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Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000


June 01, 2010


Luis De Jesus is thrilled to announce the participation of our artists and others affiliated with the Gallery in two highly anticipated exhibitions: Here Not There: San Diego Art Now, June 6-September 19, 2010, at the Museum of Contemporary Art San Diego, in La Jolla, CA, and the 2010 California Biennial, October 24-March 13, 2011, at the Orange County Museum of Art, in Newport Beach, CA.   more

The Gallery will represent a combined total of seventeen artists, many of who are either represented by or have been featured in solo or group shows at the gallery over the past few years. Congratulations to all of them!

Artists participating in Here Not There include: David Adey, Brian Dick, Steve Gibson, Matthew Hebert, Glenna Jennings, Heather Gwen Martin, May-Ling Martinez, Jessica McCambly, Gretchen Mercedes, Christopher Puzio, Jason Sherry and Matt Hoyt, Tristan Shone, Perry Vasquez, Stephen Tompkins, Robert Twomey, and Allison Wiese. For more information, go to:

Artists participating in the 2010 California Biennial include: David Adey, Brian Dick, Glenna Jennings, Andy Ralph, and Allison Wiese. For more information, go to:


May 07, 2010


“Eventually everything had a name and this would change the way you and I related to these things forever, for once we had named them, we stopped looking at them. From now on we only referred to them by name.” ”Lael Corbin

Luis De Jesus is very pleased to present LAEL CORBIN in his second solo exhibition at the Gallery, titled “Greetings from Earth", opening May 22 through June 26, 2010. An artist’s reception will be held on Saturday, May 22nd, from 5:00 to 8:00 p.m.   more

The exhibition runs concurrent with “Bird”, his CERCA Series solo show on view at the Museum of Contemporary Art San Diego through June 20, 2010.

In an 2006 essay titled “A Brief Story about the Naming of Things”, Lael Corbin elucidates on the role that language plays upon his work, noting that his work “is an expression of his interest in language as it relates to our experience and understanding of reality’”a conceptual framework that from the beginning ‘allowed us to express our experiences and knowledge about the universe, ultimately shaping our view of reality.” In “Greetings from Earth” Corbin compels us (again) to redefine our understanding and relationship to material reality. Taking his cues from the space programs of the late 1970s, like NASA’s Voyager spacecraft and its Golden Record, Corbin examines ideas and ways in which we might communicate with extraterrestrial life. In “Greetings from Earth” he offers an installation of unique images and objects that draw upon both personal narrative and poetic relationships to language while evoking such notions as history, science, space and time, as well as play, curiosity, and wonder.

Throughout his work, Corbin has dealt with language through the use of fable, allegory, narrative, and poetry, exploring how fictitious or inanimate objects can convey precept or truth, and calling into question the very materials and methodologies that form “the multitude of other conceptual frameworks that shape our perception today.” This has led him to experiment with a broad range of methods and unconventional materials, employing a strategy in which research, building, and manufacturing processes mix seamlessly together with dream-like imagery, fragments of information, syntax, memory, and competing timelines. Stripped of a normal context objects and processes that at first glance may appear familiar in the end force us to question how these forms fit into our larger consciousness.

Lael Corbin’s past “workspace” installations”"Latitute" (2006), "Research" (2007), "Remodel" (2008), and "Bird" (2010)”have explored themes of geology, biology, construction, interior renovation, aviation, and other concrete frameworks of understanding, and addressed his own personal experiences and memories, some of which extend far back into his early childhood. Often, the installations explore a physical space in flux, its relationship to his consciousness, and the impulse to identify, name, and classify “things”. Ultimately, the question of whether the objects in “Greetings from Earth” are artifact or artificial, or the implied narratives fact or fiction, may not be as relevant to our experience of them as our tenacious search for truth and meaning in the face of insurmountable ambiguity.

Lael Corbin is a graduate of San Diego State University (MFA, 2007) and Point Loma Nazarene University (BFA, 2005). He is currently presenting “BIRD”, his CERCA Series solo exhibition, at the Museum of Contemporary Art San Diego, Jacobs Building, through June 20th. His installation “Peculiar Velocity”, a room within a room that comprises part of the “Bird” exhibition, has been acquired by MCASD for its permanent collection. Corbin was selected by Marcos Ramirez ERRE as the recipient of the 2007-2008 San Diego Art Prize in the Emerging Artist category.

