1ared <:tJllcrtle ofan open plaza.. From it extends the footpath. which linksshelters where commuters wait for trainJ.

Located at the comer of Downing Avenue andRamona Boulevard in the San Gabriel Valley, the$60.000 projeel is part of the four·year.oId Art for RailTrao.&il Program ins'JtlO".zd b:.. t..'1e t.A. Cc::&l}' Me~""C·polilan Transportation Authority. To date, 65 artistshave been comminVmed to adorn stations throughoutSouthern California.

"We believe it', important to make the train systemDOl only efficimt but attractive and user·frie'Ddl1'.n saidJessica Cusick. rail-art prc:cram directot. "It', also reallyimportant to . . _provide commw1ities with a sense ofownership in the statioDs.N

Baea., who was chosen for the job from amoag roughly25 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'slongest. She has oveneen creation « ab:Iut 200 works asa founder of two mnrrieipl.1J.y funded mural programs in

L.A. TH1ES7/27/93

Journey Back in TimeAt the Baldwin Park Rail Station, DC! Art Prof"""rJudy BacaPaysH~tothe Area's Indian Herirage

w..For the BaldwiD Park

anwcrk. she wanted toportray an "authentic" mel...truthful" vision of the ar·ea's biItary.

Et.c.hed into the weath·end adobe·like cmtralarch iI the word Slilnigna.the Gabrielino name forthe area. and a quote fromLatino lUthor Gloria An­uidul' "This land wasMexican once. was Indianalways and is. and will beopln."

Lettering on the plazafloor speI1s out, in English,the statement ''When theIndianl died. the villagesendm"

When the Spanish ar­rived. Baa aid.. so1dienraped scores of Gabridinowomen, Including thechief's wife. The chiefsprotest.Iled to his decapi.tation. "It was in that cli­mate that the Miasion SanGabriel wu founded.N she......

A stone mound, like onethe Gabrielinos wouldhave de:siBna\ed as a placeof prayer, embodies a feminist ideology the arttSl

worked into the project. It is a tribule to Toypurina. a23-year.old Gabrielino woman who leel a nvoll againslthe Spanilh missionaries. she said.

'"I'oypurina was depict.ed (by the Spanishj as aseduetrea and sorceress because she organized largegroups of native people to fight the Mission San Gabrieland bring it down. For that, she was banished from hernatin land. I felt it was approprlatt to pUl her back intoher own territory."

"Dana IodiImu" was a eoUaboration lnvolving Bac:aand LA architects Kate Diamondat__ MebJteeU and

Gusta'VO Leclerc of Adobe LATypical of her mural-makingmetbods. 8K:a abo iIlterYiewede.tJrie:l.iIa aDd other residenll ofBaldwin Part. a quaint, 1argeI.yLatim town of '70,000.

" I n the procea. I dn'eIoped a.,. of wba1 was IQi:nI on

with the wheNe p1ace.... she said. aDdp&hered quota she emblamned onthe arcbw1.y. Amcng the residents'statements. "u this pl.aee wu goodenoucb for me to grow up in. then itiI sood enough for my children"and "'The kind of community thatpeople dream of, ricb and poor,brown, yellow. red, white, all livingto«ether."

To further "personalize" thetrain station. Baa imp1'inted intothe concrete beneath each of four

ToypumJa 'was banishedfrom her native land. I feltIt was appropriate to put

her back Into her ownterritory.'

JUlYIIACAUCI art professor

shelt=., (also ~-"18' floor plans ofCalifornia missions) such phrasesas "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 "memoryand will pcnnr." which "are whatany cultUZ"e-the ones living thenand those living now-bas to haveto prue: Ye itself," she lUi.

So fa!'. community response bas~y~ positive. Childrendance akm.g the footpath and peo­ple driviDg by give thumbs up. saidChris Wille, job supervisor withRock and Water Scapes. the proj.ect's Irvine-based contrac:tot'S.

"'I'bey dig it.; they think it's anawful fancy transit station," Willewd.• Baldwin Park J(etroiink lt4tion isIocaUd at 3825 Do1oning Ave., Ba1Jj.

win Parle, at 1M COT'RotJ' of DowningAWftIU' mid Rarrumo. BoW.mmt.

UCI ProfessorHonors IndianstiC JrviM an profrnorJudv Bag is sprucing upthe Baldwin Park Metro­link commute: rail sutlonwith public artwork thatpays hom.,e to tribes thatinhabited the area. theGabrielino and ChumashIndians. FeaturM is a re­creation of a San GabrielMission 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 ProfessorHonors Indiansuc Irvine art prQjessorJudv Baa is spruc:ng upthe Baldwin Pa~k Metro­link commuter rail stationwith public artwork thatpays homage to t~ibes thatinhabited lhe area, theGabrieHno and ChumashIndians. Featured is a re­creation of a San GabrielMission archway. Fl

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

MuralistHonorsAmericanIndians.• Art: Judy 8aca's 160,000project to spruce up tmBaldwin Park Metrolinkrail station puts 'memoryinto a piece of land.'

BylANDCBJNnMU nAfT ••ITD

A rtist Judy 8aQ Gid & li.uelWJce in Bald-,;rj., h-k tileother ~. ;II ''ier'7 oicl Ii'Ole

""""In the dly hat of i.~:.m.8Ic:a skipped akmi ~ O:::':-h~~

fooqath that.~.:=ctn::=:Ii­aI ... pa1'ormed 07 c:-,:, CaJi·fon:m mbabiWlU, the~and 0wlDab lDdial'&.

'Jbt wiDdiDI laDe Is pan ~

"DaIUll. J.ndl.rmq" (I~G.iBenc;a

.0.-1. the public art":lOr'il: medesiped to 'PJ"IICt up the BakiwinParIr. 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" thenen 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 ofan gpm pLaa From il~ tbefootpath. _Md1 1iniuI pel~wben: c:or:ammas WlIi.tfor~

Located 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 W4.,._-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~ it', ir.Jponan. wa.b the train &~ DDI. o.oIyeftk:iall but~ and IUC:"friISldIy," aid JeIIic:t o..act. nil.an pracram direcl.O:l". ~l>:". ~~

really ialporUnt to . . . provi(>cQlIClmunities With .. RnIIe of owt;.

ership in !he stations."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 1Mhalf-mile-loa( nCrnt Wali DfLA...M purpxud to be: til:: ':'1'0:;0"1~ 8M bat ov<::---..~tof abcU 2lIO wcna as c. ic=dc:" 31two 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 tilcam', history.

Ete.bed iino the we:l~j~.be_like ce!lU'llI. ardll:.- tho:~S~ \be GabrieU::.:; ll<ll:t': i"o:­the Ira. aDd , qUlXC i~~~autbor Gloria~ -rbil; i.oIilCi.... 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 theebIel""l WifL The dlId':; ~~}ed to his <leelipjtatJon. It =:- Intbat tIimate that UK:~ SanGabrid _ foundeQ.; ~:;akl

A Slone: mound. .~~ one ttl.::Cabrieanc. would ~7C ~rn'l~u • place of prayer. =bodie= afeminist kleoIocY the :l.~t1'llT."icedInto the prn;ecL. It Is 1". trib-..itc toToypurin.a. a 23-YUf.~dGl:<Jnw·DO -.oman who led a :-evtllt ar~.sI.the Spanish miaioaaric:..4::ill: :iii(.

"oypurina wu depico.<:z: {b;; theSpanilhl u.~ :cd :;or­c:eraI beo::alaIt the ot.....~ lati"crouPS of rwin peopk' 11) fi&h:. the:M\uioll San Gabriel ;,.,-,c~ 11down. For thaI. she .....e.; ::-:;;!::beQfrom her IllItin IIi1Ki. 1felt I;. ....:aappropriate to put her~ ~-:';C

'Ieu.c ~. BACh, t:'S'..

Cent:raI to Judy Baca's work is a 20-foot-high archway. re-created afterSan Gabriel Mission, from which a footpath links commuter shelters.

LOS ASGf':" TI~.1ES

BACA:ArtPays HomageContinued fnm F8

her own territory.""Danza Indigenas" was a collab·

oration involving Baca and L.A.architects Kate Diamond of SiegelDiamond Architects and GustavoLeclerc of Adobe L.A. Typical ofher mural-making methods. Bacaalso interviewed GabrieHnos andother residents of Baldwin Park, alargely Latino town of 70,000.

"In 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 theresidents' statements, "If this placewas good enough for me to grow upin, then it is good enough for mychildren": "The kind of communitythat people dream of. rich and poor,brown, yellow, red, white, allliv­ingtogether."

To further "personalize" thetrain station, Baca imprinted intothe concrete beneath each of fourshelters (also bearing floor plans ofCalifornia missions) such phrasesas "my mother" and "I am aGabrielino." rendered in Gabrieli­no, Chumash, English and Spanish.

At the shelter farthest from Utemain plaza are the words memoryand wUlp<TWeT, which "are whatany culture-the ones living thenand those living now-has to haveto preserve itself," she said.

So far, community response hasreportedly been positive. Children

dance along the footpath and peo­ple driving by give thumbs up, saidChris Wille, job supervisor withRock and Water $capes. the proj­ect's Irvine-based contractors.

"They dig it: they think it's anawful-fancy transit station," Willesaid.

• -

10

mural's planning and execution. Young people often workclosely with mawre artists in large-scale anistic expression.As a medium of public art. munls have impact far beyondtraditional 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 Iarxc numbers of people who live and work amongthem.

Chicano anisTS in particular have made a unique con­tribution to this expression of public art. For more than 20years in California. Chicano murals have transfonnedThousands 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 itsenormous Latino population. has been at the forefronT ofthe modem mural movement. Well documenTed in nationaland rea:iooal books and articles. this work has collcoivelyadded a dtam.atic dimension to the broader lradition ofAmerican political alt.

