Ed Ruscha Ed Ruscha Ed Ruscha - Art and Living

Ed RuschaExamining his Early Prints atthe Norton Simon MuseumRediscovering GoyaMartin MullInside the Beverly Hills Gardenand Design ShowcaseLA Louver’s Peter GouldsForum Gallery’s Robert Fishko$10.00 2006 Issue 4

table of contentsfeaturing32 Ruscha RevealedThe Norton Simon Museum presents the artful wordplayof Ed Ruscha46 LA Louver: 30 Years in ContextPeter Goulds recounts the growth and development of hislandmark L.A. gallery50 Gallery SpotlightForum Gallery’s Robert Fishko discusses his role as agallery director66 Beyond Goya’s GhostsJust in time for Milos Forman’s upcoming film, Art and Livingrediscovers the tumultuous life and pioneering art ofFrancisco José de Goya y Lucientes76 Mull’s AdventuresIn spite of his successful Hollywood career, Martin Mullexplains that visual art is his true passion102 No Stone UnturnedArt and Living takes a look at the traditions and the people behindthe Fifth Annual Beverly Hills Garden and Design ShowcaseEdward Ruscha, City, 1969.Two-color lithograph.Norton Simon Museum, Anonymous Gift, 1972.P.1972.08.20. © 2006 Edward Ruscha.what’s insidemuseums12 Ten exciting exhibitionsgalleries52 Ten intimate shows to check out at galleries nationwidethe art of antiques70 Gallery owner and antiques connoisseur Richard Shapiroacts on his passion, fulfills his passion, and shares his passionfor unique and masterful period pieces32Image courtesy Potiker collection. © 2006 Estate ofHans Hofmann/Artist Rights Society (ARS), New York12for the art connoisseur72 Art and Living discovers why the 12th Annual Los Angeles ArtShow is the talk of the townarts extra74 The International Foundation for Art Research:Facilitating Small Miraclesthe art of the craft80 While paintings may always be the real stars of the show,frame maker Jerry Solomon makes sure their presentationalcompanions are just as artfulthe art of giving84 A shared love of art brings a legacy of appreciation to theFrederick R.Weisman Art Foundation4 2006 Issue 4

table of contentsthe art of the chef86 Art and Living scoured the globe and discovered the secretsthat go into creating the true taste of Italythe art of escape92 Madrid’s Hotel Urban brings the art of escape into the 21st centurythe art of architecture94 Art and Living got the scoop on the Pacific Design Center’sin-the-works Red Building from the faces behind it—Charles S. Cohen and Cesar Pelli98 In its latest show, Los Angeles’ Museum of Contemporary Artexamines the Skin + Bones relationship of architecture and fashionthe art of design100 In a city that’s constantly moving, designer James Magnistrives to stay freshin every issue8 From the Publisher40 Art DayPublishing/FinancePublisherJeff MarinelliExecutive PublisherCandace CrawfordEditorialEditorLars CarlsonDesignBocu & BocuPhotographyContributing PhotographersSteven BarstonJim McHughContributorsSouthern CaliforniaContributorsSteve BasiloneRoberta CarassoVictoria ChartersCasey FisherB.R. GilbertElliot V. KotekJanet MargolisHunter A. PhillipsLayla RevisDaniella WalshNew York ContributorsDiane DunneJohn McCarthyShirley MoskowAnouchka RoggemanSeattle ContributorMolly TorsenParis ContributorJoelle DiderichTokyo ContributorEmmanuel GuillaudCover portrait by Jim McHughMadrid ContributorAndy JohnsonVerona ContributorCarlo BiggioggeroAdvertising310.313.3171sales@artandliving.comArt and Living is available by subscription and atselected newsstands.For inquiries, contact:Art and Living8306 Wilshire Blvd. #2029Beverly Hills, CA. 90211www.artandliving.com310.313.3171F.310.313.2125Rates are $36.00/year delivered to the U.S. andCanada. International subscriptions are $76.00.Image courtesy Pacific Design Center6 2006 Issue 494© 2006. Copyright of all editorial content isheld by the publisher,Art and Living, LLC.Reproduction in whole or in part is forbiddenexcept by the written consent of the publisher.Art and Living is not responsible for the loss ordamage of unsolicited materials.

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from the publisherIt’s an exhilarating time right now in the art and design world.With theFifth Annual Beverly Hills Garden and Design Showcase going on, theTwelfth Annual L.A. Art Show on the horizon and a plethora of newmuseum and gallery shows opening up worldwide, there’s enough happeningright now to drive this art aficionado wild with excitement!You may notice a few changes have been in the works here at Artand Living. Our Museums and Galleries sections have been revamped alittle bit to make show-finding a little easier. In addition,Art Day has beenexpanded beyond Southern California to include New York.Also very exciting is Art and Living’s newfound relationship with theAmerican Society of Interior Designers (ASID). It gives me great pleasureto say that ASID has embraced Art and Living as one of its distinguishedcontributors.Jeff MarinelliArt and Living wishes to recognize this issue’s sponsor:A Special Message fromK-Mozart 105.1We also want togive special thanksto all of oursponsors.K-Mozart 105.1 is proud once again to sponsor Art andLiving, as we share common goals toward the arts in ourcommunity. At K-Mozart 105.1, we’re committed to providingclassical music for today through preserving the past, supportingthe present and fostering the future. And with our broad range of arts partners,we strive to inspire and enlighten as a voice for creativity in Southern California.We broadcast live and locally every day, delivering extraordinary works of orchestralmusic in a way that’s approachable and without pretense.We feature music rangingfrom the classical repertoire to the finest in film scores and artists from the legendaryto those we believe will soon be.Through this commitment and under the same independent, family ownership since1959, K-Mozart 105.1 has become the most listened-to classical radio station in thewestern United States.We believe that “art” and “living”—the words paired together inthis magazine’s title—are fundamentally inseparable. Without art, there is no living.8 2006 Issue 4

As featured on the 105.1 K-Mozart Arts Report with P.J. Ochlan...ARTS OK IN OCP.J. talks with the key players behind Orange County Performing Arts Center’snew Renée and Henry Segerstrom Concert HallP.J. Ochlan is the creative director andon-air arts correspondent for KMZT105.1 FM in Los Angeles.September marks the completion of the newRenée and Henry Segerstrom Concert Hall, thecrown jewel of the Orange County PerformingArts Center’s $200 million expansion project.by P.J. OchlanDesigned by “starchitect” Cesar Pelli,whose other architectural wondersinclude the iconic Petronas Towers (KualaLumpur) and locally the Pacific DesignCenter, the 2,000-seat venue provides amore customized and intimate home thanthe existing Segerstrom Hall for residentcompanies including the Pacific Symphonyand Pacific Chorale.Of his latest Southern California contribution,which features a horizontally undulatingglass façade, Pelli explained, “The buildingis trying to capture what I see as the spiritof Orange County; a spirit that is adventuresome,and at the same time relaxed.”On a terrace of the current hall that bearshis name, and with the new one just over ourshoulders, Henry Segerstrom shared thechallenge he first posed to Pelli, “I told Cesarwhen he took the commission, ‘I want this tobe the best building, the finest building you’veever designed.’ I think he took that literally.”Pacific Symphony president John Forsytepoints out that it’s not just about theimpressive exterior. “You can’t reallyunderstand how beautiful a building it isuntil you actually go inside,” he said.In terms of practicaladvantages, the hall itself(designed by acousticianRussell Johnson) is gearedspecifically for orchestralprogramming. Unlike itsmultipurpose neighbor,it’s a “traditional ‘concertbox’,” explained PacificChorale artistic directorJohn Alexander, “where themusic is right on top ofthe audience.” However,mechanical reverberationchambers and curtaining also provide thenew venue with acoustical versatility.OCPAC president Terry Dwyer also seesit as a carrot for A-list talent. “I would saythe existence of a new world class hall is anamazing calling card for artists fromaround the world,” he said.Another organization benefiting from thenew venue is the Philharmonic Society ofOrange County, which facilitates performancesby prominent guest orchestras. Executivedirector Dean Corey explained that the hallaffords greater date access and more bookingpossibilities. “Our programming for thefirst year is dramatically expanded,” he said.The nearly six-week opening celebrationbegins with gala concerts the weekend ofSeptember 15. The first features the PacificSymphony and Plácido Domingo performinga world premiere song cycle by composerWilliam Bolcom set to the poetry ofFederico García Lorca. Bolcom explainedwhy the commission presented a challenge.“I don’t know Spanish,” he said. “PlácidoDomingo does seem to like my music quitea bit…he’d wanted to have me write forhim, and he wanted Lorca.”The following night brings a world premierework by Philip Glass, and a performanceby violin virtuosa Midori.Both programs will be broadcast live onK-Mozart 105.1 fm.Another highlight of the celebration willbe a 17-day residency by the Kirov Opera,Orchestra and Ballet, which includesWagner’s Ring Cycle in October.So what does the expansion ultimatelymean for the arts scene? According to Mr.Segerstrom, “We’re going to see a transformationin Orange County and SouthernCalifornia because of this…I think we’reracing to [becoming]the capital of culturein California, and oneof the great centers ofculture in the world.”

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museumsNow ShowingArt and Living did some digging and found tencan’t-miss museum exhibits to see. Enjoy.Les NymphéasMusée de l’Orangerie, Paris, FranceAhush falls over visitors as they enter the pristine white rooms thathouse French artist Claude Monet’s monumental water lily series.Afterdecades of languishing under neon lights, the huge paintings are oncemore basking in daylight following a six-year renovation of Paris’ Musée del’Orangerie, home to the impressionist masterpieces.The play of sky on the shimmeringcanvases inspires a mixture of awe and reverie.“There is not really any equivalent in the history of art of such a body of work,”says Philippe Saunier, curator of the museum, which reopened in May.Paintings from this group can be found in major museums, but the eight panelsat the Orangerie are exceptional in scale—if placed side by side, they wouldspan almost 300 feet. As with his other series representing haystacks or a cathedralfacade, Monet attempted to capture the effects of light at different times of day.The water lilies featured in the paintings, inspired by the pond in Monet’s gardenat his Normandy home in Giverny, obsessed the painter for the last 30 yearsof his life. Prior to his death in 1926 at the age of 86, he struggled with poor eyesightas he worked feverishly on these Nymphéas, as the paintings are called inFrance. Monet built a vast studio to house the canvases, which were mounted onwheels so they could be moved.The series were designed for the Orangerie, a building with large glass windowsin the Tuileries gardens in central Paris, which was constructed in 1852 tohouse an orange grove. It lies on an east-west axis alongside the River Seine andMonet conceived the paintings for two adjacent oval-shaped rooms, with those representingsunrise in the east and sunset in the west.“He organized the space according to the progression of the sun so that, in theend, his great decorative ensemble reflects the passing of time,” explains Saunier.“ItView of one of two renovated rooms housing French artist Claude Monet’s monumental Les Nymphéas, May 2006. Photo by JC Ballot. Image courtesy JC Ballot/EMOC. Musée de l’Orangerie.12 2006 Issue 4

is an unprecedented experiment which tries to go beyond Impressionism to pushit to its limits. In fact, it is the culmination of his approach, of his work on series.”Unveiled a year after the painter’s death, the paintings initially failed to attracta public that saw Impressionism as outdated. By the 1960s, when architects addeda second floor to the museum to house the Walter-Guillaume collection—includingworks by Renoir, Picasso and Modigliani—the skylight above the water lilies wassealed off, depriving them of natural light and their original, intended stage.With Impressionism back in vogue by the 1980s, visitors flocked to theOrangerie in numbers that would reach some 500,000 per year. In spite of—or perhapsbecause of—the vast numbers of people visiting the museum, it was decidedthat the 1960s-created space simply didn’t do justice to Monet’s panels and themuseum was closed in 2000 for the extensive renovations that would return sunlightto the Nymphéas.Since the water lilies could not be detached from the walls, they were sealedinside protective casings and left in the midst of the renovations, managing toemerge intact despite playing neighbor to jackhammers and earth-movers for halfa decade.The top floor was demolished and the Walter-Guillaume collection movedto a new basement gallery, where some paintings hang on exposed concrete walls.The small vestibule leading to the water lilies, which had been destroyed in the1960s, has been restored.“Monet explicitly conceived this as a transitional space, a sort of vestibule, likein a temple or a church,” says Saunier.If Monet was feeling mystical, it was largely due to the context of the FirstWorld War, which was raging around him as he began work on the series.“When he was painting these canvases, he had the feeling he was fighting forthe values of beauty in the face of barbarity,” says Saunier.Now, this ardent celebration of nature can once more be viewed in its full splendor.“We had to give justice to Monet and I think we succeeded,” Saunier says witha satisfied smile. Joelle DiderichJohn Singer Sargent, Madame X, 1884. Oil on canvas. Permanent collection,Metropolitan Museum of Art, New York. Image courtesy the MetropolitanMuseum of Art.Ongoing • Jardin des Tuileries, Paris, France33.01.44.77.80.07 • www.musee-orangerie.frAmericans In Paris, 1860-1900The Metropolitan Museum of Art, New York, New YorkThe year: 1884.The scandal: John Singer Sargent’s Madame X, a painting ofNew Orleans belle Virginie Avegno, who had recently crashed the Parisiansocial scene with her marriage to Pierre Gautreau.The American artist’s fulllengthcanvas—showing Virginie in a figure-revealing, low-cut black gown—had onethin, jeweled strap falling provocatively over her bare right shoulder.The public was outragedat the risqué image and, although Sargent retouched the painting so that bothstraps rested firmly in place, the damage was done. Sargent feared that no one inFrance would commission him to do another portrait and, reluctantly, he departed forLondon.The painting, which he called “the best thing I have ever done,” stayed in hispossession until 1916, when New York’s Metropolitan Museum of Art purchased it.Sargent’s infamous Madame X is one of approximately 100 oil paintings by37 artists in the Americans in Paris, 1860-1900 exhibition at the MetropolitanMuseum of Art, on display from October 24th through January 28th. It’s the finalstop in a three-city tour that included the National Gallery, London, and TheMuseum of Fine Arts, Boston.Art and Living 13

museumsWeinberg, the museum’s curator of American painting and sculpture.“Some womenartists will come as a refreshing revelation. About half a dozen women artists arerepresented who are very important but have been pushed to the sidelines.”Among them are Cecilia Beaux, Anna E. Klumpke and Elizabeth Nourse.Life in Paris was often difficult for expatriate Americans who did not knowFrench and had little money. Passion for art saturated their lives as they congregatedin cheap cafes discussing art.Thomas Hovenden’s 1875 Self-portrait of the Artistin His Studio—depicting a shaggy-haired, unkempt wastrel in front of his canvas, acigarette dangling from his lips—typifies the stereotype Americans conjured ofbohemians abroad. Shirley MoskowOctober 24, 2006 – January 28, 20071000 Fifth Avenue, New York, New York • 212.535.7710 • www.metmuseum.orgPersonal Views: Regarding Private Collections in San DiegoSan Diego Museum of Art, San Diego, CaliforniaRembrandt van Rijn, Claude Monet, Mary Cassatt, Willem de Kooning,Frida Kahlo and Georgia O’Keefe—these are some of the luminariesone expects to find in major museums. However, some of them alsograce the homes of San Diego art collectors who have loaned a few of theirtreasures for public viewing at the San Diego Museum of Art.Personal Views: Regarding Private Collections in San Diego is the creation ofMuseum Director Derrick Cartwright, who determined that delving into SanJames McNeill Whistler, Arrangement in Flesh Colour and Black: Portrait of ThéodoreDuret, 1883. Oil on canvas.The Metropolitan Museum of Art, Catharine LorillardWolfe Collection, Wolf Fund, 1913. Image courtesy Metropolitan Museum of Art.In the last part of the 19th century, the City of Light lured an estimated 2,000Americans, about one-third of them women, to study painting and to show theirwork.“It sounds like a paradox,” author Henry James noted in 1887,“but it is a verysimple truth, that when today we look for ‘American art’ we find it mainly in Paris.”As the new capital of the art world, Paris was the place to establish a reputation.“In addition to famous artists like Winslow Homer and Thomas Eakins, theshow includes many artists less well-known to most people,” says H. BarbaraRembrandt van Rijn, Christ Crucified between the Two Thieves (Three Crosses),ca. 1660-6. State IV, Drypoint. Robert and Karen Hoehn. Image courtesy SanDiego Museum of Art.14 2006 Issue 4

“We could have done a show twice this size but had to narrow it down to 100pieces,” explains Cartwright. “Within our selections, we tried to cover as wide aspectrum as we could.” Daniella WalshOctober 26, 2006 – January 7, 20071450 El Prado, Balboa Park, San Diego, California • 619.232.7931 • www.sdmart.orgHans Hofmann, Woman Seated, 1938. Oil on plywood. Image courtesy Potiker Collection. ©2006 Estate of Hans Hofmann/Artists Rights Society (ARS), New York.Diego’s history of art collecting would be the perfect way to celebrate themuseum’s 80th anniversary. However, his selections are not merely based onname recognition. Instead, says Cartwright, he chose to emphasize a wide varietyof art: African and Oceanic sculptures, photography, Chinese and Japaneseart, French Impressionists and several 17th-century Dutch and Italian paintings.As Cartwright took the helm of SDMA two years ago, he noted that suchan exhibition had not been staged in more than 25 years and thus set out to findthe best and most idiosyncratic collections in the area.“We did not want anonymousdonors but were looking for collectors who wanted to share their collectionsas well as themselves with the viewing public,” explains Cartwright.The result is a compelling exhibition accompanied by a catalogue containingessays about the collectors. For example, a glance at the catalogue will tell youthat Richard and Susan Ulevitch collect African sculpture, while Wai-lim and TzumeiYip concentrate on Taiwanese modernists.Ted and Joyce Strauss have a cacheof 600 photographs, including work by Walker Evans, André Kertesz, CindySherman and Andres Serrano. Dan R. Stephens is passionate about plein air paintingsdepicting San Diego vistas.Magritte and Contemporary Art:The Treachery of ImagesLos Angeles County Museum of Art, Los Angeles, CaliforniaRené Magritte (1898–1967) was a master of challenge. He challenged allto look at everyday objects and perceive them differently, to look for thehidden in the obvious, for the underlying meanings where there seem tobe none—let the subconscious become the conscious. It was this insight and artisticmastery that influenced and impacted modern day artists. Magritte andContemporary Art:The Treachery of Images at the Los Angeles County Museum of Art(LACMA) is the first major exhibition to explore fully the impact of Belgian surrealistartist René Magritte’s work on contemporary American and European artists.Honoring Magritte’s challenge of perception, conceptual artist John Baldessari createda unique installation for this exhibit that visualizes the worl upside-down.In providing an in-depth, comprehensive view of Magritte’s work, curatorStephanie Barron has assembled sixty-eight paintings and drawings, including manyinternational loans of the artist’s signature works. For analogical comparison, Barronalso presents sixty-eight diverse contemporary works by thirty-one pop and postmodernartists such as Vija Celmins, Robert Gober, Jasper Johns, Jeff Koons, EdRuscha, and Andy Warhol in order to demonstrate the unconscious effect and subtleinfluences Magritte’s concepts and images have had on their work and techniques.Sharing his creative insights of Magritte, Baldessari’s installation reverses the realityRoy Lichtenstein, Stretcher Frame, 1968. Oil and magna on canvas.Private collection. © Estate of Roy LichtensteinArt and Living 15

