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The Brief

The most important stories for you to know today
  • District's art and archives valued at $12 million
    Two rows of wooden student desks face a dark green chalkboard. Tall bookcases stand against the wall. Posters and an American flag hang on the walls and a large wood table with papers on it appear in the foreground.
    The LAUSD Art & Artifact Collection/Archive and Museum at district headquarters.

    Topline:

    The nation’s second-largest school district is home to 389,000 students and roughly 100,000 pieces of art, including paintings, sculptures, maps and murals.

    More than classroom materials: A 2008 appraisal estimated the value was more than $12 million, according to a 2022 district document obtained by EdSource. Sure, the collection holds school records — classroom materials, photosyearbooks. But it also has ancient Mesopotamian cuneiform tablets dating back to 2100 BCE. Sculptures of “Don Quixote” by Salvador Dalí from 1979. A 1931 “Bugs Bunny & Friends” by the animator Chuck Jones shows Bugs Bunny, Wile E. Coyote, Daffy Duck and The Road Runner reading a book entitled “History of the 9th St. School.”

    Where are the pieces are stored: The collection’s roughly 100,000 pieces are scattered across LAUSD schools and administrative sites, with many being stored in a central warehouse at district police headquarters. Experts say it’s a rarity for districts to acquire and maintain such a collection. While LAUSD students might enjoy little treasures displayed on their school walls and in hallway display cases, it’s more challenging for members of the public to view items in the collection. Since 2018, a team of volunteers have created a database that can be viewed online for free.

    Read on . . . for photos and a database of LAUSD's art collection.

    Embarking on a treasure hunt for the art and artifacts held by the Los Angeles Unified School District is no small feat.

    The nation’s second-largest school district is home to 389,000 students and roughly 100,000 pieces of art, including paintings, sculptures, maps and murals.

    The art can be found in schools and district buildings across the district’s over 700-square-mile terrain. It is part of its Art & Artifact Collection, which began sometime in the 1850s and morphed into a multi-million-dollar collection today.

    Sure, the collection holds school records — classroom materials, photosyearbooks. But it also has ancient Mesopotamian cuneiform tablets dating back to 2100 BCE. Sculptures of “Don Quixote” by Salvador Dalí from 1979. A 1931 “Bugs Bunny & Friends” by the animator Chuck Jones shows Bugs Bunny, Wile E. Coyote, Daffy Duck and The Road Runner reading a book entitled “History of the 9th St. School.”

    The collection predates the official formation of LAUSD in 1961. The city was served by the Los Angeles City School District and the Los Angeles City High School District, which later merged. Most of LAUSD’s notable pieces are donations from alumni, former administrators and members of the larger Los Angeles community. A 2008 appraisal estimated the value was more than $12 million, according to a 2022 district document obtained by EdSource.

    “LAUSD history is Los Angeles history,” said Cintia Romero, the archive and museum’s curator and archivist. “We have all the people here; we have all kinds of buildings; we have all kinds of architecture; we have all kinds of cultures.”

    It is rare for school districts to hold on to such artifacts, says Brenda Gunn, the president-elect of the Society of American Archivists.

    “I don’t think it’s very common at all,” Gunn said. “I think what typically happens is that the school districts don’t really invest in any sort of preservation. It’s not often that a school district has an archivist, and if they do have any preservation efforts, it’s usually by a nonprofessional.”

    Treasures at school sites 

    School officials also collect items unearthed at school sites during renovations — such as old fire alarms — as well as yearbooks and photographs that document LAUSD history. Los Angeles Unified says it maintains “professional standards for archival care and are intended to ensure that important pieces of the district’s history are maintained for future generations.”

    “School district records are like a continuous public diary of shifts in neighborhoods, how the school district has approached its curriculum, how did it manage desegregation or any big social and cultural events,” Gunn said. She added that some might also be interested in viewing them for something more personal, like understanding family genealogy.

    There’s little the LAUSD archive turns down. The main criteria is whether the art can serve in an educational capacity or as a teaching aide, Romero said. While LAUSD does sometimes loan pieces out to other institutions, it is “not in the business of buying or selling artwork.” And sometimes, she said, selling wouldn’t be in the “spirit of the donors,” some of whom were the original artists.

    “It doesn’t necessarily have to be valuable to be accepted. It can be a teaching aid,” Romero said. “So, everything kind of has value, really. Everything can be somewhere.”

    And it is.