Women artists have been extremely prominent in themodem mural movement in southern California. Its par­ticipatory flavor and democratic charnaer have increasedthe opponWliTics for women to achieve wide recogniTionfor their artistic ac:complishmcnts. A pivoral figure SiDCC theearly 1970s is Chicano muralist. teacheT. and communityactivist Judy Baca.. Her combined effons as a muralist andanistic 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 andHolly Barnet-Sanchez and Mixtd Blasings by Lucy Lip-

Z MAGAZINE

BY PAUL VON BLUM

IW01t1EN

POLITICALARTISTS IN

LOS ANGELES:JUDY BACA'S

PUBUCART

OCTOBER 1991

~"':' ;;;:.;a;••• :'.;:". ~.

AT VARIOUS times throughout tbe 201h ccnlUly. themural has served as a major medium of politicalcommentary and criticism. Rooted in the Mexicanmural renaissance of the 19205. many conlen1­

pomy muralists have =aled works of impressive mistiestature and dnmatic social impact. lbese artWorks typicallycall attention to social ills and reclaim lbe neglected historyof marginalized peoples. Above all they express the hopesand frustrations of millions of people.

Socially conscious muralists througnoul the countryview their an as a powerful means [0 foster social cohesionand political awareness in working class and ethnic com·munities. They usually seek neighborhood panicipation in a

Z MAGAZINE OCTOBER 1991

~...•I

--

71

n"""

So CHAVEZ RAVINL

• b-,

DIVISION OF TilE B/,RRIOS

pard have enhanced her high standing in theprog~ssive mistie community.

Born and raised in the Los Angeles area..Baca developed a commitment early in hercareer 10 a collaboralive misfic processrooted in her involvement wim the Chicanomovement of the early 19705. Her wort asa community an teacher brought her imacontact with young people from diverse eth­nic backgrounds. many gang membersamong them. She felt deeply attached tothese young people. identifying with Ebcirspirit of ~bellion and sympathetic 10 theirdaily slIuggles for dignity in a hostile, racisl:society. lbese enCOunten led to the (onna­tion of the Citywide Mural Project, whichproduced hundreds of murals throughout theLos Angeles area. many of which shedirected herself wim the extensive panicipa­tion of these young men and wamm.

These initial projects established Bac.a asa major pUblic anist whose wad:. encom­passed a communal process CUlminating invivid. $OCially conscious imagery. As shehas regUlarly nored. the images producedare the final pan of the entire proceu-andnor at all rhe most signific3nl. Th.e col­laboration irself empowers young people torake control of their own lives and imbuesthem with the respect I()[)~ denied them by

Z MACAZINE OCTOBER 1991

American societv, This feature of Baca:s work has enduringpolitical impact even as the actual irnzges fade Ihroughtime, weather, and the general atmospheric pollution of IheLos Angeles basin.

In 1976. Bata oJ!anized and directed a massive team ofyoung people. including rival gang rrx:mbers. 10 produceone of the most monumenla1 projects in the entire historyof an. -rbe Oreal Wall of Los Angeles" employed dozensof 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.. hasbeen the cooperative effons of the teenagers involved in theproject. A politicai anist v.;th a comprehensive eoucarionalvision. Baca implemented an amazing instructional processthat forced the young panicipants !O confront e<lCh other'sste:~otypical perceptions of their respective etbnicities-anawesome challenge for teenagers with hisl:ories of mutua!a!'1tagonisms and \·iolence. She used comperent and sensi­tive scholars 10 provide an accunue hislorica1 perspectivefor her young colleagUe! before they began the arduousprocess of designing and implementing the ;;IOI'k itself. Par·ticipams in the Great Wall learned a splendid combinationof histOrical. artistic. a."'Id social skills. which have servedmost of them ex~elv \/o."el1 Ihrou£h the cresent.

Influenced by the g~l Mexi~ muraiislS Diego Rivera.Jose Clemente Orozco. and David Alfaro Siqueiros. Ihe.....ork is a panoramic view of California history from the~rs~cti...e of indigenous and immigram groups. A strikingContrast to "official" hislOry. the mural panels progress

iI!

\

! ~- ..;..-\

Z MAGAZINE OCTOBER 1991

,. I jf·I/ 'w'd"t

from the original Kative American inhabitantS to Ihepresent. A major theme is !he oppression against variousethnic groups whose contributions to California have beenas profound as they bave been ignored Similarly. Ihe muralhighli£hts the accomplishments of many elhnic heroeswhose lives and works seldom grace the leJ::lbooks ofpublic and privale schools in California or elsewhere.

Baca'S commitment to the neglected hislory of her ownChicano communily finds dramatic expression in the GreatWall. The bombing of Pearl Harbor spawned enonnouswanime 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 theGrell! Wall panels.

Less weU known is tholl incidents of racial violence ....-erecommon throughout the nation during the early 1940s. Theannosphere in Los Angeles W3S tense and volatile. especial­ly against the large Chicano population. In 1942 the presspromoted fears of Mexican crime. focusing especially onyoung 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 thewearing of zoot suits. and police roamed Chicano areasmaking sea:n:hes and terrorizing the population. In August1942. 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 gangmembers and beat confessions out of them. Several wereconvicted of murder and Other serious criminal charges:only later was this miscarriage of justice re~rsed.

"

A similar episode occurred the following year. whenwlors slormed. intO bars and other establishments. beatingyoung Chicanos and tearing their zoot suits from theirbodies. Civilian and military police encouraged tberampage. even assisling the ferror by arresting youngOliCBno's on baseless charges. The local press meanwhileintensified the hysteria. The riOt eventually ended. but theconsequences aff~ted southern California for decades tocome.

Judy Baca has captured this deplorable historical re3]ityin a Great Wall panel known as "Zoot Suit Riots" (figurel). The work highlights the black. Gestapo-like boots of thelocal police. an image with uncomfonable contemporaryresonance in light of the savage beating of Rodney King bythe Los Angeles police in early 199L The anisfs focus isStaIk and unsubtle. a powerful reminder of the repressivehistory of police misconduct throughout U.s. history.

A companion detail in the Great Wall updates the historyof oppression against the Chicano community of Los An­geles.. "Division of the Barrios and Chavez Ravine- (figure2) reveals the human consequences of various politicaldecisiOf'.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 generallydiluting the historical stability and cohesion of thaI com­munity.

The 1958 move of the Brooklyn Dodgers to Los Angelessimilarly wreaked social and emotional havoc on theChicano neighborhood. City powers constructed DodgerStadium in Chavez Ravine. bringing enormous profits to

Z MAGAZINE OCTOBER 1991

Dod!!er owners. doubtless a far greater concern than theresu~ing dislocation for the Ol.icano residents of the area.Once auin. Baca has used the power of mural an to revealthe political and human realities concealed by the glitz ofLA's entry infO major league base~1. . ,

More recently. the artist has pamted a majOr mural In thecentral California town of Guadalupe. where Chicano andother 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'scommercial and cultural achIevements. Ethnic Conmbu­tions to Guadalupe" (figure 3) emphasizes the diversity ofthe 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. humancooperation. and global interdependence. Like her previouseffons. this mural was initialed by involving people ofdiverse backRrounds. Baca held brainstonning sessions withhistorians. ~holars. leachers, students. and others whosefeelings inform rhe entire effon.. -World Wall: A VISion ofthe 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 travelinginstallation system enables the work to be reassembledanywhere. reflecting its highly public character, World Wallpremiered lasl year in Finland. where local anists joined theproject by adding their own visions about a peaceful andhumane world fUlure. Later in 1990 the mural went on tothe Soviet Union. where it was exhibited in Moscow'sGorky 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 therransfonnation 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 themilitary machinery. demanding the -peace dividend"aboned by Ihe Bush administraIion's repressive domesticpolicies and brutal military adventures.

Baca's commitment to panicipalion has led her 10 Si2­niflCantly broaden the definition of public an. Realizi';gthat visual images alone. however politically critical. are in­sufficient. she has pionec~d the crealion and maintenanceof alternative anistic instilutions. In 1976. Baca. painterChristina Schlesinger. and filmmaker Donna DeitchfOUnded 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'smost 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 perfonnsman~ functions of vital imponance 10 Ihe progressive com­munlly. Its mural resource center. for eltample. contains16.000 slides of murals from around lhe world. including7.000 slides of Chicano murals in Califomia. This docu--

74

memation project encourages communication across com­munities. cultures. and nations. enabling progressive anistseverywhere [0 learn from one another and enhance Ihepower of mural art in their respective locales. This resourceis largely unavailable elsewhere: the established media.universities. and museums rarely bother with artWork lheyregard as ephcmer.a.l and politically suspect.

Baca's jnfluence on the SPARC Gallery equally benefitsprogressive artists and activists in the Los Angeles area.Unlike private an galleries. SPARe is a nonprofit enterpriseshowcasing artists typically excluded hom mainstream ar­tistic institutions. The SPARC Gallery also emphasizes anwith social and political coment. which sustains a centuries­old tradition of visual political criticism. In recem years thegallery prog.ram has presenled exhibitions of works byAfrican American women artists. Los AogclcslNew Yorkurban activist an, views of homelessness. graphics by SouthKorean student protestors, recent Chicano an from Los An·gcles. and many other socially conunined artworks.

Perhaps above all, Baca's most enduring influence asSPARC artistic director is the continuing mural productionprogram, Under SPARC auspices. scores of murals havebeen produced throughout Los Angeles. generally incor·p:>rating the collaborative process that characterizes Baca'smwal art. Since 1988. SPARC has administered a neighbor·hood pride: program for the city. with mural works directedby professional artists with the assistance of young peoplereferred by schools and social service agencies.

