From afar or up close, the Watts Towers are visually splendid… and the story of its maker, Simon Rodia, is an inspiration.
Of all the famous L.A. landmarks—the Capitol Records Building, the Hollywood Bowl, the Santa Monica Pier—perhaps none has a more fascinating origin story than the Watts Towers. This monument to one individual’s creativity and community activism is a fascinating place to visit, both because of the physical scale of the towers and their importance to L.A.’s art community.
For these reasons, a number of us in the Education department took a field trip to the Watts Towers to see them close up, learn about the community programs presented there, and find out more about Simon Rodia (1879-1965), the Italian immigrant, construction worker, and self-made artist who built the towers all by himself over some thirty-three years.
Skirball educators pose for a snapshot in a cozy corner of Simon Rodia’s triangular lot.
Ten of us ventured to Watts on a sunny Friday morning. The towers are tucked in a neighborhood filled with houses, schools, and nearby Metro tracks. We parked and entered the Watts Towers Arts Center and Charles Mingus Youth Arts Center, located in a building adjacent to the towers. The center serves as a space for art workshops, gallery exhibitions, and school programs (one of which was underway when we entered). First we watched a video about Simon’s life, which helped us understand the nature of his unusual undertaking: an immigrant from Serino, Italy, feeling far from home and missing familiar cultural traditions, who took it upon himself to express that longing through the creation of an ambitious work of art.
Examples of how the immigrant experience inspires artistic expression pervade our culture: novels by E.L. Doctorow, songs by Bruce Springsteen, paintings by Jacob Lawrence. As our Education team explores in many of the Skirball’s school tours and school performance programs, the immigrant story is one of the universal experiences in American life. Simon did not express his yearning for Italy or his relishing of opportunity in America in couplets written in a notebook or by painting a watercolor of stars and stripes.
Instead, Simon went big, creating a seventeen-part structure that includes three towers connected by interlocking arches. Continue reading