>> I LIVE IN LOS ANGELES.

THE COLUMN CONCENTRATES ON THE INTERSECTIONS OF DIFFERENT CULTURES.

HIS WORK IS ART INFORMED BY HIS SOCIAL WORK.

HE WANTS THESE THINGS TO BE BEAUTIFUL.

IT ALSO PROVOKES A QUESTION IN THE MIND.

WHAT IS THIS PAINTING?

WHAT IS THIS WORK TRYING TO SAY?

WHAT DOES THAT MEAN FOR THE REST OF SOCIETY?

>> I REMEMBER WALKING DOWN BROADWAY AND PASSING BY A LOT OF THESE NEWSSTANDS.

A LOT OF THESE COMIC BOOKS WERE DEALING WITH SOCIAL ISSUES, DOMESTIC ISSUES, I AM ALWAYS LOOKING AT POPULAR CULTURE.

I AM VERY INTERESTED IN THOSE KINDS OF THINGS.

I FOUND IT VERY COMPELLING.

>> CHECK THIS ONE OUT.

THIS ONE IS KIND OF TRIPPY.

THIS GIRL -- HIT HIM HARDER, DAD.

I DO NOT KNOW THE STORY, BUT THE DAUGHTER IS ABUSING THE KIDS.

LIFE EXPERIENCES.

THESE ARE IMAGES I WILL PROBABLY USE IN MY WORK.

>> FOR THE PAST 15 YEARS, A LOT OF THESE FAMILIES, THERE ARE A LOT OF ABSENTEE FATHERS.

I HAVE SEEN A LOT OF DOMESTIC ISSUES.

I HAVE COME TO TERMS WITH IT IS PART OF MY THIS AS AN ARTIST, IT INFORMS WHAT I DO BECAUSE IT AFFECTS ME IN SUCH A MAJOR WAY.

I AM THINKING ABOUT COMMENTING ABOUT THESE EXPERIENCES TO GENERATE SOME DIALOGUE.

HAVE A PRIVATE VIEW INTO SOME OF THESE TOPICS.

HOW CAN I CREATE A WORK THAT MAKES PEOPLE THINK ABOUT THIS?

I STARTED SOURCING THESE IMAGES FROM THESE BOOKS AND REMOVING THE TEXT AND WORKING ON THE NARRATIVE, YOU DO NOT KNOW WHAT IS THE BEGINNING WORE THE END.

WHAT COULD THEY BE SAYING?

WHAT IS FAMILIAR IS THE IMAGERY.

THEY ARE COMIC BOOKS AND THEY ARE GRAPHIC IN THE SENSE THAT IT IS DRAWN, AND IT MAKES IT EASIER TO ENTER SUCH A HARD TOPIC.

IT MAKES YOU PONDER AND THINK ABOUT THESE ISSUES AND PLACES YOU IN A POSITION WHERE YOU ARE IN THE SPACE WHERE THESE THINGS ARE HAPPENING AND YOU ARE A WITNESS TO IT.

WE HAVE ALL EXPERIENCED DOMESTIC VIOLENCE.

IT ALLOWS US TO ENTER THE WORK AND EXPERIENCE IT IN A MUCH PERSONAL LEVEL.

>> I THINK FOR HIM TO BRING HIS WORLD, HIS NEIGHBORHOOD, HIS FAMILY, HIS WORK AS A SOCIAL WORKER, AND COMBINE IT WITH THIS ART EDUCATION, IT IT IS AN INTERESTING COMBINATION.

I THINK HE HAS DECIDED THAT HE PRACTICES WHAT HE LIKES TO DO.

WHEN I WENT TO SEE THE EXHIBITION, ONE OF THE PIECES THAT CAUGHT MY EYE WAS THE IMAGE THAT SAID HAPPY FATHER'S DAY, MOM.

IT IS VERY PROFOUND BECAUSE IT GOT ME THINKING ABOUT HOW MANY SINGLE MOTHERS HAVE TO BE FATHER AND MOTHER TO THEIR CHILDREN.

>> THE CONCERN ABOUT THE RELATIONSHIP OF ART AND CULTURE.

PARTICIPATING IN CULTURE.

WHEN I SAY CULTURE, I AM TALKING ABOUT RACE AND GENDER AND ISSUES THAT ARE POLICY DRIVEN.

HE HAS ALWAYS HAD THIS INTEREST.

ART IS PART OF A LONG TRADITION OF AESTHETICS.

IT IS COMPLETELY SEPARATED FROM POLITICS.

AESTHETICS TALKS ABOUT AN EXPERIENCE THAT IS UNIVERSAL TO ALL OF US.

POLITICS TALKS ABOUT SPECIFIC ISSUES THAT ARE -- NOT ALL PEOPLE ARE VICTIMS OF DISCRIMINATION.

NOT ALL PEOPLE HAVE THE SAME RELATIONSHIP.

