BACKS IN THIS EPISODE, ART IN A FORECLOSED HOME.

>> I DO WHAT I DO BECAUSE OF COMMITMENT TO A CULTURAL ENGAGEMENT.

>> A LABORERS TRANSFORMING WORKING CLOTHES -- A LABORERS -- DAY LABORERS TRANSFORMING WORKING CLOTHES, AND CHALLENGING IDEAS ABOUT FOOD IN PUBLIC SPACE.

AN ART AND DESIGN INITIATIVE BY THE GROUP "PUBLIC MATTERS."

>> IT MAKES YOU FEEL GOOD.

NEXT ON "ARTBOUND."

>> I AM A WRITER WITH "ARTBOUN " ."

WHEN I FIRST HEARD ABOUT HER PROJECT, I WAS INTRIGUED.

SHE IS AN ARTIST WHO WORKED ON THE ISSUE OF FORECLOSURE AND PROPERTY OWNERSHIP.

A FEW WEEKS BACK, HER AND ANDREA BOWERS WORKED ON AN ORGANIZATION CALLED TAKE BACK THE LAND.

IT'S AN ORGANIZATION BASED ON SEIZING FORECLOSED PROPERTIES.

WHAT CAPTIVATED ME WAS THE IDEA THAT SQUATTING COULD AND SHOULD BE ART.

THERE IS A FORMAL ELEMENT OF SCULPTURE.

SHE WORKS WITH COLORS, FORM, SPECTACLE.

THOSE ARE ITEMS ARTISTS WORK WITH.

BEYOND THAT THERE IS A SOCIAL ASPECT, IN THAT SHE IS DOING A PROJECT IN A NEIGHBORHOOD AFFECTED BY AND THAT AFFECTS THE COMMUNITY AROUND IT AND IS IN DIALOGUE WITH THAT.

THERE ARE THREE LEVELS OF COMPLEXITY IN THE WORKS.

ALL OF THOSE PLAY OFF ONE ANOTHER IN A VITAL WAY.

BUT I WORK FOR KCET TELEVISION.

-- >> I WORK FOR KCET TELEVISION.

>> IT IS A VERY ATTRACTIVE COLOR .

>> AN ARTIST PAINTED IT ALL GOLD.

I KNOW THE ARTIST.

YOU HAVE BEEN INSIDE THE HOUSE.

>> I CAME TO SEE WHAT IS GOING ON INSIDE.

QUITE HOW MUCH OF HOUSE SELLING FOR?

-- >> HOW MUCH IS THE HOUSE SELLING FOR?

>> 399.

>> SINCE 2007 THE CITY OF L.A.

HAS WITNESSED OVER 60,000 FORECLOSURES.

THE MAJORITY OF THOSE ARE WORKING CLASS FOLKS WHO ARE STRUGGLING TO STAY ABOVE WATER.

IN THE NORTHEAST WE HAVE A SIGNIFICANT PRESENCE.

WHAT WE HAVE FOUND IS YOU HAVE AN EMPTY HOUSE.

PEOPLE WHO ABUSE THESE END UP SQUATTING, TAKING CARS THEY STEAL.

A LOT OF BAD ACTIVITY OCCURS.

THERE IS NO CARE FOR THE YARD.

YOU CAN SEE THE BROKEN WINDOWS, AND IT BECOMES ALMOST CANCEROUS.

>> MY PRACTICE DOESN'T REALLY BRING IN FINANCIAL SUPPORT.

I HAVE SHOWN INTERNATIONALLY.

I DO WHAT I DO BECAUSE OF A COMMITMENT TO CULTURAL ENGAGEMENT.

THAT IS WHAT MOST STARTERS ARE.

>> SHE HAS ALWAYS BEEN INTERESTED IN THESE PREMISES OF THE AMERICAN DREAM AND THIS MYTH IF YOU WORK HARD ENOUGH YOU CAN PULL YOURSELF UP OUT OF YOUR CLASS, PROPEL YOURSELF INTO A SAFE MIDDLE CLASS.

MYTHS THAT HAVE STARTED TO DISINTEGRATE FOR A MAJORITY OF PEOPLE.

>> WE BOUGHT THIS HOUSE FOUR YEARS AGO WITH A FORECLOSED HOME.

IT WAS THE FIRST HOME WE EVER OWNED.

A WEEK AFTER MOVING INTO IT AND SIGNING THE HOUSE, MY PARTNER WAS LAID OFF, SO WE HAVE BEEN NOTHING BUT SCRAPPY AND PRECARIOUS SINCE THEN.

IT WAS A DESPERATE TIME.

MAYBE THERE WAS A SCRAPPING IS NECESSARY TO SURVIVE, AND WE PROCEEDED TO COME UP WITH THE IDEA THAT MAYBE WE COULD LIVE THERE.

THAT HOUSE WAS MUCH NICER THAN OURS AND RENT THIS ONE OUT.

I COMPLETELY BELIEVED THE HOUSE WAS ABANDONED.

OUR IDEA WAS TO GO IN THERE AND LIVE.

WE WENT INTO THE HOUSE BUT FOUND OUT IT WAS TOO UNCOMFORTABLE TO DO.

THERE WAS A BOX ADDRESSED TO THE PREVIOUS OWNER, AND IT WAS A BOX THAT WAS PRETTY -- TO HOLD CREMATION REMAINS.

I BRING UP THIS BOX BECAUSE THAT IS THE OVERT LINK TO MAKING ART FOR ME, BECAUSE I FELT AN OBLIGATION TO BURY IT OR DEAL WITH IT.

I HATED THE IDEA OF IT GETTING THROWN IN THE DUMPSTER.

WHERE YOU FOLKS FROM?

>> IT DOESN'T MATTER.

WE ARE THE NEW OWNERS, AND YOU HAVE NO RIGHT TO BE HERE.

>> DO YOU HAVE ANY DOCUMENTATION OF YOUR OWNERSHIP?

>> WE ARE GOING TO WORK IT OUT.

