Visiting Scottsdale (Arizona) in the Spring

Also published on 13 May 2024 on Hey SoCal

Magenta penstemon flowers with red rock formation in background | Photo by Brianna Chu / Hey SoCal

It had been five years since I traveled out of the country so when I got an invitation to attend a wedding in Scottsdale, I gladly accepted. Located in Phoenix’s metropolitan area, Scottsdale was founded in 1894 by retired U.S. Army chaplain Winfield Scott and was incorporated in 1951 with a population of 2,000. While it’s only in a neighboring state, it nonetheless offers a change of atmosphere and scenery.

The snow-capped San Gabriel Mountains | Photo by May S. Ruiz / Hey SoCal

Excited to take a long road trip, my daughter, her husband, and I set out from Pasadena on a pleasant Thursday morning in April to spend a long weekend to discover Scottsdale. The majestic snow-capped San Gabriel Mountains along the 210 and 10 freeways were a sight to behold! As we got past Palm Springs to the other desert cities and the freeway became a two-lane thoroughfare, we were struck with how vast California is – there’s so much land and empty space!

The freeway turned into a four-lane road when we reached Buckeye and we were right in the midst of the evening rush. The big rigs that shared the road with us the last few hundred miles were soon lost with all the other cars driven by people trying to get home after a long workday. While the freeway was crowded, traffic was moving at a moderately fast speed and we soon arrived at our destination – Scottsdale.

Red rock formations near the Arizona state line | Photo by May S. Ruiz / Hey SoCal

We checked in at The Scott Resort & Spa, a boutique hotel that’s independently owned and managed. Intentionally eschewing cookie-cutter lodging chains with no distinct personality, we were thrilled that the bride and groom chose it as their wedding venue. I learned that it used to be the Firesky Resort & Spa and went through a major renovation when Marc & Rose Hospitality acquired it. The hotel retained the property’s existing Spanish Revival architecture but injected a Bauhaus vibe for a hip and modern ambience. It seems to attract a young crowd – millennials and Gen Zs enjoying a night out about town. I noticed a majority of staying guests were couples instead of families.             

The lobby of The Scott Resort & Spa | Photo by May S. Ruiz / Hey SoCal

A narrow bench next to the entrance doors is set up as a sideboard, laden with two large glass jars of cold water and iced tea to quench guests’ thirst when they arrive or as they head out. The expansive lobby has separate seating areas dotted with rattan chairs and semi-upholstered couches. Long coffee tables invite guests to linger and enjoy a game of backgammon or chess. There are several potted plants and abundant greenery everywhere. The back hallway opens out into a center patio and pool area that guests navigate to get to their rooms which are housed in a separate two-story building. The suites and rooms – which have private patios and balconies –  are simply appointed with warm wood furniture and old world bronze, conveying a luxurious Sonoran style.        

I had prepared an itinerary for our little adventure so I was saddened that we had to miss the first item on it – the Art District’s Thursday Night Artwalk. After our long drive we were simply too tired. So we got settled in our rooms and shortly after met downstairs at the hotel’s Canal Club for dinner. The restaurant is dimly lit, quite intimate and cozy, and we enjoyed a delicious meal. While the food weren’t exceptional, they were better than standard hotel fare and were prepared using fresh local harvest.

Canal Club at The Scott Resort & Spa | Photo by May S. Ruiz

After a restful night, we ate a hearty breakfast at the Canal Club and were ready to see Scottsdale’s Old Town. However, we were delayed when family we hadn’t seen in a while stopped by our table. An hour later than planned, we headed out. We took advantage of the complimentary shuttle service The Scott offers. Logan, a very enthusiastic and upbeat young man (he looked like a high-schooler working there part-time and seemed to get even younger the more we saw him), drove us half a mile away and dropped us off at what he referred to as P.F. Chang loop at the Waterfront District. I found out afterwards that the P.F. Chang restaurant chain, which I always thought originated in L.A., first opened in Scottsdale.     

Waterfront District | Photo by May S. Ruiz / Hey SoCal

Old Town Scottsdale, an area that’s a little over one square-mile, is vibrant and alive with several art galleries, museums, restaurants, Southwestern storefronts, public art installations, and landmarks. It was named after Winfield Scott, who in 1888 bought 640 acres of Sonoran desert farmland and turned it into what is now a bustling district that honors and memorializes Scottsdale’s storied past.

We took a leisurely walk at Solstice Park where the Soleri Bridge and Plaza are located. A pioneer of mid-century architecture, Paolo Soleri lived in Scottsdale from 1955 until his death in 2013. He was fascinated by the movement of the earth around the sun and how the sun’s position in the sky could be utilized for natural climate control. So he envisioned a bridge that is more than a passageway and connection between one side of the canal to the other; he positioned it like a sundial that synchronizes with the sun on winter and summer solstices. According to a knowledgeable staffer at the Scottsdale tourist center, it is the only bridge ever erected out of over 100 that he designed in his lifetime.

Soleri Bridge and Plaza | Photo by Brianna Chu / Hey SoCal

Soleri’s Goldwater Bell Assembly, named after the Goldwater Store in Scottsdale where it previously hung, is a towering structure at Solstice Park. It was constructed entirely by Paolo Soleri at Cosanti – his former residence, gallery, and studio which is now an Arizona Historic site – and reflects his life’s work in architecture and ecology. The bell was part of his first U.S. retrospective at the Corcoran Gallery in Washington, DC.  

Fifth Avenue Shopping District | Photo by Brianna Chu / Hey SoCal

Some notable Old Town landmarks include the Little Red Schoolhouse which was built in 1909 for $4,500 and is now home to the Scottsdale Historical Museum; Old Adobe Mission on the southeast corner of First and Brown Avenue, constructed in 1933 of 14,000 adobe blocks made on site, functioned as Scottsdale’s only Catholic Church for many residents; Cavalliere’s Blacksmith Shop, the first blacksmith shop which opened in 1910, is still owned and operated by the Cavalliere family; Sugar Bowl Ice Cream Parlor, a converted Western Auto Service shop, serves treats and American food.

This wouldn’t be the Southwest without taverns and Old Town doesn’t disappoint. Rusty Spur Saloon, once Farmer’s State Bank of Scottsdale which opened on Main Street in 1921 and closed during the Depression, now holds liquor instead of U.S. currency; Porters Western Saloon, housed in what used to be Scottsdale’s first post office from 1929 to 1949, still has the familiar brick walls and crystal chandeliers but its staff has traded selling stamps for craft cocktails like the Sonoran Sunset and Postmaster.           

Donald Lipski’s “The Doors” | Photo by Brianna Chu / Hey SoCal

Old Town’s popular attractions include Scottsdale Artists’ School, the Museum of Contemporary Art, the Center for the Performing Arts, Museum of the West, Fashion Square, and Scottsdale Stadium – home base for the San Francisco Giants during the Cactus League Spring Training.     

Inside “The Doors” | Photo by Brianna Chu / Hey SoCal

Public art installations abound in Old Town. Donald Lipski’s colossal work called The Doors – 28-foot-tall mirrored panels – invites people to experience what it’s like to stand inside a kaleidoscope. Louise Nevelson’s Windows to the West, dedicated in 1973, is the artist’s first large-scale work in the Southwest. James Turrell’s Knight Rise is a “skyspace” installation that frames the sky as pure color and displays the changing light of day. Robert Indiana’s Love sculpture, conceived when America was consumed by the Vietnam War, is a symbol for peace. John Randall Nelson’s One-Eyed Jack, a 26-foot-tall painted sculpture inspired by the legendary desert “jackalope,” bounded into Old Town in 2018.   

Herb Mignery’s “Passing the Legacy” | Photo by Brianna Chu / Hey SoCal

Impressive horse-themed sculptures reflect the city’s history. Herb Mignery’s Passing the Legacy, a life-size bronze, portrays a vintage Pony Express rider and a contemporary Hashknife Pony Express rider handing off the mail depicting the Old West meeting the New West. Ed Mell’s  Jack Knife, a massive bronze of a bucking bronco, is a nod to Scottsdale western heritage and is the city’s official seal. George-Ann Tognoni’s The Yearlings, three bronze yearlings galloping full stride, is a monument to wild horses and an icon of the free spirit of the American West.         

Bob Parks Horse Fountain | Photo by Brianna Chu / Hey SoCal

In the center of the Fifth Avenue/Marshall Way roundabout is the famous Bob Parks Horse Fountain, which was donated by artist and gallery owner Bob Parks in 1989 in an effort to attract visitors to the area. Leaping from the fountain are five champion Arabian horses sculpted after horse breeder Tom Chauncey’s award-winning Arabians. It’s a fitting homage to Scottsdale’s legacy as the center of Arabian horse breeding in America.

Fashion Square beckoned to us and off we went to discover what stores are within. Occupying this magnificent building are purveyors of designer apparels, fashionable accessories, and luxury goods, like Gucci, Louis Vuitton, and Rolex; renowned restaurants, including Nobu, Ocean 44, and Francine; popular anchor stores Neiman Marcus, Nordstrom, Macy’s and Dillard’s. Caesars Republic Scottsdale, the 11-story first non-gaming hotel from Caesars Entertainment, is adjacent to it.

Fashion Square | Photo by Brianna Chu / Hey SoCal

After we had our fill of window-shopping, we got a hankering for a snack so we ambled to Jeni’s for ice cream. It was no surprise that the place was packed – their frozen treats were decadently delicious!

The Scott’s shuttle service to took us back to the hotel after 3:00; we barely had time to freshen up and change for the 4:00 wedding. The sun was shining, the temperature pleasant and cool, when big raindrops suddenly started falling right at 4:00. We watched in amazement as a parade of hotel staff deftly carried bouquets and flower arrangements indoors. It is a testament to their efficiency that the wedding ceremony transpired at 4:30 in an alternate venue. It was quite lovely! The dinner and dance reception that followed was very delightful.

Schmooze Cafe | Photo by Brianna Chu / Hey SoCal

The following morning we took the shuttle service and went to Old Town once more in search of food. There was a long wait at both the Breakfast Club and The Montauk but we found a place called Schmooze for Breakfast and got outdoor seating at their patio that’s filled with gorgeous flowering plants and vines.

Fully sated, we called the hotel’s trusty shuttle service to deposit us back at our lodgings and then we drove to the botanical garden.

A kitchen space in the Plants & People of the Sonoran Desert Trail | Photo by Brianna Chu / Hey SoCal

Celebrating its 85th anniversary, the Desert Botanical Garden boasts five trails – four of which are about a third of a mile – to stroll in. We wandered on the Discovery Trail, which features a wide variety of cacti and succulents as well as historic plant collections. Along the Harriet K. Maxwell Desert Wildflower Trail, we meandered through vibrant blooms and came upon bees, butterflies, hummingbirds, and other pollinators that play important roles in thriving desert ecosystems. On the Center for Desert Living Trail, the shortest stretch at one-tenth of a mile, we discovered fragrant herbs, vegetable beds, and shady spots to relax in. We found out how plants and animals survive on the Sonoran Desert Nature Trail. Along the Plants & People of the Sonoran Desert Trail, we walked through five different desert habitats and learned how indigenous people have used native plants for food, fiber, and shelter.

