1 10 4 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/ffe98c47445732ae17b177f3a9cd3eaf.JPG?Expires=1773878400&Signature=kJvKFYfBLlFGphlLkNIMuVV6tjqgf%7Elaq-YdlJs5iwSFr5IasAh9vFqTt8pDrRn-5dC90p9tRxoSnBK%7EhPmCo3Enfi1a4F2NtZmoIQmmrRf9B0poQZcXf3SoDsH2vLsNf3maAaW6ugGZSBX89QIiXmyCekmy7DhqiCMhxYUoPEPQA6ok%7Eskfwi97VOGZl54SVc5LQta3weLkU%7EC32WtKqrYJMVscJ9Fu4ryhjQnv4DZi6jlGP6UobqyIVP5caOcg4IFPFG4hDafMLc8EYd6YpIqr-01jbt4hAqXlQGI-fEIQnQ4Kd8wNNsrWgukVCe3fo7QRUvsS4eX%7EUDZgWJFnlw__&Key-Pair-Id=K6UGZS9ZTDSZM 15927e323a30631eae743863cfc764ed https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/bb624781a650db25be027f62df8976ce.JPG?Expires=1773878400&Signature=NgxnhPpYZ5S6eIN150%7EHw9AMHA7TWZCJXpH9bZsjkvUz1r46tBT2j-LS6KrW74fJww-zVOR9ZpUCgOWPfe%7EXdvuw29ZzMhTxdKPBnUQuf3VtgzMSzYnVrjKe2He9oEBN9NQCa34DYq1y9JYZZtUL5mxWPwM%7EUOGoeHPRM7HbZ3IN9Rsx3tdcCTpsWTYXzrhcK6r%7Ea2ZKZ4OQxvcb80sw-SHPJgqTYa6bw3PuA3gcrFfCSTvZQU5nIeuMyivGUWSMIwTv6z82cBNOvwtWpQ1NzR1rvnmnOIIlUySZvjgDaJXOCLkK9cIauZnf-q4%7E%7ERLOEWd%7ERy2h3mQnVmuRzQ3hUQ__&Key-Pair-Id=K6UGZS9ZTDSZM 61774bd11013fd457c3f73d05350dd14 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/c70c9c4184e905ca0389146a345bf86e.JPG?Expires=1773878400&Signature=m2cnq3wQD61OU88bFrrQ1nsIiR-rBw2D-nYOqDJMoCiDvAljVJJLEAmJ3fKOogn3wOmPkO4pXKcAZbhanQMCW8lZqXXZaaV3bqIoYYu3AQcuXMkP04Kb6Vqb9MxI-IybUHaYpxWOXLeUHnL6FNHtT3GsXaqHwSpjNRCno3iYUlG0Gc84vLG%7ECasYVE53jzWU5tcbpziJvhK0mAx8sicc2OmDWuy1vMYHZ-rXaxgJoUF%7EW8rznRPdQoww0AwuAXiCPOsRtUfvTv1syomSW80Q4N-8Uparb3G8vzaV8bOB1JWffgzhWNi94k00lFgUma8-l0b-4BaV65bQbZAFL6ZHPA__&Key-Pair-Id=K6UGZS9ZTDSZM 6079d8b4e9436d52748dbe9b1d42009d https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/8222dc489db762ccf017d26b047c4d9c.JPG?Expires=1773878400&Signature=AnsklQRA-ArgIVOP6M3znAZb6aMEhnUF6VWepbahawhK-ibTtS%7EQknh0kdoC9EvyIJYf48opt2NFSFIZ%7Ellx9q3hJdwT8VwiEP5V-iXAvQL9kHrlxoFS1EshJw6CLnQnQ7oVws9IOslk0foKZsDCe1n%7EUVxjyTSxFW1VOF4yV0-rmRK4AJqgKIrT22dt63eAJpTX6HhVFaWYbuyCktgYQJiN4BZWTg-4WIImtKT8lIbSlCBQV0DXrn8m5SqfWkIOsEn9f6RUjv9RdJJOstgYgxw4-tyFvCegsJHrLLzMKCE75DBRfulX50LvsXpsjGLOOUd0OyIeNm2dI6zF%7EEZ6Ig__&Key-Pair-Id=K6UGZS9ZTDSZM c2dedcb63d6d6a21bca15d328b6e4f73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chromazone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Crown Our Prince Creator An entity primarily responsible for making the resource Hiero Veiga Date A point or period of time associated with an event in the lifecycle of the resource Date of Creation: June 2022 Date of Documentation: November 9 2025 Description An account of the resource Hiero Veiga's portrait captures three different “looks” of Prince. He uses vibrant colors, natural forms of floral patterns, and intricate details to emphasize the uniqueness of the artist’s identity and persona. Scale immediately impacts where viewers choose to stand as they view this piece; because of its size, we will take a step back, in hopes to “take in” all the mural’s qualities. All three of the depictions of Prince are far larger than life size, with the image of Prince standing with a guitar taking up more than half of the entire piece. The image of Prince that appears closet to the viewers because it is brought to the foreground of the mural (also known as overlapping), gives a sense of personal connection to the musician, and allows us to make eye contact and absorb every detail of his purple top, jewelry, strands of hair, etc. Veiga is once again paying attention to form in the context of detailing, as the ends of each strand of hair and the feathers of his pink scarf are very delicate. Veiga also chose to make the image of Prince that is most iconic or identifiable as the primary subject, so cars driving from multiple blocks away, or those walking on high floors of a building, are still able to easily understand who the mural is dedicated to—those that are standing below it, of course, get the full experience. Veiga also made the stylistic choice of having the largest depiction of Prince looking straight on to the audience with a fierce gaze, amplifying the emotional power; however, the smaller Prince images have their heads slightly turned sideways or showing his side profile, which creates a more sensitive or realistic version of his day to day persona. Though he is posing in the far-right image, we can see his facial hair is fuller, and his hair is styled more freely, which exudes a feeling of rawness or humanization to the mural. Subject The topic of the resource In the words of Hiero Veiga, this mural embodies Prince’s musical freedom, self-identity, and truth. When he thinks of the icon, he is reminded that Prince “was not about playing by the rules, but playing by his own,” and it was never about fitting within categories of rock, pop, or R&amp;B, but blurring the lines between them (Robinson). The three “looks” of Prince take us through different eras of his life, starting with how he looked as a teenager who is new to the music scene, then his Purple Rain era, and