One typical SPARe·sponsored example is an effon inprogress by Sandra Drinoin. Entitled ''The Living City ofLos Angeles" (figure 5). this work continues the tradition ofworking people with young people in the community. Thiswort.: will be completed on a supennarket wall in ccntralLos Angeles. in a neighborhood populated by Latinos.Asians. and African Americans. Mwals arc no panacea forthe vast complex of urban problems in Los Angeles. Never­theless. they encourage communiI)' youths to develop artis·tic and organizing skills. providing tremendous significancefor personal and social change.

This focus also extends 10 young children. AI the recentexhibition of Baca's World Wall in predominantly LatinoEasl Los Angeles. SPARC amnged for elementary schoolchildren 10 panicipate fully in the festivities. Figure 6shows Neighoorhood Pride Coordinator Alan Nakagawadiscussing the won: with a group of children. lbcy tOOhave the opponunity to express their vision of a world ofpeace and justice-opponunities oflen denied in their in­slitutional scnings of school. church. and elsewhere.

As an anist and community organizer, Judy Baca hashad a profound impact on the p:>litical an world of LosAngeles and beyond. Her murals complement her leader·ship effons in building alternative cultural institutions. Shehas established the highest standard for progressive artiststhrougnout the United States and fortified the stature ofwomen artists in the broader struggle for a decent andnumane society. Z

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

"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. Bacawas refemd 10 as "'the \<Dice ol che srreet~)eyd community""""""' ;px.d by tho__ Itt ..nd."' The descrip­tion is &II accura&c one. Currently an assistanl prolr:ssor ofanat the University ofCalibmia. Irvine. and anistic director oftho Social and PubUc An Resou= e-< (S"'RC). >he Iwtried 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... Shedcscn"bes her early years in Pacoima•• 5Uburb oi Los A1J.gdes, as ... time when eYet)'body was~ very hard atjust being American."' Edmic &fOUPS~ 10 '1J&cnd in," 10dowDplIy their diffeJeoces from the nile CXImInLIIli1y. ThismeaDl speekinc Eaa1ish. prdeRbIy wiIbouI an acceDl. Olil­dm:I from Spaaisb-speakinJ f.unilic:s who were lIIIIlbie 10masaer d:lc E..aclisb .... ill r\cmrncary scbooI: SOOIl bmdlhc:msdves tabdc:d slow or rewded _ bdd Nck.

FunmaIdy hi' Baca. sbc bad • quick miDd aDd amodlerwho 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 shewas COIItCrlXd abouI the rdevance 01 bet an. a coocem dull .was prompu:d in pan by her fiuniJy's douba abouI her cboscuprobsioo. What impKt wooJd her an brc 00 reallik? WbalwoWd it mean 10 her grandmolher? How praaica! was it wbc:nit came lD earning a living? Thillaacr cp::sOon led her 10 minorin hisIory and educatioo. disciplines thai: pn:Md invaluable inher Iaref work.

The I960s~ important years br Baca. People of colorwere beginning 10 agiwe on campuses across die counuy fOrAfrican-American stUdies, alicano scudies. HarM:: Americansrudics. 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 ofanother people andtheir culwre.," she has commented, ''and you deny them theirtraditions. )'OU arc basically conuninif!8 culrum genocide.")

Baca had experienced such a denial at Northridge, wherewtSIem EuropeaD an bad been held up as the model for aUan. No one told her about the: MeUcan mwaI rrtOYement, aboutDiego Rivera or Jose Clemence Orozco or David Alf.uo Si­queims. The surrealists studied included the Spaniards JoanMinS and SaJ'Iador Dali bul: not the: Maican Frida KahJo.From 1969 through 1974 Baca worked specifICally within theOaicano and MeUaoocommuniIy cryinc ~ reYerSe Ihis denial.W~ her B.F.A. in baAd, she IaUIhI ata CaIhoIic high schoolwhere she orpniz.cd her first munJ proje:a as a 'WrJ 10 briJIgJOF:ther SIUdenu from diflereal oeia;hborhoods.. In thc: sum­mer r# 191O, Mille Vo'Of'kinB b 1be Lo5 Aa£des Rccn:alioDaDd Parks Dtputmalt, she agreed 10 take on 1be CUr.I castr# ClfPoiring aDDlber mun1 am r# twmry kids from b.tr_~She_... oaIy __

an, buI also about understaDdinc the put aod making COIl­

nectioos betwceD the past and the praenLRcaliring boch the educarional. and 1be political power of

rmnIs, Baca submined to the Los AJlBeIes City Council in1974 a proposal b' a citywide mural program. Forty muralswould be produced each year. c::oo.oerinc a radius r# om- ahundred miles in r:very ethnic communiry in chc: ciry, at a costof approximately $L5O,OOO a)UC. The progfUI was funded,and Baca lBVeled from me black comnwniry to the 0Ucan0communiry 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) theprogram funded 250 murals and empkJyed KXXl crew mem·ben. Baca acquired \'a)' early on, lbereb'e. bolh thc: admiJl..

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

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

MISSILES 10 STARSHIP

WEAPONS CONVERSION

TRIUMPH OF

THE HANDS

HUMAN BASED

TECHNOLOGY

"'hI 3S

lion ~ their creation. and serine the addition 01 new visionsis i'*"ndtd 10 make rhe exper tel'llce oIthis exhibition an acIiweone. an experience IhaI will ,.nI1d the message rI the muralsIhcmselves-that people 01 an ethnic, culnml. and nalionalbackgrounds musI bqin 10 WOfk &ogdhet if work! peace is10 be achiew::d.

BALANCE

WORLD WALL

NEW 'NOALOSYSTEMS

TRIUMPH OF

THE HEARTS

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

NON-VIOLENT

RESISTANCE

Fip~ 1. Abrid II6ll~ dtOMlilfl.

BACA' T'bey we:Je diflerml in the sense dw the brainsIorm­iDe b 1be World w.u" b:usc:d 011 just ODe .-JIobalc:oaftict. for eumpIc. we bad speakers come calk ., us nor.... hisIory but about tbf:; arms race. ~ Mel a wtde ct.y011 lhe~«the American &rIaIa1. And we Jearr.:d alxuthe MX missile, Then we had anocher dIy wheu people came., speak ., us Ibout NatiYe Americ:aIl c:onccps rL baJanc:e andwhII cheir poinr of view was 011 why the wortd had &'JCIalOUI «baIaDCe. and why we were in {our cumut:) sirualioneuvUO'pnmglly and in ICJ11'lS rL conflict berwem nIboas. .. ­The b:us was not: an hiSlOricaI cwerview. tt"'lC..br~. b!.a. veryspDcific b:us on the cooccpl eX peace. Vk had scmcone comeaDd 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 couktacnWIy sutwert the mainstream economy aDd ab$orb il _

-sysoom.~ abo had brainstorming sessions about OW' owa dreams..

F« .......... we <tid ...... worl<shops ....... .....­ltu:lfded dreams br • number U moatlls. VC used me Sa­rrdtl teemiquc in wbidJ }'OU ask: )'OIUIdf • question before)'OU sk:ep and then )IOU t.ec:p • DOItbook by )'QUI' bed and )'OU

r=ord wbal )OU are dRaminc. '\bu abo do thcIe little aer­ciIcs in which )'OU by and prac:tic:c: I QIIaIlila ia. whaI )'O'l

were dramil:lc- Wb:II was iraJesti4 was that wheD we weredoiac this ..colk:cti'o'e dramiJ:l&" we JOI very similar imaFsfICGI people simuhaneousty. 1"bcre was CDC wc:ck wba1 QUI

ti. IfllUP «tMUy peope _. . we JOl • imIp:s Ihal Mft

chc:~ WIler.~ across wafIU'.We abo did • whole sccticm _ . . bniD:s8DrnWlc about whII

pcxc MS or .... we IhougbI tuu..l-bi:sed lettaiOkltY woukldo. And as we did Ihe5e thinp we phered all this inbma­lion and Slancd 10 c:aqotizt: it in 'Various... In oc:her words.)lOU aMdd group this inbmation abouI how we were, !he col­k:clive imlgina ofwNit we thoughl the world would look likeas it was transforming, what • SCX'tely would have 10 do, whatkind 0( stages it would have to go ItuTxagh lO come 10 peaceor balance. . . . II bcamc: clear that all this inbmwion couldbe divided into twO major categories. !he spirinW and the1MICriaI. 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 camefrnm diu coIlccti'o'e grouping. All the lnbnn8boD from IhebraiDsbming 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 webnJucbr whM we had come up widl bKt 10 me group andfunher imagined each one of dIoie ,..mom!'OfU.:~ 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 ODSardays. 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 nocdecorative 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

I'bhl 41

pnx:ess of wortiDB from die YeI')' geaeraI down 10 Ihe morespecific 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-JefIieca c:haee in themseha aDd therebc mates than moreabie 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 dthem were not two-dimc:nsiona utisu, Otawing was DOC theirskill. Some ol them were~ pcopIe. Some d themwere 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. orme bu' remainin& pneIs J have dtawinp b "NonviolemResistance.. and I'm missing "New \\brld Sys&ans"-wfUcttare all Ihoac peopie-fo-peopI corM:nIions lie juscX:e: aad aJO­

vivWiry and an aid 10 racism-"Hwnan·Bascd Techrdogy,"aDd "Missiles to Starships.Of Those three need II'IClCe work andmore coac:qxii.lizabon.POHL: '*" Ihc:R atIY panicularly difficult bmaI orir:::orq.....UcaI probk:ms thai: c:.DC up in die ecune oldie dis-cussiont? .

