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Features MAY 22, 2015

“No one is coming to rescue us”

What will it take to make over Southeast San Diego? Despite political setbacks and a lack of funding, Barry Pollard has hope that a forgotten corner of the city can turn around.

“No one is coming to rescue us”
Urban Collaborative Project’s Barry Pollard, a native of Southeast San Diego, wants to help residents clean up the neighborhood themselves—even if it’s one block at a time.

It’s only seven in the morning, and already sunlight is blazing through the east-facing windows. Downstairs at the Apostolic Assembly First Church of San Diego, members of the Community Assistance Support Team (CAST), a congregation made up of social workers, law enforcement, and the clergy sit at tables with brown oilcloth covers. Barry Pollard, founder of the Urban Collaborative Project, is on today’s speaker list. In the rising heat, he directs the meeting’s attention to Casa Sierra, a sprawling apartment complex behind Imperial Avenue in Southeast. “There is a lot of stuff going on in there,” he says.

“We did have a shooting yesterday at Casa Sierra,” one of five San Diego Police Department officers at the meeting says. “It happened about 10 a.m. It was a gang member, by the way, a member of ESD,” shorthand for East San Diego. The police then run down the details of four additional shootings in Southeast in the last week alone. One of them calls it March Madness. “There’s a lot of bad blood going on right now.”

March 11 was unofficially designated by the rival gang Bloods as “Crip Killing Day,” says Bishop Cornelius Bowser, a member of the Commission on Gang Prevention and Intervention. He explains the code: The third letter in the alphabet is C, and the 11th is the letter K. March 11. 3/11. C-K. Crip Killing Day.

“No one is coming to rescue us”

Sam Hodgson

A tall, graying ex-jock, Pollard has ideas about how to fix this community. He is not alone. The Jackie Robinson YMCA has a community response team that advocates for survivors of violence. SDPD has a Crisis Response Team, and they run curfew sweeps. The San Diego Compassion Project provides crisis intervention and long-term care to the families of murder victims, and CAST provides faith-based assistance toward helping calm tensions and reducing the potential for gang retaliation. Former City Councilman Tony Young is back in public life with RISE, a nonprofit geared toward urban leadership. “I believe they’re all having some impact on the issues in Southeast,” he says of the various organizations. “Many of them are doing difficult and hard work.”

Food and music and clean streets tend to be Pollard’s specialties for urban turnaround. He likes public art and block parties. Neighborhood bike rides. Neighborhood gardens. For example, his Urban Collaborative, an outreach of approximately 20 community members engaged in making “safety, civic pride, health, and beauty a neighborhood practice” in Southeast, has by now hosted two Taste of Southeast nights that put gourmet food trucks and live jazz and neighbors together at one of the bloodiest intersections in the history of Southeast: the Four Corners of Death, otherwise known as where Euclid meets Imperial.

If Pollard’s idea seems apple-pie ordinary, he asks the panel to consider that these are the kinds of events enjoyed across San Diego in neighborhoods everywhere. Everywhere, that is, but in Southeast. “What I’d like to do is get a cleanup going, with the idea that the Casa Sierra residents get involved. We can be the group that supports them.” He thinks a neighborhood cookout will do the job. “Hot dogs. Simple. A lot of people feel like they’re alone.” Pollard could be right. “The city has no plans,” he says. “It’s completely up to us. No one’s coming to rescue us.”

That sentiment is echoed by Michael Brunker, executive director of the Jackie Robinson YMCA. Brunker has long been an activist for peace in Southeast. “Any time people come together, good things happen. When people take real ownership, they become more aware of the situation. It’s not all about law enforcement. People have to realize that they have to save their own community.”

“It’s not all about law enforcement. People have to realize that they have to save their own community,” says Brunker.

Barry Pollard gets up from working at a desk in a small two-room office suite on Logan Avenue that he calls the Urban Collaborative clubhouse but that, according to the sign out front, was once an insurance office. An entire wall inside is blackboard (“It’s paint. You can get it at Home Depot. Nine bucks,”) on which notes are chalked: Plants – Design – Food – Music – Budget – Art – Outreach. There’s a coffeepot, and odds and ends of repurposed furniture. In the back room is a silkscreen machine. It’s for the kids, he says, to learn how to screen designs and sell t-shirts.

Pollard is in the middle of emailing City Councilmember Myrtle Cole’s office. “I’m trying to get some bike lanes painted green. She says it’s a matter of public opinion. I say it’s a safety issue.”