ending with his appearance near his death (Ryan). It was only fitting that this mural was created in the city he was from and chose to stay near up until his passing. This mural was a plan of over 7 years in the making, and when the Joan Vorderbruggen and Sharon Smith-Akinsanya, some of the leaders of the project, were asked to comment, they shared to memorialize him through art, as he would have wanted (Stroozas). Veiga was selected because of his mastery of murals, and knowledge of Prince and his Minnesota roots. This mural works as an inspiration of those in all walks of life—the downtown area has a large population of individuals experiencing homelessness, trauma, etc. People of all races, ages, sexual orientations, etc., will be walking past this mural with the expectation to feel something, and be inspired to be anything they want to be. This mural aims to revitalize this area and encourage community engagement. According to MIX 108, the mural will be maintained by Downtown City Council of Minneapolis for the next 30 years. Rights Information about rights held in and over the resource Artist: Hiero Veiga Researcher: Gianna Mitchell Source A related resource from which the described resource is derived Robyne Robinson. “Behind Hiero Veiga’s New Minneapolis Prince Mural.” Artful Living Magazine, 31 May 2022, artfulliving.com/prince-mural-hiero-veiga-artist-interview/. <br /><br />Ryan, Jeanne. “The Giant Mural of Prince Is Finally Finished and on Display in Downtown Minneapolis.” MIX 108, 2 June 2022, mix108.com/the-giant-mural-of-prince-is-finally-finished-and-on-display-in-downtown-minneapolis/. <br /><br />Stroozas, Sam. “Prince Mural in Downtown Minneapolis Unveiled at Block Party.” MPR News, 2 June 2022, www.mprnews.org/story/2022/06/02/prince-mural-unveiled-in-minneapolis. Veiga, Hiero. “About.” Hiero Veiga, hieroveiga.com/about. Accessed 12 Nov. 2025. Memorial Minneapolis Mural Music portrait Prince Purple Purple Rain https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/ed79049c168a21104c0541db284ec89b.jpg?Expires=1773878400&Signature=POqKX0upvaSqIpjr1vU9slFp32-TOSlC-8V1czpM7DpmuIWEC5qPZecoyZhVe9-ANt0Z4jup04PdSKdOkKLW8Xy%7EQH-qlTux3iIzfakomnJL9zwAAiQ-hHn4E9L3QymgjsK7JRyWcyvuM4BjmrVFFkKLT%7E7b2N5D0t0FdrDd2Yb9w-TMCqN5vHafYIpDO8Vs2B9O3e4H8tJRSb4MJjCN%7ErISgWIcjC5UdN7h3-mgSmP6GrKbLyb9XUCt0irZxXU9IB-LeqeXkO8vvzlazLwqPysGdim8U-lE9ESeVheJo6jV%7E7eqV3LS9Dnge6HghlC5ZGa1Su0ABKtio7q4w6ZXfQ__&Key-Pair-Id=K6UGZS9ZTDSZM 819721ee870fdc3ac553a071aa66c633 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/66113cdc7e94b80cb11a3e02f7e6a9a6.jpg?Expires=1773878400&Signature=nOAuXtZcbtA4z1BdxGDEP1bpl9UjXEG9AHDG8vu48rx6eF7GBHEu-27XahJB1ScXqhpjhAiIkcPtxJf3GSxDu6tARorX1OgjGpgF3YzM5ucVEMpLKxGOZoXPzDlLB7Sqty6C-QwkQ%7EfnBS%7E1LVNmavBPGp%7ECWRGXXWBTdIFL8TQKlSTcngfH-MEii9wDcc9larhyaXQmj7m5fPmwI11MxZCu0iqsp0HgZVL-YVMCwJOWWNLM9l22Voli8ZogxwtHWeiMtfqeCePbm2ppJSgNp5BHqWO3sYpM-0QhMAkLG6BNHLrQA2iHrpeRIczQSEyzWpennKbL%7E0BB-LEXg%7E1ZRw__&Key-Pair-Id=K6UGZS9ZTDSZM eb8ceb6907325c3611b50391e88732af https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/8bf8613943abdde2aaea22d8ad8bdeb1.jpg?Expires=1773878400&Signature=ADiTlzNdnTY8gnYuNAeJnqQ2%7EU44lQTq4CPTSIFNKUOZI7oRkR4xAgcUW12EzuxM2DpweP9Kvw%7EAkvqgBhPaaf7CGLAvR3PnfaMjIS4zgaoAanI2xMY2qJ0IL9PWmFdz7aUyMlrqheulxI8Sl-96Nt4FCiMA2%7EpUErL4Ts8TklwFN7hsnixsoxuJsBIU1jUCbsBfC-KXQ-ez2UDoV%7EnjMyLH%7EHriIGYDIDP6LhDc3a2-LSF5jUp33Jpid5zbzJlAYvBvrFAH1g-u0LUZqO-gC-gDXWRx8y-S6DSbNbzVeWsa%7ESMvwqrG7Z1AUiO1FIKNCGizv0HDkTIFmS7rPuWTRw__&Key-Pair-Id=K6UGZS9ZTDSZM 9d7e2e31018d2b23a886655fa55779ee https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/08a62ab4c862557c24dbceb85495ebf9.jpg?Expires=1773878400&Signature=PwyMPvM57KzetjU6s%7EiqREaOlXIRxzxYNv6QPzoJJEalUQhzLcqxuuGoJtiNFz9SeoEDlmKalbn9pqHDjTN689GHPj6QGqWTHH6Q9vWytZmZqpZrD9J%7EL%7EKGNbV%7EtHOIPmV-F6XrKmCvMQaGDFWAtV3bPDlqvQCvVTlTaxmLb4oQ64KAkrDNrJjfMcQHY5wr-Xn-JihSt1IGvdErp1081WgRWvmNN2O-y7qI%7EyjdHPYeJ1FPe25z93a%7EhzRm4k4Sg63OzWsf0z2UG5VIihkkxmRHQ9TjM2tiY4F4rn3scOtFZ9Xekjn7McebI3vXL6CKNKqXyOWpy10He2NaIskt0g__&Key-Pair-Id=K6UGZS9ZTDSZM 47865886a30f0951560637bef16debec https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/4958ac6b263fb02d7fe89ebddcbcef25.jpg?Expires=1773878400&Signature=mghK9lhhWrTUBFYz4NW1RlPEy1b6DEwaRu5-N8s9hfzfZeSOEcozzMhVkEoexFdMwE2yuDnpMqV6FHg-2Ly-FoiKKcQf1ugyGLmKWmvrQqqHqZ-Lk5f9PDqx0gU77%7EfPKfZZtC%7E1RHH3sC2j6gZXE61ZoE1O5ASJBMU5cuHirI1XPTS-Uz74IZrKsybno1RBdAnQrlFVCDYeUb6YzbbVFhYPw2p-NQ3nql7lOTcJL78xHjnQQbd5BNC-4yREONNrprnAFcnf1XcanRZ4RiTGFTL75KyhJmjiAIAHjSXNEeSkbxAXLcxKQ6pe4Gb7-NrD87wAztLzU3WhVyO4nFr28Q__&Key-Pair-Id=K6UGZS9ZTDSZM 010409809ee34e6bbd44186c8173b66a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lake Street Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chimborazo Is Here Creator An entity primarily responsible for making the resource Pablo Kalaka is a painter, illustrator, and muralist who was born in Chile. However, at a very young age, Kalaka’s family was exiled