Saguaro cacti at the Discovery Trail | Photo by Brianna Chu / Hey SoCal

Later in the afternoon we took in Western Spirit: Scottsdale’s Museum of the West in Old Town. Built on what was once the Loloma Transit Station, the two-story museum showcases the art, culture, and history of 19 states in the American West, Western Canada, and Mexico. The 43,000 square-foot museum opened in January 2015 – the realization of Herb Drinkwater’s dream who served as Scottsdale mayor from 1980 to 1996.

A permanent display of Southwestern artifacts | Photo by May S. Ruiz / Hey SoCal

Within the compact space are enlightening current exhibitions and permanent presentations. Inner Light: The Art of Tom Gilleon, a 70-year painting career retrospective featuring 12 oil paintings on loan from Walt Disney Imagineering, is showing until August 25, 2024 On view through October 2024 are the William Matthews’s plein air watercolors, and other mediums – album covers, murals, and ephemera that demonstrate his contributions in global art. The works of Warner Segarra, a Puerto Rican of German descent, is on view until May 19, 2024: a collection of photographs captured over 30 years shows the world of vaqueros.

Canvas of Clay: Hopi Pottery Masterworks from the Allan and Judith Cooke Collection | Photo by May S. Ruiz / Hey SoCal

We marveled at the numerous ongoing displays that tell stories of the American West – Rails Building America, an exploration of the transformative power of railroads in shaping the Southwest; The A.P. Hays Spirit of the West Collection, an assortment of revolvers, rifles, saddles, knives, holsters, chaps, badges, and more; Dazzling Array: The Richard A. Gates Collection of Native American Jewelry; Courage & Crossroads: A Visual Journey through the American West; Canvas of Clay: Hopi Pottery Masterworks from the Allan and Judith Cooke Collection; Collecting Stories: John Coleman Bronzes from the Collection of Frankie and Howard Alper. 

A stagecoach display | Photo by May S. Ruiz / Hey SoCal

A museum staffer announced we had ten minutes to complete our tour before closing time so we headed downstairs. We got back to the hotel, started packing for our drive home the next day, and made plans for dinner. As it was Saturday evening, restaurants were crowded and fully booked. We lucked out with Farm & Craft, a trendy but casual place known for healthy and sustainable food and fun cocktail concoctions. They even have a good selection of fruit-infused teas which I happily sampled. We had a delightful meal served by their pleasant and attentive staff. Having been told there’s a separate stomach for dessert, we walked to Jeni’s after dinner to once again indulge in their delicious ice cream.

On Sunday morning we ate a hearty brunch and did a final check of our rooms. The ever eager and helpful Logan took our luggage out to our car. It had been a fabulous long weekend – we had the best time in this gloriously picturesque city! But, alas, our adventure was at an end. Goodbye, Scottsdale!                         

Ontario Museum’s Annual Culture Fest Celebrates Chicanx Diaspora at Block Party

Also published on 3 May 2024 on Hey SoCal

Jacqueline Valenzuela. Cooking. Aerosol Oil Paint Stick on Canvas / Photo courtesy of Ontario Museum of History & Art

In 2009, the various community groups in the City of Ontario’s recreation centers got together and created what they dubbed the performer showcase. What was a simple affair has become an annual celebration now known as Culture Fest and it returns on May 11, 2024 from 12 to 4 pm with a block party presented by the Ontario Museum of History & Art.

Located at 225 South Euclid Avenue, the Ontario Museum of History & Art is uniquely housed in the former City Hall and is a historical landmark funded by the Works Progress Administration. Its mission is to preserve, interpret, and celebrate the history and cultural heritage of Ontario and the surrounding area. From developing exhibitions, to engaging visitors through educational experiences, and events that inspire creative action, it is an anchor to the growing downtown arts district. The Museum recently achieved accreditation by the American Alliance of Museums (AAM), the highest national recognition accorded to the nation’s museums.

Photo courtesy of the Ontario Museum of History & Art

The free, family-friendly Culture Fest features the different cultural experiences that exist within Ontario’s diverse community. This year it will highlight the rich Chicanx diaspora. Participants will enjoy art installations, live music, a classic car show, hands-on art-making activities, food and beverages, live performances that express what it means to be Chicanx in the Inland Empire, and more.

By email, event coordinator, Rebecca Ustrell, talks about its fascinating history. “Culture Fest originated over 15 years ago as a showcase of community groups from the City of Ontario’s recreation centers and was called the performer showcase. It was held at the time of class registrations (before you could sign up online) so that community members could see the types of classes that they could sign up for. A few years back, it became a heritage event and was hosted by the library and Robert E. Ellingwood Model Colony History Room.”

“It’s gone through different iterations to serve the needs of the community at the time it was happening,” explains Ustrell. “Always with the aim of continuing to celebrate Ontario’s diversity, Culture Fest was created to serve as a platform to showcase the different cultural tradition of communities which reside in Ontario, California.”

Photo courtesy of the Ontario Museum of History & Art

As Culture Fest expanded, it moved to various venues to accommodate the audience which had likewise increased. Ustrell relates, “In 2019, the Community Life & Culture Agency hosted the event at Ontario Town Square, where the many cultural communities of Ontario were celebrated through an array of spectacular performances by local Ontario groups and schools including Tongan dance, Taiko drumming, Mariachi, Folklorico, and Interpretive dance. The event also hosted family arts and craft booths, and information booths from local communities such as MALO (Motivating Action Leadership Opportunity) highlighting the Tongan Community and the Hispanic Chamber of Commerce.”

The pandemic upended life as we know it and the world went on lockdown. Culture Fest was not hosted in 2020-2021 and – as all institutions did – the City of Ontario focused on online arts and culture experiences to continue to engage with the city’s diverse community.

Photo courtesy of the Ontario Museum of History & Art

“In 2022, Culture Fest returned. This time taking place in the Downtown Ontario Arts District at the historic old City Hall which is now the Ontario Museum of History & Art,” explains Ustrell. “The staff at City of Ontario Community Life and Culture and the Ontario Museum of History & Art partnered to it to reinvigorate the spirit of celebrating cultural diversity. It featured The Southland Symphony Orchestra, Bob Baker Marionette Theater, MALO, artist vendors, and an assemblage workshop with Dr. Patricia Jessup-Woodlin. Occurring in tandem with the city-wide Ontario Art Walk, this event attracted a wider audience at its new venue, further solidifying the impact of community.”

According to Ustrell planning Culture Fest takes between six to nine months and taps into the needs of the community for the event’s theme. Their current programming is also significant factor when deciding what to focus. In the past, it showcased the different performing arts programs within the recreation department. Last year, the theme was water, inspired by the new permanent exhibit Built on Water.

Photo courtesy of the Ontario Museum of History & Art

Continues UstrelI, “In 2023, the Museum, Arts & Culture department at the City of Ontario doubled capacity and allowed for growth in the vision of Culture Fest. With the addition of a public art installation, Culture Fest’s impact on the local art scene grew tremendously. The event thematically focused on water, in celebration of the opening of the Museum’s new permanent exhibition, Built on Water: Ontario and Inland Southern California. Additionally, the festival featured public artist Luciana Abait’s large-scale immersive video projection installation, The Glass Wall.”

“Originally presented in 2022 as a part of LUMINEX 2.0 in downtown Los Angeles, the artwork draws attention to water as a resource, and the realities and metaphors involved in the struggle to control it,” Ustrell describes. “The video was projected onto the northwest façade of the Museum. A roster of performers, varying from a Tongan performance by MALO and marionette puppetry, to a rendition of Handel’s Water Dance by the Southland Symphony’s brass quintet, was featured. High school bands with the Southern California Percussion Ensemble closed out the evening.”

Design and Build your own Front Yard Plaza / Photo courtesy of the Ontario Museum of History & Art

“The 2024 Culture Fest will highlight the rich Chicanx diaspora which has called Ontario its home for generations,” discloses Ustrell. “Whilst inviting local entertainers, artists, and organizations to partner with us, we realized that the footprint of the event had to expand to house all of the exciting activations we had in mind. We opted to reserve an entire city block to host this year’s Culture Fest, resulting in the decision to add the tagline ‘Block Party’ to the title.”

“This year’s roster of activities and entertainment is exciting, and attendance is expected to double because of the attractions planned for the day. Guests are invited to explore a classic car show hosted by colorblindshotz while sounds are provided by Bitter End Gallery and DJ Lis Bomb. Experience art installations by Briar Rosa which celebrate childhood candy and snacks, such as Takis, iconic in the Chicanx community; Jacqueline Valenzuela will present a historical timeline of custom car culture; view a claymation animation by Anthony Chacon and a stacked CRT TV video installation by Al Espinugio; and a 4ft low rider piñata created by The Piñata House will be on display,” Ustrell says further.

Classic Car Show / Photo courtesy of the Ontario Museum of History & Art

Financed entirely by the Department of Museum, Art & Culture’s operating budget, Culture Fest will also feature hands-on art-making activities like “Build Your Own Lowrider” with Jacqueline Valenzuela. “Growing Art Ontario” with Willis Salomon will contribute to a communal art installation celebrating a more art-ful community. “Build and Dream Your Front-Yard Plaza with John Kamp and James Rojas will demonstrate how residents can make the ultimate Chicanx inspired front yard with found objects. Attendees can decorate themselves with original hand-carved stamp temporary tattoos with Grafica Nocturna and take glamour shots at the Old School Photobooth by Gilbert G Photography.

Collaborations with The Cheech Center include a Build Your Crown activities inspired by artist Eloy Torrez, and the Chaffey Community Museum of Art will hold a Piñata Bust Art Raffle. Both the Ontario Museum of History & Art and Chaffey Community Museum of Art, which are admission-free and open to the public, will remain open throughout the duration of the event.

Gilbert G Photography / Photo courtesy of the Ontario Museum of History & Art

“As an agency, Community Life & Culture’s consistent driving force is to uplift, highlight, and educate visitors on the cultural communities of Ontario and Greater Southern California. We work diligently to provide opportunities for artists and purveyors of culture to thrive by collaborating with these talented individuals. Culture Fest could not exist without that collaboration, and we are honored to engage with musicians, entertainers, and artists by providing them with paid opportunities, and afford unique arts and educational experiences for visitors,” concludes Ustrell.

While showcasing the Chicanx experience, the 2024 Culture Fest in Ontario also promises to be a spectacular event full of fun and thrills for the entire family. What could be a better way to spend a beautiful spring day in Southern California!        

Enjoy Culinary Delights at Taste of Little Italy San Diego

Also published on 23 April 2024 on Hey SoCal

Thinking of traveling to San Diego this summer? Make sure you schedule your trip to include the Taste of Italy event which returns for two nights of delicious bites on June 18 and 19, 2024. First held in 2018, this famous foodie experience features restaurant exploration, live music, and memorable dishes.

From 4:00 to 8:00 pm on Tuesday, June 18, and Wednesday, June 19, visitors to Little Italy can immerse themselves in a gastronomic journey that spans 40 square blocks. Each day of the event brings a new culinary adventure, with different selections available from 20+ restaurants in the neighborhood. From classic pizza and pasta to gourmet burgers and sushi, this dynamic approach guarantees a fresh and exciting experience for both loyal patrons and newcomers.

Photo courtesy of Little Italy Association

While other Little Italies in the United States have declined because of the growth of other adjacent ethnic neighborhoods, San Diego’s Little Italy has remained a vibrant symbol of the remarkable contributions Italians have made to this country. Since the 1920s, it has been a stable ethnic business and residential community; it represents Downtown San Diego’s oldest continuous-neighborhood business district.

