Community Alliance Project:

Local Arts Community of

East and Central Los Angeles

Pacific Oaks College

By: Miranda Valdescona

HD 364
Introduction
Los Angeles is known to be a one of the leading cities in the world that offer an

abundance of culture, arts, film and music. Throughout the years, the city has grown into a

mecca of creative, imaginative and culturally diverse modern art movements that have been

sweeping the nation and the world with inspiration and more importantly awareness and

education in multiculturalism and diversity through the arts. As members of the local arts

community of Los Angeles, it is vital that we not only preserve and uphold the culture but more

importantly we maintain, empower and educate all children and families that make up the

community and the rich history of this city. Although Los Angeles is made up of numerous

communities, the focus for this project is solely on the low-income, under-privileged and ethnic

residents, families and members of the community that have had little to no access, education or

exposure in the arts and how to better provide them with the same opportunities, experience and

training in the arts. At the same time, the city of Los Angeles is flooded with the most talented

and skilled artists that are willing to give back to the community through their art, not expecting

any payment in return but inspiration and collaborating from the members through their

experiences and historical backgrounds. This project exists to support the collaboration and

partnerships of the local arts community of Los Angeles with other local communities to cater

specifically to ethnic, low-income, under-privileged and struggling families and children and

offer services, programs, education, access and other resources in the arts in the hopes of

empowering, inspiring, and healing members of the community that need it the most.

Personal Interviews
I conducted several interviews with various members of the local arts community of Los

Angeles as well as members of other communities in the area that are willing to work and

collaborate with the arts community. I developed questions for the interview to uncover what
type of services, programs and support the local community requires from the arts community

and what the arts community is able to provide and offer to the other communities in the area. I

specifically chose individuals from different areas of the community such as city workers,

gallery managers, artists and program organizers to be able to obtain a broad and diverse

perspective and idea to maximize the services and opportunities that the members of the

community and the local arts community can utilize and share. Below are the interview questions

and answers that were obtained from the candidates.

Marcia Martinez
Arts advocate and studio manager of The Artery art studio in downtown Los Angeles,
www.thearteryla.com

Q: First, tell me something about the art studio that you work at? How long have you
worked there?

A: Yes, so I am the studio manager at The Artery LA. We have some resident artists in

the studio, all visual artists, painters and photographers and also offer our studio space to the

artists in the community to rent for exhibitions, performances and studio access. I have managed

the studio for 5 years now, and I have to say we have had our own share of struggles to get where

we are now in the art community.

Q: You mentioned struggles to get where you are now, can you give me some examples

of the types of struggles that the studio and artists have gone through to get to where they are

now?

A: I say struggles like we really went through disasters but its nothing grave like that. It

was however, at one point discouraging and almost hopeless especially when you start running

out of financial support and resources. I guess that would be the long-term, never-ending struggle

of artists is the financial support, but seeing as we come from a city that is not only financially

capable of supporting the arts community but its leading citizens and members are mostly art
consumers and advocates that you would expect to generate support of any kind to the up and

coming, struggling local artists. The gallery today hosts three resident artists, a photographer and

two visual artists, all of ethnic backgrounds, from low-income families but with extensive

knowledge, skills and talent in their art and have all had to give up their cars, living spaces and

their health (eating cheap, unhealthy food) just to be able to advance in their career in art. There

use to be five resident artists in the studio, but there are only three left.

Q: What are some resources, services and programs that your studio can offer to other

struggling local artists in the community?

A: So, since our gallery is a baby and has only been open for seven years, like I

mentioned we dont have too much financial leverage when it comes to free services and

programs. However, we do offer a once a month artist feature that local artists in the community,

all ages, can participate in to get the chance to have a pop-up show in our gallery. Artists

submit their work to us and we choose three worthy and skilled artists to win the pop-up space.

Oh! Also we do have a volunteer program but not in our gallery so to speak, where our resident

artists offer volunteer hours to local non-profits for their services in art, whether it be to help

children paint a mural over the weekend or to teach children about basic photography in the park.

Our artists have volunteered in several non-profits throughout the community and they actually

have some work exhibited in the gallery that showcase and are inspired by their experiences in

volunteering.

Q: Based on your knowledge and experience as an arts advocate and member of the local

arts community, what are some of the strengths and weaknesses of the community when in

comes to the arts? What do you think we can do to assist the weakness and give focus to the

strengths?
 A: Arts and culture, especially here in Los Angeles, will always have the light to

ignite powerful dialogue, preserve history and engage locals and visitors in the community. It

cultivates culture among the youth and diversity in thought and perception among families, it

gives children and individuals another option to express themselves in controversial, real,

provocative and truthful ways that are commonly prohibited in modern day society. Its

weakness, well we already mentioned the financial support shortage, but other than that it would

be that the general community tend to stereotype, misunderstand and misjudge artists and the art

community for being too experimental with substances such as drugs and alcohol. I think the

public has this misconception that just because artists need inspiration from certain substances

mean they are not credible and or deserving of any acknowledgement or support.

