Isabro Ventura “Charro” Ortega passes away



The man who hand-carved and painted La Casa de Las Nubes or The House of the Clouds passed away August 14 of an apparent heart attack at age 66.


Born and raised in the tiny mountain town of Trucas on the High Road to Taos in  New Mexico,  Isabro “Charro” Ventura Ortega left his hometown only to work and go to school. He was more intersted in staying at home, carving and painting the interior of his house - a two-story building perched on a rim road in Truchas, 8,000 feet above sea level that he named La Casa de Las Nubes. 



Though Ortega began building his house in 1984, his masterpiece was still a work in progress when he died. The exterior, covered in the gray scratch-coat that comes before stucco, doesn’t reveal the artistry it holds within. His first carving of a small santo led to more, as well as to small frames, noise-makers, and arrows. But he also returned to the Casa de las Nubes, innovatively carving window frames, niches, doors, ceiling, and even some floor treatments, each different, and each stunningly distinct. With some he added rusted cans, picked up on the road in front of his house, the cans that his own parents had used and tossed out; with others he added small twigs of willow, branches of mesquite cactus, or rounds of copper. He was able to make a living fabricating frames, small pieces of furniture, and doors for clients; he also taught carving classes in the summer for local children. Between commissions and teaching, he returned to work on his Casa. He was influenced by Spanish Colonial art and the iconography of the Catholic Church. Native American imagery shows up in the form of Kokopelli and kachina figures carved in doors or framing the mirror in his master bathroom.



Ortega, never married or had children. He left La Casa de las Nubes to his niece,  Laurie Leyba Martinez. “I plan to keep it and honor his legacy,” she said. “Maybe turn it into a gallery so everyone can remember him. I plan to bury his ashes at his home so he’ll never have to leave his home, and make a shrine of him and his art. I don’t ever plan to sell it. It’s the last part of him that I have.”


Kohler Foundation seeks Preservation Coordinator

Posted in job opportunities, Preservation News

Preservation Coordinator - Kohler Foundation
Location: Kohler, WI

The Preservation Coordinator assists the preservation team in all phases of projects including the research, acquisition, cataloging and conservation of art collections and art environments. The coordinator supports the foundation’s outreach to and projects with museum professionals, artists, conservators, technicians, contractors and others to complete projects in a timely and professional manner with respect to budgets, team collaboration and preservation goals.

The individual will assist in project tracking and reporting and must have project coordination experience. The coordinator is a self starter with a flexible and collaborative style, strong interpersonal skills, and excellent follow through. The individual will interact with a variety of fields of discipline and backgrounds. The position requires high proficiency in computer software, outstanding organizational skills, and experience with art-related projects. The coordinator works well under deadline, and can handle multiple projects at once. The coordinator has a strong interest in art and preservation initiatives. 

  • Participates in the search, acquisition, preservation and gifting of collections and art environments.
  • Documents assigned projects, including dimensions, descriptions, condition reports, and photography. Prepares spreadsheets and other documents to retain the information in a usable and accurate manner. May require travel to off-site projects.
  • Prepares a wide variety of presentations, reports, and spreadsheets as assigned.
  • Occasionally makes presentations on topics related to art preservation and completed projects.
  • Supports preservation and KFI staff in tracking preservation projects.
  • Assists with collection care and hands-on cleaning of artwork, often working with art conservators.
  • Hands-on maintenance of warehouse and conservation spaces.
  • Works with Preservation Manager with packing and delivery of artwork. Coordinates shipping and transportation.
  • Performs other related assignments delegated by the Executive Director and Project Managers.

