Public Art in La Puente & Rowland Heights - Katherine Palacios
THE SITE:
For this assignment, I decided to focus on the communities of Rowland Heights and La Puente. I grew up visiting these areas as a child, and the majority of my extended family lives here. I know the area well and have developed friendships and connections with many individuals there as well. As an adult, I now reside in Rowland Heights, and do most of my errands (shopping, clothing alterations, doctor's visits, etc) in La Puente. I also work in Rowland Heights, so I feel deeply connected to these communities. Despite both communities being unincorporated areas of LA County, there is a strong sense of community identity and local culture. Individuals are proud to be from here, as am I.
The community, not a 'proper' city, of Rowland Heights has a population of about 48,000. It neighbors the City of Industry, Walnut, and Hacienda Heights. The community spans over 13 square miles and was founded in 1842 as part of the Rancho La Puente Mexican land grant. Originally, much of the land was used for ranches, farming, and agriculture. The city began growing and evolving in the 1900s, especially when it became connected to the 60 Freeway. Working-class communities began founding affordable homes in the area as they expanded out of Los Angeles. Now, the demographics have shifted, and the area is home to many upper-class immigrants from China, Taiwan, and South Korea. From my research, I learned that Rowland Heights is even advertised as a desirable place to live in China. The advertisements highlight high- end homes and convenient shopping centers that mirror those in China. There is also a longstanding Latino presence in the area, many of whom have been here for generations. The community contains 1 public library and several parks. The area hosts an annual Buckboard Days Parade to celebrate the area's history and to celebrate unity and community.
The city of La Puente is about 20 miles east of downtown Los Angeles and is primarily residential with a population of about 40,000. "La Puente" means bridge in Spanish, and the name of the city refers to the bridge built across the San Jose Creek. European settlers began arriving in 1842, and the area began agricultural endeavors in the 1930's. Products included fruits and walnuts. Present day, the city spans about 3.48 square miles. It is home to a City Hall, Community Center, Senior Center, Youth Learning Center, many schools and parks, and two libraries. City demographics detail a population of over 80% Hispanic or Latino residents. Annual celebrations include a Dia de los Muertos event, a Christmas Parade, and a Tree Lighting. The city is home to many local landmarks, such as the Donut Hole, and hosts several community events such as youth sports, art walks, car shows, and more.
My Map:
FIELD WORK
Title: Untitled
Date: 1978
Location: Rowland Heights Library
Artist: Dora De Larios
Theme: Community, hard work
Who is represented or excluded: Since this is an abstract piece, it does not directly represent any particular groups. It is worth noting that, from research, I found that the artist is Mexican American and has created other works that are influenced by different cultures. However, these influences are not apparent to me in this work. It is more open to interpretation. To me, the shapes and movements on the wall might represent growth, movement, and connection, which reflect the growth and transformation of Rowland Heights. This would also make sense given the location of the artwork.
Materials: Plaster veneer, steel trowel, brush broom
Sponsors: Since this artwork was commissioned by the Civic Art Program, part of the Los Angeles County Arts Commission, input and final decisions were likely made by local powers rather than individual community members. This can impact who gets to decide what goes in public spaces that locals use in their day- to- day lives and what gets represented. This artwork may seem like nothing is being suppressed, as it appears very universal, but there are no cultural and community references, which can lead to feelings of disconnect.
Inscriptions: None
Community Reactions: This mural was funded by the Los Angeles County Civic Art Program and is displayed in a public library, meaning it is meant to be a part of a shared, accessible place. I can imagine this garners a positive response, especially given the fact that libraries tend to be underfunded and/ or underprioritized. However, the artwork itself does not directly reflect the community, so it may be difficult for the community to identify with it. I can imagine that it makes those entering the library, whether they're locals or visitors, feel welcomed.
Condition: This piece is very well maintained. Though it is next to an entrance and able to be touched by members of the public, there were no visible fingerprints or markings, and no dust. This sends a message that the piece is still very valued.