Pollard is 61. Born and raised in Southeast, he played college football at the University of Louisiana in Lafayette. “I was their first black quarterback.” He says the NFL’s Cincinnati Bengals expressed interest, but that he went into the human resources field instead. He retired as director of human resources for Kaiser Permanente, and three years ago he mapped out his idea for the nonprofit Urban Collaborative on his dining room table.

“It was Plan B if I didn’t win the election.”

He says his own introduction to politics came when he tried to plant a community garden on a vacant lot. “I was told by the city that it would cost $30,000 just to put in a water meter. The shortest route,” (or so he thought) “would be to run for office.” Pollard campaigned against Tony Young in 2010 for city council, and again in 2013 when Young quit the Fourth District council seat. Pollard lost both times. “I’m still chipping away at my campaign debt.”

But his brush with politics was an eye-opener. “For one thing, these local elections have little to do with the community needs. They all have to do with business and labor. There’s no gray area.”

The lot in question, by the way, was still vacant the last time he checked.

Disruptive innovation,” Pollard will say about it later. “That’s a term I’m trying to coin over here for people to embrace. It means disrupting the norm and getting people to think outside the box. It means challenging the city to eliminate some of the red tape around making change, and to give communities a little more flexibility in making things happen.”

“No one is coming to rescue us”

Barry Pollard’s plans for neighborhood engagement include trash pickup, block parties, community gardens, and cookouts.

Barry Pollard’s plans for neighborhood engagement include trash pickup, block parties, community gardens, and cookouts.

The Urban Collaborative was able to start a community garden on a different lot, however, and his team painted a bright mural on the fence behind it. “Drug dealers and crimes used to be committed there. Now, neighbors grow tomatoes and bell peppers, cilantro, things like that. A lady named Carmen—she sort of adopted it. It hasn’t been vandalized, except for a little graffiti that we cleaned up.”

Pollard likewise counts Food 4 Less among the biggest battleground victories to date for the Collaborative. “We got the residents involved in writing a certified letter to the CEO of Kroger, the grocery chain’s parent company, about the subpar food they had on the shelves.” Pollard included candid photos he had taken of in-store displays of gray-green meats and moldy fruit for sale. “Kroger pumped a million dollars into an upgrade of the facility. But I don’t want to think for a minute they were benevolent towards the little black and brown community here. It was because of the amount of money Food 4 Less was losing because residents were leaving the area to do their grocery shopping elsewhere.”

In what way has the grassroots organization failed Pollard’s vision? “Getting recognition from outside funders,” is his ready answer. “The apprehension they show around investing money in this community. And not just throwing money at problems. I mean, don’t write checks for $400,000 and then just walk away. That’s inviting failure. Instead, give us an action plan.”

Pollard raised $50,000 to launch the Collaborative. (He does not yet draw a salary.) “We’d like to get $100,000 this year.” The main obstacle to attracting such investment money, he explains, is the poor return on investment that Southeast has shown on past investments made to similar community benefit organizations. “The money goes into a black hole. Look around—people say it’s getting worse [rather] than better. Investors are interested, but they’re apprehensive.”

“[‘Disruptive innovation’] means disrupting the norm and getting people to think outside the box. It means challenging the city to eliminate some of the red tape around making change, and to give communities a little more flexibility in making things happen.”

“I want to see this turned into an arts center for the neighborhood.” Pollard stands outside the old Valencia Park library on the corner of 50th and Imperial Avenue. The books are long gone and the building has stood empty and unused for decades, the lot choked with weeds and litter. “I went to this library when I was still in elementary school,” he says. Around the back is a dirt lot with a cement pad that, in the Urban Collaborative’s view, would make a nice playground for kids. “And a meeting space. You could have music here.”

In the field, Pollard remains in constant motion. “That’s going to be our art center for a day,” he points across Imperial to one of the storefronts in a mini-strip mall. He also has plans for the sizeable dirt lot next to the National Crossroads female ex-offender re-entry home: another community garden.

“He just walked in the door one day, and he said, ‘Hey, here’s what we’re doing. Would it be of benefit to your ladies?’” Lisa Grossman runs the center with her mother and her sister. Her answer was yes. “The Urban Collaborative will teach the women here about healthcare options. And the women will also help out in the Urban Collective neighborhood cleanup. A lot of our ladies have never done anything like that before.”

Pollard ignores a rusted “Private Property” sign, steps over a chain blocking a driveway, and looks around the back side of the businesses that face Imperial. A blonde woman coming out of a duplex approaches warily, wanting to know what he’s doing. She says her father owns the property.

