At that time In the summer of 1970, Baca decided to create a mural in Boyle Heights in order to bring community together. Judith Baca is a Mexican- American artist and activist that has been working in Los Angeles, California as a professor in the fine arts at UCLA (University of California, Los Angeles) for over 28 years (Simon) . Baca also began to work on the mural without permission from the city or the manager of Hollenbeck Park, which engendered questions from her supervisor and other city officials.Despite all these troubles, Baca wanted to finish the project. There are restrictions for re-using this image. Perhaps even more importantly, Baca's Citywide Mural Program strengthened community and gave people a sense of purpose.On many levels, Judy Baca's art is feminist. On the other hand, identity is personal, and only Baca has the agency to identify herself and her art as feminist.Their first project was on three walls of an outdoor stage in When she returned and began this project, Baca made the explicit decision to involve people from the community that represented voices that have been historically marginalized. Through her art Judith Baca tried to demonstrate ways in which public art can create alliances within a marginalized community and also serve as an advocacy for social change … At the beginning of the mural project in 1976, Baca began work alongside 80 young people who had been referred to the program by the criminal justice department.Baca wanted the project to be done by people who were as diverse as those to be painted. She would find her next job at the Los Angeles Parks and Recreation Department. Her students were not very friendly with each other, and she thought she had an idea about how to teach them to cooperate with each other. She was also part of a group that successfully preserved her mural,
"After the murals she was offered a job in 1970 as the director of a new citywide mural program. Inspired by feminist artist Judy Chicago, who encouraged Baca early to be the keeper of her own history, Baca was one of an early 1970s cohort who not only documented their work but also put in place the idea of archiving as a feminist practice in and of itself. Farewell to Rosie Riveter- Judy Baca. One day a city official came to the park because he had been getting complaints about the project. Her teacher would tell her to go paint in the corner while the others studied. Some were scholars and artists, but the majority were just community members. With the arrival of feminism in the 1960s and 1970s, the widely held assumption that women couldn’t be professional artists changed radically, altering the world of contemporary art.
The processes behind the images that Baca created are equally powerful—Baca's premise in her artistic process was to involve disempowered youth in order to evoke a sense of community and enable growth. For more information, visit the Smithsonian's IIIF provides researchers rich metadata and media viewing options for comparison of works across cultural heritage collections. Her new job was teaching art for a summer program in the city's public parks.
Baca’s "Las Tres Marías" (1976), which features life-sized drawings flanking a mirror, invites viewers to see themselves in relation to two defiant Chicana urban personas, a zoot-suited 1950s pachuca and a 1970s chola.Join the Because of Her Story community. Visit the IIIF page to learn more.
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