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Fascinating San Diego people inspire us with big, bold ideas on everything from genomics to urban planning, art to architecture, food and more
25 BIG Ideas
Jacqueline Campbell 2014
James Brown, principal, Public Architecture + Planning
“For San Diego, the freeway insertion in the early 1960s cut off Balboa Park from our city center and to our bayfront,” says Brown, who also owns and operates the Bread + Salt factory in Barrio Logan. “It also fragmented the bustling communities of Barrio Logan and Little Italy. This kind of idea sounds impossible, but actually it is critical and inevitable.” As the architect behind several structures, large and small, in downtown and uptown, Brown has even sketched out visions for what to do with the space, if I-5 were to end at the current Front Street exit. Think parks and direct access from downtown neighborhoods to Balboa Park. Where would all the traffic shift? He thinks the 805 should be the thoroughfare for shipping from the border. “It is just a question of when we choose to return our city to its full potential.”
Paul Thomas, president/founder, Julian Hard Cider
“A lot of people think Julian is still recovering from the fires, but in the last few years, Julian has really grown in a lot of ways, as far as farm-to-table restaurants, art, and music [are concerned],” Thomas says. “People would be pleasantly surprised to see what Julian has become. It’s reminiscent of Santa Fe—a cool, active mountain community.” Sounds like things are gettin’ hipper already.
25 BIG Ideas
Sam Hodgson
Eric Busboom, director, San Diego Regional Data Library
“A lot of the issues we have now are so fine-grain that you have to have good data to [solve them],” Busboom says. “Our nonprofits and governments simply don’t have access to the skills that are required to do that. The goal is to find volunteers and make connections.” Busboom is at the forefront of the open data movement and encouraging students and professionals to learn the skills to join him. Where do we need bus stops? How can we feed the hungry? He and the Regional Data Library are streamlining that sort of relevant city data in an effort to help government organizations and nonprofits make more informed decisions.
25 BIG Ideas
Susan Lankford, activist
“I’d like to collaborate with the Salvation Army on Park and Broadway,” Lankford says. “We want to expand into city areas and figure out how to do vertical horticulture. When we see children at the gate and walk up our yellow brick road [at the Makers Quarter garden], they leave their troubles behind. They are free.” The activist, award-winning author, and filmmaker has shone a much-needed light on the city’s homeless and their stories. In 2013, she and her nonprofit, Humane SMARTS, launched SMARTS Farm, an abandoned parking lot-turned-community garden in the East Village that has already given more than 600 disadvantaged youth a chance to experience nature. Her latest project, SMARTS Café, will give that same population a creative outlet and place to show off (or maybe even sell) its artwork.
25 BIG Ideas
Craig Venter, Genetic Biologist and founder, J Craig Venter Institute
Venter’s genetics lab was the first to sequence the human genome, back in 1997. After a 15-year period in which he says progress slowed, things are picking up in the genomics sector. “Technology is getting faster and cheaper. Computing has changed. In 1999 I had to build a $50 million computer. Now, for a few hundred dollars, you can make your own computer,” he says. One of his many exciting projects? Changing the genetic code of pigs to create human hearts, lungs, and kidneys inside them that can be harvested for transplants. He says around 1 million people die in America each year because of a lack of organs or failed transplants. “People have thought about this for decades, but what’s making it possible now is genetic tools that we have developed for writing the code,” he says. “It‘s all about how to design new cells and new organisms.” A surfer and regular at George‘s at the Cove, Venter believes the center of genomics is here. “I have the ability to put these institutes anywhere in the world, and I can’t find a place better than here.”
25 BIG Ideas
Flor Franco, chef
We need more organic, biodynamic, and sustainable farming. Franco says: “We’re finally getting that we live in a paradise in terms of cooking. [Now] everybody’s making everything from scratch. It’s a better world. Six, eight years ago, how many farms went down? They couldn’t afford to have their small farms because no one was buying product. Now it’s amazing to see them with double the employees. The more sustainable we become, the better community we are.” And healthier, too. The Mexico-born, San Diego-residing chef has one of the most diverse portfolios in the restaurant biz. She recently opened Zarco Comida de Baja in Chula Vista, and is bringing international attention to the Baja region as chef/partner at Encuentro Guadalupe Antiresort’s Convivia restaurant. Franco also owns San Diego-based Indulge Catering, and recently collaborated with other chefs and farmers to open Back to Roots, an artisan food market in Bankers Hill.
Scott Barton, Principal, THE Preuss School
“If we are going to change the face of this city, state, and world, we have to get everybody an opportunity for a great education,” Barton says. Among other things, the charter school principal thinks a longer school day and school year are necessary to keep our students competitive with the rest of the world. At Preuss, students are in school from 9 a.m. to 4 p.m. daily, and for 18 more days per year than San Diego Unified. Added up, that amounts to almost one full additional year of school for Preuss students by the time they graduate, compared to SDUSD students. And with college placement rates up to about 80 percent, it’s one of many things at Preuss that seems to be working.
25 BIG Ideas
Jacqueline Campbell 2014
Jaime Fritsch, photographer, founder of Death for Food
Fritsch thinks if we want to eat chicken, we should at least know what it’s like to actually kill and cook the chicken. “Death For Food is about going headfirst into reality, even when it’s challenging,” he says. “I take participants in San Diego (and beyond) through the experience of witnessing or taking part in killing for food. This can be done through photography, stories, and direct experience.” And while “people cry and hug me and thank me after,” says Fritsch, you’ll have to wait a bit to experience it yourself. His latest event was canceled under threat of a lawsuit from a local animal rights activist.
