♪ ♪ ♪ >> THIS GROUP CALLED METRALLETA DE ORO, THEY STARTED A DJ BAND OR GROUP.

THEY PLAY CUMBIA.

IT IS A TYPE OF CUMBIA MADE POPULAR IN MEXICO CITY.

IT IS A REALLY SLOW, RHYTHMIC AFRO RHYTHM DEEP BASE.

THESE DJS, ONE DAY, WHEN THEY WERE LOOKING FOR A THOUGHT TO DO THEIR THING, THEY LOOKED EVERYWHERE, BUT THEY PURPOSEFULLY CHOSE TO DO IT IN LINCOLN HEIGHTS BECAUSE THEY WANTED TO BRING A LIFE INTO IT.

BRINGING PEOPLE FROM THE COMMUNITY AND PRODUCE AN ECONOMY WITHIN THE COMMUNITY.

THE CLUB ON THURSDAY NIGHTS WHEN METRALLETA DE ORO PLAYS IS MOSTLY YOUNG ADULTS, CHIPSTERS, CHICANO HIPSTERS, YOUNG ADULTS WHO WERE MORE THAN LIKELY BORN ON THE SIDE.

I FEEL LIKE IT GOES BACK TO THE SEARCH FOR IDENTITY.

THAT IS WHAT THEIR PARENTS LISTEN TO OR MOST LIKELY DID, OR WHAT THEIR GRANDPARENTS DID.

WHY NOT GET INTO IT AND EMBRACE IT AND LOVE IT?

>> I HAVE ALWAYS LIKED IT.

I REMEMBER AS A KID DANCING TO IT.

I STILL FEEL LIKE IT IS THE PERFECT MUSIC TO DANCE TO.

IT IS THE IN BETWEEN RHYTHM, AND IT HAS A GOOD GROOVE.

THE BASELINE JUST KIND OF MOVES YOU.

>> IT IS HAPPY MUSIC.

IT IS MUSIC THAT MAKES ME WANT TO DANCE.

THERE IS SOMETHING ABOUT THE RHYTHM ITSELF THAT MAKES YOU WANT TO MOVE AROUND A LITTLE BIT.

>> IT IS MUSIC THAT IS REALLY EASY TO ENJOY.

YOUR BODY FEELS IT BEFORE YOUR MIND DOES.

THAT IS SOMETHING WE WANT TO EXPLOIT AND HAVE OTHER PEOPLE ENJOYED THE SAME WAY -- ENJOY IT IN THE SAME WAY.

[LAUGHTER] ♪ ♪ ♪ >> MY FIRST EXPERIENCE WITH CUMBIA MUSIC WOULD HAVE TO BE AT A FAMILY PARTY.

A VERY FESTIVE ENVIRONMENT WHERE THE MUSIC KIND OF BRINGS THAT OUT OF PEOPLE AND MAKES PEOPLE DANCE AND HAVE FUN.

>> IT HAS ALWAYS BEEN AT ANY KIND OF FRIENDS BARBECUE, JUST KIND OF PLAYING IN THE BACKGROUND, AND WHEN IT IS READY IN TIME TO DANCE, IT WILL BE PLAYING.

EVERYONE IS ON THE DANCE FLOOR.

IT IS ALWAYS IN A FESTIVE ENVIRONMENT.

>> MORE THAN ANYTHING, THIS IS FAMILY MUSIC.

CUMBIA IS AFRICAN.

IT STARTED BACK IN THE DAY DURING THE TIMES OF SLAVERY IN COLUMBIA.

IT STARTED OUT WITH PERCUSSIVE INSTRUMENTS.

IT WAS KIND OF RITUAL TYPE OF MUSIC, PART OF TRADITION, CULTURAL.

♪ ♪ >> WE FIRST KIND OF MET IN HIGH SCHOOL AND JUST HAVE BEEN FRIENDS SINCE.

I CAME BACK TO L.A., AND WE ALL LINKED UP HERE.

WE ALL GREW UP IN LONG BEACH BUT ENDED UP IN L.A.

I THINK IT WAS FOR A REASON.

THERE ARE A LOT OF EXCITING THINGS GOING ON IN L.A.

WE WANT TO BE A PART OF THAT.

THAT IS ONE OF THE REASONS WE DECIDED TO DO IT AND START THIS COLLECTIVE AND TRY TO BE A PART OF THE CUMBIA SCENE AND THE ART SCENE AND MUSIC SEEM, IN GENERAL.

>> BACK WHEN WE GET SERIOUS ABOUT COLLECTING MUSIC, PUTTING STUFF TOGETHER, THINKING ABOUT STARTING OUR OWN PARTIES, I SAID, HEY, LET'S DO A NIGHT.

LET'S START A PARTY OF OUR OWN.

WE STARTED LOOKING FOR A PLACE.

THAT WAS THE HARDEST PART, FINDING A VENUE TO HOST THIS PARTY.

>> WE HAD THE IDEA OF SCOPING OUT DIFFERENT PLACES IN NEIGHBORHOODS WE LIKE, NEIGHBORHOODS WE FEEL WOULD RESONATE WITH OUR VIBE.

>> WE STUMBLED UPON THE OFFICE JUST DRIVING BY.

WE DECIDED, LET'S JUMP IN THERE AND HAVE A DRINK.

>> WE WALKED IN, AND WE FELL IN LOVE WITH THE PLACE.

WE LIKED THE SPACE.

THEY HAVE A NICE DANCE FLOOR.

THEY HAVE A LITTLE STAGE.

GREAT SOUND SYSTEM.

A SMOKING PATIO.

IT WAS EVERYTHING WE WANTED IN A BAR.

IT WASN'T TOO BIG OR TOO SMALL.

JUST RIGHT.

♪ ♪ >> THERE IS NOT MUCH GOING ON IN LINCOLN HEIGHTS AS FAR AS THE NIGHTLIFE.

THERE IS A HIP-HOP CLUB, THE AIRLINE, THAT DOES LOW END THEORY.

THAT IS PROBABLY ONE OF THE ONLY THINGS GOING ON THIS PART OF TOWN.

THAT HAS ITS CROWD.

WE ARE DEFINITELY INTO THAT.

I THINK LINCOLN HEIGHTS IS GOOD IN THAT IT IS PART OF THE IDENTITY ALREADY.

WE ARE NOT BRINGING NECESSARILY SOMETHING THAT HASN'T ALREADY BEEN HERE.

CUMBIA IS ALREADY HERE.

YOU HEAR IT FROM CARS AND FROM STORES AND BUSINESSES THAT PLAY IT.

ALL WE ARE REALLY DOING IS BRINGING OUR GENERATION TO LISTEN TO IT, TO ENJOY IT.

LIKE US, WE GREW UP LISTENING TO CUMBIA.

I WOULD SAY MOST OF THE LATINOS ON HERE PROBABLY HAD THE SAME EXPERIENCE.

WE WANT TO MAKE IT CURRENT.