In the adjunct space, the Gallery is pleased to present a group exhibition featuring recent works by Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples.

For further information, please contact Luis De Jesus at 310-453-7773, or email


LAEL CORBIN: May 22 “ June 26
KAREN ANN MYERS: July 3 “ August 7
HEATHER GWEN MARTIN: September 11 “ October 16
CHRISTOPHER RUSSELL: October 23 “ November 27
SETH AUGUSTINE: December 11, 2010 “ January 15, 2011


May 07, 2010


Continuing through May 15, 2010 Luis De Jesus Los Angeles, Santa Monica, California

One of the most intriguing and inspiring aspects of all aesthetic processes is the bit-by-bit construction of an object or image. When care and patience has been visibly invested it naturally arouses our admiration. A labor intensive production may be muscular or delicate, it may be large in scale with industrial materials or miniscule and done with a needle.   more

The ethos speaks reassuringly to our psyche: if the artist has invested gobs of their time and careful attention to create something, the few minutes we might spend looking at it seems like a fair enough investment to ask. But if our attention is readily earned, our admiration, indeed our personal investment in the resultant artwork cannot be assumed without a powerful aesthetic foundation that will finally justify the labor.

Taking in David Adey's installation of a peculiar "bridge" of books stretching across from one wall of the gallery to the opposite wall, one must resist the urge to select a volume and thus bringing the whole edifice down. Adey isn't shy about selling us on the physical side of the works' execution; the show title is "John Henry." If John Henry was a steel drivin' man, well he sure wasn't the only one.

According to folklore, John Henry, a man of near-mythical strength and determination, made fifteen feet of railroad line to the steam drill's nine. In the face of the machine's purported ease and convenience, Henry made his stand with his bare hands. Inspired by Henry's mythical dedication to human accomplishment, artist David Adey uses bridge-building principles to wedge several hundred books across a gallery room using thousands of pounds of pressure on the facing studs. The sculptural effect is monumental and anti-monumental at the same time - think of a giant-sized card catalog suspended at eye level, but just the cards between two thin metal rails - no card catalog bureau. The books themselves make for an odd assortment of literature; crime fiction jostling up against "Fly Away Home," but they were chosen for size and binding, nothing else. In fact, that is what makes the proposition interesting; the idea propelled the object making and there really is a "sense of human purpose" here.

- Jeannie R. Lee

May 07, 2010

Group Exhibition: Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples, Through June 26, 2010

The Gallery is pleased to present a group exhibition in Gallery Two featuring recent works by Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples, opening May 22 through June 26, 2010. An artist’s reception will be held on Saturday, May 22nd, from 5:00 to 8:00 p.m. The exhibition runs concurrent with LAEL CORBIN: "Greetings from Earth", in the main gallery.

Christopher Barnard is a graduate of the University of Southern California (MFA 2005) and Yale University (BA, 1999).   more

His paintings represent an ongoing examination of the connections and gaps between landscape painting and contemporary socio“political events. More specifically, they focus on the manifestations of American expansion and its consequences on various environments. Employing different methods of representation, Barnard’s work critiques the country’s ongoing ideology for power and military expansion by focusing on ideas of authority, imperialism, and environmental degradation. Chris has presented solo exhibitions with Luis De Jesus and Sam Lee galleries and the Denison Museum of Art in Granville, Ohio. He lives and works in Los Angeles.

Margie Livingston A Fulbright Scholar (2001-2002) and graduate of the University of Washington (MFA 1999), Livingston is the recipient the 2010 Neddy Fellowship Award in Painting, awarded annually by Seattle’s Behnke Foundation. Letting accident and discovery meet invention and experimentation, Margie’s goal is to make works that surprise and direct the viewer into new territory. Her recent work investigates the properties of paint pushed into three dimensions. Reversing her usual process of building “organic” objects as models for painting, she now uses paint to construct objects that are both dimensional paintings and sculptures made of paint. Margie will have her first solo exhibition at Luis De Jesus Los Angeles in February 2011.