25 BIG Ideas
Jacqueline Campbell 2014
Ryan Sisson, CEO, Moniker Group and VP Business Development, Fifty and Fifty Digital Craftsmanship for Social Good
Gotta love the optimism of millennials, eh? The 32-year-old South Bay native runs Moniker Warehouse, a group of makers, artists, digital communicators, and even lawyers that all share space in a two-story building downtown. Sisson also rents the bottom out for weddings and private parties. He invests in every business or person that rents space from him. And then there’s his day job, generating new business for Fifty and Fifty, a digital marketing agency that only works with companies that have a strong charitable component to their business, like Invisible Children, United Way, and the National MS Society. He says the big idea is “focusing on people, not just business.” And then, business booms.
25 BIG Ideas
Mary Walshok, Associate Vice Chancellor for Public Programs and Dean of Extension, UC San Diego
“To sustain well-paid middle-class jobs in America and in San Diego, we need to return to making more things and producing things. It requires skilled workers who can command a skilled wage,” says the popular UC San Diego dean and author. “The whole East Village development, the idea of a maker district where creative people who are contributing to the design and production of products that are useful and needed, I see that as a positive indicator. A second positive indicator is the attention the Chamber of Commerce and the EDC are giving to manufacturing. Particularly in the cross-border region.” She also notes that 40 percent of the contents of goods manufactured in Baja are produced in Southern California, compared to just 5 percent in Texas. “For San Diego that’s a really exciting prospect.”
25 BIG Ideas
Don Norman, Director, the Design Lab at UC San Diego
The famous The Design of Everyday Things author, consultant, and researcher had just settled into retirement in the Bay Area (after a lauded career that spanned Apple, other startups, bestselling books, and lucrative speaking engagements) when the new UC San Diego chancellor, Pradeep Khosla, knocked on his door. They didn’t talk details, just that Norman would return to San Diego, where he started his career, and “he told me whatever we do, it has to be important and it has to be exciting.” He’s just settling into his new creative Design Lab at UC San Diego and has already met with every top design firm in town. Whether it’s cars that drive themselves or redesigning a huge healthcare system, Norman is back at it. “I wake up and if I walk 15 minutes to the west, I’m at the ocean. 15 minutes to the east, I’m in my office,” he says, noting his affection for the La Jolla mesa. Can’t beat that.
Jason Grauten, Co-founder, Rad Lab architecture
This big idea is now a reality. The new 30,000-square-foot Rad Lab Quartyard—complete with a craft beer garden, gourmet sausage restaurant, dog park, public plaza, and more—is set to open this month. It’s the brainchild of Grauten, David Lowenstein, and Philip Auchettl, who pitched the idea as their final thesis at the New School of Architecture & Design, just one block away from the site. The students saw an opportunity among the vacant lots downtown, where they could “actually build something” and show off their skills as emerging architects, while filling a need in the community and helping the city out with property taxes. Everything on the site is temporary and transportable, including the slick, Paul Basile-retrofitted and repurposed shipping containers that double as a coffee shop, kitchen, full-service bar, office space, and more. The Quartyard’s current lease runs through next summer. In the meantime, stop by and check it out at the corner of Market Street and Park Boulevard, between G and 11th streets.
25 BIG Ideas
Jacqueline Campbell 2014
Lori Steele Contorer, founder, chairman, and CEO, Everyone Counts
“A secure software voting solution can increase participation and access to voters. At the same time, it can increase security while cutting the cost nearly in half. If you think about things like the mayoral special election, which cost more than $5 million, there are plenty of reasons for San Diego to move quickly for modernizing voting.” An expert in election modernization, Steele Contorer is at the helm of Everyone Counts, whose software solutions are bringing sophisticated and secure online voting systems to more than 165 countries. In 2014, her company ran more than 600 elections for U.S. governments, continued working with the Oscar ballot system, and launched online voting for the Emmys, all of which saw an increased voter turnout.
25 BIG Ideas
Josh Schneider, managing partner, Cultivaris North America and Global Breadfruit
Schneider and the new San Diego-based plant development company Cultivaris are helping to alleviate hunger in at-risk countries with breadfruit, a potato-like crop grown in tropical regions that yields 700 pounds of fruit per year. Thanks to Schneider’s technologically advanced work with the Breadfruit Institute, the trees can now be grown in a laboratory and shipped to countries for large-scale plantings without any worries of pesticides or disease. “One tree can change the life of a family by giving them food and economic security,” Schneider says. “A $15 donation to the Breadfruit Institute or Trees That Feed Foundation will fund the purchase of a tree, training for farmers, and assistance with bringing their fruits to market. How many times do any of us have the opportunity to feed a family for half a century?”
25 BIG Ideas
25 BIG Ideas
Rob & Chelsea Kaufman, founders, LEARN bootcamp
“At SDRuby, the monthly meet-up for Ruby developers, we regularly see 10 to 15 people trying to hire, and only one or two people looking for work,” says Chelsea, the founder of a new bootcamp, intensive training program to learn Ruby on Rails programming language. “We’ve struggled to find additional developers to work with us. We don’t want companies leaving San Diego in search of talent.” Neither do we! It’s not grad school. The bootcamp is short and intense, with a simpler application process, an extremely efficient way to learn a highly marketable skill. Bonus: Good developers are paid upwards of six figures!
