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\f0\fs24 \cf0 >> A SLICE OF SAN DIEGO'S\ \
ARTISTIC HISTORY HAS BEEN\ \
LANGUISHING IN BOXES AND CRATES.\ \
BUT THEY'RE COMING OUT OF\ \
STORAGE.\ \
THE STORY OF HOW THIS ART WAS\ \
SAVED AND HOW IT WILL BE\ \
RESTORED IS A PART OF THE WORK\ \
OF MY GUESTS.\ \
ANGELA CARONE, LET'S START OUT\ \
\ \
\ WITH THE AZTEC BREWERY.\
\ HOW DID THE ART GET IN THERE.\
\ >> IT WAS A POPULAR PLACE IN THE\
\ 30s AND 40s, AND IT WAS A\
\ TASTING ROOM CALLED A\
\ RATHSKELLAR, AND PEOPLE CAME TO\
\ TASTE, AND TO SEE THE INTERIOR.\
\ IT WAS A SMALL, ALMOST\
\ CHAPEL-LIKE INTERIOR.\
\ IT HAD STAINED GLASS WINDOWS AND\
\ A PAINTED CEILING AND BIG, GRAND\
\ IRON CHANDELIERS THAT HUNG FROM\
\ THE CEILING, AND A LOT OF THE\
\ PAINTINGS DEPICTED AZTEC AND\
\ MAYAN SCENES.\
\ AND THERE WAS A LARGE MURAL ON\
\ THE WALL BEHIND THE BAR\
\ DEPICTING AN AZTEC HUMAN\
\ SACRIFICE.\
\ YOU CAN SEE A PHOTOGRAPH ON OUR\
\ WEBSITE.\
\ IT WAS JUST VERY MUCH LIKE A\
\ TEMPLE ALMOST.\
\ >> KELLY, WHO PAINTED THIS ART,\
\ AND ARE THERE ANY IMPORTANT\
\ WORKS IN THERE?\
\ \
\ \
>> THE ARTIST RESPONSIBLE FOR A\ \
LOT OF THE ART WAS JOSE MOYA\ \
DEL PINO, HE WAS SENT TO THE\ \
UNITED STATES IN THE 20s TO BE A\ \
CULTURAL EMISSARY AND INFORM A\ \
UNITED STATES AUDIENCE ABOUT\ \
WHAT WAS BEING PRODUCED IN\ \
SPAIN.\ \
BY THE TIME MONEY RAN OUT, HE\ \
WAS PAINTING MURALS.\ \
THINGS THAT WERE POPULAR IN THE\ \
UNITED STATES, AND THE MEXICAN\ \
MURAL MOVEMENT.\ \
SO WHEN YOU THINK ABOUT THE\ \
IMPORTANCE OF THE ARTWORK,\ \
THOUGH THERE HAVE BEEN SOME\ \
SUGGESTIONS THAT HE WAS\ \
CONNECTED IN VARIOUS WAYS TO\ \
FAMOUS ARTISTS AT THE TIME, THE\ \
IMPORTANCE IS REALLY ABOUT HOW\ \
DID THIS FIT IN SAN DIEGO'S\ \
HISTORY, WHAT WAS THIS\ \
COLLECTION, WHAT DID IT MEAN\ \
THAT IT WAS A PLACE WHERE PEOPLE\ \
COULD NOT ONLY LOOK AT THE WORKS\ \
IN A MORE TRADITIONAL ART\ \
\ \
\ SETTING BUT BE IMMERSED IN THEM\
\ WHILE THEY HAD BEER AFTER WORK\
\ ONE DAY.\
\ >> WHO WENT THERE, TO THE\
\ BREWERY TO LOOK AT THE ART AND\
\ TO DRINK, AND WHAT EVENTUALLY\
\ HAPPENED TO THE BREWERY AND THE\
\ ART INSIDE?\
\ >> THE PEOPLE OF THE\
\ NEIGHBORHOOD, THE PEOPLE WHO\
\ LIVED IN BARRIO LOGAN, THE\
\ PEOPLE WHO WORKED IN THE TUNA\
\ CANNERY INDUSTRY, AND PEOPLE\
\ FROM ALL OVER SAN DIEGO WENT AS\
\ WELL.\
\ PEOPLE WOULD HAVE MEETINGS\
\ THERE.\
\ WHAT HAPPENED TO IT IS A WHOLE\
\ DIFFERENT STORY.\
\ THE BREWLY CLOSED DOWN IN 1953,\
\ AND THE ARTWORK, THE RATHSKELLER\
\ WAS BOARDED UP, AND THE ART SAT\
\ THERE FOR 30 YEARS JUST\
\ COLLECTING DUST.\
\ JUMP AHEAD TO 1988, A NEW\
\ DEVELOPER BUYS THE PROPERTY,\
\ \
\ \
DECIDES HE'S GOING TO RAZE, AND\ \
SALVADOR TORRES SEES A VINTAGE\ \
PHOTOGRAPH OF PEOPLE STANDING IN\ \
FRONT OF THAT MURAL THAT WE\ \
TALKED ABOUT, HE RUSHES OVER TO\ \
SEE IF THE MURAL IS STILL THERE,\ \
IT IS, HE MOBILIZES HIS FAMILY\ \
AND FRIENDS TO SAVE ALL THE ART\ \
IN THE RATHSKELLER, AND THE CITY\ \
OF SAN DIEGO STEPS IN AND TAKES\ \
OWNERSHIP WITH A PROMISE TO ONE\ \
DAY PUT IT BACK IN THE\ \
NEIGHBORHOOD.\ \
>> SO IT'S BEEN IN STORAGE ALL\ \
THIS TIME.\ \
WHY IS IT COMING OUT NOW?\ \
>> WHEN THE CITY ACCEPTED THE\ \
DONATION, THEY SAID THERE IS\ \
THIS PROJECT THAT WE'RE REALLY\ \
EXCITED ABOUT HAPPENING IN\ \
BARRIO LOGAN, WE WOULD LIKE TO\ \
PUT IT IN THERE ONCE IT'S BUILT.\ \
THE MERCADO IS JUST BEING BUILT\ \
NOW.\ \
THE LONG AWAITED PROJECT THAT\ \
IS, PEOPLE WERE THINKING WHAT\ \
\ \
\ ABOUT THAT ARTWORK THAT'S BEEN\
\ IN BALBOA PARK, A LOT OF BIG\
\ PIECES OF THE MURALS, AND THE\
\ SMALLER PIECES AND THE CHAIRS\
\ AND THE CHANDELIERS AND STAINED\
\ GLASS WINDOWS HAVE MOVED AROUND\
\ THAT COLLECTION FROM PLACE TO\
\ PLACE, ENDING UP NOW IN A\
\ STORAGE UNIT IN EL CAJON.\
\ >> WHERE DO THINGS STAND NOW?\
\ >> THERE IS A RESTAURANT IN\
\ MERCADO THAT DEVELOPERS IN THE\
\ CITY ARE HOPING TO BRING ALL OF\
\ THIS STUFF OUT OF STORAGE AND\
\ INSERT IT, INSTALL IT BACK IN\
\ THE RESTAURANT THERE.\
\ >> WE HAVE TO CLOSE IT HERE.\
\ KELLY, ANGELA, THANK YOU SO MUCH\
\ FOR COMING ON THE SHOW.\
\ >> THANKS.\
}