>> ADVERSE POSSESSION IS AN OLD NOTION THAT ARISES OUT OF THE FACT THAT FROM THE BEGINNING OF TIME NO ONE HOLDS A TITLE TO ANYTHING.

PEOPLE UTILIZE PROPERTY, AND WHEN THEY UTILIZE IT LONG ENOUGH, THE PROPERTY IS ACKNOWLEDGED TO BE THEIRS.

GOING WAY BACK LONG BEFORE ANGLO-SAXON LAW, THERE IS A NOTION WITH RESPECT TO THE LAND THAT IT'S IMPORTANT TO REWARD USE AS OPPOSED TO SOME FORMAL TITLE TO THE LAND.

THAT NOTION IN A LOW SAXON LAW GETS PLAYED OUT IN THIS IDEA OF ADVERSE POSSESSION.

>> I WANTED TO MAKE THE ENTIRE HOUSE AN OBJECT, SO THE WAY TO DO THAT WAS TO COAT THE WHOLE THING IN GOLD.

IT ALSO BECAME A COMMODITY.

AS COMMODITY, THAT'S THE WAY OUR MARKET AND CULTURE IS WORKING WITH THESE HOUSES.

IT'S BUYING AND SELLING AND FLIPPING AND TO MAKE OTHER PEOPLE MONEY AND LOSING SIGHT OF ITS FUNCTION AS A CONTAINER OF LIVES.

I WENT IN A CRASS WAY.

WE ARE GOING TO MAKE IT GOLD.

WE ARE GOING TO MAKE IT SHINY.

WE ARE GOING TO MAKE IT GILDED.

THEY HAVE ATTEMPTED PREDICTABLE STRATEGIES AND STRUCTURES BY TAKING UP OUTSIDE OF THE GALLERY AND ESTABLISHED MUSEUM CONTEXT AND BY DOING THAT INTEGRATING OR WORKING WITH A MUCH WIDER AUDIENCE.

THEY HAVE BEEN DOING THAT A NUMBER OF DIFFERENT STRATEGIES, SUCH AS EPHEMERAL AND TRANSITORY WORK, SITE-SPECIFIC INSTALLATIONS.

THEY FIT INTO THIS REGRESSIVE SOCIAL CONTEXT.

BY PAINTING IT GOLD THE HOUSE DISTINGUISHES ITSELF.

>> I STARTED TO NOTICE THERE WAS A LOT OF PARAPHERNALIA AND GAY PRIDE PARAPHERNALIA EVERYWHERE.

THEY PUT UP THIS EXPANSIVENESS BEYOND THEIR BOUNDARIES.

I WAS THINKING WHAT A JOYOUS SIGNIFIER IT WAS.

I THOUGHT OF THE POT OF GOLD AT THE END OF THE RAINBOW.

THE HOUSE BEING THE POT OF GOLD AND THIS RAINBOW WAS BOUNCING THROUGH THE INTERIOR.

>> I THINK THE CONTEXT IS SO IMPORTANT.

INSTEAD OF CHOOSING A GALLERY OR AN INSTITUTION TO PRODUCE AND PRESENT HER WORK, SHE IS CHOOSING A HOME THAT IS POTENTIALLY MOVING INTO FORECLOSURE PROCEEDINGS.

IT'S REALLY SHIFTING TRANSITORY STATE.

THE PROPERTY RIGHTS ARE IN MANY WAYS IN LIMBO.

THE MORAL IDEAS BECOME INFLUX.

>> IT WOULD BE INTERESTING TO SEE WHAT THE POLICE SAY.

>> YOU REALIZE WE ARE ARTISTS.

>> IT DOESN'T MATTER WHAT YOU TELL ME.

WE WILL TELL LAW ENFORCEMENT.

YOU CAN LIE TO ME.

>> IT IS NOT A MORALITY IDEA.

SHE IS QUESTIONING THE PARADIGM, BUT IT IS SAME TIME YOU CANNOT UNDERSTAND WHAT THE PARADIGM IS.

AM I IN FORECLOSURE?

AM I OK TO BE HERE?

>> WHAT'S THAT GOT TO DO WITH ANYTHING?

ARE YOU TELLING ME YOU ALTERED THE FACE OF THE PROPERTY FOR ARTISTIC PURPOSES?

THAT MAKES IT LEGALLY VALID?

>> IT WAS ABANDONED AND NEGLECTED.

>> IF IT WAS, WHAT GAVE YOU THE RIGHT TO TAKE POSSESSION?

YOU GOT TO UNDERSTAND THE LAW.

YOU DON'T JUST COME AND DECIDE SOMETHING THAT BELONGS TO SOMEBODY ELSE IS NOW YOURS.

YOU DON'T JUST MAKE A DECISION AND ALTAR AND THE FACE IT EITHER.

>> ONCE I FINISHED PAINTING THE INTERIOR AND EXTERIOR, A LOT OF PEOPLE FROM THE COMMUNITY AND MEMBERS OF THE ART WORLD SHARED CONSISTENTLY WITH ME A LOT OF PROBLEMS WITH THE PEACE.

-- PIECE, A LOT OF CONFLICTS IF I AM BEING EXPLICATIVE.

ARTISTS GET TO CONTROL A LOT, AND WE GET ACCUSTOMED TO TYING UP ALL THE QUESTIONS AND CONTENT.

THIS ONE THERE IS SO MUCH OUT OF MY CONTROL.

IT'S NOT EVEN FUNNY.

THE OBVIOUS SITUATION HAPPEN.

THE POLICE CAME, AND THEIR SUPERVISOR CAME AND REMOVED ME.

IT WAS CUT AND DRIED.

SHE WANTED TO LOOK FOR PROOF I LIVED THERE, AND THE FACT IS I NEVER LIVED THERE.

>> WHO DO YOU PAY RENT TO?

>> I DON'T PAY RENT.

QUITE HOW IS IT WE HAVE TO PAY MORTGAGE AND DURANT, AND YOU DON'T -- >> HOW IS IT WE ALL HAVE TO PAY A MORTGAGE AND RENT, AND YOU DON'T?

