LA Artcore, Los Angeles CA | Nearby Businesses

• Art Gallery
• Community Organization
• Education
• Educational Organization
• Non-Profit Organization

120 Judge John Aiso St
Los Angeles, CA 90012
(213) 617-3274

LA Plaza de Cultura y Artes, also called LA Plaza is a Mexican-American museum and cultural center in Los Angeles, California, USA that opened in April 2011.The museum is near Olvera Street in the Los Angeles Plaza Historic District, also called El Pueblo. It is next to La Iglesia de Nuestra Señora Reina de los Angeles, also called La Placita or Plaza Church.The museum contains interactive exhibits designed by experience design expert Tali Krakowsky. Its president is Gustavo Herrera. It is run by the Los Angeles County, along with Los Angeles County Museum of Art and others.HistoryConstructionCounty Supervisor Gloria Molina was called "one of the project's earliest supporters and, by all accounts, the person most responsible for bringing it to fruition" by the Los Angeles Times. Part of the cost was funded by Molina's county discretionary spending funds. The center is on, with a price tag of $54 million and an operating budget of $850,000. It was designed by Chu+Gooding Architects.The rehabilitation of the shell and core of the historic Plaza House and Vickrey-Brunswig Building was completed in December 2009. The LA Plaza de Cultura y Artes Foundation completed tenant improvements to the two buildings and relocated their administrative offices to the fifth floor of the Vickrey-Brunswig Building in October 2010.

Art Share was founded in 1997 by Chip Austin Hunter as an affordable housing project and community arts center. For many years it operated with primary interest in serving the inner city and East LA youth through after schools art classes. Past programs have included BLAST (Building Language Arts Skills Together), FACT (Families and Communities Together) and a variety of free classes in dance, visual arts, music and recording arts. The organization suffered greatly during the recession and as a result, all employees and programs (except for FACT) were suspended in 2011. Building maintenance had been neglected and the organization was near collapse. The board worked tirelessly to bring the building back to life and maintain our residential program. New leadership was put into place and outreach efforts were made to re-establish positive relations between community partners. Art Share was reborn the summer of 2012--the building was repainted, the logo rebranded and new programs and new initiatives are in place.

Founded in 1971, the Japanese American Cultural and Community Center is one of the largest ethnic arts and cultural centers of its kind in the United States. The mission of the JACCC is to present, perpetuate, transmit and promote Japanese and Japanese American arts and culture to diverse audiences, and to provide a center to enhance community programs. The Japanese American Cultural and Community Center is the preeminent presenter of Japanese and Japanese American, and Asian American performing and visual arts nationally. The JACCC also provides office space to a wide variety of nonprofit cultural, educational and community-based organizations in Los Angeles.

Hauser Wirth & Schimmel is the Los Angeles location of Hauser & Wirth, the international gallery devoted to contemporary art and modern masters. A new destination in the heart of the burgeoning Downtown Arts District of Los Angeles, the gallery is located at 901 East 3rd Street. It occupies the restored Globe Mills complex, a collection of interconnected late 19th and early 20th century buildings and internal outdoor spaces that have been adapted by Creative Space, Los Angeles, in consultation with Annabelle Selldorf, Selldorf Architects. Here visitors will discover museum-caliber exhibitions as well as public programs and educational activities that contextualize the art on view for diverse audiences. Hauser Wirth & Schimmel will complement its exhibition program with the first ARTBOOK store in Los Angeles; a gallery space for Hauser & Wirth Publishers’ Book & Printed Matter Lab, the restaurant Manuela, opening summer 2016, featuring seasonal fare and locally-sourced produce with a menu focused upon foods of the American South; a public garden; murals that engage the architecture of the complex; and a dramatic and expansive open-air courtyard, where visitors will find sculpture as well as a place for quiet contemplation and informal gathering. Hauser Wirth & Schimmel is the sixth location of Hauser & Wirth, which was founded in Switzerland in 1992 by Iwan and Manuela Wirth and Ursula Hauser. Today the gallery is a global enterprise, with spaces in Zurich, London, New York, Somerset, and Los Angeles.

Tinta Rebelde Custom Tattoos is a Collective Art Gallery & Tattoo Studio. Established in 1997 in humble beginnings by Rockabilly Ray. Tinta Rebelde over the years has established, secured and built up it's clientele in Southern CA to be a reputable Art Gallery & Tattoo Studio. From 2005 to 2015 the studio was located in Hollywood, CA. Today Tinta Rebelde Custom Tattoos is now located at it's new home, in the heart of Downtown Los Angeles. Along with Rockabilly Ray, you have David "Ocean" Hardy & Manu Ponx, and these guys continue to provide quality custom tattoos.

The Los Angeles Center For Digital Art is dedicated to the propagation of all forms of digital art, new media, digital video art, net art, digital sculpture, interactive multimedia, and the vast panorama of hybrid forms of art and technology that constitute our moment in culture. We are committed to supporting local, international, emerging and established artists through exposure in our gallery. We have an ongoing schedule of exhibits and competitions, produce editions of wide format archival prints, and collaborate in the production of digital artworks in our studio. As well we are involved with curating digital exhibits at institutions and festivals outside of the LACDA gallery schedule.

