In the reverent space of a gallery, deep sounds emerge from earthen vessels. Electronic chirps, squeals, and winds surround you. On display in Oceanside through March 22, San Diego artist Francisco Eme’s Future Ritual 1 – to Remember the Birds when They no Longer Exist (part of his exhibition Future Rituals & La Eco-Resistencia) merges the natural and the manmade, this world and others. It’s fitting, then, that you can see it at the Oceanside Museum of Art (OMA), a portion of which occupies a century-old building designed by San Diego architect Irving Gill. His arches are gateways between outdoor and indoor spaces, between gardens and galleries. Their curves soften the edges of the architecture and guide you from the everyday into other realms.
Now, the museum a few blocks from the ocean is dropping into a new wave, with plans to annex Gill’s adjacent 1929 fire and police station on the other side of its contemporary central pavilion. Construction is due to begin next year. The station’s exterior will be restored to its original glory, while the interior will be re-imagined as museum space. OMA will also build a new two-story structure at the back.
Courtesy of Oceanside Museum of Art
The project’s designers, San Diego’s Safdie Rabines Architects, will have the delicate challenge of seamlessly merging historical and contemporary architecture. Luckily, they have a previous example to go off: OMA opened in 1997 in Gill’s 1934 former city hall and library. In 2008, Frederick Fisher and Partners added on a contemporary building that expanded the museum’s footprint.
Growing that footprint even more from 20,000 to 30,000 square feet will give OMA three new galleries and office space, plus an education center for painting and art classes; lectures; the Literacy Through Art program for local third graders; and the ArtQuest STEAM (science, technology, engineering, art, and math) program for fifth graders, which emphasizes that art is a vital part of a complete education. The museum is also increasing underground storage for its permanent collection from 600 square feet to 2,000.
“We will remain committed to our mission: sharing the art and stories of Southern California artists,” says Maria Mingalone, the museum’s executive director. “There is no shortage of artists between North Los Angeles and Baja California. In many ways, it is OMA’s superpower to be a leader in the regional arts scene and meet the needs of a growing creative community.”
Over the course of three decades, OMA’s exhibitions have featured prominent artists such as Imogen Cunningham, Françoise Gilot, and Faith Ringgold (and, of course, Eme, who lives in San Diego but has shown across the US), as well as dozens of creators whose lives and art are distinctly rooted in our region, its multicultural glory, its conflicts and harmonies, with works in most any medium you might imagine. The extra space will allow the museum’s team to further that regionally focused mission.
OMA selected Safdie Rabines from among three finalists (the others were LA’s Fisher, who handled the 2008 expansion, and San Diego’s Luce et Studio)—for good reason. The firm was also named last fall as local architect of record for Foster + Partners’ major expansion of the San Diego Museum of Art in Balboa Park.
Taal Safdie and Ricardo Rabines, partners in life and work, have a charming kind of mindmeld. Finishing each other’s sentences, they explain that their overarching goal in combining the OMA’s old and new buildings is to “make it into something that feels like a coherent experience. It’s important that you don’t feel like your experience is broken up into different fragments.”
The expansion’s planned design is so subtle that you won’t know you are wandering among buildings constructed a century apart—except for a vintage firepole and a few other preserved elements.
Courtesy of Oceanside Museum of Art
OMA can be considered part of architect Charles Moore’s sprawling Oceanside civic center, making it a public complex that combines significant architecture from several generations into an organic heart of the city. Moore, who died in 1993, not long after the civic center’s completion, was an unpredictable architect of whimsy. Among his famous works are Piazza d’Italia in New Orleans, a postmodern assemblage of columns, arches, tile, and stone, and Sea Ranch, a community of modest shed-roofed homes along the coast north of San Francisco. In Rancho Santa Fe, you’ll find his marvelous Church of the Nativity.
Meanwhile, Irving Gill arrived in San Diego from Chicago in the 1890s and, after working in various styles, took a radical turn early in the 20th century, veering off on a singular path of his own. His buildings became strikingly minimalist: unadorned white walls, inspired by San Diego’s missions, forming stark cubes edged with arcades to provide daylight, shade, and semi-private outdoor spaces.
