Recently, Florida artist Robert Wyland, known simply as “Wyland,” was immersed in his creative process at his studio in the Florida Keys. He was painting and sculpting his signature vibrant depictions of marine life when his assistant delivered surprising news.
At 69 years old, Wyland has garnered worldwide recognition for his “whaling walls,” a collection of impressive murals that grace various locations in the United States and beyond. Many of these works have become beloved landmarks within urban settings, showcasing the majestic whales in serene, peaceful scenes that provide a moment of calm amidst the hustle and bustle of city life.
In the late 1990s, Wyland completed one of his cherished murals called Ocean Life in Dallas, Texas. Standing at an impressive 82 feet, it quickly became a favorite among locals. Over the years, the mural began to show signs of wear, with its vibrant blues and blacks fading and cracks appearing in the paint.
Typically, Wyland touches up his creations regularly, and Ocean Life was on his list for future restoration. However, everything changed when his assistant informed him about an unexpected development.
“She said someone had called to let her know they were covering the wall, or perhaps blue-washing it,” Wyland recounted. “I was taken aback. It completely surprised me.”
Indeed, images of the mural being painted over soon surfaced on social media and reached Wyland’s phone. Initially, the reasons behind the erasure of this longstanding public artwork were unclear, leaving Wyland and his foundation in a state of confusion. Although some of his works have disappeared over time—often due to building demolitions—neither Wyland nor his team had received any notification or consultation about this drastic change.
What followed has embroiled Wyland in a confrontation with FIFA, the world’s most influential sports organization, a local organizing committee, and ignited a crucial conversation about the rights and significance of public art.
Wyland soon discovered that his mural had been completely obscured to make way for a new artwork promoting the upcoming FIFA World Cup. In response, Wyland’s team quickly filed a cease and desist order, and shortly thereafter, a lawsuit against FIFA seeking $25 million in damages was initiated.
“This feels like a David versus Goliath scenario,” Wyland expressed. “They are a multi-billion dollar organization, and I am just one artist with a small foundation. But I assure you, they chose the wrong artist and the wrong artwork. I refuse to stand idly by while they walk all over this.”
Wyland’s passion for marine life ignited at the age of 14 during a family trip to California. Growing up in Detroit, he had limited exposure to oceanic wonders, but that vacation took him to Laguna Beach, where he witnessed a pod of grey whales on their annual migration—a 12,000-mile journey from the Arctic to Mexico. Captivated by their majestic leaps, young Wyland developed a deep admiration for renowned oceanographer Jacques Cousteau.
Not long after, Wyland attempted his first mural. An art enthusiast since childhood, he accepted a project from a teacher who needed a snowy mountain scene painted on the side of an ice cream and burger shack. The task paid him $100. For the following years, he seized any opportunity to work, eventually relocating to California to pursue a full-time career in art. At one point, Wyland recalls subsisting on a mere Snickers bar daily.
Over the next fifty years, Wyland dedicated himself to ocean conservation through his whaling walls. His first mural debuted in 1981 in Laguna Beach, near where his love for whales first blossomed. Featuring a California grey whale and her calf, the mural was an immediate success, inspiring Wyland to aim for a hundred such works. After nearly 27 years, he accomplished that goal, with murals not only across the United States but also in 17 countries worldwide.
The erasure of his Dallas mural has provoked widespread outrage. Due to the involvement of multiple parties—including the North Texas World Cup Organizing Committee, the city of Dallas, FIFA, and the building’s management—attributing fault has proven difficult. Few parties involved have commented on the situation. The city of Dallas claimed Wyland was informed about the mural’s fate, a statement the artist vehemently disputes, calling it a “blatant lie.”
Wyland is determined to identify who is truly responsible and has noted that his lawsuit aims to shed light on the decision-makers behind the replacement of his mural.
“FIFA needs to be transparent,” Wyland stated. “They are accountable. They deny any responsibility, but does that seem reasonable to you? It’s their event.”
His lawsuit references the Visual Artists Rights Act (VARA) of 1990, which protects artists of “recognized stature” from the willful or negligent destruction of their works. The $25 million Wyland seeks would set a record for the largest claim in a VARA case. He has pledged to donate any winnings from the lawsuit to charitable causes.
“Sometimes, [money] is the only language people understand,” Wyland explained. “The figure had to be significant enough to serve as a wake-up call for those who come into a community and obliterate an artwork that is integral to it. Artists’ rights encompass not only the creators but also the public art that enriches the lives of community members.”
Currently, work on the mural has ceased, with each party deflecting responsibility. The building owners clarified that they merely provided the space for the public art project, emphasizing that they are not profiting from it. FIFA, on the other hand, stated they have “no involvement in this whatsoever,” redirecting inquiries to the local organizing committee.
The local organizing committee has recognized failures in communication while absolving FIFA of any wrongdoing, whereas Downtown Dallas, Inc. (DDI), the local economic development agency, has attempted to distance itself from the controversy, asserting its role was limited to preliminary discussions regarding the FIFA mural.
However, emails obtained by local news sources reveal a different narrative. One DDI employee pointed to Wyland’s mural as an ideal candidate for a World Cup-themed artwork, stating, “The current mural there is over 30 years old and past its useful life.”
“Is the Mona Lisa past its usable life?” Wyland retorted. “Would you argue that a Van Gogh is beyond its useful life? [My murals] have stood the test of time. Sure, they may have faded or cracked a little, but who decides what is considered ‘usable’ for the people of Dallas? They’ll spin this however they like.”
Several other pressing questions remain unanswered, the most glaring being: if FIFA or the organizing committee aimed to promote the World Cup, why not use a temporary solution to cover the building? After all, Wyland’s mural had previously been obscured by advertising banners for eight years before reemerging during the pandemic.
Wyland is hopeful that the court will provide clarity, allowing his legal team to “follow the money,” as he puts it. Even if given the chance, the artist suggests he might not recreate the mural, as replicating such a large piece would be a daunting task for someone nearing 70.
The local organizing committee has yet to disclose any specifics about what they intended to replace Wyland’s mural with, raising doubts about whether that artwork will ever come to fruition, especially in light of the public backlash.
Ultimately, this tumultuous situation weighs heavily on Wyland. In conversation, it becomes clear that he is still mourning the loss of his significant creation.
“These walls are like my children,” Wyland shared. “This is not just business; it’s deeply personal.”