Relationships and Contacts

         Supervisory Relationships:

  • Reports to Executive Director, Kohler Foundation
  • Provides daily support to two Preservation Project Managers
  • Guides the work of contract employees and interns, as assigned

         Organization Relationships:

  • Constant contact with all KFI staff
  • Frequent contact with staff of John Michael Koher Arts Center and other museum professionals
  • Frequent contact with art conservators and other contract employees
  • Occasional contact with KFI Preservation Committee members


  • Bachelor’s degree in art history, studio art museum studies, or a related field required.
  • Outstanding organization skills
  • Proficiency in Word, Excel, and Powerpoint, and ideally photo editing software. Photography skills highly desirable.
  • Requires a valid driver’s license, and up to 20 percent travel in and outside of the state including occasional weekends.
  • Must be able to lift boxes up to 35 pounds, and load items to heights of three to four feet. 

Please provide a cover letter that showcases why you are interested and qualified for this position. 

This is a full-time, salaried position, with benefits.

The Preservation Coordinator is an employee of the Kohler Foundation and not Kohler Co. Kohler Foundation is a private, non-profit charitable organization, committed to the preservation of art environments and important collections across the U.S. We also support art and education initiatives in the state of Wisconsin. To learn more, check out our website at


Click here to begin application process through Kohler Co website. 

SPACES Mourns the Passing of Julio Basanta

I am so sad to share the news of the passing of art environment builder Julio Basanta, who died July 8, 2018. He was 85 years old.


Although I began visiting and documenting Basanta’s spectacular Casa de Dios [House of God] on the outskirts of the village of Épila, near Zaragoza, Spain, in 2008 and 2009, I didn’t have the opportunity to meet Julio in person until one of my subsequent visits, in 2014. He was intense and passionate about his work, and his total commitment to it was evidenced in the construction, painting, and constant repainting of numerous demons, devils, and other assorted figures of myth and legend that practically eclipsed the three little castle-like buildings he himself had earlier constructed on-site. Motivated at least in part by the trauma of his abandonment by his father at an early age, his creative expressions were inflamed by the murders of a brother and his only son, some twenty years apart. Basanta’s site, dense with fearsome and disturbing characters that were incongruously painted in bright and vivid colors, has been one of the most compelling and extraordinary of Spain’s art environments for at least the past fifteen years.


The future of the site and of Julio Basanta’s artwork is, at present, uncertain. We all mourn his loss.


Jo Farb Hernández


img5489-brightened-and-resized-2008Casa de Diosimg8988-resizedCasa de Dios

Skin of the Bride goes to full Philadelphia Historical Commission for Historical Designation consideration July 13

Isaiah Zagar (born 1939) was a nineteen-year-old art student when he met Clarence Schmidt, creator of the House of Mirrors in Woodstock, NY. This meeting changed his life, and radically expanded his notion of the kind of art he could make and where he could make it. After three years in the Peace Corps in Peru, Zagar settled in the South Street section of Philadelphia in the 1960s, then a rundown area with cheap rent. Since that time he has continued to live and work in this same area, following the path that opened up for him following his meeting with Schmidt.

zagar1Isaiah Zager with one of his colorful mosaics.

Zagar’s art has two main manifestations. The best known, Philadelphia’s Magic Gardens, is an exuberant art environment and gallery space built on two vacant lots adjacent to his studio. Constructed on multiple levels with open-air corridors, entryways, staircases and rooms, it teems with color and a dizzying assemblage of found objects. The walls include inlaid texts as well as images and, in one section, pay homage to artists such as Sabato Rodia and Ferdinand Cheval.

The other demonstration of Zagar’s art can be seen on over 100 buildings in the Philadelphia area that have been adorned with multi-story glass and ceramic mosaic murals. Perhaps his most renowned work outside of the Magic Gardens is Skin of the Bride, which sheaths the Painted Bride Art Center. It has been an icon in the Philadelphia area since its creation between 1991 and 2001 (Zagar later donated the mosaic work to the center).

Painted BrideThe Skin of the Bride. Photo courtesy of Philadelphia's Magic Gardens

However, this work is now threatened. The Painted Bride Art Center has plans to move out of the adorned building and sell the property to the highest bidder, using the proceeds to support its project-based activities. Originally a raw industrial space used to manufacture elevators, it was purchased in the late ‘80s for $325,000 and is now worth well over $2 million. It is sure to attract prospective buyers, but conservation of the mural by potential new owners is not guaranteed. 