You can see his designs in Coronado (First Church of Christ, Scientist, as well as several homes), San Diego (such as churches and a noteworthy cluster of homes around his Marston House on 7th Avenue), and La Jolla (The Bishop’s School and La Jolla Woman’s Club). Los Angeles also has several buildings by Gill.
Courtesy of Oceanside Museum of Art
Oceanside’s assortment of Gill-designed structures (including what is now the Blade 1936 restaurant) represents the architect’s Depression-era burst of fresh creativity before his death in 1936. He was remarkable for his experiments in concrete, along with contemporaries such as LA’s Rudolf Schindler (he designed the El Pueblo Ribera Court duplexes in La Jolla) and Bernard Maybeck in the Bay Area. The Woman’s Club (1914) has walls of concrete that were formed on the ground and tilted into place. Oceanside’s city hall and fire station have board-formed concrete walls. Not only is the material beautiful in its sculptural simplicity, but it is exceedingly durable and a tremendous insulator that regulates the interior temperatures.
Gill remains San Diego’s most beloved and revolutionary architect. If that sounds like hyperbole, it’s backed by renowned architecture scribes from past decades, among them Lewis Mumford, who ranked Gill alongside Frank Lloyd Wright, and Esther McCoy, who called Gill “one of the few wholly original architects in the United States.” Most of the evidence is right here in San Diego—and the fire station’s restoration will offer further proof.
Financing is always an obstacle for arts institutions, but with $3.59 million in state funding for the expansion announced by Senator Catherine S. Blakespear last fall, and with fundraising picking up steam, OMA’s $10 million project is well on its way to breaking ground. The museum will remain open during construction.
The ambitious project also marks a turning point in Mingalone’s career. “I did not know a thing about Irving Gill when I moved here in 2016,” admits Mingalone, who lives close enough to bike to work. “Running a museum that preserves historical buildings means that we are caring for a living piece of history in our community. We like to say that we are expanding from Gill to Gill.”
Dirk Sutro has written about architecture and design for a variety of publications. He is the author of architectural guidebooks to San Diego and UC San Diego and contributes a monthly column called CityScape to Times of San Diego online.
A Rare Look Inside Callaway Golf’s San Diego Test Center
The Ely Callaway Performance Center is where tour-level fittings, cutting-edge technology, and golf equipment you can’t buy yet all come together
Courtesy of Ely Callaway Performance Center
By Tina Mickelson
“Come test something.”
Those are quite possibly my three favorite words in the English language—all due respect to “I love you” or the highly underrated “you were right.”
I’ve been a PGA Golf Professional since 1994, and yes, full bias disclosure, a Callaway Golf Ambassador for 18 years. One of the bonuses that comes with that combo is access to the Ely Callaway Performance Center—a place so exclusive it gives “velvet rope” vibes.
Originally opened in 2006 as a highly functional (yet not exactly breathtaking) test facility, the ECPC got a serious glow-up in 2018 when Gil Hanse (along with partner Geoff Shackelford) turned it into what can only be described as a fully engineered golf playground. Hanse is no stranger to golf course renovations. In 2024, he completed an extensive redesign of the Omni La Costa North Course in Carlsbad, so it could host the NCAA Division 1 Golf Championships. He also worked on acclaimed courses like Winged Foot, Merion Golf Club, and Oakmont Country Club.
In just two months, it went from a standard test center and R&D lab to a fully dialed-in golf playground.
Courtesy of Ely Callaway Performance Center
What was once purely practical is now intentionally designed to be both precise and inspiring. The targets are staggered with purpose—forcing creative shot-making while also calling you out on your actual distances (no more “that’s my 150-yard club … ish”).
Add a massive hitting area, bunkers and greens that mimic real on-course conditions, a “Himalayas” putting green (named for its roller-coaster undulations), an upgraded indoor putting lab, and a 120-decibel sound system blasting a very golf-appropriate playlist, and suddenly it’s a rare blend of high-performance testing facility and “don’t mind if I stay here all day” energy. Since this isn’t exactly open to the public, SDM asked me to take you behind the curtain.
As the iron gates part, it feels less like arriving at a practice facility and more like being granted backstage access at a rock concert—if the bandmembers were made entirely of launch monitors and perfectly manicured turf.