BACA: When we were initially dIinkirw.!xU doiDs this babe GrcM Pcac:e Man::b. our paobkms~ UIOi'1t1WS. Howcould 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? If1herr:were going to be~ paods, bow coukl we wort. • seriesd Iit:amS through Jhose~ paacls and SliD I-.: continuitybelwem Ihem? J ta.d Deed sDnilu lssues on 1heGtaI 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 lrQt­

menl. What hcld it a1110gether was the 5tT\ICCUre I Ct'CIted andthe syslCmalized .pp1tcation, SO thai the bodies could dwlgeand the hands could clwige but the application remained thesame. 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 fiJundwas that we ta.d huDdreds of examples aDd knew \'CI)' wellhow 10 image c:oafIict and violence and that those were thefirst images that came 10 our minds.. But imaging peace wasmore 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 andwau::hiDs 'IV?" ADd Ihai we really realized thai pan 0( wbMwas 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 10see 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 peacewas 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 wtwit would be like if we were \loUicing on an international rooper­.live level lOr the development of. suucture or • model fOr

POHL:~ you thinkine abouIthe viewing of these: muralsby an imanational audience when you were working throughyour imagery and symbols?8ACA: Definitely. But the wir. mat we set br ourselves. andmy idea abouc '1'bc \\brld Wall," is dw: the inraior pieceis an American vision, and while iIs a"dicace will be inIema­tioaal, out job is 10 come from u American perspccti~ Ithink that tbc: most profDwld thiac about die piece is _ itis lD come from a mlllrindcul2J paspeaiYe widUD the UDilaIsa.s. wtUch is of a:lW'Se • miDoriIy posirion The cueriorIDIU'&ls wouJd thea do die work ofeach 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 10haw: the piece visit yet!BACA: Actually, that will RO( be br me 10 decidc.. A JEldor turd wilJ be Sd up thai will pq:oinI1be places in 1be worldat this moment tha1 are the most signific:anl CCIlWrieI in termS

of coming 10 some relationship with each other lOr peace. Inother words. wtUdl counaies are the hoc. spots. I suspect theSoYict Uuion and Latin America will be among mem, andprobably some Ewopean aJUnUy. I would lib: 10 ICC it SO10 Mexico..POHL: Who is goias lD be 011 die boanf?BACA: ThaI is wbaI we are wortiDB 011 ricbt DOW. ~ areabouc 10 bin: a~ iJr the project aDd are aOO JCUia&ltOJO.tpwbrjons iJr eIqIaU, pcopk who make Ibe JOIdy dg10bal 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: asmembecs a number of promiDaIC women of eokK fromduou&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 andwould decide what wouJd happco with it when it l'tl\Ir'nedhome. I would like II) see the '4rious murals so&d and memoney pa _ • fund that woWd caabIe adler artias II) produce

4

socially conscious public an. If. group wants 10 do an eaJocic:aI piece in wtUcb they absolutdy transbrm the~ in Salta Monia or, on III international ~I, take on the desuuctioof the Amazon, then there's the money. Public an of this t)'J1is fraught with difficu,lties., both orpnizational and fi~We need more of this end of wad, though, and havinc iiimooey there would be half me ban1e woo.

NarES

l I*lokGec, ........ 1'tMu.~lM~......33 (O:I:Ibcr I!ilIIllI.

1. JrIdidl;~ s.c., "'Our PIII:lpk Iuc" I..... EaaD- (t-I....... __o-.~... c...a .. Cll n·DN.1IIiIed by Dulltill 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

AJtI; Iac. •..s _ I..of.uplc$ M_oIe-"I'Oftlf An Md bu ......ia_~~oa_' oIlhcTomaRMrae-.LA.TllIiForm Ibr cb£ Am. _ ~'. LA. 2(0)eon.m-, a.t 1Ilc Hal..., ~dowmnI ... !he Am. III

1. A ck:Io:ripUon ollhc InlIlIJ QIl be; b.IIId in M6llUIr br GItd a..a.l., e..-llOUcfu.~(LOI A.....: Scdal and PIIblic An fl&:Iouft~. MJ). nc__ ........ by £~ CocmofI as! Rc*n Picnoi

6. a- ... ...,. t.-.~ ...d. cirywicIe _pRIja f"'Nc:4fPbcw buod Prick, by~ Brdey. MID. ill 19II. __SUOIXlO -.. _ pojca. A .... IidIaId ..__ aD __ -at......... _cily. llll!ill9~~ _ ..~ .... "-'It.._m......

7. a- Md-rfRDlbc CriMiIral-.a~.......JIIIIicc _,........., bid kI _ ~ eriIIria. n.: r..__.,. _ wi6 __ ftICllIIdI cc.6d be; ,....,.. _ dle _

,.....c.e.ao.~__~ .... "all--..s_~ ...&- _ •. ally .w, 2. 16llailies.

.. fa -t -ad __ in die -.do-li'-Pc. Caliinia, Baa _ tpneific IIiIay 01 this '--ten. a....-lilly, _ A.K u. . , btwda"~ MdI .Ibe .

.,.. 01 IIbor ill fIi'cIt ~.

9. nc ~ .... __ r-n -v.brId Wall: A VISion 01. f'titurl .....--. fac.w I typae:ripI ...uabk from Itlc. Social IIId Pub&:~e- (SPARe) (IU!.).

n n.~ _~ 011 April '11, 19t9.u. a- _ -primiti'lOt- hc:re ill. poNlM -.e. --.. Mtirsc miIIII

or "'prilaU milld.w

,... Life/Arts•

TEUVlStOfVC4ElnUfu. ll.'/CSC. ......./C6

H_try eo.aIclc }'oungpiQ,,;s' "'"~tRrs 1Mpast/CS

,C

uilding a wall of peace

T he 'World \Vall" is notcomplete until dialogueoccurs. It is not a static

')iece silting ill a museum.- JDdlth Ban

L

... MANocI it> i.....n ......."­aM .......:I ift\o u.l_tionod..ioU- 11>0 oklilo aAd w...t.... .....:l1O _CIlia bK_

"",NMtcos-"""io "'..-ud W.<Ola1oo .uu- ..-on.

Venice artist is takingher murals on the road

...... lies erel'ted a Ii8nt rru.lwl105e ~ oeDiC;t the CI'I8n,eS

............._.",... aaoilo

........ IM _~_ it _

........ .u-. N--....~ •• .....,._ '-..pI................ ..,.,............... _'-,....-.0'""" t"" Mhto • R"............ pOlo.....

...........................r_wia.-. .....

So-. Mwoo .... u.. Ilo-iuo .-.101;••...... 10 _ ",.,...............,.. Hoco..... fouM AIni"';'"-"1_...... _ 104__•...... c1 u.l.N .....__ lho

S-w.. ~"'-'-noo.q-..o\ ..ma.J .... -.01 &100 US8RA~U 1lece _. f__tadio ...

o&oodio, onitt 10 ....... 1ooII;"r ,••,.., .on.. t\nt I!oonob'• .-l io._ .............. Mdo aooo:if_ .......R..-__. --...c.n- __ ........, ...... bIi-I_ ......--.l ollloflt!; .1iPL-rt.. ...........,.u.,...... ·,';.."' .... IMs.riot,... ........ _ ..... ,..." .... "-I odooMil........ u..u.,___.-.,.e-..~et tM OW\ ...... _ s....o........... '--no.. io ..... TiIon..... '-.

1'1100 .... io dooIt .. IM ......w w.n-______'- it

......... ,.. • ....,L.u...Iy. s-JoAJlno- ......._"-,' ..........................., -.......t_ ........ nioliaf;"......................--­"'._"_io&loo~-_.............-s ....- ..._il_lOtM-a1ll,.--.....U-Io__ tr,..... 1i..K_~.on. 'w.,w w..· it ......Mi1......._Itit_.~,...~iD._."""''''''J.'ot.. ...~ Uwt 1IoaooutlboI.' Of_. I...... \My ..,. .... but I _t ID n-aaku.._Iot~I_.................Jbui...-.·

tt.. it the IIftiot _1M> ,.,...."" the"G_t WallJ'-,,-"-"~

_M.O

MuraltM 0Il.Aai0: _&My 01 CaliIonia

r.-~ ti-a to lhotUI'Oo .itJl. .. h.apI to pmlaawlocal i.Ler-,.eW .,mo"",.... 1M· 1

' CIo-toofre­q_tu.. .....

E........u... ball ......I .... Tujoap WMh fIaod. CIllDtnlld0.3...... NonIa HoUywood.Ii... -C_ W.n- ;. til. ......nun.! .. tIMo ..w. MaN lMaauo )'IDadII ,...,. _.,. edmic~~it_

r... --..u UN utiatie dincwo' of

v....'. s.w .. ..,... ArtR-.e-,s.."bll...... ~_..-- ......I.- A.....• .u.ic: JI'u... SPARC. • -"iJftI6t _........_ ~e:dMbit­

i...~_po_.'"publi<- __k. .... 0. __

Iry'" -.I~ with.....'" thai. 150 lOieoee it _l...-Md .. 1916.. It '- aa ..._do... 01_ u.- 16.000 ph<>­_01 .......

SPARC ;. a.-.d ill tM ok!.V_iw Police St.eu-, wlwnII......... dotuoI p.e.(Ii ut. Ie. edliIlit it dler...-.jIoil.