However, the area’s history is not without its dark period. At one time, more than 6,000 Italian families lived in Little Italy and toiled to build San Diego into the global hub of the tuna industry. When the tuna industry on the West Coast waned and 35% of Little Italy was torn down during the construction of Interstate-5 freeway, the neighborhood suffered nearly thirty years of neglect. Then, in the early 1990s established property owners and family-run business proprietors decided to take their fate into their own hands.

New Italian American and non-Italian business owners opened retail and professional spaces while creative builders and architects constructed beautiful developments. That it is today a model urban neighborhood not just in San Diego but also for the handful of Little Italies remaining throughout the country is a lesson in a community’s resilience.

Photo courtesy of Little Italy Association

This remarkable accomplishment can be credited mostly to the Little Italy Association (LIA), which was established in 1996 during the time of the revitalization of the Downtown area. The only district management corporation of its kind for any Little Italy neighborhood in the United States, it is run by a board of directors comprising 29 individual who represent property owners, residents, businesses, and the community at large. It advocates on behalf of its members’ best interests in matters of public safety, beautification, promotion, and economic development, while preserving the unique cultural resources of the area. Since its inception, it has been re-energizing this neighborhood while telling the story of Little Italy to its visitors through public art displays and amazing piazzas.

Visitors to Little Italy for the event will check in at the vibrant Piazza della Famiglia, where they will receive their exclusive Taste Passport. With this passport, attendees will embark on a culinary adventure, visiting a wide range of restaurants, checking off as they stop, to savor their curated “tastes” while they stroll through the neighborhood. For those who prefer a more leisurely experience, ample seating will be available at the Piazza della Famiglia, complemented by live music at Piazza della Famiglia and Piazza Basilone.

Photo courtesy of Little Italy Association

Curt Brooker of FUSE Events, which partners with the association to make this a successful endeavor, tells the origins of Taste of Little Italy. “There are many neighborhoods that hold ‘Taste of’ events, but Little Italy quickly started to showcase a growing number of restaurants that were being recognized throughout San Diego. The Little Italy Association decided to create an event that brought people into the neighborhood so they can sample the variety of restaurant options old and new.” 

“Taste of Little Italy began as a one day event and featured a handful of restaurants,” Brooker explains. “As the restaurant numbers grew, two routes were created on the same day with about 15 restaurants each. We were getting feedback from attendees that they just couldn’t eat so much food in one night. Now, Taste is a two day event that features approximately 20 restaurants each day. Tickets are $55 each day – it’s a great value for being able to try that many restaurants in a night.” 

“The number of restaurants have increased over the years and we continue to add new concepts as they come into Little Italy,” continues Brooker. “The restaurants are a true partner in this event and we make it a priority to not make it a burden on the restaurant or staff. We limit the number of tickets sold each day to 750. Over the two-day event, a total of 1500 tickets are sold.”

Pizza della Familia at night / Photo courtesy of Little Italy Association

Brooker says they are constantly making changes and adjustments to improve the event throughout its existence. “The Piazza della Familia has been the biggest change over the years. We now have this wonderful space to hold the registration area and have sponsor activations to enhance the attendee experience.”

Food and drinks aren’t the only things visitors can enjoy at Taste of Italy. Brooker clarifies, “We want to make each night an experience. So along with the food and drinks that are offered on the routes, we have live music placed throughout the neighborhood to give it that fun foodie vibe. Of course, we have a lot of the same restaurants participate each year, but there are new options that change year to year. Also, our sponsors bring new experiences each year. We’ve had a full ‘beer garden’ one year thanks to Birra Moretti and last year we had fun photo opportunities courtesy of Campari. We’ll again have new and fun activities for attendees this year in the Piazza.”

The community spirit which has made this little corner of San Diego flourish in spite of the economic downturn and global catastrophe was on full display a few years ago. Recalls Brooker, “One of the most memorable Taste of Little Italy events was during COVID. The neighborhood was quiet and the restaurants had obviously slowed down. We came up with a very unique idea that allowed people to enjoy the restaurants with a ‘Take Home Edition’ Taste concept. We had four nights where we curated a four course meal from four different restaurants. One restaurant  provided an appetizer, another the main course, dessert and a paired drink. It was a fun way during COVID to still enjoy Little Italy’s restaurants by taking home a variety of options from multiple restaurants.” 

Photo courtesy of Little Italy Association

Planning Taste of Little Italy is year-round. Brooker states, “Once the event ends, we are taking surveys and brainstorming how to make it a little better. Then it’s back to communicating with the restaurants on what to expect next year. There’s no Master Chef that leads the event; restaurant and bar owners have to secure their spot by February and our team works with them to try and bring as much variety as possible and highlight what each restaurant does best.”

There’s no fee for restaurants to participate and all the funds raised during the event go the Little Italy Association. The money is then used to help keep the streets clean, maintain the beautiful flowers and trees, and support the businesses with marketing and promotions.  

Taste of Little Italy is hugely popular and it’s a big attraction in San Diego. Says Brooker. “People try to walk up on the day of the event to buy tickets and are disappointed that we are sold out. I would recommend buying tickets as early as possible.”

So don’t miss out! Purchase your Taste of Italy ticket now and take a leisurely two-and-a-half-hour drive to San Diego for an unforgettable culinary experience.                        

Spend Mother’s Day in Little Italy San Diego

Also published on 11 March 2024 on Hey SoCal

One of the many piazzas in San Diego’s Little Italy. / Photo courtesy of San Diego Little Italy Association

Looking for something more fun and adventurous to do on Mother’s Day? Make it a destination event and drive down to Little Italy in San Diego! Better yet, stay for the weekend to acquaint yourself with this extraordinary place and enjoy everything it has to offer.

San Diego’s Little Italy has such a fascinating and rich history – it was at one time the center of the world’s tuna industry. Chris Gomez, district manager of the San Diego Little Italy Association, recounts, “Little Italy was originally known as Middletown because it was north of downtown San Diego, south of Mission Hills and Hillcrest, east of San Diego International Airport, and west of Bankers Hill. It was settled back in 1920 when Italian immigrants from San Francisco and New York who came to live here created a small community that was close to the waterfront that allowed them to build their economic strengths through fishing. It was the hub of the fishing industry in the 1960s, 1970s, and into the 1980s before all the fishing moved down to Baja. The Italian fishermen would go out to the San Diego Bay and catch tuna and bring them back to packing houses and they would distribute them from there. The Chicken of the Sea and Bumble Bee Tuna companies started in Little Italy.”

Photo courtesy of San Diego Little Italy Association

“But just as we’re celebrating Little Italy’s heritage, what it has become now is not necessarily all Italian – we also focus on the diversity of the community. We have restaurants that have opened from Mexico and this is the first location they’ve opened in the United States, like Fisher’s. We have several dining places that offer very eclectic cuisines and foodie experience,” Gomez clarifies.

While other Little Italies in the United States have declined because of the growth of other adjacent ethnic neighborhoods, San Diego’s Little Italy has remained a vibrant symbol of the remarkable contributions Italians have made to this country. Since the 1920s, it has been a stable ethnic business and residential community; it represents Downtown San Diego’s oldest continuous-neighborhood business district.

Photo courtesy of San Diego Little Italy Association

However, the area’s history is not without its dark period. At one time, more than 6,000 Italian families lived in Little Italy and toiled to build San Diego into the global hub of the tuna industry. When the tuna industry on the West Coast waned and 35% of Little Italy was torn down during the construction of Interstate-5 freeway, the neighborhood suffered nearly thirty years of neglect. Then, in the early 1990s established property owners and family-run business proprietors decided to take their fate into their own hands.

New Italian American and non-Italian business owners opened retail and professional spaces while creative builders and architects constructed beautiful developments. That it is today a model urban neighborhood not just in San Diego but also for the handful of Little Italies remaining throughout the country is a lesson in a community’s resilience.

This remarkable accomplishment can be credited mostly to the Little Italy Association (LIA), which was established in 1996 during the time of the revitalization of the Downtown area. The only district management corporation of its kind for any Little Italy neighborhood in the United States, it is run by a board of directors comprising 29 individual who represent property owners, residents, businesses, and the community at large. It advocates on behalf of its members’ best interests in matters of public safety, beautification, promotion, and economic development, while preserving the unique cultural resources of the area. Since its inception, it has been re-energizing this neighborhood while telling the story of Little Italy to its visitors through public art displays and amazing piazzas.

Photo courtesy of San Diego Little Italy Association

Gomez has been with LIA for 24 years and has become somewhat of an authority on all things Little Italy, so I ask him how he would plan an itinerary for someone visiting from L.A. He promptly replies, “If possible, make a weekend out of it. Come in on Friday night and stay in one of our boutique hotels like Carte and La Pensione, or the Doubletree, and stay for a couple of days. After checking in, go out for a casual dinner at Barbusa or Civico 1845.”

“The next morning, head out to the Farmers Market, which is very unique,” continues Gomez. “Our market maestro has curated the offerings to be very European – there’s fresh fish, including sturgeon, things that you wouldn’t normally see at standard farmers markets. Take a walk up and down India Street and visit the boutique retail stores on First Street, linger at our many piazzas, stop in and have lunch at Devanti Enoteca or another great restaurant. Then go back to the hotel to relax and freshen up.”

“Afterwards, go to the Embarcadero or downtown where dining places offer diverse culinary dishes,” Gomez goes on to say. “There are top chefs who have Michelin-starred restaurants here, like Juniper & Ivy. We have really cool bars like Camino Riviera or Kettner Exchange where people can go for a cocktail. Craft & Commerce is another great one with a speakeasy in the back that’s called False Idol.

“On Sunday morning, get coffee at a local café like Caffe Italia or Pappaleco … maybe have a quiche or panino and start your day all over again. Then check out of your hotel and head back home safely,” concludes Gomez.

The Piazza della Famiglia at night / Photo courtesy of San Diego Little Italy Association

I ask what a highlight would be if one were visiting Little Italy only for eight hours and Gomez responds, “It depends on what day you come. But if you’re here on a Saturday, definitely come to see the Farmers’ Market. Additionally, we have several piazzas that mirror European public spaces for people to sit at and relax in. Piazza della Famiglia is one particularly wonderful place to explore – it’s our largest piazza at 10,000-sq. ft. People can sit there and have a glass of prosecco or a cocktail while they enjoy a view the San Diego Bay, the weather, and the sound of people in that space. You can grab lunch or dinner at one of our local restaurants. There are multiple retail stores and galleries people can enjoy. We also have something called Music Box, which is an entertainment venue where you can watch a concert.”

This year, take your mom out on Mother’s Day for an experience that’s more memorable than the usual brunch at a chain restaurant. Spend her special day with her in Little Italy San Diego!       

Masters of Taste Marks 7th Year at the Rose Bowl

Also published on 4 March 2024 on Hey SoCal

Masters of Taste Media Night in the locker room of the Rose Bowl. | Photo by May S. Ruiz / Hey SoCal

Masters of Taste (MoT), L.A.’s premier food and beverage festival, returns at the 50-yard line of Pasadena’s Rose Bowl on Sunday, April 7, 2024 from 3 to 7 pm. Celebrating its seventh year raising funds for Union Station Homeless Services (Union Station), the event brings together 100 restaurateurs and beverage company owners to serve food and drinks to approximately 3,000 attendees.