ANNIELEIBOVITZA Photographer’s Life, 1990 – 2005February 10 through April 22, 2007The San Diego Museum of Art is the first West Coast venue for this major internationally touring exhibition of the leadingcontemporary photographer, Annie Leibovitz. The exhibition features approximately 200 photographs by Leibovitz, including familyphotographs and her famous portraits of public figures, such as Colin Powell, Nicole Kidman, Brad Pitt, Merce Cunningham, and BillClinton. These compelling photographs provide a rare glimpse into the wide range of subjects captured by Leibovitz, who is one ofthe most celebrated photographers of our time.SAN DIEGO MUSEUM OF ART1450 EL PRADO · BALBOA PARK · WWW.SDMART.ORG · 619 232-7931This exhibition is organized by the Brooklyn Museum and is sponsored by American Express.Annie Leibovitz, My parents with my sisters Paula and Barbara and Paula’s son. Photograph @ Annie Leibovitz

museumsof clouds and freeways to further impact Magritte’s profound effect. With clouds onthe floor and freeways on the ceiling, this inventive presentation is playful and humorous,yet provides a deep visual understanding of Magritte’s work. Another focal pointof the exhibit is one of the most popular pieces in art history, The Treachery of Images(This Is Not a Pipe) (1929). In this iconic work of art, Magritte features an image of apipe with a simple accompanying phrase in French saying, “This is not a pipe.” Thisgroundbreaking technique laid the path for contemporary artists to challenge visualimagery with contradictory verbiage and to provoke viewers to explore the juxtapositionof words to flat images. So when Magritte says,“This is not a pipe,” is it possibleto think that this is an image that represents something else, something that is obscuredby realism? Maybe the true meaning lies beyond the obvious.Magritte’s influence became more of a philosophy than a technique. TheTreachery of Images exhibit features a select number of works by contemporaryartists who make specific visual reference to Magritte’ images. Coinciding with theevolution of modern art in the 1960’s, many contemporary artists such as JasperJohns expressed similar ideologies and thematic attitudes in their work. Johns’ Figure7 (1955) emulates Magritte’s artistic observation in the paradoxes between objectsand words. However, Johns modernizes this application with flat objects, signs, alphabets,or numbers often representational of Pop art. Another technique originallyemployed by Magritte was to evoke curiosity with the use of words that were infact unrelated to the visual. In Lion in Oil (2002), Ed Ruscha makes this same play onwords with his irrelevant title to the painting.Constantly challenging preconceptions of reality, Magritte defined familiarthings in life with new meanings. Utilizing the picture frame as a suggestion ofthe illusion of our senses, Magritte exploited this motif in The Six Elements(1929), as did Roy Lichtenstein as he reconsidered the traditional use of the pictureframe in Stretcher Frame (1968).So what is this fascination that artists have with Surrealism, with Magritte? Theword “surreal,” in fact, is defined as “above reality.” The theory of exploring art“above reality” has inspired creativity throughout time. As artists continue tosearch for the subconscious element of truth that lies beyond the realm of reality,the paradigm that they will look toward for profound, surrealistic portrayals willalways be René Magritte. Janet MargolisNovember 19, 2006 – March 4, 20075905 Wilshire Blvd., Los Angeles, California • 323.857.6000www.lacma.org18 2006 Issue 4René Magritte, The Treachery of Images (This is not a pipe), 1929. Oil on canvas. Los Angeles County Museum of Art, purchased with funds providedby the Mr. and Mrs. William Preston Harrison Collection. © C. Herscovici, London/Artists Rights Society (ARS), N.Y. 2006. Photo © 2006 MuseumAssociates/LACMA.

museumsA and L: How do you feel about having such a retrospectiveat the MoMA?I’ve never had such an important exhibition and I’m very honoured.The MoMA hasalways been a huge source of inspiration for me. When I was a student, I used toskip classes to wander around the museum.This is where I had my first artistic revelation,in front of a sculpture made by Brancusi.October 29, 2006 – January 15, 200711 West 53rd Street, New York, New York212.708.9431 • www.moma.orgBrice Marden: A Retrospective of Paintings and DrawingsThe Museum of Modern Art, New York, New YorkFor the first time in his life, Brice Marden is being honoured with a retrospectiveat the MoMA in New York. Art and Living’s Anouchka Roggemangot to sit down with the artist at his studio in Chelsea, where he openedup about himself and his art.A and L:Your paintings look very abstract. How much of yourself doyou put in your art work?My entire self is in my paintings. I consider myself an expressionist, and my paintingsas expressions of myself.A and L:You used to do monochrome panels.Why did you start doingentangling lines?Everything is about evolution. I felt like introducing figures in my work, especiallysince I am influenced by Chinese artists. I see my paintings as Taoist, with a Yin anda Yang side. The Yin is the expansive/exterior side, the Yang is the moreconstricted/interior aspect.A and L:What is on your mind when you paint?I don’t have anything in particular. I produce an image I want to see. When I thinkof nature, I like thinking about its energy instead of its appearance. For instance, if Iwant to reproduce water, I will first think about its reflection, its fluidity, its temperature—notabout what it looks like.Left: Brice Marden, For Pearl, 1970. Oil and beeswax on canvas, three panels. PrivateCollection. © 2006 Brice Marden/Artists Rights Society (ARS), New York. Imagecourtesy MoMA..Above: Brice Marden, Bear Print, 1997-98/2000. Oil on linen. Collection of PeterMorton, Los Angeles. © 2006 Brice Marden/Artists Rights Society (ARS), New York.Image courtesy MoMA.20 2006 Issue 4

museumsAlex Katz Paints AdaThe Jewish Museum, New York, New YorkAlex Katz Paints Ada at New York’s Jewish Museum is an exhibit of 37mesmerizing paintings by figurative artist Alex Katz of his wife,Ada DelMoro Katz. The exhibition reflects nearly fifty years of marriage andreflects a life vibrant with continuity and consistency.Exposing the entire spectrum of her being, the 37 paintings reveal Ada asmodel, wife, muse, mother, friend, hostess and cool-headed woman.Talking with Art and Living candidly about his art, Alex Katz says that the exhibitis a sort of a socio-economic statement of a “gilded bohemian life,” since Ada isAlex Katz, The Black Dress, 1960. Oil on linen. Brandhorst Collection. Art © Alex Katz/Licensedby VAGA, New York, NY. Image courtesy The Jewish Museum.presented throughout the exhibition clad in the fashions of each painting’s respectivedecade. According to Katz, “Clothes define people as much as anything else.Clothes are the social discriminator of the U.S.”“I looked for a chronological sweep to represent the five decades as comprehensivelyas possible,” says Ruth Beesch, Deputy Director for Program at The JewishMuseum and curator of the show.“There probably is a little bit of weight to the sixtiesin the show because there are so many fabulous works then. I also tried to balanceout what I thought were several themes within Alex’s portrayal of Ada.”Prominent compositions in the exhibition are:Ada as a full standing figure,Adawith friends and family, Ada repeated in the painting and what Beesch calls“Existential Ada”.“Existential Ada is where she becomes a formal object in the paintings,”says Beesch. “In this fourth representation they’re more about Alex’s playingwith her as a subject or object on the canvas. Upside Down Ada is an example.”Thefifth and final represented theme is “Style and Glamour”, in which “Ada is an objectrepresenting a very stylish and glamourish sitter who is the object of Alex’s admirationfor that style,” says Beesch.Ada, with sensuously full lips, dark eyes and definitive eyebrows, is always tastefullydressed.The viewer sees a woman who is self-possessed and assured. As Katzsays,“She’s very contained.”Perhaps that’s what makes us fall under her enchanting spell. Diane DunneAlex Katz, Red Coat, 1982. Oil on linen. Art © Alex Katz/Licensed by VAGA,New York, NY. Courtesy of the Whitney Museum of American Art.October 27, 2006 – March 18, 20071109 Fifth Avenue, New York, New York212.423.3271 • www.thejewishmuseum.org22 2006 Issue 4

museumsUnbroken Ties: Dialogues in Cuban ArtMuseum of Latin American Art, Long Beach, CaliforniaWith the world’s eyes on Cuba and the now-unpredictable reign of theBrothers Castro, an art exhibition featuring art by Cuban residentsand émigrés living in the United States appears to be timely.The Museum of Latin American Art’s exhibition titled Unbroken Ties: Dialoguesin Cuban Art attempts to bring together a people who, although divided by ideologyand locale, have never really broken connections of bloodlines, religion(Catholicism and Santaria), culture and correspondence.Thus, what politics have torn asunder, art may well put back together.Jorge H. Santis, Curator and Director of Collection Research at the Museumof Art in Fort Lauderdale, Florida, selected the original 75 works that CynthiaMacMullin, Director of Exhibitions at MoLAA has narrowed down to 50 for theshow’s run in Long Beach. The show features works done both by Cuba-basedartists and by a number of Cuban expatriates. It examines the historic, political, andsocial events that have taken place since 1959’s revolution.Although not yet shown at his own MoAFL, Santis likens Unbroken Ties to aGreek tragedy, divided into three parts.Part 1, Paradise Lost, exposes the underbelly of romanticism that still surroundsthe island’s history. It includes magical realist paintings that offer a nostalgic glimpse of“old” Cuba and current photographs of Havana crumbling from the effects of neglect.Part 2, Risking Life and Limb, addresses the physical and psychological perils ofescape across a strait that may look narrow on nautical charts but is wide enoughto be an arbitrator between life and death.Lydia Rubio, El encuentro (The Encounter), 1992. Oil on canvas. Collection ofMoAFL. Gift of an Anonymous Donor, 95.14. Image courtesy MoLAA.Finally, Unbroken Ties/New Reality illuminates realities of expatriate life in theUnited States where—alas—the sidewalks are not paved with gold.“The artists that remained in Cuba are not as politically critical as the exiles butstill present diverse points of view, with some seeing the revolution in terms of salvationand heroism and others as pure oppression,” says MacMullin. Daniella WalshNovember 9, 2006 – March 4, 2007628 Los Alamitos Avenue, Long Beach, California562.437.1689 • www.molaa.orgCarlos Luna, 1, 2, 3 Se acabótu conteo (1, 2, 3 YourCountdown is Over), 2006.Gouache and charcoal onhandmade paper. Gift of JamesBlanchard Cisneros, 2006.13.Image courtesy MoLAA.24 2006 Issue 4

museumsAnnie Leibovitz, Nicole Kidman, 2003. Photograph © Annie Leibovitz from A Photographer's Life: 1990-2005. Courtesy of Vogue.Annie Leibovitz: A Photographer’s Life, 1990 – 2005The Brooklyn Museum of Art, Brooklyn, New YorkAnnie Leibovitz: A Photographer's Life, 1990 – 2005 opened to worldattention October 20th and runs through to January 21st at NewYork’s Brooklyn Museum of Art. It’s a must-see—the material in theexhibit, also appearing in an accompanying book of the same title by RandomHouse, encompasses work Leibovitz made on assignment as a professional photographeras well as personal photographs of her family and close friends.One of the most celebrated photographers of our time, Annie Leibovitz hasbeen producing witty and powerful images documenting American popular culturesince the early 1970s, when her work began appearing in Rolling Stone. She becamethe magazine’s chief photographer in 1973 and later worked for Vanity Fair and thenVogue. In addition to her magazine work, Leibovitz has created influential advertisingcampaigns for American Express, the Gap, Givenchy,The Sopranos and the MilkBoard—to tip the hat at just a few.“I don’t have two lives,” Leibovitz says. “This is one life, and the personal picturesand the assignment work are all part of it.”The material documents the birthof her three daughters and many events involving her large and robust family, includingthe death of her father.Portraits of public figures include Aussie Nicole Kidman, a pregnant DemiMoore, Nelson Mandela in Soweto, Jack Nicholson on Mulholland Drive, George W.Bush with members of his cabinet at the White House,William Burroughs in Kansas,and Agnes Martin in Taos.The assignment work also includes searing reporting fromthe siege of Sarajevo in the early 1990s and a series of landscapes taken in theAmerican West and in the Jordanian desert. John McCarthyOctober 20, 2006 – January 21, 2007200 Eastern Parkway, Brooklyn, New York718.638.5000. • www.brooklynmuseum.org26 2006 Issue 4

museumsAdams at ManzanarJapanese American National Museum, Los Angeles, CaliforniaAnsel Adams—the very name conjures countless images of the vastAmerican wilderness. With his large format camera and his masteryof printing, the revered American photographer created photographsknown for their brilliantly shining whites and their contrasting deep, velvetyblacks; his dramatic landscapes won him fame and his “zone system” method isstill taught in every photography school around the world. Still, while Adams maybe famed for his landscapes, the spectrum of his work reaches farther than this.Following the institution of Japanese incarceration at the onset of WorldWar II, the abrupt arrest of one of Adams’ parent’s employees, Japanese-American Harry Oye, shocked and angered him.Through a friend, he managedto get authorization to visit and photograph Manzanar, one of the ten internmentcamps set up around the U.S. and situated in a remote and wild area atthe eastern edge of the Sierra Nevada. There, he documented the life of thethousands of innocent people who had lost everything and were made to livelife in rudimentary, self-sustaining camps.The photographs Adams took during his visit to Manzanar are the feature ofthe Japanese American National Museum’s show Adams at Manzanar, openingNovember 11th and running through February 18th.The show is organized by theHonolulu Academy of Arts.One of the surprising elements about these pictures is how an unpredictablesoftness emerges from these shots of life in the mountains. Although the portraitsshow a distinctive sadness in the eyes of the internees, overall Adams’ pictures portraycitizens accepting their hardships, living together and calmly waiting for liberation.It’s a far cry from the photos of Dorothea Lange—the only other outside photographerto have visited the camps—who focused on the harsh deportationprocess and miserable conditions that characterized life in the camps.Adams’ goal with his photography was not to protest but rather to helpinternees reintegrate with American society after the war. In Born Free and28 2006 Issue 4Ansel Adams, Monument in Cemetery, Manzanar Relocation Center, California, ca. 1943. Center for Creative Photography, University of Arizona: Ansel Adams. Imagecourtesy Honolulu Academy of Arts.