This concern, then, inspired the effort to obtain historical status for the mural. Undertaken largely by advocates at the Magic Gardens, and supported by a panel of the Philadelphia Historical Commission in a unanimous vote, the recommendation now goes to the full Historical Commission for consideration at its July 13 meeting.

Skin of the BrideSkin of the Bride. Photo courtesy of Philadelphia's Magic Gardens

 Despite this positive community support, some on the board of the Painted Bride believe that historical designation would severely hinder the organization’s goals, as it might negatively affect the sales price of the building and, thus, their endowment, used primarily to support contemporary artists in Philadelphia. Others find the Art Center supporters’ indifferent attitude toward their long-time home perplexing. Old City resident Rick Snyderman, who himself once sat on the Bride’s board, noted, “I find it extraordinary … that an arts organization is advocating the destruction of an iconic work of art. What a strange time.” 

Emily Smith, executive director of the Magic Gardens, is advocating strongly in support of saving the site: 

Historic and cultural spaces matter. This building’s façade represents the power of community, rebellion of spirit, and that creative minds can (and should) transform our neighborhoods. This place honors the dreamers who came before us. It is a reminder of the sweet strangeness of Philadelphia that needs to be championed, not forgotten, as the city develops.

If you are interested in learning more about the effort to support the historical designation process for Isaiah Zagar’s mosaic on the Painted Bride Art Center, please read the application, and, if you are in the area, attend the next scheduled Philadelphia Historical Commission meeting at 1515 Arch Street on July 13, 9:00 AM. 

Read Smith’s full letter for Skin of the Bride here.

Learn more about Isaiah Zagar here. 

Thanks for your support in helping us save this important artwork!


Painted BrideThe Skin of the Bride. Photo courtesy of Philadelphia's Magic Gardens


UPDATE! Save Nashville artist William Edmondson's homesite!

Posted in Preservation News, Self-Taught Arts in the News, Take Action, Threatened Environments

After hearing about city plans to sell Edgehill Community Memorial Park, concerned members of the community spoke up in support of preserving the beloved communty park and African-American historical site. Nashville’s municipal government has abandoned plans to sell the land on which artist William Edmondson, the first African-American to ever have a solo exhibition at the Museum of Modern Art,  lived for decades. The proposal to sell Edgehill Community Memorial Park to the highest bidder — which includes Edmondson’s homesite where he lived and worked in until his death in 1951 — would have likely resulted in that land being bought by private developers. After the community rallied together and raised their voices, the Metro Budget and Finance Committee voted unanimously to remove the sale of Edgehill Community Memorial Park, also known as the William Edmondson Homesite park and community gardens, from their budget recommendation.

“Their vote sends an unmistakable message that balancing the budget on the backs of neighborhood parks and civic spaces, done behind closed doors in disrespect to the affected community, is not only poor policy, but terrible process,” stated Mark Schlicher, co-chairman of the Save the Edmondson Homesite Park & Gardens Coalition. “We urge the full council to heed the will of the people and the wisdom of the Budget and Finance Committee, and pass the Sledge amendment as part of the budget tomorrow night.”

The proposal to sell the park to the highest bidder was a shock to artists, historians, and the city’s African American community; it also further obscured the legacy of a figure who is often overlooked in Nashville’s history. “We wouldn’t think about taking a bulldozer to the home of Thomas Edison,” said Tennessee State University professor Lee Williams. “These spaces should not be erased from our memory.” In response that the park would be potentially be sold, the art and academic community wrote an open letter opposing the sale and calling for the site’s preservation.  “For too long, the treasure that is William Edmondson has been taken from Nashville and from Edgehill and allowed to enrich other communities,” the letter reads. “It’s time to bring him home.”