from Chile due to the Pinochet military dictatorship. They fled to Venezuela, where Kalaka grew up and earned a degree in Literature from Central University of Venezuela. From 2002-2004, he studied illustration and graphic art at the Escola de Comics Joso in Barcelona, Spain. According to Kalaka’s website, his artistic styles and works are shaped from his experiences in Chile as a child and in Barcelona’s urban art movement during his time studying overseas. His work can be seen in many countries in South America, U.S. cities like New York City and Minneapolis, and in multiple cities in Germany, France, and Spain. Kalaka also has four books published that include his illustrations. Date A point or period of time associated with an event in the lifecycle of the resource Date of creation: November 2024 Date of documentation: November 7 2025 Description An account of the resource In Pablo Kalaka’s "Chimborazo is Here," Kalaka’s vibrant style is evident with his use of bright and highly contrasting colors. The wall itself that the mural was painted on has differing depths, with the front wall of Aspro Auto Sales protruding out from the larger wall of Amaana Adult Daycare Center. As an observer taking in the large mural as a whole, the eye first travels to the piece of “canvas” closest to the observer, which is the awning protruding out from the auto sales office, which Kalaka painted a shingle-like effect with various pinks and reds of various sizes and depths. Below the awning, on the wall of the auto sales office, Kalaka uses the natural set up of the business to set his scene. He paints vibrant green and blue shutters around the existing windows, and paints his own window scene, where he paints a man and a woman appearing inside the building, accommodating the request of a young patron on the outside of the window. On the left side of the mural, Kalaka creates depth with his placement of Mount Chimborazo in the background and an Andean Condor in the foreground. Preceding the mountain, Kalaka lays several wavy, horizontal lines. These lines are filled in with light blue in the foreground and fade into a darker blue close to the mountain, giving the visual of moving waters. Billowing clouds rise up around the snowcapped mountain. The bird and the surrounding vegetation flow into the upper portion of the wall and a continuation of the foreground. The lush vegetation and wildlife settles in behind the illusion of a local business with a beautiful Chimborazo view. Kalaka gives the illusion of the lush vegetation from overlapping and stacked leaves and flowers. Colors pop in this section with bright and contrasting greens and blues of leaves versus oranges and reds of flowers and a cardinal. Kalaka places two other people on the mural as well. On the far right side of the mural, he painted a woman cloaked in magenta, wearing a hijab with detailed natural creases and shadows. Around her, the illusion of wind is given by Kalaka, with garments and fabrics given a billowing effect, as they appear to be blowing in the wind while being hung out to dry. On the side wall of the protruding auto sales business, not visible when viewing the mural from “head on”, Kalaka paints a man walking next to the blue trimmed front door of the business. Like the woman’s hijab on the opposite side, the man’s clothing is given impressive detail and depth with the use of wrinkles and shadows. The man appears old, with a visibly wrinkled face and cane in his right hand. Subject The topic of the resource Kalaka placed this mural along a vibrant stretch of Lake Street in Minneapolis. Surrounding the businesses the mural calls home, there are several Spanish speaking businesses and food trucks. Just north of the mural, residential homes line the street. The best view and photography of the mural itself comes from the parking lot of Aspro Auto Sales. The dealer appears to keep the parking lot busy with used cars for sale, and many people walk the adjacent sidewalks with the mural in view. Kalaka does a fantastic job of using preexisting business to set the scene of the mural. It brings life and an inviting feel to the business’s exterior, with the use of the man and woman painted in the “window” as a personable touch. The mural’s visibility on a street corner makes it an integration of the neighborhood and part of everyday life. In one mural, Kalaka showcases the natural beauty, wildlife, architecture, and down-to-earth people of this region. In the mural, Kalaka labels the mountain as Chimborazo. Without this label, the mural lacks a specific setting. With this tag, viewers are placed near Ecuador’s highest peak, the mountain and volcano called Chimborazo. Chimborazo is an ancestral staple and source of cultural pride and endurance for Ecuadorians. It is known as the closest point on earth to the sun. The mural also features an Andean Condor, one of the largest flying birds in the world. Among the people who inhabit the