A Rainbow of Representation: Navigating Los Angeles Imagery and Iconography through the Arts

By Alexis Vaughn

Showcasing a rich and colorful history through globally-disseminated imagery, Los Angeles stands as a land of imaginaries and iconography, known the world over for both its raw and processed imagery. What makes the area’s history so unique is its production of self-representation (whether it’s entirely truthful or not) through semiotics and imagery, as well as via an assortment of media ranging from government-sponsored to freelance work (1). Although the culture and history here are much different than what other cities and metropolitan areas boast, there is indeed a unique dynamic here that becomes most evident by the ways and means of artistic representation of the land’s iconography. But how has this iconography and imagery been created and curated to be distributed to the rest of the world? Who, exactly, is representing LA? Although these are massive questions, I chose to narrow my focus to the work of a handful of visual and musical artists like Ed Ruscha and The Doors.

Some Los Angeles artists have historically worked under the pressures of local Los Angeles government entities, and many more have purely taken up this one-of-a-kind area as a muse. As an artist whose work frequently indulges in the theme of representing LA, I chose to address my inquiry through metaphor and symbolism: in order to navigate this social-spatial history and variant representation of the area, I took the imagery of an oil slick as a metaphoric muse. Grey or invisible from afar, oil slicks in fact hold an entire rainbow of color on closer inspection—I compare this with Los Angeles itself, as concrete-grey structures yield a vivid array of culture up close. In this essay, I utilize each major color of the rainbow as found in the oil slick to muse upon as a vehicle with which to represent the historical iconographic imaginary symbolic of Los Angeles as presented by artists. In surveying this rainbow of imagery, I draw upon popular perceptions and artistic representations of the area, textual and poetic references, and informal interviews with locals. Black, Grey & White

The shade spectrum of black, grey and white is a simple place to start—after all, “they say people out in Hollywood live their life out in black and white” (Thin Lizzy, Hollywood (Down on Your Luck), 1982). On the surface, the heart of Los Angeles appears to be a splattered plot of grey concrete buildings and sidewalks leaning against black asphalt streets and freeways. In the early 1900s, an assortment of bold white signs started littering the surrounding areas as realtors advertized their housing tracts; the most lasting and famous of which is the Hollywood (once Hollywoodland) sign, which quickly became synonymous with the Los Angeles area, especially through works of art. One artist whose seminal work speaks to all of these dreary shades, and especially the image of the Hollywood sign, is Ed Ruscha. Rising to prominence in the Pop Art era of the

1960s, Ruscha’s work has a great concentration on themes of Los Angeles living, and the imagery he uses to represent the area include works on parking lots, gas stations, the Hollywood sign and more. He has also “consistently combined the cityscape of [adopted hometown Los Angeles] with vernacular language to communicate a particular urban experience,” and his work “holds the mirror up to the banality of urban life…”(http://www.edruscha.com/site/biography.cfm).

On another note, black and white vehicles (belonging to none other than the infamous LAPD) also symbolize the area in a multitude of ways. Unfortunately, the most dominant images of the local police department are negative—especially in regards to the Watts riots (1965) and Rodney King riots (1992) that mostly raged between White and Black citizens. In response to the 1992 riots, internationally-famous, LA-based artist Chris Burden produced an edition of 30 replica LAPD Uniforms for an installation (Chris Burden, L.A.P.D Uniforms, (1993). Through this work, Burden speaks to the police force’s “threatening physical presence and their political edge” in and over the Los Angeles terrain (LACMA).

Red, Orange & Yellow

One of the most stereotypical images of LA is the seminal vista of a dramatic blood-orange sunset-- What could be more iconographic than this hazy, smog-laden Southern California skyline? A product of local industrial and car cultures, the smog here is a constant reminder of Western consumer culture—as well as muse to countless artists. Despite the health hazard, many Angelinos and visitors greatly admire the rich hue. Jim Morrison of The Doors sensually coos “Blood stains the roofs and the palm trees of Venice… Bloody red sun of fantastic L.A.” (Peace Frog,1970). This theatrical evening skyline is caused by smog from exhaust as well as by another hazardous symbol of the area: fire. Fire engines annually congregate along the foothills “when the hills of Los Angeles are burning” and “palm trees are candles in the murder wind” (Bad Religion, Los Angeles is Burning, 2004). Fire is a perennial problem here and one of the most threatening elements that puts many homes and lives in danger. Again, Ruscha becomes a dominant commentary in this red-hued realm, producing a handful of works depicting (most often corporate) buildings in flames on top of a smoggy sunset backdrop, in addition to his set of smog-laden Hollywood sign paintings. Two other warm hues dominate the narrative here as well: orange and yellow. The citrus industry was a major catalyst in the colonization and expansion of Los Angeles; there exists an extensive collection of fruit crate labels from a variety of artists (commissioned by the companies themselves), boasting imagery often aligned with government ideals to “sell” the area to people across the US for investment or recreation. Fondly dubbed California’s second gold rush, prospects for fortune drove many individuals and families out of the Midwest and onto the foothills and ranches once owned by the rancheros of the LA region. Orange and bright yellow citrus grew synonymous with the

