The Brief

When Ariel Pittman thinks about the Eaton Fire, she said she thinks about the person with a disability who died waiting to be evacuated, and about the importance of knowing who’s in the area.

“We need to have a sense of responsibility for each other,” Pittman said.

And she thinks about how to get relief money to survivors immediately, Pittman said, “rather than making them fill out mountains of paperwork and drive all over town trying to get resources.”

Pittman, owner and founder of the art gallery Official Welcome in Westlake, is among a group of five women art workers and artists — including Kathryn Andrews, Andrea Bowers, Olivia Gauthier, and Julia V. Hendrickson — who created the mutual aid fund Grief and Hope.

Mutual aid refers to individuals pooling resources to help one another. This collective action can build new social relationships but can also represent a shared understanding that existing relief systems often fail to help everyone.

After the Palisades and Eaton fires a year ago, there was an outpouring of giving for artists and art workers who experienced loss. In small and large gestures, this aid created connection, served as recognition of this shared moment, and suggested new ways of relating to one another.

But those who received aid have ongoing needs beyond what those homegrown efforts have provided, and those who manage aid told LAist that more needs to be done to improve relief systems ahead of the next disaster.

Supporting the art community after the fires

The Grief and Hope fund was intended to draw attention to the economics of working in culture and to the art workers who go unrecognized. It was among a number of initiatives to support artists and art workers after the fires; it raised approximately $1.6 million, much of that already distributed to 271 people.

“I think we all had this shared sense too of just not wanting to see our art world disappear here. And that felt very prescient when the fires happened,” gallery director Gauthier said.

A recent survey about artists in the labor force found more than half of the artists reported being “somewhat or very worried” about being able to afford “food, housing, medical care, or utilities” and around 10% “juggled three or more jobs.”

While some artists do well financially, Pittman said, she has seen art workers living on the edge: self-employed workers, underpaid gallery and museum employees, people who are underemployed or managing multiple jobs.

A disaster only makes their situations more precarious.

The organizers of the mutual aid fund Grief and Hope. From left standing, clockwise: Olivia Gauthier; Ariel Pittman; Kathryn Andrews, Julia V. Hendrickson. Not pictured: Andrea Bowers.

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Grief and Hope’s organizers were already active in supporting artists before the fires, so it came naturally to continue to do so. They quickly set up a fiscal sponsor through The Brick nonprofit to manage the money and researched the minimum requirements needed to distribute aid.

Hendrickson, a small business owner of the arts agency Verge, checked applications for false information, but overall the group aimed to cut red tape — an example they hope bureaucracies can learn from.

The most dominant response Grief and Hope’s organizers heard from aid recipients in a survey was their gratitude for “how little information and hoops we required people to jump through,” Pittman said. She pointed out “the number of people who were just like, ‘thank you for not asking me to quantify my suffering to receive support.’”

Recipients also reported in the survey that they felt more connected.

With its organizers bearing close ties to the community, Grief and Hope was also a hub for information, channeling requests from people wanting to help and sharing opportunities like temporary housing, access to studio space and free art supplies.

In their efforts to distribute funding quickly, members of Grief and Hope recognized that they missed a lot of older people who weren’t on social media or connected to those that are. To remedy this, Grief and Hope organizers were able to distribute funding to those who were less online at a later date.

Pittman said this is another reason why there needs to be data for those distributing resources after a disaster, so that resources could be brought to people, rather than people having to find them or rely on an algorithm to learn about them.

Pittman said her group plans to make one more payment to applicants, but speaking for herself, she doesn’t see Grief and Hope being revived unless they’re uniquely situated to help.

“I hope that the people who saw what we did would do the same for us, that there would be another group like this in the future, for the next thing that needs it, you know?” she said.

And better data would mean future aid groups could get a head start. This group shares an understanding that with climate change, disasters will inevitably become more frequent.

One of Pittman’s collaborators, Andrews, an artist and founder of the gender equality nonprofit Judith Center, has now lost her home twice (first to the Bobcat Fire in 2020, second to the Palisades Fire).

She recognized this is a unique opportunity where people can come together and think about a different future, on how to construct a community anew, but also how to prepare for a different disaster response.