CHULAFACE (No real name revealed for security purposes)

Local East Los Angeles Graff artist and illustrator, www.chulaface.com/

Q: Tell me about your name, CHULAFACE, and what it represents? How long have you

been part of the local art community of Los Angeles?

A: So I am of Mexican ethnicity, I was born and raised in East Los Angeles and Boyle

Heights area. Chula in Spanish Mexican language is slang for pretty, so my name means pretty

face. I was called Chulaface since I was a little girl by my grandmother, I was her first female

grandchild and she mostly raised me my whole life so she always called me by chulaface and it

the only name I know to identify with. I guess you can say I started getting into graffiti art when

I was in high school, at first it was just you know scribbles on paper and stuff and then I started

hanging out with other graffiti artists in the area and thats when I starting mobbing (going

around in the streets). I was not gang related or anything, people always think if your into graffiti

art your automatically in a gang, but no people, graffiti art is an urban art movement that does

not necessarily involve gang members or gang related activities. Anyway, so I started getting
really serious about my art after high school, I tried going to college and doing all that college

stuff but I just struggled so much in school and placed all my time in drawing and painting. I

guess you can say I have been part of the local arts community since I was 19, that was the age I

decided to drop out of college and invest all my time and future in my art.

Q: You mentioned you are of Mexican heritage, born and raised in the East and Boyle

Heights area of Los Angeles, how does your heritage and neighborhood influence your art and

professional growth in the local arts community and entire community?

A: POR FAVOR! I just wanted to say that because I really wanted you to ask me this

question. Yes I am of Mexican-American heritage and was born and raised in one of the poorest

neighborhoods in Los Angeles. Not sure if it is now with all this gentrification stuff, but it use to

be! My heritage and neighborhood is my heart and soul and is the MAIN source of inspiration

and drive that I have. When I decided to commit to being an artist in a struggling community, I

promised myself that I would do everything in my art power to someday give back to all the little

Chula faces that are as passionate and healed as much as I was in art. Thats what its all about

you know, giving back to the ones that raised you. Professionally, its been a hell of a struggle

because you know I dont have a diploma in art or whatever or did not attend USC or whatever

college, so my networking and resources are limited but I do want to say that for the past year,

the Latino art community of Los Angeles have been acknowledged and provided support more

than ever, political impacts I guess.

Impact of Culture and Ecology

In a more general sense, arts and culture is essentially what the Los Angeles society is

composed of and an important source of growth in the ecology of the community. The impact of

culture and ecology in the local arts community is vital because it is what provides historical
education, inspiration, relation and future opportunities to the children, families, individuals and

visitors of the community. The Institute of Contemporary Art in Los Angeles (ICA LA) for

example, is a recently opened art gallery and resource center located in downtown Los Angeles

that offers the local artists and the public gallery space, free art programs and performance space.

Several organizations and communities in the area, the LGBT community and local nearby

learning centers for low-income students such as Para Los Nios, have taken advantage of the

services and programs that the institute offers and has utilized it for performance space, field trip

destinations, literary resource and free art activities and programs. In urban cities like Los

Angeles, culture and ecology is very diverse and distinct and the impact of art on individuals are

significant in a way that it can shift the entire course of their growth and opportunity within

society. As quoted in a research article on the impact of arts in culture and ecology in California,

They (culture and ecology) are often the originators of ideas and forms that result in creative

industry products and services that generate many more jobs and incomes than those generated

directly by their operations(Markusen, 2013). Culture and the environment also allows for

individuals, especially ethnic and immigrant children and families with diverse cultural

backgrounds, to access Funds of Knowledge(Moll, 2005) which is stored knowledge that is not

learned in the school system but from family, cultural practices and societal factors such as

neighborhood and environment. By accessing these funds, local artists and all other members of

the community are given the opportunity to express, learn, exhibit and educate through the arts.

