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Great Wall Institute: The Process of the Great Wall of Los Angeles

1993 "Return to the Light" By Charles Freeman (Freeman is a self-taught artist. He moved to Los Angeles in 1974 while active in the Black Panther Party as an organizer. )

Carlota Park Apartments 227 East Avenue 41 Highland Park. The mural depicts to prevalent social ills: the senseless killing of young people and homelessness. The shaman in the center represents a healthy state of wholeness. Cesar Chavez represents vision being focused. The elderly are symbols of rich experience and wisdom. The spirits of Pancho Villa and Zapata are there to signify strength and courage. The mural’s title refers to the role of the spiritual in finding solutions.

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1. 1987-90 Operation Hammer Samuel Momodu (BlackPast): “Operation Hammer, a law enforcement program by the Los Angeles Police Department that began in 1987 was ostensibly an attempt to crack down on gang violence in Los Angeles, California. Many critics, however, saw the operation as racial profiling because it targeted the city’s African American and Hispanic youth. The origin of Operation Hammer can be traced back to the 1984 Summer Olympics which were held in Los Angeles, California. Under the supervision of Los Angeles Police Department (LAPD) chief Darrel Francis “Daryl” Gates, the LAPD expanded gang sweeps during the Olympics ostensibly to protect the tens of thousands of outside visitors and Los Angeles residents expected to attend the games. Many of the events were scheduled for the Los Angeles Colosseum located in South Central Los Angeles, a major area of gang activity. The main areas the LAPD targeted were South Central and East Los Angeles and the tactics used included mass arrests and detention of suspected gang members.”-
2. 1990 Justice for Janitors Article: https://www.kcet.org/shows/departures/justice-for-janitors-day-marks-25th-anniversary-in-l-a -A critical chapter in U.S. labor history - On this day, back in 1990, over 400 striking janitors, primarily Central American immigrants, members of Service Employees International Union (SEIU) Local 399, demonstrated peacefully in an effort to improve the living standards for their families by unionizing their employer International Service System (ISS), the contractor responsible for servicing most of L.A.'s office buildings at the time. The demonstration followed two weeks of intense organizing efforts by janitors and took place in Century City, a region in west Los Angeles that houses corporate office towers of the wealthiest businesses in the country. At first, the rally appeared to be another event in line with the organizing efforts of the strike, yet, this particular rally propelled the janitors' struggle to the national spotlight when members were confronted and injured by fifty police officers who were equipped with batons. In total, 38 janitors were injured during the incident, and many were arrested during the altercation. The violent images quickly began circulating across media outlets across the country and led to an increased public support for the janitors cause. Rather than back down after the confrontation, janitors remained on the streets and were eventually joined by over 2,500 supporters and prominent leaders, including Jesse Jackson, who publicly decried the meager wages janitors were earning at the time -- some as little at $4.50 per hour. The janitors' dedicated efforts, coupled with the widespread community support and the public outrage over the police brutality, resulted in janitors receiving an increase of wages over $2 per hour, full family health coverage, and the ratification of a union contract with ISS. "Our efforts that day and all of the efforts leading up to that action, represented a fight for dignity and respect," explained Jose Garcia, a janitor who was present at the march on June 15, 1990, and still services the industry today. "On this day we finally had a voice on the job and we were able to show the nation and the world that we were on the side of justice." Garcia further explained that prior to this victory, janitors in Los Angeles did not have any control over working conditions, low wages, and were subjected to numerous abuses by employers. Since then, unionized L.A. janitors earn between $12-$14 per hour, and form part of SEIU-United Service Workers West (USWW).
3. 1991 American Baptist Churches (ABC) Settlement Agreement
4. "Marc Chagall Comes Back to Venice Beach" by By Christina Schlesinger (1991) Located at Israel Levin Center Venice Boardwalk. The mural employs imagery from the Russian-Jewish painter Marc Chagall superimposed onto the Venice Beachfront. At the far left a rabbi is holding a torah on which is written, in Hebrew, the 5th Commandment, “Honor Thy Father and Thy Mother.” A Chagall bird leaps from the flames and leads the viewer’s eye into the main section of the mural, where various characters and images from Chagall are placed onto the Venice Beach and boardwalk. A rabbi with a small rabbi standing on top of his head, indicates the many generations of teachers in Jewish history. Next to the fiddler on the roof the viewer sees the non-Chagallian character, an angel on roller blades representing contemporary Venice beach. He stands beneath a candelabrum of seven candles, referring to the seven-branched menorah and the extensive use of light in Jewish religion and culture. At the other end of the mural is a poem about overcoming obstacles called “Roots.” It is written by 95-year-old Dora Bayrack.
5. 1991 Rodney King is seen leaving LA County Jail on March 7 On March 3, 1991, King's savage beating by Los Angeles police was caught on tape by a bystander watching from his balcony. LA had a long history of police brutality, but now we were all witnessing it first-hand on our TVs. Watching the beating was especially jarring for me because King and I had grown up in the same Pasadena-Altadena community. We'd gone to school together. We weren't close, but I knew him — who went by Glen, never Rodney — as a gentle, friendly kid. The four police — Sgt. Stacey Koon and officers Laurence Powell, Theodore Briseno, and Timothy Wind — went on trial the next year. Adding to public anger, the trial was moved from LA to Simi Valley, a predominantly white "cop town" northwest of the city.
8. 1992 LA RIOTS
