♪ ♪ Announcer: This program was made possible in part by a grant from the Los Angeles County Board of Supervisors through the Department of Arts & Culture, The City of Los Angeles Department of Cultural Affairs, and the National Endowment for the Arts.

[Distant hammering] ♪ ♪ Woman: There's definitely a sense of order in a woodshop.

♪ Not only is there an order and processes and ways that you manipulate wood, but in terms of how you, as a user, have to interface with the machines and tools, there's order there.

There's so much in the atmosphere of this space.

♪ There's a sequence, and having that sense of order is a great starting point because you don't have to stress out about where do I begin.

That frees you up, then, to then explode into this other world where you start out in one direction, but immediately you're thinking, "But what if I do something a little bit different?"

so there's all this room for experimentation, and I think the woodshop has the right tools and machinery to allow you to explore that kind of inquiry.

It's actually pretty relaxing.

I kind of gravitate towards those spaces.

♪ Woman: I was actually expecting that I would spend more time thinking about me back in Switzerland.

I don't do that that much.

Man on phone: [Speaking German] Woman: [Speaking German] Man on phone: [Speaking German] Woman: I'm really just adapting somehow to this city.

♪ I knew a lot about Los Angeles and the U.S. Coming over here, it's like, "Oh, wow.

It's really like that."

It's, like, it just offers all the cliches that I already knew.

[Water running] It's just a fact somehow and something I'm adapting to.

♪ I mean, I have a bicycle, and I use it for, like, going to the supermarket or, like, doing things around my area, and here, I love it now.

Ha ha ha!

It's super important, also, to kind of get out of your-- like, leaving the comfort zone, also, because it shrinks also the possibilities.

I just love it to leave this comfort zone.

I think it's one of the best thing to do.

♪ Also, understanding for myself a bit, like, why I'm doing things, it will influence my thoughts and my works 100%.

♪ Woman: I think there's a traditional artist residency which is usually a couple of months, and you go to a space which is remote and beautiful and provided with a studio, and you are there to make your art.

♪ The residencies that I've been a part of as a civic or community-engaged artist have focused on what it means to make space in nonarts institutions, so, in a sense, how do you create a residence for the artist in a community development corporation or in a senior center, and I think that is a different way of thinking about artist residencies.

The formal name for what I do is social practice art.

To me, being a social practice artist means that the social is your medium, and so the metaphor that I always come up with is, if you are a woodworker, if your medium is wood, then you are shaping that piece of wood, so what I see myself doing is, I'm shaping certain dynamics of the social, I'm shaping relationships, I'm shaping institutional hierarchies, and that that is the transformation, or that is the finished art piece that I produce, this act of making but also this act of living.

♪ Art has this incredible power to bring people together, and so I focus on, well, who needs to be brought together in this particular moment, and how can that bringing together of people strengthen a certain political cause or social fabric.

I think a lot of my work is temporary.

I create a lot of events, and I create a lot of social relations.

♪ Lee: This is San Diego State University furniture design and woodworking program Windgate Artists in Residence.

♪ An artist-in-residence program is an opportunity, really.

Some residences will give artists time, between a few weeks or a few months, and the idea is to allow that artist focused time away from back at their home and their daily lives because sometimes it's hard as an artist to be able to think of ideas or to work on projects because of the requirements of their daily life, so sometimes literally physically taking them out from a location and putting them in another location that's conducive to that type of focus is, I think, generally what the residencies want to support, but I think the key is to give artists focused time and to create that environment to do so.

♪ A lot of the residences are competitive, so usually you have to apply.

In some cases, you can be invited, so it's hard to embrace it as, like, a consistent form of income in any way, so it's more, like, a bonus.

You can't financially think of it as a viable way to make a living, so it is more of an opportunity.

It really shouldn't be approached, like, work, you know, and it really shouldn't be approached, like, vacation.

I think every residency I've done, I've always left that residency either with a lot more ideas or I've gone further in terms of exploration of something specific, and they're invaluable, really.

♪ [Tap] Zou: So Los Angeles County started the Creative Strategist program to place artists in nonarts departments.

Instead of calling it an artist-in-residence, they called it a creative strategist.

As an artist, I don't necessarily need to create a work product, but rather it is about my creative perspective as an outsider, as a fresh set of eyes that can have an impact on this particular department.

