♪ >> THE STUDY OF SOUTHERN CALIFORNIA'S MARANGO BASIN.

>> NO ONE FELL PARTICULARLY MOTIVATED TO CHANGE IT, SO IT'S KIND OF STUCK IN TIME.

>> AN ALTERNATIVE TO SUBURBAN SPRAWL.

>> WE DO DOMES, AND THEY ARE ALL BASED ON THE SAME COOPERATIVE RELATIONSHIP WITH GRAVITY.

>> ABSTRACT EXPRESSIONISM WITH POLITICALLY CHARGED POP ART.

>> INCENDIARY TRACES HIM A PROJECT THAT CHALLENGES PARTICIPANTS.

>> THESE INDIVIDUALS ARE LEARNING STUFF AND REHEARSING THINGS THAT ARE SUPPOSED TO SAVE THEIR LIVES.

>> A MULTIDISCIPLINARY ARTIST KNOWN AS THE JOSHUA 20 ART QUEEN.

>> I FEEL SO SAD BECAUSE I WANT TO GET OUT OF THE BOX.

>> DIANE BEST, WHOSE WORK PERSONIFIES THE HIGH DESERT.

>> IT IS INCREDIBLE.

>> NEXT, ON "ARTBOUND."

>> MY NAME IS KIM STRINGFELLOW.

I'M AN ARTIST EDUCATOR.

WHEN I DECIDED TO DOCUMENT PHOTOGRAPHICALLY THE JACKRABBIT HOMESTEADS, I MADE A POINT TO ONLY PHOTOGRAPH THE ABANDONED CABINS.

YOU HAVE TO UNDERSTAND THAT THESE ARE WAY OUT IN THE DESERT.

BETWEEN EACH CABIN, THERE IS QUITE A DISTANCE.

I WOULD USUALLY PARK AND WALK ABOUT 10 MILES.

MY IDEA WAS TO BRING TOGETHER A PAST HISTORY AND THE CURRENT HISTORY OF THE JACKRABBIT HOMESTEADS, THE HISTORY OF THE SMALL TRACT ACTS, AND BRING IT INTO HOW THEIR USE TODAY THROUGH THIS CREATIVE COMMUNITY.

IT WAS REALLY GREAT WORKING WITH ARTBOUND TO DEVELOP THIS VIDEO, TO ACTUALLY SEE THE WORKS, SEE THE ARCHITECTURE.

I THINK IT IS A REALLY GREAT THING.

>> YOU HAVE A TIE TO THE PLACE WHERE YOU LIVE.

YOU APPRECIATE THE SUNSHINE AS IT DRIES YOUR BRICKS.

>> THERE'S THIS VERY ROMANTIC IDEA ABOUT BEING IN THIS VERY SMALL STRUCTURE, VERY OPEN TO THE ELEMENTS.

THERE'S A SENSE OF SPACE HERE THAT IS INCREDIBLE.

YOU CAN SEE FOR MILES HERE.

THERE ARE SO MANY DIFFERENT SUBTLE CHANGES WITHIN THE LANDSCAPE.

IT'S VERY MEDITATIVE.

MAKES YOU EITHER LOVE IT OR YOU HATE IT.

THERE'S NO TWO WAYS ABOUT IT.

>> THIS PART OF SAN BERNADINO TOWNIE WAS VERY SPARSELY POPULATED.

NOBODY RIDDLES -- NOBODY REALLY SETTLED THIS AREA UNTIL AFTER WORLD WAR I. THERE WERE A LOT OF RETURNING VETERANS WHO HAD LUNG DISORDERS.

PHYSICIANS SUGGESTED TO MANY THAT THEY SEEK UP TO HER IN THE WARM, DRY AIR OF THE DESERT.

PARTICULARLY 29 PALMS BECAUSE THERE WAS A SOURCE OF WATER.

MANY VETERANS DID COME OUT HERE ACTUALLY SEEKING UP TO HER.

-- SEEKING A CURE.

♪ >> I HAVE BEEN WORKING ON A PROJECT ON JACKRABBIT HOMESTEADING SINCE ABOUT 2005.

THIS IS ONE OF THE AREAS THAT HAS PROBABLY THE MOST HOMESTEADS IN THE MOHAVE AREA.

WONDER VALLEY IS NOT ACTUALLY A PLACE WITH ANY KIND OF REAL DESIGNATION.

IT IS MORE A STATE OF MIND.

IT CAME TO FORM AND AROUND THE LATE 1940'S, 19 50'S, 1960'S, WHEN THE SMALL TRACT HOMESTEAD ACT WENT INTO EFFECT, AND LITTLE HOMESTEADS BEGAN SPRINGING UP THROUGHOUT THIS AREA AND A LOT OF THE AREAS ALL THE WAY INTO NEVADA AND ARIZONA.

>> THIS WAS ONE OF THE LAST OF THE HOMESTEAD ACT THAT ALLOWED PEOPLE TO GET PUBLIC LAND FROM THE FEDERAL GOVERNMENT IF THEY WERE ABLE TO LEASE OUT THE PROPERTY, IMPROVE IT BY BUILDINGS SMALL STRUCTURES, AND THEY COULD THEN DISPOSE OF IT, SELL IT, GIVE IT TO HEIRS.

>> HERE IN THE VALLEY, THE COMMUNITY OF HOMESTEADS HAS STAYED PARTICULARLY IN TACT BECAUSE IT'S KIND OF THE EDGE OF CIVILIZATION, AND NOBODY FELL PARTICULARLY MOTIVATED OR THAT THERE WAS SUFFICIENT PROFIT TO CHANGE IT.

SO IT'S KIND OF STUCK IN TIME.

>> DESERTS WERE NOT THE START OF THAT SORT OF PLACE THAT PEOPLE REALLY WANTED, ITS EITHER WAY TOO HOT OR WAY TOO COLD.

FOR PEOPLE'S COMMON HOMESTEAD OUT HERE WAS INDEED RATHER ODD.

