Anna Indych-López’s Judith F. Baca is a book that outlines the monumental life of Chicana creative Judith F. Baca within activism and the arts. Indych-López not only contextualizes Baca’s upbringing and her remarkable expertise in the domain of Chicana art, but she also places a specific emphasis on Baca’s role within her community. The artist’s work is a gateway to understanding the importance of engagement within communities, as well as a testament to the way a simple paint brush molds them into fruitful sites of public memory.
One of the works of Judith F. Baca that captivated my attention upon first glance is her mural titled Mi Abuelita (1971). The mural, characterized by simplicity at first notice, was monumental for both Baca and the community of Chicana artists. Mi Abuelita was the first mural created by a Chicana artist―an outstanding feat that set the precedent for the artistic endeavors of others. Through the mural, Baca pays homage to the influence her grandmother had on her life, while simultaneously underlining the spirit of a matriarch. Beyond the complexity of its composition and imagery, there lies a underlying truth that is not illustrated by the mural. Baca utilized public walls of neglected communities, specifically recreation centers and parks, and reimagined them to serve as spaces for youth disenfranchised by local residents. The collaboration of Baca with rival gang members during the process of Mi Abuelita speaks on the dynamism of the artist, as well as on the matriarchal role Baca developed and embodied.
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