...... _ ...'1 ..... _

-equ~. a- jok-. -WeM" peopIoI .1wI .....Wi,....Ir.••

1'- y-. IICO SPARe, f\Uld.eel by tM city of U.~.o..-~01. Cukunl Main.1M N.tioeaJ EDd_t for0. Arte. Ca1iI-a-. AN e-n.cil. Hic.dai IIDlI. tM Nco FOI,lII:d.tion• .-ocJC' ol.hen. bee"n-N.i,hbo,hood Prid••Cr•• tW.UI U~.· NiDe .......ba¥e bMa =-tl',-..:l .UId u_oOter 15 ... is!~

10 lb. p'OCr••, coMKtId~ the .""9~ ol MqorTom Bn.dMY. otr...... _~ lO ....hbottoood. _

~o-;,. ............. tIMo__t*- "-! k.ila tJ.a.peiM. &be __ u. _....... 01 ......

I..o-~ .. tIMo .....-w ,.;w iD t.be -w. ..,.B.a,...tIob. ............f~ CaIilomioI s-. u---.ty. Nor\Iuiola.. ... .-lW.."'...... ...;t!a doe Nnic:uI-. CNdn to- co LA."fA p •• " m-. ,..-. so-iDtitaI -. ......-..e .......... '-P~_ .... Loot.i_ popIolIe..a-witIl .ft alf'"uy r.. ..., .n-

-A. ftTJ' biK pen 01 wbat I ..... to d_loop c__ ...

, .... r........... wMt lMJ­~ .bout thu_l_ .­tMI~.....,... ,.....tJw;r tIIIouP,,· S-..,..

SM'. \eltiac tIM..- &­tM~""'POd__ 1tiate tM ifttenwu-aJ _.... -n.e Worid w.n.· ""-r--.y ............._tUt~

on. .... rw the __ GriP­..uy -..d f.- a P_~ _hen _ $,000,............ 10~ the C'OUMIy '01'~. Th. or'.fti,.... .p.~ a- 10 aeaw. In¥-

FROM PAGE CI I.... IQgn1 fOl' the tR.......

- city.11_~.hulB..

...... 10 NtIliDIt. tbt -..pc.

...~ an:hitKu 10 help

.... a por$oI~ -.lulu IQU­

• daat ...w dapin lbt~...,. ol ..... cMBce- SPAKePI'TN la1b trido paopM

b w", •.-.., ....

,... 40 ;..a~~~ flOfld­lid b,. u. u.s. Dip," t 01~ -ud 10 d.,"_ t.It.o... 01-.-..·

.... d- _ C*l"'"l&ldk , ll",,' ;0w-ol of_.lt_._...u-~Then_. wiIaait)' to ........... of_ tMt diIbI"l hen ,....

.... Moout~ 0- of ...,.

...... rlMlly aaked. '1.0~• .....,.lIoody .ittia,: .rouad....... TYr.

r-.u,., 1M poap _ ' .....1Mi.-_. _W.-J pro-_fIII lOud ............. 1I1Iid ....~ 'World Wall' ;" a 1*"­

.... ....p\Ior .. dYe u- ...WotGry,. a-.,.. -It aII_...... at auetIy tba rilEht.... r "ao;d tIUa p..,jaet11ft ,...,. ace> POd _. _hen..u. an ,,_iftC d ....n. the'WaD' it a CIllIlaKtioIl bu_~ ..0- IMn • d ....ioa..·

artist Alexi BegIov, and one by theFIJUlish Arts Group.

Baca has been irIYotved in 5eYeIaImural projects and is the founder ofSPARC and of the city of LosAngeles'sC~ MunUs Project. Her acrylicon canvas panels in 1Jtt MJmJI Wall(Including, so far, "Triumph of Heans.•"Non-VIOlent ResisIance.~ '"Triumph ofHands.~ and ~Ba1ancej show a mes­sage that SPARe hopes to :sprN:!1Oother 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""" bySPARe. thaJ dePcts the history ofCalifornia from an ethnic viewpointFrom the Great WallofLosI\ngeks 10TM"1%rld Wall. Baca has expandedher bros from barrio and urban emcernS to e'obal issues. 1M nbrld Wallwill tn0'e from Santa Barbara 10 Mex­ico..(.anada. South Africa. Korea. andJapan. wj(h SPARe highlighting perti-.,_'~;... ",-m"""""..." _

BY KERRY BLANKENSHIP

'The W:wtd WaD: A VISion fA theFuture Wltbout FaD'. A porl4bltmuralun dis:p/4Jat tht SnUx GardDuat titl 5.B" Conty Cowl'thbwst throwgltMay'

I t is l'IOI: without much effort thatthe art conununity continues itsattemp( 10 spread peace~

out theworld. An example ofone ofthemost ambitious efforts ye! can beviewed in the Sunken Gardens at thecourthouse. T1tt HOrld WIlll: A V"lSioJIof titl Fftblrt W"rtfImd FltlT combinessix portable murals that together try topicture a fu1l1l'e of global harmonythrough~ conten\pOl"al')' gl0­bal issues and e:xpbringways in whichcommunities can learn to rT\OYt

beyond war and confIicLConceived in 1987 by the Los Azt.

gdes-based Social "and Public Art~~~, Tht H0rid Wall, whencompW:, will consist of 14 lo.fooc by3O-foot paneis-seYen by Chicana art·istJudithF. Baca mel &eYeD byvarious

-...o.w........._""'.ing lJ"aVds abroad. 'iJ date. six ofthe 14~............ h ... hv1l;,...." ............ RI.«......

A PanelDiscussion

~ -:t'&Judy s.cal~' In n.. of _ NaIl""" Prr' ra_--. _ ofsewerIIIln b WORLD WAlL, on....,.1tle e-ty~~G8fdenI ttn&CJI MIy 6. e.:a II biked by her~ Mr• ..t Mo'"_ Fenrl

NOVEMBER 14,1991\ULU1oiE 22, NUMBEB. 38SlSO PER COPY

Towards aWorldin BalanceSiDct the late ei.Jhties.. 1.01Aasdcs D:1walistJadyB_ha been st1rOd: OP w.l.lw.u, l huge trudinr manJ.whole cnmded narntift sAdaIIIlpln symbolism fonD.visionary depiction ofourworid in ba1mct. HWU w.oowamI==ly"_IIDd F'mJmd, -.rhcn: snisudlert conaibuu:d to it. In the£ira Rpxnt ors two-putdialorac with U'[ hisrDrianUId theorist Marin Roth, BaadiIc:as.cs the proj«t aDd its

I l'IIIIifie:ati0Q5. 1D

---_._,_.~_ .._~---

Towards a World in Balance

_..

---_.----.-

tunc'" .0 oc...<CF tlt.o, .~.-Id di ;"'0 "" "'".-. "',.. .-kI ..., .......!>o,.,-u., 'pir;, ...1 ,.,J 10 :..,..... <II.... I tncd ,.. ""'...... JC. ""' nd '- 'Iococ ..........n,.,o'; lI.r•. I .-o:u<i ,~'!tndr like 1&I ........ C-...,.. II~whac I linr coUcn.:.d "".... huowr of ,,,", ....r ,Ion:.........ra ... it.

for -11.1 • .,••: 1 hod i.,f..,· i......... (WI d>o Hopi~ ,., 1..hich d>o Hopio -" .bou, 11..... I,h. "...,hooth... 10 ..." '0 ,•••10 I"""'"- <he ....nd bad It.ca>mc .....m._....' "',.. .,f probkm it....,_ ciao iRfonnt""" ......hu "'''' .ho 10...n ....1 •.,dlin ioi_.<ion_<t.n.f~. ,cch·.,iq W ....,. no, It. ....io,.pi,; l 'nf"",,.Ii... "novrh. Sv.,h. Hopi...id diu " ... "Om•.,.hD.. ld !>o ,n.,hi.,;-. dltI ,h~

~ .... d>o rr-Ift......• h....ld be •••d<inr. n ... ,h .."'1"< doc: ...ti..ie. I k.p< 10 01.bo\tt "'- aw<y dIiIdrm tIC It.ciIIJbon ripo _ ...... "'-~. oj........... clo.il<Il"UI- of color. AhD.thctc _ doc wlde '" et.d..tn>erioo of the 0.-. larn-­~. _ were coIlcctin~.~.

of"".. f~~-'-

~ rhio poood.,\Ad aU <rl cIoi. cidoiIIcd 0-.

"".~• .....,.. ..hieh .. the-

......---,.....----­_...-~

A conversation with Judy Haca: Pan 1BY_ADnt

Tbe W.rlJ W.U i ••=snllar Ill ....... iAR:tl­I....... j, e.naIt/~ ;.cOlDpolOd of ","

~bY-.ca-r- paa.clo ...I. ioit> ~p...te<l ...te, ..-ill __• of

~,-ok."-br B o.tICI.e"'''' lor ..I .,d i cr lan..u. O. d•• i••id" of <I•.,iDlUlbtioo>.nIl l>< Boa', po.... Euh poul be....... ,AI Yes. -Bal"""," .. <he- ""tcr '_ "" d>c .............. br cIoo __ lib: • ftosh...cL ! aad ril I'Ctftatn ... R1l_ n; the •

~ ....-.:..- dwy •~ of ""'",.,..on.. I. d'e "otl, ph"o'''f ..,,!rilr....... ....do. dpe<l:lal_.....- ~.M. the II II....,. it·

I. 1916•• , ....p of puce ia....l-.l ia -nias: Me- .....llr .". ;" br....-•cri ...... boH4 i. Los ".!clel AIIClt.. b&1aoa..,....." ......., _ Wt <ore diid _pia..-6 d>c Great~ M...... . ;. &100 d>o. .Ia.occ of! I>-c ... onm _~. oi pan. !..__m~ m..-W d>c "'"'~ In.... .. ba. ,,_ .... ~,.., I