>> THIS IS AROUND ISSUES OF HOW PEOPLE USE HOUSES.

>> CAN YOU SHOW ME ANY PAPERWORK THAT GIVES YOU PROPERTY RIGHTS TO THIS RESIDENCE?

I WANT YOU TO SHOW ME PROOF HOW AND WHO GAVE YOU PERMISSION TO LIVE IN THAT HOME.

DO YOU HAVE IT?

>> NO, I DON'T HAVE IT.

>> DO YOU UNDERSTAND YOU COULD BE ARRESTED FOR TRESPASSING?

>> HE HAD A NUMBER OF ISSUES.

-- SHE HAD A NUMBER OF ISSUES.

SHE HAD THIS ART PROJECT.

SHE WAS FACED WITH POTENTIAL OF ACTION OR ARREST.

IT WASN'T CLEAR.

SHE WAS CONCERNED SHE WAS GOING TO LOSE CONTACT WITH THE PROJECT, THAT SHE WAS NOT GOING TO BE ABLE TO COMPLETE THE PROCESS SHE HAD BEGUN.

IMMEDIATELY IT OCCURRED TO ME THERE WERE ISSUES CONCERNING SQUATTERS RIGHTS AND STATUTES THAT PROTECT ARTISTS WORK AND THE INTEGRITY OF THE WORK THAT MIGHT BE AN PLAY -- IN PLAY.

>> I AM TELLING YOU, REMOVE YOURSELF FROM THIS PROPERTY.

YOU HAVE NO LEGAL RIGHT.

>> I HAD SEWN CANVASSES ON TOP WITHOUT DAMAGING THE TILES, BECAUSE I KNEW THIS WAS A SHORT-LIVED PROJECT, TRYING TO RESPECT THE NEW OWNERS THAT EVENTUALLY WERE GOING TO COME.

I ASKED THE COMPANY THAT BOUGHT IT THAT THEY WOULD PERMIT ME TO REMOVE THOSE CANVASSES.

THAT'S ALL I WANT.

>> THE VISUAL ARTISTS RIGHTS ACT PROVIDES PROTECTION.

IT DEFINES ART AS PAINTING, SCULPTURE, PRINTS, AND IF YOU PUSH THOSE DEFINITIONS SO THEY TAKE INTO ACCOUNT CONTEMPORARY DEVELOPMENTS IN ART AND CULTURE, THEN IT'S AN ARGUMENT YOU CAN DEFINITELY MAKE THAT THE ENTIRETY OF THE STRUCTURE IS AN APPROPRIATED SOUND OBJECT -- FOUND OBJECT.

IF APPROPRIATION ON THE SCALE OF REAL ESTATE.

I THINK THE QUESTION OF ETHICS IS PARTICULARLY INTERESTING.

THERE IS A NAÏVETÉ AND ABSURDITY, AND WITHIN THAT IS AN ETHICAL KERNEL.

THAT HAS TO DO WITH THINKING ABOUT THIS LARGER CONTEXT.

IF YOU THINK ABOUT UNETHICAL BANKING PRACTICES AND UNETHICAL LOAN PRACTICES AND THE MUCH LARGER CONTEXT OF WHAT WAS HAPPENING WITH THE FINANCIAL INFLATION OF THE ECONOMY -- FINANCIALIZATION OF THE ECONOMY, IT IS ALMOST AS IF THE CULTURE WAR AND THESE MINOR GESTURES THAT DO HAVE A KIND OF STRANGENESS TO THEM.

ONE THING I THINK IS INTERESTING TO TALK ABOUT IS WHAT HAPPENED TO THE OCCUPIED MOVEMENT AND THE WAY THERE WAS A NUMBER OF PEOPLE WHO TRIED TO SHIFT FROM THE NOTION OF ENCAMPMENT MORE TOWARD FORECLOSURE PROTECTION.

I ALSO SEE WHAT OLGA IS DOING AS AN OUTGROWTH IN RELATION TO THE OCCUPIED MOVEMENT, WERE THE VIOLENT EVICTIONS OF THE ENCAMPMENTS BY POLICE IN MANY CITIES ENDED UP WITH PEOPLE DEVELOPING MORE DISPERSED STRATEGIES, AND ONE OF THE WAYS I THINK THAT HAS BEEN SUCCESSFUL AND PEOPLE HAVE STRUGGLED IS THE IDEA OF DEFENDING PEOPLE'S HOMES AGAIN FORECLOSURE.

>> WHERE IS YOUR PAPER THAT ENTITLES YOU TO BE IN THE HOME?

>> HER RIGHTS INTERSECT WITH HER ATTEMPT TO ADVERSELY POSSESSED THE PROPERTY.

SHE WAS EVICTED, BUT HER WORK STILL OCCUPIES THE PROPERTY.

IT'S BECAUSE OF THOSE MUCH MORE THAN THE SQUATTER RIGHTS ANGLE THAT WE ARE IN NEGOTIATIONS WITH THE OWNER TO GET HER BACK INTO THE PROPERTY, TO ALLOW HER TO FINISH AND COMPLETE DOCUMENTATION AND TO REMOVE THE WORKS OF ART, WHICH CAN BE REMOVED WITHOUT DAMAGING THE STRUCTURE AS A WHOLE AND DAMAGING THE WORKS OF ART THEMSELVES.

>> IF OLGA RECOVERS THE CANVASSES SHE INSTALLED ON THE ROOF OF THE HOUSE AND WHICH SHE HAS PAINTED, THEN I HOPE I WILL BE ABLE TO SAVE THEM.

I THINK THEY ARE IMPORTANT DOCUMENTS OF THIS PERFORMANCE.

>> THE CITY CANNOT BE PARTICIPATING IN ACTIVITIES THAT ARE A LADLE.

-- ILLEGAL.

YOU HAVE AN EMPTY HOUSE.

THE QUESTION IS CAN WE MOVE FAST ENOUGH.