HE RECEIVED TREMENDOUS BACKLASH.

WHEN SOMEBODY LIKE -- IT IS A PRETTY RADICAL APPROACH TO TAKE.

>> THE DRAWINGS MY SON DID FROM THE AGE OF FOUR TO SIX.

I WANTED TO COLLABORATE.

I WANT YOU TO DRAW AND I WILL DRAW WITH YOU.

I WILL DRAW ON TOP OF YOUR DRAWINGS.

WHEN I DID THIS PROJECT, I WANTED TO CREATE A WORK THAT COULD BE AN EXAMPLE AND COULD BE MIMICKED AND COPY AND SOMEBODY COULD DO THIS.

SOME PARENTS COULD DO THIS WITH THEIR KID.

MOST BOYS ARE INTERESTED IN SUPERHEROES, SO I CREATED IMAGES TO GO ALONG WITH HIS IMAGES.

HE DREW THIS POWER RANGER MASK.

I DREW MYSELF BEHIND THE POWER RANGER MASK.

AS SIMPLE AS IT IS, WORKING WITH FAMILIES, I WANT TO FIND MORE TIME TO SPEND TIME WITH MY KIDS.

IT WAS FUN TO DO A PROJECT WHERE I WAS ABLE TO SPEND MORE TIME WITH THEM.

WHEN HE CAME TO THE OPENING, OR HE WAS TELLING EVERYBODY, I DID THIS WITH MY DAD.

I DO NOT CARE ABOUT ANYTHING ELSE, MAN.

THAT MADE MY DAY.

>> I AM A WRITER AND I AM ALSO AN ARTIST WORKING AT THE BORDER.

I AM ALSO AN EDUCATOR.

I GREW UP IN TIJUANA.

MY EXPERIENCE IS ONE WHICH IS VERY FLUID.

THAT BEGAN TO CHANGE IN 1994.

PEOPLE STARTED STAYING THERE.

IT STARTED TO ALSO GET AN IDENTITY.

THERE WAS ALSO THE SPECULATION THAT IT COULD BE POSTMODERNISM.

THE ASSOCIATION WITH TIJUANA AND DRUGS BEGAN -- IT HAS THIS INTERESTING INCEPTION AROUND THE ARTS.

THIS CAME TO THE HEAD--TO A HEAD AROUND 2007 OR 2008.

TIJUANA BECAME SYNONYMOUS WITH VIOLENCE.

A LOT OF THE BUSINESSES WHICH WERE DEPENDENT ON TOURISTS COMPLETELY FAILED.

THIS WAS NOTICEABLE ALONG THE MAIN STREET FOR TOURISM.

THAT ENTIRE TOURIST DISTRICT STARTED TO DIVE.

IT ALSO STARTED TO CREATE THE POSSIBILITY FOR NEW POSSIBILITIES.

YOU HAD A NEW GROUP OF ARTIST'S WANTING TO ENGAGE THE CITY AND ENGAGE THE CITIZENS OF TIJUANA FOR THE ARTS AS A WAY OF RESPONDING TO THE VIOLENCE OR AS A WAY OF ASSERTING THE CITY AGAINST THE VIOLENCE.

RIGHT NOW, WE ARE A FEW YARDS DOWN SOUTH, WHICH USED TO BE THE MAIN TOURIST DESTINATION.

THEY USED TO SELL PRODUCTS THAT APPEAL TO TOURISTS.

IN 2007 AND 2008, THERE WAS A RISE IN VIOLENCE.

♪ [SPEAKING SPANISH] >> THE EXPERIENCE OF THE CITY IS A LOT LIKE THE EXPERIENCE OF A LABYRINTH.

THAT IS AMPLIFIED IN A PLACE LIKE TIJUANA.

A LOT OF THE ARCHITECTURE DOES HAVE THIS INTERIOR-EXTERIOR SPACES.

YOU CAN PASS BY A DOZEN TIMES BEFORE RECOGNIZING THERE IS THIS INTERIOR STREET.

WITHIN THIS INTERIOR STREET, THERE ARE ADDITIONAL INTERIOR STREETS.

AS I EXPLORE THE LABYRINTH OF THE IDEA THAT IS TIJUANA, I REALIZED THAT IT IS REFLECT IT IN THE PHYSICAL ARCHITECTURE OF THE CITY.

THAT IS TRUE, ESPECIALLY -- IT FLOWS UNEXPECTEDLY FROM MAJOR AVENUES AND BECOME THEIR OWN MAJOR AVENUES.

THAT IS INTERESTING.

IT TAKES ADVANTAGE OF ALL OF THESE UNEXPECTED TERRITORIES.

THAT IS VERY MUCH TIJUANA AS WELL.

YOU SEE THE ARCHITECTURE, YOU SEE THE USE OF SPACE.

TIJUANA IS VERY RESOURCEFUL, VERY MULTIPURPOSE, VERY FLEXIBLE.