Located at El Pueblo de Los Angeles Historical Monument, is the premier venue for the expression of traditional and contemporary art and culture from the Mexican, and Mexican American perspective.

Since opening in 2007, The Box’s mission has been to create a diverse art program surveying historical artists and their contemporaries. By exhibiting artists of multiple generations, the gallery has established a discursive critical voice in addressing and viewing varying perspectives of art within the larger context of contemporary artistic practices. Covering a time span of nearly five decades, our artists have dealt with the historical elements that have been integral to the development of art today. Whereas younger artists supply a fresh mode of thinking, artists belonging to past generations provide a historical basis in which to contextualize the expansive development of art today. We are interested in working with artists who think in an unconventional way about the expansion of art’s definition through artists’ questioning of space and spatial boundaries, artist responsibility, and the movement of art out of the traditional gallery space. The Box showcases, as well as commissions emerging contemporary work with artists who work using variety of mediums including but not limited to painting, sculpture, dance, video, film, performance and musical performances. Working with and alongside living artists creates unique opportunities for both the gallery and the artists to explore new modes of curating. We believe that by broadening the scope of art shown, viewers are encouraged to think about art more liberally, to explore their own boundaries. Many of our represented artists have had limited formal recognition by mainstream art institutions. We believe that not only to these artists deserve to be shown, the viewers of Los Angeles deserve to see this work. Influential exhibitions include Wally Hedrick’s socio-political “War Room” (2008), the Los Angeles Poverty Department’s “Skid Row History Museum,” John Altoon’s “Drawings 1962-68” (2008) and Barbara T Smith’s “Field Piece” (2008). We are fortunate to have seen our artists such as Judith Bernstein, Simone Forti, John Altoon, and Barbara T Smith achieve greater visibility and critical success, both in the US and internationally, since exhibiting their work at the Box. The Box’s programming creates a unique environment that encourages viewers to discuss the work they see. Events range from video and film screenings, panel discussions, open forum discussions, lectures and performances that are specific to the coinciding exhibition. In many cases these events create a casual social space where the viewer is welcomed in the artists’ investigative properties of process, matter, and procedure. The importance of such diverse programming lies in the assertion that what is important are not the answers given, but the questions asked. Most importantly, the Box remain committed to the idea that the responsibility of the gallery is that of curator, editor, collaborator, cultural critic, and at times artwork co-producer, in creating a dynamic system to present and reinterpret artwork through its exhibitionary platform.

Autonomie is an organic space for experimental projects in the arts. As a non-profit gallery our goal is to promote community building by cultivating an ongoing dialog about the arts with people from different economic, political and cultural backgrounds. Invitations to show at Autonomie are offered on a rotating basis to those individuals or collectives engaged in producing critical interventions in the field of contemporary art. Accepting the opportunity to show at Autonomie is only for individuals or groups that openly welcome questions about the context of their work, the general trajectory of their overture and the goals of their artistic practice. As such, Autonomie doesn't favor any particular medium or set of aesthetic criteria - all types of production are encouraged from the most immaterial of actions to every form of object based production.

Established in 1965, East West Players has been called “the nation’s pre-eminent Asian American theater troupe” (New York Times 12/16/01) for our award-winning productions blending Eastern and Western movement, costumes, language, and music. EWP has premiered over 100 plays and musicals about the Asian Pacific American experience and has held over 1,000 readings and workshops. Our emphasis is on building bridges between East and West, and one measure of our success is an audience of 56% Asians and a remarkable 44% non-Asian attendance.

Founded in 1970, VC has been a pioneer in the development of Asian Pacific American film, video, and media. VC was founded by Duane Kubo, Robert Nakamura, Alan Ohashi, and Eddie Wong. Along with a core group of artists, filmmakers, photographers, and educators, VC’s founders began searching for visual resources to build a greater consciousness of Asian Pacific history in America. Fueled by the burgeoning Civil Rights and Anti-War movements, they set out creating learning kits, photographing community events, audiotaping stories, and collecting historical images of Asian American lives. In the 1970s and 80s, VC took on several ambitious projects in the independent film production arena. That first period of production saw the creation of over fifty films and videos, as well as the production of several educational filmstrips and major photographic exhibits – visual statements on the history and contemporary issues of Asians in the US. VC premiered the first ever full length Asian American film in 1980: Hito Hata: Raise the Banner. This landmark film was a building of a community-in-progress, involving artists, professional media personnel, scholars, community organizations, and countless number of individuals and community businesses in the making of the film. In the 1990s and 2000s, VC transitioned from a film production collective to a full-service media arts center. While VC still produced films in this period, the organization also provided support services for Asian American artists and filmmakers, workshops and trainings for the community, and more presentation opportunities for independent media in Los Angeles. Throughout our history, VC programs have evolved to meet the changing needs of a diverse Asian Pacific Community of over 25 different languages, cultures, and nationalities. The organization has created award winning productions, nurtured and given voice to our youth, promoted new artistic talent, presented new cinema, and preserved our visual history. Today, VC continues to be a conduit for the Asian Pacific global communities to the American public through its numerous arts programs. Our programming includes: the annual Los Angeles Asian Pacific Film Festival and year‐round screenings and exhibitions; the Armed With a Camera Fellowship for Emerging Media Artists; the Digital Histories video production and digital storytelling program for senior citizens; a Media Development Fund for independent filmmakers; and C3: The Conference for Creative Content. Visual Communications is also home to the VC Archives, one of the largest photographic and moving image archives on the Asian Pacific experience in America. We see media as a powerful tool to create and share meaningful perspectives, and our programs ensure that the AAPI community has access to the resources tell their unique stories.

