SEPTEMBER 23, 2019 I VOL. 48 I #38
A Monumental
Tribute Sculptor Dan Medina’s Statue Honors Migrants At New Downtown Plaza See page 5
a year of bridge housing at el pueblo Page 6
photo by Gary Leonard
‘autograph book’ traces l.a.’s evolution Page 8
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AROUND TOWN
County Supervisors Vote To Challenge Ninth Circuit Homeless Ruling
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n a 3-2 vote on Tuesday, Sept. 17, the Los Angeles County Board of Supervisors agreed to file an amicus brief with the United States Supreme Court to overturn the Ninth Circuit Court of Appeals’ decision on the Martin v. City of Boise case. The Ninth Circuit’s ruling, given in September 2018, found that laws making it illegal to sleep on the street overnight when there is not adequate shelter available constituted “cruel and unusual” punishment and violated the Eighth Amendment. The decision applies to the Ninth Circuit’s jurisdiction of the western United States, including California. Last week’s Board of Supervisors motion, drafted by Fifth District Supervisor Kathryn Barger, argued that unless Martin was overturned by the Supreme Court, it would leave the county “powerless” to address camping in public spaces. In a statement after the vote, First District Supervisor Hilda Solis, who voted against the motion alongside Third District Supervisor Sheila Kuehl, said that a reversal of the Boise ruling could lead to displacement of homeless individuals and would undermine the County’s efforts to fight homelessness.
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Spotify Expands Arts District Footprint
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year after it relocated its offices to the Arts District, music streaming company Spotify is expanding its offices. The firm signed for an additional 45,000 square feet of space in the At Mateo complex, bringing its total to 155,000 square feet. Terms of the deal were not disclosed. The streaming company moved into the complex at 555 S. Mateo St. last summer on a 10-year lease. Other tenants include food company Soylent and the USC Roski School of Art and Design. With Spotify’s expansion, the complex’s office space is now fully leased. Spotify is one of several tech and media companies to move to the area recently, including Warner Music Group, Honey and others. The news was first reported by the website The Real Deal.
20th Annual Public Safety BBQ Returns to Downtown
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elp show your gratitude for the men and women who keep Downtown Los Angeles safe by breaking bread at the 20th annual Public Safety Appreciation Barbecue this week. Organized by the Downtown Center Business Improvement District and held at the Bank of America Plaza (333 S. Hope St.) on Thursday, Sept. 26, the event serves as a thank you to the local members of the Los Angeles Police Department, Fire
Department and local public service personnels. The event runs from 11:30 a.m.-1:30 p.m. and a ticket costs $10. The menu includes a choice of a Santa Maria-style roasted tri-tip, BBQ chicken or grilled veggie sandwich’s. The plate comes with garden salad, red potato salad, baked beans, macaroni and cheese, cookies and a beverage. Live music and games are also part of the event. Tickets are available in advance online at downtownla.com/bbq and can be purchased at the event. Some of the proceeds from the event will go toward the Los Angeles Sheriff’s Youth Foundation.
Los Angeles Philharmonic CEO Steps Down
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fter a little more than a year and a half on the job, Simon Woods is out as the head of the Los Angeles Philharmonic. The L.A. Phil announced that Woods tendered his resignation from his role as CEO via a press release on Monday, Sept. 16. “The Los Angeles Philharmonic is an extraordinary organization in every respect. It has been my complete honor to lead it for almost two years. However, after a great deal of reflection, I have concluded that my hopes and aspirations lie elsewhere, and as a result, I have tendered my resignation,” Woods said in a prepared statement. “I wish Gustavo [Dudamel], the musicians, the staff, the Board and everyone associated with this organization all the very best as it commences its second century.” Woods
SEPTEMBER 23, 2019
took over as CEO in January 2018, coming from the Seattle Symphony Orchestra to replace Deborah Borda. He led the organization through its recent 2018-2019 centennial season. No replacement has been named; L.A. Phil Board Chair Jay Rasulo and Board Chair Designate Thomas L. Beckmen are serving as temporary leaders.
Arts District Project Goes Taller, Loses Some Parking
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12-story project in the Arts District is one step closer to breaking ground, and if approved, will be slightly taller than originally planned. The Department of City Planning released the final environmental impact report for the Arts District Center on Sept. 13. Developed by property owner Kevin Chen, in partnership with Chinese Building Technique Group Co., the space would replace a two-story brick building on the north side of Fifth Street between Seaton and Colyton streets. According to the new report, the space will now be 16 feet taller, topping out at 164 feet in height. It will still include 129 condos and a 113-room hotel. Parking was decreased from 513 to 304 spaces due to the loss of two below-grade parking levels. Designed by architecture firm Togawa Smith Martin, the Arts District Center would see the ground level wrapped in brick, with a colorful glass exterior on the upper floors. No groundbreaking date or budget has been announced, but the developer expects construction to take 30 months.