>> THE INTEREST IN THE WESTERN HERITAGE AND THE SORT OF VERY ROMANTICIZED IDEA OF THE WESTERN LANDSCAPE, THAT WAS HUGE DURING THE 40'S AND THE 50'S.

THIS WAS A BIG PART OF OUR CULTURAL HERITAGE AND I THINK THAT KIND OF ROMANTIC IDEA ABOUT PLACE, AND WANTING TO BE PART OF THAT AND MORNING TO PROJECT YOURSELF INTO THIS PARTICULAR KIND OF LAND STEP -- THEN SKIP WAS REALLY ATTRACTIVE TO A LOT OF PEOPLE.

THEY ARE LOCATED IN THIS KIND OF HINTERLAND, THERE'S A CERTAIN KIND OF AESTHETIC OUT IN THE TESTER.

-- OUT IN THE DESERT.

>> THIS HOMESTEAD CABIN BEHIND ME IS MINE.

I USE IT AS MY ART STUDIO AND IT IS A CLASSIC EXAMPLE OF THE KIND OF HOMESTEADS THAT WERE BUILT.

THEY WOULD GO UP IN THE SPACE OF THE DAY.

THEY WERE LIKE PACKAGE HOMES.

PEOPLE CANNOT HEAR WITH THE ROMANTIC IDEA OF WHAT THIS WAS GOING TO BE LIKE, AND SOME OF THOSE COMMUNITIES ARE STILL ESTABLISHED TODAY.

A LOT OF THESE PROPERTIES WERE LEFT TO SLOWLY DEGRADE INTO THE DESERT AND MAILED BACK INTO THIS REALLY DESOLATE LANDSCAPE.

>> THE ONES THAT STAYED WERE OBVIOUSLY PEOPLE THAT HAD SOME KIND OF RESPECT FOR THE LAND AND THE COYOTES AND THE SCORPIONS AND ALL THE OTHER NORMAL CREATURES OF THE DESERT.

>> THERE HAS ALWAYS BEEN A WONDERFUL, UNPREDICTABLE MIX.

GOING ALL THE WAY BACK TO THE ORIGINAL HOMESTEADERS WHO CAME OUT, THEY WERE VERY EXCITED, PARTLY AT THE FREE THEM UP BE ABLE TO READ THERE -- BEING ABLE TO CREATE THEIR DREAM.

THAT HAS SOME SORT OF RELATIONSHIP WITH THE DESERT ENVIRONMENT, EVEN IF IT IS NOTHING MORE THAN THE FREEDOM AND SPACE AND OPPORTUNITY TO BE HOWEVER THEY WANT TO BE.

>> I FIRST BECAME FAMILIAR WITH CAL EARTH, I WAS EXCITED ABOUT THE IDEA OF SUSTAINABLE ARCHITECTURE THAT IS BASED ON THE ANCIENT IDEA OF DOMESTIC STRUCTURES.

THEY ARE USING ESSENTIALLY DIRT FROM THE SURROUNDING AREA.

WHEN YOU HAVE THESE APPRENTICES COME IN, THEY REALLY STRESS THAT THIS ISN'T DIRT, THIS IS EARTH.

WE ARE MADE OF THE SAME MATERIAL.

THIS IS ALL PART OF US, AND TO RESPECT THIS EARTH.

WHEN YOU PUT THAT KIND OF EMPHASIS INTO THIS TYPE OF DESIGN, IT MAKES FOR A BETTER ENVIRONMENT TO LIVE IN.

THEY ARE REALLY THINKING ABOUT SUSTAINABILITY.

THEY ARE THINKING FAR INTO THE FUTURE WHEN RESOURCES HAVE BEEN DEPLETED AND HOW TO ALSO MAKE A STRUCTURE THAT IS VERY AESTHETICALLY PLEASING.

THESE ARE BEAUTIFUL, BEAUTIFUL BUILDINGS.

THEY LOOK VERY ORGANIC.

THE WAY THEY ARE BUILT, THE STRUCTURE IS NOT CONTINUOUSLY FIGHTING TO PULL ITSELF APART.

IT'S REALLY SORT OF COMING INTO ITSELF.

I KEEP REFERENCING THE BEEHIVES, AND THIS IDEA OF A COMMUNAL TYPE OF BUILT ENVIRONMENT.

TO DO THESE YOU REALLY NEED A GROUP OF PEOPLE TO HELP YOU PUT THESE TOGETHER.

IT'S ALMOST LIKE A BARNRAISING.

BECAUSE YOU HAVE TO FILL THESE BAGS, YOU HAVE TO CREATE THE STRUCTURES THAT LEAD INTO DOMES.

YOU NEED A GROUP OF PEOPLE TO HELP.

SO IT HELPS TO BUILD COMMUNITY AS IT'S BEING BUILT.

>> THE REASON MY FATHER CAME TO THIS EMPTY PLOT OF LAND WAS TO TRY TO FIGURE OUT WHAT KIND OF PLACE YOU CAN START TO EXPERIMENT AND BUILD STRUCTURES THAT WOULD HELP HUMANITY AND NATURE.

THEY SAID, WHAT CAN WE DO THAT WOULD BE REALLY INEXPENSIVE, LET'S DIG A HOLE.

>> HE BELIEVED THAT ARCHITECTURE WAS MEANINGFUL FOR PEOPLE TO BUILD THEIR OWN HOMES.

THIS WAS HIS QUEST.

THIS WAS HIS LIFE'S IRK.

HE SPENT EVERY DAY OUT HERE IN THE DESERT.

SOME PEOPLE THOUGHT, WHAT IS THIS CRAZY MAN DOING?

>> OUR FOUNDER GOT A LOT OF INSPIRATION FROM LAST GOAL PERSIAN POETRY, ESPECIALLY THE MYSTICAL POET RUMI.

THE TIMELESS FOUR ELEMENTS OF EARTH, AIR, WATER, AND FIRE.