ARTISTS HAVE AESTHETICALLY RESPONDED TO THAT IN THE PAST.

TRANSFORMING SPACE, TRANSFORMING AN ENTIRE PORTION OF THE CITY AND TRYING TO REPURPOSE WHAT THIS SPACE COULD BE FOR THE CITY ITSELF.

♪ >> IT'S A TRANSFORMATION IN TERMS OF THE ETHICS OF THE SPACE.

THAT SPACE BECOMES OPEN TO COMMUNITIES.

IT BECOMES OPEN TO POSSIBILITIES.

>> THIS IS WHERE THIS MUSICIAN PERFORMS EVERY DAY AT NOON.

I GOT IN THE HABIT OF WALKING BECAUSE I WAS TRYING TO BOOK HIM FOR AN EVENT.

WHEN I THINK OF AN ARTIST SPACE, I THINK THAT IS SOMETHING THAT IS NEITHER HERE NOR THERE.

>> IF YOU CAN FORM A POCKET OF ECONOMY -- AUTONOMY -- ♪ ♪ [APPLAUSE] >> [SPEAKING SPANISH] ♪ [APPLAUSE] ♪ >> I AM A RESTAURANTEUR, BUT I AM ALSO A MUSICIAN, AND I AM ALSO A PROMOTER.

EVERYTHING IS CONNECTED TO THIS LOVE I FEEL FOR MY CITY.

OVER YEAR, WE HAVE THE ENTRANCE.

IT WAS ONE OF THESE MINI ALLEYS, A LOT OF ACTIVITIES, ESPECIALLY IN ARTS AND CRAFTS, RESTAURANTS AND CAFÉS.

A WERE ABANDONED SOME YEARS AGO AND THEY WERE ALL CLOSED DOWN.

THIS PLACE WAS PACKED, PEOPLE WAITING IN LINE.

A LOT OF TOURISTS THAT CAME.

ASIDE FROM THE ALLEYS, IT IS IMPORTANT TO HAVE A COMMERCIAL SIDE SO THE WHOLE ZONE HAS SOMETHING WHERE PEOPLE CAN HAVE A DRINK AND EAT SOMETHING GOOD AND THIS IS THE GALLERY.

LEX WE OFTEN HAVE ARTIST COMING IN AND VISITORS WHO WILL SAY, IT CAN YOU PICK ME UP FROM THE BORDER?

NO, I WILL NOT PICK YOU UP FROM THE BORDER.

FOR US, MOVING THROUGH THE CITY AND FAMILIARIZING YOURSELF WITH WHAT HAPPENS HERE.

♪ THE DISTINCTION PEOPLE MAKE CROSSING THE BORDER FROM TOURISM OR ENGAGEMENT -- ♪ >> THEY WERE ABANDONED.

THE OLDER STARTED TO SEE THE POTENTIAL OF TOURISTS.

ANY TIME THAT SOMETHING LIKE THIS HAPPENS, BIG BUSINESS STARTS LOOKING AT THE SPACE.

>> AS MORE AND MORE PEOPLE COME TO LOCATIONS LIKE THIS, IT WILL BECOME MORE DESIRABLE.

THE BUSINESSES WILL GET BETTER, WILL BE MORE SUCCESSFUL.

EVENTUALLY, THEY WILL HAVE TO FIND ANOTHER LOCATION.

THAT IS PART OF THE LIFECYCLE, I THINK.

IT IS PRETTY NATURAL.

>> AFTER SUCH A PERIOD OF VIOLENCE AND SUCH A SHUTDOWN AND OF THE COMMUNITY AND SUCH A BREAKDOWN IN COMMUNITY, THESE PLACES SPEAK TO A POTENTIAL OF RECONSTRUCTING THE COMMUNITY.

A SENSE OF WHAT IT MEANS TO BE A CITIZEN.

>> [SPEAKING SPANISH] >> IT IS DIFFICULT FOR THEM TO SUSTAIN A SPACE.

>> WHAT IS AT STAKE HERE IS DIFFERENT BECAUSE SOME MOMENTS IN WHICH -- IT WAS A MOMENT IN WHICH THE CITY ITSELF WAS TRYING TO RECOVER AND RECLAIM SPACE.

>> THEY ARE NOT JUST TRADING WORKSPACES, A ARE CREATING PUBLIC SPACES.

IN MY MIND, THAT IS A BIG DIFFERENCE.

>> I AM A MULTIMEDIA JOURNALIST AND I STARTED WRITING THESE ARTICLES.

BETWEEN THAILAND AND FAIRFAX IS A STREET ART GALLERY.

-- BETWEEN HIGH LAND AND FAIRFAX IS A STREET ART GALLERY.

THESE ALLEYS ARE OWNED BY DIFFERENT STREET CREWS.

CAN'T BE STOPPED, THAT IS THE MAIN STREET CREW ON MELROSE.