The brainchild of Rob and Leslie Levy, owners of The Raymond 1886 and Knox & Dobson in Pasadena, Masters of Taste was a concept Rob adapted from a childhood friend’s organization in Chicago called “Inspiration Café” which delivers sandwiches to the homeless. When the former CEO of Union Station asked him to be on the board, he set out to find a better way to raise funds than asking people to get all dressed up to attend a gala they only felt obligated to attend. Leslie came up with the idea of having chefs gather for an event that was so amazing it didn’t feel like it was a charity affair.  

Rob and Leslie Levy (third and fourth from left) at their Raymond 1886 Masters of Taste booth. / Photo courtesy of Masters of Taste

On their first year at the Rose Bowl, a spontaneous line dancing broke out on the field – a delightful occurrence that was totally unanticipated. It was when they knew they had stumbled upon a successful endeavor. There was another year when it rained which, incredibly, made it an even better event. Nobody left – 3,000 people on the field stayed through the rain; Levy said it was the most memorable year they’ve had.

As the organizers had previously done, Masters of Taste held its media night in the locker room of the Rose Bowl. On February 28, 2024, we arrived at the venue and were pleasantly surprised to see twice the number of chairs and tables from last year’s media preview. Media attendance and sponsorship had increased dramatically since we first attended it. And as always, there was excitement among the individuals behind this annual event and the people covering it.

City Club in Los Angeles served hors d’oeuvres at Masters of Taste media night. | Photo by May S. Ruiz / Hey SoCal

After we had enjoyed a few drinks and hors d’oeuvres, the program began with a reminder of why we were there. Benjamin Turkle of Boomtown Brewery declared, “We’ve been working with homeless causes in L.A. for almost nine years now, helping on Skid Row. My wife’s partnership with Brilliant Corners to work with Union Station Homeless Services is just another foundation stone.”

Turkle went on to say, “We’ve always been told that we need to pick ourselves up by our bootstraps. But that’s very challenging when we don’t have bootstraps to pick ourselves up by. It takes a community and each individual citizen – whether or not you’re an entrepreneur in the service industry or in the thousands of other positions in our city – to lend threads to others so they can make their own bootstraps, to lend hands so others can pick themselves up as well. We’re all in it together and our rising tide will raise all ships. Thanks to Masters of Taste for doing this, for involving all of us in keeping this issue forefront.”

Anne Miskey, CEO of Union Station Homeless Services. | Photo by Margaret Gifford / Hey SoCal

Anne Miskey, CEO of Union Station, then stood up to welcome everyone. She said, “You’re more than  friends, you’re now part of our Union Station family. We’re here for a fun night to enjoy great food and drinks but they’re all for a great cause. Every bite of food and sip of drink at Master of Taste helps the homeless in Los Angeles – could there be a better way to spend your evening?!”

Joking that she used to be thin, Miskey then thanked all the chefs and beverage masters for making Masters of Taste a possibility. She added, “Thank you to the media. It’s because of you that we’re able to get the word out … and year after year, we sell out. Union Station works with all sorts of people – those living in tents and whose lives have fallen apart. It is through the support of people like you that we’re able to walk alongside homeless people in their journey. We don’t just see people housed and get work; what we see is the return of hope and the ability for them to once again have dreams.”

In a bow to tradition, 2023 MoT host chefs Michael and Kwini Reed of Poppy + Rose and Poppy & Seed passed the baton to this year’s chef hosts Bret Thompson and Lucy Thompson-Ramirez, owners of Pez Cantina and Pez Coastal Kitchen. The husband and wife team has made a significant impact in the hospitality industry. With their passion for culinary excellence and warm hospitality, they have made a distinctive mark in the Los Angeles dining scene and beyond.

Kwini and Michael Reed (third and fourth from the left) passed the baton to Lucy Thompson-Ramirez and Bret Thompson (first and second from left). | Photo by Brianna Chu / Hey SoCal

Bret Thompson’s culinary journey began at the renowned California Culinary Academy in San Francisco. He honed his skills at esteemed establishments such as Aqua in San Francisco, Roy’s in Hawaii, and Pinot Blanc in St. Helena, California. Seeking international inspiration, he traveled to Spain to study under Chef Martin Berasategui at Restaurante Martin Berasategui, a Michelin 2-star establishment in Lasarte, Spain. He further expanded his culinary repertoire in Lebanon at Atlas Café, then studied under Chef Bernard Loiseau at La Cote d’Or – his Michelin 3-star restaurant in Saulieu, France – and then at L’Arpege, Chef Alain Passard’s Michelin 2-star restaurant in Paris.

Throughout his career, Thompson also had an extensive tenure with The Patina Group, working at multiple restaurants, running catering operations, and ultimately becoming the Corporate Executive Chef overseeing all restaurant operations for the entire chain. While there he garnered accolades – including being named “Chef of the Year 2002” by the Orange County Business Journal during his time as Executive Chef at Catal Restaurant in Anaheim.

The menu during media night. | Photo by May S. Ruiz / Hey SoCal

Thompson eventually moved on and co-founded and became a partner at the iconic MILK Ice Cream Parlor & Bakeshop in Los Angeles. He also opened his own Market Restaurant and Catering, which he successfully sold in 2014. In 2015, he joined forces with his wife to embark on a new culinary adventure as the proud owners of Pez Cantina. This seasonal, modern, coastal-inspired Mexican restaurant and bar in downtown Los Angeles quickly became a beloved dining destination. In October 2021, they expanded with a new location LA Burrito in Montebello, California.

Lucy Thompson-Ramirez brings her unique perspective and expertise to the front of the house at Pez Cantina. Born in Guanajuato, Mexico, she migrated to the United States with her family at a young age. She pursued her education at the University of Santa Barbara, majoring in Sociology and minoring in Spanish. Her first career path led her into the fashion industry, where she excelled in sales and later established her own showroom with her brother called Siblings Showroom.

After a successful 18-year tenure in fashion, Thompson-Ramirez made a seamless transition into the hospitality industry alongside her husband. At Pez Cantina, her warm and welcoming demeanor shines as she personally greets regulars by name and fosters new connections. Her dedication to providing a home-like atmosphere has made Pez Cantina feel like an extension of their own family. In recognition of her leadership and contribution to the industry, she was appointed as President of the Latino Restaurant Association in 2023 and serves on the Los Angeles Tourism and Convention Board.

Seating during media night at Masters of Taste. | Photo by May S. Ruiz / Hey SoCal

Two weeks ago, Thompson and Thompson-Ramirez opened Pez Coastal Kitchen in Pasadena which offers a diverse menu featuring sea-to-table and farm-to-table cuisine – showcasing the best of seasonal California flavors. The restaurant highlights their expertise in curing, smoking and dry-aging meats and seafood, as well as their partnerships with local farmers and specialty producers. With a focus on creating a modern coastal dining experience, they aim to contribute to Pasadena’s thriving culinary scene and bring a fresh new concept to the city.

As the evening wound down, Shawn Morrissey, Senior Director of Advocacy and Community Engagement at Union Station as well as head of the Lived Experience Advisory Panel at the organization, county and state level, shared his moving experience as someone who was once an unhoused individual. He related, “In 2002, when I was almost 40, I arrived at Union Station with two black eyes, a gash on my forehead, and practically naked. Besides being homeless, I was also trying to get help overcoming a decades-long drug addiction due to trauma. And for the first time in my life, I was met with unconditional regard and I was nurtured. I was brought into a community where people wanted an authentic relationship with me. These were the things that made a difference.”

Masters of Taste organizers and participants during media night at the Rose Bowl locker room. | Photo by Brianna Chu / Hey SoCal

“We used to make homeless individuals jump through hoops and blame them for the situation they’re in, make them earn their way into housing or their way out of the streets,” continued Sean. “All that did was make the homeless problem worse. We know today there are best practice models – housing first, harm reduction, post-trauma care, etc. – which make us healthy.”

“I want to end with two thoughts – people are not broken; systems are. One of the things we hear a lot is that drug addiction drives people to homelessness but what we really know is that it’s a symptom of larger systemic and structural issues. In the 16 years that I’ve worked on the streets with people, I have yet to meet someone who chose not being sober over getting housing,” Sean concluded.

Masters of Taste at the Rose Bowl. / Photo courtesy of Masters of taste

Union Station has grown to be one of the best homeless services agencies in Los Angeles and is the lead County agency for Service Planning Area 3 (SPA 3). For over 50 years, it has been   coordinating homeless services in 38 communities spanning from Eagle Rock to Pomona. It has seen a 97% success rate in permanently housing people since adopting the Housing First model. But its mission transcends providing temporary shelters; it is committed to creating lasting solutions for homelessness through housing, supportive services, and connection to the community.

Every dollar raised at Masters of Taste benefits the work of Union Station to end homelessness. Over the last six years, MoT has donated close to $3 Million to help countless families and individuals find a secure and welcoming place to call home.

So purchase your tickets to the 2024 Masters of Taste for a really fun Sunday afternoon hanging out with other foodies while doing your share in helping solve the homelessness crisis.          

Ushering in the Year of the Dragon at The Huntington’s Lunar New Year Festival

Also published on 12 February 2024 on Hey SoCal

The Kwun Shu Opera Society’s Kun Opera performance | Photo by Brianna Chu / Hey SoCal

To most Asians and people of Chinese descent, the dragon is the most auspicious animal symbol in the lunar calendar – the sign symbolizes power and success and brings good fortune and prosperity. The Huntington Library, Art Museum, and Botanical Gardens welcomed the Year of the Dragon with a festival on February 10 and 11, 2024 from 10 am to 5 pm.     

Program highlights on Feb. 10 included live music by the Han Music Ensemble (10:30 a.m.–12:30 p.m. and 2–4 p.m.) and Chinese Kwun Opera Society (11 a.m. and 1 p.m.) in the Chinese Garden. There were also martial arts demonstrations by Shaolin Temple Cultural Center USA (East Lawn, 10:30 a.m. and 2:30 p.m.) and K-STAR Contortion and Martial Arts (Rothenberg Hall, 11 a.m. and 1 p.m.), as well as lion dancers featuring Northern Shaolim Kung Fu (12:30 and 3:30 p.m.) on the East Lawn near the Huntington Art Gallery. Additionally, mask-changing artist Wei Qi Zhong performed (11 a.m., 1 p.m., and 3 p.m.) inside Haaga Hall.

Lion Dance | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

“This is one of the most beloved events of the entire year at The Huntington,” Sian Adams,  Director of Strategic Initiatives, stated during a phone conversation. “There’s something for everybody; it has a lot of different food options, live music, performances, arts and crafts workshops for kids, lots of different offerings that make the day fun for a variety of ages.”   

Kung Fu demonstration | Photo by Brianna Chu / Hey SoCal

While some events – like the lion dance – are mainstays, the organizers mix up the offerings. “We always are looking at the programming,” stated Adams. “This year we added the Kun Opera for a two-day performance in the Chinese Garden because we wanted to bring in something very artistic and special to the garden’s space itself.”

Kun Opera | Photo by Brianna Chu / Hey SoCal

The Kun Opera, also known as Kunqu Opera, is one of the three classic operas of the world. It is highly stylized – singers with painted faces wear elaborate costumes; hand gestures and head movements add another layer of meaning to what’s being sung. UNESCO proclaimed it as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity in 2001.       

All performances were relatively short – about 20 minutes each – held at different locations and people watched while standing. However, some performances had seating, like the Kun Opera in the Chinese Garden and the contortion and martial arts shows in Rothenberg Hall.