artist creates truly mysterious experiences, as in The Greeting, a large video projectionthat served as America’s contribution to the 1995 Venice Biennale and is ondisplay at The Mori Museum’s show.A notable inspiration behind Viola’s work has been the long trip to Japan hetook in 1980. Coming to Tokyo on a grant, he first spent one year studying Buddhismwith Zen master Daien Tanaka, who became a spiritual mentor to him.Today,Viola’svideos incorporate elements from Zen Buddhism as well as other spiritual traditions—suchas Islamic Sufism or Christian mysticism—to create meditative experienceswhich speak directly to the viewer’s unconscious.Viola’s stay in Japan also included a six-month residency at Sony’s state-of-theartAtsugi center in the suburbs of Tokyo, where he learned about the latestadvancements in technology at the time.The experience led him to ponder the linksbetween ancient and modern, nature and the city. His notable Hatsu-Yume, a videomade from his day-to-day recordings in Japan and on display in the exhibition, clearlydemonstrates this technological preoccupation. Emmanuel GuillaudOctober 14, 2006 – January 8, 2007Roppongi Hills Mori Tower, 6 - 10 -1, Roppongi,Minato-ku,Tokyo, Japanwww.mori.art.museumAnsel Adams, Michael Yonemitsu, X-Ray Technician, and Harry Sumida in X-RayRoom, Manzanar Relocation Center, California, 1943. Gelatin silver print. Library ofCongress, Division of Prints and Photographs, Washington, D.C., Lot 10479-5,no. 30. Image courtesy Honolulu Academy of Arts.Equal, the book he published in 1944, he stated he wanted to portray “loyalAmerican citizens who are anxious to get back into the stream of life and contributeto our victory.”The incarceration of thousands of innocent Americans of Japanese descentduring Word War II is an event that has undoubtedly stained American history. But,as the Japanese American National Museum’s latest exhibition shows, art often hasa way of ensuring that these acts are not forgotten. Emmanuel GuillaudNovember 11, 2006 – February 18, 2007369 East 1st Street, Los Angeles, California • 213.625.0414 • www.janm.orgBill Viola: Hatsu-Yume (First Dream)Mori Art Museum,Tokyo, JapanCelebrated master of video art Bill Viola graces the Mori Art Museumthis fall with his calm, meditative, and ethereal installations. Using thelatest developments of technology,Viola is known for his large installationsthat utilize video, music, darkness and space in a manner that immerses theirviewer. Playing with visitors’ senses and pushing the limits of their perception, theBill Viola, The Crossing [detail], 1996. Video/sound installation. Photo by Kira Perov.Image courtesy Mori Art Museum.Art and Living 29

coverRuscha RevealedWhen does text become art?When artist Ed Ruscha is behind itBy Roberta CarassoProbably no other artist captures the essence of Los Angeles as does EdRuscha. Since the early sixties, he has portrayed the myth and magic ofthe City of Angels in a decades-long body of work that includes painting,prints, drawings, and films.This fall, the Norton Simon Museum invites visitorsto revisit the work of this innovative Angeleno artist with its collection of his earlylithographs entitled Ooo: Early Prints by Ed Ruscha.Ruscha’s art schooling came in the 60s at the tail end of the AbstractExpressionist movement. For him, Abstract Expressionism was a beautiful formof painting whose artists had exhausted its ideas, leaving no room for furtherexploration. Ruscha wanted to wrestle with new ideas—his own ideas, eventhough they were not yet fully formulated. For inspiration, Ruscha looked to signagein Los Angeles; signs were everywhere in L.A. and he became interested inthe power they had.Ruscha chose to render the L.A. he saw and the things that comprised it—gas stations, neighborhood stores, apartment buildings, hotels, and silent places—with dreamlike stillness, sans people. Composed dramatically on the diagonal,Ruscha’s compositions tell stories of West Coast life, forgoing detail for atmosphericsimplicity. Images viewed one after another simulate driving around a citycharged with energy and saturated with signage: “Telephone”, “Muffler”,Edward Ruscha, City, 1969.Two-color lithograph. Norton Simon Museum,Anonymous Gift, 1972. P.1972.08.20. © 2006 Edward Ruscha.Edward Ruscha, Eye, 1969. Lithograph. Norton Simon Museum, Anonymous Gift,1972. P.1972.08.18. © 2006 Edward Ruscha.“Upholstery”, “Flash”, “Smash” and “Noise”. Words conjure the unexpected andgenerate a flood of associations; if a picture is worth a thousand words, one ofRuscha’s words is a condensation of a thousand images.In his work, the artist is drawn to literal and visual symbols and the alchemythey create when combined. Ruscha has remarked that words are made up of letters—twistedand contorted, wiggly and jagged, non-objective shapes. Letters canbe sharp, overwhelming, blunt, and neutral. In combination, words are read left toright, rather like a landscape.On display at the Norton Simon Museum is his masterful—albeit first—attempt at lithography, created in 1969. Lithography is a highly sophisticated formof printmaking; artists at the end of the eighteenth century discovered that theycould apply waxed crayon, pencil, and ink to a slab of limestone and come up withan original format for creating art. Depending on the strength of the crayon orpencil, the print could be bold with strong, dark lines or gentle and washy, like awatercolor. Ruscha's start with lithography came under the guidance of thefounder of Los Angeles’ Tamarind Lithography Workshop—the inimitable JuneWayne—who woke up the West Coast art community to this dormant art form.At the Tamarind, Ruscha created the series of 24 works, 15 of which areexhibited at the Norton Simon. In each application of ink or each pull of paperoff stone, he attempted to discover and annotate original printmaking possibilities.Unlike abstract art, the printer’s art requires a defined step-by-step process. Itsfinal image, seen in reverse, sits on paper instead of canvas and, in the end, affectsthe artistic mood differently. Coming from a commercial art background—whereplanning and precision are critical—Ruscha took to printmaking easily.32 2006 Issue 4

Above: Ed Ruscha at theTamarind LithographyWorkshop, 1969. Imagecourtesy of the TamarindInstitute Collection, Centerfor Southwest Research,University Libraries,TheUniversity of New Mexico,574-0278.Right: Edward Ruscha, Adios,1969. Lithograph. NortonSimon Museum, AnonymousGift. P.1972.08.022. © 2006Edward Ruscha.Art and Living 33

coverAbove: Edward Ruscha, Hollywood in the Rain, 1969. Lithograph. NortonSimon Museum, Anonymous Gift. P.1971.7.186. © 2006 Edward Ruscha.Left: Edward Ruscha, Air, 1969. Lithograph. Norton Simon Museum,Anonymous Gift, 1972. P.1972.08.21. © 2006 Edward Ruscha.Below: Edward Ruscha, Ooo, 1969. Lithograph. Norton Simon Museum,Anonymous Gift, 1972. P.1972.08.24. © 2006 Edward Ruscha.Ruscha was born in Omaha, Nebraska and raised in Oklahoma. Growing up,he spent a lot of time reading and drawing comic strips and, when he later begansearching for his artistic voice, it was the pictures that moved him as a child thatwould came back as images and words in his work. The visual choices thatemerged as an adult, he observes, grew from images that were formed or heobserved when he was young. He moved to Los Angeles in 1956 to become acommercial artist but several encounters with other artists radically changed hisdirection from commercial to studio art.In 1960, Ruscha attended the renowned Chouinard Art Institute, now CalArts, to be groomed as an animator/illustrator for Disney. Simultaneously, helearned to paint on canvas in the abstract expressionist manner. But Ruscha wassurrounded by future art stars like Jasper Johns who introduced him to ideasbeyond Abstract Expressionism. Ruscha was drawn to Johns’ interest in media andbegan to bring influences from commercial art—brighter colors, commercial subjects,precision of execution—into fine art. In this way, Ruscha extended the visualboundaries of painting which was soon dubbed West Coast Pop.Before Ruscha and other groundbreaking artists, Los Angeles in the 60s wasRuscha chose diminutive but imaginative words, visible in City, Eye, and Air.Herenders the words with great precision—often as if they are three-dimensional—with shaded silhouettes formed from ribbons, droplets of water, strips of paper,or carved out of the sky.Also on display is the exhibition namesake, Ooo, which presents a simplecomposite of circular shapes.The letters “O-O-O” were meant to suggest rolledpaper tubes, which grew out of Ruscha’s need to express elemental shapes withshading and tones through the complex lithographic process. And yet, Ooo lookslike a foreign language, a secret code for us to decipher.considered a cultural wasteland. In many ways, Ruscha’s artistic vision, experimentation,and inventive pursuits in many media—as seen in the beautifully renderedlithographs on display at the Norton Simon—were instrumental in altering LosAngeles from a backwater to one of the most thriving artistic places on the planet.Through his ceaseless output—which today is as influential as ever—Ruschahas helped make the myth and magic of the city a reality.Ooo: Early Prints by Ed RuschaNorton Simon Museum of ArtSeptember 22, 2006 – January 22, 2007411 West Colorado Boulevard • 626.449.6840 • www.nortonsimon.org34 2006 Issue 4

Ed Ruscha in his studio,Venice, California. Photo by Jim McHugh.Art and Living 35

www.philippesbeverlyhills.com

art dayEnliven Your Weekend!Feeling in a sophisticated mood? Art and Living presents our suggestionsfor creating a day befitting of even the most refined tastesBy Hunter A. PhillipsLOS ANGELES“Bare Essentials”Saturday, December 23, 2006GALLERY: Nude at Jack Rutberg Fine Arts. Perusemodern and contemporary paintings, drawings, printsand sculpture of a particularly sensational theme byHenri Matisse, Ruth Weisberg and others. 357 N. LaBrea Ave., Los Angeles. Information: 323.938.5222.RESTAURANT: AOC. Sous Chef Aliza Minerknows that working at Suzanne Goin’s WeHoeatery means seasonal ingredients and innovativecuisine. Essentials: Bacon Wrapped Dates the ArrozNegro. 8022 W. 3rd St., West Hollywood.Reservations: 323.653.6359.SHOW: Largo on Fairfax. With guests like LoudonWainwright III, Aimee Mann and lesser-known (butno less wonderful) musicians baring their soulshere, it’s a good bet Largo will provide an eveningof gratifying sounds. 432 N. Fairfax Ave., WestHollywood. Reservations: 323.852.1073.“Seaside Excursion”Saturday, January 13, 2006MUSEUM: The Getty Villa. Stories in Stone: ConservingMosaics of Roman Africa showcases a selection ofelaborate Tunisian mosaics, originally fashioned todecorate the floors of both public and private houses.17985 Pacific Coast Hwy., Pacific Palisades.Information: 310.440.7300.RESTAURANT: Allegria. Chef Paolo Sicuro justifiesAllegria’s claim to be “Italy in Malibu” with spectacularsignature dishes like the flavorful Pollo Erborato and atantalizing Osso Buco Alla Milanese. The wine listSaturday, December 23 rd : Egon Schiele, Girl, 1918. Crayon lithograph. Image courtesy Jack Rutberg Fine Arts.sports choices over which Bacchus himself would the island. 628 Alamitos Ave., Long Beach.drool. 22821 Pacific Coast Hwy., Malibu. Reservations:310.456.3132.SHOW: George Winston at The Smothers Theaterof Pepperdine University. Enjoy an atmosphericevening of Winston’s self-described “rural folk piano”compositions. 24255 Pacific Coast Hwy., Malibu.Tickets: 310.506.4522.Information: 562.437.1689.RESTAURANT: The Madison. Nestled in an elegant1890s building, this old school Americana restaurantbrings back a sense of grandeur from bygone age.Not to miss: The Pepper Encrusted Ahi Tuna andDover Sole, filleted tableside. 102 Pine Ave., LongBeach. Reservations: 562.628.8866.CONCERT: Tchaikovsky Piano Concerto at the Long“An Eclectic Experience”Saturday, January 20, 2007MUSEUM: Unbroken Ties: Dialogues in Cuban Art atthe Museum of Latin American Art. Over 50 worksfocus on issues pertinent to Cubans living on and offBeach Symphony Orchestra.Take the chance to witnessthe performance of Tchaikovsky’s first pianoconcerto in person. Long Beach Performing ArtsCenter, 300 E. Ocean Blvd., Long Beach. Information:562.436.3636.38 2006 Issue 4

art dayNEW YORK“T.G.I. Art Day”Friday, December 15, 2006GALLERY: Self-professed voyeur-painter Joan Barberapproaches a woman’s world from within atFlomenhaft Gallery’s Women Warriors:The Yin & Yang.547 W. 27 th St., Suite 308, New York. Information:212.268.4952.RESTAURANT: BLT Fish. At this understatedrestaurant, fresh seafood shines with simple preparationwhile spectacular sides and phenomenalappetizers demonstrate the talents of Chef LaurentTourondel. 21 W. 17 th St., New York. Reservations:212.691.8888.SHOW: Ikue Mori at The Kitchen. Known for herdense and layered yet surprisingly organic sonic texturesgenerated with drum machine and, moreFriday, December 15th: Joan Barber, Girl on Pedestal, 2005. Oil on linen. Imagecourtesy Flomenhaft Gallery.recently, laptop, Ikue Mori premieres her latest soloproject which combines live laptop compositionwith video manipulated in real time. 512 W. 19 th St.,New York.Telephone: 212.255.5793.“Pace Yourself”Saturday, January 6, 2006GALLERY: A watery interlude at PaceWildenstein(57 th St. location) with Thomas Joshua Cooper’s Eyeof the Water exhibit. Cooper’s photographs—shoton a 102-year-old large field camera and printed viaa 19th century method of layering silver and goldchloride—are enchanting. 32 E. 57 th St., 2 nd Floor,New York.Telephone: 212.421.3292.RESTAURANT: Aquavit. Chef Marcus Samuelsson,host of Discovery Home Channel series Inner Chef,works magic. It’s hard to find a more uniquelydesigned Pre-Theater Menu asSamuelsson’s. 65 E. 55 thSt.,New York. Reservations:212.307.7311.SHOW: Jazz at Lincoln Centerhosts a slew of fabulous jazzgreats at Dizzy’s Club Coca-Cola.In Art and Living’s first issue, TonyBennett vouched that “Dizzy’s isby far the best Jazz room in thecity.” 10 Columbus Circle, 5 th Floor,New York.Tickets: 212.258.9595.“Life, Libation andLaughter”Saturday, February 17, 2007GALLERY:Manfredi Beninati:New Work at James CohanGallery. Beninati’s pieces—known for addressing childhoodSaturday, February 17th: Manfredi Beninati, Untitled(Fes-Hagosh), 2006. Oil on canvas. Image courtesy JamesCohan Gallery, New York.nostalgia via the lens of memory—radiate with life.533 West 26th St., New York. Information:212.714.9500.RESTAURANT: The Red Cat. Although Chef JimmyBradley humbly refers to Red Cat cuisine as “normalfood for normal people,” local ingredients andseasonal dishes create a complex culinary experience.Chef’s recommendation: Tempura of GreenBeans and the Muscovy Duck. 227 10 th Ave., NewYork. Reservations: 212.242.1122.SHOW: Gotham Comedy Club. Recently touted byUSA Today as one of the top spots in the countryto “sit down and watch stand-up,” this comedy clubhas been designed—contrary to traditionally dingycomedy pits—to reinvent the comedy club conceptby providing hilarity amidst a hip, sexy atmosphere.208 W. 23 rd St., New York. Tickets:212.367.9000.40 2006 Issue 4

Artist CardsFor the HolidaysReclining Nude, 1977. Roy Lichtenstein© Estate of Roy LichtensteinCollection of the Frederick R Weisman Art Foundation, Los AngelesWinter in Centeral Park, Jean EdelsteinYou have hundreds of greeting card choices, but few offer the gift of health likeVenice Family Clinic Artist Cards. All proceeds benefit Venice Family Clinic,providing free, quality health care to people in need.To view a gallery of images or place an order, visit store:venicefamilyclinic.org or call 310. 392. 9255604 Rose Ave • Venice, Ca 90291 • www.venicefamilyclinic.orgIce Skating, Pershing Square,Helen K. GarberVenice Family Clinic’s Artist Cards Program is underwritten by a generous donation from the Frederick R. Weisman Philanthropic Foundation.Holiday Boat Ride in Venice,Daniel SamakowHoliday Flurry over Venice,Daniel SamakowHoliday Visit in Venice,Daniel SamakowNight Scene,Fortune Sitole

galleriesLA Louver: 30 Years in ContextPeter Goulds opens up about how hislandmark gallery went from far-flung dreamto art world success By Elliot V. KotekAs an arts student who had studied communication design and experimentedwith closed circuit television (CCTV), Peter Goulds was broughtto UCLA as a visiting lecturer in 1972. Consumed at the time inresearching Picabia and Duchamp and in profiling other 20 th century artists, Goulds’intention for his work was for it to culminate in a series of films for television.Although those three years at UCLA bestowed Goulds with an intimate understandingof 20 th century art, the fact that there was no filming following his efforts encouragedhim to turn the lens on himself. Responding to an inner urge for a project thatwould fuse his interests (and keep him stateside), Goulds posed the following question:“Imaginesome nutcase has hired you to start a gallery as an information designproject—how would you go about it as a designer?”The answer was simple.“I hired myself,” he explains.L’enfantIn 1975, with $15,000 saved in tax credits, the North Londoner charged himselfwith opening an art gallery on North Venice Boulevard with a modest intent notonly to make a difference in the art community, but “to make a contribution in away no one was doing at the time, to develop a gallery that has an internationalprofile and to contextualize artists working in Los Angeles to the internationalscene,” he says. Oh, and he set himself no expectation of making sales for two years.Why begin in Venice? Goulds recalls, “At the time, where could you, withmodest means, open and be competitive? We [with textile designer wife, Liz]thought, ‘hang on—where serious artists live and work, curators, writers, otherartists, collectors, etcetera must visit studios.’ So if you open in a neighborhoodwith that kind of fluidity to it, then you’ve got an audience and, if you’ve got anythingto say, then you’ve got a business.”A year later, with $20,000 in sales and having introduced Foirades/Fizzles—JasperJohns’s “extraordinary body of etchings” of Samuel Beckett’s prose—LA Louver hadentered the artistic scene of the left coast with unending calls for an encore.$80,000 in sales followed in the gallery’s second year and $230,000 in its third.With the money, Goulds bought inventory. “What I decided to do was buy artfrom one artist…David Hockney, and by ‘78 I owned or had borrowed at least onecopy of every print he’d ever made,” he recounts. As to why Hockney, he relates,Peter Goulds. Photo by Jim McHugh.“it started when I first went to school in 1965. Hockney was just this iconoclasticartist pursuing his own direction, pushing the envelope of what art seemed to be.He was pulling information from reference sources not conventionally drawn uponby artists—from writers such as WH Auden and Wallace Stevens—and travellingto look for Luxor and off to New York. It was exciting, stimulating to consider.”La FilleLA Louver’s 1979 show This Knot of Life featured, for the first time together on USsoil, the London School’s Frank Auerbach, Francis Bacon, Sir Peter Blake, LucianFreud, David Hockney, Howard Hodgkin, RB Kitaj, Leon Kossoff,William Coldstreamand Euan Uglow.With that arsenal of talent, the foreword’s mention that This Knotof Life features “paintings and drawings by British artists” seems understatedly akinto Duchamp’s own simple introductions (for example, Nude Descending a Staircase).Goulds also took this opportunity to inform the gallery’s visitors thatAmerican artists—such as then-painted-paper-magnate Charles Garabedian—hadfor a time been concerned with figurative subjects and were experiencing an awakeningof appreciation.46 2006 Issue 4