'" fo........ We.. eo,.. t.. .... _..... co M ioyol...<1 i • ..-ni"•. du, 'W..I..",.,OII. D.C. n ........., "I thx addrc. do< _I~J _ .. ., .. _ 011;".;"..l Boo .. _p._ (go •• rial ""I_ ~po. ... doc...&a. ..... -'iI>! ·5.000 _ ciry.~....:1 ._••upoi..<s,. ••d .. ,- 'Iocn!"'O Ioc¥,.....,.. , _.... bcp<>"';<11 d>c~ ttl I bodo ... -,. Fow I ..u.: .......-..s...uo.- oil..................... br..... .-pit. ~....,.oil ,,, i o( .peru_."nt., ..b.....0IIl0d " Hanok" Qlb __ •• l d. \V" like ulk .1>0.,~.......-.r -.4lI _ ~ • ....., I c..~ ., -,. bo•." 'M tlo."F"~&"""'po..--.l"" "....~_! ...__ '11 ...-.~_ ........cIt. r..... --..... ...... .,. __ •• -..w ..... ! ,a. ",H.. co~enJ'C.,; e G.lf........IIyIlad"-pla--:!. ~_ _ ~_<rll \Io· e ' , .... ,~ &a<:o ""!u .. -tr. _.. ....lois 0. ... I 0 , ••• i kid, ~o!,!.dc0600l '" __ .... """ -. • tlt.e AnII .M I.doo","," loildi"... _It.uol <rl eqoaI~ _, poniOpooed cIIro.P ...... n· ......o.c. tho ....... clore. ytan. '11'1 O.lIe. fa ..re ,,",",lIle .nDa ... ountivc 01 rrri_plo 01... unpc .lIu "'C did"" /U... <11., ......rtd • nricer 01 cIli ...- 1""I.de S,..,~Wyi. do. Ho.n.. """"'=h io ...... r.c. tim I ioo;wdu 11...,......., the ioroocb..Ioi••Dri i ti ;liu~ _011991-.1 s..aJo6oiea. c-r eta.p .. ..,...,....,.. ";"'1«_~ 1imt :,OO"'"-lo"n•••i ri.i ri ti,n. ~.,.j"-- doc 'Ddind l i.h • ,. 1 r-. And i' en ·....... ...,;.r I • PanlKU coisc __ W-U 1nDIiormt ~ ni...."".. U ,IDb.1 ,.. " '0_"'·AV f_ W....... _olllac:a·.~ .. ..-.-"'..... ......_ _Wieho'" fur." a... of ....u. "0111..10 191".her • ...ric, of tI.. iDdi..;.hltl in 'h l..,e. u.... "'.n.i""•••nd ..-.......-. ... -n .. ,..,......... ...u...ot:ol,...;..a. .. EaK Lao co.....iry. tIt... it. tlt.e ,Iobol •....,..., ....... .-1Ii.... So. J"'...... and~.-..a- .....pIa.. rIM -.riiRc ...tIl. ---,.. uhd poopl. '0' d.fi .. , ..o... of.ad "l""pri.n••_plu i ,.. \Iodr. IIi d ue ,..- Tbc W-U W.Jl ill~ P""""" I '"'" lletrio, _...id, u .."dod tu,rori.. ..d !>o.... 0 .. too, 1>iti_ il· ..... toCIIt foe didos-'-' aU ....., _ tIId "..., ., I C"l".1.1>o•• ,e .ymboli•• It..,•.,.o ~ Go.< WMlf{t.......,..., th<K .... aad tt-...-- It.urio,••pac. i "" of-... , .......... _. wall "' .... TlIi-p It i•••orn.'." i .. in ... ,..1., ...,.0 finaU,. _ '" "'1 ...

fro... the ...,i••i", II... Wuh d..i...CC ...o.l i. the S... .h'pc-1111loo. lic•• _ of..... ...n, pi it fer _ ..hal. ...pl... .,.d '0 i..clod...nit.. f.o", f VtIlcy.l.. -....... ---I ..lt.ie" .... 10 10. peopl....... .... -I '. a- ....... ,.-. is. is-. odocr.-w iII ..... ,....;.n. p<Uio,orit: .... """ ........ tho ._ to • ..". that dltloJ-. i •. JOIl people .i"in, ••ov.d!8tc:t o..r.Jflw _...-pIc&cd rho i hi..lon'. "'i""1 of <I,••i,,. The ..or\r .1 v,..... Ii«...u, .....doioor lV?- Wloon I '-tcI ..... Ifnr: foor. "Tn ph c/ .... HoncIo: I ..,..,., 19JOs. (1loo'" dItcc ..... D>CbpbarictIIy c/Iiala • [ ,ho",h,. -Thor'. I,. ru•• i. !"Tri_pIt. "' Han,'.~. I cIcada 1I .-.iJI to It.c~ that _ -w. , ...... Ipaui""" .....lIy bori.".· So. I I..d °NoII_Violu! R..i • bin rIIc ",tn1 o&.dr _1oaIf of .h. W.,41 w.n, n ;,'J d ,lIi ..ci." .bo", 1000' j(Tlt.i. I.., p.....1 fi",Ur 1 • miIo.) ..-,kte.... arc-.cnbool_ eooaId <ic;ocl ocbYC .000000ptS.1Id i.-plcud;" 1991 o.M it "'" been I' for. ri,..l of ...... '0" .o!>o i poacc;"-'Mr\ _I·""""" i.. fial •.,d d the Sovic, ...., __ Th. w U W.U i' ..,ri.d o..! .. i,1t. • ki..d of mil. .boIo, tl>c .boo i ".r....UlIioD.ju. tho c/ 1990.• t "'" '""""".It.oott .....,.. di,..,.,;o.,.1 foc ••••hno.! lik.. talk inoretot\.bwov, prcoenoo of-IITOOP of fio.,i.h ."i.n-J..h, j tn. 011 in p.... Th. ol"'"in, i. i., ,It.. ......1 na, JI"'t"'. to IoolSaaki. Sirkb.l..iiulonb.nd Ioaro ! !hi -w. Boc:t-. ,..... _ th • .,d the -11.1 • .,..' p...I, for dlc~ of· ,.· ond thtfI~hri"J ri_p.i d • p l I I"'''''i•• '01- op,..... •• thi•• pain 10, ."d '0 d lop i",•••• of i,. \\10.. I""Ii~ -DWope '" A1lCrflOa-'!~ -=u., lilrc _ oil1ioa ,It.." ......."" doc cas< tad ..... 1><••",. .l",ol! i",,,,.di...I)';.... <hi<•• '?'"~ oitlt. rho othcn, doll... in ....po. prod_••io.. d~"'hcn.cvcrpoooilt.lc, _ '1'l""'W'" lhuuftc, ..... w. pcoce I..... ~lt.iwl ..J-r IttlOIDdcloc-'<l....:lir·'oaydcor try",u-.u i' ........ i. """"" ill .... _. thitll in incH, .hu .....It ........... liOtl.tl ........, r 1. o.it.n. i".nult.l" if peod.o the proper di..ctio•. Of ........., e....w _ hw it.tuth. J"U' ,;J!I Iu.a".t!u'.........,..lboeMpuICio .....:h-...,. .. clo.o, _ rbat·._.....,..pc,.;lt.Iclooco.-c/ ...d ••,.. °Ah...c'••••bi•••dtnodcd "" ..... s....;., lhoioo.,........ ";1/ ,,"YO' ..... ""'"" _,-- dupostlibilloicle ....... fcrUo. ,..et.0 Ito...... it _ the f'I"O<B" '" 'Alai Ilqoo-,. RuoIitQ ania...... wi_ wha,', i<oot looppaood ";r!> I ,.hie.i'l • .,d ",.i.tti..,.". 0.. :~ It.td _ .... her J"-! 1990Ithe G.tIf War................... .......... eo.ld 100 (tIl< l pcrtgpI....- <jW.. tcftoomnr· <lot. itnp"~,era" ..... bthc-w. .\100. ,..... proc... of .000_ 1t.M-.....,,""'.....,.,.;,," .... 1~"Tbc End of doc T-oinh Wlt.u ,k. W...41 W.u dou . ""'l"'""iWoc the fnr: ,-,......01 i ...... _ ~""th d>o corth 'ea....,.: _ the cthilliDtlo 01 ., ll, i... i...,...~. I ro'" .... ttlb o 0 the W...u i ••d 0 '.I0"....I"F i.1t. .,.,.W...U Well .... M __•• Corky I oIpoodt; wltidt. by _m. Wei. I_doc- ·,._ ... I W.. RtttCICI <a.I<i it>. Lli

lPotIt..ltl April 1991, til oia poodt: "-I......m,cIoc,..-1:hot:aoy cemnl a...~ perilaPO'" «tItral l doiI~ .. I~ :-.. ....... irl u. Loo """""""'I ooci''l' will "YO' <0 .0_ .. ia wicIo its 1LOtio<:apo. wi<h ""'"'""' with _ I<11. p'1~u d.l. R.ou before the ood., ••••hie.-. h,ltau for. rido .--., 1t.iP col"'It.ort pcc..ll~. d .......~ ....""<!od ... w........ pu..r..1 .....Id i" ..... fo",...,.. """- tloc , friaod c/ ,\\at w ......wlle<. It -. cdailt.i. &.-... r....c .,;u....., £cor. la tbe W.IJ I i••,.. of eh Ioild·. lou. ;,/'OIily'''- political H.Jol,: ~ s.-p. bc:r .. tbc Said>- Iw... _ '-" rcdcfiooed J'CK'" <0 i cnoAtIIlIr' iaLOd and d>c --. 011 ..... 1 nutcd pileo tIi "'forlo.t.......u .. ~IGLllcry... I_........... OI'Cict:tl~l_......,....... the...,. .Adta".d ,.d''';d.;...,. w.