♪ ♪ >> I FORGOT IT.

YOU HAVE TO HIT THE VIBE RHINO -- VIBRATTO.

[LAUGHTER] >> I TRY TO COLLECT ANYTHING THAT I SEE THAT I LIKE, OR I LISTEN TO IT SOMETIMES BY THE COVER, SOMETIMES BY THE YEAR, SOMETIMES BY GOING ON WHAT YOU HEAR.

I SAW THIS COVER, AND I WAS LIKE, THIS LOOKS COOL.

AND LOOKED AT THE YEAR.

IT TURNS OUT IT HAS A COUPLE OF COOL TRACKS ON IT.

A COUPLE CUMBIAS ON THERE.

THERE ARE DIFFERENT STYLES.

THERE IS TROPICAL, A TYPE FROM PERU THAT IS VERY GOOD TARGET AND DRIVEN, COLOMBIAN, WHICH IS VERY ACCORDING-DRIVEN.

THEN HEAVY HITTING, HARD BASE.

THAT IS WHAT YOU HEAR AT THE PARTY, THE HEAVY HITTING, HARD BASS.

WE RELATE THAT TYPE OF CUMBIA WITH HIP-HOP.

THERE IS THAT SENSE OF APPROPRIATION IN THE MUSIC THE SAME WAY HIP-HOP IS.

WE ARE WEARING THE GOLD CHAINS AND KIND OF GLORIFYING IT, THIS HIP-HOP AESTHETIC.

IT ALL PLAYS OFF OF APPROPRIATION, AT LEAST FOR ME.

>> THE PROCESS OF PUTTING TOGETHER A TRACK MYSELF IS THAT I HAVE MY INSTRUMENTS.

I HAVE MORE INSTRUMENTS PUT AWAY, BUT I HAVE THE ACCORDION, THE GUITAR, AND THE BASE.

I WILL RECORD THE ACCORDION.

I WILL PLUG IN THE GUITAR AND BASS AND SEPARATE THEM AND DIFFERENT CHALLENGES.

IT IS KIND OF LIKE A FOUR TRACK.

IT'S NOT REALLY.

THERE ARE A LOT OF CHANNELS HERE.

AT THE VERY END, I WILL PUT THESE TRACKS TOGETHER AND TWEAK THEM A LITTLE BIT.

I WILL PLAY A LITTLE BIT WITH THE VOLUMES AND BEGIN TO TURN KNOBS AND ADD A LITTLE BIT OF DELAY AND REVERB AND CREATE A NEWER VERSION OF CUMBIA PLAYED BY ME.

THIS IS THE WHOLE TRACK TOGETHER NOW.

♪ IF PEOPLE ARE DANCING, THE TRACK IS REALLY GOOD, I THINK.

IF PEOPLE ARE JUST STANDING AROUND, YOU GET A LITTLE NERVOUS .

MAYBE THIS IS NOT AS GOOD AS I THOUGHT IT WAS.

MY WAY TO TEST THIS OUT IS TO ACTUALLY PLAY IT IN FRONT OF PEOPLE.

♪ ♪ ♪ ♪ ♪ ♪ >> WITH THE MARKET MAKEOVER, WHAT WE ARE TRYING TO DO IS INTRODUCE QUALITY FRUITS AND VEGETABLES IN AREAS WHERE THEY DON'T HAVE IT.

WE PARTNERED WITH CORNER STORES.

THERE IS AN ABUNDANCE OF SMALL STORES.

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

IT IS A PARTNERSHIP WITH A COMMUNITY.

IT IS A PARTNERSHIP WITH SCHOOLS, WITH YOUTH, WITH LOCAL ORGANIZATIONS TO TRANSFORM THE STORE, BUT MOST IMPORTANTLY TO TRANSFORM THE FOOD ENVIRONMENT.

OUR BACKGROUND IS FIRST AND FOREMOST AS VISUAL ARTISTS AND VISUAL THINKERS.

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

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

IT IS NO ACCIDENT THAT, SAY, WE ARE DOING BUS POSTERS THAT LOOK VERY DIFFERENT FROM ANY KIND OF PUBLIC HEALTH CAMPAIGN ANYBODY ELSE DOES.

IT IS ALSO NO ACCIDENT THAT WHAT WE TAKE PRIDE IN IS THAT WE HEAR COMMENTS LIKE, I SAW YOU ON THAT POSTER DOWN THE BLOCK.

IT IS THE COMMUNITY REPRESENTING ITSELF.

THAT IS PART OF THE IDEA OF SOCIAL PRACTICES, SOCIAL ENGAGEMENT.

IT IS A LONG-TERM RELATIONSHIP WITH THE COMMUNITY OR WE ARE INVOLVED IN A DIALOGUE.

WE ARE NOT THE ONES SETTING THE DIALOGUE.

WE HELP TO FACILITATE IT.

THE TERMS UNFOLD AS THE WORK UNFOLDS.

>> MY DAD USED TO WORK AT A SHOP.

I WOULD GET TATTOOS FOR FREE ALL THE TIME.

THAT IS NOT REALLY HEALTHY.

I DON'T REMEMBER BEING TAUGHT ABOUT FOODS WHEN I WAS A KID, ABOUT VEGETABLES AND FRUIT.

I JUST ATE WHAT WAS GIVEN TO ME.

>> MY FAMILY HAS -- WE HAVE EVERYTHING.

CANCER, LUNG DISEASE, OBESITY, DIABETES.

EATING HEALTHY IS THE BEST WAY TO START TO PREVENT THAT.

>> ONE OF THE PROBLEMS THAT WE HAVE WITH CORNER STORES AND FOODS TO WANT -- AND FOOD SWAMPS IS THE ART LOW INCOME URBAN COMMUNITIES THAT HAVE POOR ACCESS TO HEALTHY FRUITS AND UNTOUCHABLES.

THE COMMENT VENUE FOR PURCHASING FOOD IS THE CORNER STORE.

THEY OFTENTIMES DON'T OFFER FRUITS AND VEGETABLES, ANY AT ALL.

WE WORK WITH THE STORE OWNERS SO THEY NOT ONLY CAN SUPPLY FRUITS AND VEGETABLES FOR PURCHASING AND CONSUMPTION, BUT THEY ALSO GET THEM AT LOW COST SO THE COMMUNITY CAN AFFORD THEM.

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

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

>> I HAVE BEEN INVOLVED ABOUT THREE YEARS NOW ALMOST.

THEY APPROACHED US FOR DOING THIS PROJECT, THE MARKET MAKEOVERS, AND THE PRINCIPAL APPROACH ME ABOUT HAVING THE POSSIBILITY OF HAVING AN ELECTIVE COURSE TO CONNECT THE WORK THAT PUBLIC MATTERS IS DOING WITH THE STUDENTS HERE AT ROOSEVELT HIGH SCHOOL.

