At the California African American Museum in Exposition Park, visitors encountering the exhibit “Ode to ’Dena: Black Artistic Legacies of Altadena” are welcomed by a significant display of over 20 Black artists’ works and a striking wall of personal and community photographs.
These photos, both in black and white and color, capture defining moments in Altadena’s history, showcasing everyday life—family celebrations, pool days, and more—grounding the exhibition in shared experiences.
As the museum’s executive director, Cameron Shaw, elaborated, the intention behind the photo wall was to emphasize the integral role of family and community in Altadena, highlighting the connections that tie its residents together through generations.
“Ode to ’Dena” represents a distinct departure from traditional exhibits, focusing instead on the artistic heritage of the community, a blend of its rich past and vibrant present.
Curator Dominique Clayton describes the project as both bittersweet and inspiring.
It comes in the wake of the Eaton Fire, which ravaged the area, prompting immediate community action to preserve and celebrate the artistic spirit of Altadena.
“It’s community curated,” Clayton noted, explaining how her connections with local artists quickly expanded as she engaged one person after another, resulting in a naturally evolving exhibit.
The impact of the Eaton Fire is palpable in the exhibit, affecting several artists, including Clayton’s friend Kenturah Davis, who lost her home in the blaze.
The diversity of artworks presented signifies a range of styles, subjects, and emotional resonances, offering a multi-dimensional view of Altadena’s art scene.
A segment curated by Octavia’s Bookshelf showcases the literary contributions of Black writers from the Altadena and Pasadena regions, while John C. Outterbridge’s symbolic outhouse installation, which critiques systemic racism, evokes memories of the Civil Rights Movement.
Additionally, remnants of the Eaton Fire have been transformed into art.
A scorched flugelhorn is positioned alongside charred tree branches, while a sound bowl—once treasured, now the sole object salvaged from an artist’s home—embodies the fire’s devastating reach.
The generational aspect is also prominent, as the exhibit features artists of all ages.
Two-year-old Micah, Kenturah Davis’ son, is represented with two watercolor paintings, proudly earning the title of the youngest artist in this showcase, while 98-year-old Betye Saar’s mixed media installation highlights the longevity of creative expression in the community.
The exhibit reflects significant changes in America, showcasing Black art through multiple generations.
Kenturah Davis’ contributions join those of her parents—her mother, Mildred “Peggy” Davis, has handmade quilts, while her father, Keni “Arts” Davis, presents paintings of iconic Altadena sites before and after the fires, making a poignant statement about resilience.
One standout work is by Marcus Leslie Singleton, who created an oil painting titled “Moses.”
The artwork subtly incorporates fire, depicting Moses as a Black man beside a burning bush in a desert setting, symbolizing hope amid adversity.
Clayton expressed a desire for the exhibit to convey more than just tales of destruction and loss.
“I wanted it to be about enlightenment,” she stated, emphasizing the hopeful energy for the exhibition.
Shaw articulated the museum’s dedication to preserving Black art history and culture while engaging the broader public.
She aims for visitors with ties to Altadena to see themselves represented authentically within the exhibit, which also serves as a historical lesson for outsiders about the neighborhood’s transformation beginning in the 1960s.
The community was predominantly white until the banning of redlining in 1968 led to notable demographic shifts, including an influx of Black families.
Altadena subsequently emerged as one of L.A. County’s first middle-class neighborhoods for Black residents, transforming its character.
Today, approximately 18% of Altadena’s population is Black, which is notably higher than the county average.
Shaw emphasized, “Dominique says something so beautiful, which is that there are Altadenas everywhere,” suggesting the presence of valuable Black communities across the nation worthy of preservation.
Clayton invites attendees to take an active role in promoting the featured artists, encouraging them to delve deeper into the artists’ lives and work by researching and sharing their stories.
The exhibit runs until October 12, offering free entry to the California African American Museum in Exposition Park and an enriching experience that explores the depth of Altadena’s artistic legacy.
image source from：laist