Tadashi Moriyama Born in Tokyo and raised in Japan and the United States, Moriyama attended Tyler School of Art (BA 2003) and the University of Pennsylvania (MFA 2006). His intricately detailed aerial views of post-apocalyptic landscapes explore themes of creation and subsequent collapse of cities, memories, space and time, where technology and digital media function as manipulators and instigators of fear, death and hopeful renewal. Inspired and influenced by Buddhist and Hindu miniature painting, Italian Renaissance painting, as well as personal experiences, his overcrowded, over-systematized metropolises sprout consumptive organs, and breeding buildings evolve into chaotic knots of life-sustaining connective tissue. This will be Tadashi’s first exhibition with Luis De Jesus Los Angeles. He lives and works in Brooklyn, NY.

Christopher Russell A graduate of Art Center College of Design (MFA 2004) and California College of the Arts and Crafts (BFA 1998), Russell employs photography, bookmaking, writing, drawing, and digital-media printmaking to illustrate his explorations of the darker side of the human psyche. Investigating, and sometimes fabricating, the reasons people live or behave outside of socially acceptable margins, his work offers visions of what many would deem dirty, broken, useless, or criminal. Chris was the subject of a Hammer Projects exhibition in 2009 and from 2001 to 2005 designed, edited, produced, and distributed the “destroy-to-enjoy” literary art zine Bedwetter. He also wrote and edited an essay for the catalog that accompanied his curatorial debut, Against the Grain, at LACE in 2008. He is now represented by Luis De Jesus Los Angeles, where his solo exhibition will open on October 23, 2010.

Jason Sherry An intrepid scavenger and collector of vintage negatives, pulp photography and ephemera, Sherry’s work sheds light on the absurd, irrational, and unpredictable side of human nature. He employs a broad range of media and techniques (printmaking, photography, collage, sculpture, and video), weaving together images of long-forgotten Hollywood celebrities, rock stars, and politicians into richly layered works that skewer history and contemporary society. His new video, “Antartichuh?”, will premiere this coming June in Here Not There, a survey exhibition being organized by the Museum of Contemporary Art San Diego. Jason will have his third solo exhibition with Luis De Jesus in September 2011. He is a graduate of San Diego State University (BFA 2001).

William Staples A graduate of the University of Illinois at Chicago (MFA 2002), where he lives and works, Staples was the subject of a 12x12 Series solo exhibition in 2005 at the Museum of Contemporary Art, Chicago. He is also a co-founder of BAT: A Quarterly Art Journal. Staples sees his practice as a continuum with the tradition of western painting; a tradition, as he sees it, that advances through color, line, form and pictorial space”toward a “psychology of truth.” He draws on a variety of themes to insure that the work is about painting not content, using the iconic setting or figure--interpretations of cultural and media images, domestic interiors and scenes, as well as variations of paintings from western art history--as a springboard for abstraction and contemplation, and a launching pad for his explorations into artifice.

April 23, 2010


Every few years during its history, the Museum of Contemporary Art San Diego has taken stock of the San Diego art scene with a substantial exhibition. In October, the museum announced its intentions to do so again, with an exhibition called “Here Not There.” And now, it has announced the selection of locally based artists who will be in that show, which opens June 6.

There are 43 in all (with a collective counted as one artist); 34 will display work in the galleries of the museum’s home in La Jolla through Sept. 19.   more

The remaining nine will be featured in one of two evenings devoted to film or performance art. The date of the performance evening is June 19; the film date is still to be determined.

The museum’s associate curator, Lucia Sanroman, oversaw the selections, with input from director Hugh Davies, curator Robin Clark and education curator Gabrielle Wyrick.

The process was complex. The museum put out a call for entries, which totaled 234 artists. Meanwhile, Sanroman drew up a list of artists looking at the rosters of schools and various other sources of names. Ultimately, the starting point was a list of 350.

The emphasis on the list is on emerging and midcareer artists.

Sanroman said she changed many of her assumptions about the San Diego County scene as she went through the process of visiting numerous studios (approximately 60) and viewing exhibitions: “We really wanted to make it possible for the public to see what’s being produced here. I like to think of the notion of the show as a kind of banquet or feast.”

