This collection of photography represents the efforts of an urban studies field work class at Cal State Northridge to document the street/public art in what was once the Edendale area of Los Angeles. The class was split into Team Silver Lake and Team Echo Park.

 

We could not contact some of artists to ask for permission to photograph their art, due to the anonymous nature of most street art. If you are or represent one of these artists and would like to have the photo(s) of your work removed, please send us a message.

 

Team Echo Park: Samantha Auld, Daniel Garcia, Adam Pollack, Humberto Quintana, Andy Rodriguez

 

Team Silver Lake: Sarmen Antanesian, Jaime del Rio, Mark Kleckner, Lisa Narcisse

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Team Echo Park's Methodology

by Samantha Auld

 

The purpose of this project is to survey public art (commissioned and non-commissioned) in the Los Angeles neighborhoods of Echo Park, Angeleno Heights, Elysian Heights, and Elysian Park. The project is in the form of an online photo album (Flickr). We chose this format so that we would be able to link the photographs of the art to neighborhood maps and background information; this gives more meaning to the images, and allows viewers to be able to see any given piece of public art in the larger context of the neighborhood's geography and history.

 

We defined “public art” as any physical manifestation of creativity that can be viewed from the street. These works of art include murals, smaller paintings, sculptures, monuments, signage, and even entire houses. Some pieces are located on private property, but are immediately visible from the public realm of the street. Other pieces were officially commissioned by store owners, while others are “guerrilla” street art-- technically illegal, but generally seen as “above” graffiti due to its artistic merit and lack of gang affiliation.

 

There was not a strict set of criteria for choosing the art to document. We had a list of pieces that we intended to document before setting out to the field to take photos, but we stumbled upon some of the other pieces by chance. The list of art that we had intended to document was assembled from a wide range of sources, including blogs, classroom lectures, and the memories of team members who have spent a significant amount of time in the Echo Park area. The selection process was also quite subjective; we passed over certain works because we felt that they were insignificant or boring. For example, we declined to photograph an extremely amateur painting of a few flowers on a wall, as we felt that it contributed nothing to the sense of place of the area. It could have been on a wall in any other neighborhood and had the same value (or lack thereof).

 

This project is being assembled by five seniors in the Urban Studies and Planning program at California State University Northridge. We have gathered most of the information first-hand; we visited these neighborhoods to scout out public art, photograph it, and note its locations. We then did online research to find out who the artists are, when they created the pieces, and sometimes what existed in those spaces before the current pieces were placed there. This relates to an additional purpose for conducting this survey: to document what public art exists in these areas now, in the spring of 2010, as this type of art can be short-lived. Murals are often “tagged” on or wholly painted over, signs can be taken down, and sculptures broken. Next, we requested the artists' permission to post photographs of their work on our Flickr account. Since we were unable to locate the names of some of the artists or their contact information, we placed our contact information on the profile page of the Flickr account, in case an artist would like to request that we remove the images of their work. After posting the photographs, we wrote captions for them (often including links to more information) and placed them on an interactive map, as many of the pieces are best understood in the context of their particular location and how they contribute to that area's sense of place.

 

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Adam Pollack's (Team Echo Park) email interview with Randlett King Lawrence, creator of the Phantasma Gloria aka Randyland:

 

Q1: Where did you get the inspiration to construct Randyland?

A: Please click on "The Phantasmagloria Story" at www.Randyland.info - you'll find a detailed answer.

 

Q2: How long did it take you to build? What were the challenges?

A: 10 years has produced a series of configurations, ever bigger. Not yet done, am now making a 24' Virgin of Guadelupe. The biggest challenge was driving my Turkish wife crazy. Instead of finishing the remodel I was hanging blue bottles from rebar in the front yard - for 10 years.

 

Q3: What are your views on public street art in Los Angeles? Do you feel Randyland makes a contribution to that scene?

A: It's pitiful. Yes - I'm trying to show how much more is possible. We have the most magical light in the world. It would behoove us to use it.

 

Q4: Do you feel that the Echo Park community contributes more or less to the art scene in Los Angeles?

A: You bet - I couldn't do what I'm doing anywhere else.

 

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Daniel Garcia's (Team Echo Park) interview with Donna Shire (artist Peter Shire's wife) at their studio:

 

Q1: Where did Peter get the inspiration to create “City on the Hill?”

 

A: “City on the Hill” is a memorial to Frank Glass and Grace E. Simon. Together with Peter they developed a committee to protect the park. After Grace and Frank died, the committee wanted to build a memorial for them. They wanted it to be like a gazebo for people to sit on it, so Peter made benches for it. The city determined that the benches had to be long enough for two people to sit, but not large enough for the homeless to sleep. The piece represents the immigrants that came on trains to the community.

 

Q2: How long did it take him to make it? What were the challenges?

 

A: The project took about 4 months to finish; however, the project was planned over a period of 3 years. One of the challenges was that at the time Peter did not have a studio and so it was done at a friend’s studio. All the small pieces were done at that studio.