SEPTEMBER 23, 2019
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EDITORIALS
SEPTEMBER 23, 2019
TAKE MY PICTURE GARY LEONARD
The Wrong Solutions to Homelessness
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ast week at the end of a two-day fundraising trip in California, President Donald Trump rejected a request from Governor Gavin Newsom and 13 California mayors, including Mayor Eric Garcetti, for more federal funds to combat the state’s homelessness crisis. The Trump administration’s refusal of the state’s request comes as the president has grown increasingly critical of California’s response to the homeless crisis, claiming general mismanagement by local governments. The White House Council of Economic Advisors released a 40-page report this month examining the current homelessness situation around the country, mostly singling out Democratic strongholds in Western and Northeastern states, while putting the blame on “overregulation of housing markets.” It also said that “more tolerable conditions” (read: less pressure from law enforcement) are enticing people to live on the streets. While California, and cities like San Francisco and Los Angeles are right to ask for more federal assistance, the Trump Administration has shown that it lacks a comprehensive understanding of the homeless crisis in California. While at a fundraising event last week President Trump said that we “can’t let Los Angeles, San Francisco and numerous other cities destroy themselves by allowing what’s happening.” In that respect, he is correct. The prevalence of tent encampments and people wandering the streets without proper mental health treatment should be seen as a collective embarrassment and tragedy, one that we can’t allow to continue. However, what both the president and the CEA report fails to discuss are solutions to address the driving cause of homelessness in California and the rest of the United States: the increasingly high cost of living combined with a lack of affordable housing. While it’s fair to say that California’s building bylaws and NIMBYism are slogging down construction rates, an increase in housing development on its own won’t necessarily bring an end to the homeless crisis. What is needed is very low-income housing. Here in Downtown, in one of the hottest development markets in the nation, many of the projects in construction or in planning in Downtown are luxury high-end residences, where a studio could run more than $2,000. Any affordable housing component is small, if present at all. We also find the reported proposed strategies from the Trump administration for removing homeless individuals from the streets to be abhorrent at best, and at worst, a rehash of failed strategies considered in the past. Any plan to try to destroy encampments or arrest homeless individuals would rightfully run up against legal challenges. If the president is truly onboard with addressing homelessness in California, and not simply using the problem as a campaign tool, he advise him to go about it with compassion and a complete understanding the the issue.
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Lucas Museum
Mayor Garcetti w/ George Lucas & Mellody Hobson
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COMMENTS
Regarding the article “In Living Color: Unwrapping LA Plaza Village,” by Sean P. Thomas t’s a beautiful project and well placed near Union Station, but at $2,000 for a 475-square-foot studio, I think I’ll stay at my $1,400, 550-square-foot studio in K-Town. If it were a bit more affordable I’d move there in a heartbeat! — Tony Triche
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Regarding the editorial “A Better Music Center Plaza” ery well said. I am so happy right now. It has improved 1000%. Not only is it more functional but it’s much more beautiful. One complaint I did have is, the other night I brought out of town guest to see it and to our surprise and disappointment the Plaza was fenced off with a huge fortress type fence and tarp because of some gala. That should never happen again. — Paul Wright
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Regarding the article “Myths, Math and Austin Beutner,” by Jon Regardie hanks for drawing attention to the woeful underfunding of our public schools. The legislative initiative for the 2020 ballot mentioned in your article is Schools and Communities First, which is expected to raise billions of dollars annually to fund schools and local services by reassessing properties
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September 13, 2019
owned by large businesses on a regular basis. Property tax obligations for residential properties and small businesses will be unaffected. The League of Women Voters has joined the Schools and Communities First Coalition in support of this much-needed initiative. — Virginia Wexman, Board of Directors, League of Women Voters of Los Angeles Regarding the editorial “Skid Row Homelessness and a New Sense of Urgency” have two suggestions: One: the Mayor attend City Council meetings and encourage all City leaders to commit to solving the City’s homeless crises; two: the City Council hold evening meetings at least once a month - it works in other cities - so that citizens who work can attend meetings, share new ideas and get involved. This would also bring City workers out during the evening when many homelessness issues are most visible. —Olivia Marquez
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A Monument to Migrants City to Unveil 7,000-Square-Foot Migrant’s Bend Plaza and Bracero Monument Statue this Weekend By Sean P. Thomas ver two decades during the middle 20th century, millions of Latin Americans grabbed their belongings and left their homeland, heading north to towns and cities across the United States in search of work and new opportunities. They were part of the bracero program, a controversial collection of laws and agreements that began in 1942 during World War II to address a countrywide shortages of mine, farm and railroad labor. The program saw an estimated 4.5 million mostly Mexican nationals migrate across the border but many were met with poor working conditions and low wages. The program was terminated in 1964, but the cultures and experiences of those men continued to play a tremendous role in the development of the nation, especially Southern California cities like Los Angeles. On Sunday, Sept. 29, the sacrifices of the braceros, alongside other immigrant communities, will be celebrated during the dedication of Migrant’s Bend Plaza, a new 7,000-square-foot commemorative space on the corner