Crocker-Citizens National Bank Tower

611 West 6th St, Los Angeles, CA 90017

1957

William L. Pereira and Associates

Acrylic paint on canvas

120 ft. by 15 ft.

Unknown

Crocker-Citizens National Bank.

The mural was either “damaged and covered up” or “destroyed during re-modelling” in 1984. [1], [2]

[1] Mike Wyma, “Public Image: Agency's funding of new artworks is just one of many ...”, LAT, Jul 9, 1989, pg. R106B.

[2] Kim Murphy, “Artist Files $5.5-Million Suit Charging Mural Was Destroyed,” Los Angeles Times, Nov. 11, 1986, pg. B3.

From Top:

Julius Shulman: Job 4421, Crocker-Citizens National Bank Building, Los Angeles, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

California Migrations installed at the Crocker-Citizens National Bank Building, Los Angeles, c. 1968. Photographer unknown. TVS Digital Record

Tom Van Sant puts finishing touches to California Migrations at the Crocker-Citizens National Bank Building, Los Angeles, c. 1968. Photographer unknown. TVS Digital Record

California Migrations was made for “Southern California’s first real skyscraper,” where it hung in “the two-story high banking area on the second level.” [3] Tony Sheets assisted on the project.

MAKING THE MURAL

California Migrations “was painted over a period of two years.” [4] Having decided its final design, Van Sant created sketches using layers of cut paper, which he named “cartoons” (see bottom right). The scale of the collaged cartoons in relation to the mural itself can be seen in the image of Van Sant in his studio, right. The completed mural was installed in the bank as the walls were being patched and painted. A scaffold enabled the artist to apply finishing touches.

In most passages of the painting, Van Sant’s final version of California Migrations followed his cartoons closely, while collage appears to have been a significant technique for him during this period of his career.

In addition to functioning as a planning tool, as with California Migrations, collage is also evident in Van Sant’s presentation works. In his 1960-61 promotional drawings for the film Spartacus and illustrations for the eponymous novel, for example, the artist combined collage and mixed media in ways that structure his figures and create visually rich surfaces.

A WIDER IMPACT

The destruction of California Migrations became “a prominent symbol of the plight of artists,” while legal action subsequently taken by Van Sant influenced both the formation of the Los Angeles Murals Conservancy and passage of the 1990 Visual Artists Rights Act (VARA). [5]

THE LA CONSERVANCY

In Jan 1987: “Spurred by the recent defacement of two city murals, three local visual-arts groups have formed a Los Angeles Mural Conservancy to protect and maintain the city’s public murals. Plans for the conservancy were announced at the Los Angeles Press Club...In November, artist Kent Twitchell’s Old Woman of the Freeway mural was painted over after a 12-year tenure above the Hollywood Freeway. Also that month, Tom Van Sant filed a $5.5-million lawsuit against the owners of the downtown AT&T; Center, claiming that his 120-foot-long mural there was destroyed during remodeling of the building. The Mural Conservancy will work to prevent the deterioration and destruction of city murals, said Bill Lasarow, president of the Visual Artists Guild.” [6]

THE VISUAL ARTISTS RIGHTS ACT

In November 1986, Van Sant used the California Art Preservation Act (CAPA) to sue the owners of the building for $5.5 million. [7] “According to the lawsuit, Crocker-Citizens National Bank sold the Plaza to Mitsui Fudosan USA Inc. in 1982. Two years later, the suit claims, Mitsui and tenant companies AT&T and Aspen Corp. remodeled the lobby and destroyed the mural without notifying Van Sant.” [8] As a result of the lawsuit, Van Sant eventually “won what he termed a considerable settlement.” [9]

In 1989, Van Sant’s experience with California Migrations led him to testify to Congress in support of VARA, federal legislation intended to protect artists’ moral rights to their name and work, regardless of who owns the art object or its copyright. While VARA failed in 1989, it was voted into law in October 1990 when it was “attached to another bill at the 11th hour.” [10] Said Van Sant: “This will be in the service of the entire art community of the country. It is one of the most important events in the history of the relationship of the federal government to the art community.” [11]

 [1] Kim Murphy, “Artist Files $5.5-Million Suit Charging Mural Was Destroyed,” Los Angeles Times, Nov. 11, 1986, pg. B3.

[2] Jack Smith: “A Green Belt for L.A.'s Suit of Asphalt,” Los Angeles Times, Apr 23, 1970, pg. E1.

[3] Kim Murphy, “Artist Files $5.5-Million Suit Charging Mural Was Destroyed,” Los Angeles Times, Nov. 11, 1986, pg. B3.

[4] “Tallest Southland Building, 42 Stories High, Dedicated,” Van Nuys Valley News, Sep. 12, 1968, pg. 3.

[5] Allan Parachini, Artists’ Rights Bill Awaiting Bush’s Signature,” Los Angeles Times, Nov. 06, 1990, pg. F3.

[6] Zan Dubin,, “Conservancy Formed to Protect Public Murals,” Los Angeles Times, Jan. 23, 1987, pg. B21.

[7] Passing into law in July 1979, the California Art Preservation Act was the first major U.S. law to provide statutory protection for artists against the intentional alteration or destruction of their work, even when that work was legally owned by the perpetrator.

[8] Kim Murphy, “Artist Files $5.5-Million Suit Charging Mural Was Destroyed,” Los Angeles Times, Nov. 11, 1986, pg. B3.

[9] Mike Wyma, “Public Image: Agency's funding of new artworks is just one of many,” Los Angeles Times, Jul 9, 1989, pg. R106B.

[10] “Table of Contents,” Los Angeles Times, Nov 6, 1990, pg. F1.

[11] Allan Parachini, “Artists’ Rights Bill Awaiting Bush’s Signature,” Los Angeles Times, Nov. 06, 1990, pg. F3.