The artists: David Adey, Agitprop, Adam Belt, Susannah Bielak, Brian Black and Ryan Bulis (exhibiting together), Kelsey Brookes, Sheldon Brown, Micha Cardenas and Elle Mehrmand (exhibiting together), Brian Dick, Ricardo Dominguez, Tom Driscoll, Kelly Eginton, James Enos, Steve Gibson, Brian Goeltzenleuchter, Matt Hebert, John Hogan, Jeff Irwin, Glenna Jennings, Wendell Kling, John Oliver Lewis, Lev Manovich, Heather Gwen Martin, May-Ling Martinez, Jessica McCambly, Gretchen Mercedes, Patricia Montoya, Ingram Ober, Christopher Puzio, Andy Ralph, Marisol Rendon, Allison Renshaw, Jason Sherry and Matt Hoyt (exhibiting together), Tristan Shone, The Border Corps (Armando de la Torre, Anthony Vasquez, Endy, Perry Vasquez and Shondra Dawson), Stephen Tompkins, Michael Trigilio, Robert Twomney, Zlatan Vukosavljevic, Vicki Walsh and Allison Wiese.

(*Artists represented by LUIS DE JESUS LOS ANGELES, above, are listed in bold.)

This news item appeared in The San Diego Union-Tribune on Sunday, April 11, 2010. By Robert L. Pincus, art critic.


April 23, 2010 NOTES ON LOOKING

From the Fellows of Contemporary Art, by Geoff Tuck

..."Checking out the new kids on this block we stopped in Luis De Jesus. David Adey has installed two stacks of books, sideways from wall to wall about eight feet off the floor. Held up only by the tension of shims and an occasional saw horse tipped on point between the books and the floor. Kind of an engineering marvel.   more

It's sort a polite and geeky take on that sculpture Chris Burden did that involved braces between foundation walls of a building and a turnstile that increased the pressure on the walls as each visitor entered the gallery. No danger of wreckage here but good lord is it neat looking! There's work by several of the gallery artists in a back room and more up front. This is a nice introduction to the program of this recently relocated gallery. Up next is Lael Corbin (who just opened a project at MCA San Diego that you may recall hearing about in these pages) Corbin doesn't open till May 22 so there's plenty of time to check out the book sculpture by Adey." [ VISIT BLOG ]

April 22, 2010


(Sunday, April 11, 2011) It has seemed like a particularly American obsession, even if it took a French artist, Marcel Duchamp, to set this phenomenon in motion. It’s the compulsion to make art with an industrial look ” art that would seem equally, if not more, comfortable outside the confines of a gallery or museum. MORE

April 22, 2010


Luis De Jesus is very pleased to present DAVID ADEY: "John Henry", on view at our new location in Bergamot Station from April 10 through May 15, 2010. An artist’s reception will be held on Friday, April 9th, from 6:00 to 9:00 p.m.

Named after the larger-than-life character from American folklore, “John Henry” combines hardcover books, clamps, sawhorses, and steel with logic defying engineering.   more

In “John Henry”, David Adey implements the traditional principles used in bridge design to brace two elevated rows of books between the walls of the gallery. Everything used to guide the structure of this installation, including trapezoidal keystone blocks that push the books upward and thin wooden shims that reciprocate the pressure downward, is visible and marks the “backyard experiment” element of the process. As with Adey’s previous works, in which long hours were spent learning the physics of specific materials and developing a successful method of exercising them, it is always the ideas that carry from piece to piece”not always the material.

“John Henry” exemplifies a conceptual process that is informed by a particular set of constraints the artist establishes in a match between opposing forces (success and failure), each time rendering something new and unexpected. “Once it’s under way, I’m not so much making aesthetic decisions on an intuitive level as trying to fulfill an idea,” says Adey. The finished work speaks of futility, pressure, and spectacle, feats of strength, absurdity, faith, poetry, and death. An appropriately heroic interpretation of this enduring American legend, “John Henry” represents the human sense of purpose derived from working towards understanding and accomplishment, whether out of necessity or curiosity. The exhibition will include several large-scale drawings.