“I don't think a solution after the fact is the right approach because there's just not enough we can do. We need to reengineer it on the front end,” Andrews said. “And I think collectively we should make demands that the government does step up differently, that insurance performs differently.”

Needs after a disaster

Margaret Ross Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

She also lost her and her husband’s art studios, their art storage, and also the period of time, the “soft space” she called it, that her family of four shared before her eldest daughter would go off to college.

When various relief efforts sprung up in the aftermath, the last thing she could imagine doing was driving anywhere to pick up anything.

“You're like, ‘I have to drive where?’” she recalled. “I mean, you're just in such a state of shock that driving anywhere is a hardship.”

Margaret Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

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Griffith and her husband lost their art studios and their art storage in the Eaton Fire.

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Friends showed up for her and her family. At least two rented trucks to bring items to fill their empty rental home. One day five of her husband’s friends came with shovels and screen to remove and filter debris. The friends who took Griffith and her family in after the Eaton Fire said they could stay as long as they needed.

It also helped that she could receive funds quickly from Grief and Hope. There were immediate costs to cover, including paying for a security deposit and rent for a place that cost twice as much as their mortgage.

Even before having furniture for their rental, Griffith said with some amusement, she used aid from art groups to invest in a laser cutter. Griffith, an artist who makes intricate sculptures by cutting repeated patterns through metal and other materials, said it was an essential need for her art practice.

The value of having a space to create

At 72 years old, veteran artist Coleen Sterritt had retired from her teaching career, with plans to focus solely on her art practice and life in her community. She said that this has now been erased. The materials gathered for future projects have burned, along with her house and two art studios. The people in her former Altadena community who consider themselves too old to rebuild or who rented do not plan to return.

“It was like one day you had your life and the next day you did not,” Sterritt said. “It was just gone.”

After the Eaton Fire, Sterritt, her husband, and their two dogs have moved five times. She said it helps to be around people who understand what they went through. There is a sense of isolation among others, including family.

“They don't really understand that it's with us all the time. It's with us all the time,” she said.

Going to art galleries today is a reminder of the art she has lost: sculptural art in the last 15 years, and the works on paper that went back nearly 50 years, her notebooks, and her sketchbooks.

Sterritt received mutual aid from a GoFundMe a former student created for her. Sterritt was initially reluctant, but was persuaded that the GoFundMe was a connection to others who wanted to give, regardless of how much someone could contribute.

But as the one-year mark approached, she said she has noticed that the attention has begun to fade. Sterritt points out, for example, businesses that were so quick to offer discounts at the time of the fires, did not continue much past early 2025. By summertime, businesses appeared to have moved on, she said.

Recovery has been a full-time job — between working to create an inventory of all that was lost and participating in the lawsuit against SoCal Edison, Sterritt has not been able to make art.

Sterritt misses having a studio and the privacy it affords. The loss of a physical place for an artist isn’t the same as it is for a person whose profession isn’t so tied to having a space for creativity, Sterritt said. And space in Los Angeles is hard to come by.

Griffith, too, has found it challenging to make art since the fire. She said to do so, she needs to have three components — time, money and space. She recently was given access, however, to a temporary studio for her eight-week art residency with Arts at Blue Roof. There she seemed to relax.

“There're no distractions here. I'm not, you know, dealing with the burdens of the house rebuild when I come into this room,” she said in an interview at her Blue Roof studio. 

She is not expecting her new home to be ready until 2027, so she hopes that organizations continue to offer studio space to those affected by the fires.

And she hopes people do not forget how long recovery takes.

Funding for this story was provided by UC Berkeley's Greater Good Science Center, as part of its "Spreading Love Through the Media" initiative, supported by the John Templeton Foundation.

Pasadena residents fighting a school district plan to remove nearly 200 trees scored a win Thursday night.

Pasadena Unified School District officials had said 193 trees across 11 campuses need to be cut down to clean up soil contaminated by the Eaton Fire. But on Thursday, the district’s board voted unanimously to attempt to save up to 57 of those trees.

The adopted motion is no guarantee trees will be saved, but directs staff to evaluate other ways to remediate soil around certain mature, protected trees.