    The “X” on LAUSD’s treasure map sits in a warehouse at the school police headquarters in rows of boxes that house a large portion of the collection. That includes the district’s antiquity collection donated by Venice High School’s historic Latin Museum, which operated from 1932 to 1997, and is now defunct.

    In a small museum at the LAUSD headquarters on S. Boundary Avenue, there is a display mimicking a late 19th-century classroom.

    In the “classroom” are wooden phonics teaching tools with scrolling letters, antique maps and silver-colored vessels once used during home economics classes.

    The classroom has a list of “Rules for Teachers 1872” that sits on the front desk: bring “a bucket of water and a scuttle of coal for the day’s session,” take “one evening each week for courting purposes, or two evenings a week if they attend church regularly.”

    Preservation at schools 

    But it is among the modern-day classrooms with digital tablets and smart boards where the rest of the treasure lies:

    Typically, in most school districts, items just end up sitting idly by for years, succumbing to what archivists call “benign neglect,” Gunn said.

    “There are all kinds of places that this archival material will end up,” Gunn said. “And staff are like, ‘Oh, I don’t want to throw this away, but it can’t be in my office, so I’m going to store it somewhere,’ and then it stays there until the next person.”

    For Gunn, the hope is that school officials may take the extra step to preserve art, documents and history. Leaving something in a storage closet or in a box and walking away is not enough, she says.

    “You’re not hurting anything. You’re certainly not throwing things away, but you’re not helping this; you’re not improving the situation of the records,” Gunn said. “But, what you hope is that someone down the road will see them, open that door and say, ‘Oh, these are valuable. And, if we can’t keep them here, then maybe there is another archive that will take them.’”

    In the case of the LAUSD archive, there have been several thefts, including a painting at Dorsey High School. Romero said that while there aren’t many details of the painting, the president of the school’s alumni association has since found it, and traded $25,000 worth of posters and plans to leave it to LAUSD.

    Today, the district maintains that school security procedures, including key access, protect the pieces.

    Ensuring public access

    While LAUSD students might enjoy little treasures displayed on their school walls and in hallway display cases, it’s more challenging for members of the public to view items in the collection.

    In the 1980s, a formal inventory of art was curated. And in 2004, the collection was digitized, Romero said.

    So, since 2018, Romero and her small staff — made up of a volunteer and a small cohort of interns from Cal State Northridge and LAUSD’s Downtown Business Magnet school — continued to digitize items and add them to a public database, which can be viewed for free.

    This process of digitizing the archive is largely made possible by donations and grants, though Romero’s position is funded through LAUSD’s general fund, according to the district.

    But curating the collection isn’t just about LAUSD’s or Los Angeles’s past. It’s also about the future.

    Romero and her team also keep tabs on ongoing renovation projects at school sites that could reveal new additions.

    “We have so many schools, and each school has something,” Romero said. “Every school has some kind of history.”

    EdSource is an independent nonprofit organization that provides analysis on key education issues facing California and the nation. LAist republishes articles from EdSource with permission.

  • Unveiling today at Elephant Hill in El Sereno
    The photo captures a picturesque residential area nestled at the base of lush green hills. In the foreground, you can see houses and streets, while the background features rolling hills covered in grass and dotted with trees. Winding dirt paths meander through the hills, adding a sense of depth and exploration. The sky is clear and blue, suggesting a bright, sunny day. Tall trees on the right side of the image frame the scene beautifully.
    Elephant Hill in El Sereno.

    Topline:

    A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles officially opens this weekend.

    Why it matters: The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

    What's next: The trail is part of a decades-long effort to preserve the entire 110 acres of Elephant Hill. Read on to learn more.

    A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles is officially opening this weekend.

    The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

    The hiking trail connects one side of Elephant Hill to the other — from the corner of Pullman Street and Harriman Avenue all the way across to Lathrop Street.

    It's 0.75 miles in total, but packs a punch.

    "It's a pretty straight shot, but because of the terrain — the trail is kind of twisty and curvy. There's switchbacks — and great views," Elva Yañez, board president of the nonprofit Save Elephant Hill, said.

    People have always been able to access the 110-acre green space, but Yañez said the new trail provides a safe and easy way to navigate the steep hillsides.

    The El Sereno nonprofit has been working for two decades to preserve the land. Illegal dumping and off-roading have damaged the open space over the years. And the majority of the 110 acres are privately owned by an estimated 200 individual owners.