of Cesar Chavez Avenue and Spring Street. The dedication will begin at 2 p.m. and will include performances from Ozomatli, Los Rieleros, Pedro Rivera and others. “The opening of the Migrant’s Bend Plaza is a celebration honoring the many contributions immigrant communities have made to the City of Los Angeles,” 14th District City Councilman José Huizar said in a prepared statement. The plaza is part of an ongoing $3.2 million streetscape and pedestrian improvement project along César Chávez Avenue. To celebrate the contributions of migrant communities, the plaza features quotes from prominent figures across a wide range of ethnic groups. The centerpiece of the plaza is a 19-foot monument to the braceros designed by local sculptor Dan Medina. Set to be revealed during the event at 7 p.m., the bronze sculpture features a young bracero with tools in hand taking a break from fieldwork to think about his homeland and the family he left behind. On his left side of the statue is his wife and son, reaching out to their missing loved one. Medina, who spent months interviewing and researching for the monument said there is general lack of understanding about the impact of the bracero program. At the base of the monument is a large plaque with background information on the program and its members. “The history of the bracero is not at the forefront, but there was something surprising to me, whenever I did mention the design or the monument, there would always be someone who would say, my father or my uncle was a bracero,” Medina said. “There is definitely an lineage in L.A. of braceros. It’s just incredible.” The monument was originally proposed for Boyle Heights’ Hollenbeck Park, but failed to garner the proper community support. That’s when Huizar, whose own father participated in the bracero program during its 22-year-run, stepped in and suggested that the monument be installed next to the now open LA Plaza Village. The location makes sense. Not only is the monument now located across the street from El Pueblo, the birthplace of Los Angeles, the monument will also be oriented due north, referencing the direction that migrants would have travelled during the height of the program. Despite its focus on the program’s historical influence, Medina said that it’s difficult to separate the art from contemporary politics. President Donald Trump has made immigration a primary focus of his administration, calling on a comprehensive overhaul of the southern U.S./ Mexico border and changes to the immigration process. While Medina said that he normally approaches new art pieces from the perspective of improving upon the previous work, this project is more of a legacy statement on immigration that will remain at the plaza for years to come. “The timing is right when you think of the shape of our nation. Whether illegal or legal, each person has a story and they are kind of getting a bum rap,” Medina said. “This piece, at least the intent, is that we together, whether black, Asian, Latino, Anglo immigrants, are what makes this country so beautiful.” The Migrant’s Bend Dedication will be held on Sunday, Sept. 29 at the intersection of Spring Street and César Chávez Avenue. sthomas@timespublications.com
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Friday, October 18, 2019 | 10 am - 4 pm Join us for our final Information/Orientation Day for Fall 2019 enrollment, and learn about our various degree programs in the tradition of Depth Psychology, informed by the teachings of C.G. Jung, Joseph Campbell, Marion Woodman, James Hillman, and others. Pacifica is an accredited graduate school offering degrees in Clinical Psychology, Counseling Psychology, Engaged Humanities, and Mythological Studies. The Institute has two beautiful campuses nestled between the foothills and the Pacific Ocean in Santa Barbara. All of Pacifica’s degree programs are offered through low-residential learning sessions that take into account vocational and life commitments. Experience Pacifica’s unique interdisciplinary degree programs led by our renowned faculty. Tour both of our beautiful campuses including the Joseph Campbell Archives and the Research Library. Pacifica’s $75.00 application fee will be waived for all attendees. Learn how to navigate the admissions and financial aid processes to make graduate school a reality. Enjoy continental breakfast and lunch. We will be giving away a $200 bookstore gift certificate.
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6 DOWNTOWN NEWS
SEPTEMBER 23, 2019
One Year In, El Pueblo Shelter Sees Steady Progress The 45-bed El Puente shelter opened on a city-owned parking lot in El Pueblo last September. Since opening, it has provided services for 92 people.
The City’s First Bridge Housing Site Has Matched Homeless Individuals With Services and Homes, But Is Hampered by Limited Affordable Spaces By Nicholas Slayton t’s been just over a year since the City of Los Angeles launched its first bridge housing site at El Pueblo. The 45-bed facility, dubbed El Puente, has managed to care for and house a little more than double its capacity in that time, matching people with services and housing, but its operator says the lack of permanent supportive housing in Los Angeles is making it hard to meet expectations. One year in and El Puente (Spanish for “The Bridge”) is seeing results but John Maceri, CEO of The People Concern, the nonprofit that operates the facility, said that the site (at 711 N. Alameda St.) is tracking “slightly behind” goals in linking people with permanent supportive housing. A total of 92 people have received service since the shelter opened, 13 of which were moved into permanent supportive housing. Maceri said that in some cases people have gone to other interim housing spaces, while others went into sober living for health reasons. One person was taken to a medical space for more serious health concerns. “We have several others in the housing search, several who have gone back to work full time, such as at the museums in El Pueblo, and we’ve had several residents who have reunited with family and friends and have been able to return home,” Maceri told Los Angeles Downtown News. Although there is no time limit for shelter stays and no one is forced out after a certain period, the El Puente shelter launched with the goal of having people remain at the shelters for three-six months, before moving into permanent supportive housing. However, despite the shelter serving twice its capacity over the past 12 months, the amount of people transitioning into new homes has been impacted by a lack of permanent supportive housing.