WHAT THEY ARE DOING RIGHT NOW IS SOME OF THE SIGNAGE THAT IS GOING TO GO INSIDE ONE OF THE MARKETS THAT SAYS, FRESCO OR FRESH.

IT IS GOING TO GO DIRECTLY ON TOP OF THE PRODUCE REFRIGERATION INSIDE THE MARKET.

THE IDEA BEHIND IT IS THAT WHEN SOMEBODY WALKS INTO THE MARKET, YOU ARE GOING TO HAVE THIS BIG "FRESCO" SIGN, VERY COMFORTABLE THAT IS JUST GOING TO -- THE VERY COLORFUL THAT IS GOING TO JUMP OUT THE PEOPLE WALKING INTO THE MARKET.

>> WE HAD TO REDESIGN IT.

WALKING IN, THERE WAS THIS BIG WALL OF CHIPS.

WE HAD TO GET RID OF THAT.

WE HAVE ALSO BEEN DECORATING THE OUTSIDE.

IT WAS VERY GRAY BEFORE.

YOU WANT TO MAKE SURE YOU CAN ACTUALLY NOTICE THE STORE.

>> ONE OF THE STORES WE OPENED WAS DOWN THE STREET.

IT IS REALLY NICE HAVING THEM COME UP TO YOU, THANKING YOU SO THEY DON'T HAVE TO GO SO FAR GETTING THEIR VEGETABLES AND FRUITS.

IT MAKES YOU FEEL GOOD.

YEAH, I'M DOING SOMETHING RIGHT.

>> I REMEMBER MY MOM.

SHE USED TO GO TO TRADER JOE'S.

WE WOULD DRIVE ALL THE WAY TO WHITTIER CITY JUST TO GET SOME TYPE OF HEALTHIER FOOD.

NOW IT'S JUST LIKE, I NEED TO LOOK FOR SOMETHING HEALTHY AROUND HERE.

THIS IS AN EXAMPLE WHERE IT SEEMS TO BE WITHIN WALKING DISTANCE FROM FAMILIES IN THIS NEIGHBORHOOD.

>> IN ORDER FOR THESE MARKET MAKEOVER INTERVENTIONS TO WORK, THE CORNER STORE OWNER, THE MARKET OWNER NEEDS TO SEE HIM OR HERSELF AS AN ASSET TO THE COMMUNITY.

OTHERWISE, THE PROJECTS WON'T SUSTAIN, AND THEY WILL CONTINUE TO SELL LIQUOR, LOTTERY TICKETS, AND CIGARETTES, WHICH BRING THEM A LOT OF FOOT TRAFFIC, BUT DOESN'T MAKE THE COMMUNITY HEALTHY.

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

IT IS A GREAT IDEA.

WE WENT FOR IT.

>> THE DIFFERENCE OF A LITTLE BIT OF PAINT, MOVING THINGS AROUND -- IT EVEN LOOKS LARGER.

PEOPLE HAVE BEEN ALREADY PURCHASING FRUITS AND VEGETABLES MORE THAN WE DID BEFORE.

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

OFTEN, THE HARDEST THING IS GOING THROUGH THE TRANSFORMATION.

THERE IS ALL THIS ENERGY THAT GOES INTO TRANSFORMING THE STORE, AND YOU CANNOT LEAVE IT WHEN IT IS DONE.

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

THEY NEED TO KNOW THAT IT IS HERE.

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

IT OFFERS A WIDER RANGE OF OPTIONS FOR FAMILIES, PARTICULARLY HEALTHIER OPTIONS.

>> THIS IS PART OF THE ONGOING SCIENCE TO TRY TO UNDERSTAND WHAT IMPACT THESE STORES ARE HAVING ON THE HEALTHY NEIGHBORHOOD.

WE ARE NOT DONE WITH THE DATA COLLECTION, BUT WHAT WE HAVE BEEN OBSERVING EARLY ON IN SOME PRELIMINARY DATA IS THAT WE ARE SEEING CHANGES IN THE WAY THAT PATRONS -- PEOPLE WHO FREQUENT THESE CORNER STORES, AS WELL AS COMMUNITY RESIDENTS WHO MAY OR MAY NOT FREQUENT THE STORES -- THEY ARE STARTING TO CHANGE THEIR EATING BEHAVIORS AS A RESULT OF WHAT IS BEING SOLD, BUT ALSO AS A RESULT OF THE SOCIAL MARKETING WE ARE DOING IS PART OF THE TRANSFORMATION.

-- AS PART OF THE TRANSFORMATION.

>> WE WORKED WITH COMMUNITIES, AND WE MAKE SURE WE WORK WITH YOUNG PEOPLE, DEVELOPING A CADRE OF 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 THESE COMMUNITIES.

>> I AM KAREN HOWELL.

I'M AN ART, ECHO CHURCH ARE, AND DESIGN WRITER.

I LIVE IN LOS ANGELES.

THE COLUMN THAT I WRITE FOR "ARTBOUND" CONCENTRATES ON THE INTERSECTIONS OF DIFFERENT CULTURES.

MARY'S WORK WAS INTERESTING FOR ME BECAUSE HIS WORK IS ART INFORMED BY HIS SOCIAL WORK.

HE JUST WANTS THESE THINGS TO BE BEAUTIFUL, ONE, BUT TWO, IT ALSO KIND OF PROVOKES THE QUESTION IN THE MIND.

WHAT IS THIS PAINTING, OR WHAT IS THIS WORK TRYING TO SAY?

WHAT DOES THAT MEAN FOR THE REST OF SOCIETY?

>> GROWING UP, I REMEMBER WALKING DOWN BROADWAY IN PASSING BY A LOT OF THESE NEWSSTANDS THAT WERE AT THE CORNERS.

THEY WOULD HAVE THESE GRAPHIC NOVELAS FROM MEXICO.

A LOT OF THESE COMIC BOOKS WERE DEALING WITH SOCIAL ISSUES, WERE DEALING WITH DOMESTIC ISSUES.

THERE IS MUCH EASIER WHEN ALL THESE KINDS OF THINGS INVOLVED -- MACHISMO AND ALL THESE KINDS OF THINGS INVOLVED.

I ALWAYS LOOK AT POPULAR CULTURE.

WHEN I SEE THIS GRAPHIC IMAGERY, I FOUND IT VERY COMPELLING.

CHECK THIS ONE OUT.

THIS IS KIND OF TRICKY.

HE IS ABOUT TO TAKE HIS BELT.

HE STARTS WHACKING THE KID.

THIS ONE SAYS, HIT HIM HARDER, DATA.

I DON'T KNOW THE STORY, BUT THE FATHER IS ABUSING THE KID.

YOU KNOW, LIFE EXPERIENCES.

THESE ARE IMAGES THAT ARE PROBABLY USING MY WORK.

FOR THE PAST 14 YEARS, I HAVE BEEN WORKING WITH AT RISK YOUTH.