[Kettle whistling] For the creative strategist position with Aging and Disability Services, I was asked to work with senior centers, and so my proposition is to spend a few months with each senior center to really understand their needs and to demonstrate projects that can respond to their specific needs.

Woman: This is about the event.

If I can find it, I think it would be nice to have, like-- to decorate one of the walls as, like, a photo wall for people, like, just take selfies.

Zou: Yeah, totally.

I mean, I would say that it's up to you and how energetic you feel.

Woman: I don't know.

People, like, that kind of thing.

I was just, like, "Oh, maybe it would be nice."

Zou: What the department provides me in addition to resources is that type of access, context, and community in order to make my work.

I feel very fortunate that I have been able to financially support myself through these types of residencies, and I will also say that I am always anticipating the day where I will need to get a day job.

♪ [Rustling] ♪ Brunko: I'm a artist, and I work mostly in the field of video, sound, like, experimental sound, and installation.

[Thump whoosh] ♪ [Thump whoosh] ♪ [Thump whoosh] It's quite field-research-based.

[Thump whoosh] I create this language with video and sound to address topics, so it's land use, material use, also climate emergency topics... [Thump whoosh] so it's quite often less studio-based.

It's really, like, going out and have these encounters, also, and finding my language, also, with my tools about these important topics, also, to talk about, to think about, also, maybe a interdisciplinary way of working in arts because I often get in a dialogue to other specification, as, for example, architecture.

I'm in a relationship since many years with a architect, and my whole surrounding, it's, like, a huge crowd of architects, and, of course, this influenced me a lot.

The artist residency, it's from the MAK, from the Museum Applied Arts.

They support, actually, this program here from the Schindler House and residency, and Schindler was a architect from Vienna, emigrated in the twenties to L.A., and bought this, like, ground where right now the Schindler House is... ♪ so, therefore, of course, they want to support this dialogue of in between arts and architecture, so I think it's a really unique program.

♪ It's a residency for architects and artists.

It's for half a year to work on a specific project.

I get, like, per month, like, a grant or, like, a, yeah, honorarium and this nice apartment built by Schindler and then, like, a really nice, organized program, and then at the end, we're gonna have this exhibition, and, of course, there was a selection because of the proposal and our portfolio, so quite a big deal, I would say.

Yeah.

Back in Switzerland, I have, like, my self-employment.

I have my job at the university and some other responsibilities, and, for me, this is, like, the best situation I could have.

I really can just stick to this one specific topic and to this one specific project.

I mean, it's not always like this that a artist is really specific, doing this field research on one specific place in a city, so it's a bit like my safe space now and also to deal with things that I wasn't able to deal with because there was so much other things happening and so many other responsibilities.

Lee: I was always crafty, but my parents at first were not that excited about me being crafty.

I mean, they emigrated from South Korea, and they were really poor, and then when they came to the States, they worked hard, and so, in their minds, they were not jazzed that their daughter was gonna go become a starving artist... so I followed in their footsteps, and I went into chemistry, and then my parents saw how unhappy I was.

They said that, "We just didn't know how else to guide you, and we didn't want you to starve, and we don't know anything about art, but we want you to be happy," so then they gave me their blessing.

I ended up taking a woodworking class, and I fell in love with the area.

It was just amazing to be able to design and build your own furniture.

♪ I like the challenge of trying to create something with a sculptural appeal that's not so static but still has parameters within the field of functionality.

Studio art furniture, really, you make it in an art-studio setting.

You might be asking different questions about the type of work you're making.

Instead of just solely how does it serve a physical purpose for an end user, what other, like, meanings, metaphors, narratives can it also embody?

Yes, I work as an artist and designer because I think that encompasses both areas that I like to think both about parameters that come with design and then an artist in terms of accessing that creativity to create something really dynamic and sculptural and experimental.

♪ [Indistinct conversation] Zou: When we arrived at San Gabriel Valley Service Center, they had a very explicit ask of us.

Most of their participants were either Chinese-speaking or Spanish-speaking, and they wanted to be able to facilitate intercultural exchange between the two communities.

We had a couple of ideas for the center.

We all know that food brings people together, and we decided to go with a skill share that highlighted home recipes from the center so that people could witness each other and be teachers and also find a way to continue the series after our engagement had ended.

36 is not enough?

OK, so then we need to get those tables, right, and maybe we have to set it this way so that we still have room for line dancing.