There are no mats. No guessing. No “I think that one felt good?” Just conditions that mirror exactly what tour players see in competition. Because when you’re testing equipment at this level, accuracy isn’t a bonus—it’s the whole point.
Even the sand matters. Different textures. Different densities. Because bunkers have personalities, too, and they are often unfriendly. And the golf balls? Brand. New. Not the usual “these have seen some things” range balls. New balls mean consistent spin, truer trajectory, and no surprises. The older a golf ball gets—and the more it’s been baked in the sun, scuffed, or generally lived a full and complicated life—the less reliable it becomes. Think of it like this: fresh ball, predictable performance; old range ball, slight chaos with a side of mystery.
I’m escorted to my personal hitting bay—basically a pop-up shaded oasis stocked with enough equipment to make a gear junkie weak in the knees. Shafts in every weight and profile imaginable. Heads lined up like they’re waiting to be drafted by their favorite team.
Courtesy of Ely Callaway Performance Center
Toptracer technology was patiently waiting to track every one of my swings, each shot instantly delivering ball speed, launch, spin, carry distance, and dispersion (a polite way of saying consistency, or lack thereof), so there’s no guessing—just data telling the truth, whether I like it or not.
We start with irons. Different heads, different feels, different results. When I miss a shot, the ball tends to leak right, so we check lie angle. A quick adjustment—2 degrees upright—and suddenly the clubface is consistently square at impact like it remembered its job. Effort level: down. Ball flight: improved. Confidence: creeping back.
Next we look at the different shaft options—because nothing says “fun afternoon” like realizing a higher kick point can change your entire golf identity. Shaft flex (how much the shaft bends during your swing) helps determine whether you get more height and distance or more control, while kick point (where the shaft bends the most) influences your ball flight—lower kick point for higher launch, higher kick point for a flatter, more penetrating shot. In other words, one small tweak and suddenly you’re hitting shots you’d normally only describe later, slightly exaggerated, over a glass of wine.
Then we move through the bag: hybrids, fairway woods, drivers, wedges. It’s a full rotation of “try this,” “now try this,” and “okay wait … THAT one.”
And yes—the new Quantum driver and fairway woods made an appearance. Without getting too deep in the weeds, they’re faster, more forgiving, and smarter (thanks to AI face mapping) than previous models. Translation: Even your mishits are now slightly less embarrassing. And they were not the only things getting tested. My patience was under attack because the driver and woods would not be available to the public for a good three months.
Courtesy of Ely Callaway Performance Center
Watching the fitting team work is like watching a Formula 1 pit crew. Clubs are swapped in seconds. Shafts tightened, adjusted, replaced. One minute you’re swinging something that seems “fine,” and the next, you’re holding a club that feels like it is a part of your DNA.
Then there’s the putter fitting. Drivers are physics. Putters are therapy. Inside the putting lab, sensors track everything—tempo, face angle, path—things you didn’t even know could be measured. Within minutes, my data politely informs me that my putter face is slightly closed at impact. Not shocking, but also not ideal.
A few quick adjustments—different head (with a bit more weight at the toe to discourage the face swinging closed at impact), shorter shaft (so I feel more over the ball, which helps my eyeline)—and suddenly the ball starts rolling exactly where I’m aimed.
Same stroke. Same golfer. Completely different outcome. If only the rest of life worked like that.
And then there’s the part that feels slightly classified. The ECPC isn’t “just” a performance center—it’s also where future equipment lives before the public even knows it exists. I’ve been there when certain clubs were basically under surveillance. Not “don’t touch,” but more “please keep phones in your pocket.”
It’s golf’s version of Area 51. Except instead of aliens, it’s drivers that won’t hit shelves for another year—and like I mentioned, waiting is not my strong suit.
Getting to test the newest equipment isn’t just a perk—it’s part of the job. It’s what allows me to stand in front of students and say, “I’ve tried it. I know what works and what doesn’t. And more importantly, I know why.” And if I happen to sprint to my car every time the phone rings and someone says, “Come test something” … well, that’s just professional courtesy.