William Edmondson’s work was featured in the recent exhibition Outliers and American Vanguard Art. Although his home no longer exists on the grounds of Edgehill Community Memorial Park, the surrounding neighborhood was an important part of his artistic career, and it was a neighborhood that has historically brought together Nashville’s black working class and upper-class white citizens.


Save Nashville artist William Edmondson's homesite!

Posted in Preservation News, Take Action, Threatened Environments


CLICK HERE to go straight to the petition and sign! 


Nashville’s Mayor plans to immediately sell a neighborhood park, which includes the former homesite of William Edmondson, Nashville’s most celebrated African American artist, to private developers to help balance the city budget. If this is approved by Metro Council on June 19, 2018, it will take precious parkland away from citizens, wipe away a historic site, accelerate the destruction of a historic middle- and working-class African American neighborhood, and eliminate a community garden that has served neighborhood families for generations. It will destroy a priceless historical and cultural site that should be preserved and enhanced instead. All with ZERO input from the neighborhood, the historical preservation community, or local or national arts and creative community. It also ignores and disrespects any and all previous land use policy conversations with the neighborhood.


Metro Nashville Council votes on its budget, which will authorize selling the land, on June 19. If it passes, we may lose this precious site forever. If we can stop it, we can at least begin a rational discussion as to how to best preserve and develop the property responsibly, as a proper monument to a great artist and as a living legacy that serves all citizens.


The petition is for the following:

1. Immediate halt of the sale of this public land to for private gain, and a commitment by the Mayor engage Nashville citizens in the process of preserving and enhancing it.

2. Transfer to the Parks Department and implement a meaningful master planning process, with civic involvement of all stakeholders of the site; for instance including themed playgrounds, integration with the adjacent branch library, a sculpture garden with landscaping, picnic shelters, and educational interpretive displays to share the stories of William Edmondson and other neighborhood heroes, such as pioneering musician Deford Bailey and early 20th century civil rights activist Callie House.

3. The specific section of the property where William Edmondson’s house and studio stood is forever preserved and developed as a site honoring his art and life.

4. The land next to the homesite, which is now parkland and community garden, should be protected as such, and improved via the master planning process.

5. If any other portion of the site is eventually sold to private interests, it must be done within a strict and binding planning framework, including firm safeguards of appropriate zoning and land use policies, that will enhance the neighborhood, not further threaten it.


Self-taught limestone sculptor William Edmondson was the first African American artist to receive a solo show at the Museum of Modern Art, in 1937. He is celebrated worldwide for his simple, but subtle, limestone garden sculptures, which are prized by collectors and sell for as much as $250,000. His work, and his story of vision, resourcefulness and faith, continue to inspire new generations of artists locally and around the world. Edmondson’s former homesite, where he lived, created his masterpieces, and died, is currently part of a park that includes a playground, basketball courts, picnic area, and a 25 year old community garden that serves children and families with fresh air, fresh fruits and vegetables, and community interaction.


Nashville’s Mayor has suddenly announced plans to rezone and sell this property to private developers “to the highest bidder” to help plug a gap in the city’s 2018-2019 budget. This likely means luxury high-rise condos or similar inappropriate development that will wipe away this treasured land, unless it is stopped.


There has been very little outreach by the city to the to the neighborhood to inform them, much less to invite participation in the future if the park. Nashville is booming. Development is proceeding at a feverish pace. Affordable housing is getting scarce. This area is already under tremendous gentrification pressure and the very survival of this historic neighborhood is at stake. The effect of eliminating the park in favor of incompatible development would be catastrophic. Loss of the park would be be a huge blow to the neighborhood’s vibrancy. Loss of the Edmondson homesite would be an irreversible loss of Nashville’s social, cultural, and artistic history. 


William Edmondson’s carved tombstones and garden sculptures spoke to the themes of faith, community, connection to the land, and remembrance. His own grave is lost, leaving his homesite —where he lived, worked, and died— as the only physical place where he can properly be honored.