9. "To Protect and Serve" By Noni Olabasi (1992) Located at Moe Hair Salon 3406 11th Avenue Los Angeles. This history of the Black Panther Party was originally selected as one of SPARC’s Great Wall Unlimited: Neighborhood Pride Murals. However, after opposition and political the conservative City Arts Commission, the mural was turned into an independent project and funded with private donations. The left side focuses on personal and institutional racist violence toward African-Americans. Depicted are images of the Klan and Bobby Seale bound and gaged, as he was during the Chicago 7 Trail of the late 1960s–above him is judge Julius Hoffman who presided in that case. Huey Newton and Angela Davis are also portrayed. The right side of the mural emphasizes the Panthers’ social projects, such as the Free Breakfast Program. From the mural: We want an immediate end to POLICE BRUTALITY and MURDER of Black People! We want land, bread, housing, education, clothing, justice and peace. All power to the people! A special thanks is offered to Hair Expressions and the community for their war and loving support.
11. "Freedom Won't Wait" by Noni Olabisi (1992)
12. 1992 Chinese Student Protection Act
13. "Calle De La Eternidad" By Johanna Poethig (1993) Located at BBF Broadway Building 351 South Broadway (at 4th St.) ARTIST Johanna Poethig was raised in the Philippines through high school and has lived in Chicago, San Francisco and Oakland since coming to the United States. Poethig received her BFA at the UC Santa Cruz and her MFA at Mills College (in Oakland, CA). Her public art works intervene in the urban landscape, in neighborhoods, on freeways, in parks, hospitals, schools, homeless shelters, cultural centers, advertising venues and public buildings. ABOUT THE MURAL “The architecture of the building really affected me because it’s so high off the ground and so much of the background is all those buildings reaching to the sky. Also, the whole context of being in Broadway, in a very Latino neighborhood, is so important to me. I started to look for symbols and artifacts from pre-Columbian America. The arms that are reaching to sky based on Peruvian gold work. The Aztec Calendar contains text by Octavio Paz about time and place. It’s trying to bring poetry to the idea of being at home and in exile at the same time. In the middle of a commercial LA landscape you have something that is talking about connecting us culturally and historically to our past and present.” -Johanna Poethig
14. "Breaking Bread/ Not Somewhere Else, But Here" By Daryl E.Wells (1993) Located at National Council of Jewish Women 543 N. Fairfax Ave., Los Angeles, CA West LA. This mural emphasizes the themes of community service, social actions and education that the National Council of Jewish Women of Los Angeles endorses. Wells depicts influential and prominent women of varied ethnic backgrounds building community and sharing struggles through the act of “breaking bread” together. Furthermore, it is both homage to the women it depicts and also a gesture to the community in support of multiculturalism. The women depicted from left to right are: Betty Friedan (author and activist), Barbara Boxer (senator), Hannah Senesh (poet and holocaust rescue mission fighter), Dolores Huerta (United Farm Workers Union co-founder), Lee Krasner (artist), Barbara Jordan (congresswoman and civil rights worker), Emma Goldman (anarchist and labor rights activist), young woman of the Ethiopian Jewry, Aung San Suu Kyi (elected president of Burma, was put under house arrest), Lillian Hellman (playwright), Rigoberta Menchu (Guatemalan human rights activist and winner of the Nobel Peace Prize) and Hannah Solomon (founder, National Council of Jewish Women). “Not Somewhere Else But Here” has been written about by scholars and art historians since the 1990’s. Paul Von Blum, a respected art historian, published an important article on it with the University of Wisconsin shortly after its creation.
15. 1993 Bill Clinton signing the National Voter Registration Act (Motor Voter Act)
16. 1993 "Return to the Light" By Charles Freeman (Freeman is a self-taught artist. He moved to Los Angeles in 1974 while active in the Black Panther Party as an organizer. ) Carlota Park Apartments 227 East Avenue 41 Highland Park. The mural depicts to prevalent social ills: the senseless killing of young people and homelessness. The shaman in the center represents a healthy state of wholeness. Cesar Chavez represents vision being focused. The elderly are symbols of rich experience and wisdom. The spirits of Pancho Villa and Zapata are there to signify strength and courage. The mural’s title refers to the role of the spiritual in finding solutions.
18. 1994 Crime Bill that Fed Into the Mass Incarceration Crisis
19. 1994 VIOLENCE AGAINST WOMEN ACT Through the original bill, which passed in 1994, VAWA created the first U.S. federal legislation acknowledging domestic violence and sexual assault as crimes, and provided federal resources to encourage community-coordinated responses to combating violence. Up for renewal every five years, each VAWA reauthorization builds on existing protections and programs to better meet the needs of survivors. Reauthorized in 2000 it created a much-needed legal assistance program for victims and included responses to dating violence and stalking. In 2005, VAWA created new, holistic responses programs to meet the emerging needs of survivors and communities, such as prevention, landmark housing protections for survivors, funding for rape crisis centers, and culturally- and linguistically-specific services. VAWA 2013 enhanced access to safety and justice for Native American and LGBTQ survivors.
20. 1994 Proposition 187
22. 1998 Alex Sanchez founds Homies Unidos
23. 2022 Strike Law

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2015-2016- SPARC's CITY WIDE MURAL PROGRAM
CityWide Mural Program
In Partnership with:
SPARC partnered with City of Los Angeles Department of Cultural Affairs (DCA) a new CityWide Mural Program. Inspired by the legacy of Los Angeles’ murals and the passing of a new city-wide mural ordinance in 2013, funding was designated by the City of Los Angeles for new mural production and the restoration of city-sponsored fine art murals. SPARC’s Mural Rescue Program will lead the initiative to restore and preserve 9 murals deemed ‘historically significant’ by the DCA.