WE USED THE FOUR ELEMENTS IN ALL OF OUR PRACTICES.

EARTH IS OUR PRIMARY MATERIAL.

FIRE CAN BE SEEN AS THE SUN.

WE POSITION OUR BUILDINGS SO THE SUN HELPS HEAT IT AND WE NEED HEAT AND IT SHADES ITSELF.

AND OF COURSE AIR LEADS TO THE DRYING OF THE BUILDING.

WE INSIST AT OUR INSTITUTE THAT ALL OF OUR STUDENTS DEMONSTRATE RESPECT FOR THE MEDIUM BY CALLING IT EARTH AND NOT JUST ADDRESSING IT AS THEIR.

IN A NUTSHELL, HE WOULD TELL PEOPLE TO DIG YOUR HOUSE.

WE JUST TEACH PEOPLE THE BASIC SKILLS OF HOW TO TRANSFORM THAT EARTH FROM UNDER YOUR FEET TO OVER YOUR HEAD.

>> WHEN MY FATHER FIRST CAME HERE, THIS DESERT WAS COMPLETELY INKY.

THEN IT BECAME SURROUNDED BY THESE COOKIE-CUTTER HOMES.

OUR NEIGHBORS REALLY DON'T KNOW HOW TO THINK OR WHAT TO DO WITH US.

WE GET A LOT OF STAR WARS THAT LOOKS LIKE HALLOWEEN OR HOBBIT HOUSES.

PEOPLE ASK, ARE YOU A COMMUNE?

WE HAVE AN ON-SITE RESIDENCY PROGRAM, BUT WE ARE NOT A COMMUNE.

WE ARE PASSIONATE ABOUT WHAT WE DO, BUT WE ARE NOT A CULT.

I FATHER WAS A TRADITIONAL ARCHITECT AN EARLY DEVELOPER, BUILDING SKYSCRAPERS.

BUT HE WAS VERY UNHAPPY SO HE LEFT HOLLYWOOD BECAUSE HE REALIZED IT WASN'T SERVING HIS IDEA.

THE FACT THAT THERE'S OVER A BILLION PEOPLE IN THE WORLD WITH AN ADEQUATE HOUSING TODAY.

THE SOLUTIONS MY DAD CAME UP WITH WERE HOW TO BUILD A HOME -- WE BUILD ARCHES, WE BUILD CIRCLES, WE WILL DOMES AND FAULTS.

THESE ARE ALL BASED ON THE SAME COOPERATIVE RELATIONSHIP WITH GRAVITY, WHERE GRAVITY IS NOT SLOWLY PULLING YOUR BUILDING APART BUT CONSISTENTLY PULLING IT TOGETHER OVER TIME.

THE PROTOTYPE IS WE ARE PRESENTED WITH CHALLENGES IN DIFFERENT ENVIRONMENTS.

IN CONTINUING TO TEST AND COME UP WITH A SOLUTION.

>> IT IS AMAZINGLY FLEXIBLE.

EVERY TIME YOU GO TO ANOTHER COUNTRY TO DESIGN SOMETHING THERE, WE ALWAYS TAKE INTO CONSIDERATION LOCAL TRADITIONS SO THAT WE CAN ACCOMMODATE THE NEEDS OF THE PEOPLE WHO ARE GOING TO LIVE IN THE HOMES.

>> WE HAVE TAUGHT A LOT OF PEOPLE AND THEY HAVE BEEN BUILT ALL OVER THE WORLD.

>> OUR SITE IS OUR MOTHER SHIP, IT'S OUR PLAYGROUND, IT'S WHERE WE GET TO EXPERIMENT.

YOU DON'T KNOW WHAT IT IS THAT WE ARE GOING TO FIND LATER WITH THESE EXCITING EXPERIMENTS THAT WE ARE DOING TODAY.

>> THE FIRST TIME I CAME HERE IT WAS VERY SURREAL.

I HAD HEARD ABOUT IT AND READ ABOUT IT AND INTELLECTUALLY CONNECTED WITH IT, BUT TO ACTUALLY TANGIBLY BE ABLE TO DO IT WAS A VERY MOVING EXPERIENCE.

HE FIRMLY BELIEVED AND WOULD TEACH STUDENTS THAT HANDS ARE JUST AS MUCH TOOLS FOR RECEIVING INFORMATION AS OUR EYES, EARS, OR NOSES.

THE WAY TO START WORKING IS TO PUT THEM IN THE EARTH.

>> WORKING WITH EARTH IS REALLY FLEXIBLE MATERIAL.

YOU CAN REALLY SHAPE IT INTO WHATEVER YOU WANT.

I CAN DO EVERYTHING, I CAN MIX, I CAN LAY THE WORK -- THE BAR CHOIR -- BARBED WIRE.

>> TRADITIONAL ARCHITECTS AND BUILDERS ARE SOMETIMES SKEPTICAL ABOUT THE WORK THAT WE DO, BECAUSE IT IS SO SIMPLE.

IT'S BELOW A LOT OF ENGINEERS TO BOTHER THEMSELVES WITH DIRT.

YOU CAN TAKE SOMEONE WHO MIGHT NOT BE COMFORTABLE CHANGING A LIGHTBULB IN THEIR OWN HOUSE, BUT SIX DAYS OF OUR INTENSIVE WORKSHOP AND THEY CAN GO SOMEWHERE AND GET SOME UNSKILLED NEIGHBORS AND GUIDE THEM TOGETHER INTO BUILDING A BASIC SHELTER.

>> HELLO, EVERYONE.

THANK YOU SO MUCH FOR JOINING US OUT HERE.

>> WE ARE ALL ABOUT CREATING.

WE HAVE AN OPEN HOUSE EVERY MONTH.

MY FATHER WOULD COME TO MY SECOND GRADE CLASS AND ASK ALL THE CHILDREN TO GO TO THE BOARD AND SAY, DRAW ME A HOUSE.

WE WOULD ALL GO AND DRAW A SQUARE BOX WITH A TRIANGLE ON IT.