Should we have 3 tables here?

Woman: Yeah, 3.

Zou: OK. All right.

We initiated a series of 3 biweekly cooking skill shares, and for each skill share, we recruited a Spanish-speaking chef and a Chinese-speaking chef to share a home recipe.

For each skill share, we also had a word of the day in Spanish and in Chinese, and so people would learn how to say chicken or people would learn how to say rice in both languages.

Yeah.

I want people-- This is very silly.

I want people to, like, have an audience while they're also reading off the TV, so it's very silly.

OK. All right.

A lot of my work is with nonprofits.

It's with government entities, and it takes place in what we call public space.

Yeah.

Hey, Marlene, it's good to see you, happy that you're here.

[Speaking Chinese] You are never telling people what to do or think.

You are providing the conditions for people to enter into their own processes of self-inquiry.

Hi.

Welcome.

Woman: Thank you.

Zou: Bienvenidos.

Woman: I brought something.

I brought some mole, but it's on shredded chicken.

Zou: Ohh!

Art is already happening all around us, and my work as a cultural worker or organizer is to just bring all of those tendrils of art together, and so, as an artist, I often find when I'm in these institutions that a lot of people want to be creative.

A lot of the employees have all of these ideas but can't realize them, and I, as an artist, can walk in and say, "Well, this is art."

♪ Brunko: On a typical day, like, really basically waking up slowly, doing my coffee, checking the news, reading the messages that I got because of the time difference.

I quite often go around, like, 10:00 or 11:00 for swimming.

[Dish clatters] [Toaster clicks] [Dish scrapes] [Water lapping] Swimming somehow, it's, like, kind of a healing process, also, for me.

I would even say it's one of the most important thing for me to do.

It's like giving myself or put in another dimension.

I'm around this, like, liquid.

Actually, I don't really think while I'm swimming.

Of course I think, but it's not, like, clear thoughts.

I always feel a bit changed after I went for swimming.

I dream a lot about swimming-- ha ha!--a lot.

It's weird, but it makes also sense.

I dream a lot about industrial areas which are flooded with water, and I swim in them, and somehow it feels like a nice connection, also, to my work.

♪ The final project will take the form of a video and sound recording.

I will observe the material that will live on.

I will follow the routes through Los Angeles from mining areas to construction sites.

Schindler considered Los Angeles a ideal environment for the next stage of truly modern architecture.

With the new possibilities and approaches came the ever-increasing demand for materials, including concrete.

Today, concrete is one of the most CO2-emitting materials used in the construction industry.

In the Los Angeles suburb of Irwindale lies the largest aggregated gravel-mining area in the state.

The area is so full of holes that more of the land in the city is a pit than not.

Specifically, it's also a weird place, this gravel pit, because if you actually enter it first, it's a wall of rubbles, of stones.

♪ [Birds chirping] Sometimes I just sit.

Sometimes I just take picture with my phone, with my analog camera.

Sometimes I do recordings.

It has something really romantic about it.

It somehow-- In a weird way, it really calms me down.

♪ Being there with-- It's a artificial nature, though, but also being in this kind of landscape that doesn't really feel earthly somehow.

♪ [Camera shutter clicks] [Click] It's not, like, "Oh, I want to change the whole thing," but just more, like, also understand this process.

♪ Lee: Artists who come here as a resident have access to the facilities, and you get a stipend, as well, per month and within that stipend an allowance to rent a place to stay.

[Whirring] The anticipated outcomes are not defined specifically by objects made.

I am making some tangible stuff, but that's secondary.

Like, I do not plan for that, and I didn't put the pressure on myself to do it.

My primary goal was to figure out how was I gonna be able to make artwork.

♪ [Hissing] ♪ [Hissing stops] ♪ I was coming from a physical condition that was affecting my body to a point where I had to retire early from my previous job.

♪ In 2019, I was still teaching full time at Arizona State University in the wood program there.

I noticed throughout the year that I was getting progressively weaker.

Like, I was just not able to mill wood with the same amount of control before or that I felt like I was slipping with my grip.

My body shut down.

I...could not move.

I was, like, stiff as a board, and I was dropping stuff.

I was exhausted, and I was passing out because I was so tired, and so I thought I was dying, and I got onto some pretty heavy medication which helped relieve the inflammation.