The alarm clock had sounded resoundingly and the unorthodox spirit of hisgallery reverberated with his clientele. Goulds confesses, “I took my first salarycheck in 1981.” As to whether he used it to buy art, Goulds laughs, “I bought ahouse. I already had far too much art at that stage—it would take me the rest ofmy life to sell it all.”La Mère Sur La MerWith emerging artists Gajin Fujita and Rebecca Campbell; the identifiable work ofDeborah Butterfield,Tony Berlant,Nancy Reddin Kienholz;Tom Wudl,Gwynn Murrill,DonSuggs, Peter Shelton, Joel Shapiro and Frederick Hammersley; the estates of Fred Williamsand Edward Kienholz; and providing a Los Angeles home to an international surge that,in addition to David Hockney, comprises Sean Scully, Richard Deacon, Per Kirkeby, LeonKossoff,Tony Bevan, Guillermo Kuitca, Juan Uslé and Domenico Bianchi, Goulds ensuresthat the gallery consistently delivers on the intent he set out with in 1975.Additionally, Goulds and the gallery’s preparator for the past sixteen years, artistand independent curator Chris Pate, scour Los Angeles’ artists to uncover hidden treasuresfor LA Louver’s Rogue Wave as a “way of making a contribution, in hopefully agood curatorial rigorous way, to the changing tapestry of emerging artists,” says Goulds.The third installment of Rogue Wave will whet exploratory artistic appetites in 2007.“If there’s a unifying force between all the disparate artists I work with internationally,nationally, locally…it’s the intellectual rigor in the studio, how it is theycome to what it is they have the need to make,” explains Goulds. “The image isone thing but what is it that brought that image into life? That’s what I look for—an intellectual curiosity.That’s what turns me on and provides me with the incentiveto work hard on their behalf.”La PèreThirty years on, Goulds takes stock of the progress of his assignment. “Obviously,I’ve stayed connected and engaged with my only subject,” he says.“I’m very proud of the fact that very little of our work comes up for resalewhen you consider how much art we’ve sold over the years,” he continues. “It’simmense. The people that buy the art want to own it. They’re not speculating,they’re not in this for some dice throw…they’re hopefully using their discretionaryincome to enhance their lives. I believe that art should be bought with discretionaryincome, not as an investment, and it should hopefully enrich the experienceof the viewer. We attract, hopefully, the same kind of independent maverick spiritin the buyers as is imbued in the artists we represent.”Indeed, the modern explorer is one who delivers packaged experiences to us,brings boundaries and borders within our midst and confronts us with reflectionsof our world and ourselves. It’s no coincidence then that Goulds, the ManchesterSchool of Art graduate who came to UCLA as a visiting lecturer in 1972, hasenlightened the well-traveled with a serious appreciation of the artistic landscapeof coastal California and contemporaneously enabled Angeleno canal-dwellers totraverse the globe through the gallery’s gatherings.A portrait of Goulds by Hockney recently came down at LACMA to makeway for a Belgian surrealist who might have declared that Peter Goulds, well, “iln’est pas un marchand d’art.” But it is that other friend of André Breton, MarcelDuchamp, without whom LA Louver may have been dubbed simply “Venice ArtGallery”, who aptly stated,“The individual, man as a man, man as a brain, if you like,interests me more than what he makes…”Goulds’s distinct gift is his ability to see not what is created, but to questionwhy. It is in pursuit of that unanswerable but gripping quest that LA Louvermakes her mark.A ROSE BY ANY OTHER NAMEPETER GOULDS ON “LA LOUVER”In 1920, Marcel Duchamp made a miniature French window and calledit Fresh Widow—bad pun, right? It was made by a French window maker,sits on a baseboard, and has panes of leather rather than glass.The actof cleaning the window is actually one of polishing, so it shines.In my apartment at UCLA every single window was a louvered windowand, coming from England as I do, I’d never seen a louvered windowin my life.They have them, of course—I’d just never seen one. If you lookat the device that opens the window, it looks like the coffee grinder inDuchamp’s The Bride Stripped Bare by Her Bachelors.In 1931, André Breton (the surrealist poet and critic) wrote an articlecalled “The Lighthouse of the Bride”. Evidently (from the article) Duchamphad given Breton his notes of the making of and thinking behind The BrideStripped Bare by Her Bachelors and Breton took these notes and cipheredthe painting. Duchamp had previously given no information of what thepainting was about, gives this critic his notes for the first time, and this manreads all the notes diligently and writes an essay about the true meaning ofthe painting. The first paragraph says—and I’m paraphrasing—thatDuchamp invites us on a journey through the artistic looking glass and hegoes on to explicate the meaning of the painting.So my miniature Los Angeles window doesn’t have leather anddoesn’t have glass but it has mirrors. So, when it’s closed you see yourown reflection but when you ratchet the coffee grinder—via the reflectionof the outside world in the mirrors—you journey through the artisticlooking glass.Duchamp’s baseboard reads (and it’s the first time he used his femalepseudonym), “Fresh Widow, 1920, Rose Sélavy.” My baseboard now reads,“La Louver, 1976, Eros it is the mirror.”When I opened the gallery my ego was such that I wouldn’t put myname on something that might fail. So, I needed a pseudonym. My wife said,“Why don’t you call it that wretched LA Louver?” It was one of the manyprops I had made for film projects that were littering the house at the time,and I thought that was a good idea..Now we’re stuck with it.Art and Living 47

galleriesGallery SpotlightAn Interview with Forum Gallery’s Director, Robert FishkoBy John McCarthyAt the helm of the bicoastal Forum Gallery is celebrated art connoisseurRobert Fishko. While travelling in Iceland, Mr. Fishko spoke to Art andLiving writer John McCarthy about just what makes his gallery so unique.Art and Living: So what does Forum Gallery look for in its artists?Robert Fishko: We are always interested to expand our program by exhibitingartists whose work pushes at the boundaries of what we show. We would liketo show art that sends an original message, that shows us an aspect of life in away we haven’t seen before.A and L: With over four decades in the fine art field, Forum Galleryhas placed works in every major American museum and in privatecollections throughout the world. How healthy is the demand fromprivate collectors at the moment?RF: Since we’ve been in business, there has always been collector interest in artthat communicates feeling and respect for the panoply of human life. Right now—in an expanding global economy—there is that interest, and there is great interestin art as a means to enrich people’s lives. So I feel that we will have expandingcollector interest as long as we continue to enrich our program with new artthat sends a strong message.A and L: In addition to exhibitions at your galleries in New York andLos Angeles, Forum Gallery also exhibits at important art fairsacross America. How important is the exhibiting of your artists’works at art fairs as opposed to exhibiting at your celebrated NewYork and Los Angeles galleries?RF: Art Fairs have become an enormously important part of the business; artfairs bring the art to the viewers and there’s nothing else that does that.Advertising and the Internet can and certainly do stimulate collector interest, butwe are, at the end, in the communication business; what we have for sale is thecommunication between the unique object and the viewer, and nothing can substitutefor that. The fairs offer people the opportunity to see a pre-selected exhibitionof works from, say, 100 galleries that would take them a year of intensivetravel to reach in any other way.Forum Director Mr. Robert FishkoA and L:What do you like to do to unwind?Robert Fishko: Actually, I’m pretty wound up most of the time, but I do love tocook, so I unwind by preparing the food for the parties we hold at our apartmentafter each opening in New York, usually for 35 to 45 people. Cooking, classicalmusic and baseball are three things that help me to unwind a bit.Courtesy of Forum Gallery - New York, Los Angeles50 2006 Issue 4

galleriesNow ShowingIn the mood for a galleryshow? Look no further.Odd NerdrumForum GalleryLos Angeles, California &New York, New YorkForum Gallery Los Angeles brings us an elaborateexhibition of the works of Norwegianfigurative artist and painter Odd Nerdrumfrom November 25 th to January 6 th . The exhibit willthen move to Forum Gallery New York from January25 th to March 17 th .Born in Norway in 1944, Odd Nerdrum studiedtraditional classical painting at The Art Academy inOslo and later with Joseph Beuys in New York.Today,he is considered one of the world’s most famous figurativepainters; his works are collected internationallyby The Metropolitan Museum of Art in New York,The San Diego Museum of Contemporary Art., theHirshhorn Museum and Sculpture Garden inWashington, D.C. and The National Gallery in Oslo,Norway, to mention a few.Nerdrum’s unique method of painting—whichhe has sworn by since he was a teenager—combinesan old-world discipline of mixing and grinding his ownpigments, stretching his canvas, and the exclusive useof models. John McCarthyOdd Nerdrum, Love Divided, 2005. Oil on canvas. Imagecourtesy Forum Gallery, New York, Los Angeles.Claire FalkensteinEdenhurst GalleryPalm Desert, CaliforniaEdenhurst Gallery takes a bold step into contemporaryart on November 2 nd , when itunveils an impressive exhibition of works bythe pioneering California sculptor Claire Falkenstein.Known for dealing museum-quality paintings byearly California and American Impressionists, thegallery selected Falkenstein (1908-1997) for her daring,conceptual use of materials, which are as importantto her work as the final forms—or “structures,” asshe preferred to call them.Falkenstein’s sculptures are wildly abstract andexpressive, often fusing Venetian glass and copper ina process fueled by uninhibited experimentation andinvention. Many pieces appear to defy their technicallimitations.After graduating from the University ofCalifornia, Berkeley in 1930, Falkenstein worked inSan Francisco, Paris and, finally, Los Angeles, whereshe gained notoriety for her gallery exhibitions andmonumental public and private commissions. In Paris,she became part of the avant-garde scene with earlyModernist artists including Jean Arp, AlbertoGiacometti, and Antoni Tapies.Falkenstein’s radical and conceptual art grewdeeper within her distinctive structural systems—anaesthetic that continues to capture the imaginationof dealers and collectors.November 2, 2006 – December 24, 200673-655 El Paseo, Palm Desert, California760.346.7900 • www.edenhurstgallery.comClaire Falkenstein,Acceleration, ca. 1960s.Copper and Venetian glass.Image courtesy EdenhurstGallery.Forum Gallery, Los AngelesNovember 25, 2006 – January 6, 20078069 Beverly Boulevard, Los Angeles, California323.655.1550Forum Gallery, New YorkJanuary 25, 2007 – March 17, 2007745 Fifth Avenue, Fifth Floor, New York, New York212.355.4545 • www.forumgallery.com52 2006 Issue 4

galleriesWater That Floats the Boat CanAlso Sink It: New Work by Yun-Fei JiJames Cohan GalleryNew York, New YorkJames Cohan Gallery is pleased to announce anexhibition of new works by expatriate Chinesepainter Yun-Fei Ji, opening November 16th andrunning through December 22nd.This will be Ji’s firstsolo exhibition at the gallery.Yun-Fei Ji was raised in China during the CulturalRevolution, a fact that fuels his exploration of Chinesecontemporary history, and furthermore directs his criticaleye on issues of modernization.The title of the exhibition,Water That Floats the Boat Can Also Sink It, is aChinese proverb that for Ji reflects the dark side ofdevelopment.The conflicting forces of water as providerand destroyer have been an essential theme for theartist.The Three Gorges Dam and the devastation it hascaused throughout the Yangtze Valley, including the displacementof over 1.5 million people from their ancestralhomes, have been subject matter for Ji’s allegoricalpaintings for a number of years. In this body of newworks, the dam becomes the backdrop as Ji exploresthe cultural and psychological effects of the flooding onthe rapidly changing fabric of Chinese life.At a first glance, the works appear to be traditionalChinese scroll paintings but, on a closer inspection, weare confronted with the less-serene depictions ofhomelessness and disaster.Yun-Fei Ji populates his richlytextured landscapes with vignettes of village life indeep distress. We observe supernatural encounterswith ghosts haunting the once densely populated valley,fleeing peasants scurrying amongst the demolished villageswith their belongings on their backs and corruptparty officials flaunting their machismo while trying tofind their role in the new China. Real life and fictionalnarrative collide, creating a dizzying array of historic andfuturistic encounters.Monumental in scale,Ji’s new paintings are his largestto date.The tallest vertical painting, Under the 143 MeterWatermark, is 118 inches high and has a stacked perspectivethat is densely filled with multiple layers of imagery.Water Rising is a long, horizontal, scroll diptych with theleft panel measuring 204 inches and the right panelmeasuring 114 inches.This diptych is hung on two perpendicularwalls with the panels meeting in the corner ofthe gallery.The figures in the left panel of this cinematicdrama appear to be running toward the figures in theright panel, almost as if they are due to collide with eachother—they are fleeing from somewhere, yet withnowhere to go at all.Yun-Fei Ji’s new body of work was completedduring his residence at the American Academy inRome on a Prix de Rome fellowship this past year. Jifirst came to the United States on a Fulbright scholarshipin 1985. Currently, he is living in London as anartist-in-residence at Parasol Unit Foundation forContemporary Art. In 2005, Ji had the honor ofbeing artist-in-residence at Yale University where hewas able to conduct extensive research with thehelp of scholars from a wide range of departments.Ji’s most recent solo museum exhibition, 2004’sThe Empty City, originated at the Contemporary ArtMuseum, St. Louis and went on to tour nationally atvenues including the Rose Museum, BrandeisUniversity, and the Peeler Art Center, DePauwUniversity. Also in 2004, the exhibition Yun-Fei Ji: TheEast Wind was organized at the ICA, University ofPennsylvania. Ji’s work has been in solo and groupshows throughout the United States and Europeincluding the Whitney Biennial 2002. John McCarthyYun-Fei Ji, Last Days Before The Flood, 2006. Mineral pigments and ink on mulberry paper. Image courtesyJames Cohan Gallery, New York.November 16, 2006 – December 22, 2006533 West 26 th Street, New York, New York212.714.9500 • www.jamescohan.com54 2006 Issue 4

galleriesTop: Matthew Pillsbury, Calum and Erica, Grey's Anatomy and Solitaire (triptych), Friday, September22nd, 2006, 9:48-10:58 p.m. Archival pigment ink print. Image courtesy M+B.Middle: Matthew Pillsbury, Desperate Housewives, Balboa Park Inn,The Orient Express Room,Sunday, August 14th, 2005, 10-11 p.m. Archival pigment ink print. Image courtesy M+B.Bottom: Matthew Pillsbury, Nathan Noland, Mario Kart DS,The Star Cup, Wynn Las Vegas, Monday,July 31st, 2006, 0:34-0:52 a.m. Archival pigment ink print. Image courtesy M+B.Matthew Pillsbury: Screen LivesM+B, Los Angeles, CaliforniaTechnology.While it has brought the world the blessingof instant global communication, many—including photographerMatthew Pillsbury—might argue that itseffects are less than beneficial.“According to a recent report, the average Americanspends four hours daily watching television,” says Pillsbury. “In aculture where we seldom read the same books or see the sameexhibitions or movies, television programs are often the rarecommon experience we share. When you consider the additionaltime we spend facing computer screens at work or forleisure, the number of hours spent in the glow of luminescentscreens is staggering.“M+B’s show, Matthew Pillsbury: Screen Lives, addresses thisconundrum of technology through its provocative display ofPillsbury's insightful photography.Drawing from residences around the United States andincluding his new images from Los Angeles, Pillsbury's photographspresent images of people watching television and usingcomputers, cell phones and other electronic devices. His use oflong exposures turns subjects into ghost-like echoes of theirown actions; dramatic white light emitted from electronicscreens reveals the rest of the scene in exquisite detail. In a way,we are offered a more substantial impression of the subjectsfrom their possessions than from their blurred effigies. Patientlyand methodically, Pillsbury nudges the viewer, asking us to reexamineour own “screen lives”.January 27, 2007 – February 24, 2007612 North Almont Drive, Los Angeles, California310.550.0050 • www.mbfala.com56 2006 Issue 4

galleriesSnow LandPeter Fetterman GallerySanta Monica, CaliforniaSnow? In L.A.? While the lack of frozen precipitation in the greater LosAngeles area makes it tough to deem anywhere in the region muchof a “Snow Land,” Bergamot Station's Peter Fetterman Gallery createsan exception in its upcoming show. Snow Land presents the first U.S. soloexhibition by acclaimed South Korean artist Byung-Hun Min and, in theprocess, offers the opportunity for Angelenos to take in winter in the moretraditional sense of the word.Featured in the show are Min's beautifully-captured, gelatin silver prints thatcelebrate the wintry Korean landscape. Min's bleak-yet-reposing shots, a result ofthe intermingling of the monotones and silvery-gray gradation that snow affordsthrough the black and white image, are often compared to traditional Korean landscapeink paintings in their ability to evoke serenity and introspection. Min’s handcraftedprints were recently acquired by the San Francisco Museum of Modern Artand are on display at Peter Fetterman Gallery from February 3 rd to March 24 th .February 3, 2007 – March 24, 2007Bergamot Station2525 Michigan Avenue A7, Santa Monica, California310.453.6463 • www.peterfetterman.comMartin Mull, The Lure of Real Estate, 2006. Oil on linen. Image courtesy Patricia Faure Gallery.Second HomePatricia Faure GallerySanta Monica, CaliforniaAchange is in the wind at Bergamot Station's Patricia Faure Gallery.After twelve years at the helm of the gallery bearing her name,Patricia Faure is officially handing the reigns of her operation overto Cartelle Gallery founder Samuel Freeman. At a spry 78 years of age, Ms.Faure will retain an active role in guiding the gallery but will step down asexecutive director.According to gallery operators,the change in ownership will not be earth-shattering.Thegallery will continue to operate under the name Patricia Faure Galleryand will maintain the tone and quality set forth by Ms. Faure during her years at thehelm.To celebrate the formal transition to new ownership, the gallery has assembledan inaugural show entitled Second Home, opening December 9 th .The title Second Home is a reference to the 1990 Home exhibition, held at theAsher/Faure Gallery, Faure's previous operation. In Second Home, participating artistsengage the subtle intricacies of suburban life, revealing colorful juxtapositions ofbanality, idiosyncrasy and humor. From a rifle-wielding young woman to a weatheredtrailer parked on an isolated expanse of land, Second Home unravels a paradoxicalsubtext underlying the orderly facade of the American suburb.The show includesworks by Martin Mull, Carrie Jenkins,Alejandro Gehry, Blue McRight and others.Byung-Hun Min, SL095 BHM, 2005. Gelatin silver print. Edition of 10. Imagecourtesy Peter Fetterman Gallery.December 9, 2006 – January 20, 2007Bergamot Station2525 Michigan Avenue B7, Santa Monica, California310.449.1479 • www.patriciafauregallery.com58 2006 Issue 4