UPCOMING
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The El Puente shelter opened on a cityowned parking lot on Sept. 7, 2018 and is the first outpost of Mayor Eric Garcetti’s A Bridge Home program. The program, first announced last year, is meant to provide transitional housing, matched with services, where people could get help before moving into permanent supportive housing. The idea is to open at least one shelter in every City Council district, however only Council Districts One, Four, Eight, 13 and 14 have opened shelters since the start of the program. The People Concern operates the El Puente space, while outreach teams from the Los Angeles Homeless Services Authority canvas the area around El Pueblo for people who need the services. The first year of operations was budgeted at $2.4 million, while the next two years are each budgeted at $1.3 million. A spokesman for LAHSA said that the agency is currently reviewing its findings from the first year of operations. Maceri noted that many of the housing programs run by LAHSA have a low vacancy, due to high demand given the homelessness crisis in the city and county. The past year has seen homelessness increase at a startling rate. LAHSA’s annual homeless count found a 16% increase over last year in the city, with a 12% rise in the county. Many permanent supportive housing projects funded by Proposition HHH, a $1.2 billion bond passed by voters in 2016, are in construction or planning stages, but have been slow to open while rental costs has gone up across the city. Amy Perkins, director of interim housing strategies for the Mayor’s Office, acknowledged the slow arrival of HHH-funded units. Perkins said although the system for moving eligible people into El Puente as soon as a bed opens works, the overall lack
photo by Gary Leonard
of long-term housing is slowing down the turnover of beds. “If anything, it’s just cemented that we need tons more affordable housing options,” she said. “Even when our system is working so beautifully, with on-site cases being operated and services offered, it’s a slow process.” Low Barrier One of the main strategies behind the A Bridge Home program is that each shelter is meant to have a low barrier for entry, meaning people do not need to be sober to enter and receive services. Maceri said that a year into operations, El Puente is maintaining that low threshold, however that too poses challenges. “The challenge with that is that sometimes people are not ready to engage in treatment, or engage in medication,” he said. “In those cases we have to work to manage that in the context of a community living project, which is true in all of our interim housing programs. It is much easier to work with people who are in treatment or are medically compliant.” LAHSA’s outreach teams also remain in weekly contact with the homeless community and maintain a waitlist, so that when a bed opens up, someone is ready to take it that day. Maceri said that the wait list is still there, although other shelters and programs run by LAHSA mean that there are more options for those waiting, so the list isn’t as long. In the year since El Puente started operations, The People Concern has adapted some of its approach. Maceri said that the goals are the same, but the nonprofit has increased its staff to provide for more mental health ser-
vices and provide more activities for the shelter’s residents. The shelter operates a number of activities and wellness programs alongside providing housing, to help the formerly homeless individuals recovery mentally and prepare for jobs and new homes. Maceri said those programs have been extremely beneficial to residents. Chris Espinosa, general manager for El Pueblo, said his department has been involved in helping with art workshops for residents and that those activities are also benefitting the wider El Pueblo area. Cleanings and Security One fear voiced by critics when A Bridge Home launched was that each site would attract more homeless individuals to the area. Although there is more support for El Puente now than when it launched, Espinosa said that many of the merchants are concerned about having the shelter at the El Pueblo parking lot, as they had to deal with the increase in the number of homeless encampments around El Pueblo in recent years before the facility opened. Perkins said that the merchants’ fears have not come to pass. That’s largely due to the “special enforcement zone” set up around each facility. Within those zones, which launch 30 days after a bridge housing site opens, are sidewalk cleanings every weekday, including a “comprehensive” cleaning on Tuesdays. There are also specialized LAPD patrols that enforce a prohibition on sidewalk tents from 6 a.m.-9 p.m. Those patrols are Continued on next page
Bob Iger
Brian Grazer
with Ted Sarandos Face to Face: The Art of Human Connection
with Brian Grazer The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of the Walt Disney Company
SEP 25 Writers Guild Theatre,
OCT 1 Alex Theatre, Glendale
Beverly Hills
Craig Johnson TICKETS/INFO:
www.livetalksla.org
with Lee Goldberg and castmembers from the Netflix show discussing his Longmire novel, Land of Wolves
SEP 23 Writers Guild Theatre, Beverly Hills
Demi Moore
with Lena Dunham discussing her memoir, Inside Out
SEP 26 Writers Guild Theatre, Beverly Hills
A series of on-stage conversations featuring writers, actors, musicians, humorists, artists, chefs, scientists and thought leaders in business. Ad 1 of 2 — LEFT HAND PAGE
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also coupled with LAHSA outreach teams. For El Puente, the enforcement zone area is bordered by Broadway, and Arcadia, Alameda and Spring streets. There are two storage spaces set up in Paseo Luis Olivares to the immediate west of El Pueblo’s main plaza where people can put their belongings during the day. Homeless advocacy groups such as the Legal Aid Foundation of Los Angeles have been critical of such rules, criticizing sweeps and the costs of those programs. Espinosa said that in the last year there has been a noticeable increase in cleanliness around the area, which regularly draws in tourists. He also noted that the increased LAPD presence has calmed some concerns from merchants.