SO MUCH DEFORESTATION HAS HAPPENED BECAUSE OF THESE ROOTS.

THEY REQUIRE WOOD.

HE TAUGHT THE CLASSES, LET'S ALL MAKE RAINBOW HOUSES.

LET'S ALL MAKE ARCHES.

>> PEOPLE COME LOCALLY AND BRING THEIR FRIENDS AND NEIGHBORS TO SHOW THEM.

THEY SEE WHAT WE BEEN ABLE TO DO WITH JUST THE EARTH AND SOME SANDBAGS AND BARBED WIRE.

THEY ARE TRULY AMAZED AT THE POSSIBILITIES.

>> AFTER THE HOUSING BOOM HERE, THERE WAS A BUST.

ALL OF THESE HOMES THAT WERE GOING FOR VERY HIGH PRICES DROPPED.

THE TYPE OF DEVELOPMENT THAT WAS DONE WAS NOT VERY ENVIRONMENTAL OR RELEVANT TO THE DESERT CONTEXT.

NONE OF THE WOOD IS LOCAL TO THIS AREA.

THE SAME BUILDING REQUIRES A LOT OF ENERGY, SO HAVING THEM BE HERE RIGHT UP AGAINST OUR FANS REALLY GIVES US THE OPPORTUNITY TO DRAW VIVID COMPARISONS.

>> MY FATHER'S INITIAL FOCUS WAS ALWAYS ON BUILDING FOR THE POOR.

THIS HOUSE WE ARE IN RIGHT NOW IS CALLED EARTH ONE.

IT'S A KIND OF HOUSE THAT FULFILLS THAT SUBURBAN DREAM.

A THREE-BEDROOM HOUSE WITH A TWO-CAR GARAGE AND A FIREPLACE AND EVERYTHING LIKE THAT.

SIGNIFICANTLY LESS EXPENSIVE THAN BUILDING A TRADITIONAL STRUCTURE.

LITERALLY ARE GOING TO BUILD YOUR HOUSE FROM WHAT IS UNDERNEATH YOUR FEET.

>> THE BUILDING ENVELOPE IS MORE SUSTAINABLE.

IT WILL COST YOU LESS TO HEAT AND COOL OVER ITS LIFETIME.

>> WE BEEN ABLE TO CREATE PLANTS THAT HAVE PASSED THE RIGOROUS TEST BY THE BUILDING DEPARTMENT OF CALIFORNIA TO ALLOW THESE STRUCTURES TO BECOME MAINSTREAM AND AVAILABLE TO EVERYBODY.

EVERYONE DESERVES TO HAVE A SHELTER OVER THEIR HEAD.

THEY HAVE THE EARTH AROUND THEM AND THE LABOR AROUND THEM.

THEY JUST DON'T HAVE THE INFORMATION TO GET THE EARTH TO PROVIDE SHELTER FOR THEM.

EVERY DAY WE FIRE UP THE MIXER AND SHOVEL SOME EARTH AND JUST SLOWLY PURSUING OUR QUEST, ONE SHOVEL AT A TIME.

>> I'M THE MANAGING EDITOR OF ARTBOUND.

I HELP DEVELOP THE STORIES.

I WORK WITH THE WRITERS AND EDIT USES AND PUT THEM ONLINE.

I FIRST LEARNED ABOUT THE DATE FARMERS MANY YEARS AGO WHEN I WAS INTERVIEWING THE DJ, SPIKE JONES BROTHER.

THERE WERE THESE LITTLE CHARACTERS THAT LOOK LIKE A MIX BETWEEN A CEREAL BOX AND MICKEY MOUSE.

A YEAR LATER I WENT TO THE GALLERY AND THEN I MADE IT TO THE BACK OF THE GALLERY AND I SAW ARMANDO BACK THERE.

HE WAS ONE OF THE ARTIST AND HE WAS OUTSIDE OF A SHACK THAT HAD BUILT TO ACTUALLY SHOW THE VIDEO THAT I FIRST LEARNED ABOUT.

THE THING THAT STRUCK ME WAS, THERE WERE SO MANY DIFFERENT THINGS.

THERE WAS GOLD OR, PAINTING, STREET ART.

THEY MADE THESE ASSEMBLAGES THAT REALLY REPRESENT CALIFORNIA.

AND CALIFORNIA GOING BACK MANY GENERATIONS.

THEIR PARENTS WERE ACTUALLY WORKING IN THE DATE FARMS.

I THOUGHT IT WAS INTERESTING TO SEE THAT MANY LAYERS OF THE CALIFORNIA EXPERIENCE.

I FAVORITE THING ABOUT THE WHOLE VIDEO IS THAT THE DATE FARMERS ACTUALLY THROW A PARTY ON THE MIDDLE OF THE DESERT, WHICH IS PRETTY COMMON.

THEY HAVE A BAND LAYING AND THE SHACK IS THERE.

THE ACTUALLY CREATE THE MEALS IN FRONT OF YOU.

>> I COME FROM MEXICO IN 1963.

I WORKED THE GAS PUMP IN THE FRONT FOR A LONG TIME.

I GOT A REALLY GOOD DEAL.

MY FRIENDS SAY NO PROBLEM, NO PROBLEM.

YOU DO IT.

THEY USUALLY YOU MAKE THIS CATCH.

>> THINKING THAT WE CAN CONTINUE DOING ART ON THIS PROPERTY, JUST THE OPPORTUNITY TO BE ABLE TO BILL HERE WOULD BE PRETTY AWESOME.

>> MY JOB IS ALWAYS TO TRY TO HAVE AN EAR FOR WHAT IS HAPPENING IN THE ART WORLD, BEING ABLE TO SPOT NEW PEOPLE COMING UP.

REALLY INTERESTED IN ABSORBING INFORMATION INDUSTRY AND IN THEIR PERSONAL ENVIRONMENT, THEIR HOME ENVIRONMENT, AND TRANSLATING IT INTO THEIR IMAGERY.