Andes Mountain Range, the Andean Condor is a symbol of liberty, strength, and endurance. Kalaka uses this setting as a whole to paint a picture of his South American upbringing. The mural gives a positive sense of identity and cultural recognition to Hispanic people who may now call Minnesota home. It gives people belonging and visibility in the cultural corridor of Lake Street. The title Chimborazo is Here, speaks to that. Even thousands of miles away, it is a piece of home and a culture that lives on. Rights Information about rights held in and over the resource Artist: Pablo Kalaka Researcher: Kyle Bauer Source A related resource from which the described resource is derived America Culture. “Chimborazo Culture, in Depth Analysis of Chimborazo Culture.” America Culture, americaculture.github.io/ecuador-culture/chimborazo-culture/. Accessed 10 Nov. 2025. “The Andean Condor: Emblem of Heritage and the Quest for Preservation.” ConnollyCove, 17 Apr. 2024, www.connollycove.com/the-andean-condor-symbolism/. “Bio.” Kalaka, elkalaka.com/bio/. Accessed 10 Nov. 2025. The Majestic Chimborazo: Ecuador’s Highest Peak, www.mexicohistorico.com/paginas/the-majestic-chimborazo-ecuador-s-highest-peak-167f56c6.html. Accessed 10 Nov. 2025. Lake Street Minneapolis Pablo Kalaka https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/85f05d9eaec57419f5843071ea64d291.jpeg?Expires=1773878400&Signature=a1CfL%7EVLyQCWXLsugcl9GADNTnuu%7EFfeJGeGbGYkSqJ80yI5MD5PFCS8QvLnCTQonZeTk4e06bWJb6i8Ob2WtelFeQJPkCnDYkrQ-wo4DawTprvhlMxqEHQEdNVI1R8hp5v%7EjSvd94JscaKXwN9Jdez7ed2x3b6nSbl4grycE1w3T1KuWtNDam8NOUyVGhVk57JgPzWPb5wNP-GT1glPgFCYkNlFBKw-2qMYwBF7H-hNSWHv6ltiIuBHnDJ%7EMaFZ2JGzQ3NDZtJRDMfvOm1W16kGJGNzVwydGdkIxB3C92Hg3KYlu36xNFjCPQ4m8boLcUgCx2gdgdhy5GXBspdRwg__&Key-Pair-Id=K6UGZS9ZTDSZM b58e2f4e9c877517ed546cd6703df3f1 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/629733ee95edc6d87d168e618dfec214.jpeg?Expires=1773878400&Signature=V2uAzhioGrvlkS8dWNttjTlAcjwDcvRhoKxHXMPBScHG0LuW%7EmmMAVFuc0DPMI7SDBo9J0NgSTJ6ojZxUAcE7zO2EASX7ZiOjnbN0jG7F-Zp6-HCuoZOpV2kJa-%7E7%7Et6HYEKDAbnKACAK%7Ephh7hgz2PGKgBdXSPSO3n5DzDM7EgmEj-wOf5mkb6Xg3pFSpopQdcPn8c-ddLtg0DcW3JWikwLLrDxDWSkikbzLRvHsNDG5OGRhAcRcQLsw6G8kcDVCiV%7EcUqXeCpxYnd%7EwjBNHlc%7E1f8GLQ5NLm0BhJbKmLaym-5tY2gVJrYEwzhUZcbrKHT9jW%7E1c2GhGIOQJFf59g__&Key-Pair-Id=K6UGZS9ZTDSZM 384be64da806eb647bc0113075cc80de https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/580adef0e6349af8a63b9b0b4c1f1cf3.jpeg?Expires=1773878400&Signature=bHwJiZaqqRTvfqGv-myhyoKcP4STOPL3AJhbimZHI4u8dKmkTacn%7Enb56EYtZx8xx3DfqGzIr33VVszWrW4jx4eDeaQrKruYQYnzsE4gvIV0dGqGRap%7EuEqkrm98I1I-yHHnfv7SSl8esbO8DYl%7Eg60tLMovhzkOyWVGya5oBWzyPGUi3-sq-KK2UiqF6STqavKsNZFj05grZn%7ELKDWy-KRI05JUAvKkhHwETLcOx7M-T2EGQX62nnb-qpdEqAqNCGo7A6FvEbZm4-Kic-Z8xkGED5cxhnRO4nJRx0rDKwSWbEQsUl7bVvjcdtLtP3mcp1Ssb0y0%7ENzOqLp3HMAUZQ__&Key-Pair-Id=K6UGZS9ZTDSZM d36687b36ae53110d49dc22ad060640b https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/574edf808faf4913ac0dba0a59e13767.jpeg?Expires=1773878400&Signature=OfEnRq8w3m2f3hwjDYsLIZjcRBy6oTBZkzX-3pafjIWctGA6dhJe0zUF2hfAsS3tglPoPVEmh7HWN36eA2ZBSSe%7EweGUS3wAosu4qTDLdwfW6vwj-MRjti5KgVcLrsOQbIzO0eXyctLH6vikStX2l8kIYHySbAQVPqXLCI5M%7ERYPJRW2KdyJNYJUchYGxAUtQ6f8lSPJSGIuRcXrwLv%7EM6tOnYRi200W2LfyyrG4OJeSDIDBuPDvYX9CcEyYBw87NFOUflU5sfGPR1Vj6ohMpKOJ%7Et5AhuOEoLI3L3ZifmQ7FihLaYu0CjyTFFLZ9FrplSBmlb%7EYTsYRf5Dc6Z2vDQ__&Key-Pair-Id=K6UGZS9ZTDSZM 819d531355f257e526f777c05ef274d4 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/93d57d516bba9ebcee49b88d64b4e617.jpeg?Expires=1773878400&Signature=XlREyn0IhOc-ePDGKFzsbYSRwaub%7E-mm0zUEdQ9rBKvSRJhysSSfLL%7EBPKpkdOEiykRSe0suKSAIx2TQsrkOdalUgr8YRGG7K7jPhwCXTERqasZuvkq3%7EiFdYPNL7rwdQXJKreXIz3SE%7ENVCAuIjm6H6-5o5-AV%7EtKs6FGN4piVsPRia2a3UAWw-RBaCcDb8wTroPepoN6mCOgky6JkTk29pLNCZjYnkD29pnXYhEDg1ZkywZQUsuAMGTFCCsKF%7EFEtwSODngFsclEw0-7nJDjbPdpf0R856ILb0%7ENE-Za5rQem3SlxRRqoxCPPKSe-Ak9ImOEB2x4zDKGkDIK36ng__&Key-Pair-Id=K6UGZS9ZTDSZM 59110fa93d940e5b961b4e236e540e42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lake Street Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pablo Kalaka YWCA Abstract Creator An entity primarily responsible for making the resource Pablo Kalaka Pablo Kalaka was born in Chile in 1975 and was raised primarily in Venezuela. He is a painter by trade and has worked on many murals and illustrations for books. His art has been inspired by his Latin roots as well as his family’s political background. Kalaka has been creating street art in public places for many years in countries like South America, Central America, U.S., and Europe and in cities such as Caracas, Barcelona, and most recently Minneapolis. Kalaka has continued to live in the Twin Cites area since 2021 and has completed nearly 20 murals in Minneapolis and continues to do so to this day. Date A point or period of time associated with an event in the lifecycle of the resource Date of Documentation: November 6, 2025 Description An account of the resource This