25 BIG Ideas
Jason Russell, Activist, co-founder and creative director, Invisible Children
Russell is a bit of a hero himself, perhaps known best for his film Kony 2012, which went viral with more than 100 million views on YouTube. His nonprofit, Invisible Children, has been fighting since 2004 to help end the war in Central and East Africa, and has launched educational and other protective programs for its citizens. Russell’s influence has virtually rebranded the nonprofit industry, making charity and global activism appeal to a younger generation in a way that few other orgs have been able to. His latest project, a children’s book co-authored by wife Danica called The ABCs of Activism, seeks to further this mission, educating families about the benefits of philanthropy and giving. As for his idea of turning San Diego into a hub for fellow do-gooders? Sign us up!
25 BIG Ideas
Ari Seth Cohen, Blogger and filmmaker, Advanced Style
Cohen has made a name for himself chronicling the older (and surprisingly chic) population of New York City. His blog, Advanced Style, was turned into a book and recently became a documentary. But the Del Cerro native still feels ties to his hometown. He says, “San Diego is such a beautiful place to live, but the reliance on cars for transportation isolates many older people who still want to retain a sense of independence and be part of the world.” Hey, City Hall, can we fix that, please?
25 BIG Ideas
Michael Koh, co-founder, Fypio
What if instead of looking online at little icon clusters with prices and dates attached to them, you could actually browse (or spy, depending on how you look at it!) houses for sale based on design and lifestyle choices like, “Big patio, open kitchen, modern design”? And then, what if you could also incorporate wishes, like “Diverse neighborhood with lots of young parents and kids”? Koh’s new app, Fypio, does just that. His team has gone through and tagged every photo in the Multiple Listing Service for its designs and colors and specific elements, and they’ve also licensed or bought large amounts of demographic data that have been built into the app. “So instead of the daily listing email with prices and whatever photo the realtor chooses to list first, you get things you’re actually looking for.”
25 BIG Ideas
Paul Basile, Design genius, Basile Studio
With limited space to accommodate a growing population, especially in a city like San Diego, Basile envisions a new kind of urban living with customizable, portable units that plug into a ready-made building. Sound complicated? It is. But Basile has thought out all the details, from the plumbing and wiring to the crane that would lift these units onto a steel structure. He’s qualified to do it, too, as his company, Basile Studio (behind hot spots like Ironside Fish & Oyster, UnderBelly, and Polite Provisions), boasts a rare triple-threat license to design, construct, and fabricate. Imagine a box- or pod-like studio apartment with glass windows overlooking the bay. It is self-contained and completely movable, should you need to take an extended vacation or relocate. Before it’s installed, you can load your clothes and bring over your dog. And rest assured—in Basile’s hands, it will be stylish.
25 BIG Ideas
Jacqueline Campbell 2014
Shawn Covell, Vice president, government affairs, Qualcomm
Working her way through the corporate ranks at Qualcomm, Covell was conscious of the need for mentoring women in the tech sector. “Every time I was promoted I made a point to place another capable woman in my previous position,” says the globetrotting exec, who heads Qualcomm’s Wireless Reach program that promotes mobile health and entrepreneurship in developing countries around the world. She took the mentoring a step further this year, launching Q Camp for girls, a two-week camp in which tweens toyed with robots, programmed hats with moving parts, and hung around the labs and other cool places at Qualcomm to ignite their excitement in STEM areas. “If I had my way, we’d be following these girls and supporting their interests through college and re-creating this kind of thing around the country.”
25 BIG Ideas
Paul Harris BWP Media USA
Nuvi Mehta, Classical musician and spokesman, San Diego Symphony
The studied violinist and conductor (hello, Julliard!) longs for the days of old—before TVs and computers were so readily available, “when people actually created.” He envisions a salon-like setting where people can explore good, classical music with wine, food, and professional musicians at the ready to explain and expose different classical pieces. “It starts with a discussion. You give people an exposition and they are hooked,” he explains. “So you close your eyes and know that you’re supposed to feel like ‘this’ when the note changes because the composer did XYZ. We don’t do that in concerts. People are cut off from the artistic expression of it.”
25 BIG Ideas
Don Kent, President, Rose Canyon Fisheries
In an age when we’re importing 90 percent of the seafood we eat in the U.S. (20 years ago, it was around 60 percent, says Kent), and our government is increasing the amount of fish we are supposed to incorporate into our diets, something’s got to give. Kent thinks San Diego can easily be at the forefront of sustainably farming fish in federal waters about 5 miles off our coastline. “If we want sustainable supply grown by acceptable standards, we should do it ourselves,” says Kent, who’s been working on this concept for several years out of the nonprofit Hubbs-SeaWorld Research Institute. Now he’s started Rose Canyon Fisheries and joined with a financial investor who, along with an army of permit-seeking consultants, is starting to really move the needle toward this goal. “So if 65 percent [of seafood] comes from China, what kind of regulations do they use? When I’m in the stores, I’d like to see that it was grown in California by USDA and FDA standards.” A native San Diegan, Kent also supports the idea of resurrecting San Diego’s esteemed commercial fishing industry by putting local fishermen to work on the farms.