THESE THINGS CAN NOW FUNCTION THE WAY THEY WERE MEANT TO BE AS A PLACE FOR A FAMILY TO LIVE.

>> THAT'S ALL IT NEEDS.

>> I LIKE TO WRITE ABOUT GRASSROOTS UNDERGROUND CREATIVE PROJECTS GOING ON IN LOS ANGELES.

SOCIAL PRACTICES A KIND OF ARTWORK WHERE PEOPLE COME TOGETHER AND EXPERIENCE SOMETHING NOVEL BETWEEN ONE ANOTHER, AND IN THAT EXPERIENCE, IN THAT MOMENT IS WHERE THE ART IS, NOT IN THE SUM OF IT, BUT IN THE HAPPENING OF IT.

SPEAKING WITH SOME OF THE ORGANIZERS AND HEARING THE WORKER STORIES, IT WAS CLEAR TO ME THE WORKERS RUG WAS A PLACE WHERE WORKERS COULD FEEL FEELINGS THEY HAD NOT FELT BEFORE, AND THEY COULD EXPERIENCE IDEAS IN A GROUP AND SHARE THEM WITH OTHERS AND POSSIBLY TRANSFORM THEM, WHERE AN INDIVIDUAL'S EXPERIENCE IS WOVEN INTO A COMMUNITY AND HELD BY THAT COMMUNITY, AND IN A WAY THAT BECOMES A FORM OF POWER, SO THIS IS AND EXPERIENCE WHERE PEOPLE ARE SHARING THEIR STORIES TO BRING PEOPLE TOGETHER, AND THAT IS AN IDENTITY OF POWER AS WORKERS.

>> IT IS A HUMAN BEING LOOKING FOR EMPLOYMENT.

IT IS A LOT OF TIME SPENT WORKING IN SACRIFICING THEIR BODY FOR LOW PAY.

HERE THE LABORERS, THE CRACK OF DAWN TO LOOK FOR EMPLOYMENT.

THAT HAPPENED HERE THROUGH A RAFFLE.

[SPEAKING SPANISH] >>[SPEAKING SPANISH] [SPEAKING SPANISH] [SPEAKING SPANISH] [SPEAKING SPANISH] [SPEAKING SPANISH] [SPEAKING SPANISH] [SPEAKING SPANISH] >> OUR CLOTHES ARE WHAT OFTEN CREATE A VISUAL IDENTITY OF WHO WE ARE AND WHAT WE ARE WORKING ON.

IF THERE IS PAINT ON MY CLOTHES OR I HAVE A COLLAR, AND THIS IS MY OPPORTUNITY TO TAKE THAT OFF, RIP IT UP, AND PUT IT BACK TOGETHER, INTIMATELY TIED TO ANOTHER PERSON.

BUT THIS IS BERNARDO'S STORY AND PEDRO STORY.

PEOPLE HAVE SAID MAYBE AT SOME POINT THE RUG IS GOING TO BE SOME THE SIZE OF LOS ANGELES.

>> WE WANTED TO REPRESENT THE PEOPLE WHO LIVE THERE.

>> WE THOUGHT A LOT ABOUT UNIFORMS AND BLUE-COLLAR WORKERS AND WHITE-COLLAR WORKERS AND WHAT COLORS PEOPLE ARE WEARING.

PERHAPS ALL OF THESE COLORS COULD BE IN ONE.

THAT BECOMES THE CITY.

WE ARE IN AN ECONOMIC CRISIS.

WE ARE IN A RECESSION.

A LOT OF PEOPLE ARE IN A RECESSION.

>> THEY TAKE ALL THAT THEY HAVE INSIDE.

MAYBE THEY HAVE AN EXPRESSED IT ANY OTHER WAY, BUT THIS IS THEIR CHANCE TO TELL THEIR STORY, AND I FEEL THERE IS A HEALING THAT COMES WITH SHARING A STORY.

I WAS ABLE TO DO THAT A COUPLE MINUTES AGO, AND I FELT REALLY GOOD.

>> PEOPLE AREN'T GOING TO NECESSARILY FEEL INVITED OR WELCOME INTO A MUSEUM FOR VARIOUS REASONS, SO THE IDEA BEING THAT WE CAN ENGAGE WITH AUDIENCES IN THEIR ENVIRONMENT -- IN THEIR EVERYDAY ENVIRONMENTS.

ONE OF THE HIGHLIGHTS FOR ME WAS AN OPPORTUNITY WE HAD TO BRING THEM TO THE MUSEUM.

FOR A LOT OF THEM IT WAS THE FIRST TIME EVER STEPPING FOOT INSIDE A MUSEUM.

IT WAS A GREAT WAY FOR US TO BUILD A RELATIONSHIP AND SHOW IT WAS A TWO-WAY STREET OF US GOING INTO THE COMMUNITY AND ALSO TO BUILD A SPACE MEANT FOR THEM AS WELL.

>> I FEEL LIKE ART CAN PROVIDE THIS OTHER AVENUE.

IT IS THE CATALYST FOR A DIFFERENT WAY TO LOOK AT THE WORLD.

I AM SEEING MY ROLE AS FACILITATOR.

I AM FACILITATING THESE CONVERSATIONS, A DIFFERENT WAY OF LOOKING AT ONE ANOTHER.

>> IN THE END IT WAS IMPORTANT TO MAKE THIS PROJECT ABOUT RELATIONSHIP BUILDING AND SHARING AUTHORSHIP AND ALLOWING IDEAS TO EVOLVE AND LET GO.

>> WE DON'T WANTED TO SIT ON THE FLOOR.

IT IS SOMETHING TRADITIONALLY WALKED OVER OR OVERLOAD.

WE WANTED TO HANG ON THE WALL AND VISUALLY CONFRONT THE VIEWER.

THE FIRST QUESTION IS WHAT IS IT AND WHERE DOES IT COME FROM.

>> MY NAME IS JANET.

I AM AN ARTIST AND A WRITER.