A LOT OF THESE FAMILIES, THERE ARE A LOT OF ABSENTEE FATHERS, SO WORKING WITHIN THOSE ENVIRONMENTS, I HAVE SEEN A LOT OF DOMESTIC ISSUES.

WHAT I HAVE COME TO TERMS WITH FOR YEARS IS THAT IT IS PART OF MY PRACTICE AS AN ARTIST.

IT INFORMS WHAT I DO.

IT AFFECTS ME.

I'M THINKING ABOUT COMMENTING ON THESE EXPERIENCES TO GENERATE SOME SORT OF DIALOGUE OR TO HAVE A PRIVATE VIEW INTO SOME OF THESE TOPICS THAT ARE HAPPENING IN SOCIETY.

I THOUGHT, HOW COULD I CREATE A WORK THAT MAKES PEOPLE THINK ABOUT THIS?

I STARTED SOURCING THESE IMAGES FROM THESE BOOKS BY REMOVING THE TEXT AND WORKING ON THE NARRATIVE MORE DIFFERENTLY, WHERE YOU DON'T KNOW WHAT IS THE BEGINNING OR THE END.

YOU JUST WONDER, WHAT COULD THEY BE SAYING?

WHAT IS FAMILIAR IS THE IMAGERY.

TO ME, THAT IS IMPORTANT.

THEY ARE COMIC BOOKS AND VERY GRAPHIC IN THE SENSE THAT IT IS DRAWN.

IT MAKES IT EASIER TO ENTER SUCH A HARD TOPIC.

WHEN YOU REALIZE WHAT IS GOING ON, IT MAKES YOU PONDER AND THINK ABOUT THESE ISSUES AND MAKING A DECISION WHERE YOU ARE ALMOSTWHERE THESE THINGS ARE HAPPENING AND YOU ARE A WITNESS TO IT.

AS PEOPLE WHO HAVE EXPERIENCED DOMESTIC VIOLENCE, IT ALLOWS US TO ENTER THE WORK AND EXPERIENCE IT AT A MUCH MORE PERSONAL LEVEL.

>> I THINK THAT FOR HIM TO BRING HIS WORLD, HIS NEIGHBORHOOD, HIS ROOTS, HIS FAMILY, HIS WORK AS A SOCIAL WORKER, AND THEN COMBINE IT WITH ALL THIS ART EDUCATION HE HAS RECEIVED IN SOME OF THE BEST SCHOOLS IN THE COUNTRY, IT IS A REALLY INTERESTING COMBINATION THAT HE IS NOW TRYING TO PUT TOGETHER AND PRESENT AS A PRACTICING ARTIST.

I THINK HE HAS DECIDED THAT SUCH A PRACTICE IS WHAT HE LIKES TO DO.

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

I THOUGHT, WOW, VERY PROFOUND.

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

SO, WE CELEBRATE MOTHER'S DAY.

WE CELEBRATE FATHER'S DAY.

WE ALWAYS CELEBRATE THEM ACCORDING TO THE SEXES.

>> NERY HAD THIS CONCERN ABOUT THE RELATIONSHIP OF ART AND CULTURE.

WHEN I SAY CULTURE, I'M TALKING ABOUT RACE, GENDER, THESE ISSUES THAT ARE POLICY-DRIVEN, THAT ARE INVOLVED IN GOVERNMENT AND INVOLVED IN TRYING TO MAKE PEOPLE'S LIVES BETTER.

TRADITIONAL NOTIONS OF ART ARGUED THAT ART SHOULD NOT BE INVOLVED IN POLITICAL AND SOCIAL ISSUES.

THE PROPER VENUE FOR POLITICAL AND SOCIAL ISSUES IS POLITICS.

ART, ON THE OTHER HAND, IS PART OF A LONG TRADITION OF AESTHETICS.

AESTHETICS IS COMPLETELY SEPARATE FROM POLITICS.

THE IDEA THAT IT IS GROUNDED IN IS AESTHETICS IS ABOUT EXPERIENCES, BUT POLITICS TALKS ABOUT LOCAL AND SPECIFIC ISSUES THAT ARE NOT UNIVERSAL TO ALL OF US.

NOT ALL PEOPLE ARE VICTIMS OF DISCRIMINATION.

NOT ALL PEOPLE HAVE THE SAME EXPERIENCE WITH ISSUES OF GENDER.

NOT ALL PEOPLE HAVE THE SAME RELATIONSHIP WITH LYRICAL IDEAS -- POLITICAL IDEAS.

HE HAS RECEIVED A TREMENDOUS BACKLASH.

THE ARGUMENT IS, HE IS NOT MAKING ART.

WHEN SOMEBODY LIKE NERY COMES ALONG AND HAS THE CONVICTION TO DO THIS, IT IS A PRETTY RADICAL POSTURE TO TAKE.

>> THE WORK THAT I HAVE IN THE BACK ROOM ARE DRAWINGS THAT MY SON DID FROM THE AGE OF FOUR TO SIX.

I APPROACHED HIM AND SAID, I WANT TO DO A PROJECT WITH YOU.

I WANT TO COLLABORATE.

I WANT YOU TO JUST BE DRAWING, AND I'M GOING TO COME IN AND DRAW WITH YOU.

I'M GOING TO DRAW ON TOP OF YOUR DRAWINGS.

HE SAID, THAT'S REALLY COOL.

FOR ME, WHEN I DID THIS PROJECT, I WANTED TO CREATE WORK THAT COULD BE AN EXAMPLE AND HOPEFULLY COULD BE MIMICKED AND COPIED AND SOMEBODY ELSE COULD DO THIS.

SOME PARENT COULD DO IT WITH HER KID.

LET'S GET TOGETHER AND DRAW A PICTURE TOGETHER.

MOST BOYS ARE INTERESTED IN SUPERHEROES.

I CREATED IMAGES TO GO ALONG WITH HIS IMAGES.

ONE OF THEM IS ET, AND HE DREW THIS.

HE DREW THIS POWER RANGER MASK.

I DREW MYSELF BEHIND THE MASK.

IT IS KIND OF LIKE THESE THINGS WHERE THERE IS AFFECTION OR LOVE.

THE SYMBOL OF IT IS TO FUNCTION AS AN INTERVENTION, WORKING WITH FAMILIES AND BEING A FATHER MYSELF -- I WANT TO FIND MORE TIME TO SPEND WITH MY KIDS.

IT WAS FUN TO DO A PROJECT WITH HIM WHERE I WAS ABLE TO SPEND MORE TIME WITH HIM AND HAVE HIM INVOLVED.

WHEN HE CAME TO THE OPENING, HE WAS LIKE, LOOK, I DID THIS WITH MY DAD.

THAT FEELING -- I MEAN, IT'S LIKE, I DON'T CARE ABOUT ANYTHING ELSE, MAN.

THAT IS ME AND MY KID.

