Amidst the vibrant tapestry of Los Angeles’ history lies a hidden masterpiece, a story whispered on the walls of Olvera Street. It’s the story of América Tropical. América Tropical, a mural more than just paint on a wall. It’s a cry for justice, a symbol of resistance against imperialism. Right here, at El Pueblo de Los Angeles Historical District, stands the Italian Hall. On its second-story exterior wall, David Alfaro Siqueiros, the renowned Mexican muralist, unleashed his artistic and political fury. Commissioned in 1932 to create a romanticized vision of tropical America, Siqueiros instead delivered a powerful indictment of U.S. imperialism.
América Tropical, in its full title, América Tropical: Oprimida y Destrozada por los Imperialismos (Tropical America: Oppressed and Destroyed by Imperialism), was no idyllic paradise. Siqueiros painted a scene of Mayan ruins consumed by jungle, a crucified Indigenous figure at its heart, and a menacing American eagle perched above. Two armed figures, a Peruvian peasant and a Mexican campesino, stand ready to defend themselves. The sculptures at the bottom, representing pre-Columbian architecture and indigenous civilizations, lie in ruins. This was Siqueiros’ first outdoor mural and a turning point in his career. He embraced new techniques, utilizing airbrushes and projectors, working mostly at night with a team of 20 artists. The fresco, made of cement rather than traditional plaster, was completed just hours before its unveiling on Oct. 9, 1932.
América Tropical was groundbreaking. It was not only Siqueiros’ first outdoor work, but also marked the first extensive use of mechanical equipment in his artistic process, particularly the airbrush. He and his team of artists embarked on a nocturnal artistic endeavor, commencing their work in mid-August under the cloak of darkness. The mural became a public space, painted on an ordinary exterior wall for all to see. Its dedication ceremony featured Dean Cornwell, an illustrator and future President of the National Society of Mural Painters, who predicted its influence on the creation of similar murals on blank walls throughout the country. This prophecy proved true, although it wouldn’t be until the 1960s that the mural movement truly flourished in urban neighborhoods across the U.S.
But the mural’s powerful message was met with controversy. Deemed too radical, parts of América Tropical were painted over shortly after its completion. Siqueiros himself was deported from the U.S. that same year. Eventually, the entire mural was whitewashed, fading into obscurity. Decades passed. The mural lay hidden, its vibrant colors muted by layers of paint. Then, in the 1960s, like a ghost from the past, América Tropical began to reappear as the whitewash peeled away. This coincided with the rise of the Chicano mural movement, sparking renewed interest in Siqueiros’s lost masterpiece.
The Getty Conservation Institute, in partnership with the City of Los Angeles, embarked on a decades-long project to conserve América Tropical. They meticulously studied the mural, analyzing the materials and techniques used by Siqueiros. They conducted historical research, piecing together the story of its creation and the reactions it provoked. The mural was not repainted, as conservation practices prioritize preserving the artist’s original work. Instead, they cleaned the surface, filled in areas of damage, and reattached loose paint and plaster. A protective shelter and viewing platform were constructed. In October 2012, 80 years after its initial unveiling, América Tropical was once again revealed to the public. The accompanying Interpretive Center tells the story of the mural, Siqueiros’s life, and the complex history surrounding this iconic artwork. América Tropical stands as a testament to the power of art to challenge, provoke, and endure. It’s a story of oppression and resilience, a vibrant reminder of the struggles and triumphs embedded within the heart of Los Angeles.