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Sabato Rodia's Towers in WattsArt, Migrations, Development$
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Luisa Del Giudice

Print publication date: 2014

Print ISBN-13: 9780823257966

Published to Fordham Scholarship Online: September 2015

DOI: 10.5422/fordham/9780823257966.001.0001

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PRINTED FROM FORDHAM SCHOLARSHIP ONLINE (www.fordham.universitypressscholarship.com). (c) Copyright Fordham University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FSO for personal use.date: 15 October 2019

A Custody Case

A Custody Case

Ownership of Rodia’s Towers

Chapter:
(p.244) (p.245) A Custody Case
Source:
Sabato Rodia's Towers in Watts
Author(s):

Jeffrey Herr

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823257966.003.0013

The structures Simon Rodia began constructing in 1921 were a personal undertaking and remained so until he ended it in 1954. During that period, this developing site was a personal endeavor executed on private land and not subject to review or public scrutiny. However, when Mr. Rodia ceded the deed to the property, a chain of ownership ensued that had consequences for the welfare of this site. In the art historical world, provenance defines this chain of ownership. Custody is more than mere possession of something or someone. The custodian (e.g. owner) is responsible not only for the care and supervision but the preservation and conservation of a work of art. This chapter traces the chain of ownership or custody of the Towers and comments on the impact of each custodian on this artwork. The chain of custodians includes Louis H. Sauceda (1955), Joseph Montoya (1956), William Cartwright and Nicholas King (1959), City of Los Angeles (Department of Public Works, 1975), State of California Department of Parks and Recreation (1977), and State of California Department of Parks and Recreation, and City of Los Angeles (Department of Cultural Affairs, 1985).

Keywords:   Sabatino Rodia, Simon Rodia, Watts Towers, custody, art custodians, chain of ownership, provenance

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