An Artist Remembers Venice in the ’70s, When Growing Up Was an Act of Survival
West of Lincoln Project opening
Eddie Hadvina points to the painting of himself as an 11-year-old Boy Scout. In it, he’s wearing an olive green cap and a red kerchief with his khaki uniform, a skateboard in one hand and a trophy in the other. On his left shoulder is a patch representing Venice’s Troop 34, which he joined at his mother’s insistence.
“That’s where all the trouble started,” says Hadvina, now 56 and sporting a gray goatee. “That’s where I met all my Venice Hoodlum friends,” he says, referring to a street gang that was active in the neighborhood in the 1970s.
Hadvina’s parents, both Hungarian immigrants, visited Venice on their honeymoon in 1960 — Hadvina says he was conceived during that trip — and decided to move there two years later. Hadvina discovered skateboarding when the sport was still brand-new and being pioneered in the neighborhood by people like Stacy Peralta, one of his peers. But Hadvina’s substance abuse problems weakened his chances of becoming a professional skateboarder.
“When I was a teenager I was really good at skateboarding and surfing,” he says. “But every time I showed up to skateboard, I’d never make it in [to the skate park] because they’d all be partying and I love partying.”
Hadvina, who on a recent Saturday wore a baseball cap and a T-shirt printed with images of the Venice Skate Park, is one of the subjects featured in artist Ruth Chase’s exhibition “West of Lincoln.” The show of a dozen paintings and accompanying audio portraits, which opened earlier this month and runs through Sept. 10 at the nonprofit Venice Arts gallery, seeks to tell the stories of people who grew up west of Lincoln Boulevard in the 1970s, when the neighborhood was better known for poverty, gang violence and a burgeoning youth skating culture than for billion-dollar tech companies, designer boutiques and trendy restaurants.
Like Hadvina, many others featured in Chase’s project experienced violence and addiction to drugs and alcohol from a young age. Some spent years trying to recover from habits they picked up on the streets of Venice. Nearly all recall a tough, eclectic neighborhood that felt nothing like the wealthy, sterilized enclave it is today.
“Most people either dealt with drive-by shootings — I got jumped — or knew somebody that died because of a gunshot or a knife, a stabbing,” says Chase, who grew up in the neighborhood in the ’70s and describes the culture as one of survival. “We always used to say, you go east of Lincoln to see green lawns and two parents.”
“You had to have a little bit of an edge or you’d get picked on,” says David Fowler, one of the people Chase featured in the show. “You had to hold your own, and people had to know that you were tough enough not to mess with.”
At the same time, Venice Beach was attracting free-spirited 20- and 30-somethings who moved there from across the country to live the so-called hippie lifestyle and find work on the boardwalk, with its tourist-friendly arcade games and cafes. “They experience Venice entirely different than a local does,” Chase says. “It was a weird contrast.”
Skateboarders David Fowler, right, and Ruth Chase
The first time Chase noticed Abbot Kinney becoming a destination was when Hal’s Bar and Grillopened on the block — then known simply as Washington Boulevard — when she was still a teenager. “We were on welfare. My mom, she didn’t read or write, she didn’t drive a car, and Hal’s moved in and it was like, ‘Wow, this is a cool fancy new place,’” Chase says. “I remember taking my mom there and realizing she couldn’t afford to eat there.”
Rhonda Lynn Wise, one of the subjects featured in the show, says it’s no wonder the area gentrified so quickly: It’s home to beachfront property. And yet, for years, she says, “West of Lincoln was a ghost town. That’s where the Latinos and the blacks and the surfers lived.”
Venice began to shed its ghost-town reputation in the 1990s, when developers swooped in aggressively. “Venice was the type of town where you passed your property down to your family,” Wise says. “When these developers came in, they put very large price tags on these homes. When someone offers you a million dollars for your home, you’re probably going to sell it.”
Rhonda Lynn Wise stands next to the painting inspired by her life.
Wise says her family never owned property, and she still marvels at the fact that her single mother was able to raise three kids in a three-bedroom apartment near the beach for about $300 a month. “It’s unheard of now,” she says.
Chase, who now lives in Northern California, came up with the idea for the “West of Lincoln” project during a visit to Abbot Kinney in 2014 — just a year before Hal’s was priced out of the block and was forced to relocate to Playa Vista. Chase found herself standing in the middle of the street, disoriented by what she was seeing: high-end shops and restaurants in every direction. When she returned home, she wanted to find other people who could relate to the quaint, scary, weird Venice of her childhood. She thought maybe they all shared similar experiences growing up, and she wondered how those experiences might have affected them as adults. She posted ads on Facebook and Craigslist seeking people willing to be interviewed and then painted. Getting them to trust her wasn’t easy.
“What I’d hear was, ‘Well, who the fuck are you?’” Chase says, imitating her critics. “‘What do you want? You’re just part of that motherfucking gentrification and you’re just gonna tell our stories and make money off it.’”
But word-of-mouth spread and Chase eventually found a group that agreed to participate, but only after she proved that she was one of them: a Venice native with no monetary incentive. It helped that she also guaranteed her subjects full creative input over the final result. Chase conducted interviews and then hired a writer, Gena Lasko — thanks to a grant from the Carl Jacobs Foundation — to condense them into short biographies.
Chase’s paintings are not intended as acts of realism but representations of each person’s upbringing and most transformational experiences. Hadvina, for example, is portrayed as a Boy Scout, but behind him is an adult silhouette referencing his present. The silhouette is painted to look like water, a nod to the empty swimming pools he got in trouble for skating in as a kid.
Chase’s painting of Fowler, a skateboarder who also struggled with drugs and alcohol, depicts him flying through the air on his board. On the bottom of his deck are the faces of his wife, children and parents. The visual is a metaphor for his support of his family through various health crises, including both his wife’s and his mother’s ovarian cancer diagnoses several years ago. Now a real estate agent in Venice, Fowler says he’s lucky to raise his kids in the same neighborhood where he and his wife both grew up, especially now that he can teach them not to repeat the same mistakes he made.
“Our kids go to the same elementary school we went to 40 years ago. It’s so amazing,” he says, “to be an example to them so they don’t have to suffer the way we did.”
After all these years, Hadvina and Fowler haven’t given up on their skater roots. They both ride for Santa Monica Airlines Skateboards and Hadvina still competes in competitions aimed at older skaters. Sober for more than two decades, it’s as if they’re getting to redo the childhoods they never had.
“We’re still doing airs out of pools,” Hadvina says. “We’re skating like kids.”
The closing reception for “West of Lincoln” is Sun., Sept. 10, 10 a.m.-noon, at Venice Arts, 13445 Beach Ave., Marina del Rey; (310) 392-0846, venicearts.org.