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The South LA Community Farm Ribbon Cutting Ceremony

LOS ANGELES SENTINEL — On Saturday May 18, Los Angeles residents gathered at the First Year, South LA Community Farm ribbon cutting ceremony. The All Peoples Community Center (APCC) and American Friends Service Committee’s (AFSC) Roots for Peace Program dismantle structural racism within the food industry, transforming a vacant parking lot into an urban farm.

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By Bertram Keller

On Saturday May 18, Los Angeles residents gathered at the First Year, South LA Community Farm ribbon cutting ceremony. The All Peoples Community Center (APCC) and American Friends Service Committee’s (AFSC) Roots for Peace Program dismantle structural racism within the food industry, transforming a vacant parking lot into an urban farm.

In 2009, a group of high school students at the APCC explored the issue regarding food and health related discrimination. Concluding research led to the student’s proposal of constructing an urban farm that improves access to healthy food among low-income communities.

American Friends Service Committee (AFSC) encouraged the student’s initiative, and assisted in seed giveaways and door-to-door surveys. Awareness encompassed the framework of related food equity, which formed a sizeable community that developed into the Food Growers Network (FGN). An urban agriculture community that advocates redressing food system inequities in low-income neighborhoods.

Advocates and political influence invested and coordinated a method for students and community residents’ proposal to materialize. AFSC Program Director and LA Food Policy Council Member, Crystal Gonzalez, consulted with City Council and the Los Angeles Board of Supervisors to ensure the proposal was submitted to impartial process under Urban Agriculture Incentives Zone Program (UAIZ). The UAIZ act, also known as Bill 551, permits landowners in metropolitan areas to collect tax incentives for situating their property for agricultural use.

The Los Angeles County Board of Supervisors passed the UAIZ act, in which operations advanced onto further development. Supervisor Mark Ridley-Thomas took the lead of coordinating resource and finances; working to modernize possibilities of the urban farm to include outdoor kitchen and children’s play area.

APCC Executive Director Saundra Bryant arranged partnership with Meta Housing to locate the urban farm directly across the street from All Peoples Community Center. Bryant and Meta Housing terms and agreements led to a 50-year lease, ensuring the urban farm will remain in the community.

The urban farm is situated on a 6,400 sq. ft. lot. It includes outdoor workshop, education space for children, elevated garden beds for community farming, an outdoor kitchen and farming stand to promote weekly sales. What was once an empty parking lot has now reconnected a community through food awareness and agricultural development. The total project budget was $80,000.

Non-profit organizations, residents, advocates, children and political influence gathered to participate in the festive occasion of the First Year South LA Community Farm ribbon cutting ceremony. The ceremony commenced with the Le Ballet Dembaya African Drum & Dance Ensemble showcasing synchronized dance routines harmonized with the beating of West African drums. Further, Youth of the Roots for Peace Program delivered inspiring spoken word performances to exhibit sentiments of positive reception.

Advocates and political speakers were introduced and gave robust theoretical analysis reinforcing the structural challenges in the food industry. APPCC Executive Director Saundra Bryant, Meta Housing Corporation Executive Vice President Chris Maffris, AFSC Program Director Crystal Gonzales, Los Angeles Food Policy Council member Rosana C. Franco, Los Angeles County Supervisor Mark Ridley-Thomas, and Los Angeles Council Member Curren D. Price Jr. addressed the food insecurity in the community. Council Member Price Jr. stated, “We know how important food access is, how important health equity is; especially, in our [9th] district. We want our district to have access to green space, healthy soil, spaces for the community to come together, and we know by working together we can make that happen!”

Structural racism and economic divestment has historically caused low-income communities to experience the inability to progress food security and community health. The urban farm certainly advocates the frameworks for supplementing food intake with locally produced, healthy fruits and vegetables. This progressive step permits a self-governing community, in which low-income communities can disregard food sovereignty and acquire access to healthy food consumption. Inevitably, profiting from a self-dependent food structure that includes safe, nutritious, affordable, and culturally accepted food.

The South LA Community Farm has compelled children and adults to reconnect within their community through health awareness, collective labor and the foresight to contribute in the development of low-income communities. Urban farmers hope others explore and develop more solutions concerning food justice to prevent diet related illness.

This article originally appeared in the Los Angeles Sentinel.  

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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