MCLA NEWSLETTER

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Volume 9, Number 3 -- Fall, 1998

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IN THIS ISSUE:

Susana Bautista: Revised Second Edition of Dunitz' Street Gallery

Robin Dunitz' Regular Column: The Newest Murals

Orville O. Clarke, Jr.: The Destruction of the Murals at the Ebell Club

Nathan Zakheim: A Conservator's View

1999 Bus Tours Postponed Until Summer to Develop Video

New CAC, L.A. County Arts Commission Grants Aid MRP, Web Site Development

Request for Qualifications from Mural Artists

Five years after publishing the first edition of “Street Gallery: Guide to 1000 Murals,” Robin Dunitz has now released the revised, second edition that includes more than 200 new murals created during the last five years, murals newly discovered by the author, and critical new issues in mural conservation. The revised edition has kept the same easy format with detailed street maps of 22 different areas in Los Angeles. In her Introduction, Dunitz admits that despite her intentions to include both a history of Los Angeles murals and a comprehensive guide book in this revised edition, her search for new murals and artists "took on a life of its own." It is this fervor for new discoveries, however, that defines the new edition, although never at the expense of their history. Her first chapter, "The New Deal Art Projects, 1933-1943," gives an important historical context to later murals, but the following two chapters reveal her concern for new murals (both newly discovered and newly created) and current issues in mural conservation.

Front cover of Robin Dunitz' "Street Gallery", the new second edition, now available in paperback.

In the first chapter, Dunitz describes the regrettable demise of the 27-year collaboration between well-known local artist Millard Sheets and Home Savings of America that produced numerous mosaic and painted murals. With the 1998 acquisition of Home Savings by Washington Mutual, many branch offices will soon be closed, thus placing the respective murals in jeopardy. Dunitz ends this chapter with a plea for consideration of the fate of this "now historic art." Dunitz also discusses the controversial whitewashing and subsequent repainting of Graffiti Pit in Venice Beach that occurred respectively in January and August, 1987. Graffiti Pit was widely recognized by both the local neighborhood and art community of Los Angeles as a "constantly changing gallery of spray can art," as Dunitz states. The recreation of this historical site was perhaps less spontaneous than its creation, with guidelines, community meetings, and approval of final images by city officials, but the event reaffirmed the important place of spray paint and graffiti murals within the mural history of Los Angeles. Dunitz briefly describes the beginnings of graffiti art in Los Angeles ghettoes and New York subway cars to their mainstream arrival in the mid-1970s in both cities, as well as the development of technological innovations that contributed to their transformation and acceptance. Although Dunitz' text comprises less than a tenth of the entire guide, it provides first-time readers with a short history of murals, and gives updated information to readers more familiar with the murals of Los Angeles. The revised guide is an indispensable tool to anyone interested in the artistic wealth and diversity of this city. From internationally reknowned artists to community groups to self-trained local artists, these muralists have created a vibrant public art that speaks to everyone. Dunitz praises the spirit of these artists, noting the important role that murals play in society today. The artists' names are highlighted in each mural citation, and 45 pages are devoted to separate biographies for each artist at the end of the book. Dunitz believes in the ability of murals to transform people and communities, particularly community murals. This is the driving force behind her fervent search to constantly revise and update the guide. "They [community murals] provide a vehicle for venting anger and frustration, and for expressing love and hope," says Dunitz in her Introduction. Adolfo Nodal, General Manager of the City of Los Angeles Cultural Affairs Department, contributed a Foreword to the book in which he also briefly describes the history of murals in this city from 1912 to the present. As he writes, "Because of the city's rich and diverse heritage, its temperate climate, ethnic mix, and extensive neighborhood involvement, murals are an integral part of cultural expression in Los Angeles." The Cultural Affairs Department has played a crucial role in supporting the conservation of murals through grants and the creation of new policies, and Mr. Nodal recognizes this revised edition as a "long needed" comprehensive guidebook to our city murals.

DUNITZ BOOKS ARE ALWAYS AVAILABLE FROM THE MURAL CONSERVANCY

Robin Dunitz’ new edition of “Street Gallery” is just the latest in a growing catalogue of fine books she has published about mural art through her own RJD Enterprises. It is available through the Mural Conservancy for $20 along with “Painting the Towns” (see cover photo, right), $35, and three mural postcard books, “Los Angeles Murals,” “L.A. Murals by African-American Artists,” and “California Murals,” all priced at $7.50 apiece. Call or write MCLA for a complete Gift Order Brochure. Orders should include $2 for shipping; as always, MCLA members take a 20% discount.