>> JAIME'S WORK IS ON PEOPLE WHO MAKE THEIR OWN IDENTITIES, SUBCULTURES, WHERE PEOPLE TAKE ALL OF THESE DIFFERENT INFLUENCES AND THEN FUSE THEM AND CREATE SOMETHING THAT IS DIFFERENT AND NEW.

IT IS TOTALLY THEIR OWN.

YOU WILL SEE THE DIFFERENT GROUPS OF PEOPLE THAT AREN'T NECESSARILY BOUND BY THEIR CULTURE OR BOUND BY THEIR NATIONALITY.

THEY ARE BOUND BY WHAT THEY ACTUALLY LIKE TO DO OR WHAT THEIR INTERESTS ARE.

HER WORK HAS BEEN INCLUDED ALREADY IN THE SMITHSONIAN'S NATIONAL PORTRAIT GALLERY, WHICH IS LIKE A VERY BIG THING, TO BE INCLUDED IN BASICALLY THE NATION'S HISTORICAL PORTRAIT OF WHAT THE U.S.

IS.

>> THIS MACHINE IS A COMPLETELY DIFFERENT MEDIUM THAN PENCIL OR PAINTBRUSH.

THERE ARE WAY DIFFERENT FACTORS INVOLVED.

YOU HAVE TO TAKE IN CONSIDERATION THE PERSON'S SKIN, HOW THE SKIN IS REACTING, HOW TIGHT THE SKIN IS, IF YOU WILL STRETCH THE SKIN OR NOT TO GET THE INK TO GO IN.

IT IS KIND OF NERVE-RACKING.

IT VIBRATES REALLY HEAVY.

IT WASN'T JUST LIGHT.

YOU HAVE TO BE A LOT SLOWER WITH IT.

EVEN JUST SIMPLE TATTOOS, THERE ARE A LOT MORE FACTORS TO TAKE IN CONSIDERATION -- TO TAKE INTO CONSIDERATION.

THANKS TO MY FRIENDS WHO LET THEM -- WHO LET ME PRACTICE ON THEM, I'M GETTING BETTER LITTLE BY LITTLE.

IT TAKES YEARS OF PRACTICE TO MASTER IT, YOU KNOW?

I STARTED OUT PAINTING FRIENDS, DRAWING, DEPICTING PHOTOGRAPHS I'VE TAKEN OF VARIOUS SOCIAL SITUATIONS, HANGING OUT, GOING TO PARTIES, BASICALLY SOCIALIZING OR LIVING.

THESE ARE JUST PRETTY MUCH DOCUMENTATION OF EVERYDAY LIFE OCCURRENCES.

I APPRECIATE WOODGRAIN MORE SO THAN WHITE CANVAS.

I LIKE NEGATIVE SPACE, AS WELL.

FOR ME, WOODGRAIN IS NOT A HIGH ART REFERENCE.

THE WOODGRAIN SUGGESTS ALMOST A READY-MADE LANDSCAPE.

IT IS MORE DEATH TO THE ACTUAL COMPOSITION THEY FLAT BACK ROUND.

I FOCUS MORE ON THE SUBJECT.

YOU CAN CONNOTE SO MUCH FROM WHAT PEOPLE WEAR, HOW THEY STYLE THEIR HAIR, THEIR FASHION, THEIR TASTE.

I FIND A LOT OF PEOPLE TRANSCEND THEIR CONTEST.

YOU ARE IN A SPOT, BUT I DON'T THINK ANYBODY EVER FEELS THEY ARE A PART OF IT.

IT IS NICE TO TAKE PEOPLE OUT OF IT.

>> WE ARE SO THRILLED THAT YOU ARE ALL HERE TONIGHT.

TO CELEBRATE A SPECIAL PREVIEW OF PORTRAITURE NOW, ASIAN-AMERICAN PORTRAITS OF ENCOUNTER.

WE HAVE SHIZU SALDAMANDO AND -- HERE TONIGHT.

>> WE ARE FOCUSING ON OTHERS WHO HAVE A REAL MASTERY OF THE MEDIUM.

I THINK YOU WILL AGREE THAT ALL OF THE ARTISTS WE COULD INHABIT AN INCREDIBLE MASTERY OF THEIR ART AND MEDIAN.

OF COURSE THE OTHER THING FOR US IS THE ARE DEALING WITH PORTRAITURE.

>> PORTRAITURE WOULD BE THE KING OR PRESIDENT ON THE WALL, TALKING DOWN TO YOU.

YOU ARE THE SUBJECT.

THE PICTURE IS THE SUBJECT.

THIS IS TAKING A HIERARCHICAL MEDIUM AND TURNING IT INTO THE DAILY LIFE OF ORDINARY PEOPLE.

I THINK IT IS REALLY COOL.

>> I AM FROM CHICAGO.

MY GRANDMOTHER IS FROM BOYLE HEIGHTS, BUT THEY ARE JAPANESE.

MY GREAT GRAND MOTHER IS FROM JAPAN, BUT THEY CAN BECOME -- BEFORE WORLD WAR II.

THEY HAD DIFFERENT CONNECTIONS TO JAPANESE CULTURE.

BEFORE THE WAR, THEY WEREN'T SUPPOSED TO SPEAK JAPANESE.

THEY WEREN'T SUPPOSED TO KEEP ON TRADITIONS.

THEY WEREN'T SUPPOSED TO ASSOCIATE WITH ANYBODY ELSE IN JAPAN.

>> WHEN I FIND OUT THAT SHIZU WAS JOINING ME, I WAS REALLY HONORED.

SHE IS AN AMAZING ARTIST.

I AM A FAN OF HER ART.

THE DRAWING IS BEAUTIFUL, AMAZING.

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

OH, YOU ARE PASSED OUT.

I WAS KNOCKED OUT.

I'M OWNING UP TO IT.

>> I WAS JUST FIXING MY HAIR.

THE EXPERIENCE OF THIS OVERALL WAS -- I WAS LOOKING AT THE PORTRAIT OF ME.

SOMEBODY TOOK A DOUBLE TAKE AT ME.

IT WAS AMAZING.

>> A CONTINUATION OF CHICANO ART IN LOS ANGELES.

HIS WORK REFERENCES PAST ARTISTS, BUT AT THE SAME TIME, HE IS CREATING HIS OWN IDENTITY.

HE USES REFERENCES TO THE VIRGIN MARY QUITE OFTEN.

HE SPECIFICALLY CITES THE OUR LADY OF GUADALUPE A MURAL IN HIS NEIGHBORHOOD WHERE HE GREW UP.

IT IS A TYPE OF MURAL YOU ARE GOING TO SEE IN A LOT OF DIFFERENT NEIGHBORHOODS, ON THE SIDES OF A LOT OF DIFFERENT BUILDINGS IN L.A.

AT THE SAME TIME, HE IS BOTH INCORPORATING SOMETHING THAT IS A PART OF HIS YOUTH AND A PART OF HIS OWN NEIGHBORHOOD CULTURE, BUT IT ALSO IS SOMETHING THAT HITS A CHORD WITH A LOT OF OTHER PEOPLE IN THE CITY OF LOS ANGELES.