    Mountains Recreation and Conservation Authority (MRCA) joined the efforts in 2018, spurred by a $700,000 grant from Los Angeles County Regional Park and Open Space District, in part, to build the trail. The local agency received some $2 million in grants from the Santa Monica Mountains Conservancy to add to the 10 acres of Elephant Hill it manages and conserves. This year, MCRA acquired an additional 12 parcels — or about 2.4 acres.

    And the spiffy new footpath — with trail signage, information kiosks and landscape boulders — is not just a long-sought-for victory but a beginning in a sense.

    "We know that it means a lot to the community," Sarah Kevorkian, who oversees the trail project for MRCA, said. "We're wrapping up the trail, but it really feels like the beginning of all that is to come."

    A hint of that vision already exists — for hikers traversing the new route, courtesy of Test Plot, the L.A.-based nonprofit that works to revitalize depleted lands.

    "They're able to see at the end of the trail, at the 'test plot' — exactly what a restored Elephant Hill would look like," Yañez said.

    Here's a preview:

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  • Giant art pop-up takes over former Snapchat HQ
    White commercial building with large storefront windows displaying vibrant artwork and eclectic objects, including bicycles and abstract paintings.
    The former Snapchat buildings on the Venice Boardwalk are now pop-up art spaces, free for all to visit.

    Topline:

    A new art installation on the Venice Boardwalk features local and international artists, pop-up evening performances, and projects that explore the themes of childhood and home.

    Why it matters: The Venice Boardwalk is usually a daytime playground, but a new art installation and performance pop up aims to breathe new life into the evening scene at the beach.

    Why now: Two formerly vacant buildings with spaces facing the Boardwalk have been turned into free art installations after a new owner took over the former Snapchat-owned buildings.

    The backstory: Stefan Ashkenazy, founder of the Bombay Beach Biennale, brings some of his favorite collaborators into a new space on the Venice Boardwalk, giving a chance for tourists and locals alike to check out projects from artists including William Attaway, James Ostrer, Greg Haberny, Robin Murez, and more.

    Read on ... to find out how you can visit.

    The Venice Boardwalk after sunset has generally been a no-go zone for tourists and locals alike, as the beachside bars and restaurants close on the early side and safety is often an issue. Now, a group of artists is out to bring some vibrancy to the creative neighborhood with a series of new installations that will include live evening performances – and even a “Venice Opera House.”

    “Let's play with light and let's play with sound and give people a reason to come to the Boardwalk after sundown,” said artist and entrepreneur Stefan Ashkenazy, who is curating the project and owns the buildings housing them. “I mean, let's just be open 24 hours a day.”

    The concept doesn’t have an official name yet, but he’s been calling it “See World.”

    The pair of modern buildings on the Venice Boardwalk at Thornton Ave. – with their big balconies, floor-to-ceiling glass windows, and seven open garage-style retail spaces – have sat mostly empty since Snapchat vacated their beachside offices in 2019. Ashkenazy recently bought the building and recruited artists to fill those front-facing spaces with creative work until a full-time tenant comes in.

    Over the past several weeks the installations have been created in real-time, in public.

    Venice Boardwalk art pop-ups
    The installations are open now and can be seen from the Boardwalk for free 24/7. They will be up for several months and evening performances are ongoing.

    All of the projects are loosely along the theme of “home,” with each artist claiming a “room” in the two buildings that stretch across a full block on the Boardwalk. Several local Venice artists are featured, including William Attaway, whose intricate mosaic work is recognizable on the Venice public restrooms along the beach. Attaway’s space features a floating larger-than-life-sized statue and various works in a mini-gallery. In the next room is Robin Murez’s pieces, featuring carved wooden seats from her beloved neighborhood Venice Flying Carousel.

    Ashkenazy is no stranger to wild (and wildly successful) art ideas. He’s the owner of the Petit Ermitage hotel in West Hollywood, a longtime haven for visiting artists, and the founder of the decade-old Bombay Beach Biennale, where artists install all kinds of work in an annual event near the Salton Sea. Many of the artists from that community are featured at the Venice project.

    New York-based artist Greg Haberny and London-based artist James Ostrer have brought some of their work in the Bombay Beach Biennale to the Venice project. Their windows on the Boardwalk both speak to a child-like sense of wonder and creativity.

    “I think it's just kind of exploring and playing a little bit, to have the freedom to be able to do that,” Haberny says of his imagined child’s bedroom space, which includes a fort made out of puffy cheese balls. “It's a big space, too.
It's beautiful.”

