If art galleries were made obsolete by the internet age, then how could they ever account for galleries or creative spaces like this one. Deriving its name from a Lee “Scratch” Perry poem about “dem passwords”, or the keys needed to get into places of power, this gallery presents a powerhouse of L.A.’s superlative creative bunch. This basement space can only be accessed via a quiet back alley, but once inside you might be treated to everything from LA Vampires to Andrew W.K. or perhaps even a good dose of those local, underground artists who literally prefer a subterranean space to feel in their right element.

Hazy/dazey sound and picture quality, but who cares? Pure independent reminiscent of a ’90s film underground heyday; see all the Holocaust dramas, French farces, muted Mumble-cores, festival faves, and anything else the Goliath mega-plex down the street won’t show. Woody Allen Sunday matinees are a must with the gray-haired Goober-munching Pasadena oldies. If you want the house to yourself try Friday night Miranda July openers and Tuesday morning droll documentaries. No stadium seating, no snow-cone machine, no Sandler.

The Hollywood glitz and glamour that pervades L.A. can be overwhelming and unfortunately overshadow artists who possess real talent. Creative types can find refuge in the Weekend Space, an art gallery cum surreptitious studio that provides L.A.’s cast of underrated artists a space to promote, sell, and nurture their oeuvre. It also welcomes and exhibits works from underrpresented outsiders – supporting their passion for fine arts on their terms.

Founded by artists themselves, Weekend Space has grown since its opening adapting to its native Echo Park neighborhood giving it a boost with its creative fervor and enthusiasm. Previous exhibitions have included the works of Michelle Carla Handel, Kelli Crais, Keith Walsh, Ian Trout, and Kim Alexander.

The Center for Visual Music is concerned with the inter-relationship of image and sound, achieved through a variety of means. An example is composing images as if they were music, a “music for the eyes.”

Devoted to promoting as well as preserving visual music, abstract cinema and experimental animation, the Centre for Visual Music (CVM) is an archive that works on a non-profit basis, collecting and archiving the world’s largest collection of visual music resources including the papers of Oskar Fischinger and film historian William Moritz.

Entry is strictly by advance appointment only for researchers or members of the public working on a specific project, so call or email cvmaccess@gmail.com in advance to arrange a visit.