I FIRST CONFRONTED THEM WHEN THEY HAD TAKEN THEIR PRACTICE OUT OF THE GALLERY SPACE INTO THE STREET, AND THEY WERE MAKING JAM.

THEN I DISCOVERED THE FRUIT MAPS AND BECAME INTRIGUED IDEA.

IT IS THE SAME AS THE WAGE IN POLICY TERMS.

I THINK IT WAS A CHALLENGE FOR ANYONE INVOLVED TO BRING PUBLIC FOR, PUBLICLY ACCESSIBLE FRUIT INTO A PUBLIC PARK THOMAS AND THAT'S SOMETHING THAT HASN'T BEEN DONE BEFORE.

THIS HAS BEEN A LITTLE INSERTION TO HAVE EVERYONE THINKING ABOUT ART AND PARKS AND PEOPLE AND FOOD IN A DIFFERENT WAY, BECAUSE WHAT THEY ARE SAYING IS NOT WE HAVE TO STRIVE HARDER TO BE OVER THERE.

WE HAVE TO FIGHT HARDER BECAUSE THERE IS NOT ENOUGH.

THEY ARE SAYING THERE IS NOT ENOUGH.

THERE IS ABUNDANCE.

WE HAVE ENOUGH TO SHARE AND GIVE AND NOT WORRY ABOUT PROTECTING OUR LITTLE CORNER.

I'M HOPING THIS WILL RESONATE AND THERE WILL BE MORE AND MORE CHANGES AND THE WEDGE WILL DRIVE THEM FURTHER, AND ULTIMATELY WE WILL HAVE A CITY WHERE THERE IS PUBLIC FRUIT AND PUBLIC CELERY AND PUBLIC CAULIFLOWER AND ALL OF THE UNUSED SPACES.

>> WHAT DO YOU THINK?

THEY ARE GREAT.

IT'S INCREDIBLE.

SO DELICIOUSLY MADE.

>> ONCE WE STARTED LOOKING AT IT WE REALIZED WE HAD THIS AMAZING INNING.

-- THING.

THIS PIECE OF FRUIT ALMOST NEVER HAS A BAD MEANING.

IT HAS A DIFFERENT CURRENCY, DIFFERENT HISTORICAL PERIODS.

THIS IS A REMARKABLY CONSISTENT OBJECT.

>> LET'S GET SOME ORANGES.

WE LOOKED AT OUR OWN NEIGHBORHOOD IN SILVERLAKE IN LOS ANGELES AND THOUGHT ABOUT IT IN PUBLIC SPACE, AND YOU WOULD GET IN YOUR CAR AND DRIVE THREE BLOCKS TO GO TO THE GROCERY STORE TO GET AN APPLE OR AN ORANGE.

WE SAW THIS AS SOMETHING THAT WAS HIDDEN.

WE MADE A MAP.

WE DID A BUNCH OF PHOTOGRAPHS OF US PICKING FRUIT.

THE RESULT OF THAT WAS THIS.

THIS IS AN ART COLLECTIVE WHERE WE LOOK AT FRUIT AND USE FRUIT AS A MATERIAL BY WHICH WE CAN REIMAGINE THE WORLD AROUND US.

WE THINK OF FRUIT TREES AS GUARDIANS OF THE CITY.

THEY ARE SOMETHING THAT ALWAYS PROVIDES A SYMBOL OF GENEROSITY AND A SENSE OF AESTHETIC, A SENSE OF COMMUNITY WITHOUT ASKING FOR ANYTHING BACK.

>> WE BECAME INTERESTED IN THE OBJECT WE FOUND, WHICH IS THIS FRUIT.

WE STARTED CALLING IT FUNNY FRUIT.

WHAT WE WANT TO TALK ABOUT THIS PROPERTY AND WHO DOES THE FRUIT BELONG TO.

A LOT OF OUR WORK HAS WORKED BETWEEN THOSE.

THE ACTUAL FOR IT AND THE PEOPLE WHO USE IT.

>> -- THE ACTUAL FRUIT AND THE PEOPLE WHO USE IT.

>> THESE PUBLIC SPACES EXIST IN PRETTY MUCH EVERY CITY IN THE WORLD, AND THEY ARE ALWAYS ON THE AGE OF LEGALITY.

THEY ARE IN A GRAY ZONE.

THERE ARE ONLY TWO CITIES IN NORTH AMERICA THAT HAVE IT PERMISSIBLE TO PLANT FRUIT TREES IN PUBLIC SPACE.

WHAT A HALLE -- WHAT A LAHAR -- GUADALAJARA.

I DON'T THINK THEY ARE THAT DANGEROUS.

I THINK WE SHOULD OPEN OUR MIND TO THE IDEA THAT FRUIT TREES COULD BE BENEFICIAL.

AND SAID OF GOING THROUGH A DRIVE THROUGH AND GETTING FRENCH FRIES -- INSTEAD OF GOING THROUGH A DRIVE THROUGH AND GETTING FRENCH FRIES, WHY DON'T YOU GO TO A FRUIT TREE AND GET A TANGERINE?

IT'S REALLY GOOD.

>> FRUIT IS PICKED ON PUBLIC SIDEWALKS, ON PUBLIC RIGHTS OF WAY.

THERE IS A CERTAIN AMBIGUITY AS TO WHOSE PROPERTY THIS IS.

WHILE THERE IS A GENERAL UNDERSTANDING YOU CAN SIMPLY PICK FRUIT THAT OVERHANGS THE SIDEWALK, IT'S NOT THAT CLEAR.

I DON'T THINK LANDOWNERS NEED TO WORRY THERE ARE GOING TO BE ROVING BANDS OF FRUIT GANGS TAKING FRUIT, BUT IT'S AN INTERESTING ASPECT OF WHAT FOLLOWED FRUIT IS DOING.

>> IT'S AN OPPORTUNITY TO CREATE SITUATIONS THAT TRANSFORM POLICY, THAT CHANGES THE EXPERIENCE OF A PLACE BY RETHINKING WHAT'S LEGAL.