We use real, licensed teachers in America to deliver content-based language instruction to Asia via high-tech teleconferencing equipment. Our teachers are licensed, experienced professionals who have graduated from some of the finest schools in the U.S., including Princeton, Harvard, Columbia, Brown and UCLA.

DIY Media engages youth from underserved and underrepresented neighborhoods in Los Angeles and trains them in digital filmmaking and media technology. Students who excel in our DIY Media program are selected to participate in DIY Productions. DIYP student apprentices earn stipends and gain valuable on-the-job training while making films and media for clients. DIY Productions is a cohort of youth filmmakers, media professionals, and non-profit educators who create public service announcements and social media for non-profits and small businesses.

The Asian Business Association was founded in 1976 to proactively help Asian Americans gain access to economic opportunities and advancement. Through the efforts of the organization the ABA works towards bringing together divergent groups spanning the Asian business community on issues which mutually affect their business interests. Asian Business Association is a non-profit membership based organization that has been proactively assisting Asian American small businesses to gain access to economic opportunities and advancement for over a quarter of a century. ABA makes every effort to provide members with current information on business opportunities and outreach programs with major corporation and public agencies. Through our activities, we continue to build a strong business relationship among our members. Our events include our monthly mixers, golf tournaments, award banquets, business education training seminars and more.

Follow us on: Twitter at twitter.com/gfbnec Flickr at https://www.flickr.com/photos/131894057@N06/? YouTube at https://www.youtube.com/user/442vets Website: www.goforbroke.org OUR MISSION: To educate the public about the responsibilities, challenges and rights of American citizenship by using the life stories of the Japanese American soldiers of WWII.

The Japanese American National Museum is the first museum in the United States dedicated to sharing the experience of Americans of Japanese ancestry as an integral part of U.S. history. In 1985 the Japanese American National Museum was incorporated as a private, nonprofit institution. Over the next several years, volunteers sought backing from community groups. Seeking to safeguard the rich oral histories of first generations immigrants, or Issei, and the artifacts, photographs, written records and other materials documenting the lives of Japanese Americans before, during, and after the World War II mass incarceration, National Museum founders enlisted the support of the Japanese American community. In 1992, the Japanese American National Museum opened its doors to shed light on the Japanese American experience--a process of immigration and re-settlement common to so many Americans. _____________ Core exhibition Common Ground: The Heart of Community Incorporating hundreds of objects, documents and photographs collected by the National Museum, this exhibition chronicles 130 years of Japanese American history, beginning with the early days of the Issei pioneers through the World War II incarceration to the present. Among the notable artifacts on display is a Heart Mountain barracks, an original structure saved and preserved from the concentration camp in Wyoming.

Maid cafes are a recent but quickly growing phenomena that originated in Tokyo at the turn of the millennium. They mainly appeal to anime fans, giving them the chance to interact with a stock character of many animes. However, anyone who relishes the idea of being waited on as if they where the master or mistress of a private estate instead of a mere cafe patron, might also enjoy a trip to a maid cafe. Not surprisingly, many butler cafes have also sprung up in order to offer the same experience to women who want to be pampered by attractive male domestics. While such “cosplay cafes” offer the usually assortment of food and drinks, the main attraction is the atmosphere and the waitstaff, and patrons will often pay for the chance to, for example, play a card game with their favorite maid. The closest parallel to a maid cafe one can find in American culture might be restaurants like Hooters, where the attractiveness of the waitstaff is the major selling point. However in terms of aesthetics, it would be hard for them to be more different. In some respects, they resemble a beauty salon, where many people consider the pleasant, congenial atmosphere to be as great an enticement as the services offered.

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Founded in 1971, the Japanese American Cultural and Community Center is one of the largest ethnic arts and cultural centers of its kind in the United States. The mission of the JACCC is to present, perpetuate, transmit and promote Japanese and Japanese American arts and culture to diverse audiences, and to provide a center to enhance community programs. The Japanese American Cultural and Community Center is the preeminent presenter of Japanese and Japanese American, and Asian American performing and visual arts nationally. The JACCC also provides office space to a wide variety of nonprofit cultural, educational and community-based organizations in Los Angeles.