A Sacred Journey , Fernando Barragán 2008, exterior wall, Sacred Heart Elementary       By Abel M. Salas Ernesto Quintero entered the world a year-and-a-half behind his brother Juan. Of the six children born to Micaela and Roberto Quintero, they were the nearest in age. “Growing up, we did everything together,” says Quintero, an independent filmmaker from Lincoln Heights, the cornerstone East Side community his family has called home since 1966. “We played on the same [Little League] baseball team… Pop Warner football… basketball…  we  were inseparable.” There, nestled below Flat Top, Montecito Heights and Elephant Hill—hilltop vantage points the pair of brothers explored as a duo—the Quintero family grew and prospered in the wake of the Chicano Movement and the fervent tide of cultural arts expression it spawned. As a result, the brothers would come of age in an era and an environment that validated their heritage and their identity even as their ...

Gushan, a self-taught painter and sculptor who is, ironically, a highly sought after ecclesiastical artist, in City Terrace. By Abel Salas   Gushan is something of an enigma. To begin with, his name is not really “Gushsan.”  The word is a hybrid compound of sorts.  Think Gustavo. Think “h” something and think Sánchez. But since 1997, when the interdisciplinary artist arrived in Los Angeles and located himself in the middle of one of the most notorious barrios on the Greater East Side, he has worked very hard to grow as an artist and become a more conscious human being in the process. And, as a consequence, he just might be the most famous and important L.A. artist you’ve never heard of. That is, unless you watch Spanish-language TV, listen to Spanish-language radio or read Spanish-language newspapers or magazines, because he’s been on or in almost all of them. Born in Guadalajara but raised in Tijuana, he began teaching himself to be an artist in many diffe...

Día de Los Muertos Altar dedicated to los perdidos en Tlatelolco '68 and the 43 in Ayotzinapa. Courtesy of J.A. Aguirre. by Abel Salas To most Angeleños* and roughly two million visitors from across the city, the state, the country and abroad who visit annually, Olvera Street is little more than a touristy relic, an antique collection of structures and buildings that once functioned as the city’s bustling center. For them, it provides a portal to a quaint, picturesque and romantic—if reductive and grossly idealized—vision of an idyllic colonial pueblo once home to the original 44 Native American, African, European and Mestizo settlers who founded Los Angeles along the banks of the Río de Porciúncula (Los Angeles River) in 1781. Declared a state park through the efforts of preservationist and persistent civic booster Christine Sterling, the cradle of Los Angeles had already fallen on hard times by the 1920s when she turned her attention to its shuttered adobe and early brick...

Interview by Pancho Lipschitz, @pancho_lipschitz Master muralist Wayne Healy calls Isabel Rojas-Williams “La Reina de los murales,” but in reality she is more an ambassador or a madrina ; making friends and building coalitions among artists, politicians,  academics and arts supporters on behalf of public art. Her love of street art and murals began in the ’70s when she sprayed anti-government slogans on the walls of Pinochet’s Chile. She wrote her Masters’ thesis on the history of murals in Los Angeles and, unsurprisingly, gave birth to a muralist.  Her son, former street artist Pablo Cristi, studied at the California College of the Arts and now teaches at the Oakland School for the Arts . But her most significant role now, many believe, is her post as the Executive Director at the Mural Conservancy of Los Angeles (MCLA) , where she leads an epic and long overdue mural restoration initiative. We met on a drizzly morning at her outdoor office— Nicole’s Cafe in Sout...