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These are the most fascinating L.A. museums you've never heard of

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These are the most fascinating L.A. museums you've never heard of

Todd Lerew is curious. He likes lists. And he doesn’t like doing things halfway.

This is why he collects pictorial maps, why he has visited 248 public libraries in Los Angeles County and 401 of the 483 municipalities in California. It’s why he recently joined the Fraternal Order of Eagles, the Elks, Moose International, Oddfellows and about 50 other clubs — so many that he had to get a separate wallet for membership cards.

This may seem like a lot of projects for one 37-year-old, who calls them “acts of compulsive nerdiness.” But those interests pale next to Lerew’s passion for unsung museums and collections.

That’s the subject of his new book, “Also on View: Unique and Unexpected Museums of Greater Los Angeles,” published this week by Angel City Press at Los Angeles Public Library.

The volume, an illustrated exploration of 64 museums whose names you are unlikely to know, draws on a decade of research and stands as a challenge to all Angelenos who think they have a handle on the local cultural landscape.

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A person stands in a room with many skateboards on the walls.
A re-creation of a Finnish living room, with clothing on mannequins, a crib, red brick fireplace and more

Skid Row History Museum & Archive, from top; Skateboarding Hall of Fame Skateboard Museum in Simi Valley; and Finnish Folk Art Museum in Pasadena. (Ryan Schude)

These are ventures — often one-person crusades — that celebrate fast food, Finnish folk art, Skid Row, skateboarding, vertebrate zoology and more. Yes, the Museum of Jurassic Technology in Culver City is here. Yes, the U.S. Navy Seabee Museum in Port Hueneme and the Cucamonga Service Station Museum too.

The Museum of the Republic of Vietnam in Westminster? The Parsonage of Aimee Semple McPherson in Echo Park? The Historical Glass Museum in Redlands? Lerew and photographer Ryan Schude visited them all.

“There’s nothing you can say about museums that’s true of all of them,” Lerew said one recent morning. “And you can find them everywhere you look.”

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Indeed, he spoke near the Long Beach waterfront, surrounded by unremarkable skyscrapers and zero foot traffic. But a block away stands the Outer Limits Tattoo and Museum, opened in 1927.

This was first of two stops where Lerew planned to deliver copies of the new book to people who are in it.

The oldest operating tattoo shop in the U.S.

Kari Barba at Outer Limits Tattoo and Museum in Long Beach.
A sign indicates "Entrance at corner" among tattoo designs at Outer Limits Tattoo and Museum.
A display case featuring flash and tools at Outer Limits Tattoo and Museum.
Bert Grimm's Famous Tattoo Studio jacket on display at Outer Limits Tattoo and Museum

Clockwise from top left, at Outer Limits Tattoo and Museum in Long Beach: veteran tattoo artist Kari Barba, tattoo designs on display, a jacket from Bert Grimm’s Famous Tattoo Studio and a display case of flash and tools. (Ryan Schude)

Inside Outer Limits, founder and tattoo artist Kari Barba, 64, eagerly unwrapped a copy of the book. Barba, a celebrated tattoo artist and industry pioneer who runs a second tattoo location in Costa Mesa, said she bought the Long Beach space 20 years ago because “I was really hurt by the idea that the history of the building would be lost.”

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Barba led Lerew and a visitor through the restored rooms; the tables and modern tools now in use; the antique tools; the stencils of anchors, hearts and dragons; the old photos of inked sailors at the long-gone Pike amusement park; a hand-painted window that workers found hidden in a wall; and, in one corner, a mysterious covered vat.

“You’ve got to see the vaseline before we go,” Lerew said.

So Barba and Lerew stepped to the vat and uncovered it, revealing a glutinous stew of rags and vaseline, once integral to the tattoo process; the stew’s age and precise contents are uncertain.

“I don’t know what’s in there. I’m not reaching in to find out,” Barba said.

“Distinctive smell, also,” said Lerew, leaning to sniff.

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What shapes a compulsive collector?

Lerew, who lives with his wife in Lincoln Heights, grew up in rural South Dakota. His family made regular trips to roadside attractions such as the faux cowboy town at Buffalo Ridge and the Corn Palace in Mitchell, where something about “the curious, the unique and the obscure” got under Lerew’s skin.

After graduating from Hampshire College in Massachusetts, he came west in 2009 and went to grad school at CalArts, focusing on experimental music composition. But his attention strayed, a trait that became a professional asset when the Library Foundation of Los Angeles hired Lerew as program manager in 2015.

Todd Lerew holds up a cellphone that is displaying a map of Southern California.