Title: Untitled (Three Discs)
Date: 2000
Location: Rowland Heights Library
Artist: Dora De Larios
Theme: Unity, life, completeness
Who is represented or excluded: These discs featured different patterns, textures, and tones. Though they were each so unique, they still fit together, creating a feeling of connectedness. I feel like this speaks to the people in the community. Rowland Heights is made up of so many different groups and identities, however it all comes together to create a beautiful community of culture and diversity. Further research showed that the artist was inspired by the Aztec calendar for this piece, showing that there is some cultural representation, especially considering that 29.5% of residents in Rowland Heights consider themselves Hispanic or Latino.
Sponsors: Once again, this was funded by the Civic Art Program, part of the Los Angeles County Arts Commission. This means that decisions and input were made at higher, institutional levels. This makes me question how much community input was considered, especially since there still seems to be a lack of direct representation.
Inscriptions: None
Community Reactions: This piece was added to the library when it reopened in 2018 following a remodel, showing a desire for civic art in the community. This also shows that they were perhaps commitment to the space and people in the community.
Condition: Again, this piece was well maintained and prominently displayed, sitting above the computer section of the library, next to the circulation desk, holds area, printer, and self- service kiosks. This means that many eyes are on this piece every day. The closer one gets, the more details they notice, almost as if inviting the community in.
Title: Figure
Date: 2015
Location: Rowland Heights Community Center
Artist: Barbara McCarren
Theme: Themes of this piece include continuity and eternity, represented by the figure 8 shape of the sculpture. This can also represent themes of connecting with the past.
Who is represented or excluded: This piece is very direct in terms of representation. It features inscriptions in Chinese, Korean, Spanish, and English, reflecting the diverse community in Rowland Heights. The phrase "Eureka", California's state motto, is also featured, showing ties to the state, and the coordinates and historic dates tie it to local history and events. It feels like the piece represents most of the community at once.
Materials: Stainless steel, LED lighting
Sponsors: This piece was commissioned by the Civic Art Program, part of the Los Angeles County Arts Commission. However, I see more of an effort to include representation in this piece. However, it is important to note that although many communities are represented, not all of them are. So, there is still some picking and choosing of who is represented.
Inscriptions: Chinese character for fullness and prosperity, "Eureka"(California state motto), "one thousand years" in Korean, "ocho" (eight in Spanish), latitudinal and longitudinal coordinates for Rowland Heights
Community Reactions: This piece is located outside of a community center, making it more public and accessible. The references in multiple languages make it seem connected to the community, leading to more acceptance and appreciation in my mind. I can imagine that more individuals feel seen, leading to positive reactions.
Condition: This piece was well-maintained and surpassed my expectations. It was clean and free of signs of wear and tear from the elements. This was the only piece I visited during my fieldwork that was being viewed by others. Though I visited during the day, I popped into the community center to ask if the lights were functional, and was told that all of the LEDs worked and were turned on every night.
Title: Big Wishes & Magic Bird
Date: 2017
Location:
Artist: Bunnie Reiss
Theme: Themes of this piece include imagination, care, and positivity, represented by the colors, symbols, and positioning of the bird. The way the mural wraps around the entire building shows how these themes surround our world.
Who is represented or excluded: This piece represents family and community through the use of animals, which feel nurturing. Hearts and flowers perhaps represent the feelings of the community and what can grow when they are nurtured. I tried researching the birds for cultural reference, but couldn’t find anything. This makes the mural feel more universal rather than representative of any specific group.
Materials: Painted mural
Sponsors: This was sponsored by the Civic Art Program of the Los Angeles County Arts Commission, meaning it was funded at the institutional level. That may be one of the reasons the work itself is open- ended and does not directly reflect La Puente.