• ----_ ..... ----

-"'" ofdiolopes on __ le-

I the piooa .......... ""l els. I ...,,1 il '0 opcn'c _~IE-...I.WI.....Rin, .~ .,.ftidl it doc~people i" .h........101: I ......,flS:IUfWC ... be~ IIr •00' IIr' "'1' (alb.••• "-he> .. "ordaa. 1.sl-dd.1oo be I'I:IoIbblc lorlflOn oopftiIanlCd .~.~po '=J1ln ,..;tIl Incbad of n.c tlI.rd •it doc -. vioo> ..;u tud ;,~ • !T' hi!:i><'r k~cL

.. n-c """" ...diaM:avery diffct-t. ladad. doer .....diffe ....' w, •..,e'be••her__ a -..ploot for orloa.....

tryiaJ to x~...th the It·W...

10 }DC....... m. people .......... tbe......oc~.......,

m-...ti<>o:Ial, no.,"'ll>Ir in••11 1 people ..."""c..... oi Irudr ,...01__ .boIa the pIo...... '"r'"" 0."'" me ·",..,i.J of ,..-orido 1/r doc ..........thi. yc J<>eu.. felli.al...Ioe" pcopl. 'fluded ,.....fe••"c. 100"..01 ill .he W",.11 "en•• " .....cry in....Then. in tho s.o.;•• Ulli.....- • populotB.~ (.., wdie ~ upccII

dtc 10 e'e ..... "nf.mili•.h. So.i.. Union doct hI"'o..., <:allOciai .nli.. In""In Mooc o( COlIne••h.rethe oddiDoot of d>c Sarin pelIdAlai Bc:ro laJI ...... .o<Idruoa 0- """ mood> •tb.c Soviet U _. F"lfloIir.ac Piau "e la R.u. w. loa""'ori:iar"-dau ludicace. Lati"-cb tt.. .... ---. a __ the prira..,. pcOfIIc ........

io ,"e. un Los 'cI.. co......,.. ebild.e pa.......£omilia.. r<l..., dM: JOrity ..pcOfIIc hod probobty .-

..... the M....- ofC"_..~'IArtiaLao~

,............_._­~--_ ...­-.-

.......0.-1 i1Df*C. I lib ...~in arc. buolDi., ••.,. pJl[Flic:ll_T'bat'. -toy I like ....,.J paicnq­it'••~~~.-

wiUdl is -soo-"....~....en: mcy joiD • co=maai<)" of

MA What icIoca aDd idcoo i•u: bdliad ~n..ph of theI""""".. I, it ...., d>c powc.- or die I"

b..aodI.. na, obo .-a fr_ doce..- W.a I olwoyo .........- dieDck dUo fIilc .baaI: """" .....,.Iuado!ha'C arc. n-.-.Id he ~' of .. I.to..di", ,h.u: .,,01 I'd OIl'. ·.\.11 Irip.. CVU'J"Oft< J'C' in.... bi, cirdc. I MR ADd in the 10.. NfIC

S_~partbcir hondo ......' I ......~ I'II>ot IUftthcfoctl....

AIld 'he.. J'O.. ·d tee .ll ,Iocle l.odi<llCltl '0 the II-.u Wdl,n......o.rfuJ Iinl. hando, thcoc Iittl. J_ Finl.nc!. ill .\1__•

be-.. 6qcrs. 1Nbll)' lui 1uAdI.! lI'IOSf ..,.,.nd~· in Us, l..oo AnJli:m.&n,n<d whi 011 rhac Who _TC the .udi........NInriaus ~!u>d, I'd ..~.. 'Lool: did ,n.l· r..c,: Fu, • .,,,,pl•. ,.. rhac 1Iando. ..... fi"JCf_..., J""""", ~....... foy, poneil ,,,01.iaJle fi"I'" .vc..,. .i",I. loud Fi"nioh o..e fo.",.d • Io<l~e ...vhido it in dtio rrouP'~'d-""" cil"Cle .nd .c••d o••he oil< (~

of low bcinc.bIc ... _ rhcmod_ , p.... co .. (e ....co. Ire", ....... ohio ..-.y-·W. """""~ IlInd j lirai,,!!" tb.crc ~IICN"J '0 <hetbcre. We b...e -..b """... """ c>do:u>rra .bou, doc l'unrelut... lSO fccI of ll. i.'. do.... PC'" .u...!i..."" ""'.ind ,baa". au will k. ,h.... So. sp::akcn were tt.. -u..

.. ••. of...,. W..lJ. Wdl runt.. .pin. it'l • ph« eMftCd..... ",-,.nd 'o'Cfbo1 di~ fr>r\\'boll did .... .,. _ I JIll II> ICI ~. audiocn<c to c:qocncnoc.die port .. die \\...... 01 W. _I I ICC the "'Tri....ph of .h•.a.-.:I "')" __ .""""'........DCd Haado'~ • a -y -.Ie ofdocir IiaM irD&o!NmaIly,"'" u die 11'",11'", ........i..te , pa.. of ae p..............__ ~o.._kft...,..f ..-h .,. p ible, 1 d>an.acn _ tu. who oarc .. I

pbooopapll wilido IlCZ"eCO _ wUdo thuc are dolbr., te..... __ doc .1aDCC5 of lrilIIllDd n. .......... ""awUc die ..,.. will 1M:. I :ally Iikcd tfCICatiIl. ft' l'or c.umpIc,m- ......... ""JCd- .. docy ,-..,.....-..,.....,,.,.........u '0 tb.roo,h .... ,.......... of ",100 flY. oJ'.. JoOD, .......r. I'.~! ... ,.,...,.. oJ liMed pm. ... J'C' d>c _ -,..' 1:0bodies ...dcr pr...-c- """""'. u the middle ;. I dlanonc....ho ;............ _ .......... G..- W.t1 .....,;"C ... __ b.ItlOo "'to.

..-tI .., ....u..d ·iaoidttI........• ocria 01 ..adoi n.... _ "'"'ud I~ it lao 011 d>io IIOC02JC rip. d>crc ••__ Io<>b ......f'Jl'. TiIcr rnIly Iih<l ... pcrah .............nd COOlIe"'pl docirflOC anodic< ."""" I-fIClCe' "'err power. And Den '0 hcr it ..pbrsicaL So, _'01 J'C' '" d>cIc Iinca Ip"lllli.., hi. Iolndl .....r fro'" Ioi.ond ....·01 1iN: ..... ""'" die II'- if, Iood.tloo'OI'lCpenoa iom.-.. ofrt.c 1'hac w..-tJ. W.IJ ......ti....cird. ond fO p, ioI. W no< .n on....bo~. Ii",ple '<leu. ThaIJoo"od _ OW" ...... 00' fur .... imo,u., of il • tdlioJ of...,u.;",. o....)'Ofl brak in, 1""'", h_ .- """'"P pr-.;0 !he dull .Ild ..............lac;. 01 pri..... ill an ! dlIns<O..L TIre.. "" QlIt abo.., ..hat il toward bol~ t don', "'ad <U£coioliltc. Some ldclo ..... 't ........ try- idea lb... i' it • li ..pl ........<i ••il bec..,.e i, hll nch • "iJ prim... lila", co i' ,chi••a •

.. AJod i. me ·So..-v...I.,,,,It-........._e· pud. ac 1""Uo!WiDd. of W.._hic.b. _upm.-p dacolym~ ...Hc.f"-.. 6tlood dyinJ w-.lDiuileo... (..eKu .0 ......01-

~ofcllc--.l~ff"i<d ...... ke duo u n<li.t1t IS p<>o.&iblc.n.....,..l a..., io clIc it'•<U reborth of the ..... i -.-....- docft·•• w.a daiW It ....

_ud .. a--...: io .....""""'" o:bI<looooaoe ...-...,~They 1ft .....,. • ......Iu ... 1bc --1'dlcot' hold doc dli1d.. whid> is how.., i.-: ",bold d>c JOI-. bow d>c.....w boo ... t.e-- -"! bz toIN: tfCIotd wiUt doc "'"'" (m'C. So...... io d>c _pli5ca...... of wbo .. Y-. n."..... ofw. B­io bciBJ born It the "'omct>, a"'" ICn;lOO d>c ..,. of d>c poia....... bi,<I.e ",.le .,,01 femalc lool...ce-- nri.rio of nd ...d__lCt\I.~J1)"_¢ut.."..n.:r they t.J.ncc the fit< of the Cf'C<:D bon that 01_ rcocIo like •-- IbUd: oa. .. it.1ooD IUc .......Jt: of

blood .ac! oil. I,'. like I ri~ ofMA A..d d.e ·Tri..",ph of .he wi"d blowi"J .ero... I.adscoopcHurt', Ho.. did thcoc .......u.c I ,,,01 i' .-ou.ld fill ,. but in front­i""Jco eOIDe .Oou.;-d.e Ji.." j kccpinr the "Cuodo contlinctl-1refoea of the thru ............. ond the I' riell of lup 5prcJ "ith dWr_ ....n (t!le Indio" ..,:th bni<kd linhd 'oJed.... n. londhai.], ..100 hold nndl,..••nd ..loa whicl. chq ',e p1'DtcctinJ io I""'""'praeR' the cliff.:rent '-'" of d>c I oM l>ca...m.l. Carr-- ...tel'. rich....mol. And ,he l"'..UlJ l>1Ick mole I J"'I'C"-tipe ..ho NO off .... hi. i<>un>cl' i.ttolDp.aied by IIi. G.ndhi. 'I" Tl>e otniIo.iare- of the....010... ae .",.11 fi,..n OD the 6pa ..... booed ....p"~._.~ '"""" ..ma. ,D~ him.,ODd "'" dlra......., Ikr n.u of dieW ..... ofW•.

