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    Home»Artist»Judy Baca turns Lacma into her studio as she charts the history of Los Angeles
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    Judy Baca turns Lacma into her studio as she charts the history of Los Angeles

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    A feminist who immersed herself in the Mexican muralist tradition, Judy Baca often works outside of museum spaces. She created the famous mural known as The Great Wall of Los Angeles on location in the Tujunga Wash, a tributary of the Los Angeles River in North Hollywood, in the 1970s and 1980s. Now he’s making a new chapter of The Great Wall in an unlikely space: the Resnick Pavilion at the Los Angeles County Museum of Art (LACMA), where visitors can watch Baca and his crew paint sections of a 350-foot panel of fabric stretched across the exhibition hall designed by Renzo Piano.

    The idea came after Baca had a group of museum exhibitions in 2022. “Lacma asked me to do an exhibition, and I just said that I’m not interested in putting my work in a white box,” he said. The Journal of Art recently at the museum, as his team colored images of farm worker faces and police helmets in front of a crowd of high school students. “Lacma was enlightened to do this, because we broke all the rules; we entered with paint.”

    while The Great Wall covers California’s immigrant-rich history through the 1950s, the new section focuses on the 1960s and 1970s, with scenes from the Farmers’ Movement, the Chicano Movement, and Watts’ cultural renaissance. The section comprises acrylics on a lightweight non-woven fabric called Polytab, and will later be applied to the Tujunga Wash wall.

    As for how she would rate Lacma as a studio, she says, “I keep getting interrupted, so I’m not doing as much painting as I’d like, but that’s okay, this is important.” As he told the high school students a few minutes earlier, “This is an important part of American history, a history we need to know.”

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    Sonja Kalb: Whispering Forest III — Exploring the Poetry of Nature Through Abstraction Born in Stuttgart, Germany, contemporary abstract artist Sonja Kalb brings together a refined understanding of design and an expressive approach to painting. Holding a Dipl. Ing. degree in Textile and Design, she developed a strong appreciation for material experimentation, structural harmony, and the relationship between color and form. These influences remain evident in her artistic practice, although her work has gradually moved beyond technical precision toward a more spontaneous and emotionally driven visual language. Based in Düsseldorf, Germany, Kalb creates paintings that explore the shifting qualities of nature through rich textures, fluid gestures, and vibrant color combinations. Her compositions balance moments of intensity with passages of quiet reflection, revealing an ongoing fascination with the natural environment. Through abstraction, she transforms familiar impressions of landscapes into immersive visual experiences, encouraging audiences to discover their own emotional connections with the worlds she creates. A Journey Through Color, Light, and the Natural World In Whispering Forest III, mixed media on canvas, 120 × 80 cm, Sonja Kalb presents an evocative interpretation of the natural world, where color, texture, and movement come together to suggest the mysterious atmosphere of a forest. Rather than portraying a recognizable landscape, the artist creates an imaginative environment that captures the sensations of being surrounded by dense vegetation, shifting light, and organic forms. The composition offers a compelling balance between visual complexity and atmospheric tranquility, inviting viewers to explore its many layers. A rich spectrum of greens dominates the painting, ranging from deep forest shades to brilliant turquoise and softer emerald tones. These colors establish an immediate connection with the vitality of nature, suggesting flourishing vegetation and the constant renewal of the environment. Kalb introduces darker passages throughout the composition, creating a sense of depth and mystery. These shadowed areas contrast with lighter turquoise sections, producing the impression of sunlight filtering through a dense canopy of leaves. The painting’s vertical orientation reinforces its connection to the forest. Elongated marks and downward gestures resemble tree trunks, hanging branches, and the natural patterns formed by vegetation. Yet these associations remain deliberately ambiguous. Kalb allows recognizable suggestions to emerge without defining them completely, preserving the freedom of abstraction and encouraging viewers to participate in the interpretation of the work. One of the painting’s most captivating qualities is its intricate surface. Broad, energetic brushstrokes intersect with delicate marks, translucent passages, and areas of concentrated pigment. These contrasting techniques establish a visual rhythm that moves between spontaneity and careful consideration. Certain sections appear densely layered, while others reveal glimpses of lighter colors beneath the surface. This interaction creates a sense of continuous transformation, reflecting the complexity and unpredictability of natural growth. Toward the lower portion of the canvas, pale blue and turquoise tones introduce a softer atmosphere. These luminous areas suggest an opening within the forest, perhaps a clearing, a reflection of water, or a moment when daylight reaches the ground. Scattered accents of pink, violet, and reddish orange provide unexpected points of contrast, recalling the presence of flowers, fallen leaves, or other fleeting details within the landscape. Their placement adds warmth and visual interest without disrupting the painting’s overall harmony. Kalb’s use of color extends beyond the description of natural surroundings. Green becomes a vehicle for expressing vitality, regeneration, and emotional balance, while darker tones introduce introspection and uncertainty. The luminous turquoise passages suggest openness and renewal, creating a subtle dialogue between the familiar and the unknown. Through these relationships, the painting communicates an atmosphere that feels simultaneously peaceful and alive with movement. The title Whispering Forest III introduces an additional poetic dimension. The idea of a whisper suggests something intimate, almost imperceptible, encouraging viewers to consider the quieter expressions of nature. The forest is not presented as a static setting but as a living environment filled with subtle activity. Each brushstroke seems to contribute to an imagined conversation between light, foliage, atmosphere, and the changing seasons. There is also an intriguing relationship between concealment and discovery. Certain shapes appear to emerge from the layers of paint before dissolving into surrounding colors. This visual uncertainty encourages prolonged observation, as different details become apparent with each encounter. The painting rewards curiosity, allowing its atmospheric qualities to unfold gradually rather than revealing a single, fixed interpretation. Ultimately, Whispering Forest III demonstrates Kalb’s ability to translate the sensory richness of nature into a distinctive abstract language. Through expressive gestures, luminous color relationships, and richly developed textures, she creates an environment that feels both expansive and deeply personal. The work celebrates the forest not simply as a physical place, but as a source of imagination, emotional resonance, and quiet contemplation. It invites viewers to experience nature through feeling and perception, discovering beauty within the ever-changing relationships between color, movement, and light.

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