Community Diversity

Individuals and Population

The individuals that make up the local arts community of Los Angeles are individuals

that come from diverse cultural backgrounds and mostly reside in the east and mid-city area of
Los Angeles. Most of these individuals are first and second generation Latino and Asian/Pacific

Islander immigrants, some undocumented and come from low-income families and

neighborhoods. According to recent studies gathered from the City of Los Angeles department

of cultural arts division, community members age range from childhood as young as 7-12 years

into pre-adolescent, teens ages 15-17 and into adulthood age 18 to as old as 70 years old

(culturela.org, 2017). Based on my interview with Ariel, a Los Angeles city employee in the

department of cultural arts (DCA) division, when the city did a general survey of the local artists

they discovered that although some have extensive background and knowledge in the arts and

have obtained college degrees on the study of the arts, most of the local artists including aspiring

child artists in the neighborhoods of the east and central Los Angeles area have little to no

scholarly knowledge or access to education about the arts nor have been privileged to have

funding to attend college or obtain any college level education in the arts. Under-privileged, low-

income and disenfranchised artists are just as talented and skilled but rely solely on their

experience, history, culture and ecological environment as inspiration and content.

Government and Organizations

The city of Los Angeles has long been in support of the local cultural arts communities

that the city of composed of. The Department of Cultural Affairs (DCA) in the city government

is dedicated, to strengthen the quality of life in Los Angeles by stimulating and supporting arts

and cultural activities, ensuring public access to the arts for residents and visitors alike adding,

the DCA is committed to producing and promoting year-round classes, workshops, exhibitions,

and events(culturela.org). Through the ongoing support of the department and the resources that

it offers, the local arts community is allowed a solid foundation and backbone for future projects

and organizations such as the proposed. In addition, the community of arts division in the
department further facilitates the resources by providing quality and affordable arts education

for all ages through strategically located arts and cultural centers and landmarks throughout the

city(culturela.org), currently there is an estimated 22 DCA-managed facilities in the Los

Angeles areas including: ten arts and cultural centers, four theaters, two historic sites, and six

galleries; 12 public/private partnership arts facilities; and three art centers in development. DCA

annually employs hundreds of artists as part-time employees to provide arts education to all age

groups(culturela.org). Other than the support for the artists in the community, there are also

several organizations open and willing to accept volunteer work and art mentoring from the

artists such as the Childrens Cancer foundation called Pablove. Pablove a non-profit

organization dedicated to improving the lives and experiences of children diagnosed with cancer,

they offer art and photography programs in the hopes of healing and soothing the child through

art and seeing life through their eyes (pablove.org). Since the organization is non-profit, they are

always in search of volunteer artists and individuals willing to share their knowledge and skills

with the children.

Languages and Culture

Since the project aims to focus on the local arts community in the east and central Los

Angeles area, it is only appropriate and expected to emphasize the importance of the Spanish

language. The area of focus is known to be Latino populated, which is evident in the art exhibit

in local galleries and the streets. The Spanish language is not only economically and popularly

used in the Los Angeles community as a whole but it is the main language majority of the

targeted members of the local arts community speaks, relates to and is familiar with. At the same

time, the culture of the community is made up of the underground, urban, ethnic and radically

active individuals, ideas, influences and origins, resulting in historically provocative, technically
incorrect, censored, controversial and deep rooted creations in art. The culture of the local arts

community seeks to give voice and create dialogue on the ongoing issues of the times that are

not given attention to and commonly recognized by the mainstream media.

Community Strengths and Challenges

The local arts community of Los Angeles is faced with numerous challenges but mainly

in the financial and residential factors. Based on an article written about the financial support of

the local government in the arts, In times of economic crisis, the art department is always the

last choice for budget allocation. This is due to the fact that many people perceive art as

luxurious, however, a few art supporters believe that arts should be supported because of its

intrinsic value to society adding, as governments at all levels grapple with budgetary issues,

the arts must compete against other pressing social, educational, and economic development

needs(Cohen, 2012). The article and reality suggests that the main challenged that the

community is faced with is the budget and financial support that it obtains from the government

and the public. In contrast, as much as the community suffers from budget cuts and under-

funding, the strength of the community relies on its sole essence of visual influence and

inspiration, cultural exposure, educational implementation, healing for the youth and

disenfranchised and most importantly and its impact on the economy. When there is art,

imagination, creation, product development and consumer affairs is generated, therefore local

businesses can source locally and jobs are offered in return to the members of the community.

For example, if a local business is in need of branding and logo ideas, instead of sourcing from a

larger source they can source locally and find artists to create a logo and/or brand that is unique

and one of kind that provides a personal and direct business transaction.
Project Proposal

Collaboration with People (Multidisciplinary Team)

The project intends to collaborate with other organizations that can offer services and

resources to the members and in return where the members can offer their services in. Based on

the organizations, programs and other communities in the area, a multidisciplinary team was

chosen in order to effectively navigate the movement of the project to its goal. The individuals

selected for the team are leaders of government divisions, organizational representatives, low-

income and underprivileged learning center directors and family members of artists in the

community. The collaboration of individuals from these groups have the access and resources to

find networking, connection, funding, housing and education for the members of the local arts

community.