 

Q3: What are your views on public art in Los Angeles?

 

A: Peter thinks that it is an important aspect of people’s lives. For instance, art can take people’s minds off stressful thoughts, like a person riding the Metro Rail could take his/her mind away from things by looking at the art on various stops and could get through the day.

 

Q4: How do you feel that the Echo Park community contributes to the overall art scene in Los Angeles?

 

A: Echo Park is trying hard to contribute to the art scene; but, people in Los Angeles are fickle and lose their interest quickly.

 

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Humberto Quintana's (Team Echo Park) phone interview with muralist Ernesto de la Loza:

 

Q1: Where did you get the inspiration to paint the “Cine de Oro” mural?

 

A: In the advent of California's Proposition 227, the “English only” proposition, I felt that the community could benefit from a mural that would celebrate the Latino culture.

 

Q2: How long did it take you to paint the mural? What were the challenges?

 

A: The piece took me 4 months to complete. There were various challenges to this project. The property owner where the mural is painted requested complex portraits on his wall. Given that the existing wall is brick required me to prep the wall so it could be a smooth surface. One of the other challenges for this project was funding. The mural was funded by the Department of Cultural Affairs (DCA) of the City of Los Angeles, which only allocated $1,500 for a mural that took me 4 months to complete.

 

Q3: What are your views on public/street art in Los Angeles? Do you feel your piece makes a contribution to that scene?

 

A: Classic street art is an art for the people. I have been painting the streets for more than 40 years. Unfortunately, a lot of the work that has been done by the pioneering street artists is being destroyed by current aerosol paint artists. I believe that my work does make a contribution to the art scene; my work has been in films and is world-acclaimed in the mural movement around the world.

 

Q4: How do you feel that the Echo Park community contributes to the overall art scene in Los Angeles?

 

A: Unfortunately, the current art scene is dominated by aerosol, decades of street art is being erased by aerosol artists. In fact, the “Cine de Oro” mural is last standing mural that I have in Echo Park.

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Narrative Summary of Echo Park Public Art Hunt, 3/12/2010

by Andy Rodriguez

 

We met at Astro's restaurant around 2pm on a gloomy Friday. We stood in the parking lot until everyone arrived, and played a four-way rock paper scissors game to see who would donate the gas for our expedition. Fortunately for the group I lost, so we hopped into my four-door, four-cylinder hatchback and were on our way. Samantha came prepared with map of Echo Park; drawn on the map were all the collected sites of public art. Humberto sat in the front with map in hand, guiding me through the hills of Echo Park. We started by driving to the Peter Shire art house on Vista Gordo Dr. The group will never forget this house as it took around ten minutes to find, along with the quirky street name the house is secluded on a narrow back street. From site to site Samantha jumped out of my car snapping photos of public art with her top of the line camera, while I dodged street traffic looking for a spots to wait for her. We visited fifteen sites from Echo Park hills onto Sunset and everywhere in between. The two hours we spent in the area gave the group a better sense of the Echo Park community by building a stronger personal connection to our project. For myself, Samantha, Adam, Humberto, and Daniel, all of whom are graduating planning majors, I think we had a positive experience because having to physically be in the community built that personal connection often lost by professional planners.

 

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Silver Lake Team

METHODOLOGY

 

Research By: Lisa Narcisse, Jaime Del Rio, Sarmen Antanessian and Mark Kleckner

 

Background

 

The purpose of this report is to survey commissioned and non-commissioned public art located in the community of Silver Lake, California. As a group we decided to that this would be qualitative research for the following reasons: we will be taking photos of images in their natural setting and our data is exclusively descriptive. We will examine and photograph the various types of art in the community such as murals, exhibits signage, facades, and sculptures. The ultimate goal will be to create a photo diary of our exploration along with text of location and purpose of the art. The descriptive data will be assembled by the researchers, which consists of four urban planning students (“Silver Lake Team”) from California State University Northridge.

 

The source of our information will come from a site reconnaissance, interviews, and secondary data (i.e.; archival photos). Although we are not trained artists, we are utilizing idiographic interpretations of what is considered art where attention is paid to particulars such as history, meaning, location, as opposed to just generalizations of what public art should be. Art appreciation is idiosyncratic so we chose the art to photograph using secondary data (what had already been established as art), and guidance from a Silver Lake resident who is well versed in the history of the community.

 

Criteria for art selections were as follows:

 

 Art had to be located in the community of research

 All perceived public art had to be photographed for consideration.

 

The participants in this report in addition the researchers; will be those who contribute to our knowledge of public art in Silver Lake and will most likely be a non-random selection of people, because we are choosing who we will interview.