David Adey is a graduate of Cranbrook Academy of Art (MFA, 2002) and Point Loma Nazarene University (BFA, 1994). He is a recipient of the 2010-2011 San Diego Art Prize in the Emerging Artist category and this coming June his work will be included in Here Not There, a survey exhibition being organized by Lucia Sanroman at the Museum of Contemporary Art San Diego. Most recently, his work was seen at the La Jolla Athenaeum of Music and Arts Library, ZOOM, at the Torrance Art Museum, and Cut: Makings of Removal, at Wignall Museum of Art, Chaffey College. David Adey has participated in exhibitions in Los Angeles, New York, Berlin, Miami, and San Diego.

In the adjunct gallery, Luis De Jesus Los Angeles will present a group show featuring paintings, photographs, and mixed-media works by Miyoshi Barosh, Chris Engman, Tara Giannini, Steve Gibson, Nava Lubelski, and Gail Roberts.

Miyoshi Barosh is currently the first artist-in-residence at San Diego’s New Children’s Museum where she is exhibiting a monumental interactive installation. She will be having her second solo exhibition with Luis De Jesus in 2011. She is a graduate of California Institute of Arts (MFA) and Rhode Island School of Design (BFA). She lives and works in Los Angeles, CA.

Chris Engman received his BFA in photography from the University of Washington in 2003. He has exhibited at The Henry Art Gallery, Seattle Art Museum Gallery, Photographic Center Northwest, CMA Gallery, Jacob Lawrence Gallery, and Greg Kucera Gallery (where he will have his third solo exhibition next fall), and is a member of Seattle’s SOIL artists’ cooperative. His photographs are included in the collections of The Henry Art Gallery, Houston Fine Arts Museum, Microsoft Collection, and Sir Elton John Collection. Chris lives in Seattle and makes his work in his “giant outdoor studio” of Eastern Washington.

Tara Giannini is a graduate of Hunter College, New York (MFA, 2005) and the Cleveland Institute of Art, OH (BFA). She has had solo exhibitions at Jack the Pelican, NY, and the Cleveland Museum of Contemporary Art, and has been featured in numerous group exhibitions, including at Acuna-Hansen Gallery, Los Angeles, Heather Marx Gallery, San Francisco, Torpedo Center for Contemporary Art, Alexandria, VA, and Creative Time Salon Show, New York, among many others. Tara lives and works in San Diego, CA, where she is an Adjunct Professor at Southwestern College.

Steve Gibson is a graduate of The School of The Art Institute of Chicago (MFA) and San Diego State University (BFA). An award-winning master printmaker with over 30 years experience, his colorful encaustic paintings, prints, and works on paper have been included in many prestigious exhibitions and venues worldwide, most recently at Luis De Jesus Seminal Projects, San Diego, and Quint Contemporary Art, La Jolla, CA. This coming summer he will take part in Sensory Overload at the Corcoran Gallery of Art, Washington, D.C., and Here Not There, at the Museum of Contemporary Art San Diego. Steve will have his first solo exhibition at Luis De Jesus Los Angeles in 2011.

Nava Lubelski studied at Wesleyan University (BA, Russian Language, Literature and History) and most recently was featured in SLASH: Paper Under the Knife, at the Museum of Arts & Design, New York. She is represented by LMAK Projects, New York, and has exhibited widely throughout the US and Europe, including the CUE Art Foundation and the Queens Museum of Art, New York; Weatherspoon Art Museum, Greensboro, NC; Gustavsbergs Konsthall, Gustavsberg, Sweden; and Kunstraum Richard Sorge, Berlin, Germany. Nava lives and works in New York City.

Gail Roberts earned her BFA and MA from the University of New Mexico and is the recipient of the 2010-2011 San Diego Art Prize in the Established Artist category. Her work has been exhibited at the Museum of Contemporary Art, San Diego; California Center for the Arts Museum, Escondido, CA; Riverside Art Museum; Los Angeles Municipal Art Gallery; Musee Rochefort-en-terre, Brittany,France; and Museo Nacional, San Jose, Costa Rica, among many others. She will have her second solo show with Luis De Jesus in 2011. Gail lives and works in San Diego, CA, and teaches at San Diego State University.

For further information, please call 310-453-7773 or email

March 26, 2010


(March 25, 2010) - The Museum of Contemporary Art San Diego opens four new exhibitions tomorrow, featuring new commissions made specifically for MCASD. The shows:

Lael Corbin: This show is part of the museum’s “Cerca Series,” aimed at using art to deal with issues pertinent to Southern California and Baja California. For this show, the San Diego-based Corbin will turn the Strauss Gallery into a makeshift airplane hanger.   more

He is represented by Luis De Jesus Los Angeles.