In a statement to Los Angeles Downtown News, City Councilman José Huizar, who’s 14th District includes El Pueblo, said that El Puente “is moderately successful” based on the data his office has seen. “However, we haven’t been able to realize the full potential of the site because the area continues to be inundated daily with newly arriving people experiencing homeless,” Huizar’s statement continued. “This bridge housing shelter is working, but to truly combat the homeless issue in Los Angeles, we will need more facilities like this one implemented citywide to treat people in their own neighborhoods.” The push for more shelter space seems to be picking up momentum in Down-
town. A 25-bed shelter specifically aimed for women opened at the Downtown Women’s Center on Skid Row in August and the city is currently developing another site at 1426 S. Paloma St. The city is also considering converting the former Children’s Museum at 310 N. Main St. into a bridge housing site. The El Puente site was set up to run for three years but the Mayor’s Office and The People Concern said they have no set plans for what happens after that period. With the first year at El Puente complete, they plan to continue with the current operations. Maceri noted that there are many more people around El Pueblo who still need support. nslayton@timespublications.com
photo by Gary Leonard
The El Puente shelter comprises five trailers, three of which hold 15 beds each.
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A Beginner’s Guide to Japan: Observations and Provocations
with Larry Wilmore The Conservative Sensibility
Busy Philipps
OCT 6
OCT 2 Zipper Concert Hall,
This Will Only Hurt a Little
Museum of Contemporary Art
Downtown LA
OCT 23 Bootleg Theatre
Ambassdor Susan Rice
John Hodgman
with Rob Roth discussing her memoir, Face It
with Mayor Eric Garcetti Tough Love: My Story of the Things Worth Fighting For
OCT 4 Aratani Theatre,
OCT 17 Museum of Tolerance
OCT 24 Aratani Theatre,
Debbie Harry & Chris Stein Downtown LA
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Pico Iyer
George Will
with Aimee Mann Medallion Status: True Stories from Secret Rooms Downtown LA
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SEPTEMBER 23, 2019 images courtesy Los Angeles Public Library
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CALENDAR
A Sign of the
Times “The Autograph Book of Los Angeles: Improvements on the Page of the City,” is author and USC Annenberg School of Communications professor Josh Kun’s third dive into the Central Library’s special collections. The latest work analyzes autographs and signatures and their place in Los Angeles’ collective history.
USC’s Josh Kun’s Third Collaboration With the Central Library Takes a Look at Autographs and L.A.’s Evolution By Sean P. Thomas t’s safe to say that most people don’t put too much thought into their signatures. But if you ask author and USC Annenberg School of Communications professor Josh Kun, there is something deeper behind the scribbles than just a name. “We are all hardwired to leave our name in history” Kun said during an interview with Los Angeles Downtown News. “There is something instinctually human to want to be remembered.” Kun and his team have worked extensively to mine the Central Library’s collection of autographs, pondering the nature and meaning behind the cursive scribbles. Those findings will be revealed on Thursday, Sept. 26 with the release of “The Autograph Book of L.A.: Improvements on the Page of the City,” a 224-page book that examines the use of autographs as not just a signature, but also a cultural artifact. The book, a collaboration between Kun and the Los Angeles Public Library and published by Angel City Press, will be released in
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tandem with the opening of a Central Library (650 W. Fifth St.) exhibit curated by Kun and City Librarian John F. Szabo. The exhibit is on display through Jan. 1. The Autograph Book of L.A. project is the MacArthur Fellow’s third exploration of the Library’s special collections. Kun was first invited in 2013 to examine the library’s collection of sheet music. That process would lead to the creation of “Songs in the Key of L.A.,” which traced the city’s musical legacy through the work of local musicians. That book was followed by 2015’s “To Live and Dine in L.A.,” which utilized the Central Library’s pile of menu’s to document the city’s changing culinary attractions. The Library Foundation of Los Angeles approached Kun again in 2018 to conclude the trilogy. That’s when the library’s collection of close to 1,700 autographs grabbed his eye. “This one jumped out to me, in part because of its oddness.” Kun said. “The idea that someone wanted to collect autographs seemed really rich to me.”