galleriesBelow: Patti Smith, Pope’s Slippers, 2006.Gelatin silver print. Edition of 10. Copyright© Patti Smith. Image courtesy RobertMiller Gallery, New York.Selden Gile, Spring in Muir Woods. Oil on canvas. Image courtesy George Stern Fine Arts.Important Paintings by EarlyCalifornia ArtistsGeorge Stern Fine ArtsWest Hollywood, CaliforniaIn its exhibition Important Paintings by Early CaliforniaArtists, George Stern Fine Arts provides a reminderof the rich artistry the Golden State has fosteredthroughout its history.The extensive collection on displayfocuses on a plethora of California Impressionistsand Modernist masters, including Franz Bischoff, JessieArms Botke, Conrad Buff, Alson Clark, John Frost,Selden Gile, Percy Gray, Sam Hyde Harris, ClarenceHinkle, Joseph Kleitsch, Emil Kosa Jr., Paul Lauritz, JeanMannheim, Edgar Payne, Hanson Puthuff, Guy Rose,Donna Schuster, Millard Sheets, Dedrick Stuber, ElmerWachtel, Marion Wachtel,William Wendt, and others.January 13, 2007 – February 26, 20078920 Melrose Avenue,West Hollywood, California310.276.2600 • www.sternfinearts.comPatti Smith,A Pythagorean TravellerRobert Miller GalleryNew York, New YorkIt’s been three decades now since New Jerseybornsinger, songwriter and artist Patti Smithbegan gracing us with her experimental andoften challenging creations. It’s no wonder then, thather new exhibit at the Robert Miller Gallery in NewYork—running December 1 st to January 13 th —is sohighly anticipated. Titled A Pythagorean Traveller, theexhibit draws from a collection of photographsSmith herself took over the past three years.Throughout her career, Smith has turned tophotography for a retreat from the world ofmelody; an early seventies bout with Polaroid collagespreceded a 1995 stint photographing Tibetansinging bowls, which in turn led to her more recentwork. “After the events of September 11 th , I beganmaking silk screens of an image of the remains ofthe south tower of the World Trade Center,” recallsSmith. “The immediacy of the process was a relieffrom the long, involved process of drawing, recordingor writing a poem.The feel of immediacy drewme back to the Polaroid.”Gallery Director of Photography Royce Howesis thoroughly thrilled with A Pythagorean Traveller.“What excites me most about Patti's photography,”he says,“is her uncanny ability to coax from her simpleinstrument—a vintage Polaroid Land camera—in an almost alchemic process, personal and evocativeimages of great intimacy and simple beauty.”John McCarthyDecember 1, 2006 – January 13, 2007524 West 26th Street, New York, New York212.366.4774 • www.robertmillergallery.com60 2006 Issue 4

galleriesCardboardBobbie Greenfield GallerySanta Monica, CaliforniaLos Angeles’ Bobbie Greenfield Galleryinvites us to reconsider our respect forthe utilitarian with its show Cardboard.The artsy homage to packing materials featuresthree separate bodies of work created in theearly 70s by artists Guy Dill, Robert Rauschenbergand a team of designers that included the nowubiquitousFrank Gehry. While their aim in usingcardboard may have differed—Rauschenberg citeda desire to “work in a material of waste and softness”while Gehry and collaborators Jack Broganand Robert Irwin aimed to create furniture thatwas practical and affordable—what comes out ofthis montage of corrugated wood pulp is certainlynothing to be sent packing.So is there more to these works than their utilitariandispositions might suggest?Well, for one, Guy Dill’s 1971 The Last SupperSeries uses boxes the artist “borrowed” from a UPSdelivery truck.“The fun is learning the story,” says BobbieGreenfield, the gallery’s namesake and owner. “Anexhibition is an adventure.” Hunter A. PhillipsOctober 7, 2006 – December 25, 2006Bergamot Station2525 Michigan Avenue B6, Santa Monica, California310.264.0640 • www.bobbiegreenfieldgallery.comTop: Robert Rauschenberg, Cardbird Series, Cardbird VII, 1971. Corrugated cardboard, tape, photo offset and screenprint. Edition of 75.Above: Guy Dill, Untitled from The Last Supper Series (2), 1971. Cardboard and manilla line.Right: Jack Brogan, Frank Gehry and Robert Irwin, Easy Edges:Wiggle Side Chair, 1971. Edge board and corrugated cardboard.Images courtesy Bobbie Greenfield Gallery.62 2006 Issue 4

galleriesJim ShawPatrick Painter Inc.,East and West GalleriesSanta Monica, CaliforniaFor the greater part of the last two decades,artist Jim Shaw has been turning heads in theart world. Since his groundbreaking MyMirage first garnered him major recognition in 1991,the artist has been continually lauded for new andinnovative thematic explorations of the darkest cornersof the American psyche.This December, Los Angeles’ Patrick Painterpresents a dual-gallery exhibition of works by theLos Angeles-based artist, opening December 2ndand continuing through January 13th.The center of attention in the West Gallery isShaw’s Left Behind series, the bulk of which is made upof large-scale artworks consisting of painted-over, oldtheatrical backdrop paintings of Americana. Namedafter a popular series of eschatological books, the LeftBehind backdrops and other artworks examine themesrelating to the gradual decay of the American Dream.At its East Gallery counterpart, Patrick Painterpresents Dream Object (I was in my JapaneseGallery/Museum in Japan), a large-scale installation ofa teardrop shaped room. First realized during Shaw’s1999 European traveling retrospective, the largerthan-lifecomposition presents what can only bedescribed as a “dreamt of” installation—an amalgamationof images relating to Indians and Indian gamingthemes overlaid on a series of South Seas islanddecorative motifs.December 2, 2006 – January 13, 2007Bergamot Station2525 Michigan Avenue B2, Santa Monica, California310.264.5998 • www.patrickpainter.comImage courtesy of the artist and Patrick Painter Inc.64 2006 Issue 4

artist profileBeyond Goya’s GhostsThis fall, filmmaker Milos Forman brings Goya’sGhosts to the big screen, taking the extraordinaryhistorical and personal circumstances surroundingthe life of vaunted Spanish master Francisco José deGoya y Lucientes and imagining the kind of eventsthat could have shaped the artist, his work and hischanging outlook on the world in which he foundhimself. Art and Living’s Andy Johnson took a strollthrough the galleries of Madrid’s Museo del Prado—which house one of the world’s most extensivecollections of the artist’s works—in order to sortout the real Goya: his life, his passions and, most ofall, his art. Here’s what he discovered. By Andy JohnsonDuring his lifetime, Francisco José deGoya y Lucientes (born in a smallAragonese village, Fuendetodos in1746) went from being one of eighteenth and nineteenthcentury Spain’s most popular portraitists toa widely-revered progenitor of modern art.Despite his position as a commissioned portraitistfor the wealthy and the noble during his career—both before and after being officially named aspainter to the king Carlos IV in 1786—flashes ofGoya’s individuality and his tendency to break withthe conventions of the artistic strictures of his timecan be seen again and again in the broad spread ofhis oeuvre showing permanently throughout theMuseo del Prado. The artist’s darker work, producedafter he reached middle age, would becomea key inspiration for later movements likeExpressionism and Surrealism.Of Goya’s life, one thing is certain: he lived intrying times. In late eighteenth century Spain, the fanaticism of the SpanishInquisition was subsuming the forward-thinking ideas of the Enlightenment thathad been so fuelling intellectual life throughout Europe at the time; hate, suspicionFrancisco José de Goya y Lucientes, Self Portrait, 1815 (age69). Oil on canvas. Madrid, Museo del Prado.and ignominy within the more conservative sections of the elite began to grow.A direct indication of these harrowing times comes from Goya’s famousetching, ¡Lo que puede un sastre!, 1797-98 (What a Tailor Can Do!) from hisCaprichos series, displayed on the second floor of the Prado.What appears to bea monk towers over a young woman on her knees. However, on closer examination,the towering oppressor is simply a tree draped with a habit. The imagesuggests the essential emptiness of the ecclesiastical tyranny at this time but alsohints at the power of its outward symbolism alone. The message seems to be:dress up anything as a powerful figure and the innocent will kneel before it.In this etching, we can see where writer Jean-Claude Carrière may havefound inspiration for the plot of Goya’s Ghosts, which follows the events surroundingthe reinstated Inquisition’s persecution of Goya’s young muse Ines (played byNatalie Portman) for heresy despite Goya’s (Stellan Skarsgård) pleas to friend andInquisition spearheader Brother Lorenzo (played by Javier Bardem).Goya is believed to have suffered something ofa nervous breakdown between 1792 and 1793, whena mental and physical deterioration nearly killed himand caused him to go deaf. Another debilitating illnessstruck him in 1819, bringing him close to death for asecond time. The title and the disturbing content ofanother of Goya’s etchings from this tortured periodalso on show on the second floor of the Prado, 1797-98’s El sueño de razon produce monstruos (The Sleep ofReason Produces Monsters), suggests the forces plaguingthe artist’s beleaguered mind.Salas 36-38 on the first floor of the Prado arehome to Goya’s Pinturas Negras (Black Paintings),transferred to canvas from the walls of the artist’sQuinta del Sordo (“The country house of the deafman”) residence near Madrid, where he livedbetween 1820 and 1823. In these works, Goyabroke from almost every Rococo and Neoclassicalinfluence when he painted over landscapes—originallyintended as pleasant and pastoral scenes to decorate the walls of hishome—with images that draw from mythology and legend and reflect thedepravity, violence and war that surrounded him.66 2006 Issue 4

Above: Francisco José de Goyay Lucientes, The Family ofCharles IV, 1800-01. Oil oncanvas. Madrid, Museo delPrado.Right: Francisco José de Goyay Lucientes, Naked Maja, 1797-1800. Oil on canvas. Madrid,Museo del Prado.Art and Living 67

artist profileFrancisco José de Goya y Lucientes, The Dog, 1820-23. Oil mural passedto canvas. Madrid, Museo del Prado.Francisco José de Goya y Lucientes, The Sleep of Reason Produces Monsters (Capricho 43),1797-98. Etching and aquatint, Madrid, Museo del Prado.Great He-Goat (or Witches Sabbath), which occupied thewhole of the lower left wall of Goya’s quinta, depicts a darkmaelstrom of a terrifying pagan ritual in broad, expressionisticstrokes. Mouths of witches and watching figures hang opengrotesquely in a manner that, like so many of Goya’s BlackPaintings and etchings, was largely anathema in painting at thetime, certainly in portraiture. The animalistic nature of thehuman organism is conveyed by the open mouth, as opposed tothe the proper, austere rictus of pursed lips required in traditionalrenderings of the time.His The Dog is devoid of landscape and renders thepoignant and enigmatic image of a solitary dog staring up andout of the frame as if helpless, caught in the tide of someunknown force.The largely abstract image is ahead of its owntime, to say the least. Catalan surrealist Joan Miró asked to beshown The Dog and Velázquez’s Las Meninas on his last visit tothe Prado before his death. He gave both paintings equalweight by spending the same amount of time in front of each.Goya left a civil war-torn Spain in 1824 after being tried bythe Inquisition for obscenity for his painting of the salacious LaMaja Desnuda, 1797 – 1800. He was largely ostracised from exaltedSpanish social circles (which were his bread and butter) and,as a result, subsequently withdrew himself from public life.Goya died on April 16th, 1828 in Bordeaux at the age of82. His ashes were buried in the chapel of San Antonio de laFlorida, Madrid.Tourist Office of Spainin Los Angeleswww.spain.infoMadrid Board of Tourismwww.munimadrid.es/turismoMadrid Tourism Centerwww.esmadrid.comPrado Museumwww.museoprado.mcu.es68 2006 Issue 4

ART and Living is designed to be informative, educational and passionate with an abundanceof information regarding the world of art in all its splendid forms.There is onecommon thread that binds all who call themselves artists may they be designers,sculptors, painters, culinary masters: intensity about their life and a passion to create.Give the Gift of Art and LivingArt and Living makes the perfect holiday gift for friends,family and employees. Please contact us at 310.313.3171for details and discounts on orders of 20 or moresubscriptions ($30 per year).Also subscribe online by credit card using our secure server:www.artandliving.comEvery issue includes these informative features from the world of ART:Gallery and Museum Exhibition summarys for each issue’s selected venues from around the globeartist profile: A personal point of view as taken from the artist themselffor the arts connoisseur: A and L’s take on a prominent topic within the arts industriesarts extra: Delving deeper into an art-related current eventthe art of antiquities: Whether fine rugs or 18th-century candelabras…we highlight a showplace and offer a brief history…and more surprises!also including… Art Day: How and where to spend your Saturdays—looking, buying, dining and relaxing…And from our LIVING department:the art of the chef:Dining in the utmost of the wordthe art of the escape:Get-aways inspired by touring the artsthe art of architecture:Who is changing the skyline in your city?the art of design:finding those who help make your home…your own…wrapping up with amuseum and gallery calendar of eventsDon’t Miss An Issue! SUBSCRIBE NOW.Please send me 4 issues (one year) of ART and Living for $36(add $40 for international subscriptions)Name _____________________________________________________________________Address: ___________________________________________________________________City: _____________________________ State: ______________ Zip: ________________Country: ______________________email: ______________________________________Please send this coupon and check made out to ART and Living to:8306 Wilshire Blvd., #2029, Beverly Hills, CA 90211TEL: 310.313.3171Also subscribe online by credit card using our secure server:www.artandliving.com

the art of antiquesAlive with HistoryGallery owner and antiques connoisseurRichard Shapiro acts on his passion, fulfills hispassion, and shares his passion for unique andmasterful period pieces By Janet MargolisDo enough soul-searching to give yourself permission to have art andaesthetics front and center in your life,” deems Richard Shapiro. It isthis same guidance he likes to impart to the visitors to his Antiquesand Works of Art Gallery on Melrose Avenue in Los Angeles. A personal collectorfor over thirty-five years, Shapiro displays an unbridled passion for art and antiques.After years of dedicated study, Shapiro believes that the pieces in his gallery areembodied with both aesthetics and historicism. Inspired by the late Renaissanceand the all-encompassing Baroque spirit, Shapiro searches for rare and unique artand period pieces as the essential elements of his world.Richard Shapiro in his gallery. Photo by Steven Barston.Growing up in an environment that encouraged the creative process, Shapirolooked beyond aesthetics; he was constantly fascinated by the details in a work ofart. He still continually analyzes why something looks good, not just that it looksgood. His own personal collections reflect this penchant for detail, which emphasizesthe importance of collecting the best possible work by an artist or a collection.From his first collection of 18 th century rifles to his collection of contemporaryart—which includes work by Lucio Fontana and Sol Lewitt, to name a few—to his carved, 16 th century The Warrior David sculpture, Shapiro believes in buyingthe very best representation of the artist.Six-light chandelier,Venetian, ca. early 19th century. Gilt iron. Photo by Doug Meyers.“Don’t just chase after a name,” explains Shapiro, “Buy the best you canafford, one that is carefully and thoughtfully curated with the methodology that is70 2006 Issue 4

esearched and correct. Beautiful things that are done aesthetically have soulrather than cost.”Standing in front of a monumental and extremely rare Tuscan walnut twophasecabinet (Italy, ca. 1650), Shapiro takes pleasure in its unique architectural quality.Its overwhelming scale and presence, coupled with the carved design, make it astatement in any room—not just a piece of art. Shapiro searches out these uncommonpieces from a variety of sources: antique dealers, auctions, fairs and privateestates throughout Italy.The Warrior David, a wooden statue of a youthful warrior, is an attention-grabber.Thiselaborately carved, 16 th century Italian walnut piece represents an unusuallyintense and masterful depiction of David, an immensely popular Old Testamentfigure in Renaissance Florence.The skill of the carving, combined with the quirkinessof the details of the warrior—its long neck and somewhat funny face—are examplesof the distinctive characteristics Shapiro looks for in his pieces.Intrigued by the interiors of residences throughout Italy, Shapiro was inspiredto create Studiolo, a line of contemporary furniture created and designed to accentuatethe grandest of each antique period piece in his salon. “When I traveledthrough Italy I noticed the nonchalance and casualness in the decor,” he remarks.“Itwas their approach toward design and decoration that struck me.” Studiolo appealsto the sophisticated palate.The classic shapes and colors do not try to be the focalpoint of a room, but rather compliment and intrinsically combine with a Baroquepiece, for example.The Warrior David, Italian (possibly Florentine), late 16th century. Walnut. Photo bySteven Barston.According to Shapiro, the personal fulfillment in providing these extraordinarypieces for his clientele far surpasses the tedious and time-consuming processof transporting them into the country.“I am truly driven to create a spiritual environment,promote connoisseurship, and develop a hierarchy of all things that arespecial and unique,” he smiles.He enjoys showing patrons around and marvels at the way they react to theGilt wood canapé, Italian, ca. 1760. Gilt wood, pattern-imprinted leather following methodsused in the period. Photo by Doug Meyers.pieces in his salon.“I never feel pressure in having to do business,” he says.“It’s all veryeffortless, very easy to me. It is my true calling.”Art and Living 71

