Form and Power: Black Murals in Los Angeles

Cecil

Wyatt Richard’s Cecil is a tribute to prolific art curator and Watts native, Cecil Fergerson. Cecil Fergerson is most recognized for organizing small art shows at the Watts Towers Arts Center, with the main purpose of teaching African American history to the youth. In addition, Cecil led the artistic initiative in the community, hosting the Watts Summer Festival for nearly a decade, encouraging young artists to to learn and share about their African roots along with him. Although Cecil began his artistic career as a janitor at the Los Angeles County Art Museum (LACMA) in 1948, however he quickly worked himself through the ranks teaching himself Afro-centric culture as it related to the art exhibitions at the museum, and by thus showcasing his talents earned him the title of “Community Curator” in the city of Watts, which granted him the ability to create mural projects within Watts for the benefit of highlighting the communities culture through art. Afrocentrism focuses on the traditions and culture of African Americans to positively reflect cultural values. Richard happens to be one of the many artists, whom Cecil mentored and inspired. To that effect, Richard has said, “The mural pays a tribute and appreciation to Cecil, that he would never ask for.”

Richard’s large depiction of Cecil demonstrates how the mural functions to establish Cecil as a face of the community and also displays gratitude to him for everything that he poured into the community, from hosting an annual art show for the children to teaching his own art classes on technique which hold to be very significant because it introduced and spread an interest for many children in the community that would later go on to reach new heights within the art world, all thanks to Cecil. Despite the noble depiction of Cecil gazing back at the viewer, the crumbling and cracks along Cecil’s face reveal erosion to the mural that has occurred over time. Richard utilizes many geometric patterns in the design of the collar on his clothing, to the series of rectangular patterns seen on the architecture behind him.

Written by Randy Medley Jr., c/o ‘24

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