Ruben Ochoa: Born and raised in Oceanside and now based in Los Angeles, Ochoa’s show will feature a 70-foot-long corridor filled by 16 individual rebar and shipping pallet sculptures ” his largest exhibition so far.

Lærke Lauta: MCASD commissioned the Danish artist to create a video installation specifically for the Foster Gallery in the Jacobs Building. The show will feature two works presented as a diptych: “Floating Female” and “The Accident.”

Mara De Luca: Also part of the “Cerca Series,” the Los Angeles-based artist brings a 14-painting installation to the museum. De Luca’s long-term project “Stations” (2006-2007) will be on view for the first time.

Opens Friday, March 26; runs through June 20. Museum of Contemporary Art, Jacobs Building, 1100 Kettner Blvd., downtown. (858) 454-3541 or

March 26, 2010


(March 11, 2010) - In one way, it’s simple. David Adey’s installation at the Athenaeum Music & Arts Library consists of two very long rows of books: one slicing north and south across the gallery space and the other east and west. In another way, it’s complex, a feat of improvised engineering.

The artist hasn’t counted the books. They number at least in the hundreds and perhaps more than a thousand. And they appear as if they are arranged on shelves. But ... there are no shelves.   more

There are only keystones and clamps, along with a few sawhorses delicately balanced between the floor and the elevated rows. These are holding the books in place, along with wedges strategically placed for additional tension.

The rows are akin to a pair of suspension bridges, done through much trial and error. The technology is old, of course, the stuff of ancient bridges going back to the Greeks and refined by the Romans. But the style says “home improvement store.”

This is off-the-shelf stuff used in an marvelously outlandish way.

No wonder Adey decided to name it after that larger-than-life character from American folklore, “John Henry.” The legend defies logic and so, in some measure, does this construction.

Adey, who is on the art faculty at Point Loma Nazarene University, often works smaller, taking images from familiar sources ” cover shots from celebrity magazines and fashion ads ” and reconstructing the person in the picture using hundreds of craft punches.

“John Henry” might seem like a departure, but the artist doesn’t think so.

Here’s what he has to say about this and other concerns connected to this arresting construction:

QUESTION: Was this piece a real departure for you from the images that you have exhibited in recent years?

ANSWER: Some people have told me they think of it as one, but I don’t see it that way. It developed naturally, coming out of my sense of developing a set of parameters for the creation of work and following through, as I have with the reconstructions of photographs. Once it’s under way, I’m not so much making aesthetic decisions on an intuitive level as trying to fulfill an idea.

QUESTION: But realizing this idea was more unpredictable than making images, wasn’t it?

ANSWER: I’ve never experienced so much anxiety in my life while installing an exhibition. Though I had done a trial version over the summer, there was always the possibility that it wouldn’t work, that it wouldn’t stay up. It’s essentially backyard physics. Some friends, two architects and a physicist, looked at it and told me just do what you’re doing if it works. There are no tricks here. And every single thing in it is necessary for it to stay in place.

QUESTION: And what was the genesis of the title?

ANSWER: It came to me while this was in progress. I always loved that tale when I was a kid, and of course, there is the folk song about John Henry. Bruce Springsteen did it, Johnny Cash and lots of other people. It has that Industrial Revolution metaphor in it, about his struggle to outdo the machine.

I thought that idea seemed right when the piece collapsed into a pile of pieces during the summer and I had to begin again.

QUESTION: Does this piece encourage you to do something similar?

ANSWER: I’ll never do anything like it again. But I do have to put it up one more time. As soon as I take it down, me and my assistant have to take it to Los Angeles, where it opens April 9 at Luis de Jesus’ new space.

Robert L. Pincus: (619) 293-1831;


“John Henry,” a new installation by David Adey

When: Through April 3. Tuesday-Saturday, 10 a.m. to 5:30 p.m.; except Wednesday, when it’s to 8:30 p.m.

Where: Athenaeum Music & Arts Library, 1008 Wall St., La Jolla

Cost: Free

Phone: (858) 454-5872