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day Angelenos. The public library sought to rectify that oversight in 2018 when the Los Angeles Public Library invited the city to add their autographs to the collection at Autograph Day. Nearly 500 new submissions were collected from the city’s 19 branches, everyone from daily library patrons and community groups, to celebrities like comedian Cheech Marin and local restaurateur Roy Choi. “As proud as we are of the collection, how we think of ‘people who matter’ today and how we interpret that, is perhaps different from Lummis,” Szabo said. “It was important to think about how we might rethink this collection and rethink this idea of ‘people who matter.’” That new philosophy resonated with Kun. While Kun could have oriented the book in a way that examines the structural evolution of an autograph, he said he was more interested in using the collection as a way to trace the city’s collective memory and the changing history, culture and politics of the autograph. Continued on next page
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People Who Matter The library first started collecting signatures in 1906 after City Librarian Charles Lummis began soliciting hundreds of notable national figures for autographs. Lummis sent cardstock to the individuals with the only instructions being to “improve upon the enclosed page.” The vagueness of the instructions generated a variety of responses. Cardstock was returned with poems, paintings, speeches and music from the likes of “America the Beautiful” songwriter Katherine Lee Bates, naturalist John Muir and poet Walt Whitman. Szabo said that one of Lummis’ original goals for the collection was to help “put the city and the library on the map,” by creating a collection that held a piece from the famous or notable people of the day, or as Lummis put it, “people who matter.” In subsequent years, the autograph collection would grow, adding signatures from the likes of Langston Hughes, Helen Keller and others. However, Szabo noted that what the collection lacked was input from every-
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SEPTEMBER 23, 2019
DOWNTOWN NEWS 9
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Palm Trees, Rome and Nixon
THE INJECTING SPECIALISTS
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Two New Exhibitions at Hauser & Wirth Examine a Conceptual Artist’s Love of Layering and Another Artist’s Reinvention in the Face of Criticism Resilience collects two arts series created by the late Philip Guston in 1971 after a previous exhibition was met with derision. Heavily featured are the satirical drawings he made of Richard Nixon.
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© The Estate of Philip Guston, courtesy the estate and Hauser & Wirth, photo by Genevieve Hanson
By Nicholas Slayton n image of former president Richard Nixon hangs on a wall, his jowly features at odds with the beachwear he’s drawn wearing. In another room, a colorful 12-foot-tall palm tree stands out in front of a black and white desert background. The pieces of art are emblematic of two new exhibitions at Hauser & Wirth Los Angeles. One is rooted in an artist’s cultivated and extensive use of grid work developed over years, while the other represents works done by another artist during a period of reinvention
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Continued from previous page In the book, Kun takes some of the newer signatures from Autograph Day, as well as some of the older ones, to explore who’s stories get to be remembered, especially as the city goes though periods of rapid redevelopment and change. “While we think of the autograph as a signature, what we’re talking about is: what does it mean to leave a mark of ones self?” Kun said. Everything from kids scribbling their names with chalk on concrete sidewalks to couples carving their initials into trees are placed under the microscope. A particular focus was placed on graffiti and street art. Susan Phillips, graffiti expert and professor of cultural anthropology at Pitzer College, alongside graffiti artist Chaz Bojórquez contribute to the book and artist Shepard Fairey who gained international notoriety for his 2008 “Hope” poster for then-presidential candidate Barack Obama provides the book’s introduction. “What is the underlying reason behind graffiti?” Kun asked. “I want you to know that I’m here, I’m not going to be erased. The impulse behind graffiti is not separate from the impulse to leave a signature or an autograph, or tag someone on Instagram or Facebook.” Some of those signatures will be on display at the companion exhibit. Located on the library’s First Floor Galleries, the exhibit features pieces from Lummis’
and experimentation. The two exhibitions, Resilience: Philip Guston in 1971 and Charles Gaines: Palm Trees and Other Works, offer contrasting styles as part of Hauser & Wirth’s fall programming. The shows opened at the Third Street gallery in the Arts District on Sept. 14 and are on display through Jan. 5. Resilience is the larger of the two new exhibits. On display in Hauser & Wirth’s north gallery, it’s the first Los Angeles solo show for Guston since 1963. Curated by his daughContinued on page 11 original collection, as well as selections from the contemporary autographs, images of graffiti abatement, photographs of celebrities leaving their autographs and handprints at TCL Chinese Theatre (formerly Grauman’s Chinese Theatre) and a book of autographs from the Apollo 11 astronaut team. There is also a slideshow projection that depicts other pieces from the autograph project that were not placed on display. An animated Disney short of Donald Duck as an autograph collector is also played on a loop at the exhibit. A slate of public programming around the exhibit, including lectures and walkthroughs at the Mark Taper Auditorium, are still in the works as of Friday. Szabo said the exhibit is just another way to explore the collection. “I hope that it will give people a taste of this collection and give individuals an idea of how they might be able to use the collection,” Szabo said. “That’s certainly what library collections are about, discovering.” Kun said he hopes that the book and the complementing exhibit help people be more engaged with how they leave their mark. “The Autograph Book of L.A.” can be pre-ordered online today at shop.lfla.org. and will be on shelves on Sept. 26. The exhibit opens at the Central Library’s First Floor Galleries on the same day, 650 W. Fifth St., (213) 228-7000 or lapl.org. sthomas@timespublications.com.