I THOUGHT, OK, THIS IS UNIQUE.

THIS IS FEARLESS.

I THOUGHT, THIS HAS GOT AN INCREDIBLE FUTURE.

>> COACHELLA IS A COMMUNITY THAT HAS A RICH HISTORY AND CULTURE.

98% THE COMMUNITY IS LATINO.

WHEN YOU TALK ABOUT THE DATE FARMERS AND THE WORK THEY DO FOR ART THAT THEY PUT FORWARD, IT'S ALL ABOUT THE HISTORY COME THE CULTURE, THE IDENTITY OF OUR COMMUNITY.

A CERTAIN NAME, THE DATE FARMERS.

YOU SEE HUNDREDS OF ACRES OF DATE PALMS.

>> THEIR ARTWORK IS SOMETHING THAT HELPS US UNDERSTAND WHO WE ARE.

>> THAT IS WHAT IS AROUND ME, TOO.

>> AS AN ARTIST, YOU'RE KIND OF DESTINED TO THIS LIFE OF SOLITARY CONFINEMENT, YOU KNOW.

SOLITARY CONFINEMENT, WHEN YOU'RE IN THE DESERT, IT'S CRAZY, BECAUSE NOTHING IS GIVEN.

>> THE FACT THAT THEY ARE OUT IN THE SMALL TOWN, TO BE ABLE TO MAKE THIS VISUAL LANGUAGE WITHIN THEIR PAINTINGS.

YOU CAN DRAW ANYTHING, ANYTIME YOU WANT.

IT'S ABOUT BOUNDARIES -- WITHOUT BOUNDARIES OR BORDERS.

YOU CAN FIND IT AT STORES, FLEA MARKETS, SWAP MEETS.

IT'S ALWAYS WITH OUR EYES OPEN, LOOKING AT THE ART.

THESE GUYS THAT COME OUT FROM ART SCHOOL, THEY WERE NOT PREPROGRAMMED TO THINK IN A PARTICULAR WAY TO MAKE THEIR ART.

THE MOST IMMEDIATE CONNECTION COMING FROM THE BLACK COMMUNITY, HE TOOK HIS EXPERIENCES AND TRANSLATED THEM INTO A VISUAL LANGUAGE.

I THINK THE FREEDOM IN HOW THEY MAKE THEIR PAINTINGS IS VERY SIMILAR TO THE FREEDOM THEY HAD.

I WANTED TO GIVE THEM SOMETHING THEY COULDN'T REFUSE AND I PROPOSE THAT THE TAKEOVER ONE HALF THE GALLERY.

THEY WERE ABLE TO SO BEAUTIFULLY INSTALLED A SHOW AND THEY HAD NO FORMAL TRAINING ON HOW TO DO IT.

IT JUST CAME ABSOLUTELY NATURALLY TO THEM ON HOW TO FORMULATE A ROOM.

CERTAINLY EVERY ROOM HAD A THEME TO IT.

WE ENDED UP INSTALLING A BAR THAT WAS ALL MADE BY THEM AND HAD ALL THEIR ARTIFACTS.

IT HAD UNBELIEVABLE INSULATION.

>> IT DOESN'T COME EASY ALL THE TIME.

WE WORK WITH THE ART AND THE ART WORKS WITH US.

THEY BEAT US UP AND WE BEAT IT UP.

WE DANCE AND WE HAVE A GOOD TIME.

AND WE'VE GOT TO GET BACK TO IT.

YOU DO ONE PIECE OF ART AND THE NEXT TIME YOU HAVE TO GO AROUND AND DO ANOTHER PIECE OF ART.

THEY HAD ACCESS 24/7.

THE COMMON IN THE MORNING AND GO INTO THE GALLERY, WHAT DID THEY DO THE NIGHT BEFORE?

>> TONIGHT WE ARE DONE.

WE WILL BE BACK AT IT, THOUGH.

I WOULD LIKE VERY MUCH TO NOT HAVE TO DO SO MUCH OTHER WORK AND JUST DO THIS.

I THINK THAT WOULD MAKE ME HAPPIEST.

>> WE HAVE A LOT OF WORK TO DO.

>> MY NAME IS HILLARY MUSHKIN.

MY PROJECT IS CALLED INCENDIARY TRACES.

IS A COMMUNITY GENERATED OBJECT WHICH INVOLVES A SERIES OF DRAWING EVENTS.

WERE GOING OUT TO PLACES IN SOUTHERN CALIFORNIA THAT ARE IN SOME WAYS MILITARIZED.

WERE GOING TO THE TWENTYNINE PALMS MARINE BASE TO GO OUT THERE AND LOOK AT CITIES MADE OUT OF VERY BASIC CONSTRUCTION.

THE MARINES DRESS THEM UP IN WHAT THEY CALL ATMOSPHERICS AND THEY BRING IN ACTORS THAT ARE COSTUMED AND SO ON SO THAT THE MARINES GET THE SENSE THAT THEY ARE IN WHATEVER PLACE THEIR TRAINING TO GO.

INCENDIARY TRACES IS BRINGING PEOPLE WHO ARE INTERESTED IN THAT TYPE OF ENVIRONMENT AND IN DRAWING OR IN SOME WAYS ARE THINKING ABOUT THE SOUTHERN CALIFORNIA LANDSCAPE IS A PLACE WHICH CAN HELP US TO UNDERSTAND SEEMINGLY REMOTE WARS.

>> THIS WAS THE MARINE CORPS'S FIRST ATTEMPT AT BUILDING AN OPEN WARFARE TRAINING CENTER HERE AT TWENTYNINE PALMS.

THIS IS WHAT A SMALL VILLAGE WOULD LOOK LIKE.

YOU CAN HEAR LIVE FIRE IN THE BACKGROUND.

THAT'S HOW CLOSE WE ARE TO LIVE FIRE.

WE CANNOT INTERFERE WITH TRAINING.

