Jazzmyn Viray: Azusa, California
The site-Azusa California
Azusa is a small city within the San Gabriel Valley, located along historic route 66. I have lived in this city since I was four and have watched it try to develop itself into a larger more established city through the addition of a downtown area by the metro A line station. The art within the city often recalls the history of the land it was built, recognizing the indigenous people that had come before the settlement of colonists and the establishment of industry. With it's development in additional housing and expanding upon it's downtown space, it is curious to see if more recent artworks continue this recognition, or if the history is starting to become lost within the urbanization of the town.
Field Work
A Passage Through Memory
Artist: Jose Antonio Aguirre
Date: 2015
Location: Azusa Downtown
Notes: Inspired by the cultural traditions of the Shoshonean tribe, this work represents the cultural history of Azusa. Sponsored by LA county's Measure R half-cent sales tax. Furthermore, when traveling to the city by train, these are the first art pieces to welcome you, drawing further attention towards the city's choice to identify itself within its rich cultural history.
Student Adapted Artwork
Artist: Sierra High School Mural Students: Daniel Ramirez, Marcus Hill, and Artemio Ballon
Date: 2006
Location: 621 N Azusa Ave
Notes: adapted from the students original lithograph. The wall it is located on is in a narrow space between two buildings. It is sponsored by the city, with the image on the left representing the indigenous peoples and the one on the right represents the industry of the city. It shows the city's history, yet seem centralized within the context of industry as they recall orange crates meant for packing and shipping.
Wall mural outside Taco Tapatio
Artist: unknown
Date: unkown
Location: 518 E Foothill Blvd
Notes: This mural represents the hispanic side of the community, namely it's indigenous roots. Yet rather than focus specifically on the peoples of this land, it seems more inspired by tradition Aztec art. There are no inscriptions of indications, but I remember in passing seeing the artist years ago use spray paint and acrylic paint to create this piece.
Route 66
Artist: Victor Ving
Date: 2026
Location: 141 E Foothill Blvd
Notes: The city recently celebrated the grand reveal of this mural that is meant to represent a few landmarks you might find on this street. It represents the city as a monument, but there are no specific people represented. The inscriptions on the piece would include the artist's name and a QR code on the pole of the sign that leads to a website dedicated towards the mural. It is made using spray paint, and based on the gathering for the celebration of this mural, it was decently received. Though as a part of the community in this city, I heard nothing about it.
I Love My Country
Artist:
Date: November 30, 2013
Location: Edwards Park
Notes: Dedicated to show the patriotism of the city by Mayor Joseph R. Rocha, Mayor Pro-Tem Uriel Macias, Councilman Angel A. Carrillo, Councilman Edward J Alvarez, Councilman Robert Gonzalez, City manager James Makshanoff, director of recreation and family services Joe Jacobs, and recreation superintendent park operations Roy Chavez. On the same plaque that mentions all these names, the artist themself goes unnamed. It is a bronze statue that prioritizes the representation of an assumed patriotism within the city.
Edwards Park Mural
Artist: Unknown
Date: Unkown
Location: 610 N Azusa Ave
Notes: This mural had a lot less information on it. There was no dedicated title or inscription that might name an artists when I was observing it. However, the piece is well worn, likely from the sun, meaning it is most likely an older work. There are a multitude of people represented within the piece, varrying in ethnicity. The predominate people presented however, are white. yet there is a distinct moment in the artwork that catches my I. While it seems to be a group of people processing through the street, in the right side of the piece, the man who seems to be leading the procession is stopped. A woman wearing indigenous clothing stares at him defiantly with her hands on her hips, standing with her back facing the viewer. For such an ornate piece, I wish there was a little more context given, but this moment alone details a significant moment. Interestingly as well, this mural is a back drop for a kids playground, adding another layer within this complex piece.
Memorial
Artist: Unknown
Date: Unknown
Location: 213 E Foothill Blvd
Notes: The artwork is a monument dedicated to Azusa citizens who had been killed in America's various wars. It stands in front of the city hall, and is a plaster wall with bronze inscriptions. There is no artist or sponsor named directly on the piece, but in researching the work it appears to be the city counsel that sponsored it. This work is representative of the veterans and honors the individuals who had given their lives.
Annum Flora
Artist: Krystal Chang
Date: August 29, 2024
Location: N Azusa Ave
Notes: This mural, on the side of apartment buildings that had recently been built, expresses the seasons change through the flowers on this mural that are added to and taken away from the piece. The natural beauty of the city is what is being represented here rather than any specific group of peoples. There is plaque beside the piece dedicated to the artists and it's intention. Below this is another plaque that maps out the seasons of the year.