The vote came after major public outcry from local residents, including a Pasadena teen who spent more than eight hours in the branches of an oak tree slated for removal at the district’s headquarters.

Why is the district trying to remove trees?

Last May, the school district released the results of soil tests taken after the Eaton Fire, which found elevated levels of toxic metals, primarily lead and arsenic, at 13 campuses. (You can see the reports for each campus here).

Then, late last month, the district announced it planned to remove nearly 200 trees to excavate one to four feet of contaminated soil at the remaining 11 campuses it has to clean up. Officials said they need to get the work done before students return from summer break.

The plan angered many residents.

Chapman University soil scientist Christine Sierra O’Connell said removing contaminants is critical, but cutting down too many trees could swap out one problem for another.

“You could easily imagine taking down all these trees, and the next time there's a big heatwave before the end of the school year, these campuses are super hot,” she said.

She said areas like sports fields and open soil playgrounds make sense for excavation, but a variety of methods can be used to remediate soil near trees, including phytoremediation, in which plants are used to take up metals in the soils.

“In my opinion, PUSD should not be moving forward with a wholesale excavation strategy without circling back and deeply investigating whether or not alternative soil remediation strategies can be utilized around the root beds of these large, mature, important trees,” O’Connell said.

District has concerns about additional costs

The district’s facilities director, Michael Dunning, said at the Thursday board meeting that he and his staff will assess 57 mature, protected trees where it may be possible to use an “air excavation method” to clean the soil at their base.

“It does take longer periods of time,” Dunning said. “It does come with some risk. We could go through the cost of trying this method at each tree and still not come to a conclusion.”

If the district doesn’t clean up the soil to accepted levels, they’d have to enter into a “land use covenant” with the state’s Department of Toxic Substances Control. That would require certain areas to be permanently closed off, or possibly made impermeable with concrete, as well as additional training and staff for maintenance, which could cost the district $30,000 per year in perpetuity, Dunning estimated.

“I’m not certain that our budget could withstand such a thing,” said Boardmember Michelle R. Bailey.

The original full excavation plan is estimated to cost $6.6 million, though the district would be reimbursed by the state if the contamination is reduced to public health standards.

Benjamin Stanphill, Southern California division chief at the state Department of Toxic Substances Control, told board members that the agency is "somewhat agnostic” about the method of contaminant removal and that they’d consider approving a plan involving bioremediation or phytoremediation methods.

Meanwhile, the district said in a statement that staff and arborists “will continue refining site-specific approaches, site by site, tree by tree… with the goal of maintaining as many protected trees within the removal areas as possible.”

LACMA is turning a stretch of Wilshire Boulevard in front of its new David Geffen Galleries into a living gallery.

The Art Parade is the creation of gallerist Jeffrey Deitch who first put on the event in New York’s SoHo from 2005 to 2008.

A scene from one of the east coast Art Parades of years past.

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The inaugural L.A. edition will include 1,400 participants marching down Wilshire. There will be a massive, mirrored inflatable sculpture, a custom-painted 1959 Cadillac powered by humans and an 18-piece marching band.

“It’s going to give you the feeling of Mardi Gras, but obviously not New Orleans. I think what people are going to recognize is just the enthusiasm and excitement for this moment here in L.A.,” Naima Keith, senior vice president of education, public programs and regional partnerships at LACMA, told LAist.

You can also expect a cotton candy-themed entry from Meow Wolf, the group behind a number of immersive art museums that is slated to open an installation in L.A. later this year. L.A. artist Gary Baseman, whose exhibition recently opened at Johnie’s Coffee Shop at the corner of Wilshire Boulevard and Fairfax Avenue, will present “Peace Thru Purr.”

Keith said Art Parade is in line with LACMA director Michael Govan’s mission to make the Mid-City art institution and the surrounding space a communal “living room.”

“It’s a celebration of L.A., of L.A. artists, of the vibrant art community that’s here,” Keith said.

Most California voters cast their ballots by mail, but two big federal changes are in the pipeline that could impact how those ballots are handled and counted in the November election.