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Upcoming Hearing on Historically Designating the Painted Bride Arts Center

Posted in Gardens, Preservation News, Take Action


Philadelphia’s Magic Gardens seeks to protect important mosaic mural.


OLD CITY, PHILADELPHIA:  When it was announced in December that the Painted Bride Art Center was going up for sale, Philadelphia’s Magic Gardens (PMG) immediately recognized the risk that this posed to the roughly 7,000 square foot mosaic mural on the building’s façade, and is now working to protect this mural through historical designation. A hearing to discuss this historical designation takes place at 9:30 AM on Wednesday, June 20, at 1515 Arch Street.


paintedbridewalleditThe Painted Bride Arts Center


PMG’s mission is to preserve, interpret, and provide access to Isaiah Zagar’s unique mosaic environment and his public murals. Zagar’s mural at the Painted Bride, located at 230-36 Vine Street, is one of his most iconic works. In the early 1990s Zagar was invited to work on the façade of the Painted Bride building, formerly the Eastern Elevator Co. It provided one of the largest canvases to date for Zagar’s work and was the first time he covered the entire length and height of a building with mosaic mural.


In his 1993 article in the Philadelphia Daily News, Ron Avery wrote: “From sidewalk to roof every inch is colorfully painted and decorated in wild, imaginative detail. There are swirls, circles, seashells, Chinese writing and bits and pieces of ceramic birds, butterflies, flowers, human figures, and ceramic feet. ‘Isaiah took a simple industrial building with no character and made it fascinating,’ says Gerry Givnish, executive director of the Painted Bride. ‘Zagar’s weird art has given the Painted Bride near landmark status.’”


zagarIsaiah Zager with one of his colorful mosaics


PMG’s Executive Director Emily Smith remarks, “As community members, I think it’s important to fight for the character of our city. The history and culture of our streets is what makes Philadelphia such a special place to live. What does it mean if we don’t try to keep our art and the history behind it from being destroyed?”

If the application for historical designation is accepted it would protect the outside of the Painted Bride building from being altered or demolished. PMG has also made the commitment to caretake the mosaic mural in perpetuity.

PMG encourages the public to read the application, and if they support it, voice their opinion and attend the hearing on June 20.


Emily Smith | 215-733-0390 ext. 113 |



Philadelphia’s Magic Gardens (PMG) is a nonprofit visionary art environment and community arts center located in Isaiah Zagar’s largest public artwork.

Spanning half a block on Philadelphia’s famous South Street, the museum includes an immersive outdoor art installation and indoor galleries. Zagar created the space using nontraditional materials such as folk art statues, found objects, bicycle wheels, colorful glass bottles, hand-made tiles, and thousands of glittering mirrors. The site is enveloped in visual anecdotes and personal narratives that refer to Zagar’s life, family, and community, as well as references from the wider world such as influential art history figures and other visionary artists and environments.

PMG is a unique Philadelphia destination that inspires creativity and community engagement by providing educational opportunities and diverse public programming to thousands of visitors each year. For more information, visit


See more of Isaiah Zager’s Magic Gardens on SPACES!

Sign petition to save Justo Gallego's Cathedral!

Posted in Religious, Devotional & Spiritual, Take Action, Threatened Environments


justo-gallego-cathedral-overview-2008-environmentslideenlarge-1024-1024Justo Gallego's Cathedral in 2008, Jo Farb Hernández.

This petition calls for the municipal offices of Mejorada del Campo, where Justo Gallego has been single-handedly constructing a cathedral dedicated to Our Lady of Pilar, to take whatever steps necessary to support and preserve his work. Recently it seemed that the municipality would accept the responsibility of maintaining and preserving this enormous project – on which 92-year-old Gallego has been working since 1961 – recent troubling developments suggest that they are going back on their word.