Callaway isn’t the only place to get your swing analyzed and clubs fitted. You can stroll into big retail spots like The Golf Mart or Golf Galaxy, book a next-level session at a dedicated studio like Club Champion or True Spec Golf, test brand-specific gear at various manufacturing companies (many located in Carlsbad), or even combine a lesson and a fitting at GOLFTEC. And let’s not forget your local golf course, where fittings happen on actual turf, on a driving range you have some history with—many times with the golf professional who is familiar with your swing so they can give you valuable input. With this many options, there’s really no excuse, other than pride, to keep blaming your clubs.
Big feelings hit us all. Younger populations—or those who haven’t yet developed their own language of expression—outsource angst through external means. That’s where homemade haircuts, studded belts, and musicians like The Cure, Elliott Smith, or Phoebe Bridgers come around. In San Diego, though, there’s a nonprofit that gives youth a way to feel not only heard, but also understood, through photography and digital storytelling.
Outside The Lens’ mission is to amplify the voices of systemically marginalized young people and help them develop the confidence (and artistry) to tell their stories and shape their communities. OTL just celebrated its 25th anniversary earlier this year with dual exhibitions of student work at San Diego Central Library and Museum of Contemporary of Art San Diego. Since 2001, more than 30,000 students have completed programs at OTL, getting their hands on industry-respected DSLR cameras (no shade to iPhone photographers), editing files and images with Adobe Creative Suite, and recording podcasts. Participants explore their worlds through the lens and on the mic.
“Our biggest opportunity, and what’s really needed, is to bridge the understanding between the youth and their communities and how people are seeing what youth are going through right now,” says OTL Executive Director Sarah Beckman.
OTL’s participants, Beckman explains, are young people navigating systems that never gave them access to the tools and mentorship that inspire creative expression, financial mobility, and civic engagement. The nonprofit offers support—in the form of meals, transportation, and healing-centered educators—and a creative outlet for exploring and coping with those challenges.
OTL’s in-school programs meet California core standards for arts and partners with at least 37 schools and community sites throughout San Diego, including the Monarch School in Barrio Logan, East County Community School in El Cajon, and Creative Performing and Media Arts School in Clairemont Mesa. The nonprofit doesn’t just work within the school system. Its Media Makers program invites young adults with intellectual and developmental disabilities to express their place and purpose in the world through film, photography, animation, design, and entrepreneurship.
“We’re always asking the question, and we’re engaging youth in our civic discussions [of], ‘How can we make this city somewhere youth want to be?’” Beckman says. “‘How can we make San Diego somewhere for young people to build a future?’”
This year OTL’s annual Voice Out celebration event spotlighted student work that hung on gallery walls beside “Giants,” the Dean Collection at MCASD. The Voice Out contest is open to all San Diego youth ages 8 to 25; all submissions are published in a catalogue and displayed in a public exhibition. These are some of the students’ works, and their words, from the past three years of Voice Out.
Lines and Light Within Structure
“I wonder how the architect decided to connect the beams [at Del Norte High School] by creating repetition. Without color [in the photo], the structure becomes the focus of the image.” –Monroe S., 15
The Quiet In Between
“Every day, time slips forward, whether we notice it or not, and life can feel overwhelming in its constant motion. In this long-exposure photograph, the blurred train rushes past, symbolizing the speed of life, while the still subject remains grounded and aware. It’s easy to become tangled in society’s expectations: what to wear, what grades to earn, what future to chase. In that rush, we forget to pause. The stillness in this image becomes a breath, a moment of reflection. Through it, I hope to show that wonder lives in slowing down, in watching the world blur while choosing, even briefly, to stand still.” –Leo N., 15
Enough
“Teenagers constantly wonder if they will ever be enough. I wrote words on the mirror that might represent what a teenager thinks about when it comes to being ‘enough’ for the people around them. They might wonder if they are pretty, smart, or good enough. I wanted to bring attention to what thoughts teenagers struggle with in everyday life.” –Illiana I., 16
Go Skate Day
“I took this picture during Go Skate Day in 2023 or 2024 I think … but who cares? It’s sick! Keep riding!” –Danny I., 18
Never Let Go
“This was taken at an all-women’s retreat in the mountains to heal inner trauma, at the end of the trip where we all hugged each other and healed. My mother is the one being hugged and one of her friends is embracing her. Place is somewhere you belong, somewhere you feel comfortable in, and somewhere you can be yourself. I believe womanhood and friendship is not only a place but home.” –Michelle G., 16
From celebrity pickleball tournaments to intimate dinner parties with your favorite Food Network chefs, here are all of the can’t-miss events going on Sept 30–Oct 4
Play is underrated. Somewhere along the way, someone decided it was something we should outgrow. That you A good song comes on, and they dance. A game appears, and they’re in. Someone hands them a melting ice cream cone, and somehow it’s the best part of the day.