“We’re planning a neighborhood cleanup,” Pollard says. Would she be interested? Yes, she would. He strolls down 50th at a rapid clip toward the Casa Sierra apartments. Roosters crow from someone’s backyard. “If it was up to me,” he says, “I’d mow all this down and start over. Why? Density. There are too many units crammed into a small space.” He points to porches stacked with discarded furniture, a pile of doors left out in the weather, a broken window papered over with cardboard.

“We’ll get some trash bins donated from EDCO, and we’ll have some food,” he says to another curious neighbor about his cleanup day. “Hot dogs. And weed whackers. How hard would it be to clean all this up? What are we waiting for? Someone to come in and rescue us?”

In a perfect Southeast without gangs and the violence that continues to plague that community, Barry Pollard might fancy himself as the welcoming committee. “I would like people to come over and visit and see the change taking place. Put aside all the misconceptions and fear. We don’t bite.”

“No one is coming to rescue us”

Urban Collaborative Project’s Barry Pollard, a native of Southeast San Diego, wants to help residents clean up the neighborhood themselves—even if it’s one block at a time.

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Arts & Culture SEPTEMBER 4, 2026

What’s Next for Arts and Culture in San Diego?

Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration

What’s Next for Arts and Culture in San Diego?
Photo Credit: Katie Gardner & Matt Furman

This is part of a three-part series. This is Act III. See Act I and Act II here.

The Future

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.”

Photo Credit: Katie Gardner & Matt Furman

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.”

Photo Credit: Katie Gardner & Matt Furman

What Other Cities Prove Is Possible

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.”

Photo Credit: Katie Gardner & Matt Furman

So What Happens From Here?

“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.

A

About Aaryn Belfer

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.

Art Arts & Culture
Arts & Culture SEPTEMBER 4, 2026

How San Diego Became a City of Art and Culture

The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image

How San Diego Became a City of Art and Culture
Photo Credit: Katie Gardner & Matt Furman

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.

Photo Credit: Katie Gardner & Matt Furman

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.

Photo Credit: Katie Gardner & Matt Furman

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

About Troy Johnson

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.

Arts & Culture SEPTEMBER 4, 2026

San Diego Restored Arts Funding—But the Crisis Isn’t Over

The city’s cultural sector regained millions after a proposed 85 percent cut, yet nonprofits, youth programs and major institutions still face painful losses

San Diego Restored Arts Funding—But the Crisis Isn’t Over
Photo Credit: Katie Gardner & Matt Furman

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?

Photo Credit: Katie Gardner & Matt Furman

The Impact of Arts & Culture

$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.

A

About Aaryn Belfer

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.

Art Arts & Culture
Studio S SEPTEMBER 9, 2026

Meet ArtsConnect, UC San Diego’s Invitation to SoCal Arts Lovers

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.

Meet ArtsConnect, UC San Diego’s Invitation to SoCal Arts Lovers
Courtesy of UC San Diego

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.

Courtesy of UC San Diego | Photo Cred: Erik Jensen

“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.

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Arts & Culture SEPTEMBER 2, 2026

31 People Shaping San Diego’s Creative Scene

Meet the artists, makers, and advocates whose work shapes how the city looks, sounds, gathers, and connects

31 People Shaping San Diego’s Creative Scene
Photo Credit: Katie Gardner & Matt Furman

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.

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About Aaryn Belfer

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

About Lili Kim

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

About Emma Veidt

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.

Everything SD SEPTEMBER 1, 2026

Guest Publisher’s Note, September 2026: The Arts Edition

For Jonathon Glus, San Diego’s next chapter begins with the artists who help us understand where we’ve been

Guest Publisher’s Note, September 2026: The Arts Edition
Photo Credit: Katie Gardner & Matt Furman

Some ancient philosophers believed that humans experience seven-year life cycles or phases of life. Some went so far as to believe that every cell in the body regenerates every seven years.

Much later, in the 1800s, Austrian philosopher, architect, and social reformer Rudolf Steiner developed anthroposophy—an integration of science, art, and spirituality—into his understanding of the human experience. Steiner believed that each of us changes every seven years—from spiritual beliefs to physical evolution—and art is the connective tissue through each of these cycles. Still today, Steiner’s teachings are foundational to the principles of Waldorf education.

While I’ve certainly experienced more than a few human life cycles of my own, I believe that, just like us, cities have their own life cycles.

Cities are living organisms, regenerated every day by the people that live, work, and gather there. Environmental changes, human migration, economic shifts, technological advances, politics, and public policy—they all inform a city’s evolution, sometimes intentionally and sometimes by forces outside of our control. But ultimately, we as humans respond, adapt, and sometimes make our most important new advances.

