On boarded-up storefronts, muralists offer words of hope

The murals on closed storefronts aim "to end ugly wall syndrome." (Courtesy of Beautify)

In Los Angeles, Melrose Avenue has a new mural that reads: “Cancel plans, not humanity.”

It’s an artwork by Corie Mattie, a street artist who kindly reminds us of our togetherness under quarantine. She and many other artists are putting murals up across the US as part of the Back to the Streets campaign, which aims to add some color to the streets – specifically on boarded up storefronts and abandoned streets that feel deserted during the coronavirus pandemic.

The goal is to bring some beauty to the streets while everything is boarded up – “to end ugly wall syndrome,” says project founder Evan Meyer. “It’s to get people to care about their communities, be part of the process.” 


Many of the murals are painted on plywood panels that cover the entryways to independent businesses that have shut down during the pandemic. The project aims to prevent a sense of decay, especially as some businesses start to open back up while their neighbours remain closed.

“We need to protect our streets from becoming sad places quickly, when places are abandoned and don’t feel like they have love or life,” says Meyer, who is also the CEO of Beautify, a company that connects artists with places to make murals. Among the murals made during the pandemic, one at a department store says “Togetherness,” while another says: “You can’t quarantine love.”

“We’re seeing messages like hope, positivity and community,” Meyer says. “More than ever, it’s a time for community.”


(Courtesy of Beautify)

With artist-led projects in L.A., Seattle, San Francisco, Santa Monica, Pasadena, and others, the goal is to get 1,000 murals up across America. Murals are also being painted in small towns in Iowa, like Council Bluffs and Dubuque, and an earlier mural in New York City’s Rockaway Beach was created in 2014 with the same goal of bringing some life to neglected buildings that needed renovation after Hurricane Sandy

“We need to protect our streets from becoming sad places with broken windows, tagging and crime,” says Meyer. “A lot can happen if a place feels like it’s unwatched.” 

Los Angeles councilmember David Ryu endorsed the initiative in a recent blog post, saying it has helped boost morale on the streets of L.A. “When we brighten blighted walls, we improve neighborhoods,” he wrote. “It’s critical to have more business owners enlist their walls here to bring some much needed love and recognition to their establishment and their neighborhood.” 

The effort stems from a sister project called Beautify Earth, which has helped address a litter problem in Santa Monica’s commercial district. In addition to a cleanup force, the project has painted more than 100 murals on walls, dumpsters, utility boxes and garbage cans across the city.

On the Beautify website, artists can find business improvement districts, real estate developers, landlords and business owners who want to see something on their empty walls. Each artist who gets a commissioned wall through the Beautify website is paid 78% of the stipend, and Beautify takes a 22% administration fee. 

Meyer says he often explains to business owners that art can help their business.

“A lot of people have white empty wall space on their liquor stores, condos, park walls, even residential spaces,” says Meyer, adding that many are afraid to put something on their walls. “It’s not a liability, it’s an asset. Art protects walls, it is a graffiti abatement strategy.”


(Courtesy of Beautify)

Beautify isn’t alone in its field. Among the other cities that have similar mural projects, ArtPlace America has supported over 200 art murals across the US. Wynwood Walls, a public art project in Miami spearheaded by local developer Tony Goldman, has helped create a popular public art hotspot with murals by artists Shepard Fairey and Ron English. 

Chicago’s city government, too, has publicly funded over 500 murals through its Percent-for-Art program, which pays artists to paint walls on municipal buildings. A grassroots street art project in the state of Zacatecas, Mexico, has artists painting murals in violent and marginalised neighbourhoods. Similar crime prevention ventures have been initiated in Topeka, Kansas, in St. Louis, Missouri, and in Toronto, Canada, which has placed over 140 murals across the city over the past decade. 


Artist Ruben Rojas has painted murals saying "You Can't Quarantine Love" in several spots across Santa Monica, California. (Courtesy of Beautify)

One artist working with Beautify’s project is Ruben Rojas, who is overwhelmed by the response to his mural, “You Can’t Quarantine Love,” which has been painted in several spots across Santa Monica and beyond.