IN 1986, IT IT IS THE FIRST DOCUMENTED MURAL THEY HAVE ON MELROSE.

A LOT OF STREET CREWS KNOW YOU CANNOT DISRESPECT A NETHER STREET CREW BY GOING OVER THEIR WORK.

THERE IS A CIRCLE OF RESPECT.

>> FAIRFAX AREA, NO ROWS AREA, THAT IS WHERE EVERYTHING WAS POPULAR.

-- NO ROWS AREA, IS WHERE EVERYTHING WAS POPULAR.

>> IT WAS A COOL SPOT FOR EVERYONE TO HANG OUT.

ON ROOFTOPS, IT WAS THE CENTER OF WHERE A LOT OF THESE PEOPLE FOUND THEMSELVES AND CREATED WHO THEY WERE GOING TO BE.

>> THINGS THAT WERE EDGY AND NEW.

>> FROM 1984 THROUGH 1998, MELROSE WAS IN ITS HEYDAY.

TATTOO SHOPS, MUSIC, IT WAS WILD AND IT WAS OUR NEIGHBORHOOD.

>> I NOTICED, IT WAS LIKE THIS BEAT UP STREET.

I WAS DITCHING SCHOOL TO GO DOWN THERE AND HANG OUT AND DID SOME DOUGHNUTS, GET A SODA POP.

I DID NOT EVEN GET INTO SMOKING WEED OR DRINKING BEER YET.

IT WAS THIS DISENFRANCHISED LITTLE GHETTO MENTALITY.

IT BECAME COOL ON MELROSE.

>> IT WAS AN EVOLUTIONARY TYPE SAYING.

I STARTED SKATING AND THE NEXT THING I KNOW, GRAFFITI.

THERE WAS NO RIGHT WAY TO DO IT, WRONG WAY TO DO IT, IT WAS A FORM OF EXPRESSION.

>> THIS NEWFOUND OF IDENTITY, THIS NEW GROUP OF FRIENDS.

THAT WAS WHAT WAS INTERESTING ABOUT GRAFFITI.

YOU ARE SOMEBODY.

MELROSE AVENUE STRETCHES FROM SILVERLAKE ALL THE WAY TO BEVERLY HILLS.

THE AREA WE TOOK OVER WAS FAIRFAX, THAT SQUARE.

THAT WAS OUR NEIGHBORHOOD.

WE DEVELOPED IT, WE WERE THE CARETAKERS.

>> THIS IS MY LIVING ROOM RIGHT HERE AND THIS IS WHERE I GREW UP.

I KNOW EVERYBODY ON THIS BLOG ON BOTH SIDES.

-- BLOCK ON BOTH SIDES.

WE WERE RUNNING ALL DAY, JUMPING FENCES.

>> THE ALLEYWAY IS LIKE THIS AREA THAT BUSINESS OWNERS AND PEOPLE DO NOT CARE ABOUT.

YOU CAN GO TO THE BATHROOM BACK THERE.

THERE IS AN OLD COUCH, BUSTED BOTTLES.

WE TOOK THE ALLEYWAY.

NO ONE IS GOING TO GIVE US ANY TROUBLE.

IF YOU ARE ON THE STREET, WHAT ARE YOU DOING?

IT WAS A SAFETY ZONE FOR US TO EXPERIMENT AND EXPLORE THE POSSIBILITIES OF WHAT WE COULD DO.

>> WE WOULD BE HANGING OUT ON THE CORNER OF MELROSE AND FAIRFAX.

THE COPS KNEW WHAT WE WERE DOING.

>> THIS IS ONE OF THE WALLS ON MELROSE THAT WE MAINTAIN AND CONSTANTLY PAINT.

THIS WALL WAS A SERIES OF WALLS THAT HAD BEEN TAGGED AND ABANDONED.

A LOT OF THE OWNERS GET STUCK WITH REPAINTING THEM OVER AND OVER.

WE WILL TRY TO KEEP THE WALL NICE.

A LOT OF THE TIMES ONLY DO THIS, THE WALL GETS MORE RESPECT.

WE TRIED TO PUT SOME ART ON THESE WALLS THAT ARE MESSED UP AND BRING A LITTLE LIGHT TO THE NEIGHBORHOOD.

>> IT BACK IN THE DAY, THERE WAS A LITTLE BIT--IT WAS A LITTLE MORE RAW.

IF THIS WAS A CENTRAL MEETING POINT FOR ALL OF US.

EVENTUALLY, WE STARTED PAINTING ROOFTOPS AND STUFF LIKE THAT.

ALL OF THE PLACES THAT WE WOULD PAINT, WE WOULD LOCK THAT SPOT DOWN.

I THINK WE WERE ONE OF THE FIRST CREWS TO ESTABLISH A NEIGHBORHOOD.

IT DID NOT HAPPEN BY ACCIDENT.