25 BIG Ideas
Candice Eley, PR and promotions manager, San Diego Tourism Authority
“Yes, the weather is nice and our beaches are beautiful, but San Diego is so much more than just a sunny beach town,” says Eley, who spearheaded a video project focusing on the best arts and culture in nine San Diego neighborhoods. She wrote the script, produced the shoots, and starred as the on-camera talent guiding you through the hidden gems, in partnership with the City of San Diego’s Arts & Culture Commission. “Art, music, theater, dance, dining, craft beer—it’s all happening here, and happening in big and creative ways.
I want to see a San Diego where every resident sings the praises of our arts and neighborhoods just as much as we do for our weather and beaches.”
Malin Burnham, philanthropist
With today’s mass media mergers and takeovers, it’s hard to imagine a newspaper that puts its community before political or personal agenda. But that is Malin Burnham’s vision. The respected philanthropist and longtime Point Loma resident has assembled a team of investors that have an interest in buying the UT San Diego and turning it into a nonprofit—with a catch. It would still function as a for-profit media outlet, run by the pros, with any residual income being funneled into community charities and projects. According to an article in the U-T, the plan is currently in the approval process with the IRS. And current owner Papa Doug Manchester says there is yet to be a deal on the table. Time will tell if “community before self,” Malin’s personal life mission and motto, will make it to print.
25 BIG Ideas
Jacqueline Campbell 2014
Rob Hutsel, Executive Director, San Diego River Park Foundation
If you’re a member of almost any local service or neighborhood group in central San Diego, you’ve probably heard some version of Hutsel’s presentation before. He’s been making a pretty compelling case for working to restore the length of the river, from way up in the mountains down to the coast. How? By buying up the land in and around it and working with the community, government, and private sectors to develop it in a strategic, sustainable way. So, will we be fishing off our kayaks in Mission Valley someday? If Hutsel has his way, yes!
Your checklist for the best stage performances, museum exhibits, and one-night-only cinematic events hitting San Diego this autumn
Fall Arts Preview presented by SDFC Playmakers
Now through Jan. 10, 2027
Sift through over 200 photographs, sketches, letters, and costumes from “The King of Vogue,” who photographed World War II, modernized royal portraits, and created the aesthetic for 1920s socialites in London.
Now through Feb. 28, 2027
Walk through an 18-foot whale ribcage (and a couple dozen other marine-creature sculptures) made entirely of plastic bottles, flip-flops, lighters, rope, and other plastic detritus found on the beach in the Nat’s 3,000-square-foot second-floor gallery.
Now through May 31, 2027
Part of SDMA’s centennial, “Forging a Legacy,” highlights artists from the past (Picasso, Monet) and modern day (Hugo Crosthwaite) who contributed to the museum’s collection.
Now through 2027
See the stars (without the smog) at their best from the winners of the world’s largest astrophotography competition—all in the Fleet Science Center’s new basement gallery, specifically dimmed to let the cosmos shine.
Sept. 6–Oct. 11
From the 2013 silver screen to this year’s The Old Globe stage, you can “Begin Again” (again) with a world-premiere musical adaptation featuring new songs—courtesy of Train—and a story overflowing with hope.
Sept. 9–Oct. 4
“On the outside, always looking in…” marks the emotional crux of the Tony-, Grammy-, and Emmy-award winning musical coming to the Cygnet Theatre.
Opening Sept. 12
Learn the history of the Kumeyaay Nation from the perspective of the members themselves in an immersive exhibit inspired by graphic novels “Our Past, Present, and Future,” and “Beyond Gaming.”
Sept. 16–Oct. 11
During Oscar Levant’s appearances on “The Jack Paar Show,” he explained his reality with mental illness—the institutionalizations, electroshock therapies, nothing was too taboo for him. “Good Night, Oscar” takes us backstage in the raw moments before his 1958 television appearance.
Sept. 19–Jan. 10, 2027
A disco ball isn’t just a disco ball. It’s a symbol of where queer communities can finally exhale and be their fullest selves. “Visiones Nocturnas” uses paintings, sculptures, textiles, performances, photos, and videos from Latin American artists to explore what’s at stake when nightclub lights shut off.
Sept. 21, Oct. 26, Dec. 7
Guest organists from across the country will come to the Balboa Theatre to accompany a new silent film for each performance. This year closes out with The Headless Horseman (1922), Dr. Jekyll & Mr. Hyde (1920), and a holiday triple feature of Laurel and Hardy films.
Sept. 29–Oct. 4
“What if Abe’s assassination wasn’t such a bad thing for Mary Todd Lincoln?” was the question that inspired Cole Escola’s play “Oh, Mary!” In the production, Mary Todd desperately tries to return to the cabaret stage, but her husband (President Lincoln in the midst of the Civil War) keeps getting in the way.

Oct. 3–4
Conductor Rafael Payare opens the San Diego Symphony’s 2026-2027 season with a three-part concert featuring composers Sofia Gubaidulina, Wolfgang Amadeus Mozart, and Richard Strauss.
Oct. 8
Two dozen of Emily Dickinson’s poems are turned into songs—composed by Pulitzer Prize winner Kevin Puts and performed by Grammy-winning mezzo-soprano Joyce DiDonato—for a one-night-only exploration of love, loss, loneliness, and mortality.
Oct. 8–Nov. 1
Roommate beef has no age limit. The latest play from Pulitzer Prize winner David Lindsay-Abaire turns that experience into a comedy through retirement home roommates Marilyn and Abby and the bet between them to see who will break first and move out.