very colorful mural on the YWCA building in Minneapolis is a very energetic piece of art that brings life to the brick wall. The artist has chosen to use a very bright color palette with colors such as orange, pink, red, purple, black, and blue to make the wall stand out and give the dull brick more character. The mural is made up of many figures and shapes such as hands, lines, circles, and assorted curves that move and connect with each other and the other shapes. The design and use of these figures give the mural a playful tone with a lot of motion and moving parts making the wall very dynamic. Rather than a realistic scene, the artist goes for a more abstract approach for this mural and uses the color and shape to express more emotion and meaning. The big contrasts with the color palette and the many moving parts in the picture draws attention to the wall as a whole and not just to one specific or central part of the mural. The dynamic parts could be some kind of symbolism for a sense of community or teamwork. Overall, the mural gives much creativity and color to an otherwise bland and generic brick wall. The abstract style leaves messaging up to interpretation. The art work helps the building feel more welcoming with symbols of community, creativity, and togetherness in a very publicly visible area Subject The topic of the resource The mural on the Minneapolis YWCA can be understood as a visual expression of empowerment, diversity, and community strength. It’s location on a building that stands for social justice and women’s equality already gives it a strong cultural and historical meaning. The mission and purpose of the YWCA of uplifting women connects directly with the mural’s bright and inclusive design. The artist uses flowing shapes, open hands, and bold colors to create symbolism for shared space and unity. The mural being in Minneapolis adds deeper context to the art work. In recent news, the city has been in the center or national talks about racial justice, equality, and equity especially following the events of the George Floyd murder in 202. Street art in Minneapolis has often become a way for communities to express powerful things like resilience, solidarity, and healing after major national tragedy. This mural fits in with this movement by using color and abstract shapes to show a sense of optimism rather than being another art piece that focuses on the pain and collective suffering of the city of Minneapolis. The mural’s abstract design allows people from many background to connect with it in their own way. The hand shapes may represent helping hands, community support, or empowerment. The overlapping shapes could symbolize how many people’s stories are linked and connected in many different ways. Source A related resource from which the described resource is derived Kalaka. “Bio.” Kalaka, 2025, https://elkalaka.com/bio/. Accessed 11 Nov. 2025. Lake Street Council. “Lake Street Art Drop with Pablo Kalaka.” Visit Lake Street, 6 June 2024, https://www.visitlakestreet.com/lsc-events-meetings-all/art-drop-june-2024. Accessed 10 Nov. 2025. Lake Street Minneapolis Minnesota Pablo Kalaka https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/9502a7c65d6337e49e151f2197ded852.jpeg?Expires=1773878400&Signature=e4OTMbAXahGGMmCZQ3smditElJ1YDJRALQPTPQ%7E-b7f82bcmw0M1kB5l57LTxB8mIByJXiJw49aNBeSwJgtNFdxtTVTOiUS8xYCIVE23yjaoiZDRQA3ZrPdSs4VSvTn6UrCm8jzO36lS1hxWRalawMGuvauTjnhI3xXADfg2IJ-5qOjpQTBhvyVrFabFrG8SlLbrEHjaOacyUr23BgNz9nueDP5WbK4mv0ihcYA2jPtJtmibufhJhJiSdJJs7Djpdf3ulG7znyOmyrZ2-Ho3EXvJopZyzG8ISgSWdLDx7sXVuweiaWsrJwmYLDhWFViqrN1tynDZ7uAyb1coN5hcCA__&Key-Pair-Id=K6UGZS9ZTDSZM 3194a563889f385b53cb0ea84900c3bd https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/9db2c0fd97429242e242e7b8908fe2c9.jpeg?Expires=1773878400&Signature=UWrMBrpSG2x6a-rqCxPn%7ECuZBLNdPLe85Up0fTYL%7EMsjJwnikEKbn5yJPtOJilDT8bIaHOKtwtW5Ei1kzWtc6lWdcXfdjz3Daq8FaGRAJOVlmNM5F3Yzm0jgy6AYi%7EzL9CHE7tFqGKjk0f7p8tsn03wK1q9hr2rb7kta6gZopZci6MCMBVi5BjdRHweyuVIPAkPWRXLfxyPRRg7i%7EHxYQ0omy3XWCd5811e8kOVqMkxtz2Pw4Y-ek0sj0O0%7ExlHxL7AW5vPPIs6UpoWGb%7Ee2KGmnZUiMsTjo9Enh6iZ0RPem61J9YYH18YZ9RIpaE1q3j6QcpqOOZPxGyay-wC9RlA__&Key-Pair-Id=K6UGZS9ZTDSZM e6a8652b1592721e5fdd9e4221b5e43b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Defend, Grow, Nurture Phillips Creator An entity primarily responsible for making the resource Nell Pierce Nell is a freelance artist with an emphasis on storytelling facilitation. They were drawn to Minneapolis through the organizing and artist community and have lived in Mni Sota Makoce, the occupied Dakota homeland, for 10 years. They enjoy collaborating with people in their work, which includes murals, collage, art through teaching, and acrylic painting. They are involved in studio work, including the Studio Thalo collective, along with Olivia Levins Holden and Bayou Bay. They are a part of Creatives After Curfew, which is a substantial muralist collective. They have also been working