New mural sparks debate in Milwaukee’s Bronzeville District

A recently completed mural in Milwaukee’s historic Bronzeville neighborhood is igniting community debate about representation and artistic choice in public spaces. The artwork, which depicts characters from the 2019 film “Queen & Slim,” is part of a broader $700,000 investment in the area’s artistic revitalization but has drawn mixed reactions from locals.

The mural near the intersection of Dr. Martin Luther King Jr. Drive and Vine Street was painted by artist Mauricio Ramirez as part of the “Bronzeville Brush” series commissioned by the Historic King Drive Business Improvement District (BID). The piece transforms the facade of a cream city brick building that houses HoneyBee Sage Wellness & Apothecary.

The artist, who has completed approximately 300 murals throughout his career, has made a significant impact on Milwaukee’s urban landscape through several notable works, including the “Heart & Sol” mural on the Community Advocates building and a massive 55-foot portrait of NBA star Giannis Antetokounmpo near downtown.

“It’s a full-on sprint. There is no time to be wasted,” Ramirez told Fox 6 News last week, describing his artistic process. “I’m trying to create work that will sit on a global scale.”

The Film’s Context

“Queen & Slim,” released in 2019, tells the story of a young Black couple whose first date turns tragic after a fatal encounter with a police officer during a traffic stop. The film follows their subsequent journey as they become reluctant symbols of trauma, grief, resistance, and love in Black America. Written by Lena Waithe and directed by Melina Matsoukas, the film sparked discussions nationwide about police violence, Black representation in media, and the complexities of Black love in contemporary America.

The film’s themes of protest, survival, and tragic romance have made it a culturally significant work, though also a controversial one. Some critics praised its powerful commentary on racial injustice and celebration of Black love, while others questioned its handling of trauma and violence. The film’s ending, which depicts the protagonists’ violent death, has been particularly debated for its portrayal of Black suffering. 

Community Response

The mural has sparked significant discussion within Milwaukee’s Black community, with many questioning its subject matter and broader implications. Dr. Monique Liston, a prominent voice in the debate, raised several concerns about the choice to depict fictional characters from “Queen & Slim” rather than actual historical figures from Milwaukee’s Black community. 

“All these real Black people who should be on murals, and they put up a giant depiction of a fictional couple that had nothing to do with Milwaukee who was depicted on film being murdered by the police?” Liston questioned on social media. “There are so many representations of REAL Black life that would be amazing to see represented on King Drive and the choice was to go fictional?”

Some commenters expressed concern that the mural could be interpreted as a “dystopian marker” that sends a problematic message about Black people’s place in society; other people have echoed these sentiments. 

One commenter suggested that the mural could have featured local Black legends, such as musician Al Jarreau, while also noting concerns about selecting a non-Black artist for the project. Some residents acknowledged the technical quality of the artwork while questioning its appropriateness for the neighborhood: “The artistry is beautiful… what was presented isn’t. Especially in that neighborhood.” 

Others attempted to understand the intent behind the choice: “The movie was portrayed to stand up against racism and police brutality so maybe that’s what they was trying to get at….but again, why them?”

Ray Hill, executive director of the Historic King Drive BID, offered important context about the mural selection process and welcomed the resulting dialogue. 

According to Hill, the mural program represents only 10% of the $700,000 budget allocated for neighborhood revitalization. She explained that property owners where the murals are located played a crucial role in the creative process, selecting the artists and having the final say on the mural subjects in collaboration with the artists. .

Regarding the debate surrounding the Queen & Slim mural, Hill expressed satisfaction that the artwork has sparked meaningful discussions about representation in public art. “We’re pleased that people are having these conversations about art in the Black community,” Hill stated, emphasizing that public art should indeed provoke dialogue and engagement.

The mural has also received positive attention on social media platforms like Reddit and Instagram, where community members have expressed appreciation for Bronzeville’s artistic development. One commenter noted the excitement around “how involved the Bronzeville community has been with the neighborhood’s development.”