Oct. 12
Composer Olivier Messiaen has chromesthia, so for him, sound evokes a visual connotation. His work “Des Canyons aux Étoiles” brings desert rock and the night sky to mind. See what he means from La Casa del Zorro in the Anza-Borrego Desert, in this performance immersed within nature.
Oct. 13–18
San Diego International Film Festival salutes the silver screen for a 25th time, now with a sixth day adding extra time for parties, screenings, and movie-star tributes.
Oct. 23–25
Considered one of the masterpieces from opera great Giuseppe Verdi, San Diego Opera’s “Rigoletto” sees what happens when the prurient Duke of Mantua and his sharp-tongued court jester become entangled in a fatal curse.
Oct. 27–Nov. 29
When the Grim Reaper’s job becomes too…grim…and he retires after 300,000 years, his daughter picks up the family business. But when she falls for a human and finds beauty in the souls she’s meant to reap, she questions her purpose.

Nov. 21–May 9, 2027
San Diego is nothing without skate culture. Mingei’s “Skate Craft” portrays skateboarding as “living folk art” via its DIY roots (skateboards built in garages) and shows how that ethos shapes the future.
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.
Ryan Hardison is a freelance arts and entertainment writer and recent graduate of San Diego State. When he's not staring at his laptop, he's likely eating an adobada burrito or getting sunburnt at the beach.
Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration
This is part of a three-part series. This is Act III. See Act I and Act II here.
We’ve been here before.
In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).
The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.
Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.
It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.
In 2019, TOT revenue was $245 million.
In 2025: $325 million.
One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.
Another solution would be to give the arts commission actual authority.
“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

He described the commissioners debating real, consequential questions this year, like whether and how to divide the cuts between funding pools. But those conversations “don’t connect to whoever’s actually deciding,” Martin says. “We haven’t been entrusted with decision-making about relevant things nearly enough.”
Christine Martinez is building political infrastructure through her organization Arts+Culture:San Diego—which is starting a 501(c)(4) lobbying structure not unlike police and fire unions. Martinez is also keeping her community actively engaged. “We won’t be caught off guard next year like we were this year,” she tells me.
Then there’s the evergreen issue of affordability and accessibility. Kiplinger’s most recent report ranks San Diego as the 11th most expensive city in the US, based on cost of living. The average home value is $980,700 (the US median is $540,000), but San Diego’s median household income is only one-third greater than the national level. Rent is also 66 percent higher than the national average ($2,716 vs. $1,636).
This is why San Diego has long suffered from the creative brain drain—creatives leaving for more affordable cities. “Artists are free to live wherever they want, and they will go where the rent is affordable,” says Jennifer de Poyen of Space 4 Art. “When they leave, they take their gifts with them, and their contributions, and their economic impact.”
One saving grace is the presence of Tijuana, where the cost of living is about 60 percent lower than San Diego, per Numbeo. Tijuana has long functioned as an affordable neighborhood for many in San Diego’s creative culture. It’s part of the reason why the binational identity is such a constant in our galleries, music, theater, murals, and culture. While that cross-border blood flow is one of San Diego’s most compelling attributes, few artists living that life would call it convenient or easy. A city is at a disadvantage when its culture creators have to cross a border to go home at night, and cross again the next morning to work.
In May, San Diego County Board of Supervisors approved a $2.75 million arts initiative of its own. It includes an Artist Space Grant Program aimed directly at the affordability crisis, as well as an artist-in-residence program, a dedicated Binational Creative Economy Investment, and a one-time investment in the Black Arts and Culture District in Encanto.
Bob Lehman of San Diego Art Matters has been doing county-level, binational organizing for years; in 2023, he helped get the county’s arts commission reestablished after 30 years of defunctness. That’s important because it gives arts and culture an official seat in county government, advising the County Board of Supervisors on arts and culture policy. He also brought in consultant Laura Zucker, who ran LA County’s arts program for three decades, to build a real regional plan.
“I really believe we’ll have something set up here that other communities come and look at,” he told me. “A national template other cities come to learn from.”
When asked who decides which artists will get the new grant money, county arts commissioner and executive director of the Chicano Park Museum and Cultural Center Monica Delgadillo Hernandez doesn’t hedge.
“That’s part of the infrastructure we’re going to be building,” she says. “What should a panel of reviewers look like? Should it be the commissioners? Should it be other folks? A supervisor?” She was just as candid that the commission itself doesn’t reflect San Diego’s population—Chicano communities are roughly a third of the city, she tells me, “and that’s not represented at the table yet.”

The great news is that none of these solutions have to be invented from scratch. Numerous cities serve as examples of what’s possible—if we have the will.
Jonathon Glus—Prebys Foundation Senior Fellow for Art & Design, the Executive Director of the Art + Design District, and board president for California for the Arts—worked in Houston before coming to San Diego. The Texas city dedicates 74.5 percent of its hotel tax to arts grants by formula, and that support is guaranteed. Washington, DC locked in dedicated arts funding in 2019. Salt Lake City, my hometown, has run a voter-approved arts tax for almost 30 years, most recently reauthorized through 2034. And just this summer, New York City pushed cultural funding to a record $323.8 million, even incorporating an emergency fund.
Denver’s model is interesting because instead of a city-dependent funding model, theirs is a 0.1 percent regional sales tax. In place since 1988 and renewed by voters three times, their Scientific & Cultural Facilities District has distributed between $54 million and $85 million to arts, culture, and scientific orgs—each of the last 12 years.