For more information, please see our webpage about the site:

Justo Gallego’s Cathedral 



Please sign the petition and help convince the city of Mejorada del Campo to preserve this incredible monument.

View and sign the petition here.


The Roads Scholarship Fund for Research and Travel 2018 recipients


The Roads Scholarship Fund for Research and Travel supports the advancement of scholarship in the rich genre of art environments, explored in Better Homes & Gardens: Vernacular Art Environments, an Art History course at the School of the Art Institute of Chicago, taught by Lisa Stone. Students who complete the course submit proposals to experience a site or sites in the genre of vernacular art environments. The 2018 Roads Scholarship recipients have been annouced! 


2018 Roads Scholarship recipients:

Miseon Kim will visit art environments in Wisconsin, and spend a few days in Valton, at Ernest Hüpeden’s The Painted Forest.  “When I was introduced about the Painted Forest, I was shocked because I have…never seen anything like that. Even from photographs, I could feel life of the artist and the time he existed…I believe that paintings are living creatures and I have to meet them in person to really experience the energy. With my art practice, I ask a question, “what is life?” …I have a feeling that experiencing Hüpeden’s work and life in Valton would give me the answer to the question.


Sophie Leddick will travel to Halifax to visit the Nova Scotia Art Gallery to see Maud Lewis’ house; to Digby, to see the replica; and to Cape Forchu and other locales to film places Lewis painted. “In my work I explore the relationship between the internal and the external. I am drawn to places of liminality, landscapes that breath, break, and fragment the way memory does. A friend of mine who lived in Nova Scotia described it as a place that has a “death memory.” I’m thinking about what is lodged in the materiality of landscape and how it influenced Maud Lewis’s life and work.”


Jeremy Sublewski will travel to Niagara Falls, New York, to the home of Prophet Isaiah Robertson “and begin a discourse regarding the power one has to develop biblical text into an original dogma that transcends the traditions set by large religious institutions. We will also discuss the relationship his work has to the homes of Latinx people in the Midwest, and how one goes about developing domestic settings of worship and ritual. I will document my encounter with Prophet Isaiah by recording audio and by taking photographs.”


Jane Thompson will travel to Mary Nohl’s house (Fox Point, WI) and Noah Purifoy’s Desert Museum (Joshua Tree, CA). “I envision Noah Purifoy and Mary Nohl as spiritual siblings in the extended family of non-traditional artists, each building and curating with materials on hand as a response to their environment. Both adopted lifestyles that defied the cultural norms for black men or white women. While their deepest making impulses seemed similar, their environments and modes of activism differed.”



The Roads Scholarship Fund for Research and Travel  has awarded 59 scholarships since 2002.

Watts Towers needs our help again!

Posted in Take Action, Threatened Environments

Please join us in demonstrating to official Los Angeles and their Department of Cultural Affairs the depth and breadth of support that the Watts Towers and its Arts Center continues to maintain among supporters worldwide.


On April 9, Arts Center Director Rosie Lee Hooks was put on a three-week work suspension, effective immediately, punishment for the petty infraction of having a mural of jazz great Charles Mingus (raised in Watts) painted on the very building named after him at the Watts Towers Art Center.


The entire Arts Center staff has signed and sent a reasoned and detailed letter to Mayor Garcetti’s office protesting this injustice.


We have also learned that Cultural Affairs plans to contract out the production of the Watts Towers Day of the Drum Festival and the Simon Rodia Watts Towers Jazz Festival.


Please help us impress upon the representatives of the Los Angeles City government the importance of open communication with the staff of the Watts Towers Arts Center and the support groups who have worked together over years with the community out of which Rodia’s Towers grew.  We ask you to put your name to the letter we have prepared below and to send it to everyone on the “Mail to:” list beneath the letter. 


Make whatever changes in the letter you feel will best reflect your perspective. Then, send the letter to the first address on the list (Danielle Brazell, General Manager, Department of Cultural Affairs) and cc all the following names.