IS IT POSSIBLE TO CREATE A PUBLIC RESOURCE IN A PUBLIC SPACE THAT DOESN'T WANT ANYTHING BACK FROM THE PUBLIC?

WHAT IF IT WAS A PLACE THAT WAS ALWAYS ABUNDANT WESTERN MARK WHAT IF IT IS A PLACE THAT ALWAYS OFFERED SOMETHING TO YOU BECAUSE IT WILL WAS THERE?

-- BECAUSE IT WAS THERE?

WHAT THEY WANTED IT TO BE GREEN AND SERVE THE COMMUNITY.

WE HAVE BEEN WORKING WITH THIS IDEA OF MAKING THESE PUBLIC FRUIT ORCHARDS, EITHER USING LEFTOVER SPACE OR PLOTS OF LAND IN THE CITY THAT HAVE NOTHING ON THEM AND PLANTING FRUIT TREES, MAKING IT ACCESSIBLE TO EVERYONE.

>> PUBLIC ART CREATES A SENSE OF PLACE.

IT INCORPORATES THE VALUES IN PUBLIC SPACES WE CAN ENJOY FOR GENERATIONS TO COME, SO WHILE THIS IS A CONCEPTUAL PROJECT, IT'S ALSO REALLY PRACTICAL.

PEOPLE LIKE TO EAT FRUIT.

THEY LIKE TO MAKE JAM.

THEY LIKE TO COOPERATE WITH THEIR NEIGHBORS.

>> USING FRUIT AS A COMMON DENOMINATOR, WE CHANGE THE WAY YOU THINK OF THE WORLD.

>> YOU SAW A LOT OF THESE MASSIVE ETC.

WORKS PROJECTS, AND IT WAS TIED INTO THIS NATIONALISTIC MOVEMENT OF THIS POWERFUL NATION THAT CAN CONTROL NATURE.

YOU HAVE SINGLE-PURPOSE PROJECTS LIKE THE LOS ANGELES RIVER, 52 MILES OF CONCRETE, AND THEY ARE REEVALUATING THE FUNCTIONALITY OF THE RIVER.

WE CAN HAVE FLOOD CONTROL, BUT WE CAN HAVE HABITAT, ECONOMIC DEVELOPMENT, AND I THINK PEOPLE ARE LOOKING AT PUBLIC SPACES IN THE SAME WAY.

>> IT WAS A UNIQUE OPPORTUNITY BECAUSE IT WAS THE SITE THAT ACTUALLY INCLUDED IN PART OF THE RECONSTRUCTION OF THE PARK PUTTING IN NEW TREES.

WE PROPOSE THE PLANTING OF TREES AS A FORM OF ARTWORK.

WE BASICALLY ARE ABLE TO USE THE UNDERSTANDING THAT FRUIT TREES ARE THE PROJECT.

OUR MESSAGE DOESN'T NEED A LOT OF VERBAL LANGUAGE.

WE DON'T NEED A MURAL OR A TESTIMONIAL.

ALL WE NEED IS THE ORGANIC LIVING MATTER AS AN EXAMPLE.

THE FRUIT TREES WILL DO WHAT THEY NATURALLY DO, WHICH IS MAKE THROUGH.

PEOPLE WILL PICK THEM.

>> ONE OF THE HURDLES FOLLOWED FRUIT HAVE IN BEING PERMITTED TO DO THIS WORK IS TO OVERCOME THE CONCERNED THAT WORK RELATED TO FRUIT COULD FALL IN THE AREA OF NUISANCE.

THERE ARE CONCERNS BY CITIES OR MUNICIPALITIES THAT IF THEY TAKE CERTAIN ACTIONS THIS MAY MAKE A HAZARDOUS CONDITION MORE APPEALING AND UNSUSPECTING -- AND THEREFORE AN UNSUSPECTING CHILD OR ADULT COULD PUT THEMSELVES IN HARMS WAY.

THE CHILD COULD CLIMB A TREE, PICK AN APPLE, AND FALL.

WHETHER THAT COULD HAPPEN, AND WHETHER THAT MAKES A FRUIT TREE ANY MORE DANGEROUS THAN ANY OTHER TREE IS AN OPEN QUESTION, BUT IN OUR LITIGIOUS SOCIETY WHERE WHEN SUSAN CAN BE SUED -- WHERE ONE SUES AND CAN BE SUED IT IS LEGITIMATE CONCERN.

>> YOU CAN GET AS ANGRY AS YOU WANT WITH A BANANA, AND THE BANANA IS GOING TO BE OK.

>> THE COUNTY HAS RULES AND REGULATIONS.

THAT BEING SAID, THERE ARE ALWAYS CREATIVE WAYS TO CREATE OPPORTUNITIES.

THE WORKS AT -- FITS PERFECTLY WITHIN STATE PARKS.

IT'S AN OPPORTUNITY.

WHAT THEY ARE DOING IS ACTUALLY HELPING US TELL A STORY.

IN TERMS OF THE IMPORTANCE OF THE HEALTHY FOOD INITIATIVE, WHICH IS FOCUSED ON THE CHILDHOOD OBESITY EPIDEMIC AND TYING PEOPLE TO LOCALLY RESOURCED FRUIT, AND TEACHING THINGS THROUGH ART IS A GREAT AVENUE TO ENGAGE LOCAL YOUTH, SO WE THINK THAT IS A GREAT OPPORTUNITY HERE IN LOS ANGELES.

>> THE IDEA IS ABOUT GETTING PEOPLE TO THINK ABOUT WHAT AN IMPORTANT ROLE FRUIT CAN AND SHOULD PLAY IN OUR PUBLIC ENVIRONMENT.

WE USED TO BE ALL ORANGE ORCHARDS.

HERE WE ARE STRUGGLING WHEN WE HAD A SOLUTION RIGHT IN FRONT OF US, WHICH IS WE COULD HAVE FRUIT TREES EVERYWHERE.