WE HAD TO BATTLE GANG MEMBERS AND THE POLICE AND THE PUNK ROCKERS AND THE BOMBS AND EVERYBODY ELSE DOWN -- AND THE BUMS AND EVERYBODY ELSE DOWN HERE.

>> WE WENT FROM BEING TOTAL UNDERDOGS TO BEING THE GUYS, THE ONES PUSHING THE ENVELOPE.

>> IT PROVIDED A SAFETY ZONE FOR OTHER PEOPLE.

THEY ARE FIGHTING FOR THEIR RIGHT TO DO ART.

THAT WAS A HUGE INFLUENCE.

THEY DID NOT THINK OF IT THAT WAY.

THIS IS THE AGE OF PIONEERING FOR THIS ART FORM.

MY CREW INSPIRED A LOT OF PEOPLE TO COME DOWN HERE AND BASK IN THIS GREAT SCENE THAT WE CREATED.

>> STOREOWNER STARTED NOTICING OUR ARTWORK.

THAT WAS CRAZY BACK THEN.

HE IS A DUDE ON A LADDER AND NOBODY HAD EVER SEEN ANYTHING LIKE THAT.

WE WERE OUT THERE WHILE IT WAS GETTING PAINTED.

OTHER STORE OWNERS WERE, LIKE, CAN YOU PAINT MY STORE?

>> KIND OF AN ACCEPTANCE THAT THAT EXISTED.

AFTER WE ARE DONE WITH THE STREET, LET'S PICK UP EVERY OTHER STREET AFTER IT.

THAT IS WHAT MELROSE PROVIDED FOR US.

ONE AFTERNOON, WE WERE PAINTING IN THE ALLEYWAY.

THIS HOT ROD PULLS UP AND THIS RUSSIAN DUDE SAYS, I LIKE THAT.

I AM OPENING A RECORD STORE AND I WOULD LIKE TO GET SOME OF YOUR ART IN THERE.

I THINK I PAINTED A ROOM FOR HIM.

SUDDENLY, IT WAS THE WHOLE STORE.

IT WAS A HUGE DEAL.

ALL OF THE PEOPLE THAT DESIGNED THE STORES WERE FEELING THE SAME ENERGY AND THEY WERE ALLOWING THAT ENERGY TO COEXIST.

AND YOU HAVE CREATED PEOPLE WORKING WITH CREATIVE PEOPLE, THERE WAS NOTHING BETTER IN LA IN THAT TIME.

>> IT LED TO ANOTHER SPOT AND AN ALLEY.

IT SPREAD LIKE WILDFIRE.

HERE WERE PEOPLE THAT WERE ALLOWING US TO BE THERE.

IT BECAME LIKE A FREE-FOR-ALL.

>> IT GOT SO CRAZY.

AT A POINT IN THE MID-1990S, MELROSE WAS SO POPULAR FOR GRAFFITI, JAPANESE TOUR BUSES WERE COMING DOWN.

THEY USED TO START PHOTOGRAPHING US.

THAT WAS AN AMAZING PART.

WE LEGITIMIZED THIS CRIMINAL ACT TO THE.

-- CRIMINAL ACTIVITY.

>> MELROSE WAS A VERY IMPORTANT LACE.

-- IMPORTANT PLACE.

IT WAS RAW CREATIVE ENERGY HAPPENING.

YOU HAD OPEN WALLS, OPEN TURNTABLES.

TO SEE THAT HAPPEN, AND SEE THE GROWTH OF THE FINE ARTS MOVEMENT HAPPENING, IT IT TURNED US INTO A HAVEN.

PEOPLE FROM ALL OVER THE WORLD CAME HERE TO PAINT.

IT WAS A GREAT TIME FOR A LOT OF PEOPLE.

>> YOU WOULD MEET PEOPLE FROM MUNICH OR AUSTRALIA OR ENGLAND.

MY COUSIN CAME HERE LAST SUMMER TO SEE THE ALLEY.

THAT WAS OUR LITTLE GALLERY.

THE HEYDAYS OF MELROSE, IT IS LIKE AN ENTITY.

IT HAS MOVED ON NOW, THERE IS NO CONTROL OF IT.

THIS DOES OWNERS DO NOT GET TO CONTROL IT.

THE HOMELESS DO NOT GET TO CONTROL IT.

PEOPLE FIND, I AM NOT BEING INUNDATED HERE.

I AM NOT BEING SUPPRESSED.

THERE ARE DIAMONDS IN THIS COAL.

I AM A CHILD OF THAT.

IT'S BOND ME AND ALL OF MY FRIENDS AND THIS WHOLE SCENE OF LOS ANGELES GRAFFITI ART.

I REALIZED, I AM SEEING THE FRUITS OF ALL OF THESE THINGS DEVELOP.

WE DECIDED TO GROW FROM THAT POINT.

WE HAD SEVERAL GALLERIES THAT WERE SUPER INSPIRING.