on a project called Q’llage for six years, which uses their perspectives and perspectives from the LGBTQ2IA+ community to find approaches to being their true selves, with features of nature being used to articulate these approaches. They also create portraits in the form of collages and paintings in their spare time, which are commissioned. https://nell-pierce.squarespace.com/about Juliette Perine Myers Juliette is a mosaic artist and muralist living in Minneapolis, Minnesota, since 2013. She uses art as a means of social justice, emotional processing, and community. She has been a collaborator in public art projects in the Twin Cities. She brings her identity as queer, Chinese Heritage, and elements of nature into her work. She is a part of Creatives After Curfew, the BIPOC mural collective, and is a mosaic class instructor at Mosaic On A Stick Studio. She also creates murals and mosaics on commission. https://julietteperinemyers.com/murals-and-public-art Missy Whiteman Missy is a renowned filmmaker, storyteller, and photographer based in Minneapolis, Minnesota. She is of the Northern Arapaho and Kickapoo tribes, which she brings into her work by bringing the voices of her ancestors forward to create change and understanding. She uses both tradition and loss of culture in her work, along with the healing process that reshapes cultural identity. Her father, Ernest Whiteman, is her main source of inspiration since he shaped her view of the world as an artist. Her short films have been featured at the National Geographic All Roads Festival, tribal venues, and the Walker Arts Center. Her short film Coyote Way: Going Back Home earned her the Sundance Native Lab and Jerome Fellowship. She currently works with Independent Indigenous Film and Media as a consultant, where she provides education and resources for communities, youth, and organizations in film. https://in-progress.org/whiteman-missy Olivia Levins Holden Olivia identifies as queer and is an organizer, artist, Boricua muralist, and educator based in Mni Sota Makoce, the occupied Dakota homeland. She was raised surrounded by artists who focused on political and social movements, which impacted the way that she viewed art. She is committed to community involvement and projects where people come together to create a piece of art. They have an interest in storytelling as a means of justice and believe that it’s essential that whoever's story is being told is present and included in the process. She has been a leader and creator of murals in California, Minneapolis, and Puerto Rico. She is a part of the Studio Thalo Collective along with Nell Pierce and Bayou Bay, and the Creatives After Curfew Collective. They do mentor and facilitation work for the Latinx Muralism Apprenticeship, Studio 400, and Comunidades Latinas Unidas En Servicio, aka CLUES. They are also the Art of Radical Collaboration manager at Hope Community, Inc., where they have led the Transformational Creative Strategies Training and the Power of Vision mural project. https://www.olivialevinsholdenart.com/artist-bio.html Camila Leiva Camila is a comic artist, muralist, and painter born in Santiago, Chile. She currently lives in Minneapolis, Minnesota and her art focuses on giving a voice to Latin American women, especially those who face violence due to discrimination and resist against it. She wants these women to be seen and understood while building community. She enjoys painting portraits with saturated colors, along with comics made with watercolor, digital art, gouache, and ink. The political murals in Chile such as the Ramona Parra Brigade have influenced her along with artist and musician Violeta Parra. Her parents (her mother is Minnesotan, and her father is Chilean) were a part of the Chilean resistance during the military dictatorship. She was also born during the dictatorship, and her family felt the effects of political persecution and exile. Because of this, she uses her work to find belonging in displacement through discovering more about her family’s past. She also uses it as a form of connection to other Chileans and their stories and histories. https://www.camilaleiva.com/about-me Magdalena Kaluza Magdalena is a muralist, organizer, and educator. They grew up in between Phillips in Minneapolis, Minnesota, and Guatemala. Their mother is of Polish and French-Canadian descent from Minnesota, and their father is Mayan K’iche’ mixed race from Guatemala, who both were involved in social justice and solidarity in Guatemala. Their background has shaped their work as a storyteller and activist with a focus on understanding different cultures and identities. They feel that art brings room for vulnerability through the storytelling and connections that it brings. They aided tenants in Whittier in fighting for ownership of their buildings from an unfair landlord. They have participated in political education and community involvement during the 2020 uprising focused