Week Four: Judith Baca

Investigating the influence of public art towards ethnic communities and memorializing history

In the essay titled, “Where Monument Where? Public Art in a Many-Cultured Society,” by author Judith Baca, the exploration of public art continues as it reaches into the barrios and ghettos of ethnic communities. According to Baca, these communities are instead losing their sense of identity when a new monument or artwork is thrown onto a plaza because it is not accurately representing the surrounding community.

At the beginning of her essay, Baca explains that public art tends to mean different things to different people; this is mainly due to a variety of experiences from each individual. Furthermore, each person within a community has a different expectation or vision as to what is called art. Baca compares examples of Renaissance era Italian frescoes, which are considered traditional concepts of beauty. However, she also notes how an observer may enjoy site-specific works from Christo and Jeanne-Claude because of the impact onto the outdoor landscape.

Throughout her essay, Baca states how monuments uncover the past and become a part of our present experiences, and then ultimately an inspiration for the future. She notes how a clump of mud can turn into “a building block of society” where something that was previously disregarded actually built a foundation for the community. In addition, Baca explains the importance of revealing “memory which is contained in the ground” because it marks the passages of ancestors through history and space.

Baca continues by asking rhetorical questions as to what the current generation will memorialize or want to remember. Previously, public art meant displaying cannons from the Civil War in a public park. After removing the dirt and grime of history, the design planners begin to polish the piece and situate it in a central location. Does the meaning of the work change because of the process and physical removal of history?

With numerous events throughout history which recognize forefathers and ancestors, Baca questions if re-imagination of history is truthfully occurring where children and families enjoy picnics in the park. Often, these monuments provide a snapshot of history that sparks our activism and patriotism. However, are triumphs, victories, and adversity resonating with the current generation of tourists who sit on top, vandalize, and take photographs of these artworks on display?