One could come from a U.S. Supreme Court ruling that’s expected soon, and another through the United States Postal service, which is working to comply with President Donald Trump’s executive order that would give the agency the final say over who receives a mail-in ballot.

The efforts come as Trump and his allies have scrutinized mail-in ballots for years, claiming without evidence that states with longer count times and universal mail-in voting are allowing widespread cheating. Research shows fraud rates remain extremely small.

A major ruling could end mail-in grace periods

Fourteen states, including California, count mail-in ballots that arrive after Election Day, as long as they are postmarked by then and show up within a certain window. The U.S. Supreme Court is expected to hand down a decision that could end that kind of grace period.

The case in question is Watson v. Republican National Committee, which centers on whether Mississippi’s five-day grace period for late-arriving ballots is constitutional under federal law. In California, that period is seven days.

Geoffrey Skelley,  chief elections analyst at Decision Desk HQ, told LAist the RNC’s argument centers on a federal law enacted in 1845 that set Election Day as the Tuesday after the first Monday in November, and that’s why votes shouldn’t be accepted after it.

A decision on that is expected to come within the next month, according to Wren Orey, who directs the elections project at the Bipartisan Policy Center. The Washington D.C.-based think tank works with both sides of the political aisle to craft policy suggestions.

Orey told LAist it’s looking like the justices will side with the RNC and overturn Mississippi’s law. However, it’s not known how broad the ruling could be. The Purcell principle, a legal doctrine that discourages last-minute changes to election procedures, could also be invoked.

“ It’s possible that the Supreme Court rules that this specific statute is unconstitutional, but their judgment doesn’t go into effect until after the election,” they said.

Some critics say the Supreme Court has unevenly applied this principle, pointing to how a ruling affected Alabama’s primary when voters had already begun casting ballots.

How it could affect California

Just over 400,000 ballots arrived during California’s grace period in 2024 — that’s 2.5% of voter turnout. Orey said these usually come from areas that take more time for mail carriers to deliver, so it could disadvantage rural residents, for example. It’s unclear if there would be a carve out for service members and overseas voters under the Uniformed and Overseas Citizens Absentee Voting Act, which get rejected at higher rates.

The Bipartisan Policy Center’s research shows about the same rate of late ballot rejections between states with a grace period and those without, Orey said, suggesting that voters adapt to their state’s deadline.

“What isn’t clear, though, is how long it takes for voters to adjust,” they said, adding that they’ve seen some evidence of rejections going up immediately after a grace period goes away.

Workers count Los Angeles County ballots in the City of Industry on June 3.

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Skelley said a lot of voters would likely become aware and adjust in part because of how publicized the decision would be, but it wouldn’t solve everything.

“Now, does that mean some would be affected and might miss out on a chance to vote?” he said. “Yes, that’s perfectly plausible.”

California is also notoriously criticized for how long it takes to count ballots, even though that’s a feature, not a bug, of our election process. If the justices decide to end grace periods, don’t expect big changes to that.

That’s mostly because our slowness stems from the volume of mail-in ballots received on Election Day, Orey said. Those need to be verified, opened and flattened to be processed, which takes more time than if you voted in person.

Changes to universal mail-in ballots

Another looming change comes from Trump’s March executive order which, among many things, tasks the U.S. Postal Service with being a gatekeeper for who gets a mail-in ballot.

This is happening in the name of preventing noncitizens from voting, which is already rare and gets prosecuted.

USPS released its proposed rules earlier this month. Under the proposal, states would be required to send names of eligible mail-in voters to USPS, who would add them to a centralized list. If your name isn’t on that list for some reason, the Postal Service won’t mail your ballot.

This also depends on whether states agree to share voter information with the federal government, which California has so far refused to do in other situations.

“ Let’s say California and some states like it don’t give the federal government the information that they want,” Skelley said. “Presumably, that would mean that some people who have been voting by mail would not be able to get their mail ballots, and so they would have to figure out alternate ways to vote.”

Under federal law, states and Congress can determine how elections are run, so Trump’s executive order is seen by some as unconstitutional. It’s being challenged in court in multiple cases — one of which California is part of.