on safety and connectivity. They also have an emphasis on affordable housing, immigration rights, and climate change. They believe that affordable and safe housing needs to be addressed before climate change and immigration rights. They currently work as a program coordinator at Gardening Matters. https://www.womenspress.com/magdalena-kaluza-direct-action/ https://www.linkedin.com/in/magdalena-kaluza-884178b0/ Simone Rendon James Autio James is a painter, teacher, visual artist, and poet based in Minneapolis, Minnesota. He is a member of the Lac Courte Oreilles Band of Lake Superior Ojibwe. His poetry has been published in many publications such as the North American Review and Yellow Medicine Review. He practices his visual art using some methods from his poetry process, such as abstract imagery, leaving room for people to derive their own meaning, and the incorporation of words and ideas. He also creates sculptures, traditional Ojibwe art, charcoal drawings, and digital art. He uses reclaimed Cub Foods bags as a canvas to have more space and allow for intentional imperfections. This practice is related to the use of ledger paper for art in Native American tradition. He sees the “imperfections” in his art as a part of the final product. https://www.jamesdautio.com/ https://www.iwpcollections.org/nw2-james-d-autio</p> Mattie Weiss Katrina Knutson Katrina is a community muralist, painter, illustrator, community teaching artist, and printmaker based in Minneapolis, Minnesota. She focuses on urban environments, along with the strength and resistance within them, in her work. https://www.chromazone.net/katrina-knutson Samie Johnson Samie is an artist in many forms, including a large-scale and community muralist. They use art as a means of growth and emotional expression and to showcase how the community creates connections and different perspectives. They currently work at Hope Community as an Art of Radical Collaboration Organizer and a co-facilitator for the Transformational Creative Strategies Training and the Power of Vision Mural Project. They started by participating in the 2018 Ripple Ecology program and as a garden volunteer. They have also been a studio assistant and a Public Ally coordinator at the North Minneapolis Camden Neighborhood Center for elders through Americorps. https://hope-community.org/about/staff/samie-johnson/ Chaka Mkali Chaka is a leader, organizer, and activist with many different accomplishments and talents. He has completed many trainings and certifications related to policy, community change, practice, and culture through art. He is a Wellstone Fellow, a University of Minnesota Roy Wilkins fellow, and a 2013 Bush Foundation Fellow. He also participated in the BMe Black Leadership Roundtable. He has worked at Hope Community since 2004 and is currently the Director of Organizing and Community Building. He works with young adults and teens from low-income areas to strengthen their community and use the arts to fight gentrification and bring change. https://hope-community.org/about/staff/chaka-mkali-3/ Date A point or period of time associated with an event in the lifecycle of the resource Date of Creation: 2019 Date of Documentation: March 31st, 2025 Description An account of the resource The Defend, Grow, Nurture Phillips mural is located on Franklin Avenue in Minneapolis, which is in the Phillips neighborhood. This mural was painted on a large, wide building. The mural's focal point is six indigenous people painted in the center, with a woman breastfeeding and holding her out her hand, as the main figure. There are many generations represented, including two elders (the last two people on the right). There is a man to the left of the breastfeeding mother, another woman with a child in front of her to the right of the mother, a man to the right of the woman and child, and another woman to the right of the man. Sunflowers, along with other plants and flowers, surround the people, forming a square with one large sunflower at the far-left edge. The sunflowers depict scenes that are of importance to the community. The people are all facing to the left and appear to be in protest. Two large triangles are pointing to the right and left, which are formed near the group of people. Inside the triangle pointing to the right, there is a silhouette of people protesting. The left side of the mural depicts mountains in the background and items representing disruption, gentrification, and destruction. The right side of the mural depicts water with tepees being reflected in it and buildings behind the more modern tepees on the top. There are constellations on the top and bottom, along with circular stars with figures depicted in them. There are also northern lights in the top right. The main tones of the mural are earthy browns and reds with cool tones on the right side. The composition of the mural has people as the focal point, depicted at the mural's center, with the mother