Photo Credit: Matt Furman

In the aftermath of World War II, in 1947, the Edinburgh International Festival was established to promote international peace through the performing arts. Today, that festival continues as a global gathering place to experience some of the world’s most innovative dance and theater.

In post-revolution Mexico, that country’s government launched a monumental muralism program to celebrate the history of its Indigenous cultures. Today, that tradition still informs the way Mexico tells its stories and how we understand its history.

Here in the US, the National Endowment for the Arts was established in 1965, at a time when the arts were seen as part of our national strength and resilience. For the first time, federal funds were directed to communities across the country to invest in the arts at a local level.

San Diego may be relatively young as a major American urban center, and even younger on the world stage, but our region as home to humans is ancient. Today, we love a San Diego that is built on roads and traditions of the Kumeyaay Nation, where we share a modern mega-region with our sister city and cultural twin, Tijuana, on unceded Kumeyaay land.

History has shown us that the arts generate the very human connection and understanding that allows our politics, policies, technological advances, and human migration to move forward. In that way and more, the arts are the very heartbeat of our city.

In this issue of San Diego Magazine, we celebrate the artists, creatives, culture bearers, and workers who keep our region connected and in conversation as we take on challenges big and small—internationally as well as on our own neighborhood streets.

Artists are our storytellers. They respond to and chronicle the best and the worst of us—our foibles and weaknesses, our struggles, and, undeniably, our successes.

Now: a look back into the past seven years in history. They have not been a walk in the park, with a pandemic, global unrest, and shifting domestic politics as only a few forces that have challenged our lives and our region. Together, we experienced some of our greatest struggles and witnessed tremendous resilience.

That’s exactly why this is an exciting time for the arts in San Diego. We are on the precipice of an even more fertile, sustained, and inclusive time for the arts in our region.

In some ways, Covid seems like an eternity ago. I remember all too well the massive economic impact on our cultural institutions, some of which have never fully recovered. I remember the mass layoffs of the workers who keep our arts institutions going and the teaching artists who were suddenly out of work.

I also remember the poets, filmmakers, actors, and musicians who helped us grapple with the disruptions of the pandemic. Our communities became virtual, and artists gave us the space to make sense of it all.

In fact, a common phrase emerged from the Covid: artists as second responders.

Still today, I think about the short film made by San Diegans Susanna Peredo Swap and Gill Sotu called History of Joy, which captured so brilliantly what we were experiencing during those days of lockdown.

Since then, as an arts community, we’ve pushed forward transformational work that we will continue to build upon in this next seven-year cycle and well beyond.

Hundreds of artists and culture bearers have spent the past several years going to work with community groups across the region as part of Far South/Border North, our region’s component of the California Arts Council’s groundbreaking artist work program, Creative Corps. The impact resonated so deeply that local government and philanthropy partnered for a second iteration, Artist Count, this time a binational initiative launched just a few months ago.

We’ve invested mightily in cultural infrastructure. Need some examples? There’s the reimagined Jacobs Music Center and Museum of Contemporary Art San Diego, the Black Arts & Culture District, the state designation of Arts District Liberty Station, and now the burgeoning Art + Design District downtown.

World Design Capital San Diego Tijuana 2024 elevated what we already knew—that the two neighboring cities are culturally and creatively intertwined as one region—and boosted our global presence as a creative juggernaut. Artists, designers, and community leaders worked together to produce more than 600 events across our region that year, and the impact continues.

And “Creative City,” the City of San Diego’s first cultural plan that incorporates arts and culture advancements in the city’s development, was crafted by thousands of San Diegans as a roadmap to take us into the future.

Here’s what I know about the past seven years: San Diego’s artists, creatives, and culture bearers showed up for our region as our storytellers, second responders, and creative workforce.

And for the next seven? San Diego will morph and change, as every city does. Sometimes because of us, sometimes in spite of us. But our city’s creative community has a solid foundation on which to build, led by the artists who witness and tell our stories each and every day.

Jonathon Glus, Conrad Prebys Foundation’s Senior Fellow for Art and Design in Residence at the Downtown San Diego Partnership

Partner Content AUGUST 21, 2026

This Scripps Clinic Physician is Serving Up Care

Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo

This Scripps Clinic Physician is Serving Up Care
Courtesy of Scripps Health

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. 

For more nutrition, wellness, and healthy living tips, sign up for the San Diego Health newsletter here.

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