THE PARK IS NOT ONLY A PHYSICAL MENACE TO -- MANIFESTATION I FEEL CONFIDENT PEOPLE ARE GOING TO ENJOY FOR GENERATIONS TO COME, BUT IT IS CERTAINLY A WAY TO GET PEOPLE TO ADDRESS HEALTHY FOOD OPTIONS IN OUR COMMUNITY.

>> I AM EXCITED WE WERE ABLE TO WORK ON THIS PROJECT.

I'M PROUD OF IT BECAUSE IT WAS A COLLABORATION IN THE TRUE SPIRIT OF COLLABORATION.

IT TOOK THE COUNTY OF LOS ANGELES, THE ARTS COMMISSION, THE DEPARTMENT OF POWER, PARKS AND RECREATION, AS WELL AS THE COUNSEL OF THIS NEIGHBORHOOD, THE PARK STAFF TO ALL COME TOGETHER AND NOT NEGOTIATE IN DOGMATIC TERMS BUT REALLY COOPERATE AND FIND INSPIRATION IN CHOICES TO MOVE THIS WHOLE THING FORWARD.

>> WITH UPMARKET MAKEOVER, WHAT WE ARE TRYING TO DO IS INTRODUCE QUALITY FRUITS AND VEGETABLES IN AREAS WHERE THEY DON'T HAVE IT, SO WE PARTNER WITH CORNER STORES BECAUSE THERE IS AN ABUNDANCE OF SMALL STORES IN AREAS.

THE PARTNERSHIP ISN'T JUST A PARTNERSHIP WITH THE STORE.

IT'S A PARTNERSHIP WITH THE COMMUNITY, SO IT'S A PARTNERSHIP WITH SCHOOLS, WITH YOUTH, WITH LOCAL ORGANIZATIONS TO TRANSFORM THE STORE, BUT MOST IMPORTANTLY, TO TRANSFORM THE FOOD ENVIRONMENT.

OUR BACKGROUND IS AS VISUAL ARTISTS AND VISUAL THINKERS.

WHEN I SAY WE ARE BRINGING CREATIVITY TO THESE ISSUES, IT COMES FROM THAT.

ANY PROJECT WE DO HAS A LOOK AND FEEL THAT USES THOSE VISUAL STRATEGIES.

IT IS NO ACCIDENT WE ARE DOING POSTERS THAT LOOK VERY DIFFERENT FROM ANY PUBLIC HEALTH CAMPAIGN ANYONE ELSE DOES, AND IT'S NO ACCIDENT WE TAKE PRIDE IN THAT WE HEAR COMMENTS LIKE, I SAW YOU ON THAT POSTER DOWN THE BLOCK, BECAUSE IT'S THE COMMUNITY RECOMMENDING ITSELF.

THAT'S PART OF THE IDEA OF SOCIAL ENGAGEMENT.

IT'S A LONG-TERM ENGAGEMENT WITH THE COMMUNITY, WHERE WE ARE INVOLVED WITH THE DIALOGUE.

WE AREN'T THE ONES STUDYING THE DIALOGUE.

WE HELP FACILITATE IT, BUT THE TERMS UNFOLD AS THE WORK UNFOLDS.

>> YOU DAD USED TO WORK AT A FAST FOOD RESTAURANT, AND I WOULD GET FAST FOOD -- MY DAD USED TO WORK IN A FAST FOOD RESTAURANT, AND I WOULD GET FAST FOOD ALL THE TIME FOR FREE.

I DON'T REMEMBER BEING TAUGHT ABOUT FOOD WHEN I WAS A KID.

I JUST ATE WHAT I WAS GIVEN.

>> MY FAMILY HAS EVERYTHING -- CANCER, LUNG DISEASE, OBESITY, DIABETES.

THAT RUNS THROUGH THE FAMILY.

EATING HEALTHY IS A START TO PREVENT THAT SO THE YOUNGER GENERATION WON'T GET IT.

>> ONE OF THE PROBLEMS WE HAVE WITH CORNER STORES, THESE ARE GENERALLY LOW INCOME URBAN COMMUNITIES THAT HAVE POOR ACCESS TO HEALTHY FRUITS AND VEGETABLES.

THE COMMON VENUE FOR FOOD PURCHASING IS THE CORNER STORE, AND THEY OFTEN DON'T OFFER LOTS OF FRUITS AND VEGETABLES OR ANY AT ALL, SO WE WORK WITH THE STORE OWNERS SAY THEY NOT ONLY CAN SUPPLY FRUITS AND VEGETABLES FOR PURCHASING AND CONSUMPTION BUT THEY ALSO CAN GET THEM AT LOW COST SO THE COMMUNITY CAN AFFORD THEM.

>> THE MARKET MAKEOVER IS A REALLY COMPREHENSIVE APPROACH TO ADDRESSING HEALTHY FOOD.

IT'S ABOUT WORKING WITH YOUNG PEOPLE TO BRING HEALTHY AND FRESH FOOD TO EXISTING CORNER MARKETS TO TRANSFORM THEM SO THEY CAN OFFER HEALTHY FOOD.

>> I GOT INVOLVED WITH PUBLIC MATTERS.

IT HAS BEEN THREE YEARS ALMOST.

>> THEY APPROACHED US DOING THIS PROJECT, MARKET MAKEOVER IS, AND THE PRINCIPAL APPROACHED ME ABOUT THE POSSIBILITY OF HAVING AN ELECTIVE COURSE TO CONNECT THE WORK PUBLIC MATTERS IS DOING WITH THE STUDENTS AT THE HIGH SCHOOL.

>> WHAT THEY ARE DOING IS SOME OF THE SIGNAGE THAT'S GOING TO GO INSIDE ONE OF THE MARKETS THAT SAYS FRESH.

THAT'S GOING TO GO DIRECTLY ON TOP OF THE PRODUCE REFRIGERATION THAT IS GOING TO GO ON THE MARKET.