for the art connoisseurArt in L.A.The upcoming 12 th Annual Los Angeles ArtShow is the talk of the town. Art and Livinginvestigates. By Casey FisherDuring the past 12 years, theLos Angeles Art Show, hostedby the Fine Arts DealersAssociation (FADA), has featured nationaland international galleries exhibitingthousands of works including historical,modern and contemporary art. It hasbeen the only West Coast event whereart connoisseurs can experience currentart trends from around the world.Although in the past it hasbeen known for exhibitingmainly traditional works of art,during the last six years theLos Angeles Art Show hasbridged the gap between traditionaland contemporary artto become the highly respectedart venue it is today.“The Los Angeles artmarket has finally come into its own and buyers are more sophisticated thanever before. Buyers and patrons should expect a dynamic show on par withthe country’s most prestigious art shows,” says Los Angeles Art Show ProducerKim Martindale. “What is different about this year’s Los Angeles Art Show isthe decidedly more contemporary look and theme, as opposed to years past.We have decided to go all out with the new theme due to enormous responseand demand.”Helen Lundeberg, Portrait of Inez, 1933.Oil on celotex. Louis Stern Fine Arts.Ugo O Giannini, Landscape, signed and dated 1951.Gouache on paper. Louis Stern Fine Arts.Along with the traditional masterpieces to be exhibited, many galleries participatingin the show are highlighting contemporary artists who are beingexhibited in major museums around the world. Barker Hanger in SantaMonica—the venue for the art-stravaganza—will house works from Rembrandtto David Hockney; other renowned artists will include Jim Dine, Pablo Picasso,Robert Motherwell, Edgar Payne and William Wendt. The show will be anBrian Rutenberg, Pine, Palm & River 9, 2006. Oil on linen. Jerald Melberg Gallery.Jim Dine, The Marriage of Linen & Sand, 2006. Oil, acrylic, charcoal and sand on linen.Jonathan Novak Contemporary Art.opportunity for visitors to see contemporary pieces that are making a majorimpact on the art world today.According to last year’s sales and attendance at the show, Los Angeles’ artbuyers continue to be serious about collecting. Stuart Denenberg—whosegallery, Denenberg Fine Arts, covers the gamut of traditional and contemporaryfine art—recalls,“More than any other year, patrons were there to buy. Sales werevery strong and more than a few galleries sold multiple pieces.Also, the after-saleswere greater than we had ever anticipated.”On January 24, 2007, the Los Angeles Art Show presents an opening galareception to benefit the Los Angeles County Museum of Art’s Art MuseumCouncil.This year’s art show will showcase non-profit art institutions such as theLos Angeles County Museum of Art (LACMA), the Museum of ContemporaryArt (MOCA), the Museum of Latin American Art (MoLAA), the Ventura CountyMuseum of History and Art and the Autry National Center.The 12th Annual Los Angeles Art Show: Five Centuries of ArtBarker Hanger at the Santa Monica AirportJanuary 25, 2007 – January 28, 2007310.822.9145. www.laartshow.com.info@laartshow.com72 2006 Issue 4

arts extraThe International Foundation for ArtResearch: Facilitating Small MiraclesThe International Foundation for Art Research(IFAR), headquartered in New York, wasrecently instrumental in restituting to the heirsof its rightful owner a Nazi-looted drawingformerly attributed to Rembrandt. By Molly TorsenThe drawing of pen and bistre on paper, entitled The Liberation of St.Peter from Prison, was part of the vast collection of Old Master worksin the hands of the late Dr. Arthur Feldmann of Brno, Czechoslovakia.Upon the Nazi invasion of Czechoslovakia on March 15th, 1939, Dr. Feldmann’scollection was seized and Feldmann and his wife were captured. Feldmannwould die after imprisonment and torture; his wife was sent to Auschwitzwhere she too perished.The Liberation of St. Peter from Prison would remain at large until 2002,when the American owner of the drawing learned that it may have belongedto Feldmann’s collection. After analysis, IFAR deemed that it was indeed one ofthe works stolen from Feldmann on that day more than sixty years ago and,as such, the American owner offered to return the painting to Feldmann’s heirswithout compensation.“The extraordinary gesture of the American owners who have chosen toremain anonymous,” says IFAR Executive Director Dr. Sharon Flescher, “to learnthe truth about a drawing for which no claim had been made to them, and thento offer to restitute the work without recompense or public recognition cannotbe overestimated.”IFAR was established in 1969 to serve as an impartial and scholarly body toeducate the public about problems and issues in the art world and to researchand authenticate works of art—public services it still offers. It later expanded itsareas of interest.IFAR has been involved in discussions surrounding the complex issues relatingto Holocaust-era restitution since 1979, when it covered the landmark civilsuit Weimar State Picture Gallery v. Edward Eliçofon. A pair of portraits by Dürerhad come to light in the private collection of New York lawyer Eliçofon, whodeclared that he had bought the paintings in good faith from a young soldier for450 dollars in 1946.The complex and protracted controversy between Eliçofonand the Kunstsammlungen zu Weimar was settled by the New York Court ofAppeals in May of 1982, with an order for the restitution of the paintings to thecity of Weimar.Formerly attributed to Rembrandt, The Liberation of St. Peter. Pen andbistre on paper.The drawing was restituted to the heirs of ArthurFeldman in November, 2004. Image courtesy IFAR.During the same timeframe that IFAR was covering this case, it created thefirst international archive of stolen art available to the public and became a worldleader on the issue and its many ramifications.In 1991, IFAR helped create the Art Loss Register as a commercial enterprisein order to expand and market its database. IFAR managed ALR's American operationsthrough 1997; the next year the ALR assumed full responsibility for thedatabase, although IFAR retains ownership. ALR now has offices in New York,London and Cologne and is planning a Russian office in St. Petersburg, Russia, withthe help of the Getty Museum and Trust. IFAR remains actively involved in thelegal and educational issues surrounding the ownership and theft of art and worksclosely with the ALR and Interpol to prepare the “Stolen Art Alert” section of thequarterly IFAR Journal.74 2006 Issue 4

acting on artMull’s AdventuresMartin Mull keeps visual art his true priority By Elliot V. KotekDespite more than a youthful dalliance as a pole-vaulter and aHollywood career that provided a “cushion” that has enabled himto paint on his own terms, Martin Mull has tread a true artist’s tracksince the age of three.Inspired by the Saturday Evening Post as well as the Life and Look magazineshe leafed through as a child in his grandmother’s attic in Northern Ohio, Mullcreates collages out of images from as many as ten different sources, then paintsthe whole thing from scratch with devilishly demure detail—a style which Mullidentifies, through an appropriate smirk, as “Saturday Evening Post-modern.”“Basically, I’m a figurative painter, a representational painter,” he divulges, “Iwould not say that I’m a photo-realist because I’m not—photorealism goes toa whole other (and more compulsive) place. My stuff might give the effect ofphotography without being photorealistic. It’s recollective.”Mull at home in his above-garage studio. Photo by Steven Barston.Recently showing at the University Art Gallery at San Diego State University,the Adventures in a Temperate Climate retrospective (which began at the Las VegasArt Museum) recalled forty-two pieces of suburban culture-scapes that Mull haslulled into two-dimensional captivity over the past twenty-plus years.The retrospective is a time for introspection for the Cleveland Browns fan.“It’s great seeing them again, it’s like a town meeting, y’know, surrounded by allthese things that I grew up with that I’d never seen in the same room…I’d forgottenabout certain parts of some paintings, some happy accidents,” says Mull.“There was a great quote—from Matisse I believe—that people make art in spiteof themselves. It couldn’t be more true.”Martin Mull, Art Appreciation, 2000. Oil on Linen. Image courtesy the artist.Although a couple of humorous pieces evidence Mull’s dabbling with acrylicsand canvas in the 80s, the exhibition is constituted almost entirely by oils on linen.76 2006 Issue 4

Martin Mull, Emotional Insurance, 2000. Watercolor on paper. Image courtesy the artist.Mull admits,“I just like the paint and acrylic just doesn’t do what oils do, it doesn’tfeel the same on the brush to me; I like the smell, I like the history.”Just as the retrospective enables Mull to reminisce amongst old “friends,” thepieces in turn quintessentially distill the essence of 1940s/1950s middle America.“It isn’t a societal commentary like ‘Boy, look what we’ve lost,’ or,‘Boy, look wherewe’re headed,’” Mull laughs. “It’s not that generous. It’s more about my ownchildhood and trying to understand what it all meant. And if the viewer says ‘Mygod, we’ve lost it,’ ‘Those were the good old days,’ or even ‘Boy, we’ve come along way’ or any of that, then so be it. I’ve made an object, and hopefully it’s anobject that’s evocative.”Despite the inherent societal commentary of any art that reflects a timewhich is not the present, Mull indicates that, at the “inconceivable” age of 63, hiswork is self-exploratory,“just in terms of growing up, everything goes so fast andyou don’t have much time to examine it, it’s just like ‘Whoa…what was that?’ andso, in a way, it’s trying to go back, and trying to examine some of the visual emotionsthat substantiated and described…my life.”That sense of self as his craft’s compass points seems to translate into a senseof his work’s utilitarian importance. “I believe in what Samuel Goldwyn said: thatmessages should be sent by Western Union. People come up and say ‘What doesit mean?’ but I ask myself the same question. I just work on things until the combination—ofthe structure of the piece, the tension between the images, thecolor—the whole thing will coalesce into something that takes me back, or seemsfamiliar, or seems like it hangs together. And then I stop.”With his work now held (among many other places) in the public collectionsof LACMA,The Metropolitan Museum of Art,The Whitney, the Orange CountyMuseum of Art, the Harvard Museum of Fine Art, as well as the private collectionsof Richard B. Sachs, Steve Martin, New York’s David Beitzel, and BergamotStation’s own Patricia Faure, it’s fair to say that Mull’s work achieves more thanthat seemingly modest purpose of self-fulfillment.Maintaining a disciplined, 80-hour work schedule (with breaks for baseballcoverage when the afternoon light streaks across his studio), Mull works in thesolitary vacuum of his sizeable studio above the garage of the Brentwood homeArt and Living 77

acting on arthe shares with wife, Wendy, their daughter, Maggie (when she’s not at college),canines Spot and Max, and a feline named Scamper. In reference to the albums herecorded in the 70s and his thirty years in film and television, Mull affirms that heneeds no outlet for his creative talents other than his painting.Mull attributes much of that inspiration being engendered by his collegeeducation, and proclaims, “The day I set foot at the Rhode Island School ofDesign completely altered my life. People talk about being born again; I literallywas born again the minute I put my bag down in the dormitory. Coming fromwhere I did, the entire world of visual art was new to me and so everything Iwould look at I would just glom onto and copy and cheat from and steal. Duringmy college years, the most formative influence of all was probably Matisse, onlybecause I just studied and studied him in terms of structure and color. He’s just,to me, the Western master.”With the explanation that it makes sense to him “absolutely,” the followingquote by pop artist Gerhard Richter resides above Mull’s desk:“Painting is the making of an analogy for something non-visual and incomprehensible,giving it form and bringing it within reach, and that is why goodMartin Mull, 1,000 Cookbooks, 2002. Oil on linen. Image courtesy the artist.paintings are incomprehensible.”Inside Mull’s Brentwood, California studio. Photo by Steven Barston.78 2006 Issue 4

the art of the craftFraming the SceneWhile paintings may always be the real starsof the show, Jerry Solomon Enterprisesmakes sure their presentational companionsare just as artful By Victoria ChartersSo you’ve just bought a great painting that needs a fitting frame. Or maybeyou’ve got a tricky frame restoration job that you wouldn’t trust to justanyone. Where to go?“If nobody else can do it, bring it to Jerry Solomon,” pronounces JerrySolomon, owner of acclaimed frame-making operation and one of Los Angeles’best kept secrets, Jerry Solomon Enterprises.Picture framing has been the Solomon family business since the turn of the century,beginning with Solomon’s grandfather in Europe and continuing across theAtlantic to Chicago with his father and uncles. Solomon inherited his family’s passionfor framing.“Since I was a little boy, I used to go down to the factory with my father.That was my biggest thrill and, as I learned more, my appetite grew,” he says.TodayJerry is delighted that his son Fred has also chosen to join him in his vocation.Solomon with his portfolio. Photo by Jim McHugh.Solomon’s official work as a framer started when he moved to LosAngeles in 1956. “It was the beginning of a time when a lot of Impressionistcollections were being formed in the Southern California area. I used to goto Edward G. Robinson’s house in the evenings to hang pictures—he used tocall me the bear because when I took off my shirt I was kind of hairy,” helaughs. “I worked on the collections of Cary Grant, Billy Wilder, Swifty Lazarand Frank Sinatra.”Shortly after opening his own framing business, Art Services, in 1964,Solomon and associate Ken Tyler started Gemini Gallery, the self-publishing artists’The regilding of leaves is a Solomon forte.The process involves the very delicate useof a camel hair brush. Image courtesy Jerry Solomon Enterprises.workshop, on Melrose. At Gemini, the artists do all of the drawing or carvingdirectly onto the printing elements to create their limited edition prints and sculp-80 2006 Issue 4

tures. It was here in 1965 that Jerry first began framing for David Hockney; to thisday, he handles all Hockney framing worldwide.Solomon also frames many other Gemini artists, including Jasper Johns,Robert Rauschenberg, John Baldessari and Josef Albers. “While working withGemini, it became quite apparent that a total new look in contemporary framingwas necessary.That’s when we developed the lucite box; we developed weldedaluminum framing, we developed the natural hardwoods while everyone else wasstill doing pre-finished moldings.The contemporary frames really took off.”In addition to handling contemporary works, Solomon’s workshop also createsauthentic reproductions of French, Italian or Spanish period pieces. “Wehandle restoration of oil paintings and works on paper. We do a lot of re-gilding,”he says, noting that it “is a very exacting process; it’s done by lifting the leaveswith a camel hair brush, because you can’t touch it or it will disintegrate.”Solomon continues, “Another item which most people are not aware ofBurnishing with an agate stone. Image courtesy Jerry Solomon Enterprises.is that we resize frames. In other words, if there’s an antique frame and it’sgreat for a painting, but it’s too small, we resize it by cutting it apart and addingsections and making it bigger. Or the reverse—if it needs to be reduced insize, we do that.”Solomon’s extensive gallery client list includes art world heavyweightsGagosian, Margo Leavin, Shoshana Wayne, Marian Goodman, Cambridge Art,Louis Stern Fine Arts, and Martin Lawrence. His hospitality division handles framingfor The Four Seasons Resorts, MGM Grand Resorts and Ritz Carlton Resorts,among many others.And with big names often come raised stakes—high profile jobs keepSolomon on his toes.“I think the most valuable painting we framed was an originalRembrandt for the Norton Simon Museum,” he recollects. “They came overwith armed guards and we had the frame [ready] and they stood by while we putHand carving. Image courtesy Jerry Solomon Enterprises.the painting into the frame with gloved hands.”Art and Living 81

the art of givingFrederick R. Weisman Art FoundationA shared passion forart brings a legacy ofappreciation By Layla RevisSomeone once asked the late FrederickWeisman, “How do you ever decidewhich piece of art to buy?”With a grin on his face and a sparkle in hiseyes, he pointed to his heart and said, “If it hitsyou right here, you go for it.Works of art you arepassionate about are like children—you canalways make room for more!”And that is precisely what Mr.Weisman did.He bought art that moved him and made roomfor it at his home, place of business and Americanembassies around the world; he gifted to variousmuseums, hospitals, universities and organizedtraveling exhibitions.Born in Minneapolis, Mr.Weisman moved toLos Angeles with his Russian immigrant family atthe age of seven. The Weismans moved aroundInterior view of the Frederick R. Weisman Art Foundation’s Annex Gallery (designed by Franklin Israel) with sculptures by DuaneHanson, Donald Judd, and Keith Haring; paintings by Andy Warhol, James Rosenquist, and Morris Louis. Photo by David Moore.the city constantly; because the family never stayed in one place long enough tohang anything on the walls, when he later settled in a place of his own he coveredthe walls with memorabilia and images of art from calendars.Mr. Weisman went on to become quite an entrepreneur with a restlessenergy for marketing and business. Eventually, he married Marcia Simon, the sisterof noted art collector Norton Simon. With Marcia, he moved from hangingreproductions to collecting great contemporary art.He became a maverick among Los Angeles collectors, leaving a legacy ofworks that both tour internationally and that are permanently installed at theBeau Bradford, Frederick R. Weisman & Billie Milam Weisman, 1993. Acrylic and silk screen oncanvas. Image courtesy Frederick R. Weisman Art Foundation.Frederick R. Weisman Art Foundation. He donated contemporary art tonumerous museums as well as provided funding for the establishment of theFrederick R. Weisman Museum of Art at Pepperdine University and at theUniversity of Minnesota, Minneapolis.Giving back to the same public who had enabled his success, Mr. Weisman84 2006 Issue 4

was very active in Los Angeles museums and other institutions. He was a boardmember at LACMA for many years and a supporter of MOCA; in addition, heand Marcia established the Art Program at Cedars-Sinai Hospital.In the mid-1980s, he founded the Frederick R. Weisman Art Foundationand placed art for public view at his place of business designed by Frank Gehryand at his residential estate designed by Gordon Kaufmann (a Franklin Israeldesignedannex to house large-scale art was added in 1991).The estate has oneof the most extensive personal art collections in the world, holding over 500works of modern and contemporary art by European modernists Cézanne andKandinsky; Surrealists Ernst, Miró and Magritte; Pop artists Warhol, Lichtenstein,and Oldenburg; Abstract Expressionists de Kooning, Pollack, and Rothko; andcontemporary California artists Ed Ruscha and Joe Goode, among many others.He even went so far as to commission Ruscha and Goode to paint boththe exterior and interior of his corporate plane. He used to say,“I live with art,I work with art and now I even fly with art.”Mr. Weisman collected both established names and emerging talent. As moststill remember, he was far ahead of his time.“He was emphatic about young artistsand he said that to develop a good eye you just needed to look, look and constantlylook and be passionate about what you do buy,” his widow Billie Milam explains.“Frederick always said that if you’re successful in business you need to give backin meaningful ways,” she continues.“He gave considerably to organizations for mentaldisabilities and collected and shared art because he felt that the arts communicatedquicker than language and clearer than philosophy.” She adds that they both felt thatart helped individuals in all disciplines to think creatively as well as to enrich the soul.Billie was a museum professional and art conservator working with majorcollectors and the Trustees of LACMA when she first met Mr. Weisman.She describes their “life together with the arts as magical…we had somethingwe really loved in common as well as enjoyed knowing the artists. Fred taught mewhat I didn’t learn in school and that was to trust your passion and instincts.”If there wasn’t room for a work in their own home, Mr. Weisman would dothe unthinkable and hang it from the ceiling.“That’s how he hung Ed Ruscha’s TheWorld and Its Onions,” Billie remembers. Of the hanging creation, Ruscha himselfcommented, “…typical Fred!”Mr.Weisman was a free spirit not only in how he hung his art, but also in howoften he hung it. “We would move art around at all hours of the night and I usedto joke that he slept with a hammer under his pillow so that he could reach it easilyif he felt compelled to change things around.We used to joke that the walls werelike Swiss cheese because we moved the pieces around so much,” Billie smiles.Today, Billie continues her late husband’s legacy by keeping the foundationrunning smoothly. As its director, she travels all over the world to exhibit, strivingto perpetuate Mr. Weisman’s passion for the art of today and sense of loyalty tothe artists who have created it. Art was—and continues to be through the workof the Frederick R. Weisman Art Foundation—their passion.Tours are available by appointment only.310.277.5321. www.weismanfoundation.orgTop:View of the foundation’s Upper Landing with paintings by Alex Katz, Frank Stella andTom Wesselmann. Photo by David Moore.Bottom:The Front Circular Drive with sculptures by Robert Graham, Francois-XavierLaLanne, and a Native American Indian figure. Photo by David Moore.Art and Living 85