beautiful, bountiful and cheerful sunshine to be found in the region, yet another slice of imagery (pun intended)-cum-Booster tool to sell the wonders of the West to the rest of the nation and to the world. Green, Blue & Violet Contrary to popular critique of the area, LA is indeed home to plenty of greenery. From the lush foothills in spring, to the carefully preened front lawns delightfully flaunting the American Dream, this calming color is to be found in plenty of spaces… including the aforementioned iconographic freeways: each emerald sign can be seen from miles away, and serves to sustain our obstinate car culture. Another 1960s Pop artist showcases these cool hues well—Los Angeles’s lush blues and greens (even the freeway signage) served as recurring inspiration to Ed Ruscha’s contemporary, David Hockney. His interpretations of LA living, from American dream lawns to pools in Beverly Hills homes, have advertized the area worldwide as they traveled to international exhibits as well as served as muse to authors like Reyner Banham (ex.: Los Angeles: The Architecture of Four Ecologies, 1971). Compared to the jutting skyscrapers of traditional metropolitan areas, the Los Angeles school of urbanism development is quite different (Dear, The Los Angeles School of Urbanism: An Intellectual History, 2007). Because of the seemingly endless sprawl of one- to two-story buildings, Angelinos have been treated to curbside views of plentiful cerulean sky (smog and haze permitting)—and artist works, like Robbert Flick’s film stills series, have highlighted this. Since our weather is quite mild year-round, outdoor swimming pools also speckle the landscape. As mentioned earlier, Hockney’s work speaks to this luxury, as does Ruscha’s. These luxuries didn’t come without a price, and while Hockney and Ruscha cite a more modern instance of LA, there exists an alternate history. A very specific shade of blue speaks to this and conceals a greater historic narrative: Dodger Blue. Put simply, construction of the Dodger Stadium in Chavez Ravine destroyed decades of Chicano heritage and history in the area—doubling up on the Manifest Destiny-like Anglo movement to take over the west coast wilderness and what were once Mexican ranches in pursuit of power, establishment, and fortune. This history was included as a major conversation point in Judy Baca’s massive wall art piece The Great Wall of Los Angeles (SPARC). The Great Wall predominantly serves as a public picture book of minority history of the area. Nevertheless, Los Angeles is also home to “purple mountain majesties” that loom above its once- fruited plains, boasting an extensive spread predominantly found along its eastern side (Bates, America the Beautiful, 1895). Brown The brown earth beneath our feet also plays an immense role in LA history and iconography. Not only do mudslides and earthquakes continue to damage homes year after year, but drought strikes swiftly, as Los Angeles’ natural terrain

is an arid, desert-like chaparral. An example of earth-centric art, a portion of photographer Laura Aguilar’s work highlights the connection between humans and this feisty terrain (Untitled 111 (backside and large rock), and Untitled 108 (torso and tree branch), both 2005-2006 are examples, and are included in my class’ art exhibition re:present L.A. In her work, the human body somehow both blends and appears alien within the natural landscape, which stands to mirror the general human presence of the area as mentioned throughout this essay. Most certainly, the preened, emerald lawns, sparkling pools, and exotic plants and architecture implemented here do not fit in with the ecosystem, yet somehow, they seem to fit within the local imaginary. The Spectrum, Conclusion Taken in its entirety, the spectrum of colorful symbolism of Los Angeles is vast. All of the aforementioned representations of Los Angeles through the lens of color via the oil slick metaphor have helped to shape an international imagery of Los Angeles and to establish a narrative for the bizarre history of this space. Still, these representations are of my own perceptions or gathered from those of locals or other artists. I believe that history is nothing more but a mass of individual perception of the strand of progressive reality of any given space, a colorful web that may intrigue, repulse, or pass along unnoticed, invisible or ghost-like, much like the oil slick... And just like an oil slick, at any given angle the history of Los Angeles becomes mired with a continuously-shifting swirl of colors, perceptions, events and representations that have come to define the vast spectrum that is Los Angeles. It then becomes the work of the artist to re:present L.A. as he or she sees fit. About the author: A native of Southern California, Alexis is a Master’s of Public Policy student at Claremont Graduate University. Her interests include nature, art, and urban politics, especially as relates to Los Angeles. Endnotes

(1) Examples include: Booster imagery, film Noir and other films, pop art and other works of art exhibited worldwide, textbooks and poetry, songs and music videos, television shows, and graffiti.

Afterword The complete index of LA iconography is immense. Here, I include a few icons and mentioned works. The following is a collection of images found online. From left to right: Film Noir, Hollywoodland Sign, Chris Burden’s LAPD Uniforms (1993), Rodney King Riots, Sunset in LA, Ed Ruscha’s Standard Oil (circa 1963), Fire in LA, Citrus crate labels: College Heights, Sunflower, Serenata, Hockney’s A Lawn Being Sprinkled (1967) and Portrait of an Artist (Pool with Two Figures) (1971), Ed Ruscha’s Pools (circa 1968), a Hollywood Back Lawn With a View, Laura Aguilar’s Untitled #121, a film still series by Robbert Flick, a selection from Judy Baca’s

Great Wall of Los Angeles: Division of the Barrios and Chavez Ravine, Hazy LA Hills, an oil slick, and LA Freeway system.