Community Motivation and Purpose

This project is inspired and driven by the cultural and historical elements that the east and

central Los Angles areas are composed of, the citizens, their experiences, passions, dreams and

fears that are often overlooked, unrecognized and simply ignored because of their neighborhood

and socio-economic status. Most importantly, this project is dedicated to children, families and

individuals who are suffering from social disqualifications, financial hardship and disabilities to

continue to be inspired, educated and healed through the arts.

Improving/Enhancing Service to Community

Through the skills and talents that the community members posses in the arts and

the consumer relations of art advocates and enthusiasts, the services that are offered to local

businesses, schools and/or learning centers and recreational facilities and places in the city are

increased and improved. Based on a research study on the economical impacts of the arts
community, the economy of the city is improved by 67% with the involvement of the arts

community and the services, influence and relationship that the members offer to the common

citizens (Cohen, 2013).

Alliance Development and Implementation

Project Goals

The goal of this project is to support and facilitate the local arts community of Los

Angeles, specifically artists, students and other members in the east and central areas who are

ethnic, underprivileged, disabled and disenfranchised, and provide resources for funding, free

education, low-cost housing, social recognition or exposure, professional guidance and job

opportunities. This project seeks to collaborate with other communities and organizations in the

area, specifically those who share the same ecological focus, to obtain services and funding

needed for the community members and at the same time offer services in return that the

community members can offer based on their knowledge, skills and talents in the arts.

Interventions/Services Rendered

The project aims to offer services to other local organizations, students, children and

families in the area that accept artist volunteer services for mural painting, business branding, art

education and mentoring and other organizational projects and services that require the

imagination and creativity of an artist. At the same time and more importantly, the artists, young

and old, student and teacher also require financial support services, free/affordable gallery space,

subsidized and/free living spaces and scholarly academic education on the history and

technicalities of art with the intention to help members of the community grown professionally

and obtain job opportunities in the field of art.

Multidisciplinary Team Functions

Four individuals I have chosen to be part of the multi-disciplinary team are listed below along

with their purpose:

Leslie Thomas
Community of Arts Division director

The position of Leslie Thomas as the director of the community of arts division in the

city of Los Angeles paves the way for the project to have access to government funding and

budget opportunities. Leslie is an arts advocate and functions to create and provide support in the

development of the project and its success within the government and the chamber of commerce

in the city.

Tanya Ramirez
Youth Policy Institute mentor in the arts and project developer

I met Tanya while volunteering with the Youth Policy Institute; she shares the same

vision of developing and creating a program for the skilled and talented youth to have access,

education, resources, financial support and recognition in the arts community. Tanya is an ideal

candidate for the team because she would function as the main source for youth artists in the

community, with the collaboration of other artists Tanya can pave the way for the youth enrolled

in the institute to network, connect and build relationships with them. With Tanyas knowledge

and experience in developing projects for the institute, she is qualified to inspire new ideas for

the project and at the same time have connections to other existing projects that the community

members can benefit from.

Alex Sanchez

Local Artist, Los Angeles Native and a resident artist in the Museum as Retail Space gallery

Alex has been an active member in the local Los Angeles arts community since he was in his

teens. He is a self-taught artist who was never given the privileged to study art in college, since
his commitment in the field of art he has worked hard to make connections and find resources on

his own to be where he is now as an artist. Today he resides in an artist warehouse in south

central Los Angeles, he has successfully obtained residency in three local art galleries in the east

and downtown Los Angeles area and consistently volunteers his time and skills to children who

are as passionate about art as he was and is. Alex is chosen to be part of the multidisciplinary

team because he is the prime example and candidate of the individuals that the project is targeted

to. Alex can function as mentor to new, young and struggling artists, he can influence other

organizations and projects through his journey and his amazing artwork and most importantly he

can function as a network for other artists and individuals in the local arts community to connect

and exchange resources and ideas, he can get people that he knows, works with, lives with and

has created with together with other artists that are in need of the exposure and connections.

John Jason
Events Manager for Artshare Los Angeles

John is an events manager for one of the most important non-profit organizations and resources

in the local arts community of Los Angeles. Artshare LA provides free gallery space, subsidized

housing and free art programs to local artists and the community. Through his involvement in the

team and the project, John is able to provide first hand access to artists that are in need of

affordable housing and gallery space. John will function as the facilitator for the space that

Artshare offers to the local artists involved in the project, he will also function as the partner of

Tanya in the development of events and exhibitions that the artists may want to participate

and/or host.