Floral display | Photo by Brianna Chu / Hey SoCal

Whether it was by design or a case of bad scheduling, some shows were presented during the same time slots. Visitors either missed a really great presentation or had to stay the entire day to catch all the performances. If the organizers planned that all along to entice people to stay longer, though, then it was brilliant! There were several shows that went on throughout the day, like the floral arrangements, the Lego display, and calligraphy writing station. The Han Music Ensemble played well-known Chinese music with traditional instruments at the Transcendent Pavilion from 10:30 a.m. to 12:30 p.m. and from 2 to 4 p.m.    

Calligraphy-writing station | Photo by Brianna Chu / Hey SoCal

According to Adams the Lunar New Year Festival is open to all members but it’s so popular that membership tickets usually sell out on the first day they’re offered. Tickets are also available to the general public although these also go very quickly so everyone is encouraged to purchase well in advance. Advanced reservations to get in are required for non-members and members as well.                 

Tai Chi demonstration | Photo by Brianna Chu / Hey SoCal

“This annual event is part of The Huntington’s regular programming,” explained Adams. “That said, we’ve had one corporate partner which has made the Lunar New Year Festival possible for us since the beginning and that’s East West Bank. They have been our champion and a friend to the Chinese Garden at The Huntington from the earliest days. We’re truly lucky and we appreciate their friendship.”

Masked performer / Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

Now on its 19th year, the Lunar New Year Festival is The Huntington’s biggest event and it takes place across the institution in multiple staging spaces. It’s surprising therefore to learn that there aren’t that many people who make it happen. Adams said, “It’s a pretty lean and mean team headed by our Membership Dept. But while there are only a handful of core staff organizing it, there are about 50 volunteers on the day of the event to help ensure everything runs smoothly. We have a robust volunteer program – teen volunteers, docents, and staff sign up for the various events.” 

Battlefield drums (gu) being played| Photo by Brianna Chu / Hey SoCal

“The Lunar New Year Festival is a big lift for The Huntington – it’s all hands on deck for all of us here. We want everybody who comes to have a good experience and a great time. We look carefully at our programming and, just as important, our food offerings. All our restaurants are open and we also bring in external food trucks so there are lots of options to help ensure shorter lines and people aren’t waiting a long time for food. Additionally, we want to give visitors a variety of choices. These food trucks are they’re typically grouped in spaces but they’re all over The Huntington. It’s a very large campus so we want to make sure there are food available everywhere for easy access to visitors. You can be on one side and you don’t want to go all the way to the other side to find food.”

Adams added, “We make sure we offer lots of different entry points to invite people to come in and learn about other cultures and experience different traditions. Food can sometimes be an important gateway. You might try Chinese food and think ‘Oh I want to learn a little bit more.’ It makes the world a little bit smaller.”                    

Han Music Ensemble with traditional Chinese instruments (pipa, which is like a guitar, on the left; guzheng, a plucked zither, on the right) | Photo by Brianna Chu / Hey SoCal

“One of the things I want to emphasize is how proud we are to be a part of the Chinese-American community in Southern California,” declared Adams. “With the Garden and this festival, we open up The Huntington and welcome that dialogue in trying to make the world a little bit smaller by bringing east and west together. And really just connecting people and educating for the purpose of increasing understanding is important for these days and times. If you can learn a little bit more about another culture, boy doesn’t that go far!? Those are the things you carry your whole life – a little bit of understanding, a little bit of perspective.” 

Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

If there’s one thing that most people can connect with, it’s food. And who doesn’t like Chinese food? Dumplings, chow mein, sweet and sour pork, and orange chicken are some of the most recognizable dishes the world over. How wonderful it is to discover our shared humanity with people sitting at the same table while enjoying a delicious bowl of noodles and taking in the artistic and cultural traditions of one of the oldest civilizations on earth. At the very least, it’s a fantastic way to welcome the Year of the Dragon.                        

Welcome Spring with PICNIC + FLOWERS

Also published on 8 February 2024 on Hey SoCal

       The Flower Fields in Carlsbad | Photo courtesy of Diana Rose Photography

After the cold weather and rain we’ve had, one can’t help but wish for spring to arrive. And what could be a lovelier way to bask in the mild Southern California sunshine than with a picnic and a walk on a field of vibrant blooms?    

Pop Up Picnic Co. provides just that with their PICNIC + FLOWERS event when they return this year from March 23 to May 12, 2024. Against a backdrop of The Flower Fields in Carlsbad and the San Diego coastline beyond, picnickers will enjoy an elevated outdoors experience with curated bites, live music, and stunning views. The event will take place every Saturday and Sunday with seatings available between 11am and 2pm.

While several other picnic pop up companies have appeared in recent years, Lauren Kimmons is proud to have founded the original. She talks by phone about the origins of this popular event, “I created Pop Up Picnic as a promotional idea for Valentine’s Day 2012 to create buzz for the wedding + design business that I owned at that time. People loved it! We did them on request for several years and even when I sold that business in 2016, I never stopped getting requests for Pop Up Picnics. In 2018, I relaunched the service as Pop Up Picnic Co and we’ve been helping people get together ever since.”

Photo courtesy of Diana Rose Photography

Successful endeavors are usually products of an inventive mind, an entrepreneurial spirit, and serendipity, as PICNIC + FLOWERS proves. Kimmons explains, “PICNIC + FLOWERS was a nebulous dream of mine and it all came to fruition because of a great networking opportunity and a gracious, creative, fearless lady: Joni Miringoff of The Flower Fields. Joni happened to see my company included in press for the San Diego Tourism Authority Accelerator (Pop Up Picnic Co was an inaugural cohort member) and we just hit it off! That meeting set my business on a completely novel direction. I am forever grateful to SDTA and Joni for setting me on this new path.”

Kimmons says 1,195 people booked the weekend event in 2023, which encouraged her to return this year. And as she has always done, she does a lot of planning and prep work to ensure the event runs smoothly. She describes “I’m a big believer in systems. There are lots of details and  logistics that go into planning an event like this and the biggest thing is staying organized and starting early. There are a few key areas where we focus in the months leading up to P+F: logistics, guest experience, supplies, marketing, and staffing. Luckily, we have the blueprint from last year so we have the added benefit of seeing what works (and what doesn’t) and making adjustments from there. We’re a tiny but mighty team of just three full-time staff members. As the event comes closer we’ll add about five more team members.”

That’s not to say it was easy from the get-go. She says, “The biggest challenge was believing I could do it. But like anything, it’s just one foot in front of the other. That’s where my background in weddings really honed my talent for logistics and planning. We just take everything one step at a time. This year, I just hope it lives up to the success of last year! We’re adding new features and amenities for the guests like more shaded areas, increasing the menu, adding dessert, and including private parking. All these features come with new challenges but we’re up for the task!”

Photo courtesy of Diana Rose Photography

This pop up picnic isn’t only offered in Carlsbad. Kimmons clarifies, “We have picnics in several locations! Pop Up Picnic Co’s main service is picnics for parties of 2-25 guests throughout San Diego. We call them Pop Up Picnics, a term we coined way back in 2012. We have two styles – BOHO with low seating and ORIGINAL with farm tables and bistro chairs. We can pop-up at the beach, a park, your home and lots of other places.”

“We would love to have our guests come back again in 2024 and we’re offering a couple bonuses for our previous guests which will all go out to our email subscribers,” says Kimmons. “We’re adding some enhancements this year including a private entrance and dedicated PICNICS + FLOWERS parking which means more time enjoying the fields! PICNICS + FLOWERS guests will also receive free wagon rides, expanded shade structures, a family-fun zone with lawn games, and expanded pre-fixe menu with picnic-inspired tea sandwiches, an assortment of seasonal salads, charcuterie for the table and mini fruit pies for dessert. Moreover, we’re making the experience more inviting for families, on top of giving discounted kids tickets, we’ve created a really fun, picnic-themed kids menu with cheese sandwiches, fruit + kid-friendly, nut-free snacks. We also have custom PICNICS + FLOWERS activity packs with coloring pages and a scavenger hunt and lawn games in our family-friendly play area.”  

Photo courtesy of Diana Rose Photography

The culinary offerings at this year’s event are set to delight attendees. Guests will receive an individual box containing a tasting menu with a variety of options to choose from, including cucumber chive sandwiches, chickpea smash sandwiches, ham and tomato sandwiches, three seasonal side salad choices, mini charcuterie, and delightful fruit pies on a stick for dessert. Refreshing beverages will accompany the delectable bites such as hibiscus-lemon aguas frescas and mint-infused water. Children will be served a child-friendly meal comprising cheese sandwiches, fruit, and dessert.

While the charming picnics have limited seating times of one hour, guests are encouraged to linger and explore The Flower Fields at their leisure and enjoy their complimentary wagon rides. Games at the tables add to the entertainment, allowing attendees to savor the experience with family and friends. For those bringing their children, a family-fun zone will be open for play.  

It’s never too early to plan for fun things to do and new places to visit this spring. Make PICNIC + FLOWERS one of your exciting new adventures!    



La Jolla Concours d’Elegance Offers a Spectacular and Unforgettable Weekend Getaway

Also published on 29 January 2024 on Hey SoCal

Photo courtesy of La Jolla Concours d’Elegance

Located about 120 miles south of Pasadena, La Jolla is a wealthy seaside community with a population of approximately 50,000 or close to a third of Pasadena’s. It occupies seven miles of coastline and is home to several venerable educational foundations, including the Scripps Institute of Oceanography and University of California San Diego; historic buildings like the La Jolla Woman’s Club and La Jolla Recreational Center; renowned sports venues such as Torrey Pines Golf course and La Jolla Beach and Tennis Club.     

It is also the breathtaking setting for the Annual La Jolla Concours d’Elegance, which will be held this year from April 19 to 21. Presented by LPL Financial and major sponsors Panerai, Mercedes Benz, and Sotheby’s, among others, it will showcase classic automobiles from the Roaring ’20s and Glamorous ’30s. Celebrating its 18th year, it is recognized as the premier automotive lifestyle event.

Photo courtesy of La Jolla Concours d’Elegance

Speaking by phone, event chair Michael Dorvillier talks about the event’s humble beginnings and how it evolved into one of the most prestigious classic automobile showcases in the country. He relates, “It was created 20 years ago as the La Jolla Motor Cars Classic by a group of community leaders and merchants with the primary objective of bringing business into La Jolla in the month of January when things are usually really, really quiet. Then sometime in 2011 or 2012 the original founders handed ownership of the show to the La Jolla Historical Society.”

“Incidentally, the historical society’s executive director at the time was a friend of mine and didn’t know anything about cars,” adds Dorvillier. “The founding group knew I was a car collector – I would always go to the show because it was in my own backyard. I put in a car once; it was always a fun thing for me to do. They also knew I was passionate about the community and I had relationships in the car world. I was asked to step in and be part of the committee that oversaw the event. I was at a point in my professional career when I was financially stable and I wanted to find something I could donate time and money to.”

A wealth manager offering financial services, Dorvillier has lived in La Jolla for the past 35 years. It was where he raised his kids and established his business. Buying and collecting old cars, tinkering with them and showing them, became a lifelong hobby when he bought his first car – his dad’s 1969 Camaro – which he retrofitted with fancy wheels and a modern motor.