THE IDEA IS WHEN SOMEONE WALKS INTO THE MARKET, YOU ARE GOING TO HAVE THIS BIG SIGN, VERY COLORFUL, THAT'S GOING TO JUMP OUT AT FOLKS WHO WALK INTO THE MARKET.

>> WE HAD TO REORGANIZE THE INSIDE BECAUSE THERE IS THIS BIG WALL OF CHIPS.

WE HAD TO GET RID OF THAT.

IT WAS VERY PLAIN BEFORE.

WE WANT TO MAKE SURE WE CAN NOTICE THE STORE.

>> ONE OF THE STORES WE OPENED IS RIGHT ON THE STREET FROM THE SENIOR CENTER.

IT IS NICE HAVING THEM COMING UP AND THANKING YOU THEY DON'T HAVE TO GO SO FAR TO GET THEIR VEGETABLES AND FRUIT.

THEY CAN JUST DRIVE DOWN THE STREET.

>> I REMEMBER MY MOM.

SHE USED TO GO TO TRADER JOE'S, SO WE WOULD DRIVE ALL THE WAY TO WHITTIER CITY JUST TO GET HEALTHIER FOOD.

I WAS LIKE, OH I NEED TO LOOK FOR SOMETHING HEALTHIER.

THIS IS AN EXAMPLE WHERE IT NEEDS TO BE IN WALKING DISTANCE OF FAMILIES IN THIS NEIGHBORHOOD.

>> WE WANT TO PUT THESE MARKET INTERVENTIONS TO WORK.

THE MARKET OWNER NEEDS TO SEE HIMSELF OR HERSELF FOR THE COMMUNITY.

OTHERWISE, THEY WON'T SUSTAIN.

THEY WILL CONTINUE TO SELL CIGARETTES AND LOTTERY TICKETS, WHICH BRINGS IN FOOT TRAFFIC BUT DOESN'T MAKE THE COMMUNITY HEALTHY.

>> BRINGING HEALTHY FOOD INTO THE COMMUNITY AND POSSIBLY IMPACTING THE COMMUNITY IN A WAY WE DIDN'T KNOW WAS POSSIBLE, TRYING SOMETHING NEW, PUTTING FRUITS AND VEGETABLES IN THE FRONT VERSUS JUNK FOOD.

IT SOUNDED LIKE A GREAT IDEA, AND WE WENT FOR IT.

THE DIFFERENCE OF A LITTLE BIT OF PAINT.

MOVING THINGS AROUND, EVEN LARGER, PEOPLE HAVE BEEN PURCHASING FRUITS AND VEGETABLES MORE THAN WE DID BEFORE.

>> ONE OF THE THINGS WE DID IS WE WANT TO MAKE SURE WE HELP PROMOTE THE STORE IN THE COMMUNITY SO THE PEOPLE KNOW ABOUT IT.

OFTEN THE HARDEST AMY IS AFTER THE -- HARDEST THING IS AFTER THE TRANSFORMATION.

THERE IS ALL THIS WORK, AND YOU CAN'T JUST LEAVE IT ONCE IT'S DONE.

IF YOU BRING THE FRUITS AND VEGETABLES, IT DOESN'T NECESSARILY MEAN PEOPLE WILL COME.

THEY NEED TO KNOW IT'S HERE.

WE DO A FAIRLY EXTENSIVE EFFORT AT SOCIAL MARKETING TO MAKE SURE COMMUNITY MEMBERS KNOW THE STORE HAS BEEN TRANSFORMED.

IT OFFERS A WIDER RANGE OF OPTIONS FOR FAMILIES AND PARTICULARLY HEALTHY OPTIONS.

>> THIS IS PART OF THE ONGOING SCIENCE TO TRY TO UNDERSTAND WHAT IMPACT THE STORES ARE HAVING UNHEALTHY BEHAVIORS.

WE ARE NOT QUITE DONE WITH DATA COLLECTION, BUT WE HAVE BEEN OBSERVING IT IS HAVING A CHANGE.

WE ARE SEEING CHANGES IN THE WAY PATRONS, THESE ARE THE PEOPLE WHO FREQUENT THESE CORNER STORES, AS WELL AS COMMUNITY RESIDENTS WHO MAY OR MAY NOT FREQUENT THE STORES, BUT THEY ARE TRYING TO CHANGE EATING BEHAVIORS AS A RESULT OF WHAT IS BEING SOLD AND THE SOURCE BUT ALSO AS A RESULT OF SOCIAL MARKETING AS PART OF THE TRANSFORMATION.

>> WE WORK WITH COMMUNITIES.

WE MAKE SURE WE ARE WORKING WITH YOUNG PEOPLE AND DEVELOPING LEADERSHIP FROM WITHIN THE COMMUNITY.

WE WANT TO MAKE SURE THAT WHEN THE FUNDING GOES AWAY THERE IS A LASTING LEGACY OF GREATER CAPACITY FOR LEADERSHIP, CREATIVITY, AND SOCIAL JUSTICE WITHIN THE COMMUNITY.

♪ ♪ >> ♪ THEY MUST BE ALLOWED TO DIE THE BED IS COLD BUT YOUR BODY HEAT IT RINGS LIFE -- BRINGS LIFE CRYING IN A RIVER MADE YOUR EYES THE CLOUDED SKIES LET YOUR WHISPERED WORDS BE DIVINE IF COULTER'S CAN BE SOBER, LET IT DIE LEANING ON THE EFFORT LEFT INSIDE CREATOR, HE CREATE A MONSTROUS MESS FROM THE INK SO YOUR SOUL CAN RISE AGAIN IF THE VULTURES CAN BE SOLDIERS LET IT DIE LEANING ON THE EVERLASTING SIGH ♪ IF SOLDIERS CAN BE SOLDIERS, LET THEM DIE WINNING ON THE EVERLASTING SIGH IF VULTURES CAN BE SOLDIERS, LET IT DIE LEANING ON THE EVERLASTING SIGH LEANING ON THE EVERLASTING SIGH LEANING ON THE EVERLASTING SIGH ♪