Todd Lerew, author of the book “Also on View,” about small and surprising museum in Greater Los Angeles, shows the map full of museum locations that he keeps on his phone.

(Christopher Reynolds / Los Angeles Times)

In his off hours, he’d check out other libraries and museums — often six or seven in a day, all logged on a spreadsheet. To find them all, he’d check Boris Stanic’s guidebook, “Museum Companion to Los Angeles,” as well as scanning the web and talking to friends and strangers.

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In 2016, after months of hearing from Lerew about his weekend explorations of obscure collections and archives around Southern California, the foundation’s president, Ken Brecher, assigned Lerew to curate an exhibition on local collectors that became “21 Collections: Every Object Has a Story.”

“I’ve always collected experiences of one kind or another,” Lerew said. “I was just exploring because I had a private interest and obsession in finding new and unique places and people. It kind of got formalized when i started working on that exhibition.”

What makes a museum?

Lerew said he’s eager to see just about any place that calls itself a museum, whether or not it has nonprofit status or academic credentials or a permanent home. He’s also drawn to spaces that might not call themselves museums but often behave like them, including park visitor centers or college art galleries.

When it comes to selfie-driven exercises like the nationwide Museum of Ice Cream chain (which had an L.A. pop-up location in 2017), he’s not so interested.

And in every museum, he considers the source carefully. At most historical museums in the U.S., he said, “It’s the white people’s history of that area,” omitting much and perhaps whitewashing much else.

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“You just have to be aware, when you’re going to these places, of who is telling the story,” he said. “There are more stories out there, always.”

By the time his “Collections” show went up in the Central Library in 2018, Lerew had scouted more than 600 locations, enlisting collections that included paper airplanes (from the Getty), typewriters (from Tom Hanks), candy wrappers and birds’ nests. From that project came a self-published book, an Instagram campaign (@museumaday) and now the new volume, coffee table-ready.

By hand, she re-creates key moments in Black history

A "Black Lives Matter" diorama created by Karen Collins.

A “Black Lives Matter” diorama created by Karen Collins.

(Ryan Schude)

“Oh, big pictures!” Karen Collins said when Lerew arrived at her home in Compton and handed her the book. “I don’t know why, but I was picturing something small.”

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Small, after all, is Collins’ specialty. Around her living room, miniature dioramas of crucial moments in Black American history took up much of the horizontal space. A “Black Lives Matter” triptych, made for the Central Library’s “21 Collections” exhibition, sat above the fireplace.

Collins, 73, a retired preschool teacher, creates the dioramas, making and arranging miniatures within shadow boxes made by her husband, Eddie Lewis. She started about 30 years ago, after her son was sent to prison as a 12th-grader and she felt “ready to die.”

She pushed grief back by resolving to portray key figures and moments in Black history, to inspire and educate grade-school children, “and let them know, you can get over anything. … The art saved my life.”

Todd Lerew stands talking with Karen Collins in her African American Miniature Museum.

Karen Collins and her African American Miniature Museum, a collection of Black history dioramas she made and keeps in her Compton home, are featured in “Also on View,” Todd Lerew’s book about small and surprising museums in Greater Los Angeles.

(Christopher Reynolds / Los Angeles Times)

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There have been dozens of dioramas since then, depicting scenes from the Middle Passage to Harriet Tubman, Malcolm X, Martin Luther King Jr., Thurgood Marshall, Colin Powell, the Obama inauguration, Compton Cowboys and Kendrick Lamar.

For years, Collins and her husband brought shadow boxes — their mobile museum — to schools and community events. Lerew spotted her work on display in Leimert Park.

Lerew: “How many of these have you made over the years?”

Collins: “A lot. Because I give them away.”

Beyond Lerew’s Central Library exhibition and book, Collins has been commissioned by the Autry Museum (where several dioramas are part of the permanent exhibition “Imagined Wests”), profiled by national media outlets and chosen to provide a Google doodle for the 60th anniversary of the Greensboro, N.C., civil rights sit-ins. Her son, still incarcerated, “is proud of me,” she said.

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Now she’s working on a coloring book and hoping to find “a stable place for this museum to be … for our children to see their worth,” she told Lerew.

“It’s a really tricky thing,” Lerew said later, “when it’s one person’s passion project. … I can’t say what might happen for Karen’s collection. I have hopes. Time will tell.”

Is Lerew done with little museums now? Absolutely not.

Beyond those in the book, he’s put another 700-plus large and small Southern California museums onto an everymuseum.la website, now live.

Then there’s the other list on his phone, where he has keyed in all the unseen museums he wants to visit. Worldwide. There are 3,231 of them.

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‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

J. Scott Applewhite/AP


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J. Scott Applewhite/AP

In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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