“Every day, I see the shares, photos of my murals, amazing captions and direct messages from folks that are truly heartwarming,” Rojas says. “I’ve seen this particular mural go around the world with ‘thank you’ messages from Johannesburg, Germany, and Italy. It really is humbling.”

Meyer says that kind of social media engagement shows how a mural can turn a plain old wall into a landmark. 

“Murals get seen,” he says. “People take photos and share them on social media. Nobody takes photos of your ugly white wall. Murals are the story of the local community.”

Nadja Sayej is an arts and culture journalist based in New York City.

 
 
 
 

Academics are mapping the legacy of slavery in Britain’s cities

A detail of the Legacies of British Slave-ownership map showing central Bristol. Image: LBS/UCL.

For 125 years, a statue of the 17th century slave-trader Edward Colston stood in the centre of Bristol, ostensibly to commemorate the philanthropy he’d used his blood money to fund. Then, on 7 June, Black Lives Matter protesters pulled it down and threw it into the harbour

The incident has served to shine a light on the benefits Bristol and other British cities reaped from the Atlantic slave trade. Grand houses and public buildings in London, Liverpool, Glasgow and beyond were also funded by the profits made from ferrying enslaved Africans across the ocean. But because the horrors of that trade happened elsewhere, the role it played in building modern Britain is not something we tend to discuss.

Now a team at University College London is trying to change that. The Legacies of British Slave-Ownership project is mapping every British address linked to a slave-owner. In all, its database contains 5,229 addresses, linked to 5,586 individuals (some addresses are linked to more than one slave owner; some slave owners had more than one home). 

The map is not exact. Streets have often been renumbered; for some individuals, only a city is known, not necessarily an address; and at time of writing, only around 60% of known addresses (3,294 out of 5,229) have been added to the map. But by showing how many addresses it has recorded in each area, it gives some sense of which bits of the UK benefited most from the slave trade; the blue pins, meanwhile, reflect individual addresses, which you can click for more details.

The map shows, for example, that although it’s Glasgow that’s been noisily grappling with this history of late, there were probably actually more slave owners in neighbouring Edinburgh, the centre of Scottish political and financial power.

Liverpool, as an Atlantic port, benefited far more from the trade than any other northern English city.

But the numbers were higher in Bristol and Bath; and much, much higher in and around London.

 

Other major UK cities – Birmingham, Manchester, Leeds, Newcastle – barely appear. Which is not to say they didn’t also benefit from the Triangular Trade (with its iron and weaponry industries, Professor David Dabydeen of Warwick University said in 2007, “Birmingham armed the slave trade”) – merely that they benefited in a less direct way.

The LBS map, researcher Rachel Lang explained via email, is “a never-ending task – we’re always adding new people to the database and finding out more about them”. Nonetheless, “The map shows broadly what we expected to find... We haven’t focused on specific areas of Britain so I think the addresses we’ve mapped so far are broadly representative.” 

The large number in London, she says, reflect its importance as a financial centre. Where more specific addresses are available, “you can see patterns that reflect the broader social geography”. The high numbers of slave-owners in Bloomsbury, for example, reflects merchants’ desire for property convenient to the City of London in the late 18th and early 19th centuries, when the district was being developed. Meanwhile, “there are widows and spinsters with slave property living in suburbs and outlying villages such as Chelsea and Hampstead. Country villas surround London.” 


“What we perhaps didn’t expect to see was that no areas are entirely without slave owners,” Lang adds. “They are everywhere from the Orkney Islands to Penzance. It also revealed clusters in unexpected places – around Inverness and Cromarty, for example, and the Isle of Wight.” No area of Britain was entirely free of links to the slave trade.

 You can explore the map here.

Jonn Elledge was founding editor of CityMetric. He is on Twitter as @jonnelledge and on Facebook as JonnElledgeWrites.

All images courtesy of LBS/UCL