THAT IS KIND OF WHAT I REALLY APPRECIATE ABOUT GERMS' WORK.

HE HAS TAKEN A LOT OF DISPARATE REFERENCES, DIFFERENT ASPECTS OF LIFE IN LOS ANGELES AND PUT THEM TOGETHER INTO THESE BIG, BEAUTIFUL, COLORFUL PIECES.

THEN THERE ARE THE TENTACLES.

THE TENTACLES HAVE BECOME HIS TRADEMARK.

HE USES THE TENTACLES TO CREATE LETTERS, TO CREATE SCENES, TO MAKE THESE ABSTRACT PIECES THROUGH WHICH OTHER SORT OF REFERENCES -- THE DODGER HAT, THE VIRGIN MARY -- ALL COME TO LIFE.

>> WE ARE TODAY IN THE VINCENT PRICE MUSEUM ON THE CAMPUS OF THE EAST L.A.

COLLEGE THEY ARE HAVING A SHOW OF GERMS, AMONG OTHERS.

JAIME "GERMS" ZACARIAS WILL BE INITIATED.

HE IS A CHICANO ARTIST.

I HAVE BEEN FOLLOWING HIM FOR A NUMBER OF YEARS, BUT I RECENTLY STARTED COLLECTING HIM.

>> WE ARE IN MY STUDIO IN CHINATOWN.

MY NAME IS JAIME ZACARIAS.

I GO BY THE NAME GERMS.

EVERYBODY IN A SKATE CREW HAS A WEIRD NICKNAME.

WE WERE ALL HUNGRY.

WE DIDN'T HAVE TIME.

I WENT TO THE TRASHCAN AT CARL'S JUNIOR, PULLED OUT A CUP, WASHED IN THE RESTROOM, SOAKED IT UP, AND MADE A DASH OUT OF IT.

>> I STARTED ART AS AN ACADEMIC PURSUIT.

I WANTED TO BE ABLE TO GO TO A COCKTAIL PARTY IN NEW YORK.

THAT IS A LOVELY PICASSO.

LIKE THAT WAS GOING TO HAPPEN.

IT DID HAPPEN.

I STUDIED THE ART LONG ENOUGH.

THAT IS WHEN I SAW THE CHICANO PAINTERS AND SAID, THESE GUYS ARE REALLY GOOD.

THEY WERE PAINTING FROM A DIFFERENT PERSPECTIVE, A DIFFERENT ENERGY.

THEY WERE BEING INFLUENCED FROM THEIR OWN COMMUNITY.

I WAS BORN AND RAISED IN SOUTH L.A.

JUST THE ENVIRONMENT INSPIRED ME A LOT.

I DON'T LIKE BEING BOSS TO ROUND.

I WANTED TO BE MY OWN BOSS AND DO MY OWN THING.

I STARTED PAINTING.

I LIKE NOT BEING TIED UP.

I CAN BE LOWBROW.

>> CHICANOS ARE MEXICAN-AMERICANS WITH A DEFIANT ATTITUDE.

THEY STAND UP FOR THEIR RIGHTS.

THEY WILL NOT TAKE SECONDARY CITIZENSHIP.

>> WHEN I FIRST STARTED IN THE CHICANO ART MOVEMENT IN THE LATE 60'S AND WILL -- AND 70'S, IT WAS DURING THE TIME OF THE CIVIL RIGHTS MOVEMENT.

>> CHICANO IS A TERM THAT AT ONE TIME HAD A STRONG POLITICAL ASSOCIATION.

>> AS TIME WENT BY, IT EXPANDED INTO PRIVATE CONCERNS OF INDIVIDUAL ARTISTS.

>> HIS ART REALLY SPEAKS TO SOUTHERN CALIFORNIA AND WHO WE ARE AS A CULTURE IN SOUTHERN CALIFORNIA.

ALMOST ALL OF US HERE ARE OF TWO CULTURES.

>> WHEN YOU PUT THESE PORTRAITS TOGETHER, YOU GET THIS 360 ESSENCE, THE FEELING OR TASTE OF WHAT IT IS TO SEE THE WORLD THROUGH CHICANO EYES.

A SLIGHTLY DIFFERENT.

MY MANTRA HAS BEEN COME YOU CANNOT LOVE OR HATE CHICANO ART UNLESS YOU SEE IT.

WHEN THEY SEE IT, PEOPLE SAY, I DIDN'T KNOW IT WAS GOING TO BE LIKE THIS.

I LIKE THIS.

>> WE HAVE TO CARRY ON THE LEGACY.

KEITH HARRY, THE CLAYTON BROTHERS, MAGOO.

I LIKE WHAT THEY DID AS FAR AS CHICANO ARTISTS.

>> GILBERT GO HUNT IS CONSIDERED THE FOUNDING MEMBER OF THE GROUP, WHICH WAS THE FIRST CHICANO COLLABORATIVE TO BE EXHIBITED IN THE MAJOR AMERICAN MUSEUM.

THEY WERE EXHIBITED IN LACK NOT.

>> THEY WERE THE FIRST ONES WHO SAID, WE ARE A DISTINCTIVE SCHOOL OF ART.

WE REPRESENT PERSONALITY AND COMMUNITY AND AESTHETIC.

WE ARE JUST AS GOOD AS ANYBODY ELSE.

WE SHOULD BE TREATED THAT WAY.

>> HE JUST LIKES TO NURTURE ARTISTS.

>> I THINK HE WAS A HUGE INFLUENCE ON BOTHJAIME'S =-- BIOTH JAIME'S GENERATION AND THE GENERATION BEFORE HIM, ABOUT HOW LOOKING AT ARTISTS WHO HAVE A MEXICAN-AMERICAN HEART -- HERITAGE, HOW THEY FIT INTO A LARGER ART WORLD.

>> HE WOULD HOLD GROUPS WHERE FRIENDS WOULD COME TOGETHER AND DISCUSS THE GENRE, THE ART, WHAT IT MEANT TO BE AN ARTIST IN SOUTHERN CALIFORNIA.

JAIME GOT TO KNOW MAGOO THROUGH THE MEETINGS.

MAGOO GAVE HIM A LOT OF ENCOURAGEMENT THAT HE COULD ACTUALLY FOLLOW HIS PASSION AS AN ARTIST AND BE SUCCESSFUL.

>> IT IS KIND OF A PASSING BETWEEN THE TWO GENERATIONS, IF YOU WILL.

>> MAGOO WAS ONE OF MY MENTORS.

HE TAUGHT ME A LOT AS FAR AS HOW TO BEHAVE.

HE TAUGHT ME HOW TO COMPOSE MYSELF AND HOW TO APPROACH THINGS, HOW TO FOCUS, HOW TO MAKE BETTER ARTWORK.

>> HIS TAKE ON THE CHICANO EXPERIENCE WAS THAT HE DIDN'T WANT TO PUT PEOPLE OFF.