Dorvillier continues, “I joined the committee the first year to observe and soak up as much information as I could about this event as it stood then and what its future could look like. And I realized very quickly they had this really great little car show, but it was on a concours venue at this amazing location – Ellen Browning Scripps Park. No other organization can have that entire  park for a weekend to themselves, but the show had been there long enough that they kind of had that in their back pocket. However, I wasn’t going to put in my time and energy for a local car show held once a year on a Sunday; I wanted to do a proper concours. Thus, in 2013, the three-day weekend getaway called La Jolla Concours d’Elegance was born.”

Photo courtesy of La Jolla Concours d’Elegance

“When we converted it to a concours, we needed to have judges. Today we have 75 volunteer judges who are from different parts of the U.S., and six or seven of them come from overseas. They’re all specialists in the cars they judge and they want to have La Jolla on their resumé. There are, in fact, quite a few high-end concours around the world. You can go to many different ones around the globe and see world-class cars that travel from concours to concours. But what makes us stand out and garner global attention is the experience we offer. Our tagline is ‘world-class cars, world-class experience.’    

And La Jolla Concours d’Elegance has certainly lived up to that claim. Dorvillier remarks, “Last year, we had 21 Duesenbergs on display. Most of them were 1 of 1 – meaning they only ever made one of them. Every single screw, wire, and leather seat was exactly what it would have been when the car was built new. The first five or six Duesenbergs in the line-up were probably worth $100-M. These are pieces of art! They’re very rare, beautiful automobiles. You don’t have to like cars to come to our show and love it and want to come back. You’re looking at art and history.”

The three-day getaway experience has an impressive array of activities with every amenity imaginable. Much thought and planning have gone into this year’s event, starting with the cover art for the posters, programs, tickets, banners, and other promotional materials. Official La Jolla Concours artist Scott Jacobs, prominent for his incredible photorealistic paintings of motorcycles and automobiles, will continue to astound as he paints the 1937 Rolls-Royce Phantom III from the Aaron Wiess collection.

The 1937 Rolls-Royce Phantom III epitomizes the luxury and engineering prowess of pre-war Rolls-Royce. This model, replacing the Phantom II, is distinguished as the only V12 Rolls-Royce until 1998’s Silver Seraph. Among the 721 V12 Phantom III chassis built from 1936 to 1939, this particular vehicle is a testament to the era’s peak in automotive luxury and design. Its heart, an aluminum-alloy V12 7.32-liter engine, is a marvel of its time, featuring a dual ignition system with two distributors and 24 spark plugs. Enhanced by Ace wheel discs for aesthetics and practicality, the car also boasts advanced features like on-board jacking and the Bijour lubrication system. Scott Jacobs’s portrayal of this iconic vehicle in his artwork not only captures its elegance and sophistication, but also serves as a tribute to the artistry and grandeur of the automotive and artistic crafts of the era.    

Photo courtesy of La Jolla Concours d’Elegance

Instead of featuring a single marque, the 2024 Concours celebrates a vast range of makes and models from the transformative era of the 1920s and 1930s, including Bugatti, Duesenberg, Packard, Bentley, Rolls Royce, and more. From sleek Art Deco designs to the powerful engines found within, these vehicles will transport spectators back to a time of innovation, luxury, and boundless enthusiasm for automotive craftsmanship.

An exquisite collection of automobiles will also be on display including:

  • 1932 Chrysler CP8 (Robert Schlesier): A marvel of engineering with only 5 surviving examples of the original 251 built. Debuting at the La Jolla Concours after extensive restoration, this car boasts a unique transmission.
  • 1930 Ruxton (The Nethercutt Museum): Of the 96 produced, fewer than 20 survive. The Ruxton’s distinctive striped paint job highlighted its low profile.
  • 1937 Rolls Royce Phantom III V-12 (Thrupp & Maberly): Originally commissioned by Sir Kameshwar, Maharajah of Bahadur, this vehicle was a highlight at the 2003 Pebble Beach Concours.
  • 1965 Alfa Romeo Giulia SS (Mark Angotta): A rarity in black, among the 1,400 built, this model stands out for its stunning livery.
  • 1955 Jaguar D-Type: Once owned by Hollywood comedian and writer Jack Douglas, this is one of only 71 ever made.
  • 1973 250 cc Husqvarna Trials Bike: A rare find in the USA, with only 200 initially imported.
  • Aston Martin DB5: Celebrated as the “Most Famous Car in the World,” renowned for its iconic role in the James Bond film ‘Goldfinger.’
  • Fiat 1500 GT by Ghia (Kipland Howard): An extremely rare model, with only 36 imported to the USA and fewer than 50 known to survive worldwide. Its appearance at the La Jolla Concours marks its American debut.
  • 1962 Triumph Italia 2000 Vignale (Kurt & Sharon Oblinger): Designed by Giovani Michelotti and built by Vignale, this is one of the only 328 ever produced.
Photo courtesy of La Jolla Concours d’Elegance

The world-class experience begins on Friday, April 19, with a VIP Party from 6:00 to 10:00 pm at Ellen Browning Scripps Park. Guests will immerse themselves in live music, savor artistically crafted cocktails from a hosted bar, relish gourmet delights from 20 of San Diego’s top restaurants, and participate in an exciting live auction featuring unique items.

On Saturday, April 20, guests will take part in an intimate and exclusive experience from 7:00 am to 2:00 pm. They will start the day by visiting remarkable car collections followed by a driving tour of the dramatic scenery of San Diego. A sumptuous lunch awaits them at the private venue.

Later that day, “Porsches on Prospect” goes on from 5:00 to 9:00 pm. Guests will witness 75 magnificent Porsches lining Prospect Street, and enjoy the village’s vibrant atmosphere, featuring live music, exclusive retail offers, gallery openings, restaurant specials, and much more.

On Sunday, April 21, from 9:00 am to 4:00 pm, guests will get a once-in-a-lifetime chance to view over 200 spectacular and rare vehicles that will be displayed at Ellen Browning Scripps Park on the La Jolla Cove lawn along the breathtaking Pacific Coast. They will indulge in the Champagne and Honey Tasting Garden and other unique experiences throughout the day. They will enjoy live music, visit exclusive vendors, and be treated to refreshing beers and cocktails – all while surrounded by an extraordinary display of cars. Moreover, they will watch a vintage flyover along the coast!

Photo courtesy of La Jolla Concours d’Elegance

That the little La Jolla car show has gone on to the become the dazzling and sought-after weekend party is not lost on Dorvillier. He enthuses, “When I took over as chairman, I jokingly said to someone one day ‘Every time I say to my wife let’s go to this car show this weekend, her response is do we really have to go to another one of those?’ It’s usually the last thing a non-car person wants to do. So we purposefully created an experience where if the husband was the car guy and the wife was sick of going to car shows, she was going to be dragging him back next year. And we have succeeded!”

Dorvillier quickly points out that he didn’t accomplish this feat by himself – there are 24 individuals that make up the committee who share the credit. He says, “Laurel McFarlane of McFarlane Promotions is the event coordinator and she’s been involved with this show from Day One. As the event grew, I spread out the responsibilities so there are now two components: the ‘talent,’ which are the cars; and the business aspect, which encompasses fundraising and sponsors, and the parties. While I oversee the entire project, I focus on the business side and my co-chair Bob Kerner runs the talent side. He has a team underneath him that ensures everything that’s related to the cars is perfect and topnotch – finding the cars and judges, for instance. We’re very discerning when it comes to cars, we don’t take any automobile that comes in. The selection team goes through all the cars and makes sure they’re authentic and original, worthy of having on the field. The executive committee, along with the car selection committee and the chief judge, decide on the marque.”

The La Jolla Concours d’Elegance is actually a year-long endeavor. Dorvillier explains, “We start over the minute one show ends. We didn’t hold it during the pandemic, but in October of 2021 we organized a golf tournament that raised the money we needed to pay for our expenses during the two years we were off. There are costs associated with this event and we needed to generate enough revenue while we sat on the sidelines so the Historical Society wouldn’t get adversely affected.”

Photo courtesy of La Jolla Concours d’Elegance

A unique event in this year’s celebration is the Mille Miglia at La Jolla which Dorvillier is excited about. He says, “Hagerty, the largest insurance company in the car industry, owns the California Mille, which is a 1,000-mile race that started in Italy and is still held there to this day. (The iconic car racing event was begun by Counts Aymo Maggi and Franco Mazzotti in 1927). Hagerty has reinvented that race here in the United States and this year they’re starting the Mille Miglia at La Jolla at the Concours. On Monday morning, all those cars participating in that race – I believe there are about a hundred – will take off on their 1,000-mile race over five days through Southern California. All the cars are classic Ferraris, Lamborghinis, and Maseratis  from the ‘50s and early’60s era.” 

It has been a little more than a decade since Dorvillier took the reins of what is now La Jolla Concours d’Elegance. And in that time, he has met many wealthy yet unassuming people who are just taking in the joys of seeing the most beautiful cars in one place. He marvels, “My best memories involve the people that I’ve met in the car hobby world. When you come to our event, you’re standing there looking at a Bugatti or a Duesenberg that costs anywhere from $10-M to $20-M and you’re talking to the owner. You have no idea that that person is a billionaire other than the fact that he owns that car. They’re just very down-to-earth people who are truly passionate about their hobby, which is collecting and preserving these pieces of art.”

Photo courtesy of La Jolla Concours d’Elegance

“For a long time, La Jolla was a sleepy town. But the Concours d’Elegance has livened things up for our community,” declares Dorvillier. “It has helped tourism – people usually arrive on a Thursday and stay for the weekend. Last year we were able to fill 800 hotel rooms; visitors dined in participating restaurants, shopped at clothing stores and various retail establishments, and went into museums. (There were 2,500 attendees in the Sunday events but there were several free events during the weekend so the total attendance was much higher) I’m proud to have played a small role in putting La Jolla back on the international map.” 

“That said, I didn’t do this all by myself,” Dorvillier emphasizes. “Indeed it takes a village to make this happen – we have a dedicated team year-round and 250 volunteers on the weekend of the event. And I want to make sure they get the recognition they deserve.”

Dorvillier and his team have stopped at nothing to put on a once-in-a-lifetime experience. What could be more spectacular than driving down to La Jolla on a beautiful Friday morning this spring with clear blue skies above and the pristine waters of the Pacific Ocean on the horizon and then spending the weekend at the La Jolla Concours d’Elegance? It promises to be one weekend affair to remember! 

“Another Beautiful Country” Exhibition at USC Pacific Asia Museum Show Moving Images

Also published on 22 January 2024 on Hey SoCal

Clockwise from top left: Vivian Wenli Lin, The Joy Luck Mom Club, 2023; Jennifer Ling Datchuk, Love Yourself Longtime, 2019; Charlene Liu, China Palace, 2023; Rania Ho, Roundabout, 2023; Patty Chang, Invocations and Que Sera Sera, 2013, Andrew Thomas Huang, Kiss of the Rabbit God, 2019; Richard Fung, My Mother’s Place, 1990; Candice Lin, Lithium Sex Demons in the Factory, 2023; Ken Lum, Coming Soon, 2009 / Courtesy of USC Pacific Asia Museum

A touching experience awaits visitors to USC Pacific Asia Museum who come to see Another Beautiful Country: Moving Images By Chinese American Artists. On view from January 26 to April 21, 2024, the exhibition showcases ten artists whose work explores diverse ways immigrants and their families embody, imagine, and reciprocate intercultural experiences.