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MONDAY, SEPT. 23 Mystic Monday Resident, 428 S. Hewitt St. or residentdtla.com. 8 p.m.: More than half a dozen comics take the stage to try and make you laugh. Let’s see if they succeed. TUESDAY, SEPT. 24 Gothic Book Club Last Bookstore, 453 S. Spring St., (213) 488-0599 or lastbookstorela.com. 9:30 p.m.: Get into the fall and Halloween season with a discussion of Victor Lavalle’s “The Changeling.” As always, wear black. THURSDAY, SEPT. 26 Pop-Up Magazine Theatre at Ace Hotel, 929 S. Broadway or acehotel.com/los-angeles. 7:30 p.m.: The “live magazine” returns to Downtown with its “Escape Issue.” Catch live music, comedy and readings about current events and modern issues. SATURDAY, SEPT. 28 Retrocade Union Station, 800 N. Alameda St. or unionstationla.com. 11 a.m.: Union Station’s ticketing hall becomes a retro video game haven, with more than 50 arcade cabinets set up for people to play. The event continues on Sunday.
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The first day of fall just flew by, which means the days are starting to get shorter and the temperature keeps dropping. It also means that the harvest is in full swing, which the San Antonio Winery is helping celebrate with the return of its autumn harvest festival. Plenty of local food, drinks and of course, wine will be up for grabs when the third annual event kicks off on Saturday, Sept. 28 at 5 p.m. as well as live music and entertainment options. There will even be a charity grape stomp. The event is 21 and over and all of the festival’s offerings are included with the purchase of a ticket. At 737 Lamar St. or sanantoniowinery.com.
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The 34th season of the Los Angeles Opera is in full swing as of last week, kicking off with a new-to-L.A. production of Giacomo Puccini’s romantic and enthralling opera La Bohéme. Set during the turn of the 20th century in Paris, the opera follows the story of a group of struggling artists as they search for success and love across the City of Light’s cafe-lined alleyways. In typical Puccini fashion, the opera is apt to get the tear ducts working. Staged by Barry Kosky at the Dorothy Chandler Pavilion, there are two chances to catch the opera this week, Wednesday, Sept. 25 and Saturday, both at 7:30 p.m. At 135 N. Grand Ave. or laopera.org. image courtesy the artist
Whether it be from the rigmarole of national politics, the increasingly hectic climate or the ups and downs of the workplace, we can all use a little bit of an escape. Pop-Up Magazine, which can best be described as a touring “live magazine” show that mixes illustration, animation and other forms of media, plans to explore that concept with the arrival of The Escape Issue, at the Theatre at Ace Hotel on Thursday, Sept. 26. A list of local artists, including poets, writers, musicians and photographers contribute to the performance, which is sure to have you pondering over the need for that next escape. Doors open at 6:30 p.m. At 929 S. Broadway, (213) 235-9614 or theatre.acehotel.com.
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MORE LISTINGS
Hundreds of listings of fun and interesting things to do in Downtown Los Angeles can also be found online at ladowntownnews. com/calendar: Rock, Pop & Jazz; Bars & Clubs; Farmers Markets; Events; Film; Sports; Art Spaces; Theater, Dance and Opera; Classical Music; Museums; and Tours.
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BY SEAN P. THOMAS
ROCK, POP & JAZZ
1720 1720 Los Angeles St. or 1720.la. Sept. 24: Anthony Wong. Sept. 26: Nightmares on Wax and Luke Vibert. Sept. 27: Club ‘90s. Blue Whale 123 Astronaut E.S. Onizuka St. Suite 301, (213) 620-0908 or bluewhalemusic.com. Sept. 23: Henry Solomon Group. Sept. 25: Ben Flocks Group. Sept. 26: David Binney’s residency continues yet again, as residencies do. Sept. 27-28: Jazzmeia Horn does two nights. Sept. 29: Bria Skongberg. Bootleg Bar 2220 Beverly Blvd., (213) 389-3856 or bootlegtheater.org. Sept. 23: T. Soomian’s residency continues, so go dance to synths and neo disco. Sept. 24: California western music as Anna Ash plays a record release show. Sept. 25: Titus Andronicus is back with a new album. Go rock out. Sept. 26: Soul lives with John the Martyr. Sept. 27-29: Not one, not two, but three nights of Jonathan Richman.
photo courtesy San Antonio Winery
THE DON'T
photo by John Snyder
EVENTS
SEPTEMBER 23, 2019
photo ©Ryan McGuire
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photo courtesy the L.A. Opera
10 DOWNTOWN NEWS
If you’ve asked yourself the question: What has India Arie been up to? You’re not alone. Following a four-year self-imposed exile, songstress India Arie is back in the spotlight, hot on the heels of the release of her seventh studio album Worthy. The Grammy Award-winning singer has since returned to the stage, with a rare stop at L.A. Live’s The Novo planned for Wednesday, Sept. 25. The concert begins at 7 p.m. as Arie lends her raspy sound to songs like “That Magic,” “Steady Love” and “Rollercoaster.” Each ticket comes with a digital copy Aire’s new album. At 800 W. Olympic Blvd. (213) 765-7000 or thenovodtla.com.