the art of the chefA Taste of ItalyItalians.They are, simply put, a people who have raised the level of living to anart form. From Italian Renaissance masters Michelangelo and Caravaggio toVenetian school painters Giorgione and Tintoretto, the names of Italian artists,philosophers, musicians and trendsetters are endless: da Vinci, Bernini, Fellini andFerrari, to name just a few.Whether it was Galileo’s laws of motion that created the basis of modernscience or Alessandro Volta’s invention of the battery that sparked power for generationsto come, Italians have set the standard of international style, science, andart with equal measures of ingenuity, imagination, taste and function. Everything itmeans to look, feel and sense is in their blood.Above: From left to right, San Domenico Co-owner Marisa May, Owner Tony May andExecutive Chef Odette Fada. Image courtesy San Domenico.Staying Italian in AmericaSan Domenico’s Odette Fada & Valentino’s Angelo Aurianareveal the secrets behind regional delicacies andthe art of authenticityFor eighteen years, an immaculately kept two-floor kitchen on New York City’sCentral Park South has been home to Tony May’s Italian American landmark,San Domenico, one of Food & Wine’s Top 25 Restaurants in the US.He is one of the nation’s most respected restaurateurs, beginning his careeroperating New York’s legendary Rainbow Room for twenty years, first as generalmanager, then as the owner.These days, May owns and operates San Domenico while his daughter,Marisa May Bocognano, greets guests as the youthful incarnation of what it meansto know Old Country tradition and New World novelty.San Domenico’s Fillet of Sea Bass in a tomato-zucchini herb broth with Sardinian cous-cous.Image courtesy San Domenico.“My dad cooked every Sunday and it was always a feast,” she explains.“Drinking and eating was an art. Whereas every other child ate peanut butter86 2006 Issue 4

and jelly, I had proscuitto and gateaux di patate. No one would trade with me…Idon’t even think they understood!” she laughs.Marisa gestures to the kitchen where she introduces me to Executive ChefOdette Fada, a petite Italian woman with jet black hair and a friendly, freneticstyle. Hailing from a town in Northern Italy called Brescia, she was recently nominatedby the James Beard Foundation as one of the best chefs in New York andis considered one of the best Italian chefs in the country. She is known for herwide range of delicacies including homemade Sea Urchin-filled Raviolini in a spicyscallop and cherry tomato ragu and Roasted Rabbit with green olives, marjoramand fennel marmalade.Cultivating her talents with inspiring trips to Union Square Market and twomonths a year in Italy, Fada brings back fine herbs, savory cheeses, and new techniques.“One dish I was proud to discover in northeastern Italy was Dumplings andSmall Plums—gnocchi with the entire fruit inside! I couldn’t find the plums hereso I went to the market and used figs instead.Yes, my inspiration was in Italy, butI had to come here to evolve,” she explains.Meanwhile, a coast away, for more than thirty years Piero Selvaggio continuesto set the standard for fine Italian fare with his lasting Los Angeles landmark,Valentino. A far cry from his days washing pots and pans at NYU’s cafeteria, henow counts Wolfgang Puck among one of his closest friends and commands arare sense of purpose when he enters the room, possessing an exuberant acceptanceof life seen only among the elite class of self-made men.“Twenty years ago, Los Angeles was the gastronomical capital of the U.S.;Californians were aggressive and curious. Chefs like Thomas Keller, Joachim, MichelRicard, and Nobu were beginning to hit the scene, but many only knew the immi-Above: From left to right,Valentino Santa Monica’s Angelo Auriana,Valentino Las Vegas’Luciano Pellegrini, Owner Piero Selvaggio and Giorgio at Mandalay Place’s Nico Chessa.Image courtesy Valentino.Top:Valentino’s Heirloom Tomatoes with Burrata. Above:The White Chocolate Semifreddo.Images courtesy Valentino.Art and Living 87

the art of the chefValentino owner Piero Selvaggio with his restaurant’s plentiful collection of wine. Imagecourtesy Valentino.Valentino’s Prosciutto with Honeyed Fruit. Image courtesy Valentino.grant Italian cuisine—chiantis in a flask, heavy garlic. Slowly, we introduced a morerefined cuisine. We imported the superb products from Italy that would makeeverything speak,” he explains.Describing the process of pioneering what has become known as “Italian” inLos Angeles, Selvaggio identifies the importance of the “clear taste” of longtime chefAngelo Auriana’s carefully chosen ingredients. Carpaccios, procuittos, and ventresca ina light pesto are exalted with fresh ingredients like melons, preserves, and spicesflown in fresh from Italy. Childhood influences like eggplant, smoked ricotta, andpachino (small red tomatoes) from Selvaggio’s native Sicily are married with thegreat olive oils from Puglia, truffles from Piedmont and the northern influences ofAuriana’s native Bergamo.“Think of blue jeans with a beautiful blouse.You can wear the jeans with a regulartee-shirt, but when you pair them with a fine silk top, your result becomessomething spectacular,” Selvaggio explains.“Italian food is such a versatile, ever-changing, multi-cultural thing,”Auriana adds.“I began my career working at Ristorante Angelo with Pierangelo Corneto, an amazingmentor. He was fond of antiques and paintings, a mentor full of philosophy andart. Customers came from Milan and Como to eat the trout and fresh lake fish butthe profession wasn’t as interesting back then.We were skilled artisans, but Italiansalways shine where there’s some individuality. It isn’t always best for a restaurant, butthat’s where Valentino excels…in keeping and maintaining a sense of local, culturalattachment. Authenticity.”With favorable forays into the wide world of fruits, cheese, meats, and pastas,it should come as no surprise that Italian cuisine is arguably the most famous in theworld: the shining star of the Mediterranean derived from ancient Greek, Roman,Norman and Arab civilizations.Having studied under Gualtiero Marchesi at his restaurant, Marchesi, OdetteFada watched her mentor as he adapted regional cuisines to eventually incorporatethe Vissani approach to fine cuisine, thereby exposing her to a more refined level ofdelicacy and ushering in what is now considered fine Italian gastronomy.Finding new motivations, while still maintaining a sense of authenticity, is a carefulbalancing act that both star chefs face.“I love to cook for wine,” Auriana reveals. “Our list at Valentino is like theDisneyland for adult connoisseurs. If I can get the ripest peach with the perfectdegree of sweetness and pair it with a Moscato d’Asti or select a Barolo or Brunellowith nuances of chocolate and rose and pair it with my food, it makes for a moreinteresting play of the senses.”Believing that the chef today is a performer, Auriana and Fada regularly attendevents and workshops to continually keep up with other masters like HomaroCantu, who recently developed edible menus that are printed with vegetable dyeand taste like the very creations printed on them.Who needs food when you can eat the menu? It may seem crazy to thetraditionalists who dine at San Domenico and Valentino, but Auriana appreciatesa clever touch.“You can go two hundred miles an hour or you can go eighty, but it would becrazy not to look to the future,” he smiles. Layla Revis88 2006 Issue 4

the art of the chefTwo Gentlemen of VeronaBack in the Italian countryside, time does more than fermentgrapes—it has forged a dedicated passion shared by wineaficionados Severino Barzan and Daniele ZamunerJust to the north of the A4 on the road from Milan to Venice lies the ancientcity of Verona. For centuries before Shakespeare laid the scene here for hisstar-crossed lovers, the city’s prime location made it a center of trade, culturalexchange and pursuit of the arts that exists to this very day.Today, among therolling hills at the foot of the Dolomite mountains, two men with very differentbackgrounds have pursued their individual passion for wine and arrived at veryesteemed places because of it.Severino Barzan was born near Aviano, Italy and, at the age of fourteen, wentto work in an uncle’s vineyard in the Champagne region of France. After studyingto gain the government certifications necessary to operate in Italy’s hospitalityindustry, in 1986 he bought an osteria in Verona known for its tradition of servingfood and wine. Over the next few years, the place known as Bottega Vini to the localsand Bottega del Vino to much of the rest of Europe and many cognoscentiAmericans became a place to enjoy the world’s great vintages in a casual, friendly andentirely approachable atmosphere.As the reputation of Bottega del Vino grew, Mr. Barzan faced a dilemma knownto restaurateurs the world over: great wine needs great wine glasses, but great wineglasses are notoriously fragile and known for their high prices and short life spans. So,beginning around 1995, Barzan set out to solve this sommelier setback. He beganSeverino Barzan (left) and Daniele Zamuner (right) share a devoted passion for great wine.Image courtesy Robert J. Hall.working with regional glass blowers to find a crystal formula (only crystal can achievethe combination of weight, balance and clarity sought by connoisseurs) that wouldmeet his exacting demands but be durable and dishwasher safe.The result of Barzan’s successful effort is a range of lead-free crystal wine glasses,the shape, weight, balance and clarity of which can only be made by hand usingcenturies-old techniques.Yet, because of their durability, they are remarkably inexpensive.Beginning as a ball of molten glass at the end of a blow tube, the glasses areblown into wooden molds and carefully shaped into their final configuration. TheAbove: The finished product. Imagecourtesy Bottega del Vino Crystal.Left: Bottega del Vino’s refined processinvolves drawing the stem out of thesuper-heated body of the glass. Imagecourtesy Bottega del Vino Crystal.90 2006 Issue 4

Above: Bottega del Vino glasses come in a variety of shapes and sizes. Image courtesy Bottega del Vino Crystal.Below: Zamuner wines hail from Villa La Mattarana in Verona, Italy. Image courtesy Zamuner.stems are drawn out of the main body of the bowl, creating a one-piece glass gracefulin every detail and much stronger than two-piece, machine-made chalices.Around the same time, in the early to mid-eighties, aman by the name of Daniele Zamuner, an engineer with along family history in manufacturing, began feeling the pangsof a desire felt by many but realized by only a few: to createa world class wine with his name on the label. More specifically,he was determined to make a pinot noir-based,French-style sparkling wine at home in Italy.There were twoobvious and daunting challenges that faced him: first, no producerin the region made a sparkling wine. Second—andperhaps more challenging—no producer in the region wasgrowing any pinot noir (known as pinot nero in Italy), so nolocal expertise was available. It would be “on the job” trainingin the truest sense of the word.As luck would have it, his family had a piece of land in the hamlet of Sona,located about halfway between Verona and Lake Garda. The ground there wasquite unique because it was situated right where a glacier had stopped tens ofthousands of years ago, leaving a deposit of the chalky type of soil native to theregion of Champagne and so well suited for the growing of pinot noir.Additionally,a micro-climate existed—a result of the interplay of warm air coming off theAdriatic Sea and cool air from the glacial runoff-fed LakeGarda—which provided the warm days and cool nights necessaryto successfully grow pinot noir. In the mid-eighties,existing olive and fig trees were removed and replaced withthe first Zamuner vines, allowing the cultivation of Zamuner’snow-famed wine.During the early nineties, Barzan and Zamuner beganto work together; Zamuner supplied his drive for perfectionin his beloved vineyard and Barzan assisted with his vastknowledge of the technical side of champagne. In April of2006, the two achieved a milestone when the officials ofVinItaly, the world renowned wine trade exhibition, presenteda seven vintage vertical of Zamuner Millisime Spumante. Each vintage was areminder of the individuality of each year’s character and—presented proudly inBarzan’s crystal stems—provided a great-tasting experience for visitors. Perhapsmore importantly though, the exhibition provided a great deal of satisfaction forthese two true gentlemen of Verona. Carlo BiggioggeroArt and Living 91

the art of escapeUniquely UrbanMadrid’s Hotel Urban bringsthe art of escape into the21st century By Andy JohnsonImages courtesy Derby HotelsHotel Urban is an art aficionado’s dream getaway—each room contains at least one piece of original art.Opened in November 2004, Madrid’sHotel Urban lies on Carrera de SanJerónimo in the heart of the Spanish capital—astone’s throw from the Spanish parliamentbuildings—and sits atop of one of the grandest promenadesin the city. Carrera de San Jerónimo leads downto Plaza de Canovas—a short stroll from the so-calledGolden Triangle formed by three of the world’s mostrenowned art museums: the Museo del Prado, theMuseo Thyssen Bornemisza and the Museo Reina Sofia.The hotel is at the cutting edge of technologyand design, as can be seen from a glance at the beautifullydesigned pieces that populate the interior of the building. From the PhillipeStarck chairs in the oyster and cocktail area to the Glass Bar to the Triade Studiodesignedtransparent chairs and bravura sofas in the rooms themselves, HotelUrban exudes contemporary chic.The hotel houses a private collection of art that includes 19 th century Hindu figures,Papua New Guinean art from the 19 th and 20 th centuries and Chinese portraitsfrom the 17 th and 19 th centuries. A Khmer stone statue—dating from the late 11 th centuryand rescued from the temples at Angkor—and extremely valuable Buddhist worksfrom the 3 rd century B.C. Qin and Han dynasties are also housed here.A collection ofEgyptian artifacts from the Clos Archaelogical Foundation lie displayed behind ebony andglass below ground level and are also distributed throughout the rooms of the hotel.Surrounded by a very heterogeneous group of Madrid buildings, a similarvertical composition was maintained in the Urban building so as to sit at a pointof contemporary reference in the center of the city rather than as a standoutsculptural creation. Architecturally, it’s Neoformalist, inspired by classical orderand—clad in a black Zimbabwe stone amid steel—the building exudes an effortlesslyelegant look that attempts to strike a balance between the monumentalOne of Hotel Urban’s luxurious duplex suites.exterior and the intimate ambiance of the interior design.92 2006 Issue 4

hotels in the center of cities around the worldincluding the Claris, Barcelona and The Caesar,London. President and patron Jordi ClosLlombart, overseer of the Hotel Urban andfounder of Barcelona’s public Museu Egipci, hasit right when he says that “it’s not old-style luxury,it’s a 21st century luxury hotel.”The hotel’s restaurant, Europa Decó, presentscreative Mediterranean cuisine from ChefJoaquín Felipe under the supervision of NationalGastronomy Prize winner Francisco Patón. “LaTerraza de Urban”, a terrace high above the city,offers spectacular views of the Madrid skyline.Tourist Office of Spainin Los Angeleswww.spain.infoMadrid Board of Tourismwww.munimadrid.es/turismoMadrid Tourism Centerwww.esmadrid.comUrban Hotelwww.derbyhotels.esHotel UrbanCarretera de San Jerónimo 34, Madrid, Spain34.91.787.7770 • www.hotelurban.comThe ground floor oyster and cocktail Glass Bar opens out to Carrera San Jerónimo, the Cortésand the Golden Triangle of world-class art museums.Architects Mariano Martitegui, Carlos Bassó and C. Cirici designed an opencentral tubular atrium supported with alabaster columns, pulling light and air forthe five floors directly from the Madrid sky.The interior of the hotel is very much designed for art appreciation and contemplationand the smattering of original Eastern pieces throughout adds a touchof exotic craft, evoking the ancient amid the ultra modern.The mix of influences is aimed at creating the perfect marriage between art,design and technology. Every one of the 96 rooms contains at least one piece ofart as well as the latest technological and aesthetic frills. A fiberoptic network runningthrough the core of the building enables data transfer at blistering rates; connectivityaugmented by the wireless antenna web around the site enables laptopuse beside the rooftop pool. Each of the suites is designed with the finest materialsavailable, from Wenge wood to Guatemalan green marble and white Thassos.Part of the Derby Hotels Collection, the Hotel Urban is one of eight uniqueThe hotel’s luxurious Europa Decó restaurant.Art and Living 93

the art of architectureIn the Works: Pacific Design Center’sRed Building BySteve BasiloneImages courtesy Pacific Design CenterCHARLES S. COHENDeveloping a Living MuseumAll of L.A. is well acquainted with the “Blue Whale”. Even if you don’t know it—you know it. It’s the mammoth, six-story, blue structure that lords over theintersections of Melrose and San Vicente. It, along with its nine-story green partnerto the north, is what we have all come to know as Pacific Design Center.Sitting on the 14-acre West Hollywood lot, the twobuildings combined make up for more than 1.2 millionsquare feet of space that have come to exemplifydesign excellence in Southern California.And soon the Blue Whale and its cohort, thePDC’s “Green Building”, will have a third color to addto the palette; a 400,000 square foot “Red Building”is to break ground at the beginning of next year. Thered, glass-clad complex of offices and parking will bethe third and final building for the PDC. Owner andDeveloper Charles S. Cohen is poised to have thevibrant building’s doors opened for business by 2009.The minds behind the Red: developer Charles S.Cohen (left) and architect Cesar Pelli (right).Developing successful real estate is no new trick for Cohen, who headsCohen Brothers Realty Corporation, a New York-based company that owns andmanages more than eleven million square feet of premiere office and showroomspace in L.A., Manhattan, Houston and Florida. With the Red Building, Cohenhopes to underscore the success of the PDC and turn a few heads while doingit. “It’s going to be a spectacular office building, one that will set a standard formany, many years to come,” says Cohen confidently from his Pacific Design Centeroffice. “What we have done is made an office building that will work, that isattractive, and that has a manageable floor size.”The innovative building, whose glowing red appearance falls somewherebetween a ship’s hull and a Legoland fantasy, will feature twostate-of-the-art office towers atop an enclosed parkingstructure that will be capable of accommodating 1,500 cars.And—as with the rest of the PDC—comfort and efficiencyis imperative.“We spend more time today then ever beforein our offices,” asserts Cohen.“So you see materials in officesthat you used to just see in the home.A lot of the elementsthat were strictly residential have now crossed over into theoffice environment.”To aid in this softening of the hard-edged office, bothtowers will feature sky lobbies that are to overlook somethingof an oasis—a meticulously landscaped palm court that offers expansiveviews of all of West Hollywood and beyond.“You want to be surrounded by elementsthat stimulate you. When you’re sitting in a spot that gives you pleasure,your work is going to succeed more because of it. Our environments allow us toachieve our potential.”An architectural rendering foreshadowing the future of the PDC. With the addition of yet another structure, the complexity and imposing nature of the PDC increases even further.94 2006 Issue 4