Cultural Considerations

The project considers several cultural factors upon determining which services to utilize

and after careful research and interviews conducted, it is evident that the ecological composition
of the project is in the underground, urban, street culture, the radical art activists and immigrant

and ethnic cultural artists which is prominent in the areas in focus. The cultural factors

mentioned and the members of the community are the most aggressive in taking advantage of the

services and reciprocating it back into the community and other organizations to address issues

of oppression, immigration, poverty and abuse. Based on an article about the importance of the

involvement of culture in the arts, Arts and cultural organizations depend on collective, not

just individual, actions and commitments for their continued existence(Markusen, 2013).

Critical Outcomes of Project

The intention of the project outcome is to provide financial support, educational

opportunities, affordable housing and gallery space and exposure for low-income, ethnic,

underprivileged artists in the east and central Los Angeles communities. Collectively, it is to

bridge and collaborate with other local communities and organizations that would benefit from

the knowledge, skills and talents that the community members, artists and patrons can offer

return. The relationship with government officials and the chamber of commerce for the city of

Los Angeles, non-profit organization leaders and under-funded learning centers are all critical to

the outcome of the project because it is through these relationships that the project are able to

gather and obtain resources, funding and services required to fulfill the outcome of the project.

Conclusion

The local arts community in Los Angeles is a community that has not only struggled

historically and culturally but more importantly academically and financially. While we continue

to learn and understand more of the Los Angeles culture as a whole and the relationship of its

native citizens and visitors, we must continue to support and cultivate the growth and movement

of the arts community. It is the portal in which the public can access the historical backgrounds,
personal struggles and ecological compositions of the city and at the same time appreciate and

recognize genuine art creations from skilled, talented and deeply passionate driven artists. This

project research expands on the assertion of supporting and providing resources and funding for

the local arts community for the low-income, underprivileged, disabled and ethnic children,

families and individuals. The project allows the members to express their authentic selves and

appreciate cultures aside from their own, explores practical applications through a proposed arts

project. Through the launch of this project, children, youth, students and families from different

ethnic backgrounds are allowed to share, showcase and celebrate their culture without fear of

judgment and expectation from more highly educated artists and critical enthusiasts. Through the

goals and mission of the project, local struggling artists and art students are offered opportunities

to grow, harness their skills, find space and professional opportunities in the field of art.

Especially in the past year with the ongoing political and societal turmoil that the country faces,

the ethnic and underprivileged members and organizations that focus on the arts community has

been given more attention and recognition because of their radical but peaceful and highly

influential protests through art. As read in an article published in 2014 by the Los Angeles Times

about the growth and movement of the local arts community, Today, for new or newly

relocating galleries, both commercial and nonprofit, it's industrial warehouses with plenty of

parking south of the 10 Freeway and east of the L.A. River and continues to read, as the fall

art season gets underway, definitive signs of an eastward tilt are inescapable. That's a good thing

and not just because swelling traffic makes crosstown commutes increasingly grim. It's good

because there's something to be said for the public face of art more closely matching where the

public is(LA Times, 2014).

Resources
Books:
Gonzalez, N., Moll, L. C., & Amanti, C. (2005). Funds of knowledge: theorizing practices in
households, communities, and classrooms. New York, NY: Routledge.
Perez, W., & Solrzano, D. (2009). We are Americans: Undocumented students pursuing the
American dream. Sterling, VA: Stylus.
Articles and Journals:
Cohen, Randy; Schaffer, William; Davidson, Benjamin (2013). Arts and economic prosperity:
The economic impact of nonprofit arts organizations and their audiences. Journal of Arts and
Management, Law, and Society; Washington, VA.

Los Angeles Times (2013). Los Angeles Art World is Bigger and Wider.
http://www.latimes.com/entertainment/arts/preview/la-et-cm-ca-knight-fall-preview-art-
20140915-column.html ; Los Angeles, CA.

Markusen, A; Gadwa A.; Barbour, E.; Beyers, William (2011). Californias Arts and Cultural
Ecology. Journal of Arts and Management, Law and Society; Washington, VA.

Cohen, Randy (2013); Local government support of arts and culture. Journal of Arts
Management, Law, and Society; Washington 32.3 (Fall 2013): 206-221.

Becko, Laurence (2016); Exploring Cultural Learning Ecologies with Children and Young
People. www.anewdirection.org.uk/cultural-learning-ecology

The Pablove Foundation; www.pablove.org.

ArtShare Los Angeles; www.artshare.org.