THESE INDIVIDUALS ARE LEARNING STUFF AND REHEARSING THINGS THAT ARE SUPPOSED TO SAVE YOUR LIVES.

I'M UNCOMFORTABLE WITH THE FACT THAT IF WE STOP OR INTERFERE WITH THAT, WE GET OURSELVES KILLED.

I WILL GIVE HISTORY, BACKGROUND, PAINT, DRAW, TAKE PICTURES.

AT THIS POINT, DOES ANYBODY HAVE ANY QUESTIONS?

>> WHAT DOES DRAWING HAVE TO DO WITH UNDERSTANDING THIS PLACE?

THIS IS NOT A SCENIC OVERLOOK OR SOMETHING LIKE THAT.

>> THERE ARE PYROTECHNICS AND TRIPWIRE SET UP THROUGH THE ENTIRE VILLAGE.

IF YOU HIT THE WIRE, IT GOES BOOM.

>> WHY WOULD YOU EVER LET US BE NEAR IT?

>> THE PEOPLE THAT JOIN ME WANT TO SIT WITH US AND THINK AND DRAW AND CONTEMPLATE AND OTHERWISE METAPHORICALLY TRACE THOSE PLACES.

>> HOW CAN WE UNDERSTAND THE SOUTHERN CALIFORNIA LANDSCAPE AS A WAY OF RELATING TO WHAT IT FEELS LIKE TO BE IN A WAR ZONE SOMEWHERE ELSE?

THIS IS A GREAT PLACE TO DO THAT BECAUSE ALL THOSE GOING TO A RECORD TRAINED IN NO SMALL VILLAGES THERE AND NOW THEIR TRAINING TO GO TO AFGHANISTAN, A SIMILAR ENVIRONMENT.

>> ON THE LANDSCAPE ARCHITECT.

THE WAY IN WHICH WE RELATE TO THE LAND IS SOMETHING I'M JUST FUNDAMENTALLY INTERESTED IN.

TO SEE IT HERE IN THIS TALE IN THESE WAYS AND THE ROLE AS THE TRAINING GROUND, YET IT HAS ALL THE QUALITIES OF THE LANDSCAPE THAT WE VALUE SO MUCH.

THAT MAKES THIS THE PERFECT PLACE TO TRAIN FOR THE WII FIRST CENTURY BATTLEFIELD.

I'M NOT REALLY SURE WHAT TO MAKE OF IT QUITE YET.

>> THE SIMULATION CENTER, I DIDN'T KNOW ANYTHING ABOUT THAT.

IT IS SO DRAMATIC.

I THINK WHAT IS DISTURBING IS THAT IS EASY TO BE IN THESE PLACES AND GET INTO ALL OF THE TRAINING AND TO IMAGINE WHAT IT MIGHT BE LIKE TO HAVE TO TRAIN YOURSELF.

YOU TAKE ALL THIS STUFF VERY SERIOUSLY, BUT THERE'S ALSO A SENSE THAT IT'S AGAIN.

YOU'RE NOT ACTUALLY UNDER THE REAL PRESSURES OF BEING IN THE WAR ZONE.

>> ONE OF THE REASONS WHY I WANTED TO GO TO THIS PLACE IS TO DRAW AND METAPHORICALLY TRACE THESE PLACES IS BECAUSE DRAWING IS SOMETHING THAT IS SLOW.

IT ALLOWS US TO TAKE IN A SITUATION IN A WAY THAT IS VERY MEDITATIVE AND CONTEMPLATIVE.

YOU LEARN THINGS ABOUT A PLACE DIFFERENTLY BY DRAWING IT THAN BY LISTENING TO A TALK OR BY READING.

THE LONGER WE STAY IN A PLACE THE MORE WE CAN CONNECT WITH IT AND THAT'S PART OF WHAT DRAWING ALLOWS US TO DO.

I SITTING IN DRAWING, JUST BY DOING THAT IS THE POINT OF BEING ABLE TO CONNECT AND YOU THINK ABOUT HOW MUCH CAN I UNDERSTAND ABOUT A PLACE THAT THIS IS SUPPOSED TO REPRESENT.

>> I'M TED QUINN.

I LIVE IN JOSHUA TREE WHERE I AM A MUSICIAN AND A WRITER.

I MET SHERI ELF AT A CAFÉ SEVERAL YEARS AGO.

SHE MAKES ART FROM FOUND OBJECTS AND TRASH.

I'M WEARING HER T-SHIRT RIGHT NOW, IT'S ONE OF MY FAVORITES, LIKE HOLE IN SPACE.

THE T-SHIRTS ARE LIKE $10, SO ANYONE CAN AFFORD ONE.

SHE HAS INVITED THE COMMUNITY INTO DO THIS WITH HER.

THE ECONOMY IN JOSHUA TREE IS SUB POVERTY.

THEY ARE NOT MAKING A LOT OF MONEY FROM THE ART, BUT THEY ARE FINDING IT IS SO MUCH MORE SATISFYING TO MAKE ART HERE IN THE SECOND SATURDAY OF THE MONTH IS A GALLERY CRAWL.

ALL OF THE EVENINGS.

SHARI'S ARE ALWAYS VERY HOMESPUN, NO PRETENSION AT ALL.

NO -- THE BAND ON THE STAGE IS NOT NECESSARILY THE SLICKEST EDITIONS, JUST VERY REAL.

THAT IS WHAT IS EXTREMELY COMPELLING ABOUT SHARI ELF, THE ART QUEEN.

♪ >> THE ART IS FLYING OFF THE WALL.

>> HIGH ENERGY.

>> WELCOME TO THE MUSEUM HERE IN JOSHUA TREE, CALIFORNIA.

COME ON IN.

>> THIS WAS AN OLD BUILDING, I REALLY WANTED THIS BUILDING.

I DIDN'T KNOW WHY.

THEN IT ALL CAME TOGETHER WHEN I REALIZED I COULD PUT MY CROCHET MUSEUM IN HERE.