Inscriptions: None
Community Reactions: This mural is located in a park and near a splash pad, making it a part of the community for families and people of all ages. This park is also the location for 2 popular local street vendors showing it is a safe space for many, reflecting the feelings of the mural. The mural itself is bright and engaging, which I can imagine creates positive reactions from many children. Though it does not reflect historical events or local identities, it creates a warm, inviting environment, which may draw more individuals to community spaces. On a personal note, my aunt visits the park regularly, and hosted several of her children’ birthday parties here. When I asked her about the mural, she shared that she really liked it. She said that she can remember her daughter running around the building to count the birds and name the colors. She also said that she felt that it deterred gang related graffiti, which is prevalent in some areas of La Puente, from encroaching on children’s safe spaces.
Condition: The mural is generally well maintained and the colors are still bright. It can be seen from the park’s parking lot, making it feel welcoming. There is some warping of the wood paneling on the building, but that does not directly reflect the prioritization of the mural itself, since it is more of a structural matter. The colors are still vibrant and the mural is joyful, I can see why it was chosen for a park so popular with children due to the splash pad.
Title: Weaving All Ways
Date: 2024
Location: La Puente Enhanced One-Stop Development Center
Artist: Carly Lake
Theme: A theme of this piece is connectedness, to the land, to each other, to traditions, and to the past. This piece centers Indigenous knowledge and tradition with the current landscape of La Puente. This can be seen with the plants featured, such as Black Walnut, Elderberry, and Nopal.The piece tells a culturally responsive story rather than just being decorative.
Who is represented or excluded: In my opinion, this piece is one of the most direct in terms of representation from my fieldwork. It centers Indigenous voices and community knowledge. The plants and symbols present throughout the piece have ties to the land and Tongva and other Native traditions. The basket represents Indigenous basket weaving as well as the weaving of past and current traditions of La Puente. The inclusion of Nopal and Yucca may be a direct representation of the Mexican community. The dots and swirling pattern represent the Milky Way representing people of the past, as well as all beings in our world.
Materials: Glass tesserae and mortar
Sponsors: Although this piece was sponsored by the Los Angeles County Department of Arts and Culture I feel like it was created intentionally. Working with Indigenous leaders shows respect and focus.
Inscriptions: None
Community Reactions: This piece feels deeply tied to the community. I visited this piece with my mother, and she shared that the street it is located on is one where many first generation immigrants first stopped upon arrival to La Puente, herself included. She pointed out the place where she received her first immunization in the United States, just across the street. When I asked her what she thought about the artwork, she said it's nice that the area is becoming more welcoming and more beautiful. She liked the nopales featured in the work and the planter surrounding the piece. The reference to local plants and recognition of Indigenous tribes native to the area makes it feel truly part of the community, which I can imagine feels incredibly powerful to many. Through research I found that the artist collaborated with Indigenous cultural leaders, which I can imagine added to positive perceptions of the piece.
Condition: The piece appears to be well maintained, though it was only installed a few years ago. However, there are no signs of wear and tear and all tiles appear to be present. It appears that it is meant to last a long time.
Title: OOO
Date: 2008
Location: Allen J. Martin Park
Artist: Merge Conceptual Design
Theme:
Who is represented or excluded: No groups are directly reflected when simply observing this artwork. The abstract shapes and colors create a welcoming environment, but do not detail a history. The representation comes from its creation and the story behind it Community members, children, adults, teenagers, etc., helps create the piece during a community paint day. They were taught to spray paint over stenciled images onto the buildings. The artists even provided healthy food representing the colors used in the piece. This was repeated 4 years later to refresh the paint and to train new staff. Staff now covered up any new graffiti on the building in the same way. While it is great that the community helped create the work, one must ask what voices are being silenced when things are covered up.
Materials: Acrylic paint, spray paint, stencils
Sponsors: This piece was funded through the Civic Art Program. The project included community input, meaning some local voices were heard. Since it is institutionally funded, one must ask themselves what kind of ‘graffiti’ is being covered, and whether that is ethical. This is the first piece I saw with the ‘Please contact Arts and Culture Civic Art Division for maintenance and conservation’ message on the bottom of the placard showing that this piece is important to the institution and the community alike.