L.A.'S NEWEST MURALS

by Robin Dunitz

The following new murals were completed through November. If you want your public to know about your newest mural, please send the information, along with a picture if possible, to Robin Dunitz, PO Box 64668, Los Angeles 90064. Or you can call (310) 470-8864.

Eliseo Art Silva, assisted by Sybil Grinnell, “Toward a Better and More Beautiful World (a shenere un besere velt),” The Workman's Circle/Arbeter Ring, 1525 South Robertson Blvd., Beverlywood (West LA), acrylic, 57' x 20'. This mural is L.A.'s first tribute to Yiddish culture. Its various themes include Jewish holidays, education, immigrant rights, support for labor, social justice, struggles against fascism, and the Yiddish language. Among the figures depicted are Yiddish writers Sholem Aleichem, Mendele and Peretz, labor and human rights activists Emma Goldman, Cesar Chavez, Martin Luther King, Morris Hillquit and Chiune Sugihara. Alma Lopez and Noni Olabisi, “Education is a Basic Human Right,” Angeles Mesa Branch Los Angeles Public Library, 2700 West 52nd Street, South L.A., 11' x 25'. This collaboration depicts two important desegregation cases in the U.S. featuring African American and Latino families. Yreina Cervantez and Alma Lopez, “La Historia de Adentro/ La Historia de Afuera (History From Within/History From Without),” Huntington Beach Art Center, Main Street, Huntington Beach (Orange County). 14' to 24' high x 105' long. Shows the diversity of Orange County communities.

Eliseo Art Silva, assisted by Sybil Grinnell, “Toward a Better and More Beautiful World (a shenere un besere velt),” detail, The Workman's Circle/Arbeter Ring 1525 South Robertson Blvd., Beverlywood (West LA) Acrylic, 57' x 20', 1998.

Tim Fields, Untitled, 110 Fwy at Exposition Blvd., South L.A. Fields was assisted by volunteers from the Crippled Children's Society. The artist's 40th group mural. Tim Fields, “Splish Splash,” 6655 Santa Monica Blvd., Hollywood. Fields was assisted by 60 volunteers (3-50 years old). Underwater seascape. Tim Fields, “Swing Into Your Future,” Salesian Boys and Girls Club, 3218 Wabash Avenue, City Terrace. Fields was assisted by 40 volunteers; acrylic, 20' x 60'. The characters are swinging from the 'tree of knowledge' into their careers. Represented are health care, the arts, sports, science/technology and ecology. Tim Fields, “Garden View,” Grace's Place (drug/rehab center), Santa Fe Springs. Fields was assisted by 10 volunteers. 10' x 50'. Done in 3 hours for United Way's Day of Caring. Pixie Guerrin, “Flower Dance,” 8th Street at Wall, Downtown L.A. Acrylic, 70' (wide) x 10' (high). Figures dancing and jumping among flowers of many varieties. Sacred, Untitled, St. Louis and Goodrich, City of Commerce. Spraycan.

Hope L. Garron, “Untitled,” Director's Sound, 1150 West Olive (at Virginia), Burbank, 20' x 50', 1998.

Hope L. Garron, Untitled, Director's Sound, 1150 West Olive (at Virginia), Burbank. 20' x 50'. Portraits of 75 directors who have used this recording studio. Elliott Pinkney and Ricardo Mendoza, “5 murals,” Orizaba Park, Orizaba Avenue at Spaulding, Long Beach. Pinkney and Mendoza were assisted by Lee and Huntington Elementary School students, 28 Summer Youth Employment Training Program participants and 8 Cherry-Temple Neighborhood youth artists. Tim Fields, “Zeus and the Nine Muses,” Wilshire Crest Elementary School, Olympic Blvd. at Sycamore (one block east of La Brea), Mid-city L.A. Fields was assisted by 26 fifth grade volunteers. This is the artist's 50th group mural in Los Angeles.

Mear, Moses, Fever, Yem, and others, Untitled, La Brea Ave. and Pico, Mid-city. Spraycan. Mear, Crush, Saber, Untitled, Melrose and La Brea, West Hollywood. Spraycan.

Eva Cockroft and Alessandra Moctezuma, “Homage to Siqueiros,” Self-Help Graphics, 3802 Cesar Chavez Ave., East Los Angeles. Cockroft and Moctezuma were assisted by Gabriel Galan, Jaime “Vyal” Reyes, Silvana Paredes, Chris Pizano, Daniel, and Miriam del Solar. Title lettering by Chaz Bojorquez. Based on Siqueiros’ “America Tropical.”

Eva Cockroft and Alessandra Moctezuma working on “Homage to Siqueiros,” Self-Help Graphics, 3802 Cesar Chavez Ave., East Los Angeles, 1998.