Among the concerns, it’s unclear what recourse voters would have to resolve errors, how accurate the data will be and what would happen if a voter requested a mail-in ballot after USPS’s deadline to add voters to the list.

The U.S. Postal Service may soon decide who to send mail-in ballots to.

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Orey said they have talked to state election officials who don’t have a lot of trust in the Postal Service to handle ingesting and updating lists from every state, based on how the agency manages current operations and deadlines.

“We have no evidence to indicate that the infrastructure exists to begin with, or is at all functional,” they said.

Under Trump’s executive order, the final rule is due by the end of July — that is, of course, if it’s not delayed by the courts.

These rules would apply to federal elections, but not to primaries or ballots under the UOCAVA (the act for service members and overseas voters), according to the proposal. If you want to have your say, USPS is accepting public comment through July 2.

Although thousands have flocked to SoFi stadium for the World Cup, soccer wasn’t always a fan-favorite sport in the United States.

The sport’s rise to popularity began when the U.S. hosted its first World Cup in 1994. At that time, the men’s soccer team was virtually unknown.

Summer of ’94, a new documentary directed by Chad N. Walker and Dave LaMattina, chronicles the U.S. team’s unlikely run during their first home World Cup.

At a screening in LAist’s Crawford Family Forum Room, viewers got an early look at the film. LAist’s Libby Rainey later moderated a talkback with Alan Rothberg, the president of U.S. Soccer in the 1990s, and Chris Leggett and Amanda Farrand, both producers of the film.

LAist's Libby Rainey moderates a talkback with Alan Rothberg, Chris Leggett, and Amanda Farrand.

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An unlikely team and a wild-card coach

Rothberg recalled several of the team’s challenges, and also pointed to soccer’s low popularity as a spectator and player sport at the time of the World Cup.

He said that factored into his decision when choosing a wild-card coach, Velibor “Bora” Milutinović, to lead the 1994 team.

The Starting IX for the United States before a 1994 FIFA World Cup Round of 16 game between the United States and Brazil at Stanford Stadium in Palo Alto on July 4, 1994.

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Ernie Stewart celebrates with his team after the US scores the second goal during the USA match against Colombia in the 1994 World Cup.

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Rothberg said “there was a lot of pressure to hire an American coach” for the home team. But he said he “felt there was a necessity to have a coach with international experience.”

Milutinović also emerged as a centerpiece of the documentary, which the producers said they didn’t expect.

“We just started falling in love with Bora, and after one interview with him, where he started [...] coaching the directors, we were like, this guy is magic,” Farrand said.

Leggett said that players were able to better understand Milutinović’s strategy through the documentary. He said that during the interview process, “what was very obvious was [the players] were really digesting and getting to understand Bora as well.”

What happened to U.S. soccer after 1994? 

Rothberg said that since that World Cup, funding for U.S. soccer took off. The team’s performance, “enabled us to immediately follow up and create Major League Soccer,” he said.

At that time, the organization had a $50 million surplus, which Rothberg said they used to create a nonprofit for “underserved communities.”

In 1999, the U.S. hosted the Women’s World Cup in major stadiums.

Libby Rainey (L) and Alan Rothberg (R) speak at a screening in LAist’s Crawford Family Forum.

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“[FIFA] had so little confidence in the women's game at that time that they wanted us to play in small stadiums in the Northeast, and we persuaded them,” Rothberg recalled.

Now, Major League Soccer has invested over $11 billion in facilities and stadiums, and the U.S. is hosting the World Cup this summer, including eight matches in L.A.

Rothberg said that since that World Cup, public interest in soccer has only increased. Now, we might even be underselling how popular the sport is.

“Soccer has been underestimated to this day. It's still the number one participant sport in the country,” he said.

Farrand said the film sought to inspire not just future players, but also volunteer coaches.

“If we could use this moment and this movie to inspire former players and parents to lean into coaching, we could really make a difference,” she said.

She added that volunteer coaching is “an act of civic participation,” which she encouraged attendees to consider ahead of the U.S.’s 250th anniversary of independence.

Both Rothberg and Farrand pointed to the Women’s World Cup, which will be hosted by the U.S. in 2031, as the next landmark event.

You can find where to stream on the documentary's website.