Inscriptions: Civic Art Program- Los Angeles County Arts Commission
Community Reactions: This piece was designed as a creative way to combat graffiti. When new graffiti is added to the building, it is covered by a new circle or shape. The fact that the community assisted in its creation creates a sense of pride and ownership, perhaps encouraging its maintenance. The fact that locals were able to provide input and participate in its creation makes it feel the most community oriented, which likely led to a positive perception.
Condition: This piece looks well maintained with no obvious chips in the paint. It is interesting to know that if I return, it may look different since it is an ongoing project.
Title: Memories of La Puente
Date: 2025
Location: Bassett Park
Artist: Álvaro D. Márquez
Theme: This piece centers storying and self- location throughout history, including Indigenous elements, cultural elements, and present- day references. It also shows change over time.
Who is represented or excluded: This piece represents local history. The first panel represents Tongva life, the second panel represents La Puente’s agricultural past, and the third panel represents present- day culture. It represents voices that were silenced due to colonization and how lives changed over time. It represents places recognizable to the community, such as the drive- in and the swapmeet, as well as products of the past, like walnuts and crops.
Materials: Acrylic paint on plaster
Sponsors:This piece was sponsored by the Los Angeles County Civic Art Collection and is the second piece I saw with the ‘Please contact the Department of Arts and Culture for maintenance’ message, showing that this piece is important to the community and the institutional powers that commissioned it. This piece was created with input from local residents and reflects true events and elements of life in La Puente, as told by the residents. It centers lived experiences and sifts some power back to the community.
Inscriptions: None
Community Reactions: Since this project was completed in collaboration with several residents, I can imagine it received public praise. As I was taking photos, a woman at a nearby bus stop noticed and said, “¿Esta muy bonito, verdad mi niña?” (It’s very beautiful, isn't it, my girl?). This shows community appreciation and recognition of its significance.
Condition: The mural looks new and very well maintained. It is protected by gates on the backside, and required entering through a gate to view, protecting it from damage, but also slightly hiding it from public view.
Title: San Angelo Landscape
Date: 2015
Location: San Angelo Park
Artist: Mara Lonner
Theme: This piece wraps around the building and is very fluid, layered, and colorful.
Who is represented or excluded: This piece appears more abstract and, upon first glance, does not offer obvious representation. However, once one takes a second look, there is representation in the plants, such as the avocado and oak tree, which reflects the Mexican identity. The steel itself is also manipulated in a way that reflects the iron designs that are popular on Mexican homes.
Materials: Acrylic paint and steel
Sponsors: This was commissioned by the Civic Art Program from the Los Angeles County Arts Commission, meaning it reflects institutional decisions before anything else. Perhaps this is why the piece has cultural influences but doesn’t highlight a particular history or voice.
Inscriptions: None
Community Reactions: This piece is visible from the park’s parking lot, creating a welcoming environment. This adds to the building’s uniqueness and beauty, so I can imagine it receives praise.
Condition: This piece is also well- maintained. It looks clean and free from damage from individuals or the elements. It feels very calm and decorative.
Title: Bridge Railing
Date: 2012
Location: 4th Avenue Park
Artist: Al Price
Theme: This piece features themes of movement, such as walking back into history as you cross one way across the bridge, or walking into the future as you cross the other way. This is strengthened by the fact that the appearance of the railing changes as you walk, showing that we can gain perspective or understanding as we revisit the past or understand our current position when thinking of the future.
Who is represented or excluded: This piece represents local history as seen in the pattern within the work. It features horse hooves, representing La Puente’s ties to horseback riding, vaqueros, and equestrian culture. The fact that this work is on an actual bridge also speaks to the city's name (La Puente). It is more representative of the city rather than any group or individual.
Materials: Powdercoated Steel
Sponsors: This piece was commissioned by institutional powers (the Civic Art Program from the Los Angeles County Arts Commission), so it prioritizes the messages and perspectives they’d like to share. Perhaps this is why it connects to local history but does not include direct representation.