.. TIre ilDalel ca• ., ..... of...,.;., '0 ... lr.c • colte;'e <:I'e­lori ... tio. of doe ~...e of~J~_~

tnNf-..ti-. TIroe ID..........

poIa' i <laC a.1 to -..h I

pc 1 d.oiee-...d w, i. ia.1 ,.. • diffi.,.,h o.c....01 i.'IUI""" _ AKrilka of yo...--..if,.,.. <:boo.- II> be .........'JC.' .... to In~ she world- i .. I

.............. ,.. "-'" it. "Theprocao I bdi_ it tlo.at ,.... ..._fin. _ ,......U .. ItO iDdioidul>ad d.c. )"0" ....... join wimhiuonal prccaM_ 1ooltiIl, ...""". odo... people b.>.... do<>c. ......,II... rag ...... join ...id. IheeO"'III....i.,.. I" ·Tn ph of m.H.....• "'" four &,....,. d>o Icft-........ on~ ..... eocb b.oldo• IiJh,-. a ..dl_aocl thco 0 ....

dI.onct.:r "'I1b .....~ ..... path~ he will &nd _ ocr diebon.- ............ hi... U>d thcD, ofc:oonc. <bey will CO doc oat IU'd

J. Corn••~"..h ond b......rho..... 'he tloree pl.a.. ,10..

--......nr ""'"' wido .... ItlOI:l>c< ...>do • ...,. thor dIcJ' <qIlcniaII doc",I. nen tben .re icc pbaQ.hido 're "'y- ......,; .... IIld hich-., lrloooninI 0UIIidc my at

he ,;".. I .... pain';,,! thiI pond.rhe'. arc ""cch'"i .,,01 red.hb b ,he, Ife ...orJ'o nd •••..,...hi", i.""'"'" 6e<p, dorIl urtb. Ab.o:wo<ntbe""""'ond ...... which_1I~ a-. an::bc<ypical icna,... forlC ........... female. n. _ io

, 011 ill ea...,c. """ m.n it doc

.. w...., yqeQbk. U>d plaaa •~te .here ill1 tile ......~I .,,01 ..'lolldxated <hat dooOcE?

-0<1" If • alt. I. "'y- p.ocI. u.....sa..c 01 ......,. in.dicotcS duo. ..,...;.y otlbe worid ;. 6Dcd

....idt. ....... ,......,u...-...,.......,

...... W. IY"C p

..........hcn. _ ;.r CaIifaroia.

W.· b_ .... if ..c ph....d.ont'CUy,..., coaId rcplCDillo the-OIlil.-v-.We "'"_u... ...bib: ..-yrbuIc ...... doc ..a. IIOd.'.b.co PO" all u.-~ boot.............._cml=p~--

• ".Sad I.i' * ;- t ..- .'--.',·'s .' ."...

,.. F........ ...,..,,;a oi "'" !w""" Weol1. _ /O.,;,,;<O<! I........" ..m~_Fi.ol d <1 'It.e Is....;.. U ..i""_",, .li k.d !lOTS di.....u ..i.1t. 'n, i~~ ru. ..,pI il !""'" pIoooo.. Do u- '"'-' r_ the ··wori~ ,.,..--- !.. \'-.~ aniou 1oa_ .... 1........ 1 ..~. bot they'..,_ ..,... .. d-.I ...,. ie ioIIoaaody,

TMy "";.J ....U___, i< 10 tha' .-. .....t:..-ld , be ... cnawoa ol.... IIOL ndoct. <bey .... comiooS.., ..ilb .b.ir .-iCl".....cliff p lo tIt.o. coBI.

fto ....,........". th.......... ..,.- oi "Thore ...opodAc: TIyIco oi paiM>nJ: thor .-d• iolIow "'" the ......... _ ...

............................... lIlitId.............,.-.

.. V... f t.bip •.II.e. W

....w. ... doo paad oM dooyloa..., • -..Do p<riood of ti.... r..wo.k.. 1 .100 off.. to "dp t\l.e.fioiQ if...,. belp.her weorri... i.. lb. co t.,.. f •.,. ,,,orpai... cerni.. ..-tilloi'1 by~,. ...... the..- poiato...d ~"Io.. nd IOlIJe..i ..s ...."........~......,.,....,. ..- .... impoIlI> -r...i<I­oad I don'• ....., u-n '" loa.... row........... <hiafs Iiltc ....L So, thor.... ,b. di••ate f .It.e plt.r.;e.1e '".i f .It.e .....k••h.'-110 .,..--. <IC.-bv< otIMt

rcaIly .... Dl m, n";'e thinp. Ilike HOiAJ c.,...... i .. tho ......_ d>oy~.-

....ct. yo. b It i ,.. •-......r 00iD<0< ..........., dM:N ..................... _ ..~doqbooc

.. -.h.-.SO..... doqant .. _ colUbon,"", P'O"P ia

..b.ido d>cJ "" po", .~ I,. be •....... a. &£1,.. ....... tIM ....II ••d bear 011 <bnc.....-n.I olio<-"" m.,. lIII.&Ioo............... T:IIe:o Ihc __Iot...t Dl iaIonoolliOll~ f..-.,.,..J•• "",ple ..10 .. ha li..c<I""""'P .. period. no on.!p " ••~...... r .....l'<'r; ~.1

i"f i.." .11... eo" ' be......I .. G ...d.lupe••.11. ..

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-.....,... =_,T,

Towards a World in BalanceA conve=tion with Judy Baca: Part 2

SVNDRAAOTH

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....•

Judith F. Baca:Community and Culturein the United States

]UDrrn F. BACA is known nationally and internationally as a muralist and apublic educator and has taught in the University ofCalifomia system since1981. Her commitment to community-based an m3king led her to found.along with filmmaker Donna Dieteh and artist Christina Schlesinger. theSocial 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 ofpublic an in the Los Angeles area. buthas also provided a space for the images and voices ofpeoples ofcolor. Shehas coordinated two major citywide mural projects in Los Angeles and hasorganized, along with the staff of SPARG, symposia and exhibitions thatdraw attention to the multiplicity ofcultures that make up the greater LosAngeles area and the nation at!arge. Her mostfamous mural, The Greal WalloflAs Angeles (1976-1983) (Figures 1,2, and 3) extends for almost haifamile along a drainage canal in the San Fernando Valley and documents analternative history ofCalifornia, one thatacknowledges 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 ofBaldwin Park,just eastofLos Angeles (Figures 5 and 6). She has also takenthese skills and applied them to an international project, The World Wall: AVuion 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 panelspainted by artists from the host countries.

I first met Baca in 1988, when I invited her to speak to a women's studiesclass I was co-reaching at Pomona College. I was impressed by the nature

•-

•,,•

K'"-s StsuDa. 1996Vol 25, pp. 215-%117Reprints anilab&e direc:dy &om the:~Ph"""""yin, pamiaed by-.. oaIy

•C 1996 OPA (On!neas Publishc:n&soriaricm)

Amsrerdam B.Y. puNished in The NetberiaDdsUDder 6cazse by Gordoa and Bn:::ac::b.

ScicDce PubIisbcn SAPriDccd in~

216 FRANCES POHL

. ".:::••j':

-::~.:,- .. •".. ::,1

- .~

Figure I 77uGrt4t Wallo!LosA",elG.1976-8S,aaylic:oDconacte,lS·x2,43S·, TujungaWash dninageanal. San Fernando Valley. Group photogn.ph. summer 1981 (JudithBac:ain center orforeground group.)

In a December 1993 interview ofa Bill Jensen exhibition for the Y"l1lag.Voice, PeterSchj~wrote: '~ere is DO art community, only more orless an art ,society.,::" .. Society is formal. Community is soulfuL Many inthe artw"are so soul-starved they convince themselves ofbelonging toa communitywhen they rea11ydon'L The art world is a fairly savage social. -.

•

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.

JUDITH F. BACA 217

and economic zone where values are always in doubt and often in con­flict." What has beenyour experienceofthis "savage" society and wheredo 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 communityand uses this language in such a way that people, particularly srodents, be­come extremely confused about professional group life. They talk about aprofessional group life as opposed to a community, which I would definemore as a group ofpeople who have shared values, mores, perhaps share ageographical space in which they have to live in some way in relatednessand 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 ofinscantly disconnecting people from where they came to engage in the cre­ation ofwhat is called a -universal aesthetic." and that"universalaesthetic"is essentially a western-European aesthetic and it's very specific. It's ge0­

graphically specific, ethnically specific. It's intellecrually specific. And yetwe call that "univerul" and what happens is that people become very iso­lated. Right now we are recruiting the creme of the crop from our ethniccommunities, for example the Chicano community. We're recruitingCalifornia students or people out of neighborhoods and we are puttingthem into the university and, as we recruit them and bring them in. wefoster the disassociation from their origins. We say to them, "this is thehighest form of achievement." It was put to me repeatedly-the highestfonn of achievement is to disassociate entirely, in totality, from where Icame from. This means that, essentially, we're talting California taxpayer'smoney to recruit Califox:ma.swdents out of California neighborhoods sothat they will never address the most salient issues. the most diflicult andincredibly troublesome problems. We take the best of them and we takethem away. Essentially we're doing a brain drain ofthose places, so that wecan never solve the problems that plague those communities. We have acontinuing cycle offeeding people off into this never-never land or non­space ofprofessional group Jife. Basically what it means is we serve corpo­rations with those people. Those kids never come back to where they camefrom. 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!>dofimaginable1@odyiflwouldleaveandevengotasfarastellingme rm afailure because 1 haven't.