Azusa the Canyon City
Artist: Unknown
Date: Unknown
Location: 709 N Azusa Ave
Notes: The original landmark of this space was a running water fountain in the shape of a waterfall next to a water dispenser. My dad and I would go when we were little to get jugs full of water for home and I and other kids would play along the narrow fountain. However, both features were removed and this mural is what remains, making it a site to walk past rather than sit and enjoy. It is also another piece representative of the canyon rather than the people, however, on the side walk a few steps in front is a plaque that seems conected with the piece. It details the history of the city and actually names the tribe that lived here for 6,000 years: the Shoshonean Village.
The Stone, The River, The Door
Artist: Krystal Chang
Date: January 6, 2021
Location: 640 N Azusa Ave
Notes: Another work by Krystal Chang. This piece was dedicated to Downtown Azusa and is placed with a recently developed building. It is a well shaded area meant for sitting and relaxing. It is again representative of the natural side of Azusa. While no people are represented, it is a piece for people to somewhat engage with as they walk beneath the arch.
Electrical Box 1
Artist: Jesse Nelson
Date: Unknown
Location: 607 N Azusa Ave
Notes: Represents the gold rush in California. The people represented in the work appear to be hispanic. This displays both the history and hispanic ethnicity within the city.
Critical Analysis
When looking at the work found in Azusa, there is a diverse group being represented, reflecting the diversity of the city itself. The pieces I came across most often depicted the natural elements of the city, proud to represent it's title of the "Canyon City." Furthermore, there were statues to display patriotism, murals dedicated to the indigenous peoples who came before us, and mosaics dedicated to the culture of those peoples as well. In researching the pieces dedicated to the tribe that used to live on this land, the inspiration for the artists seem to be this very cultural identity the city attempts to resonate itself with. Take for instance, Jose Antonio Aguirre's artist statement about his mosaics on the pillars of the metro station, "They have the power to collapse time and space between the generations and create a portal for new discoveries."
While well intentioned, there are criticisms in the way in which the city curates it's art. In a document I found titled, "City of Azusa, Art in Public Places Policy Manual," it states it's intentions and standards for the works, two of which are: distinguish Azusa as a special place to live, work, play and visit, and to provide every member of the community easy visual access to artworks from vehicles on major public streets. In addition to these intentions is the allocation of expenses section that states that expenses not allowed from art allocation are "expenses to locate the artist (eg. airfare for artist interviews, etc.)"All of this implies that the pieces we see have been carefully curated for us by the city counsel. We see this in the way the artworks begin to blend together, becoming nearly homogenous. The same symbols, the same color palette, etc. When I think of the art is Azusa, the things that come to mind are oranges and canyons, never the people who live in the present. Our city clings to this historical narrative, but rarely acknowledges the people who are presently living within the city. Then there are the intentions that seem to prioritize the art appealing to tourists rather than the residents in the city itself; and to add to this point, the statement plainly states that these works of art should be on major public streets, which explains why a majority of these artworks appear mostly on one main street. This is also a street that has seen more construction and addition of apartments, cafes, restaurants in an attempt to seem more appealing to potential residents. The art is diverse, but it reflects more of a disorganized attempt to gain an identity than a representation of the mixed community that resides in Azusa.
Proposal
In light of all of this, I believe that it is important for further diversity to appear within the art we see within our city. One of the older murals I had found at Edwards Park depicted people and their story through expressive imagery. Yet the newer works again rely on this historical narrative to make our city appear as culturally rich and defined. While that may be true, a city's culture is ever evolving, and it should be better reflected within the works we see. Our art shouldn't be chosen by a select few who scout artists unfamiliar with the city itself. Furthermore, it should not be quartered off to select streets, chosen only due to their popularity. Instead, art should be encouraged to come from those within the city, such as schools or resident artists, who have witnessed and experienced the undefined community of Azusa. Their art should spread beyond the streets our city government deems appropriate, so that those who live in the less trafficked parts of the city will begin to become interconnected with movements happening within it. Why appeal to potential residents, when there are hundreds who have lived in the city for years. It should be them who decides where the next step in our curated identity lies.
Works Cites
City of azusa art in public places policy manual. Accessed April 12, 2026. https://explore.publicartarchive.org/wp-content/uploads/2022/07/Azusa-CA-Art-in-Public-Places-Policy-Manual-2018.pdf.
A passage through memory – art. Accessed April 12, 2026. https://art.metro.net/artworks/a-passage-through-memory/.
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