Inscriptions: None
Community Reactions: Since this piece is part of a bridge people walk across, it makes it part of daily life and interactive. It allows the community to connect with the land and local history. This consistent connection to local history seems like a positive.
Condition: The railing is generally maintained and functional, though it was a bit dirty. However, in my opinion, this is normal since it is located in a park and is functional and used regularly.
Title: Kaleidoscope Sky
Date: 2018
Location: Los Robles Park
Artist: Jen Kuroki
Theme: This piece features themes of welcoming and dreaming. According to research, the title and piece itself is a reference to The Beatles’ lyric: “Lucy in the sky with diamonds/ The girl with kaleidoscope eyes”. It invites visitors to imagine and dream limitlessly, which is especially powerful given the community of La Puente.
Who is represented or excluded: This piece is abstract with no direct representation of people or culture. Meaning comes from the colors, shapes, and movements within the work.
Materials: Acrylic Paint
Sponsors: Again, this piece was sponsored by the Civic Art Program of the Los Angeles County Arts Commission. Perhaps the institutional powers behind it are why there is no obvious representation.
Inscriptions: None
Community Reactions: This piece was commissioned to highlight the arched entryway of the park’s building, creating an inviting environment. It almost transports one into a new space where they can imagine, play, and dream. It is located near a playground and splash pad, which I imagine leads to positive reactions from families. Though it is not directly representative, I can imagine it is nice to have a public space decorated this way.
Condition: This mural looks clean, though slightly faded. However, I am sure its placement protects it from the elements, showing a prioritization of its maintenance for the community.
CRITICAL ANALYSIS
Upon reflection of my fieldwork, I can see clear patterns. Most of the works are funded through the Los Angeles County Civic Art Program, which tells me that the majority of public art in these communities is controlled by institutional powers. This affects who is represented and who is not. For the most part, clear, direct representation is lacking. Many of the pieces I saw, like Untitled (1978), OOO, and Kaleidoscope Sky, are abstract or decorative. They focus on color and design rather than showcasing the identities, lived experiences, and voices of local residents.
Even when representation is present, it tends to be symbolic, like in Untitled (Three Disks) and San Angelo Landscape. They have cultural influences in their design, but don’t directly tell stories or present current issues. Pieces like Figure, Memories of La Puente, and Weaving All Ways offer the most representation, but in my opinion, still fall a bit short because they mainly storytell the past. However, it is worth noting that the Figure includes multiple languages to represent diversity in the community. Weaving All Ways centers Indigenous knowledge, and Memories of La Puente most clearly represents people and lived experience.
Overall, current community voices are missing from these narratives and works. Representation is very broad and symbolic. I ask myself if these works can be theoretically picked up and moved elsewhere and have the same effect as they currently do. Some histories are celebrated, but it is done in a safe, general way. There is no address of the pain these communities have faced in the past and present. I notice a lack of art that reflects current and past social issues, and the voices of the marginalized (working class, immigrants, etc), which is surprising given the demographics of the areas. So, while the past is seemingly acknowledged, prevalent issues and the present are mostly overlooked.
The strongest pattern is who funds the art (the LA County Department of Arts Commission). This controls what the pieces depict and means that art is carefully selected to fit ‘socially acceptable’ themes, since this institution would want to avoid complaints, controversy, etc. This also limits artists themselves and may cause them to avoid controversial topics and focus on appearance over messaging.
Altogether, civic art in this community reflects local identities and history to a certain extent, but it tends to be in a broad way. The strongest pieces are those that involved community input and Indigenous cultural knowledge, showing the undeniable impact of local voices.
PROPOSAL
After conducting fieldwork and analyzing my findings, I’ve identified strengths and areas of growth across community spaces and the community. While there are many visually engaging pieces, there is a pattern in the prioritization of aesthetics over local voices. I appreciate how civic art in these areas is accessible and integrated into everyday spaces. They welcome residents into these spaces and make them more engaging. I also appreciate how pieces like Weaving All Ways and Memories of La Puente center cultural knowledge and local histories in very intentional ways. It shows me that art can be beautiful and incredibly significant, even in public spaces. I appreciate how OOO shows the value of community participation and ongoing projects.