HE DIDN'T WANT PEOPLE TO BE FRIGHTENED BY IT OR AFRAID OF IT.

HIS ARTWORK IS ALWAYS REALLY CHEERFUL.

IT IS BRIGHT AND UPLIFTING.

GILBERT WOULD BE ABOUT 72, 73 RIGHT NOW.

HE PASSED AWAY SEVERAL YEARS AGO.

>> HE HAD THIS ONE CAR THAT HE PAINTED THAT WAS CALLED THE FAMILY CAR, AND IT WAS LIKE THE LOW RIDER CAR.

IT WAS DONE WITH PINK FEATHERS.

>> THE CAR WAS ACTUALLY LISTED ON EBAY UNDER HOT RODS FOR SALE.

IT WAS AT THE AUTO PAWN SHOP.

THE SALESMAN SAID, THE PAINT JOB IS CRAZY.

YOU CAN PAINTED GRAY.

IT CLICKED.

GILBERT LUJAN, I THINK HE IS WHO PAINTED THE CAR.

I GOT IT HOME AND IMMEDIATELY CONTACTED MAGOO AND TOLD HIM I BOUGHT THE CAR AND WOULD LIKE HIS HELP IN RESTORING IT.

ALTHOUGH IT IS OUR FAMILY CAR, THIS IS REALLY OUR CULTURAL FAMILY CAR.

IT EMBODIES EVERYTHING THAT HE VALUES, THE GRAPHICS IN THE CAR REALLY SPEAK TO HIS ANCESTRY AS A MEXICAN AND AS A MEXICAN-AMERICAN.

IT REALLY BROUGHT A LOT OF JOY TO MY HEART TO BE ABLE TO SAVE THIS FOR HIM.

>> SO, THIS PAINTING HERE IS A TRIBUTE TO MAGOO BY GERMS.

IT HAS TENTACLES THAT COME OUT OF THE BOTTOM.

THIS IS BLUE DOG RIGHT HERE.

>> IT HAS A SENSE OF HUMOR, YOU KNOW?

ART DOESN'T NECESSARILY HAVE TO BE TAKEN SERIOUSLY ALL THE TIME.

I THINK THAT IS AN AFFECTATION.

ART SHOULD MAKE YOU LAUGH A LOT.

>> SOMETHING SPECIAL FOR MAGY.

-- MAGU.

THAT IS WHAT I CAME UP WITH.

>> WHAT I FEEL WHEN I LOOK AT HIS WORK, I FEEL THE ENERGY.

THERE IS AN ENERGY I PICK UP ON.

I FIND IT VERY POSITIVE, UPLIFTING.

>> IT REALLY IS SPECTACULAR WHEN YOU SEE IT FOR THE FIRST TIME, VERY VIBRANT COLOR-WISE, BUT VERY MODERN AND FUTURISTIC AT THE SAME TIME.

>> HIS WORK HAS BEEN COMPARED TO BOSS KIOSK, BECAUSE OF THE RAW ENERGY HE HAS.

>> KIND OF A COMBINATION OF BOSQUE HE HIM MEET THE SIMPSONS.

>> I WAS INFLUENCED EARLY BY THE SIMPSONS.

YOU CAN SEE IT.

>> HE IS EXTREMELY METHODICAL AND VERY DETAILED IN HIS PROCESS.

>> IT IS DONE IN A GERMS FASHION.

IT IS A GERMAN, YOU KNOW WHAT I MEAN?

IT IS NOT THE VIRGIN MARY.

>> I LIKE TAKING MY WORK SERIOUSLY.

I'M SERIOUS ABOUT MAKING MY WORK, BUT THE HUMOR IS MORE OF A JOKE.

SOMETIMES, I LIKE HIDING SOMETHING AND NOT TELLING ANYBODY ABOUT IT.

>> HIDDEN AMONGST THE TENTACLES, HE HAS SIGNED IT WITH HIS NAME "GERMS" ACROSS THE MIDDLE.

>> I CAN INCORPORATE A LOT OF L.A.

MOTIFS.

>> HE IS A HUGE L.A.

DODGER FAN COULD IF HE CAN PUT THE LOGO AND SOMEHOW, HE'S GOING TO DO IT.

>> HE HAS REALLY DEVELOPED HIS OWN DISTINCTIVE LOWBROW ART.

IT IS VERY HIGHBROW NOW.

>> I TRY TO COMBINE OLD THINGS TO MAKE IT NEW AGAIN.

>> HE IS SOMEBODY WHO REALLY DOES TAKE HIS CRAFT SERIOUSLY AND PURSUES IT IN A REALLY INTELLIGENT FASHION FOR YOUNG ARTIST.

HE IS REALLY GOING ABOUT IT THE RIGHT WAY.

>> HE IS AN ARTIST WHO CAN FIT INTO SO MANY DIFFERENT CATEGORIES, AND IT IS SOMETHING THAT I THINK HE REALLY PROMOTES AND PLAYS AROUND WITH.

HE KNOWS HE CAN BE WITH THE ORIGINAL CHICANO ARTISTS, AND THEN HE CAN BE WITH THE HIPSTER SCENE.

IT GIVES JAIME THE ABILITY TO RECRUIT THE NEXT GENERATION.

>> I WANT HIM TO KEEP ON DEVELOPING.

I HAVE SEEN HIM GO THROUGH PHASES BEFORE, AND I WANT THEM TO KEEP ON GOING THROUGH PHASES AND MAKE GREAT PAINTINGS.

ALL ARTISTS THAT ARE REALLY GOOD, YOU WANT THEM TO KEEP ON GOING.

YOU WANT THEM TO LIVE FOREVER.

>> I HAVE A TWO AND A HALF-YEAR-OLD AND A NINE-MONTH-OLD.

IT'S THE REASON WHY I HAVE TO KEEP WORKING.

I DRAW WITH JEREMY.

HE MAKES A MESS.

I'M HAPPY DOING IT.

I WOULD LIKE TO KEEP DOING IT FOR THE REST OF MY LIFE.

>> I'M TO SPRAY THE MANAGING EDITOR OF "ARTBOUND."

TO HELP DEVELOP THE SYSTEM -- THESE STORIES, I WORK WITH THE WRITERS.

I STARTED WORKING WITH THE DATE FARMERS WHEN I WAS INTERVIEWING A DJ.

HE IS SPIKE JONES'.

HE HAS THIS VIDEO THAT WAS PRODUCED BY THE DATE FARMERS.

BASICALLY, IT WAS THESE LITTLE CHARACTERS THAT LOOKED LIKE A MIX BETWEEN A CEREAL BOX AND MICKEY MOUSE.

I LOOKED IT UP, AND IT WAS THE DATE FARMERS.

A YEAR LATER, I WENT TO THE ACE GALLERY WHERE THE DATE FARMERS WERE HAVING A BIG EXHIBITION.