being the focus. The balance of light and dark shades of paint for the skin tones adds depth and creates a sunshine-like effect. The two triangles balance the scenes depicted on each side, which also creates symmetry. Another point of symmetry is the square made up of flowers and plants that surround the people. The four sunflowers create a square around the people in the center, which also adds symmetry. The tepees in the reflection of the water, along with the constellations, balance the buildings above them. The mountains and flowers appear to be distant in the background of the people. The middle and foreground are used to display the people and sunflowers, with one larger sunflower displayed in the background. The dark brown triangles add depth to the images displayed. The protest silhouette is in the middle ground. The contrast of light and dark on the far-right side adds depth. The oil, gun, crane, needle, danger sign warning against arsenic and lead, and barbed wire are in the foreground and part of the middle ground. The tepees are in the foreground, and the buildings and other tepees are in the middle ground. The stars and constellations are in the background and foreground. Yellow curved lines outline the people, which show their importance and make them seem like they are surrounded by sunshine. Curved lines over the tepee represent waves, which create a sense of peace and tranquility. There are also straight lines that are formed by the two large triangles, creating a frame around the people and a visual sense of direction to the scenes depicted on both sides. The straight lines of the barbed wire in the bottom left corner point at the mother, who appears to be deflecting them along with the oil, gun, and crane. The curvy lines of the constellations and northern lights at the top right are reflected in the water and represent nature now and then. The paint adds texture through the sharp appearance of the barbed wire and the hook attached to the crane. The thin brush strokes of the feather attached to the headband on the child’s head make it look soft and fluffy. The colors in the mural are very earthy in their tone. The mountains and hills displayed on the left use brown, peachy tones, which give it a very peaceful tone, contrasting with the filth and desecration of land shown in the bottom left corner with unattractive tones and themes. The scene on the right uses cool tones, which could represent water and bring a calming message. The dark blues used in the top left corner are meant to show the impacts and changes due to colonization. The bright colors around the people show that they are full of light and connected to the earth through the flowers. The yellow shows that the people are full of light. Subject The topic of the resource The main goal of the mural was to bring out the voices of the community and to create a piece that represents their strength and presence both past and present. It surrounds issues such as environmental injustice and displacement. The indigenous people in the center of the mural are meant to represent the community's ownership and presence on this land and their communal strength. The women being at the front was done on purpose as well. The items that the woman holds her hand out against are meant to show resistance against issues that the community has and is facing. The woman breastfeeding also represents a moment in history when breastfeeding indigenous women stood in front of bulldozers to prevent their sacred cedar trees from being cut down near 55 Hiawatha. The girl in the front’s red dress represents indigenous people, particularly women, who are missing or have been murdered. Rights Information about rights held in and over the resource Artists: Olivia Levins Holden (lead artist), Nell Pierce, Juliette Perine Myers, Missy Whiteman, Camila Leiva, Magdalena Kaluza, Simone Rendon, James Autio, Mattie Weiss, Katrina Knutson, Samie Johnson, and Chaka Mkali Source A related resource from which the described resource is derived <ul><li>“Power of Vision: Mural on the Ave.” Minneapolis Institute of Art, Minneapolis Institute of Art, new.artsmia.org/programs/mia-in-the-community/community-arts/power-of-vision-mural-on-the-ave. Accessed 29 Apr. 2025.</li> <li>Eagle, Jaida  Grey. “Franklin Avenue East.” <i>Minneapolis Cultural Districts</i>, Minneapolis Cultural Districts, www.minneapolis.org/cultural-districts/districts/franklin-avenue-east/. Accessed 29 Apr. 2025.<br /><br /></li> <li> <p>Lindeke, Bill. “Franklin Avenue, a Past and Future Native Home: An Interview with NACDI’s Andy Hestness.” <i>Twin Cities Daily Planet</i>, Twin Cities Enterprise, 25 Mar. 2015, www.tcdailyplanet.net/franklin-avenue-past-and-future-native-home-interview-nacdis-andy-hestness/.</p> <div></div> <p>Contributer: Crystal Price from Minneapolis Institute of Art </p> </li> </ul><p></p> Franklin Ave Immigration Indigenous art Minneapolis Phillips Spray Paint Star Pattern