This is part of a three-part series. This is Act III. See Act I and Act II here.
None of these cities got there by accident. They decided, on purpose, that arts and culture were worth protecting from politics—and, in some cases, worth building an entire identity around.
“That’s how Miami has flipped the switch,” says Glus. “People go to Miami for culture as much as they do the beach.”
San Diego has spent decades selling itself backward: Beach and weather first, culture as an afterthought you might stumble into. Glus would love to see the strategy flipped: Visitors should come for the art, “and then, by the way, you’re on the beach.”

“I do think it was a wake-up call for the community,” de Poyen says of the budget fight. “People understand that our funding is vulnerable. It was a lesson in how much power people have when they coalesce. But wow, is it painful.”
Glus says he’s genuinely optimistic. “The players have all changed seats, but the work is moving forward.”
“I believe optimism is a moral duty,” says Martin, who’s both power-fist and polite.
In eight months, there will be another budget fight. Everyone I talked to expects it will be worse. But something happened this spring that can’t be undone.
“I hope this rupture has brought us together in a moment of self-realization,” says Leticia Gomez Franco of the Balboa Art Conservation Center. “I hope we stop being so transactional; we begin to see ourselves and each other as partners in this work.”
That’s the whole ask, really. And it’s on all of us.
This is part of a three-part series. This is Act III. See Act I and Act II here.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image
This is part of a three-part series. This is Act II. See Act I and Act III here.
Without concrete, wildflowers are just weeds. Any honest history of San Diego art and culture is tension and its reckonings. It begins before the name existed, with the Kumeyaay. It must pass through the Panama-California Exposition, one hell of a county fair that conjured Balboa Park as our grand cultural stage. It pays tribute to the lights of La Jolla, where the donor pool helped realize unrealizable things. It should mention names like Marston, Scripps, Ochoa, DeWitt, Lopez, Klauber, Baldessari, Torres… so many.
In short spaces like this, long histories like that become roll calls. So this is more of a walk through pressure points, notes on recurring forces and regional oddities.
Border life is key to understanding the here of here. Art without dialogue is just decoration. At its best, that dialogue should be a tad muddy, emotionally gassed. In other words, it should be in need of art—to widen perspective, parse meaning, see the unseen.
San Diego’s central dialogue—the magic and the stressor—is being flatmates with Mexico’s second-largest city by population. That makes San Diego a swing-gate of shared and vastly different perspectives, both its own place and something larger. And in no other major city in the US do the fresh flow of ideas from two countries—different governments, laws, mores, expressions, arts, cultures, traditions, economies, loves, and resentments—mingle at such a constant daily rate (due respect to El Paso).
That binational steam created Chicano Park, one of the most uniquely San Diegan contributions to national and international culture. When construction of the I-5 and Coronado Bridge divided Logan Heights, neighbors protested by transmuting prejudicial concrete into redwoods of Chicano art. Turning a civic wound into a beautiful and enduring landmark that expressed and preserved a core identity—like East Side Gallery in Berlin or Constitution Hill in Johannesburg—is damn near the core of what art is supposed to do.
Like any city, the underground-overground friction is crucial in San Diego. Our culture is headlined by institutions that lift creative work onto national and international stages: MCASD, The Nat, SDMA, Centro Cultural de la Raza, the Symphony, WorldBeat Center, The Old Globe, La Jolla Playhouse, Mingei, Museum of Us, Stuart Collection, Timken, ICA, Comic-Con, etc. The next mutations grow in the seams: street murals, music dives, tattoo shops, wheatpasted walls, graffiti, lowriders, surf and skate art (though in San Diego, this is mainstream), pop-up shows, backyard shows, beach raves, any place with room for people and a loose relationship with regulations.

Both art and culture get their power from power. They’re fundamentally a conversation with and retort against dominant structures. San Diego’s most pervasive structure is arguably the most rigid form: the military. Its presence is heavy in the southern tip (Border Patrol), the middle (Navy and MCAS Miramar), and northern edge (Camp Pendleton). The military is San Diego’s largest employer, by a long shot.
Within this plus-sized environment of order and hierarchy, it’s understandable that Shepard Fairey’s “OBEY” posters in the late ’90s struck such a potent chord. The most compelling punk rock is often outside a strong governor’s window. (The “OBEY” series featured an ominous, propaganda-style André the Giant wheatpasted on random ugly surfaces across San Diego—launching Fairey’s style that he eventually used for Obama’s “HOPE” poster.)
Armed forces are often viewed as the absence of creative culture—understandably so, since rogue individual expression feels like a pretty sure way to sink a war effort.
But in San Diego, the Navy’s unsuspecting role as art creator—directly or indirectly—is hard to ignore. Tattoos are a dawn-of-time practice of many early cultures, including the Kumeyaay. But Polynesia was a core realm. Sailors were exposed to it on deployment in the Pacific Rim, inking their arms with the names of loved ones and unit insignia. Back in San Diego, they’d flaunt those tats in the beaches and bars of Mission Beach or PB (Marines did the same in Oceanside.) Enlistees were the muscular flesh galleries that helped turn skin art into one of the city’s most widespread modern art forms.
During WWII, the military also trained huge legions of San Diego laborers how to build war machines. Those mechanics, engineers, machinists, welders, painters, and metal fabricators used those skills for creative good in their neighborhoods—especially in custom car culture, which took off in the post-war ’50s and ’60s. Mexican-American vets helped develop the lowrider scene, a deeply rooted part of San Diego creative expression. Galleries on slow-moving wheels.