All this being said, many of the artworks I saw did not feel connected to the realities of the community. Many were abstract or decorative, which made the spaces very beautiful. However, I propose installing more art that connects to the people who actually live in Rowland Heights and La Puente today. This is especially necessary since most of the artworks focus on general historical timelines rather than current experiences. Also, since most works are being commissioned through institutional powers, it feels like many voices may be being limited, or decisions are being made before considering or involving the community. Therefore, I propose consistent, ongoing collaboration with locals. I recommend future artwork to represent who the community is now. An example might include a mural featuring daily life in the neighborhood or a story- based performance that reflects current cultural events or trends. I also recommend that La Puente and Rowland Heights include community members as co- creators of future projects rather than just asking for input. Perhaps these areas could host classes for residents to experiment with mediums and tools, and help design or produce artworks. They could also hire artists with ties to the communities. Finally, La Puente and Rowland Heights should prioritize art that engages social issues rather than focusing on aesthetics. This could include topics like gentrification, cultural identity, belonging, immigration, education, and more. This is not to say that all civic art should be political, but there needs to be space for reflective work. Conversations are necessary. To move towards these goals, both areas can create a program to work with local artists and others who may be interested. They could meet in a public space and create, discuss, plan, and meet with institutional decision makers. This would ensure collaboration between both sides.
Civic art in La Puente and Rowland Heights has a strong foundation and great potential, especially considering the dynamic populations present in both areas. Civic art is already present, visible, maintained, and still being funded, showing that it is valued both by the residents and institutional powers. However, now is the time to move from broad, decorative art towards culturally relevant and community-centered pieces. This shift would help civic art become more inclusive and representative.
Works Cited
Buckboard Days Parade. “History.” Buckboard Days Parade, 2025, https://buckboarddaysparade.org/about/. Accessed 9 April 2026.
“City Facts - City of La Puente.” La Puente, 2023, https://lapuente.org/city-facts/. Accessed 12 April 2026.
LA County Arts & Cultre. “Kaleidoscope Sky.” LA County Arts, 2018, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=238&sortBy=ObjectDate%20desc&pageNo=1. Accessed 8 April 2026.
LA County Arts & Culture. “Big Wshes and Magic Birds.” LA County Arts, 2017, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=68&sortBy=ObjectDate%20desc&pageNo=1. Accessed 2 April 2026.
LA County Arts & Culture. “Bridge Railing.” LA County Arts, 2012, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=83&sortBy=ObjectDate%20desc&pageNo=1. Accessed 1 April 2026.
LA County Arts & Culture. “Figure.” LA County Arts, 2015, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=176&sortBy=ObjectDate%20desc&pageNo=1. Accessed 5 April 2026.
LA County Arts & Culture. “Memories of La Puente.” LA County Arts, 2025, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=797&sortBy=ObjectDate%20desc&pageNo=1. Accessed 3 April 2026.
LA County Arts & Culture. “OOO.” LA County Arts, 2008, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=331&sortBy=ObjectDate%20desc&pageNo=1. Accessed 2 April 2026.
LA County Arts & Culture. “San Angelo Landscope.” LA County Arts, 2015, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=400&sortBy=ObjectDate%20desc&pageNo=1. Accessed 3 April 2026.
LA County Arts & Culture. “Untitled (1978).” LA County Arts, 2009, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=558&sortBy=ObjectDate%20desc&pageNo=1. Accessed 4 April 2026.
LA County Arts & Culture. “Untitled (three disks).” LA County Arts, 2023, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=506&sortBy=ObjectDate%20desc&pageNo=1. Accessed 5 April 2026.
LA County Arts & Culture. “Weaving All Ways.” LA County Art, 2013, https://www.lacountyarts.org/experiences/civic-art/civic-art-county-collection/artwork/artobject-detail?dataId=794&sortBy=ObjectDate%20desc&pageNo=1. Accessed 6 April 2026.
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