Please help us to protect the Watts Towers Arts Center, its director and its staff, so they can continue to work for the betterment of the people of Watts and the city of Los Angeles.


Thank you!


On behalf of

The Watts Towers Community Action Council

The Friends of the Watts Towers Arts Center

The Parents of the Watts Towers Arts Center Campus

The Watts Towers Arts Center Youth Board


Learn more about the Watts Towers here:


Dear Ms. Brazell,


I am writing to express my shock and dismay at the shortsightedness of the Department of Cultural Affairs for putting the Director of the Watts Towers Arts Center Campus on an immediate three-week suspension. 


Rosie Lee Hooks is an internationally honored community arts administrator and educator who has served the City of Los Angeles and the Watts community for decades. How is it that she is being punished for approving the painting of a mural portrait of the jazz giant Charles Mingus – who grew up in Watts – on the Charles Mingus Youth Arts Center, named for him when it was built more than ten years ago? The department’s action is not only an affront to Ms. Hooks but to the cultural legacy of the community itself.


Ms. Hooks has followed in the tradition of all past directors of the Arts Center to bring attention to the artistic heritage of Watts. They have all initiated the murals and mosaics adorning the buildings of the Campus with community artists. None of them were required to seek department approval for such Campus improvements and none of them ever received even so much as a reprimand. 


The department’s disproportionate reaction in Ms. Hooks’ case also takes her away from the Campus when she has to plan and organize the Watts Towers Day of the Drum Festival and the Simon Rodia Watts Towers Jazz Festival, scheduled for the end of September.  By effectively shortening the time Ms. Hooks has available to present these world famous events at the level of quality she has for almost 20 years, your department will bear the responsibility for undercutting their success. You must also be aware that if the department attempts to contract out the production of the Festival, this will likewise be regarded as a serious affront not only to the Watts community but to the music community that has participated in the Festivals and the Arts Center’s Jazz Mentorship Program over the years.


I stand by Rosie Lee Hooks, the Watts Towers Arts Center Campus staff, and the Watts community support groups. I urge you to reverse Ms. Hooks’ suspension immediately. She must be allowed to work for the betterment of the Campus and the community as she has always done – in the spirit of open communication and mutual cooperation. That is the value of community arts in a healthy society.


I ask as well that you help the Campus obtain the support of the City Councilmember to whose district the Watts Towers Arts Center Campus has brought world-class arts exhibitions, and professional arts and music education for over 50 years.       


Rodia’s Towers, the Watts Towers Arts Center, and the Charles Mingus Youth Arts Center inspire all who visit with the spirit of freedom, initiative, and multi-ethnic harmony.  The City of Los Angeles cannot afford to have such powerful symbols of peace and community be lost in these troubled times.


Sincerely yours,



In support of

The Watts Towers Community Action Council

The Friends of the Watts Towers Arts Center

The Parents of the Watts Towers Arts Center Campus

The Watts Towers Arts Center Youth Board     


Mail to:




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Resources, SPACES News

Visit to the Casa de las Ranas [The House of Frogs] and the Chapel of Jimmy Ray Gallery
Field Work, Found Objects

Job Opportunity: Kohler Foundation - Director of Preservation
job opportunities, Preservation News

EOA Annual General Assembly 2019

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Self-Taught Arts in the News

Coco's Palais Idéal Paintings

SPACES Honors Lyn Kienholz, Trustee Emerita

Chris Vo’s Flower House in Cleveland has been destroyed against his will!

Job Opening at Craft & Folk Art Museum Los Angeles, CA: Manager of Communications and Exhibitions
job opportunities

Nitt Witt Ridge Enters the Real Estate Market!
Take Action, Threatened Environments

The SPACES website allows you to save your favorite art environments and share them with your friends or colleagues. Create your own portfolio of your favorites from environments in the online collection.

Send them to your friends, post them on Facebook, Instagram, or Twitter and tag #spacesarchives 

Look for this button on pages that can be saved:

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