Tourism is the other mainstream force ripe for creating against. It is both critical to San Diego’s economy, and one of the greatest barriers to deeper, more nuanced expressions of what and who San Diego is. The industry of selling our city to passers-through creates a gigantic tarp of cultural tropes. It reinforces the most obvious charms—cute zoo animal takes in an epic sunset with a giant margarita—and doesn’t yield much airspace to the thrilling micro-cultures that live and breathe where locals live and breathe. Nothing against watercolors of dolphins, but much against the hegemony of watercolors of dolphins.
Maybe because of these dominant forces, San Diegans especially tend to force underground and institutional art into a needless cage match. It’s human instinct to champion the underdog as more worthy, but that has always felt like a form of articide.

It’s like saying the only good food is made by gritty upstarts who crafted their own whisks from discarded shopping carts. Most of those plucky whisk-makers would love to eventually be paid properly, would love a stage, a grant, a building, a donor, a lighting rig, health insurance, maybe even one chair that doesn’t threaten the spine.
That’s what the major institutions do. Both stages—the duct-taped and the donored—serve vital roles and deserve commensurate support if we care about the entire lifespan of creative expression and not just its first exciting steps. Championing the starving artist exclusively just secures an enduring poverty for the creative class at large.
I’ve often theorized it’s harder to create great art and culture in cities like San Diego, where the climate is supernaturally pleasant. In colder/hotter/rainier/less beautiful cities, people are forced indoors to fabricate their own beauty (the grunge music of Seattle, the obscene creative output of Reykjavík). San Diego’s eternally mild sunshine tends to make the human body our art medium of choice. But scratch the surface of that surf poster (and I’ve only scratched a miniscule percent here), and this city’s far from the cultural shallows it gets accused of being.
Addendum: A Personal Agenda. In scouting the route of art and culture across San Diego county through history, two areas come up again and again: La Jolla and Barrio Logan. So I propose a collaboration between two icons of artful concrete—Chicano Park and Salk Institute (one of the world’s great examples of brutalism architecture). Let Barrio Logan’s muralists go nuts on that coastal science fortress, unite the realms for a moment in time.
This is part of a three-part series. This is Act II. See Act I and Act III here.
Troy Johnson is the magazine’s award-winning food writer and humorist, and a long-standing expert on Food Network. His work has been featured on NatGeo, Travel Channel, NPR, and in Food Matters, a textbook of the best American food writing.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.
Ask most people what UC San Diego is known for, and the arts may not be the first answer. Yet this fall, San Diegans can watch Ghostbusters with a live orchestra, try their hand at glassmaking and wander among more than 20 works of public art woven throughout the university’s La Jolla campus.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

“The arts are at the heart of UC San Diego’s student-centered mission and vision,” says Alysson Satterlund, Vice Chancellor for Student Affairs and Campus Life. “Whether creating, participating in, or experiencing performances, the arts are essential to a healthy and truly fun Triton student experience.”
That invitation often begins where the arts intersect with other fields.
“Some of the most innovative work and discovery happen where disciplines don’t usually share a stage,” says Cristina Della Coletta, Dean of the UC San Diego School of Arts and Humanities. “So through our unique intersection of the arts with science, technology, and medicine, we are improving lives, physically and emotionally.
Take The Inaudible Ocean, a collaboration between Department of Music Professor Lei Liang and Scripps Institution of Oceanography Assistant Project Scientist Josh Jones. Over eight years, the pair recorded earthquakes, ship noise, whale songs and other sounds in remote underwater locations. They transformed those recordings into a live music experience that allowed audiences to hear the ocean in an entirely new way. The work premiered on campus in May and continues to evolve.
The arts also connect the campus to the global art world and diverse perspectives. Chief Campus Curator Jessica Berlanga Taylor recently curated the Mexico Pavilion at the 61st Venice Biennale, featuring RojoNegro, the collective formed by Noé Martínez and María Sosa. The collective will unveil a compelling new permanent installation for UC San Diego’s celebrated Stuart Collection later this fall.

ArtPower offers another easy entry point, bringing touring performers to venues including the outdoor Epstein Family Amphitheater and the intimate Loft. The nearly three dozen performances featured through its 2026-2027 season span music, dance, film, theater and conversation.
Among the fall highlights is Ghostbusters in Concert on Sept. 25, pairing the beloved 1984 film with a live performance of Elmer Bernstein’s score. Tickets start at $35, and the amphitheater is located next to the UC San Diego Blue Line trolley station.
“Every member of our community should have access to world-class art, so we work hard to remove the barriers that stand in the way,” says Colleen Kollar Smith, executive artistic director of the Campus Performances and Events Office. “That means affordable ticket prices, and performances, voices and experiences where people see themselves reflected on stage and know they belong.”
The arts at UC San Diego are not only something to watch. The Craft Center offers public classes and workshops in ceramics, jewelry, woodworking, culinary arts and even surfboard shaping. At the new Glass Center, beginners and experienced makers can explore glassmaking through classes, demonstrations and studio experiences.
Whether you want to attend a performance, make something yourself or spend an afternoon exploring public art, there is an easy way in. And the invitation extends well beyond students and alumni.
Kollar Smith says it best: “Visit, participate, spectate or create. You’re invited, and we hope you’ll connect with us soon.”