THAT WAS THE FIRST PLACE I GOT MY SHOW AT.

THAT IS THE ALLOWAY A LOT OF MY -- THE ALLEY WAYS MY MURALS TOOK PLACE AT.

TO DO MY FIRST SHOW THERE WAS AN IMPORTANT DECISION IN MY LIFE.

I WAS VERY LUCKY TO HAVE REACHED THE STATUS.

THAT INSPIRED A LOT OF MY FRIENDS.

HE DID IT, AND I WANT TO DO IT, TOO.

YOU HAVE TO OWN YOUR DECISIONS WHEN YOU DO NOT HAVE A PLAN B.

>> HE NURTURED SOME OF US.

HE IS A WILD MAN.

PUT A PAINTING RIGHT THERE AND WE WILL TRY TO SELL IT.

THAT IS WHAT I DO.

>> THERE WOULD BE ALL KINDS OF MURALS.

I WOULD SEE STUFF THAT I LIKED.

THESE GRAFFITI ARTISTS WERE INCREDIBLY TALENTED.

IT WAS THE SAME AS SEEING ANY TALENTED ARTIST ANYWHERE.

ALL I HAD TO DO WAS GET SOME CANVAS.

THEY COULD DO THAT SAME IDEA ON CANVAS.

>> I HAVE SEEN A LOT OF PROGRESSION IN GRAFFITI COME INTO GALLERIES.

THERE WAS NEVER EVEN THE THOUGHT OF HAVING GRAFFITI ART INTO A GALLERY.

NOW IT IS FUSED TOGETHER AND I THINK IT IS A GOOD THING.

PEOPLE ARE RECOGNIZING THAT WE ARE ARTIST.

>> I AM ON CANVAS NOW AND I AM WORKING OUT SOME EXHIBITIONS.

IF YOU ARE NOT EVOLVING, YOU ARE DYING.

MIGHT EASEL ALWAYS HAS SOMETHING ON IT, I AM CONSTANTLY EXPERIMENTING.

>> MOST IMPORTANTLY, YOU HAVE TO HAVE FUN.

>> I WANTED TO DO SOMETHING IN THE REALM OF TIME TRAVEL.

IT IS ALMOST 30 YEARS LATER AND THIS ALL GOES BACK TO WATCHING US HANG OUT IN THESE ALLEYS AND HAVING A GOOD TIME.

>> SHIZU'S WORK IS FOCUSED ON SUBCULTURES.

PEOPLE TAKE THESE INFLUENCES AND THEY CREATE SOMETHING THAT IS DIFFERENT AND NEW AND IT IS TOTALLY THEIR OWN.

YOU WILL SEE THE DIFFERENT GROUPS OF PEOPLE THAT ARE NOT NECESSARILY BOUND BY THEIR CULTURE OR NATIONALITIES.

THEY ARE BOUND BY WHAT THEY LIKE TO DO OR WHAT YOUR INTERESTS ARE.

THE WORK HAS BEEN INCLUDED IN THE SMITHSONIAN NATURAL -- NATIONAL PORTRAIT GALLERY.

♪ ♪ >> RIGHT THERE IS FINE.

>> IT IS A COMPLETELY DIFFERENT MEDIUM.

TOTALLY DIFFERENT FACTORS INVOLVED.

YOU HAVE TO TAKE INTO CONSIDERATION THE PERSON'S SKIN.

IT IS KIND OF NERVE-RACKING BECAUSE IT VIBRATES.

YOU HAVE TO MOVE A LOT SLOWER WITH IT.

JUST ALIGNING TATTOOS, MORE FACTORS TO TAKE INTO CONSIDERATION THEN PEN ON PAPER.

YOU STILL HAVE TO LEARN SO MUCH.

I AM GETTING BETTER AND BETTER.

I STILL HAVE A LONG WAY TO GO.

IT TAKES YEARS TO MASTER IT.

I STARTED OUT PAINTING, DEPICTING PHOTOGRAPHS I HAD TAKEN, GOING TO PARTIES, SOCIALIZING.

THESE ARE PRETTY MUCH DOCUMENTATION OF EVERY DAY LIFE.

I APPRECIATE WOODGRAIN MORE SO THAN WHITE CANVAS.

I APPRECIATE NEGATIVE SPACE AS WELL.

WOODGRAIN SUGGESTS A READY-MADE LANDSCAPE.

I FOCUS MORE ON THE SUBJECT.

WHAT PEOPLE WEAR, THE WAY THEY STYLE THEIR HAIR.

A LOT OF PEOPLE--NO ONE EVER FEELS LIKE THEY ARE A PART OF IT.

>> WE ARE SO THRILLED THAT YOU ARE ALL HERE TONIGHT TO CELEBRATE THE SPECIAL PREVIEW OF PORTRAITURE NOW.

WE HAVE SHIZU SALDAMANDO HERE TONIGHT.