Adults tend to need a reason. Or maybe just the right setting.
That’s part of what makes the Del Mar Wine & Food Festival feel different. Yes, the week revolves around food and wine, with celebrated chefs, winemakers, and restaurants drawing crowds from across the region. But what lingers afterward is the conversations that stretch a little longer than expected, the strangers who become dinner companions, the live music that pulls people out of their seats, and the rare chance to spend a few hours simply enjoying yourself without much of an agenda.
The Grand Tasting is the festival’s centerpiece, bringing thousands of guests together over two days for hundreds of bites and pours. But some of the week’s most memorable experiences happen on a smaller scale. In the days leading up to the main event, intimate dinners, chef collaborations, and guided tastings create opportunities for guests to interact more closely with the people behind the food and wine and with each other.
Signature San Diego Opening Night Party at Monarch Ocean Pub
Start festival week the San Diego way: ocean views, Baja-inspired bites, and a drink in hand as the sun goes down. The Signature San Diego Opening Night Party at Monarch Ocean Pub sets the tone for the week ahead with a walk-around tasting experience celebrating the flavors that make this city impossible to replicate. It’s an evening of fresh coastal cuisine, bold Mexican flavors, Baja seafood, and plenty of local favorites—all served against one of Del Mar’s most iconic backdrops. Consider it your first official toast to the weekend ahead…
Celebrity Pickleball Tournament Presented by Justin Vineyards & Winery
Wine and competition make an unexpectedly perfect pair. You can join Drew Brees and celebrity players at Barnes Tennis Center for a pickleball tournament benefiting Feeding San Diego, where the sidelines are just as exciting as the court. Grab a paddle, cheer from the sidelines, or simply enjoy a glass of wine while the action unfolds. The day blends friendly competition with an all-inclusive tasting experience.
Since year one, Del Mar Wine & Food Festival has partnered with Feeding San Diego to raise $100,000 in support of the organization’s mission to fight hunger across the region. Every serve, sip, and bite helps give back to the community that makes this festival possible.
Remember that pickleball paddle you swore you’d use? Time to put it to work.
Barnes Tennis Center | 4490 W Point Loma Blvd, San Diego, CA 92107
This is essentially a passport to Spain with no airport required. Set among the lush grounds of Rancho Valencia, Rioja Uncorked celebrates one of Spain’s most iconic wine regions with an evening of exceptional pours and thoughtfully paired bites. Guests will sip their way through Rioja wines while enjoying a menu featuring everything from Hiramasa crudo and uni toast to duck rillette, birria mini tacos, Cardiff Crack tri-tip sandwiches, and a sweet finale from Karen Krasne of Extraordinary Desserts (date night plans, solved).
Rancho Valencia | 5921 Valencia Cir, Rancho Santa Fe
Justin Wine Dinner with Chefs Kaitlyn Weber, Buddha Lo & Jackson Kalb
Justin Wine Dinner sounds simple: three chefs, one unforgettable table. But chefs Kaitlyn Weber (Estancia La Jolla), Buddha Lo (Top Chef), and Jackson Kalb (Top Chef) are taking you on a one-night-only culinary ride where three styles collide over a multi-course menu paired with exceptional pours from Justin Vineyards & Winery. Set in Estancia’s coastal estate, the evening unfolds course by course with pairings from Justin wines as each chef brings their own style to a menu focused on craft, connection, and a bit of friendly culinary overlap. It’s the kind of culinary conversation that only happens when very, very talented people cook together.
Estancia – Olive Lawn | 9700 N Torrey Pines Road, La Jolla, California
Isabella Dallas is a freelance writer for San Diego Magazine and the Arts and Culture Editor at The Daily Aztec in her final year at San Diego State University. She previously worked as an editorial intern for SDM, but when she’s not writing, you can find her trying the best coffee spots in SD, devouring the latest rom-coms, and indulging in anything and everything pop culture.