Curated by Jenny Lin, Ph.D., an Associate Professor of Critical Studies in Art and Design and Graduate Director of Curatorial Practices at the University of Southern California, the exhibition   features the works of award-winning, distinguished, and renowned artists in their specialized fields: Patty Chang, Jennifer Ling Datchuk, Richard Fung, Rania Ho, Andrew Thomas Huang, Simon Leung, Candice Lin, Vivian Wenli Lin, Charlene Liu, and Ken Lum.

Drawing its title from the Chinese translation of America, 美國/měiguó, literally beautiful country, and the popular abbreviation for American-born Chinese (A.B.C.), this exhibition presents artworks as scenes of cross-cultural sharing. Another Beautiful Country foregrounds fluctuating ideas of nationhood and belonging as portrayed by artists who identify as Chinese American. These artists confront subject positions of being both, while neither singularly, Chinese and (nor) American, revealing the nuance and multivalence of national categorizations.

Another Beautiful Country installation | Photo by May S. Ruiz / Hey SoCal

Another Beautiful Country is the first full exhibition that Lin curated at PAM but she’s certainly not a stranger to the museum. She explains via email. “I have had the pleasure of working with PAM on multiple programs. In 2020, I collaborated with USC students and colleagues to create an online exhibition, ‘In a Bronze Mirror: Eileen Chang’s Life and Literature,’ which showcases qipao/cheongsam from PAM’s collection. In October 2022, I organized the USC Visions & Voices event at PAM, ‘Taipei Night,’ which featured Taiwanese pop music, snacks and boba tea, as well as talks, a special print giveaway, and film screening and workshop by two of the exhibition’s included artists: University of Oregon Art and Printmaking Professor Charlene Liu and Occidental Media Arts and Culture Professor Vivian Wenli Lin.”  

Putting on an exhibition typically takes time and Another Beautiful Country was several years in the making. Lin states, “I’ve been conceptualizing this project since I started my new position as Associate Professor of Critical Studies in USC’s Roski School of Art and Design in 2019. The preparation, including working with the wonderful PAM staff, fundraising (we received a major Exhibition Support Grant from The Andy Warhol Foundation for the Arts), crafting didactics, promotional materials, and a beautiful publication, organizing related programming, and my favorite part – talking with the artists – has been ongoing since 2021.”    

Lin is also very familiar with the artists whose artworks are being showcased. She discloses, “I had been following, teaching, curating, and/or writing about the marvelous works of most of these included artists for years. I’ve had the good fortune of getting to know many of them as colleagues and collaborators, and our discussions and further research introduced me to more artists whose works align with the exhibition’s themes. All the selected artists inhabit and contemplate subject positions of being both, while neither purely Chinese and (nor) American. Each artist creates works that I see as moving images – considered both literally as videos, projections, and costume and set-oriented installations in transnational circulation, and figuratively as emotionally evocative and addressing migration and Chinese American diasporic relations.”   

Jenny Lin during exhibition opening and reception | Photo by May S. Ruiz / Hey SoCal

Both curator and artist were active partners in choosing pieces that provoke discussion. Lin says, “Each artist is exhibiting one to three pieces/series but we made the selections together in extensive conversations. Featured artworks vary wildly in style, content, medium, and scale, with the exhibition encompassing a doormat, neon sign, prints, experimental videos, participatory documentary, large-scale projection, hybridized sculptures, and immersive installations. While vibrantly diverse, all these artworks closely relate to one another, and we’ve designed the exhibition to highlight those relations.”  

Below is a sampling of artists’ works.   

Patty Chang  / 張怡

Invocations and Que Sera Sera, 2013

Two channel video installation, 3 Minutes, 45 seconds

Patty Chang’s “Que Sera Sera” | Photo courtesy of USC Pacific Asia Museum

Que Sera Sera features the artist singing her newborn baby to sleep. Chang gently rocks to and fro, her baby strapped to her body in a carrier – baby whimpers at first, and a tiny foot protruding from the carrier rests on the artist’s hip. Beside them lies Chang’s father in a bed with side rails; he is dying, breathing, but nearly motionless. She sings to him too: “Que Sera Sera, What Will Be Will Be.”

As in Chang’s video, wherein we encounter three generations of family members at distinct life stages, Que Sera Sera covers childhood, growing up and falling in love, and having a child of one’s own. Throughout the song, the narrator – the singer’s parent or singer-as-parent – tenderly responds to questions of what will be: “Will we have rainbows day after day? The Future’s Not Ours To See.” Both artwork and song urge us to be patient and present. With sorrow and joy, Chang inhabits a moment of intimacy with her baby and father, one drifting to sleep, the other drifting toward death.

Written by US composers Jay Livingston and Ray Evans, who often co-wrote songs for movies, “Que Sera Sera” became popularized by Doris Day, who belted the song as a secret signal to her kidnapped son, in Alfred Hitchcok’s 1955 film, The Man Who Knew Too Much. The song’s title, “Que Sera Sera,” which has since become a popular US phrase to express “what will be will  is grammatically incorrect in the languages it assimilates (in Spanish it would be “lo que será, será,” in Italian “quel che sarà sarà”), a reminder of the imperfections of translation and language acquisition. Yet even if imperfectly, we learn new languages – studying in schools, speaking the words of a place we have migrated to, learning the native tongues of our parents, or grandparents; Chang’s son now speaks with her mother, his grandmother, in pǔtōng huà.

In Invocations, we catch a glimpse of Chang’s baby being rolled up, in stroller, to his grandmother. She embraces her grandson, she in paisley trousers, he in striped onesie and green leggings. Baby cries; grandmother exclaims, “Jīntiān nǐ zěnme chǎo!” (Today you are so noisy!). In the rest of Invocations, we see Chang’s mother’s hands, holding and swiping through a list of invocations that appear on a tablet. Her voice, soothing and steady, reads in accented English: “Invocation of loss of balance / Invocation of falling / Invocation of motor control / Invocation of envy / Invocation of incontinence / Invocation of caregiving / Invocation of catheter / Invocation of daily life / Invocation of isolation / Invocation of shame / Invocation of guilt / Invocation of longing…” The list of invocations related to growing older, disease, medical treatments, desire, everyday life, and ideas, at once quotidian and dreamy, reads like a poem.

List of Invocations, 2017 Letterpress print

Echoed in a print, List of Invocations hangs nearby the video installation. Light grey text in a clinical font appears on white paper; the lightness of the words, as well as their structural repetition, mimics life’s fleeting nature. Chang’s invocations are practical, magical, ethical, and perhaps, ultimately futile, albeit still worthwhile, as all states, emotions, and things shall pass; “what will be will be.” Chang’s Invocations and Que Sera Sera stand as offerings of familial intimacies and vulnerabilities, tenderly reminding us of life’s cruel and beautiful cycles.

Jennifer Ling Datchuk  /

Love Yourself Long Time, 2019

Doormat

Jennifer Ling Datchuk’s ‘Love Yourself Longtime’ / Photo courtesy of USC Pacific Asia Museum

and

Love Yourself Long Time, 2021

Mirrored acrylic and neon

Love Yourself Long Time (2019) takes form in two artworks: a glowing custom-made neon, mirrored sign and a red doormat, nearly identical to those meant to be stepped on, elevated in the exhibition via the museological standard of placing art objects upon pedestals. The phrase, Love Yourself Long Time, illuminated in neon on the sign (with yourself lighting up letter by letter) and embossed in golden English letters and Chinese characters on the doormat, references a scene in director Stanley Kubrick’s 1987 film Full Metal Jacket, in which two US soldiers stationed in Vietnam negotiate with a Vietnamese sex worker, who advertises: “Me love you long time.”  Datchuk twists the line, which has circulated widely throughout American popular culture. Asserting agency, she turns the grammatically incorrect offer of the subjugated, exoticized sex worker into a positive affirmation encouraging self-love.

Two Week Wait, 2021

Porcelain, gold mirrored glass tiles, mirrored acrylic, candles

Two Week Wait (2021) is a sculpture reflecting on female health and safety, as well as the common Covid-19 quarantine period. Constructed like a shimmering alter with Chinoiserie, famille rose porcelain candlesticks stacked upon its steps, Two Week Wait acknowledges ways in which people in North America and Western Europe often look to Eastern symbols and rituals for spiritual fulfilment. Simultaneously, the artwork sparks varied emotions that may accompany pregnancy, shared across the globe: exuberance, joy, fear, terror, sorrow, trepidation, regret, excitement, anticipation.

The title, Two Week Wait, refers to the typical time of waiting between ovulation and menstruation, in other words the time it takes to confirm pregnancy. Women internationally, including in the United States and People’s Republic of China, have long struggled and continue struggling for bodily autonomy and reproductive rights.

(Jennifer Ling Datchuk will be giving an artist talk in the galleries with Ken Lum at PAM on Saturday, January 27 at 1pm)

Rania Ho / 颖宜

Roundabout, 2023

Single channel video, 14 Minutes, 29 seconds

Rania Ho’s ‘Roundabout’ / Photo courtesy of USC Pacific Asia Museum

Roundabout features US-born, China and US-based artist Rania Ho walking in circles in a demolition site in her video projection. A fade-in technique makes the artist appear and disappear as she walks in large concentric circles, her body attached to string, stanchion, and ball bearing, creating a fulcrum point. As Ho steadily walks each circumference, she sprays the ground from a hose attached to a fluorescent green water pack she wears on her back. The spray emits a hum and leaves a ghostly residue that slowly begins evaporating over the course of the video. The gesture, along with Ho’s uniform-like black clothing and industrial hose, recalls decontamination processes used in China following the initial outbreak of Covid-19.

Those who live or have spent time in China may also be reminded of the poetic practice of people, usually elderly, writing calligraphy in water on the stone pathways of parks. For others, Ho’s overlapping circles resemble the logo of the Olympics, held in summer 2008 and winter 2022 in Beijing, where Ho made the video. As the artist describes in her writing about the piece, the demolition site, Luoge Zhuang Village of Shunyi District, used to be filled with artists’ studios (she herself had a studio on the outskirts of the village), which were hastily demolished in 2021, supposedly to make way for Olympics-related construction that never came to be.

The fixed camera surveys the demolition site, with its cracked surface and rubble, below a smoggy sky and deciduous trees, sans leaves. Ho’s body, dwarfed by the site and her circumambulation – at once like a Buddhist ritual and Sisyphean task – persist on infinite loop, a quiet mourning for the fallen studios on the outskirts of Beijing.

You Kinda Had to Be There (Motel Cali), 2005/2023

Single channel video, 6 minutes, 30 seconds, edited from 24 hours

Visitors encounter a very different, comical, high-spirited representation of Beijing’s art scene in the mid-aughts in Ho’s You Kinda Had To Be There (2023). This project, tucked behind a curtain, consists of a karaoke-inspired video installation with a shimmering tinsel backdrop, headphones, and microphones for museum goers who fancy singing along. The video features artists singing or performing in various ways The Eagle’s “Hotel California,” a common karaoke song that most all of us love to hate. Ho created this 6 minute, 30 second video (the duration of the actual song) by editing footage of a 24-hour participatory event she organized in 2005. For the original event, part of Complete Art Experience Project (CAEP/联合现场地计划), a city-wide art initiative in Beijing, Ho invited artists and other community members to sing “Hotel California.”

The creative, offkey renditions by many of Beijing’s most active artists of the day collectively compose a kind of time capsule of a free reeling art world, set amidst the frenetic pace of intense urban development. Ho’s moving images of artist friends, goofing off and singing “Hotel California,” especially when juxtaposed against the solitude of her post-Covid-19 Roundabout, wherein the only other creature to appear is a dog we later hear barking, stresses the vitality of friendship, chosen family, and playful communal gatherings.