I have nonspecific myopathy.

It just means nonspecific muscle disease, or we don't know.

I never really could regain my muscle strength because in my mind, I'm so used to being able to do so much, but I could barely even, like, get something from the top of the shelf.

Eventually, I had to resign from my position.

♪ [Birds chirping] When I came to this residency, I just said, "Well, I'm just gonna have to figure out from here on out how I'm gonna move forward, how I'm gonna return to a place that I enjoy making," because that's one of the few things that I feel like I really-- It's not just being happy.

It's not just being content.

It's literally being, like, in the best place you can be.

[Water running] ♪ In the first month that I was here, I tried to use these machines again for the first time.

It was really nerve-racking because I didn't have the strength or I was out of practice.

Now I know there's a window of time that, if I'm gonna do anything where I need to use my muscles or, you know, and it requires control, then I should do it within that window.

Then I shift gears, and I do something that's lighter-duty where I'm not worried about something, you know, being thrown back at me.

To me, that was the best outcome, was to be able to figure this out.

♪ Zou: All right.

Hey.

Man: Hi, Carol.

How are you?

Zou: Good, here for the books.

Man: Awesome.

There you go.

Let's take a look.

Zou: OK. All right.

I love it.

Ha ha ha!

Ha ha ha!

Now, this is-- Yeah.

It's a sequence.

Man: Base sequence is good.

We followed your guidance, so-- Zou: Yeah.

No.

This is all perfect.

It looks good.

Yeah.

Everyone's gonna be so happy to see them.

Man: All right.

Great.

Zou: All right.

Man: It's OK?

Zou: I appreciate it.

Man: Of course.

You're welcome.

Zou: I do create physical documents that we can understand as art.

I create publications.

I create zines.

I create prints.

I create wall murals.

I create videos, but all of that ultimately documents a time-based process in which a lot of people have contributed and have dialoged about.

This is the cookbook.

Woman: Ooh, ooh, my goodness... Zou: Let me get Lisa a copy.

Woman: looks so nice.

Zou: Yeah.

Yeah.

It was the same printer who did it, and so-- yeah, and so Leo designed everything, and we have everyone.

Woman: It's beautiful.

Zou: Oh, yeah.

You haven't seen it.

Woman: Yeah.

I haven't seen it yet.

Zou: Yep.

This is-- It's good for me.

I think that's one of my favorite spreads, the-- Woman: It's very beautiful.

Zou: You get to see everyone.

Woman: Wow.

Zou: Yeah.

They have, um-- We have color-coded the sections, so there's the Spanish and a--mm-hmm.

Woman: Yeah.

The ingredients make a difference.

Zou: Yeah.

Woman: [Speaking Chinese] Zou: Hi.

Welcome.

Woman: Mira que los estos en los mas importantes--la recetas... Other Woman: Si.

Woman: las tostadas, los ceviches... Other Woman: Muy bonita.

Mm-hmm.

Zou: A lot of my projects rely on relationship building with community collaborators, and relationship building takes time, and so many times, I am spending the first month or the first 3 months just getting to know people.

[Speaking Chinese] So I am Chinese, and I also speak Spanish, and I definitely think that type of cultural literacy is very helpful in connecting to the residents.

Woman: And then his name?

Zou: [Speaks Chinese] Man: Hung Long.

Zou: Uh... Man: Hung Long.

Zou: Hung Long?

OK, and then Donna brought the sushi.

Oh, thank you.

Hola, Sienna.

¿Como estas?

Beinvenido.

Gracias por venir.

Wow.

It's very-- I love it.

I love the festive impulse.

Ha ha ha!

OK. Can you do labels?

So Tina brought chicken salad, and enchiladas are from Lucia.

Hola, Lucia.

Gracias por venir.

Gracias por traer enchiladas.

Yeah.

Yeah.

I think a lot of people are used to the artist being the genius and the artist having their idea that they want to implement and show everyone, and I work in a way that's very feedback-based, and so I want people to tell me what they want.

I want people to tell me what they're excited about, and if people are creative, I want to know that they're creative and to help them realize their creative ideas, and I think that helps people understand us as artists.

We're gonna set up line dancing.

Well, it's line-dancing time.

[Salsa music playing] ♪ They got it.

Whoo!

♪ I always try to ground in the fact that being with people is joyful and that in a world that can often not be joyful, that it is our role as artists to create these joyful experiences, and so my pleasure is seeing it.