Kelly H. Harfouche, founder of KQ Aesthetic Society, knows firsthand that cosmetic treatments like fillers, neurotoxins, and microneedling, can not only enhance a person’s appearance and restore confidence, they have the power to truly change a person’s life. An expert injector has the ability to tailor treatments to each individual patient’s anatomy and goals for personalized results. Harfouche, a board-certified nurse practitioner, has spent nearly a decade perfecting her craft as an aesthetic injector and integrating her multifaceted artistic skills with precision patient care. Her commitment to continual education and training, plus a passion for helping people look—and feel—their best, set KQ Aesthetic Society apart in a sea of local medspas.
For many people considering nonsurgical treatments, the intent is to look refreshed and refined. KQ Aesthetic Society’s philosophy eschews a cookie cutter approach that bases treatments around units, instead working to understand each person’s unique goals, then curating a treatment plan to fit that vision. Harfouche focuses on “inclusive luxury,” the belief that everyone deserves access to aesthetic treatments, respective of budget restrictions. She develops long-standing trusted relationships with her patients, and works with each one to achieve their aesthetic objectives and address the underlying causes of their concerns.
“For me, forming an honest and open relationship with every patient who walks through the door is essential. This means understanding them on a deeper level and meeting them where they are to define and achieve their individual goals,” she says.
Drawing on her artistic background, which inspired her transition into medical aesthetics, Harfouche sees each client as a “unique canvas.” Rather than relying on standardized procedures, the practitioner’s distinctive approach combines her profound understanding of the physiological and anatomical changes associated with aging with an unwavering commitment to ongoing education about the newest products and their mechanisms of action. Her goal is to make each patient feel beautiful in their own skin and to embrace their individuality.
She has also pioneered a way to combine her talent for aesthetic artistry with her philanthropic nature. Harfouche is one of only a handful of providers using dermal fillers to treat patients with lip asymmetry and scarring resulting from cleft lip surgery. Patients travel from around the country for this transformative treatment, noting increased confidence and a restored identity. She hopes to eventually launch a training program to help fill the void in this space.
“My passion has always been connecting with people and giving back in any capacity that I can,” she says. In the rapidly advancing landscape of aesthetic medicine, you can place your confidence in Harfouche and KQ Aesthetic Society to deliver exceptional care. To learn more or book a consultation, please visit kqaestheticsociety.com.
Arts District Liberty Station officially became one of the state’s designated cultural districts, joining a list reserved for places with thriving creative communities. Considering the campus is home to more than 100 galleries, artist studios, museums, and arts organizations—not to mention The Joan, the 42,000-square-foot performance center housing Cygnet Theatre—it was only a matter of time until the district got its flowers.
Best Deterrent of Public Vandalism
Vision Culture Foundation
If you can’t beat ’em, join ’em. The National City Public Works building has been a target of graffiti artists for years, only to be constantly painted over (and the cycle restarts). Now, it’s working with the local artists from Vision Culture Foundation to create intentional public murals. A win-win in our book.
One of the biggest questions this year is who will show up for San Diego arts and culture—so a Best Of nod goes to a nonprofit that’s been doing it for years. Founded by longtime arts advocate Susanna Peredo Swap, Vanguard Culture has staged events for creatives, told their stories, and just created an SD ARTS Pass—a single ticket that gets you access to 39 creative spots.
Photo credit: Carly Topazio
Best Way to Overcome Your Fear of Ghosts
The Rosin Box Project
Ballet’s already got a sort of otherworldly thing going for it, with people morphing into 90-degree angles and defying gravity with each pirouette. The Rosin Box Project feels like a raw, creative new force in the classic art form, though—especially with its annual Ghost Light Masquerade. It’s a dance of eerie spirits that makes you second-guess what’s real and what’s not.
Best Music Venue That Also Sells Hot Dogs
Gallagher Square
Once upon a time, Gallagher Square was just a grassy knoll behind the outfield wall at Petco Park. Now, it’s a concert venue, playground, play ball field, dog park, and unofficial home for those who prefer the vibe of baseball more than the actual game. Big-time performers are showing up: Ms. Lauryn Hill, Cypress Hill, and Peach Pit.