Broader Revitalization Context

The mural is part of a larger streetscape project led by the Historic King Drive BID, which has invested more than $700,000 in area improvements. According to Hill, the initiative includes murals, branded signs, benches, planters, bike racks, and trash receptacles along North Dr. Martin Luther King Jr. Drive.

“It really was about showing the connections,” Hill told the Milwaukee Business Journal in October. We really believe that’s the core of economic development: being connected to not only the businesses but also the people and the location.”

The project’s current phase covers McKinley Avenue to North Avenue and is approximately 90% complete. Future phases will extend improvements further north on King Drive, with an estimated additional cost of $1.5 million for subsequent phases.

Historical Context: The Legacy of Black Community Murals

The debate over the Queen & Slim mural takes place against the backdrop of a rich history of community muralism in Black neighborhoods. This tradition has been central to cultural preservation and social activism for more than half a century.

The modern community mural movement found its catalyst in 1967 with creating the Wall of Respect on Chicago’s South Side. This groundbreaking work, conceived by the Visual Arts Workshop of the Organization of Black American Culture (OBAC), marked a pivotal shift in public art. The mural, which featured portraits of African American heroes, transformed its surrounding area into a vibrant cultural hub, hosting poetry readings, musical performances, and political discussions.

This shift represented a significant departure from government-commissioned public art to community-driven projects that reflected the experiences and aspirations of marginalized groups. The Wall of Respect’s influence extended beyond Chicago, inspiring artists and activists nationwide to reclaim public spaces and use them as canvases for social commentary and cultural affirmation.

During the 1930s and 1940s, Black artists like Hale Woodruff had already begun making significant contributions to public art, despite racial discrimination and limited opportunities. Woodruff’s 1938 murals at Talladega College, depicting the journey of Black Americans from slavery to freedom, set an important precedent for using public art to tell stories of African American history and struggle.

In Los Angeles, the community mural movement of the 1960s gained momentum through artists like Elliott Pinkney, who began creating works celebrating African American culture and history as early as 1965. These artists used their talents to transform public spaces into powerful statements of Black identity and pride.

Contemporary muralists have continued this tradition of using public art for cultural preservation and social commentary. In 1992, artists like Noni Olabisi created works such as “To Protect and Serve” and “Freedom Won’t Wait,” addressing pressing issues of police brutality and systemic racism – themes that continue to resonate with current social justice movements.

The role of murals in Black communities has been multifaceted:

• As tools for cultural preservation, documenting and celebrating African American history, traditions, and achievements
• As platforms for political expression and social commentary
• As vehicles for community engagement and empowerment
• As means of reclaiming and redefining public spaces in neighborhoods that have historically been marginalized

Importantly, these murals often involve intergenerational collaboration. Older community members share stories and experiences that are then translated into visual form by artists. This process ensures the accuracy of historical depictions, strengthens community bonds, and facilitates the transmission of cultural knowledge.

The Path Forward: Balancing Tradition and Contemporary Expression

As Bronzeville’s artistic revitalization continues, the controversy surrounding the Queen & Slim mural has highlighted the complex relationships between public art, community representation, and cultural preservation. The debate raises important questions about how best to honor Black history and culture while addressing contemporary issues through public art.

Phase 1 of the Bronzeville project includes four other murals, each taking different approaches to representation. A mural by Anna Rose Menako featuring author Toni Morrison at 1937 N. Dr. Martin Luther King Jr. Drive celebrates literary excellence and cultural achievement. Another work depicting Dr. Martin Luther King Jr., created by artists Reynaldo Hernandez and Rozalia Singh at 2220 N. Dr. Martin Luther King Jr. Drive, connects the neighborhood to the broader civil rights movement. Artist Brad Anthony Bernard plans additional murals at The Bronzeville Kitchen and Lounge. Finally, a mural will be created by artist Ruben Alcantar at 1800 N. Vel R. Phillips Avenue.

These varied approaches to public art – from historical figures to contemporary commentary – reflect the ongoing evolution of the community mural tradition. As Milwaukee’s Bronzeville continues its artistic transformation, the discussions sparked by the Queen & Slim mural may help shape how future public art projects balance historical representation with contemporary narratives and how they can best serve their communities while maintaining artistic freedom.

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