I LIKE THE CRAFTS OF OLD LADIES.

THEY ARE SO HUMAN AND THEY ARE MADE WITH LOVE AND MADE WITH HEART.

THEY ARE HAPPY AND PLAYFUL.

GARAGE SALES, ESTATE SALES, THE FIRST SALE I WENT TO, I SAID I LOVE THESE CUPS.

I'M REALLY FOND OF THE POODLES.

A VERY LARGE GOOGLE WING I HAVE HERE.

I JOKINGLY SAID I AM UNEMPLOYABLE BECAUSE I DON'T LIKE WORKING FOR OTHER PEOPLE.

I WAS DOING MY ART AND I HAD A BUNCH OF ART ON MY WALLS AND FRIENDS WERE SAYING, IT MIGHT BE TIME FOR YOU TO ACTUALLY SHOW YOUR ART TO SOMEONE.

AROUND THAT SAME TIME I MET THE THREE CUSTOMERS.

I'M GETTING YELLED OFF OR SOMETHING I'M NOT REALLY ENJOYING ANYMORE.

SEAMSTRESS HAS THE WORD STRESS IN IT.

IT WAS JUST STRESSFUL.

I HAVE A SONG CALLED THE SEAMSTRESS.

I WROTE THAT SONG WHEN I WAS TRANSITIONING OUT OF MY JOB.

JUST WRITE A SONG ABOUT IT.

I WAS CHARGING $20 AN HOUR FOR MY SEWING BUSINESS SO I'M GOING TO CHARGE $20 AN HOUR FOR MY ART.

WHEN I SEE PEOPLE WORKING AT A JOB AND I THINK MAYBE THEY THINK THEY HAVE TO WORK THERE FOREVER, I FEEL SO SAD.

PEOPLE WHO ARE WORKING FOR EIGHT DOLLARS AND OUR FOR MINIMUM WAGE, THEY SHOULD DO THAT FOR THEIR ART.

I THOUGHT THEY WERE SO CUTE THAT I HAD TO MAKE T-SHIRTS.

THE GERMINATION OF THE WHOLE IDEA WAS, SHE WANTED TO SHOW ART THAT YOU WOULD NOT EXPECT, IN JUST A FRESH, NEW WAY.

WE DIDN'T HAVE TO MAKE MONEY HERE.

WE DISCOVER ARTISTS THAT WE THOUGHT WERE INTERESTING THAT YOU MIGHT NOT SEE.

WE ARE MEETING EVERY TUESDAY.

WHEN YOU ARE CONTINUALLY MEETING TOGETHER, YOU GET TO KNOW EACH OTHER.

IT'S KIND OF LIKE GROUP THERAPY IN A WAY.

THEY ARE HAPPIER, MORE CONFIDENT.

THE VOICES BEING DISCOVERED IN EACH OF THEM AS AN ARTIST.

>> I LOVE WHAT SHE IS DOING.

I HAVE HAD TO CLOCK IN AT WALMART, AND IT IS NO FUN.

IT WILL KILL YOUR SOUL.

>> THEY ARE VERY SUPPORTIVE.

>> HE HAS AUTISM.

[INDISCERNIBLE] >> THERE'S NOTHING LIKE SELLING A PAINTING.

LAST NIGHT I BOUGHT A JESUS PAINTING THAT I REALLY LOVE, AND HE WAS SO HAPPY.

WHAT I'M HOPING IS THEY WILL LEARN TO FIND THEIR ART AND THERE ARE WILL TAKE THEM WHEREVER IT IS SUPPOSED TO TAKE IN.

THIS IS JUST A STARTING POINT TO GET THEM TOGETHER TO DO THEIR ART EVERY TUESDAY AND TO HAVE THE SUPPORT AROUND THEM A PEOPLE SAYING, I LOVE THAT, I LOVE THAT, AND PEOPLE BUYING IT AND GETTING CONFIDENCE.

MAYBE I'M TAKING MYSELF SERIOUSLY AS AN ELDER, A MENTOR THAT WANTS TO HELP NOURISH PEOPLE TO HELP DEVELOP MORE.

>> I WAS WORKING ON THE PROJECT AND I HAD BEEN COMING OUT TO THE JOSHUA TREE AREA TO DOCUMENT THE SMALL TRACT JACKRABBIT HOMESTEADS, AND I BECAME AWARE OF DIANE BEST'S WORK, BECAUSE SHE WAS DOING A SHOW OF PHOTOGRAPHY THAT SHE HAD TAKEN OF THE SAME STRUCTURES.

THEN I SAW HER BEAUTIFUL LANDSCAPE PAINTINGS.

SHE WORKS OFTEN IN THIS PANORAMIC LANDSCAPE THAT GIVES YOU A SENSE OF THIS PHASE, THE VAST THIS.

I FEEL YOU NEED TO SPEND A LONG TIME TO UNDERSTAND THE NUANCES OF THIS PARTICULAR LANDSCAPE.

AND I GOT THAT RIGHT AWAY WHEN I SAW HER WORK.

DIANE HAS BEEN RECENTLY WORKING IN FILM, AND VIDEO, AND PRIMARILY SHOOTING VIDEO AS SHE IS MOVING AND TRAVELING IN THE CAR.

IT'S LIKE IT'S A ROAD TRIP, IT'S THE WESTERN EXPERIENCE THAT A LOT OF US YEARN FOR, JUST TO GET IN THE CAR AND DRIVE OUT IN THE DESERT.

SHE IS CAPTURING THAT WITH THESE FILMS SHE IS MAKING.

ONE THING I WANT TO SAY ABOUT DIANE IS, SHE REALLY PERSONIFIES THE TYPE OF PERSON THAT I THINK THE AREA HAS BECOME KNOWN FOR ARTISTICALLY.

DIANE IS AN INSTITUTION OF THE JOSHUA TREE EXPERIENCE.

>> THE DESERT IS A PLACE OF EXTREMES.

I ALWAYS SAY THAT.