Best Local Canvas
Casa Casillas
Casa Casillas has filled a long-standing gap in Chula Vista’s art scene. Open since last August, the space gives local artists a dedicated venue to display their work and visitors a chance to explore the neighborhood’s vibrant art. Two rotating resident artists always keep the space moving, so it rarely looks the same twice.
Courtesy of Alley Cat Art Fest
Best Place to Say “I Think It’s About Capitalism”
Alley Cat Art Fest
El Cajon translates to “the box” in Spanish—a nod to the city’s surrounding hills—but Alley Cat Art Fest (previously called Artivál) doesn’t stay inside it. As the first arts festival in East County, it celebrates local galleries, sculpture, live music, and food trucks—the whole nine.
Best On-Two-Feet Art Tour
Barrio Art Crawl
Every second Saturday, Barrio Logan turns into a choose-your-own-adventure with the Barrio Art Crawl, a free self-guided art tour through galleries, museums, and murals, with street food and music filling in the gaps. Barrio is one of the city’s most thriving arts neighborhoods, and it’s worth getting a bit lost in.
Leave it to The Old Globe to give the local theater scene some Hollywood glamour. Katie Holmes led the premiere of Henrik Ibsen’s Hedda Gabler this past spring, turning the classic Norwegian play into one of the most buzzed-about theater productions of the year.
Beatz, who has produced some of the biggest artists of the last few decades (DMX, Beyoncé, Lil Wayne), lugged up his turntables and flipped the switch. Keys stood nearby, absolutely grooving. Then she launched into “No One,” singing to the fairly massive crowd below.
Pop stars didn’t have to show up. But they did. And it lifted Chicano Park Day—an important cultural anniversary for the city—into national headlines. Local photographer and videographer Zack Mack was on the roof when it happened, and captured the scene: Keys full of emotion, serenading the people who gathered to support one of our favorite neighborhoods in San Diego. Mack’s an SD native who cut his teeth shooting videos while street skating, and is friends with one of the owners of Arts-Rec, which has become an arts-skate-culture-community hub on Logan Avenue.
We chose the image for the cover because it was a fairly beautiful moment for the people of the city. A needle moved. And this issue is dedicated to those needle moments.
“Best of San Diego” isn’t a “point at cool things and tell people to go” list. We dug through the past year’s headlines—international, national, local, down to each neighborhood. We talked about the major issues facing the city, what laws were passed, what pockets of culture evolved, what days will be remembered and meant something to people who live here. Then we chose people, places, and things that are a compelling/positive/best example of those cultural notes.
For instance, live events are booming as people try to reconnect in real life. So we point to venues and annual events that nailed it—plus one dreamer who’s seen busking at every major public gathering. As the legal debate over e-bikes escalates, we highlight the pedal-powered dirt bike track in Kearny Mesa run by a two-time world champion BMX pro. We frame the continued rise of women’s sports through a former Olympian who helps host the longest-running girls skate competition.
First we make a cultural roadmap, and then we find the inspiring things that speak to those moments. And we’re not the only ones chiming in. One part of being a San Diego Magazine editor is knowing when to shut up and let the locals speak. Months ago, we asked you, our readers, to submit your picks for the Best Of anything in San Diego in over 500 categories. Y’all showed up. We received nearly 134,000 votes. If you need recs on wedding venues, 5Ks, dermatologists, and everything in between, get them straight from your community with the reader-determined winners.
We hope it inspires you to find your rooftop and get on it.
Emma Veidt is an editor at San Diego Magazine. She earned her bachelor's and master's degrees from the Missouri School of Journalism. She loves running, hiking, and rock climbing, but really, she mostly loves encounters with the street cats around North Park.
AVRP Studios’ tradition for Design Excellence and Innovation began in 1976 with Doug Austin, FAIA, in Solana Beach, California. The firm has since grown to complete major projects throughout the United States and Canada. We think of ourselves as a family and we care deeply about people. We want to inspire, help make their lives richer and more complete through our efforts. We believe that architecture is one of the most important art forms because of the impact it can have on the lives of those it touches. We’re delighted to have been recognized with over 150 awards for design excellence.
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