[APPLAUSE] CLOCKS WE ARE FOCUSING ON ARTIST -- >> WE ARE FOCUSING ON ARTISTS WHO HAVE AN INCREDIBLE MASTERY OF THEIR MEDIUMS.

THEY ARE DEALING WITH PORTRAITURE.

>> A PORTRAIT WOULD BE THE KING OR THE PRESIDENT ON THE WALL TALKING DOWN TO THEIR SUBJECTS.

THESE PICTURES ARE TAKING THE MEDIUM AND TURNING IT INTO A DAILY LIFE, ORDINARY PEOPLE.

>> I AM FROM CHICAGO AND MY GRANDMOTHER IS JAPANESE.

MY GREAT GREAT GRANDMOTHER CAME FROM JAPAN.

THEY HAD A DIFFERENT CONNECTION TO JAPANESE CULTURE THAN JAPANESE-AMERICANS WHO CAME AFTER THE WAR.

THEY WERE NOT SUPPOSED TO SPEAK JAPANESE.

JAPANESE AMERICAN CULTURE, DEFINITELY, YES.

>> WHEN I FOUND OUT SHE WAS DRAWING ME, I WAS HONORED.

SHE IS AN AMAZING ARTIST.

A LITTLE AWKWARD THAT I AM HERE AND THE DRAWING IS THERE.

I WAS KNOCKED OUT.

>> IT JUST CATCHES ME OFF GUARD.

>> THE BEST EXPERIENCE OF THIS OVERALL, SHE TURNS AROUND AND WALKS AWAY.

IT WAS AMAZING.

>> MY NAME IS JOSH KUN.

WHEN HE TOOK OVER AS THE HEAD OF THE LA LIBRARY FOUNDATION, ONE OF THE FIRST THINGS HE WANTED TO DO WAS RETHINK WHAT ROLE LIBRARIES COLLECTIONS HAD IN THE PUBLIC SPHERE.

HE CAME UP WITH THE IDEA OF MINING THE LA PUBLIC LIBRARY.

WHAT WOULD IT MEAN TO MIND THE MUSIC THAT HAD GONE UNHEARD WITHIN THE LA PUBLIC LIBRARY?

THERE ARE 50,000 PIECES OF INDIVIDUAL SHEET MUSIC IN THE STACKS OF THE MUSIC LIBRARY DOWNTOWN.

WE STARTED LOOKING THROUGH THE SHEET MUSIC TO SEE WHAT WE COULD FIND.

LITTLE BY LITTLE, WE STARTED NOTICING SONG AFTER SONG THAT HAD SOMETHING TO DO WITH LOS ANGELES.

SONG AFTER SONG THAT HAD SOMETHING TO DO WITH SOUTHERN CALIFORNIA.

ARTIST THAT WE RECOGNIZED, THEMES, ORANGES, SUNSHINE, BEACHES.

THE IDEA OCCURRED TO US THAT WE NEEDED TO CREATE THE FIRST-EVER COLLECTION OF SOUTHERN CALIFORNIA SHEET MUSIC.

THE FIRST THING WE DECIDED TO DO WAS GET THEM RECORDED.

I CONVINCED THE FOLKS AT BEDROCK LA TO LEAD US INTO THEIR MAIN RECORDING STUDIO AND WE BROUGHT FIVE CONTEMPORARY LOS ANGELES ARTIST.

I LET THEM GO THROUGH A SELECTION OF SHEET MUSIC AND THEY EACH CHOSE A SONG THEY WANTED TO RECORD.

THEY WILL BE EDITED TOGETHER AS MANY FILMS -- MINI-FILMS.

WE WANTED TO SHOW THAT THIS IS SHEET MUSIC THAT EVERYONE CAN INTERACT WITH.

WE ARE TRYING TO PUSH PEOPLE TO THINK ABOUT WHAT DOES IT MEAN TO LIVE, TO THINK, TO MAKE MUSIC IN THE KEY OF THIS CITY.

♪ ♪ >> CAN YOU HEAR ME?

YOU GUYS FEEL FREE TO PLAY WHENEVER.

♪ ♪ THINKING OF MY HAPPY HOME I LIVED LONG YEARS AGO FAR AWAY WHERE I SPENT MY HAPPY CHILDHOOD IN THE DEAR OLD ORANGE GROVE WHILE THE MOCKINGBIRDS WERE SINGING IN THE TREES ♪ ♪ >> THE SONG STUCK RIGHT OUT.

WE HAVE A FEW DIFFERENT SONGS ABOUT THE VALLEY.

THEY HAVE SIMILAR THEMES, KIND OF LONGING FOR OLD CALIFORNIA, LONGING FOR THIS KIND OF GARDEN OF EDEN THAT WAS HERE.

IT STILL DRAWS PEOPLE OUT HERE.

I GREW UP IN MINNESOTA AND I WAS DRAWN OUT JUST LIKE EVERYBODY ELSE.