    Ostrer is experimenting with a performance art idea where he sits in bed amongst a room full of his own artwork, which he describes as “happy art with an edge.” Looking out at the ocean from the bed, he’s invited passersby to sit and have chats with him about his work or anything else they want to talk about.

    “It’s a very intimate space, so you have a different kind of conversation,” he said. “I use art to channel human creativity, and [talk about] dark things.”

    While there are open fences that block off the spaces, they aren’t sealed up at night. Both Ashkenazy and the team of artists seemed open to the idea that anything could happen and that the installations are a conversation with the public – and with that comes some risk.

    Three artists work in a cluttered studio with white walls displaying various paintings and art supplies scattered on the green floor.
    Greg Haberny (right) works with his assistants on an installation featuring kid-inspired graffiti art and a "cheesy puff" fort.
    (
    Laura Hertzfeld
    /
    LAist
    )

    “I don't really know if I [would] say worried, but I guess it's just the cost of doing business,” Haberny said. “I don't really make things to get damaged or broken, sure. But I have done [things like] burned all my paintings and then made paint out of ash.”

    While he’s felt safe – and even slept overnight in the installation – Ostrer has been collaborating with a local female artist who performs in a pig mask in front of his installation some nights. Watching her perform, he said, has taught him about the vulnerability of women in public spaces like the Boardwalk. “I've started to, on a very fractional level, have seen how scary that is. Because I've sat in the bed behind her performing at the front here… the way in which men are approaching her and shrieking at her … it's shocking.”

    Ashkenazy says he will keep the artists in the space, potentially rotating new ones in, until a fulltime tenant takes over.

    “This is an experiment … and after acquiring the building, the intention wasn't, ‘let's open a bunch of public art spaces,’ he said. “It is kind of …what the building wanted and listening to what the Boardwalk needed. Let's play, let's have the artists that we love and appreciate have a space to play and engage and give the locals and the visitors to the Boardwalk something to experience.”

  • Rally in City of Industry against latest project
    Rows of Lithium Ion batteries in an energy storage container with red cables coming out of them.
    Battery storage hubs are used to stabilize the energy grid but have led to lithium battery fires.

    Topline:

    San Gabriel Valley residents are rallying today against a battery storage project in the City of Industry. They warn it could bring environmental and health impacts and pave the way for more industrial development, like data centers.

    The backstory: City leaders approved the 400-megawatt Marici battery facility in January. But residents in nearby communities say they were not adequately informed and are concerned about safety risks.

    What's next: Some local activists have challenged the approval of the battery facility under the California Environmental Quality Act.

    The rally: Protesters will be at the Peter F. Schabarum Regional Park in Rowland Heights from 10 a.m. to 1 p.m.

    A coalition of residents from across the San Gabriel Valley are mobilizing over a battery storage project and possibly more industrial development in the City of Industry they say could pollute communities next door.

    A protest is scheduled today in neighboring Rowland Heights, targeting a 400-megawatt battery energy storage facility sited on about 9 acres that was approved by the City of Industry leaders in January.

    Such Battery Energy Storage Systems, or BESS, are used to keep the power grid stable, especially as output from renewable energy sources like solar and wind fluctuate. But fires involving lithium batteries at some sites have heightened environmental and public health fears.

    WHAT: Protest against battery storage facility in the city of Industry

    WHERE: Peter F. Schabarum Regional Park in neighboring Rowland Heights

    WHEN: 10 a.m. to 1 p.m.

    Because of the City of Industry’s unusual, sprawling shape stretching along the 60 Freeway, it borders on more than a dozen communities, meaning what happens there can have far-reaching impact.

    “Pollution does not end right at the border,” said Andrew Yip, an organizer with No Data Centers SGV Coalition. “Pollution travels.”

    Some local activists with the Puente Hills Community Preservation Association have challenged the approval of the battery facility under the California Environmental Quality Act.

    Beyond environmental concerns, locals have also been frustrated with how decisions are made by officials in the City of Industry, a municipality that’s almost entirely zoned for industrial use and has less than 300 residents.

    Organizers say they’ve struggled to get direct responses from city officials whom they say have replaced regular meetings with special meetings, which under state law require less advance notice.

    A city spokesperson has not responded to requests for comment.

    The so-called Marici Energy Storage System Facility would be run by Aypa Power. The fact that the battery storage developer is owned by the private equity giant Blackstone, a major investor in AI and data centers, has only fueled concerns that a battery storage facility would lay the groundwork for data center development.