The events, the workshops--my pleasure is seeing all of that come together and delighting in dancing with people and sharing a meal with people.

Ha ha!

[Applause] I like it.

♪ I decided to focus on tambour door mechanisms, and essentially, that's just pieces of wood that are held together in place with a canvas backing.

Usually, it's glued to that canvas, and that allows the pieces of wood to slide in a track that can reveal or hide spaces within cabinetry or some kind of box system.

It's been around for a long time, and people have used traditional methods and different types of adhesives in the past and different ways of working, so I was aware of those, but I really wanted to try to understand it in my way.

How do you stretch this, the starting point of tambour function, to something really sculptural.

[Pencil scratching] [Pencil scratching continues] If I can create some type of repetition in that process of making and if I can learn or explore or figure out something from iterations or stuff that happens in repetition, then that's exciting for me mentally.

I love creating new patterns, but I also love finding patterns that already exist that I didn't realize were there before, and that can only happen just with material exploration.

♪ Brunko: My first work while my studying was in a gravel pit close where I grew up in Zurcher Unterland... and somehow I found again, also, the path back to the gravel pits... taking sound records from the ground, and I spent a lot-- I really kind of got in a relationship with the pits.

[Rustling] Gravel, it's such a nice material, also, but through this listening, it's a process of, like, become more aware of my environment... creating empathy through listening... [Rocks scraping] so it's really, like, the sound of yourself and a encounter with another surface.

[Tap] Being aware of the touch, like, the sound already is different because it's, like, you can also hear my body on it.

[Scrape] [Tap] It's like a back-and-forth communication.

♪ The listener or the ones who actually kind of consume also the sound, they should be also again able to create their own, like, vision.

[Stomp] Like, this act of awareness, I believe it's also act of changing my position and my encounter, also, somehow.

♪ It creates other awareness to how we treat our surroundings and our environment.

We have to rethink this relationship to this material.

♪ [Salsa music playing] Woman: OK, and then do you want to, like, announce that-- Zou: OK. Woman: that karaoke is open for people who want to use it?

Zou: Yeah, totally, totally.

OK. OK, so cuando ustedes estan lista, ven por el frente.

Yeah.

OK. Despues de comer, ¿si?

OK. Karaoke.

Who wants to sing karaoke?

Woman: [Speaks Chinese] Zou: Yeah.

[Speaks Chinese] OK. [Speaks Chinese] ...Josh Groban.

Man: [Speaks Chinese] Zou: OK. All right.

[Speaks Chinese] OK. OK.

Yes.

Let's do it.

Whoo!

[Applause] Man: ♪ When I'm down and my soul so weary When troubles come and my heart burdened be... ♪ Zou: I think my goal as an artist is to elevate people's understanding of public art beyond murals, which are great but not the only ways in which artists work, so that people can really understand that this is the value that an artist can bring to our organization.

Man: Special thank you to Leo and Carol for your leadership in this program because they made it easy on us.

[Applause] Woman: Thank you.

Zou: Oh, gracias.

Woman: It was a pleasure.

Zou: Aww, thank you so much.

Yeah.

Woman: We hope to see you again.

Zou: I want to.

This is-- This is our favorite one.

Woman: Oh, good.

Good, good, so come back.

Zou: You're our favorite one.

Woman: Come back.

Yes.

Zou: Yeah.

The community here is so good.

Woman: Thank you for everything.

Zou: Yeah.

Of course.

Of course.

Woman: You brought the community together, and it was so nice.

Zou: Aww.

We all need to see a mirror of ourselves that we like, and we need to know that we can contribute to the society that we exist in, and so I think for some people, the creation of these art experience or projects can be a way of creating that mirror and offering that avenue for a contribution.

Woman: 1, 2, 3.

Zou: Ora, she's a senior who taught one of our skill shares and contributed 3 recipes to the cookbook, and she came up to me after the feast and asked to take a picture with me handing her the book, and it really seemed like that was a source of pride for her, and it was really special to share in that moment.

Woman: Bye-bye.

Gracias muchas.

Bye-bye.

Uh-huh.

Zou: Thank you.

Thank you.

Ora: Thank you, mija.

Woman: OK.

Yes.

OK.

Thank you so much.