EVERYBODY KNOWS HOW HOT IT IS.

IT'S VERY HOT, BUT IT'S ALSO EXTREMELY COLD, EXTREMELY WINDY, EXTREMELY DRY.

FOR ME PERSONALLY, I'M ATTRACTED MOSTLY TO THE SPACE.

IT'S LIKE LOOKING HERE OUT THE WINDOW.

YOU JUST FEEL LIKE YOU HAVE INFINITE POSSIBILITIES.

IT'S ALL ABOUT POSSIBILITY HERE.

I THINK THAT'S WHY PEOPLE COME HERE A LOT, TO REINVENT THEMSELVES.

YOU CAN JUST STEP OUTSIDE AND YOU CAN BE OUT IN THE SPACE THAT REALLY CAN AFFECT YOU MENTALLY AND ENCOURAGE CREATIVE GROWTH AND ACTIVITY.

>> I'VE BEEN COMING TO THE DESERT SINCE THE MID-1980'S, PROBABLY.

I CAME OUT ONE WEEKEND AND I IMMEDIATELY FELT DRAWN TO IT, BUT I NEVER THOUGHT I WOULD END UP HERE.

I WAS FASCINATED BY THE ROCKS AND HOW HARD THEY WERE TO PAINT.

I SAW IT AS A CHALLENGE AND I REALLY WANTED TO LEARN ABOUT THOSE ROCKS.

I PAINTED THEM FOR A LONG TIME AND DID CLOSE-UP PAINTINGS OF THE CACTUS AND THE JOSHUA TREES, AND GRADUALLY MY EYES OPENED UP TO A BROADER FIELD.

IT'S JUST TOO MUCH TO ABSORB OUT HERE AT FIRST.

IT'S SO BIG AND SO VAST, AND I JUST COULD ONLY FOCUS ON A SMALL THING AT A TIME.

AND THEN GRADUALLY, MY AWARENESS CAME TO INCLUDE THE WHOLE BROAD LANDSCAPE AND I FOUND MYSELF PAINTING LANDSCAPES, WHICH I NEVER THOUGHT I WOULD END UP DOING THAT.

I COULDN'T HELP IT.

I WAS JUST RESPONDING TO MY ENVIRONMENT AND I HAD TO DO IT.

IT'S THE KIND OF PLACE YOU DO REACT TO IN EITHER A POSITIVE OR NEGATIVE WAY.

IT'S NOT FOR EVERYBODY.

A FRIEND OF MINE WHO IS A WRITER THAT LIVES HERE, SHE WROTE THE BEST ONE LINE DESCRIPTION OF THE DESERT I EVER READ, I THINK.

SHE SAID, THE DESERT IS WHAT FILLS UP EMPTINESS AND EMPTIES FULLNESS AT THE SAME TIME.

IT JUST CLEARS YOUR HEAD AND FREES YOUR MIND, BUT IT FEELS IT UP AT THE SAME TIME WITH ALL THIS OTHER CREATIVE ENERGY.

IT'S HARD TO TALK ABOUT, REALLY.

FOR ME, I EXPRESS IT IN MY WORK.

I CAME TO REALIZE THAT MY WORK REALLY IS COMING FROM MUCH OF THE TRADITION OF AMERICAN LANDSCAPE PAINTING WHEN THEY ARE EXPLORING THIS COUNTRY AND THEY BROUGHT ARTISTS ALONG WITH THEM TO CAPTURE THE FIRST EXPLORERS THAT CAME OUT WEST AND WENT TO YOSEMITE.

THEY DID PAINTINGS OF WHAT THEY THOUGHT TO BRING BACK TO THE EAST COAST, AND IT WAS ASTOUNDING TO PEOPLE, WHAT THE LANDSCAPE WAS OUT HERE, THE WEST.

I FEEL LIKE I'M CARRYING ON THAT TRADITION AND INTERPRETING IT IN A NEW, CONTEMPORARY WAY.

IT COMES FROM THE SAME KIND OF IMPULSE.

THE VIDEOS I'M MAKING NOW, AND FOR THE PAST COUPLE OF YEARS, I THINK EXPRESS THAT FEELING I GET BEING OUT IN THE DESERT ON A DIRT ROAD MORE THAN THE PAINTINGS.

AT LEAST THAT'S WHAT I'M FEELING RIGHT NOW, BECAUSE I CAN PUT THE MUSIC AND I DO ALL THE EFFECTS ON THE IMAGES.

IT'S LIKE I'M PAINTING IMAGES BUT THEY ARE MOVING.

THAT'S THE WAY I FEEL IN MY CAR DRIVING THROUGH IT.

I DON'T WANT THIS TO SOUND CORNY OR PRETENTIOUS, BUT IT REALLY DOES MAKE ME FEEL PART OF THE UNIVERSE, AT ONE WITH THE UNIVERSE, AND IN THE MOMENT, AND THAT I AM A PART OF EVERYTHING, AND EVERYTHING IS IN ME.

IT IS INCREDIBLE.

AND IT IS FRIGHTENING, TOO.

IT CAN BE REALLY FRIGHTENING.

I REALLY FRIGHTEN MYSELF OUT THERE IN SOME SITUATIONS, BUT THAT'S PART OF IT.

I'M VERY CONSCIOUS OF SAFETY AND BRINGING ENOUGH PROVISIONS AND SPARE TIRES AND ALL THAT.

I WILL ALWAYS HAVE A PLACE HERE, AND I KNOW I WILL ALWAYS DO WORK BASED ON THE DESERT.

IT MIGHT NOT BE THE MOHAVE DESERT.

IT MIGHT END UP BEING THE GOBI DESERT OR THE SAHARA DESERT.

I'VE ALWAYS WANTED TO GO TO OTHER DESERTS IN OTHER PARTS OF THE WORLD, BUT I HAVEN'T GOTTEN THERE YET.

♪ ♪ ♪ ♪ ♪ [APPLAUSE] ♪