>> MY FAMILY CAME OUT FROM OHIO TO LOS ANGELES IN THE 1920S.

SONGS LIKE THESE WERE SONGS THAT MY GRANDMOTHER WOULD HAVE SUNG TO ME WHEN I WAS LITTLE.

THE STYLE, THE TIME PERIOD, AND THE SUBJECT MATTER, I HAVE A CONNECTION TO THAT STUFF.

>> ON MY MOMS SIDE, THEY ARE ALL IRISH IMMIGRANTS WHO CAME STRAIGHT TO SAN FRANCISCO.

THE BAKERSFIELD AREA.

WE HAVE PRETTY DEEP ROOTS.

♪ ♪ >> I REALLY LIKE THE LYRICS TO THIS ONE.

I STARTED LOOKING AT THE MUSIC.

EXCEPT FOR SOME OLD-FASHIONED CHORDS, IT IS REALLY IN OUR WHEELHOUSE.

IT IS KIND OF COUNTRY, KIND OF COOL.

>> THERE IS NO LOW PART, RIGHT?

>> ♪ IN THE VALLEY ♪ >> WE KNEW WE COULD CHANGE THE MUSIC IF WE WANTED TO, BUT THIS MUSIC IS PRETTY GOOD.

>> IT IS THE B SECTION.

WE NEED TO HOLD THE TENSION.

VERY MINOR.

IT IS ALMOST EXACTLY AS IT WAS WRITTEN.

>> JUST A HAIR MORE.

>> ♪ MY HEART IS CRUSHED AND SAD TIS THE RESTING LACE OF DAD CALIFORNIA HOMESTEAD FAR AWAY ♪ FROM WHERE I SIT, I WOULD THINK WE MIGHT WANT TO DROP THE TWO- PART STOP.

>> IN THE MIX, IT WILL BE SUPPORTED.

>> WHAT DO YOU MEAN?

>> THE PLACES WHERE I COULD NOT FIND A THIRD PART, BUT MAYBE IT IS COOL THAT WAY.

YOU GUYS DECIDE.

DO I NEED TO SING MORE?

THE SHEET MUSIC IS PRETTY MUCH FOR PIANO.

VERY SIMPLE PIANO.

IT IS SOMETHING SOMEBODY WAS SUPPOSED TO PLAY IN THEIR PARLOR.

THEY PLAYED IT AT A PARTY.

>> WE ARE A VERY NOSTALGIC BAND.

>> WITH THIS SONG, IT IS THE LONGING, EXACTLY THE SAME AS I FEEL RIGHT NOW.

EVEN IN 1904, THEY WERE LONGING FOR THE PAST CALIFORNIA GARDEN OF EDEN.

WAS IT A MYTH?

WAS IT REAL?

SOME OF BOTH, BUT WE ARE STILL DOING IT.

>> WE HAVE TAKEN THE DEVELOPMENT OF CALIFORNIA, THE CONCRETE WILL CRACK AND FADE AWAY, IT REALLY WAS A GARDEN OF EDEN.

RATHER THAN NOSTALGIA, I WOULD CALL IT [INAUDIBLE] ♪ >> ♪ THINKING OF A HAPPY HOME I LEFT LONG YEARS AGO FAR AWAY AMONG THE CLOVER AND THE FIELD WHERE I SPENT MY HAPPY CHILDHOOD IN THE DEAR OLD ORANGE GROVE WHILE THE MOCKINGBIRDS WERE SINGING IN THE TREES ♪ ♪ I'LL NEVER FORGET THE DAY MY HEART WITH LONGING FILLED JUST ONCE MORE TO ROAM THROUGH THE ORANGE TREES AT HOME FAR AWAY AMONG THE CALIFORNIA DEW ♪ ♪ THE FIELDS OF YELLOW CORN WHERE THE QUAIL THINGS IN THE MORN ROSES BLOOM THERE ALL THE TIME IN THE VALLEY OF THE SAN JOAQUIN ♪ ♪ ♪ LAST NIGHT I DREAMED OF DEAR OLD HOME ONCE AGAIN I STOOD BESIDE THE WELL OFTEN TIMES IN THE EVENING ON THE OLD HOME I WANT IRAN ONCE MORE -- WANDER ON ONCE MORE THE SIDE OF GRAVE I KNEEL AND SOFTLY PRAY MY HEART IS CRUSHED AND SAD TIS THE RESTING LACE OF DAD -- PLACE OF DAD IN MY CALIFORNIA HOMESTEAD FAR AWAY THE FIELDS OF YELLOW CORN WHERE THE QUAIL SINGS IN THE MORN AND THE RIVER WHERE THE PALE MOON WINKS ROSES BLOOM THERE ALL THE TIME IN THE VALLEY OF THE SAN JOAQUIN ROSES BLOOM THERE ALL THE TIME IN THE VALLEY OF THE SAN JOAQUIN ♪ ♪