 

Data Collection and Analysis

 

The process of examining public art in Silver Lake will entail a combination of three strategies: explore, gather data, and document. Our group took a walking tour of Silver Lake and visited sites previously identified as public art; we also observed sites that could be considered art. Initially we relied on the guidance and knowledge of Silver Lake resident and participant Phyl Van Ammers who provided an in-depth background of the community and its art sub-culture. Her knowledge was important; as we made discoveries that would not have otherwise been found by our setback as “non residents” and she served as a base for our understanding of what can be coined public art. During this exploration, personal digital cameras we’re used to capture images of public art as a way to create an archival record. These images were uploaded onto a photo database called Flickr which is an image and video hosting website, web services suite, and online community platform. The photos, which are exclusively images from Silver Lake, are saved in an album on this website where it is accessible by our group.

 

Another method for collecting data (photos of art/suggestions) was to post a “request for information” about public art in the local neighborhood newspaper and Silver Lake blog sites. Researcher, Lisa Narcisse, was successful in having a post submitted to the Eastsider blog. The goal was to have residents of Silver Lake and others who subscribe to the blog; view our posting/contact info and respond with information on public art or send photos of public art to an established email address: lisanarcisse@yahoo.com

 

Another strategy we decided on was for one or more of our researchers to attend a Silver Lake Neighborhood Council committee meeting on Arts and Culture; which is held the fourth Tuesday of each month. At this meeting, we will interview the chair of this committee, Claudia Vazquez and get her perspective on the value of public art and how important it is as a sub-culture of the area. Her input will be considered a valid understanding of what is allowed and/or considered public art by the council. Despite what she may identify as art via the eyes of the local government; we as researchers will document many aspects of “art” as a guiding principle that public art is interpreted through the eyes of many who view it and it is “all” relevant.

 

The results of our report are self-serving in that it will give us a better understanding of the unique traits of a community; and in this case, the public art of Silver Lake, California.

 

Interview about the Walking Man Mural

 

Mark conducted a phone interview with the manager of Local to gather some information about the "Walking Man Mural". He introduced himself as a student from CSUN, and explained that we are working on a class project that is creating an inventory of public art in Silverlake. The interview went as follows:

 

What can you tell me about the walking man mural?

 

The mural was commissioned by the owner of Local, Jason Michaud. The artist is Nick Garliarducci, and the mural was painted last year (2009). Following the completion of the mural, the artist hosted an art exhibit at Local to show off his other paintings and sketches.

 

What can you tell me about the “walking man”?

 

"The walking man" is Dr. Marc Abrams. He is an occasional customer of Local, and walks past the restaurant twice a day as he completes his daily walking routine.

 

Do you know what time he walks past the mural? (I asked this question because I wanted to take a picture of “the walking man” walking past the mural)

 

No. He walks past during various times of the day and is impossible to predict.

 

Interview done by; Mark Kleckner

 

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Interview and Description about the Silver Lake Bear

 

This mural done by Philip John Lumanlan Lumbong III has cause controversy in the Silver Lake neighborhood. This mural was painted about one year 2009 on a residential wall located at 2354 Lakeview. According to the article found at www.scrp.org, the homeowner contacted Phillip indicating that they had a huge blank wall that they wanted to be wanted by him. Phillip agree and he his work begin on painted the biggest wall he has ever done. This mural is 30 feet long and 10 feet wide.

 

However a permit was never granted by the city, which lead to a neighbor to complain about the illegal mural. Due to the illegal mural, the residents of 2354 Lakeview where ask to pain over the mural by March 1. Los Angeles City Council Eric Garcetti is trying to save the mural from been painted over. His effort has lead to moving the dateline to April 1. Garcetti told the homeowner that the only way to save the mural is to file an application for $7,000, but this there are no guarantees the permit will be granted.

 

Jaime Del Rio spoke with Phillip over facebook.com messenger, and he asked him what was going one with the illegal mural he painted. Phillip indicated “city must have seen it and felt bad to paint it over it, so they just left it as it is”. Till this day it’s still unclear if the mural will remain at 2354 Lakeview.

Del Rio also ask him if he has done more work at the city of Silver Lake, Phillip responded, "yes I have, but most of if has been painted over it". Phillip continues to do his street work, but he has slow down so he could avoid illegal issues with the city.

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artiest website;

www.philiplumbang.com/

 

By: Philip John Lumanlan Lumberhung III

Description added by Del Rio.

 

Lisa Narcisse contacted the Eastsider blog and Los Feliz Ledger to request information on public art in the community of Silver Lake; asking that all referrals be sent to her email address: lisanarcisse@yahoo.com. She received an email from the Eastsider stating that her post would be added to the blog. She also joined the Eastsider blogs social network on Facebook to post requests and to receive current information about what was happening in the community.

 

Bibliography

Macris, N. (2000). Planning in Plain English. Chicago: APA Planners Press

 

Edwardson, D. (2010). New Big Wheels Roll Into Silver Lake. April 27,2010. www.theeastsiderla.com

   

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www.scpr.org/news/2010/02/12/los-angeles-city-councilman-...