Travel to a simpler time when the only thing that mattered was your “Donkey Kong” skills with the return of Union Station’s Retrocade event. More than 50 arcade cabinets from the 1970s-90s will line the transit hub’s ornate ticket concourse on Saturday-Sunday, Sept. 28-29 including rigs for classics like “PacMan,” “Mortal Kombat” and “Street Fighter.” The cabinets will be set to free play and each $5 ticket grants two hours of play. There will also be food and beverages available for purchase and period appropriate tunes from the house DJ. If you’re really confident, you can drop $10 and enter the second annual “Pac-Man” tournament held each evening from 5-7 p.m. The event runs from 11 a.m.9 p.m. on Saturday and 11 a.m.-7 p.m. on Sunday. At 800 N. Alameda St. or unionstationla.com/happenings/retrocade.
Send information and possible Don’t Miss List submissions to calendar@downtownnews.com.
HAUSER & WIRTH, 9 ter Musa Mayer, the exhibition is centered around, as the title suggests, two series of art Guston made in 1971. Just a year prior, a major exhibition at the Marlborough Gallery of his then-new figure work had been met with critical revulsion, with the show being lambasted throughout the art world. “So what interested me in this show was to show how he recovered from that critical rejection,” Mayer said at a media event ahead of the public opening. Guston bounced back from that failure in 1971 with two series, one on Rome and the other on Nixon, both rooted in satire and the politics of the time. Following the embarrassment at Marlborough, he relocated to Rome and started what would be called his “Roma paintings,” largely pink, red and brown-based slightly on abstract scenes of city life. The “Roma” half is splint into four sections, “Hoods,” “Forms,” “Ancient Fragments,” and “Garden Landscapes.” The works in the first segment feature slightly cartoonish hooded figures, depicted lurking or suspiciously in their abstract landscapes. The latter three feature work inspired by the other urban settings that Guston lived in. The other half of the north gallery is turned over to Guston’s Nixon drawings. Done during the height of the Vietnam War in the wake of protests, the satirical works poke fun at Nixon, taking shots at both his appearance and his political ambitions. Mayer said that both Nixon and her father were born the same year, and Guston liked to imagine Nixon in his youth. Some of the images feature an adult Nixon wearing children’s clothing or at summer camp. The art is far from flattering; in some works, Guston exaggerates the president’s features so his nose and cheeks appear phallic. In one piece, Guston takes aim at Nixon’s diplomatic efforts in China, drawing him as the literary villain Fu Manchu. Henry Kissinger, Nixon’s advisor and Secretary of State, is depicted in some of the drawings, represented only as a sentient pair of glasses, tagging along with Nixon on adventures. As with the Roma paintings, the Nixon series features repeated motifs. The series are relatively cohesive, with repeated characters and shapes. “I think you’ll also see in this work from 1971 many of the forms carried onto the final decade of his life,” Mayer said. Numbers and Grids The gallery’s other new exhibit has fewer artwork, but is far more modern. Charles Gaines: Palm Trees and Other Works, on display in the art complex’s south gallery, collects 10 pieces from his ‘Numbers and Trees Plexiglas” series. Each work utilizes a background made from a black and white photo of a desert landscape. Those are wrapped in Plexiglas covers, on which in a numbered grid system (starting at zero in the middle and increas-
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Charles Gaines’ collection of palm tree images features 10 works, each showing colorful trees made on a grid system, against backdrops of black and white photographs.
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© Charles Gaines, courtesy the artist and Hauser & Wirth, photo by Fredrik Nilsen
ing in numeric value as it extends out) has been overlaid. Using those squares, loose palm trees are created, in blue, green and red layers. Also part of the show, in a side room, is “Manifestos 3.” Large prints of a 1967 Martin Luther King Jr. speech and James Baldwin’s 1957 essay “Princes and Powers” hang on the wall, while a screen scrolls the text as classical music plays. But the music is actually a translation of those works. Each letter from the text is matched up with an equivalent musical note, so the prose becomes a song. “They are two different parts of my work. The first uses systems and numbers to translate shapes and objects, and apply them.” Gaines said. “The other work [Manifesto 3] is based on language, and uses the structure of language to translate the texture of material into music.” Stacen Berg, Hauser & Wirth Los Angeles’ senior director, said that while Guston’s show was all about one year of reinvention in an artist’ life, Gaines’ is more about a discipline developed over decades. The Los Angeles-based artist started the “Numbers and Trees Plexiglas” series in 1987, and has been refining it since, exploring how various layers can create a complete work. With “Manifestos 3,” the works on display are the third part of a series he has been developing over the past five years. The second edition was performed by a live band at Downtown’s REDCAT in December 2015. Gaines said that visitors can follow along with the music just by reading the letters and words in the text as it plays. “So you can see, I’m not lying to you,” Gaines added. Visitors can also get a peek into Gaines’ artistic process on the mezzanine level. A series of watercolor paintings hang on the walls on that floor, each one in a different color showing the different layers that comprise Gaines’ Plexiglas pieces. As part of his show, Gaines will also be taking over Hauser & Wirth’s Book and Printed Matter Lab for a 10-week lecture series on critical thinking, Berg said. Resilience: Philip Guston in 1971 and Charles Gaines: Palm Trees and Other Works are on view through Jan. 5 at Hauser & Wirth Los Angeles, 903 E. Third St. or hauserwirth.com. nslayton@timespublications.com
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