THEN I MADE IT TO THE BACK OF THE GALLERY.

I SAW ARMANDO BACK THERE, ONE OF THE ARTISTS.

HE WAS OUTSIDE OF A SHAQ BEING BUILT TO SHOW THE VIDEO THAT I FIRST LEARNED ABOUT THEM, AND THE THING THAT REALLY SHOCKED -- STRUCK ME WAS THE BREATH OF THEIR WORK.

IT WAS A MAY DIFFER IN THINGS, SCULPTURES, PAINTINGS, STREET ART.

THEY WOULD MAKE THESE SOME BUSHES -- ASSEMBLAGES THAT WOULD REPRESENT CALIFORNIA.

THEY ARE FROM COACHELLA VALLEY.

THEIR PARENTS WERE WORKING IN THE DATE FARM IN I THOUGHT IT WAS INTERESTING -- DATE FARM.

I THOUGHT IT WAS INTERESTING TO SEE SOMEBODY WHO HAD THAT MANY LAYERS OF THE CALIFORNIA EXTERIOR.

THE DATE FARMERS ACTUALLY THROW A PARTY OUT IN THE MIDDLE OF THE DESERT, WHICH IS COMMON.

PEOPLE GO OUT TO THE DESERT, AND THEY HAVE A BAND PLAYING.

YOU GET TO SEE THE DATE FARMERS ACTUALLY CREATE THEIR MURALS IN FRONT OF YOU.

>> 200 CARS.

I CAME FROM MEXICO IN 1963.

I STARTED HERE IN 1977.

I WORKED AT THE GAS PUMP AND THE FRONT FOR A LONG TIME.

THE OWNER TOLD ME, I WANT TO RETIRE INSULT YOU.

-- AND SELL TO YOU.

>> USUALLY, WE HAVE TO SUBMIT A SKETCH.

>> I LIKE JESUS CHRIST MUCH.

I DON'T KNOW WHAT IT IS.

IT IS A GOOD PAINTING.

>> I THINK WE CAN CONTINUE DOING ART ON THIS PROPERTY, THE OPPORTUNITY TO BE ABLE TO BUILD ON SOMETHING FOR YEARS AND YEARS WOULD BE PRETTY AWESOME.

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

WE WERE TALKING ABOUT WHICH ARTISTS ARE REALLY INTERESTED IN OBSERVING INFORMATION ON THE STREET AND IN THEIR PERSONAL ENVIRONMENT, THEIR HOME ENVIRONMENT AND TRANSLATING IT INTO THEIR IMAGERY.

THE BEST AND L.A.

ARE THE DATE FARMERS.

I THOUGHT, OK, THIS IS SOLID.

THIS IS UNIQUE.

THIS IS FEARLESS.

I THOUGHT, THIS HAS GOT AN INCREDIBLE FUTURE.

>> IT HAS A RICH HISTORY AND CULTURE.

98% OF THE COMMUNITY IS LATINA.

I SHOULD SAY, MEXICANO.

WHEN YOU TALK ABOUT THE DATE FARMERS AND THE WORK THEY DO, THE ART THEY HAVE PUT FORWARD, IT ALL REALLY TALKS ABOUT THE HISTORY, THE CULTURE OF ART IN OUR COMMUNITY.

JUST THEIR NAME, THE DATE FARMERS -- YOU LOOK AT THE TOPOGRAPHY OF THIS AREA, AND YOU SEE HUNDREDS OF ACRES OF DATE FARMERS.

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

>> THEY ARE CREATING THESE CRAZY AWESOME PIECES FROM WHAT IS AROUND THEM.

THAT IS WHAT IS AROUND ME, TOO.

>> THANK YOU.

>> AS AN ARTIST, YOU'RE TAPPED INTO -- TRAPPED IN SOLITARY CONFINEMENT.

SOLITARY CONFINEMENT IS LIKE THE DESERT.

WHEN YOU ARE IN THE DESERT, IT IS CRAZY.

NOTHING IS GIVEN TO US.

YOU HAVE TO FIND IT AND ACCOMPLISH IT.

>> THE FACT THAT THEY ARE OUT IN THIS SMALL TOWN HAS LED THEM TO BE ABLE TO MAKE THIS A VERY INTERESTING VISUAL LANGUAGE WITHIN THEIR PAINTINGS.

>> AS A KID, YOU THOUGHT YOU COULD DRAW ANYTHING.

NO BOUNDARIES, WITHOUT BORDERS, LIKE A CHILD'S MIND.

>> THE COLLAGE STUFF THAT WE DO IS FOUND EVERYWHERE.

IT IS TRASH SOMETIMES.

WE FIND IT AT STORES, FLEA MARKETS.

WE ARE ALWAYS WITH OUR EYES OPEN, LOOKING FOR ART.

>> THESE GUYS DIDN'T COME OUT OF AN 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 WAS BASKING YET.

HE DID THE SAME THING.

HE TOOK HIS EXPERIENCES, AND HE TRANSLATED THEM INTO A VISUAL LANGUAGE.

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

I WENT AND PROPOSED THAT THEY TAKE OVER ONE HALF OF THE GALLERY, WHICH FOR US, IS LIKE HALF OF THE MUSEUM.

THEY WERE ABLE TO SO BEAUTIFULLY INSTALLED TO SHOW.

THEY HAD LIKE NO FORMAL TRAINING ON HOW TO DO IT.

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

CERTAINLY, EVERY SINGLE ROOM HAD A THEME TO IT.

WE ENDED UP INSTALLING A BAR WHICH WAS OWNED BY THEM AND HAD ALL THEIR ARTIFACTS.

THEY DID AN UNBELIEVABLE INSTALLATION.

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

WE WORK WITH THE ART.

THE ART WORKS WITH US.

WE STRUGGLE, AND IT BEATS US UP.

WE BEAT IT OUT.

THERE IS A FIGHT, YOU KNOW?

WE DANCE AND HAVE A GOOD TIME, BUT IN THE MORNING, WE ARE PISSED OFF.

WE HAVE TO GET BACK TO IT.

YOU DO ONE PIECE OF ART, AND THE NEXT NIGHT, YOU HAVE TO GO AROUND DOING ANOTHER PIECE OF ART.

YOU CAN'T JUST DO ONE.

>> THEY HAD ACCESS 20 47.

THE FIRST THING WE WOULD DO, WE WOULD GO INSIDE THE GALLERY, AND WE WOULD LOOK AT WHAT THEY DID THE NIGHT BEFORE.

WE LITERALLY WATCHED THESE CREATIONS HAPPEN.

>> TONIGHT, WE ARE DONE.

IT IS GOING TO BE A CONTINUOUS PROJECT, YOU KNOW?

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

I THINK THAT WOULD MAKE ME HAPPY.

WE HAVE A LOT OF WORK TO DO.

♪ ♪ ♪ [SINGING IN SPANISH] ♪ ♪ ♪ ♪ ♪ ♪ ♪