    A request for comment from Aypa was not returned.

    Today’s protest is taking place at Peter F. Schabarum Regional Park in Rowland Heights across the street from the Puente Hills Mall, a largely vacant “dead” mall, which activists fear could be redeveloped into a data center and bring higher utility costs and greater air and noise pollution.

    Yip pointed out that industrial developments make a lot of money for the City of Industry.

    “But none of these surrounding communities receive any of those benefits,” Yip said. “Yet we have to put up with all the harmful effects and impacts from this city that does all this development without really reaching out.”

  • Welder-artist makes a bench to celebrate the city
    A male presenting person sits on a bench. The bench is painted in bright blue and yellow.
    Steve Campos sits on a bench he calls the "LA Bench" that approriates the logo used by the Dodgers in a statement of civic pride.

    Topline:

    LA welder-artist uses the well-loved "L.A." logo to create an “LA Bench” to spark civic pride. It may look like a tribute to the Dodgers, but it's more complicated.

    Why it matters: Steve Campos is a second-generation welder born and raised in L.A. who is using his training and education to create work with more artistic designs.

    Why now: The Dodgers’ success is making their logos ubiquitous. But the team's success, some Angelenos say, came at the cost of mass displacement after World War II of working class communities where Dodger Stadium how stands.

    The backstory: The interlocking letters of the L.A. logo were used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

    What's next: Campos is offering the LA Benches for sale and hopes he can get permission from the Dodgers to install a few at Dodger Stadium.

    Go deeper: The ugly, violent clearing of Chavez Ravine.

    It’s about the size of a park bench and made of steel and wood. The bench’s arm rests are formed by the letters “L” and “A” in a design that’s unmistakable to any sports fan. But the welder-artist who created it says it’s not a Dodgers bench.

    “This is about civic pride, L.A. pride. I made a design statement saying that it has nothing affiliated with the Dodgers,” said Steve Campos.

    Campos grew up near Dodger Stadium, raised by parents who were die-hard Dodgers fans. So much, that they named him after Steve Garvey but that legacy doesn’t keep him from confronting how the Dodgers benefitted from the mass displacement of working-class people from Chavez Ravine after World War Two. That’s why he calls it an L.A. Bench, and not a Dodgers Bench.

    The logo may be synonymous with the city's beloved baseball team, but the design of the interlocking letters was used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

    “The monogram was here before the Dodgers,” Campos said.

    A second-generation welder

    Welding is the Campos family business. His father created gates and security bars for windows and doors for L.A. clients. That was the foundation for the work Campos has done for two decades since graduating from Lincoln High School, L.A. Trade Tech College, and enrolling in a summer program at Art Center in Pasadena.

    The inspiration for the L.A. Bench came last year while he was playing around in his shop creating versions of the L.A. logo. A friend he hangs with at Echo Park Lake asked Campos to make him a piece of furniture.

    “I was trying to figure out what my friend Curly wanted. He liked Dodgers and drinking and getting into fights, so I was like, 'Let me make something with the LA monogram,'” he said.

    A metal sculpture in the shape of the letters "L" and "A".
    Welder-artist Steve Campos created whimsical steel sculptures with the LA logo.
    (
    Courtesy Steve Campos
    )

    It didn’t design itself. He said he had to lengthen the legs on the “A” and lean the back of the “L” in order to make the bench functional. In the process, he’s made a piece of furniture with a ubiquitous logo that he’s embedded with his own L.A. pride, as well as city history past and present.

    LA civic pride travels to Japan

    Campos vacationed in Japan the last week of April and took advantage of the trip to reach out to people who may be interested in the L.A. Bench. He was caught off guard by people’s reaction when he showed them pictures of it.

    “They look at it and they go, 'Oh, Ohtani bench,'” he said.

    For them, it’s still a bench embedded with pride, he said, but centered around Dodgers star Shohei Ohtani, an icon in his native Japan.

    I would love to get a couple of them installed at Dodger Stadium.
    — Steve Campos, welder-artist

    Campos has made four L.A. benches and is selling them fully assembled, he said, for $2,500 each — taking into account his labor and how costly the raw materials have become. For now, he’s offering the metal parts as a package for $500, which requires the buyer to purchase the wood for the seat and the back — an easy process, he said.

    While he has no plans to mass produce the L.A. Bench, he does have one goal in mind that shows how hard it is for him to separate L.A. civic pride and the Dodgers.

    “I would love to get a couple of them installed at Dodger Stadium,” he said.