TEXT CITATIONS: "Biography." Edruscha.com. N.p., n.d. Web. 16 Apr 2012.

<http://www.edruscha.com/site/biography.cfm>. “Laura Aguilar.” 18thstreet.org. N.p., n.d. Web. 16 Apr 2012.

<http://www.18thstreet.org/_archives/2007/crosssections/artist_lauraaguilar.html>.

Banham, Reyner. Los Angeles: The Architecture of Four Ecologies. 2nd ed. University of California Press, 2009. Print.

Dear, Michael. "The Los Angeles School of Urbanism: An Intellectual History." Urban Geography. 24.6 (2003): 493-509. Web. 16 Apr. 2012. <http://bellwether.metapress.com/content/46680g1048373045/>.

Fabric Workshop and Museum. “Chris burden.” N.p., n.d. Web. 16 Apr 2012. <http://www.fabricworkshopandmuseum.org/Artists/ArtistDetail.aspx?ArtistId=01e702b5-9327-47ac-964b-12f7359fa447>.

LACMA. “Chris Burden, L.A.P.D Uniforms, LACMA.” N.p., n.d. Web. 16 Apr 2012. <http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=121721;type=101>.

Leimer, A.M.. "Chicana Photography: The Power of Place."NACCS Conference 35th Annual Conference. Apr 20082008. Web. 16 Apr. 2012. <http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1004&context=naccs>.

SPARC. “The Great Wall resource portal.” N.p., n.d. Web. 16 Apr 2012. <http://www.sparcmurals.org/sparcone/index.php?option=com_content&task=view&id=20&Itemid=52>.

DISCOGRAPHY: Bad Religion. (2004). Los Angeles is burning. Retrieved from:

http://artists.letssingit.com/bad-religion-lyrics-los-angeles-is-burning-xx9c67l Bates, K.L. (1895). America the Beautiful. Retrieved from:

http://en.wikipedia.org/wiki/America_the_beautiful The Doors. (1970). Peace frog. Retrieved from: http://artists.letssingit.com/the-

doors-lyrics-peace-frog-tqfrv5j Thin Lizzy. (1982). Hollywood (down on your luck). Retrieved from:

http://artists.letssingit.com/thin-lizzy-lyrics-hollywood-t1cxxtg IMAGES (left to right, top to bottom, from top left):

1. Film Noir- http://franklymydear-blog.blogspot.com/2011/08/anatomy-of-film-noir.html

2. Hollywoodland- http://www.cpshaw.wordpress.com

3. Chris Burden’s L.A.P.D. Uniforms- http://www.theartblog.org/2008/02/on-tax-audits-installation-art-and-chris-burden/

4. LA Riots beating- http://uprisingradio.org/home/2007/04/30/1992-la-riots-special-voices-from-the-past/

5. Los Angeles Sunset- http://www.bravingtheatlantic.com/category/uncategorized/

6. Ed Ruscha’s Standard- http://www.artknowledgenews.com/2009-08-07-21-24-11-edward-ruscha-standard-oil-print-on-offer-at-bonhams-and-butterfields.html

7. Hollywood Hills afire- http://www.remodel.net/hollywood-hills-fire-photos/ 8. College Heights- http://www.mtbaldyeagle.com/ 9. Sunflower- http://www.etsy.com/listing/74676181/los-angeles-sunflower-

orange-citrus 10. Serenata- http://www.etsy.com/listing/74677833/los-angeles-serenata-

orange-citrus-fruit 11. David Hockney’s A Lawn Being Sprinkled-

http://www.wikipaintings.org/en/david-hockney/lawn-sprinkled 12. David Hockney’s Portrait of an Artist (Pool with Two Figures)-

http://www.ibiblio.org/wm/paint/auth/hockney/ 13. Ed Ruscha’s Nine Swimming Pools-

http://hotparade.tumblr.com/post/2751784199/ed-ruscha-nine-swimming-pools-via

14. Hollywood backyard view- http://www.onhomedesign.com/luxurious-dream-house-design-in-hollywood-hills-california-by-whipple-russell-architects/

15. Laura Aguilar’s Untitled #121- http://art.umn.edu/images/AGUILAR.jpg 16. Robbert Flick's film still-

http://www.usc.edu/dept/LAS/history/historylab/LAPUHK/Locations/North-South/Central/Flick_50s/Central_NS008.htm

17. Judy Baca’s Great Wall of Los Angeles: http://www.sparcmurals.org/present/cmt/jb.html

18. LA Haze- http://www.flickr.com/photos/markburdett/19582336/ 19. Oil Slick- http://www.bowsandcurtseys.com/2011/09/oil-slick-inspired-

eyes.html 20. LA Freeways- http://bigcityforum.blogspot.com/2012/02/big-city-forum-at-

armory-center-for.html