By Catherine Wagley : laweekly – excerpt
Please don’t let the Arts District become unlivable for actual artists,” Michael Parker pleaded on Aug. 10, addressing the City Planning Commission and the developers behind the Camden Project, a mixed-use development slated to go up on Industrial Street downtown. Just 5 percent of the complex’s residential units are required to be affordable housing, which Parker doesn’t think is adequate. “There should be much, much, much, much, much, much, much more affordable housing and larger units so that dozens and dozens of 25-year-old artists from the CSU can afford it,” an effusive Parker said. He also mentioned the Artist Loft Museum of Los Angeles (ALMLA), the museum he started out of the Seaton Street studio in which he’s lived and worked since August 2001.
“What’s the name of your museum?” asked Planning Commission president David Ambroz.
“The ALMLA,” repeated Parker. “We have our first opening on Aug. 31, the last day of my lease, before I will be facing —”
“Now you’re slipping into testimony,” Ambroz interrupted. “The name of the museum I got.”…
Parker recently received notice that, upon the start of his new lease, his rent would increase by $2,050 a month — a 43 percent increase from what he’s been paying, and about 200 percent more than what he was paying six years ago — and that he would no longer be able to live in his studio, though the space has been zoned live-work for at least 25 years. He is working with lawyer Elena Popp of the Eviction Defense Network to fight these new terms, something a number of other artists in this city are doing, too. Parker also spent last Wednesday morning in court, after his landlord’s lawyer sent Popp a temporary restraining order against ALMLA’s opening. The judge ruled that the opening could legally go ahead, as long as Parker kept attendance under 49 people at a time. “You’ve wasted enough of my time,” Parker recalls the judge saying after she emerged from her chambers with a decision…(more)
Who knew in the 1970’s when Beaux Arts was under pressure to close one of the first “live-work” art and entertainment centers, that San Francisco and Los Angeles would face the same fate forty years later. Seems the establishment can’t stand art and creative thinkers.