It was... ♪ Lee: I was hoping to eventually weave my own canvas so that I could create something that was esthetically beautiful but also structural, that the canvas serves a physical purpose by holding the slats together but also that I was able to impart some type of design or concept on the surface of the canvas with how I choose to weave the fibers together.

♪ I enjoy understanding a material from almost its, like, particle size, and if I know what mixture or the way I'm putting it together, then I must know it as far as possible or as deep as possible.

I guess similarly with fabric, like, if I can weave my fabric from the thread, you know, element, then I understand that fabric more.

♪ The loom, I'm really using it as, like, a tool to understand how linear elements go together.

♪ The repetitive action of pulling the front beater back and forth, to me, is really meditative.

♪ There's something about this distance.

It's arm's length.

I'm able to move it forward and back, this beater, and every time I do that, I'm consolidating fibers to create fabric.

♪ I will always embrace the fact that I came from studio art furniture because spending time with material, you realize you develop a relationship and you understand it so well.

I feel that the more you learn materials, the better informed your concept and designs are.

♪ Brunko: What I learned a bit, also, already here, like, it's so, so obvious also how, like, a city and architecture shapes a society, as in Switzerland and as in the U.S. Maybe it's not only about architecture.

I mean, it really goes back to kind of the roots, also, where we actually get the material and also to kind of rethink, really, like, what we live on, also, like, going to the material and understand that failing is also a big part in doing art, but as long, also, I kind of sure what I'm doing and I'm always finding also, like, connection to other disciplines and but also other artists which dealing with the same fields and interests, then I'm also feeling a bit, like, "OK.

This is good, what I'm doing," so-- ♪ Woman: That's so pretty.

Yeah.

Different woman: Bye-bye.

Uh-huh.

Bye-bye.

Watch out.

Bye-bye.

Uh-huh.

Zou: Thank you.

I think there's always that moment of uncertainty in the social sphere because people are people and people will do what they want to do, and as an artist, you can only encourage certain outcomes, but you can't dictate them, and I think that is something that is scary and wonderful about social practice, is that actually, there's not a do-over.

If I make a bad painting, I just gesso it, and I paint it again, right, but I can't say, "Oh, let's actually go back and do that skill share again, and this time, we'll come up with a different result."

Well, yeah, because I think this time, we probably gave away 40 today.

Woman: Oh, OK, not bad.

Zou: Yeah.

I think I used to feel more of a need to make a case for myself as an artist and say, "Let me quote some art theory," or, "Let me quote some art history," in order to prove to you that what I am doing is art, and lately, I don't feel the need to do that as much.

If people think I'm a party planner, great--I love party planning--because I love what I do, and, for me, it's more important to think about how we are embedding creativity in those different spheres of life than it is for me to need to spend a lot of time making a claim for myself as an artist.

♪ I think that these residencies have been incredibly generative for me workwise.

I think about the rhythms that artists usually need to maintain, which is having a day job and then going to the studio during after hours in order to produce work.

I actually think that I've been lucky to be very productive because this gets to be my day job.

♪ Brunko: I think what I also get out of it, it's not just about the project.

It's really, like, through interaction with people who live here and through understanding the space.

For myself, sometimes I just have the feeling this is just great, and that's it for the moment.

It's also a big relief somehow to have, like, my time here being alone, and this one, for me, this is, like, pure luxury.

In so many ways, I will become definitely someone else in this whole year.

To continue, also, being a artist in this field and the residency, it will influence my thoughts and my works 100%, yeah, so that gives a feeling of hope a lot.

Ha ha!

Yeah.

♪ Lee: Feel this residency was super successful in allowing me to get to a point where I can use what I learned here and leave here with an idea of how I'm going to approach making things in the future, adapting my practice in a new way to fit to what I can do.

Really, I just come from a place of deep appreciation just for being able to explore this, even, because I'm sure other people are in a similar situation.

They don't even have an opportunity to do something like this, so I'm pretty grateful.

♪ It would have been awesome if my parents were alive and they could have known because, you know, they were the ones who in the beginning were like, you know, "We just were worried about you, and we support you, and we want you to be happy," so it's really fantastic.

♪ ♪ Announcer: This program was made possible in part by a grant from the Los Angeles County Board of Supervisors through the Department of Arts & Culture, The City of Los Angeles Department of Cultural Affairs, and the National Endowment for the Arts.