Explore upcoming experiences at ucsd.edu/artsconnect.
The city’s cultural sector regained millions after a proposed 85 percent cut, yet nonprofits, youth programs and major institutions still face painful losses
This is part of a three-part series. This is Act I. See Act II and Act III here.
Every spring, Christine Martinez reaches out to the arts community to explain what’s on the line, hoping they’ll engage with the city’s budget process. Cultural funding, she constantly reminds, is almost always strapped to the guillotine. Especially in a city strapped for cash.
“It’s not an easy ask,” says Martinez, manager of Arts+Culture:San Diego. “Showing up is a real cost for small, volunteer-run groups that can’t spare half a day at City Council without possibly having to close their doors.”
Then, last April—with one day’s notice to arts leaders—Mayor Todd Gloria proposed a budget that didn’t trim arts funding; it eviscerated it, from $13.8 million to $2 million. An 85 percent slash. Other city departments faced cuts of about 7 percent.
The scheduled date of the cuts was just three months away (beginning of the fiscal year). Organizational leaders have to plan months if not years ahead to run their organizations. They had made hires, dedicated spending, and programmed their seasons based on a reasonable expectation that support for the arts would be somewhat in line with previous years. (The City has allotted at least $7 million a year to arts every year for the last 20 years, and the last four years have ranged between $13.8 and $18.2 million.)
The day felt even more existential given the national and international climate around the arts: namely, the federal government’s repeated proposal to eliminate the country’s two biggest cultural foundations (NEA and NEH), and the global trend of AI replacing more costly human creatives.
“It shocked everybody,” says Kamaal Martin, arts commissioner and co-founder of Art Power Equity. “If the message had been, ‘Times are tough, everybody tighten their belts a little,’ it would have landed differently. But there was no vision offered for the future, no parity in the cut. It was just, essentially, ‘Fuck you.’”
Among things I’m good at—sleeping late, low bidding for expensive shoes on Poshmark, parallel parking on either side of the street—budget analysis isn’t among them. In trying to understand how bad the finances were for San Diego to propose this drastic cut, I found myself drowning in numbers, pie charts, and politi-speak.
In his April 27 newsletter, Gloria explained that balancing the budget means “asking hard questions about every single dollar this city spends: Is this a core responsibility of city government, or is it something we do when we can afford to?”
Fair enough—if he were to ask those hard questions about every single dollar this city spends. It also makes his conclusion clear: The City of San Diego does not view supporting arts and culture as a core responsibility.
Which begs more than a few questions: Should the City be responsible? If not, then who? How crucial are arts and culture to a city? And since this is a budget discussion, how much revenue does the arts and culture industry generate for San Diego? What’s the ROI?

$1.2 billion.
That’s how much economic activity San Diego’s arts and culture nonprofits generated in 2022, according to the City’s latest Arts & Economic Prosperity 6 report. The industry created nearly 17,000 jobs and generated $878 million of personal income for local residents. About 15 percent of the people showing up to arts events in San Diego are tourists, so money was raised through TOT (Transit Occupancy Tax). The activity generated $275.7 million in tax revenue to the city.
In other words, the ROI seems to be ROI-ing.
Still, there have been signs that cuts were coming. In 2025, the City demoted the Department of Cultural Affairs to a division, folding it into the Economic Development Department (EDD). That meant Cultural Affairs no longer had independence, nor its own leader sitting at the same organizational level as departments like parks and recreation, library, police, and fire. It lost institutional leverage and would now have to compete with other EDD priorities—real estate, airport operations, business development, etc.—for budget allocation.
To be clear, few arts administrators and leaders I spoke with are interested in the either/or false choice of funding law enforcement or after-school programs; the fire departments or libraries. They’re sincere in looking for solutions that don’t leave any single group with a greater burden of righting a long-out-of-balance budget.
Jennifer de Poyen, executive director of Space 4 Art, says Gloria had long been a supporter of the arts, which made his attempted Red Wedding especially upsetting.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
Meet the artists, makers, and advocates whose work shapes how the city looks, sounds, gathers, and connects
San Diego is full of people who deserve a few thousand words on what they make, who they bring together, and how their work changes the city around them. The artists, makers, advocates, and behind-the-scenes talent below are a small part of that larger ecosystem.
To help us narrow our list, we looked for names that kept coming up, work that reflects the diversity of our region, and people building something bigger than themselves.
Jackie is a long-time freelance journalist covering cannabis, food/restaurants, travel, labor, wine, spirits, arts & culture, design, and other topics. Her work has been selected twice for Best American Travel Writing, and she has won a variety of national and local awards for her writing and reporting.
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.
Matt Eisenberg is an award-winning writer and photographer based in San Diego. A former ESPN editor, his work has also been published by CNN, Bleacher Report and the New York Daily News.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
Leorah Gavidor won her first essay contest at age 5. She writes features, news, and non-fiction in San Diego.
Lili Kim is a content coordinator and writer for San Diego Magazine, with experience highlighting local businesses and communities. When not writing or shooting film, she is likely brewing her seventh cup of tea of the day or strolling along Sunset Cliffs.
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.
Gail Czyszczon is owner/copywriter at Z3 Writing and best-selling author of a children’s book series. As a strategic communications professional and editorialist, she's passionate about discovering untold stories and themes that ignite fresh conversation and true change in communities.
Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo
Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice.
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