In 1976, Judith Baca began work on
The Great Wall of Los Angeles, a half-mile-long series of murals located in North Hollywood.
The Wall addresses discrimination against, achievements of, and the struggles and histories of marginalized groups. Baca and community members continue to add to the mural today, ensuring that noteworthy events are documented on
The Wall. Originally, Baca’s project was intended to rid Los Angeles of an eyesore: the flood control channel. The Army Corps of Engineers decided that Baca was a qualified candidate to lead the beautification project.[1] With the help of Baca’s own organization, the Social and Public Art Resource Center (SPARC); governmental agencies; individuals; businesses; and the community, Baca devised a plan to produce the mural and attained financing through the Underrepresented Community Grant Program.[2] Baca’s unprecedented project remains one of the most influential and empowering murals for underrepresented communities.
In a series of murals that depict events beginning in 20,000 B.C. and ending in the 1950’s,
The Wall casts light on minority contributions, achievements, and struggles in a narrative format. For example, Ulysses Jenkins’ 1976 mural, 1848
Bandaide (fig. 1), depicts Gold Rush scenes from a Black perspective. He illustrates the discovery of gold at Sutters’ Mill and the migration of Black individuals to California by ship. While many White 49ers profited off the gold, Jenkins notes how laws restricted Black individuals from making claims. In another section of
The Wall (fig. 2), artists expose the discrimination Black musicians faced during the 1930s Jazz Era -- from not being able to enter White hotels to having racially segregated drinking fountains. Although
The Wall portrays many historical hardships, it also highlights African American achievements. For instance, a panel (fig. 3) within the 1940s section tells the story of Dr. Charles Drew, who invented blood plasma.
The Wall is unique in its ability to cover the extensive history that pertains to a large variety of underrepresented groups. Although only three sections directly address Black content, they have been successful in changing the discourse surrounding Black history because they tell stories through a Black lens.
The Wall introduces viewers to African American achievers, whose names are often left out of history books.
The Wall of Los Angeles continues to give back to the community today. Baca tries to divert young children of color away from any gang involvement or graffiti through programs that encourage young people to help maintain
The Wall. Due to its placement outside,
The Wall constantly needs thousands of dollars and community support in order to keep its superb condition.[3] In directing children toward art making, Baca not only gets children out of danger, but also helps them learn about their history and the power of art.[4] Moreover,
The Wall, which has been declared a National Historical Site, draws thousands of tourists a year.[5] The revenue that is introduced to Los Angeles through
The Wall is funneled back into minority communities and increases public education about Black history. Baca claims that,
The Great Wall of Los Angeles is “...a dream come true because it’s going to be done in my lifetime. I put the Great Wall in the humblest place—what people called the sewer, what had become a place for trash. But I thought, What if we put a resilient and powerful voice inside of it? And from that humble place, we had a powerful voice.”[6]
Notes
1. “The Great Wall - History and Description,” SPARCinLA, accessed April 7, 2021, https://sparcinla.org/the-great-wall-part-2/.
2. “Great Wall of Los Angeles (Mural),” U.S. National Park Service, accessed April 7, 2021, https://www.nps.gov/places/great-wall-of-los-angeles.htm.
3. Risling, Greg, “Mural Restoration Paints Bright Future; Art: Supporters are raising funds to update the historical timeline on the 'Great Wall of Los Angeles.': [Home Edition],” Los Angeles Times, October 30, 2000, http://libproxy.usc.edu/login?url=https://www-proquest-com.libproxy2.usc.edu/newspapers/mural-restoration-paints-bright-future-art/docview/421561850/se-2?accountid=14749.
4. Bajra, Emina, “L.A. River's 'Great Wall' Redefines American History,” Patch, September 12, 2011, https://patch.com/california/studiocity/the-great-wall-along-the-la-river-reflects-american-history
5. Villafranca, David, “‘The Great Wall of Los Angeles,’ el muro que ama la diversidad: EEUU ARTE (Crónica),” EFE News Service, September 29, 2018, http://libproxy.usc.edu/login?url=https://www-proquest-com.libproxy2.usc.edu/wire-feeds/great-wall-los-angeles-el-muro-que-ama-la/docview/2113875683/se-2?accountid=14749.
6. Maximiliano Duron, “Judith F. Baca’s Iconic ‘Great Wall’ Mural Gets an Update, Thanks to a Major Grant,” ARTNews, February 21, 2021, https://www.artnews.com/art-news/news/great-wall-of-los-angeles-judith-f-baca-mellon-grant-expansion-1234584587/.
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Becker, Maki. “Artist, Film Crew Argue Over Mural; Dispute: Noni Olabisi says her tribute to the Black Panthers’ legacy was damaged after she denied permission for it to be used as a movie backdrop.” Los Angeles Times, April, 1996. http://libproxy.usc.edu/login?url=https://www-proquest-com.libproxy2.usc.edu/historical-newspapers/artist-film-crew-argue-over-mural/docview/2047705974/se-2?accountid=14749
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