(Rania Ho will be giving an artist talk with Simon Leung at PAM on Wednesday, April 3 at 6pm)

Andrew Thomas Huang /黃卓寧

Kiss of the Rabbit God, 2019

Single channel video, 14 minutes, 29 seconds

and

Rabbit God Statue, 2019

Mixed media with adornments by Tanya Melendez

Andrew Thomas Huang’s ‘Kiss of the Rabbit God’ / Photo courtesy of USC Pacific Asia Museum

Kiss of the Rabbit God is a fairy tale of queer love. The protagonist, a young Chinese American man named Matt, played by actor Teddy Lee, feels trapped working in his parents’ Chinese restaurant (filmed on location in LA’s Chinatown), until he meets the deity, Tu’er Shen (Rabbit God), in human form, played by actor Jeff Chen.

The two young men embark on a loving, celestial sequence that allows Matt to embrace his gay identity through self-discovery and by entering into a mystical Chinese legend. Accompanying Huang’s short film stands Huang’s Rabbit God Statue, which the artist recently showed in another exhibition of Kiss of the Rabbit God in Hong Kong. Kiss of the Rabbit God’s setting nods to Huang’s own family’s 40-year history running a Cantonese restaurant in southern California.

Vivian Wenli Lin / 林雯莉

The Joy Luck Mom Club: Untold Narratives of Migration, 2023

Single channel video, 10 minutes

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Vivian Wenli Lin’s “The Joy Luck Club: Untold Narratives of Migration | Photo by May S. Ruiz / Hey SoCal

The Joy Luck Mom Club: Untold Narratives of Migration is a mixed-methods participatory, interview and observation-based video project. In turning to lost and untold narratives of migration that have been kept silent or hidden away, Lin centers the diasporic identities that were excluded in mainstream representations of the immigrant narrative.

Inspired by the film The Joy Luck Club (1994) based on the novel by Amy Tan and directed by Wayne Wang – a film considered to be a dominant representation of the Asian American immigration narrative, the project attempts to contribute to the untold/unheard/silenced and forgotten narratives of women’s migration. Immigrant stories are often centered on generational trauma as a result of the self-sacrificing Asian mother.

The narratives shared via The Joy Luck Mom Club: Untold Narratives of Migration attempt to decenter the “Asian American” immigration story, through the use of participatory media making methods, to gather transnational stories between Asia/America, blurring the lines between how these histories of migration can be remembered as fact or fiction, memory or truth. Lin offers an opportunity for museum visitors to share their own “joy luck mom club” moments; a flier with QR code and instructions is available near the video.

(Vivian Wenli Lin will be holding a related workshop, “The Joy Luck Mom Club – Participatory Video,” on Saturday, March 23 from 11:30am-2pm)

Ken Lum  /林蔭庭

Coming Soon, 2009/2023

C-print reproduced on vinyl

Ken Lum’s ‘Coming Soon’ / Photo courtesy of USC Pacific Asia Museum

The print, facing outward from a museum window, resembles a family photograph of a mixed-race European-Asian couple and their biracial daughter. This picture of a seemingly benign nuclear family, paired with the text Coming Soon in both English and Chinese characters, resembles an advertisement for a Hollywood movie or global fashion brand, though without slick styling or airbrushed perfection. The image counters historical anti-miscegenation laws and parodies superficial corporate diversity campaigns. Simultaneously, for those in the know,

Coming Soon reminds us of the ability of images to deceive and the importance of questioning our assumptions; Lum divulged to me that the people in the photograph are not in fact a family, but three strangers the artist met in Beijing.

 (Ken Lum will be giving an artist talk in the galleries with Jennifer Ling Datchuk at PAM on Saturday, January 27 at 1pm)

Lin has consciously and mindfully put together an extraordinary show. Another Beautiful Country is an impressive collection of thought-provoking artwork that invites a response and reaction from its audience.

She expresses magnificently what she wishes the exhibition engenders. “I hope people will spend time with each artwork, absorbing the multivalent presentations of Chinese American experiences and identities, which collectively unravel grand historical narratives, nationalist myths, and essentializing stereotypes. I hope people visiting the exhibition will come away with admiration for these artists’ fantastic works and the unique, nuanced ways they portray Chinese American relations. Ultimately, I hope the exhibition will inspire visitors to reflect on their own familial stories of migration and imagine belonging in another beautiful country, a place where generous, cross-cultural relations flourish.”  

‘Art for the People: WPA-Era Paintings from the Dijkstra Collection’ on View at The Huntington

Also published on 27 November 2023 on Hey SoCal

Emmanuel Romano, “Construction Workers: Solidarity in Action,” 1940, oil on board, 48-by-36-by-1.75 inches. | Courtesy of the Collection of Sandra and Bram Dijkstra

From Dec. 2 through Mach 18, “Art for the People: WPA-Era Paintings from the Dijkstra Collection” will be on view in the Virginia Steele Scott Galleries of American Art at The Huntington. Featuring 19 remarkable works drawn from the collection of Sandra and Bram Dijkstra, the exhibition is a collaboration between the Crocker Art Museum in Sacramento, the Oceanside Museum of Art in Oceanside, and The Huntington Library, Art Museum, and Botanical Gardens in San Marino.

The exhibition highlights federal Works Progress Administration artists of the 1930s and early 1940s who were employed by the government to help stimulate the post-Depression economy. More than 10,000 artists participated, creating works that represented the nation and its people, and seeking to express fundamental human concerns, basic democratic principles and the plight of the dispossessed.

“Art for the People” and its companion catalog feature paintings from across the United States, with strong representation by California artists, artists of color, women artists, and Jewish artists who have generally been omitted from the WPA-era narrative. Some of the paintings are often described as American Expressionism or American Scene, depicting both urban and rural subjects and focusing on the lives of average Americans.

Helen Forbes, “A Vale in Death Valley,” 1939, oil on canvas, 34-by-40-by-1.75 inches. | Courtesy of the Collection of Sandra and Bram Dijkstra

The Huntington’s presentation of “Art for the People” is the third and last stop for the traveling exhibition, which originated at the Crocker Art Museum, where it ran from Jan. 29 to May 7, 2023. It was on view at the Oceanside Museum of Art from June 24 until Nov. 5. Shown differently at each venue, the installation at The Huntington showcases paintings by 18 artists, including paintings that were given to The Huntington by the Dijkstras, such as “Soldier,” a major work by African American artist Charles White. White, who became an important figure in what was known as the Chicago Black Renaissance, made the painting in 1944 after he had been drafted into the U.S. Army.

Dennis Carr, Virginia Steele Scott chief curator of American Art at The Huntington, speaks to me about the exhibition and how the collaboration with the two other museums came about.

“If memory serves, it started with a conversation between Scott Shields at the Crocker Museum and Sandy and Bram Dijsktra, who expressed their interest in presenting publicly this part of their collections,” Carr starts. “Once the Crocker Museum was enthusiastic about it, they reached out to other venues, including The Huntington. We were especially interested given the strength of our American paintings collection in the early 20th century — specifically around the WPA period — as well as the strength of The Huntington Library in collecting material like this. So we felt it was a natural fit for the institution.”

Carr explains, “Both the Oceanside Museum and the Crocker Museum displayed all 40 paintings. We didn’t have the space available at The Huntington but we chose what we felt were highlights of the collection and focusing on California artists, artists of color, and women artists.”

Charles White, “Soldier,” 1944, tempera on masonite, 30-by-25 inches. | Courtesy of The Huntington/Sandra and Bram Dijkstra/The Charles White Archives

“There’s one from The Huntington’s permanent collection which was donated by Bram and Sandy Dijkstra in 2013,” Carr continues, referring to ‘Soldier’ by White. “In my opinion, it’s one of the most striking paintings in the American Art collection. Charles White was a black artist who moved from the East Coast and eventually settled in Altadena and became a very important painter in Los Angeles in the mid-20th century. This is a vital early work by him and we’re so proud to have it in The Huntington’s permanent collection. But we thought it was important to include the Charles White painting in this show because it’s of the era and it’s by a very local artist. It’s been on view in our gallery ever since they donated it in 2013 and it’s nice to see it join other works from the Dijkstra’s private collection in the exhibition.”

Carr adds, “Miki Hayakawa was a Japanese-born artist who immigrated to California as a young girl and there’s a delightful painting by her called ‘The View from my Window’ from 1935. It shows the scene from her apartment in San Francisco looking at Coit Tower in the distance. There’s also a painting by Sueo Serisawa, another Japanese-born artist who lived in California during World War II but had to leave the Coast and eventually settled in Chicago and New York. The work that’s represented in the show is from 1945. There are works by other women artists like Helen Forbes who depicted a wonderful aspect of the California landscape.”

Miki Hayakawa, From My Window, 1935, oil on canvas, 28-by-28 inches. | Courtesy of the Collection of Sandra and Bram Dijkstra

“What the exhibition shows is not just an East Coast view of art in the period but across the United States and the development of different regional schools on the East Coast, in the Midwest and on the West Coast — where different artists were showing different aspects of American life. The focus of the Dijkstra collection on mostly underrepresented and under-recognized artists presents a much broader and more diverse vision of this era,” Carr emphasizes.

Interestingly, while “Art for the People” is on view, The Huntington will be opening a show in February about Sargent Claude Johnson, another WPA-era painter. 

“Sargent Claude Johnson was a black sculptor based in the Bay Area who was also supported by the WPA in the 1930s and early 1940s,” says Carr. “I believe he was one of only three black supervisors of the WPA nationwide. He was a very distinguished artist and was very proud of the fact that he was a supervisor in the WPA. He led large-scale projects for architectural installations in a number of venues in San Francisco and Berkeley. For Johnson, the program allowed him to work on a bigger scale with larger teams of artists. It definitely supported him as an artist during this difficult time period, and I think it allowed him to expand his creativity.”

Sueo Serisawa, Portrait of My Daughter, 1945, oil on canvas, 20-by-14-by-1.75 inches. | Courtesy of the Collection of Sandra and Bram Dijkstra

I ask what the significance of WPA-era paintings in American art is, and Carr replies, “They present a very diverse look at the American scene in two extremely important decades in the development of American art — the 1930s and 1940s. It was a very challenging time for artists, financially and socially, but it was also a time of significant governmental support for the arts. It kept many of them alive and working, and it allowed many artists to work on a larger scale than they had ever before. Likewise, it was a time of great flourishing of the arts in the United States and the seed for that was planted not just by the government but by the people who participated in this program. That resulted in a number of murals created for post offices, government buildings, and public spaces like schools and classrooms. It also produced a larger network of artists who were also being supported by the program and I think that it helped in the advancement of communities of artists across the United States.”

As for the visitor takeaway, Carr opines, “It’s a profound and striking view of a bleak period in American history and it looks at ways that visual artists were responding to this moment across the United States. I think there will be many names of artists that our public is not familiar with but should be, because the works are stunning and powerful, and they speak with the clarity and an emotional quality that really capture the era. Sometimes art can feel esoteric to some audiences, but this art speaks with the simplicity and directness that people can relate to. I think that the show itself and the works within it will be a surprise for many.”

“Moreover, it’s interesting to look back in an era when there was the largest governmental program for the support of the arts ever created until then or since. We can reflect on what that meant in that moment and how the arts remained so relevant in American culture and what the government’s role could be or should be to support that,” Carr concludes.