The New York Times Magazine MAY 5, 2022
MURAL MANIA AN EXPLORATION OF FEMALE-MADE MURALS IN DEEP ELLUM.
Free Vzla, Alejandra Lara Camargo
WHAT DOES IT MEAN FOR ART TO BE PUBLIC? In an industry often segregated by class, gender, and race, Dallas’ mural scene offers space for female artists to thrive. By MADDIE STOUT
Envisioning a typical art gallery recalls a few specific images: white walls, sparse furniture, a general aura of introspection. The space is generally silent, interrupted only by whispers and the shuffling of feet as visitors pass by. Art by men lines the walls, and the visit typically culminates in a trip to the gift shop to buy overpriced socks with Van Gogh’s sunflowers printed on them. For a novice gallery visitor, this environment can seem alarming, and perhaps even unwelcoming: while everyone around them seems to be undergoing a period of intense meditation, the visitor feels like a fish out of water, like they are missing some largely important “meaning” behind the art. Since galleries are often inhabited by
wealthy, primarily white visitors – the kind of people usually depicted in the works themselves – a viewer of other identifiers may feel uninterested in interacting with art at all. Imagining Dallas’ Deep Ellum neighborhood brings to mind practically opposite images: live music spilling out of restaurants, people of all ages crowding the streets, a sense of playfulness at any hour. It is the antithesis of a traditional art gallery, and yet the streets are covered in murals, a gallery in and of themselves. For any lover of art, Deep Ellum offers a space to view it publicly, without judgment; for underrepresented artists, the neighborhood provides an opportunity to be seen. Recently, I spent a morning wander-
ing the streets of Deep Ellum, appreciating the murals on practically every available surface. I noticed works by multiple women, often unseen in the art world, and chose a few favorites to focus upon.
Free Vzla
Painted by Alejandra Lara Camargo, “Free Vzla” (pictured above) is part of Deep Ellum’s 42 Murals project, which showcases the works of local, national, and international artists on historical buildings with the aim of making art more accessible. Camargo’s mural sits in one of the neighborhood’s many public parking lots, offering a splash of color and whimsy to the otherwise gray space.
Eyes, Lesli Marshall (2018) Born in Venezuela, Camargo began her career as a graphic designer. However, upon leaving Venezuela and moving to Dallas due to the country’s crisis, she began painting murals, her background in graphic design still visible in her art’s thick lines and bright colors. “Free Vzla” depicts a figure, seemingly a child, playing upside down, surrounded by colorful shapes on a lavender background. The name nods to Venezuela’s socioeconomic and political crisis, proving that the area can still house love and humor despite its current perceptions. While at first glance the mural solely offers a sense of lightheartedness, a deeper look at the work demonstrates the value of life in Venezuela and inspires critical thought.
mercial purposes, but created “Eyes” in conjunction with the 42 Murals project. Completed in 2018, the work applauds the visionary women in Texas history who are often overlooked, such as the “Cattle Queen” Lizzie Johnson, illustrated on the left side of the piece. The mural’s consistent references to eye imagery emphasizes the radical lives of these women, while the artist’s frequent references to Texas itself keeps the mural grounded. I considered “Eyes” an especially engaging piece, as the numerous images depicted keep the viewer continually interested.
Eyes
Next up on my walking tour was Dallas artist Lesli Marshall’s mural “Eyes,” (pictured at top) which spans a massive wall in yet another public parking lot behind Pecan Lodge. “Eyes” depicts many typical Texas images: a longhorn skull, cacti, and a sign for Route 66, while each side of the piece highlights a historic woman in Texas history. Marshall, the owner of Articulation Art, typically paints murals for com-
Untitled, Jamie Dean (2020)
Untitled
The last mural that caught my eye could easily be overlooked due to its size, yet has an especially important meaning. Painted by Deep Ellum-based
artist Jamie Dean, the untitled mural centered below illustrates two children holding hands, one Black and one white. The words “love you so much” rest in between them, a reference to the famous mural in Austin. Dean’s mural was created in July 2020 as a response to the Black Lives Matter movement, aiming to assert that children do not view racism in the same way as adults. The mural, though relatively small in size, faces outward onto a main street in the neighborhood, visible to all who pass by. Immediately upon viewing it, I broke into a smile – Dean’s playful depiction of the children reminds the viewer of their innocence while still spreading a valuable message. Even after a successful trip to Deep Ellum, I am already itching to return – it still feels as if I have not fully appreciated the wealth of public artwork available. I thoroughly enjoyed wandering the streets and stopping to window shop in between exploring murals, though I did find one issue with the trip. Despite the fact that the neighborhood aims to celebrate female artists, they are still greatly outnumbered by their male counterparts. In order for Deep Ellum to fully celebrate all artists, steps toward true equality should still be made.
“THE ONLY THING I KNOW IS THAT I PAINT BECAUSE I NEED TO.” - FRIDA KAHLO