A rendering of the younger siblings of the Blue: the Green and the Red. Of his color choices, Pelli remarks, “Those were the colors that I thought would complement the blue very well.[The buildings] would be seen as something very different while at the same time be seen very much as part of the family.”In terms of the PDC’s potential, Cohen says that there is no one elementthat is responsible for the center’s rebirth over the past few years. “It’s the combinationof all the elements that have led to the renaissance,” he says, citing thepresence of Wolfgang Puck restaurants and a branch of the Museum ofContemporary Art as giving the PDC the accoutrements of a cultural destination.Now, Cohen looks forward to ushering in the cherry atop San Vicente andthe PDC’s newest beacon, the Red Building. It’s “a defining office building for thistime and place,” he beams.CESAR PELLIDesigning Spectacle with FlairCharles S. Cohen isn’t the only one red with excitement—79 year-oldarchitect Cesar Pelli is equally keen.The completion of Pacific DesignCenter’s new ruby edifice will mark the end of a three-decade journeyfor the world-renowned Argentinean.While currently based in New Haven, Connecticut with his firm Pelli ClarkPelli Architects, Cesar’s work has spanned the globe. September 15 th marked theArt and Living 95

the art of architectureopening of Pelli’s most recent opus, the magnificent Orange County PerformingArts Center right down the 405 in Costa Mesa. Clearly, the lively Pelli is nostranger to Southern California.Raised and schooled in Tucuman, Argentina, Pelli migrated to Los Angeles—via the University of Illinois—in 1964. In 1968 he began his tenure with Gruenand Associates, and it was there that he would begin his lengthy voyage with thePDC, which launched construction of the colossal Blue Whale in 1971. In 1977, afew years after the Whale’s completion, Pelli packed up his things, bid L.A. adieuand joined the Ivy elite as Yale’s dean of architecture.Pelli’s successes continued to grow in New Haven but, when the PDC calledin the mid-eighties, Mr. Pelli was happy to sign on and add to his original work.Theaddition was not as easy as he anticipated, though. “When we built the BlueThe Red Building’s lobby.Building, we thought that that was going to be a solitary element forever; it wasdesigned to be conceived as a form complete in itself. So, the Green Building wasa very difficult thing to do,” he comments.But he maintains that all the various changes that have altered the face of thePDC over the past thirty years have been instrumental in keeping the vitality ofthe complex. “If you look at the old photographs when the Blue building was allalone, it was not nearly as inviting—not nearly as large and complex or as imposingor as fantastic as it is now,” he says.Pelli’s architecture is what he considers an architecture of response. Of theRed Building’s inception, he explains, “We are very responsive and responsiblearchitects.This was a case where the needs and requirements of this building weresuch that they should be colorful and eye catching.” And so they are. It’s impossibleto drive down San Vicente, down Melrose, or even hike up Runyon withoutbeing very aware of the presence of Pelli’s handiwork.With a warm, liberal laugh,he says with great satisfaction, “If you’re driving down San Vicente you will nevermiss them. Even if you’re having an argument with your wife, these buildings willcatch your eye and you will know you are going by the Pacific Design Center.”The project’s completion date is a day that Pelli speaks of with the zeal of acar-happy teen just weeks away from his sweet sixteen. “Seeing the building finishedand occupied is the most gratifying. Until it is occupied, it has not reallycome to life,” he says, pausing pensively.“Because architecture is really about people.Seeing people enjoying and living and interacting and talking and havingA palm-lined courtyard promises to offer open, public space to West Hollywood.drinks—that to me is sheer joy.”96 2006 Issue 4

the art of architectureArchi-tailoredIn its latest show, Los Angeles’ Museum ofContemporary Art examines the ways inwhich architecture and fashion commingle intoday’s world By Daniella WalshThe pairing of fashion and architecture together in an art exhibition isn’tnecessarily intuitive. After all, the tailored creations of Comme desGarçons, Azzedine Alaïa and Vivienne Westwood may not exactly conjureassociations with archi-names like Frank Gehry, Rem Koolhaas, Zaha Hadidor Herzog & de Meuron. And yet, Los Angeles’ Museum of Contemporary Art(MOCA) has done just that with its latest show.Neil M. Denari Architects, High Line Project 23, 2005. Digital animation. Image courtesyNeil M. Denari Architects.Indeed, Skin + Bones: Parallel Practices in Fashion and Architecture is a pioneeringexhibition that evidences how contemporary fashion and architecture have ahand-in-glove relationship. Staged by MOCA’s Curator of Architecture andDesign Brooke Hodge, it illuminates the relationship of bones (structural framework)and skin (external surfaces) in fashions and buildings created by 46 architectsand fashion designers of the last 25 years.Hodge says that she began to conceptualize the show six years ago. “I’vethought for a long time how the two disciplines have borrowed from each otherand interact,” she says, citing as inspiration the sculptural garments of designer ReiKawakubo of Comme des Garçons and some of the more acclaimed examplesTodd Eberle, Untitled No. 1, 2003. Frank Gehry, Walt Disney Concert Hall, Los Angeles,California, 2003. Photo © Todd Eberle.of contemporary architecture.“Good fashion and good architecture are based onform and flow of line; they are timeless and not trend-based,” she explains.98 2006 Issue 4

Foreign Office Architects, Yokohama International Port Terminal, 1995-2002. Collection of theHeinz Architectural Center, Pittsburgh. Photo © Satoru Mishima.Hodge cites that some of Gehry’s building surfaces were inspired byJapanese designer Issey Miyake’s sculpturally pleated garments and that theSouthern California-based architect clad the Walt Disney Concert Hall in formedsteel much like Comme des Garçons’ Kawakubo wrapped the distorted femaleform she created with her seminal Body Meets Dress, Dress Meets Body collection.Italian-born architect/engineer/fashion designer Elena Manferdini—whosework appears in Skin + Bones—says that she approaches designing a dress muchlike she would the surface of a building. For her, it’s about transposing human scaleand form. Aiming to subvert preconceived notions of seams, materials, modulesand color, she tests her ideas on small-scale fashions with the goal of applyingthem to larger buildings. “The dress for the exhibition is the result of a comprehensiveresearch on the relationship between fashion and architecture. It seesclothing as a source of traditional and innovative techniques to introduce creativity,effect and taste to the mass culture of building standards,” she comments.Neil Denari, principal of Los Angeles firm Neil M. Denari Architects, says thatarchitecture, although market driven, allows architects to establish their ownnotion of fashion. “Buildings, much like apparel, translate into the identity of thebuyer,” he says. On the other hand, he suggests that architecture is also about stayingimpervious to trends while still remaining true to the timeframe in which abuilding is conceived. “History ultimately judges our work,” he concludes.Skin + Bones: Parallel Practices in Fashion and ArchitectureThe Museum of Contemporary Art, Los Angeles, CaliforniaNovember 19, 2006 – March 5, 2007250 Grand Avenue, Los Angeles, California • 213.626.6222 • www.moca.orgForeign Office Architects, Yokohama International Port Terminal, 1995-2002. Collection of theHeinz Architectural Center, Pittsburgh. Photo © Satoru Mishima.Herzog & de Meuron, Prada Aoyama Tokyo, Project 2000-01, realization 2001-2003.Courtesy of Herzog & de Meuron. Photo © 2003 Todd Eberle.Art and Living 99

the art of designFurniture and Design throughthe Magni-fying GlassIn a city that’s constantly moving, designerJames Magni strives to stay fresh By Steve BasiloneThere is a faction of fashionable Angelenos out there who can proudly saythey’ve had their homes “Magni-fied”. Behind this wave of “Magni-fication”is none other than interior designer extraordinaire, James Magni.Born and raised by Italian parents in the Midwest, Magni attended the Universityof Nebraska, Lincoln. Though his initial plan was to study sculpture, the ambitionquickly went by the wayside when a professor told him early on that he didn’t havewhat it took to be a professional sculptor. He changed gears and began to studyarchitecture, at the time thinking that it would be the most logical second choice.Despite having some self-proclaimed difficulties with the math, he graduated,quickly got out of the Midwest, and went to work for HMBH in Dallas,Texas. It wasthere that he quickly developed a love for interior design. He did a few homes andThe face behind MAGNI, James Magni. Photo by David D’Angelo.began developing elaborate client personality profiles and questionnaires as long astwenty pages in order to really, as he puts it, “get into their heads.” He wanted tolearn everything about his clients—how they lived, what their hobbies were, evenhow they stored their underwear. “You have to know every single thing about ahuman being right away to be effective as an interior designer,” he says.“I guess I always wanted to be a psychologist,” he adds with a generous laugh.“And I realized once I got into interior design that furniture design is really just a formof sculpture, so I kind of went full circle. And the furniture is what initially drove a lotof clients—they would see the furniture and hire me on as an interior designer.”He found some investors in Frito-Lay and the Hunt Family and in 1990 setup shop in the City of Angels. Since then, he’s been bringing his furniture andPlaza. Lounge chair upholstered in MAGNI classic white.own brand of sensual interior design to Southern California and beyond.“I think100 2006 Issue 4

sensuality is super important, the way things touch and feel and smell is veryimportant.You know, when you’ve been in a space—a restaurant, or a club, or ahome—that’s just special. That’s what we’re shooting for—that feeling.”These days though, Magni says it is becoming increasingly more difficult tostay ahead of the curve.“HGTV and all these magazines have changed the game,”he explains.“People now have this wealth of knowledge so we have to stay aheadof them to create new and unusual ways of living and dining.”To do this, Magni strives to keep abreast of all young artists, musicians, writersand painters; he contends that they have a fresh, continually inspirational perspectiveon life. “I’m fifty years old, so I spend a lot of time around people whoare twenty-five, to see how they think of life,” he reveals.“Because that’s really alldesign really is. It’s sort of a stage that we play our life out on.”And as for what’s next for this spirited designer? Well, there’s still plenty ofL.A. left to “Magni-fy”.Top Left: The Metropolitan.Barstool featuring highgloss,French polishMacassar ebony appointedby stainless steel footrestand sabots. Available withor without back.Top Right: Helmut Newton.Platform bed upholsteredin MAGNI chocolate suede.Reading lamps by CedricHartman.Left: NoLita. Sofa withMacassar ebony andpolished stainless steelfoot detail, upholsteredin Noho available at HollyHunt. Kidney accentpillows in mohair.Art and Living 101

greystone estateNo Stone UnturnedThis fall, as the Fifth Annual Beverly Hills Gardenand Design Showcase takes the GreystoneEstate on its annual domestic reinvention,Art and Living peeks over the iron fences totake an up-close look at the mansion and thepeople continuing the glamourous designtraditions of this Southern California landmarkEvery November, a cavalcade of talenteddesigners and landscape architectsdescends upon the GreystoneMansion—aptly named for its abundant greystone work—to restore this extravagant residenceto its 1928 glory. The result is a trulyunique experience, a trip down memory laneduring which no stone goes unturned in aneffort to recreate, or even re-interpret, the lifeand world of a wealthy 1920s family.Edward Lawrence Doheny, original proprietor of the Greystone land, wasborn in 1856 in the small Midwestern town of Fond du Lac,Wisconsin. Doheny’swanderlust and affinity for the wilds led him westward in pursuit of gold and—soon thereafter—oil. Together with business associate Charles A. Canfield, by the1920s Doheny would become one of largest producers of oil in the world. OnAbove: Sherry Stein, ASID, Albert Janz. Photo by Mary E. Nichols.Left:The Main Entrance Gate at 501 Doheny Road. Photo by Mary E. Nichols.March 16, 1926, Doheny senior gave a choice 12.58-acre parcel in Beverly Hillsas a wedding gift to his only son, Edward “Ned” Lawrence Doheny, Jr.Construction of a palatial manor on the site, designed by renownedSouthern California architect Gordon B. Kaufmann, began February 15, 1927.Although Ned, his wife Lucy, and their five children moved into the residence in1928, the home took three years to finally complete, at a cost of over $3 mil-The mansion rendered in panorama. Photo by Mary E. Nichols.102 2006 Issue 4

Above: Allegra’s Room, Barbara Lazaroff, ASID. Photo by Mary E. Nichols.lion—a phenomenal sum in real estate at the time. The extraordinary resultbecame known, simply, as Greystone.The mansion transferred ownership a couple of times, becoming a choiceshooting location for Hollywood films under the ownership of Mr. Henry Crown,before the city of Beverly Hills purchased Greystone for $1.1 million in 1965.Portions of the distinctive home and grounds can be glimpsed in a variety of films,from Jumpin’ Jack Flash and The Fabulous Baker Boys to X-Men and Spiderman.OnApril 23, 1976, Greystone Estate was officially recognized as a historic landmarkand was entered into the National Register of Historic Places.The Garden & Design Showcase and subsequent Design House Tours providea rare opportunity for the public not only to wander through one of BeverlyHills’ most cherished properties, but also to view examples of the highest caliberof interior design and meticulous approaches to landscape architecture.Inside the mansion, professional members of the American Society ofInterior Design/LA (ASID Los Angeles Chapter) and other invited celebritydesigners, drawn to the unique nature of such a showcase, transform the estatein its entirety.The exquisite architectural canvas of the empty home comes alivewith flavor and color via carefully placed furnishings, drapery treatments, art andaccessories.This is the first year artists are not limited by a strictly 1920’s designinterpretation; it will be intriguing to see what uniqueness arises in rooms styledfor contemporary living but nestled in a truly classic environment.At this time of year, it’s almost possible to hear the house stretching awake,Top: Grand Entry, Fernando Diaz, ASID & Jean Pinto, ASID. Photo by Mary E. Nichols.Middle: Billiard Room, David M. Plante, ASID,William McWhorter, ASID. Photo by Mary E. Nichols.Above: Dining Room, Suzanne Furst, ASID. Photo by Mary E. Nichols.welcoming the feel of furniture, roaming human feet and the extravagant accoutrementsof an elegant home. Hunter A. PhillipsArt and Living 103

greystone: the designersAs with the staging of an opera, the successof so elaborate an undertaking as the BeverlyHills Garden and Design Showcase representsa collaboration by scores of contributors at alllevels of productionThe concerted efforts of exceptionally talented professionals make the dazzlingresults seem deceptively easy. With this in mind, Art and Living presentsa behind-the-scenes showcase of its own, spotlighting a number ofthis year’s guest designers sharing their thoughts and insights as to what it takes toturn a time-honored classic into an up-to-the-minute masterpiece…BERNARDO PUCCIOIn Southern California the architecture and tastes of the residents differ so much.Spanish and modern homes stand alongside colonial and Tudor examples.Greystone’s formidable history and elegant magnificence atop Beverly Hills, the mostlegendary, glamorous and romantic of neighborhood names, sets it apart. I try to concentrateon architectural design by incorporating existing elements and enhancingarchitectural details. It’s exciting to research and reproduce a famous home’s originalfeatures which might have been replaced during prior redesign projects. It’s importantto preserve the architectural heritage of buildings which represent the finestexamples of a given architectural style. This is the viewable basis on which a community’shistory is built.LORI TEACHERThe social history of the Greystone Mansion has much to do with our room, aswell as with the technology of the era in which it was built. If you look at theupper kitchen, it was very advanced in its day—the 1920s. It had cutting-edgerefrigerators and a dumb waiter to haul up the “kill” from the property after gamewas shot from the upstairs balcony.This may seem barbaric by today’s standards,but it was a luxury back then. In redoing the kitchen, we wanted to capture thefeeling of that moment in local history by recreating its very vibrant, no-nonsenseworking atmosphere.The stuffed birds and game you see placed on all the wallsaround the kitchen represent what the room was all about. It was not the flowercuttingroom or the butler’s pantry. Its sole purpose was to prepare the venison,game, or fish for the evening’s dishes.The stuffed birds, by the way, originally wereused for science classroom studies but recently have found their way into theretail marketplace, and can be seen at such stylish places as Bergdorf’s in NewYork. How times have changed!RONDA JACKSONEvery century has its gems; great collections of art and architecture. In a historic jewelsuch as Greystone, I have simply tried to pick up where history left off. I love to offera stimulating balance between unexpected juxtapositions—modern and traditional,pizzazz with simplicity. Blending old and new, function and flair, drabness and drama,I strove to reinvent the stateliness of Greystone’s main floor kitchen. At the pointwhere the twentieth century meets the new millennium, it’s my intention to affirmthe importance and the functionality of the contemporary kitchen. I am satisfied thatmy designs are successful when they provide clients with homes where they canentertain lavishly and live comfortably.The best results are always stunningly clear: ahome that whispers elegance yet screams originality!BERNI GREENEThe designer acts as a mediator, facilitator and interpreter of style on every level. In adomestic design project, a husband and wife may have different ideas and differentstyles in mind. It is up to the designer to satisfy both individuals while keeping intact theintegrity of the design. In many cases, the designer acts as a mediator especially when itcomes to issues of cost. Many people want a specific look.Will the budget be sufficientlyrealistic to ensure implementation of the desired design? It’s up to the designer to educateclients regarding such matters. In this sense, the designer is a teacher.Grand Hall West, Cynthia Jerve, Photo by Mary E. Nichols.JEAN ZINNERWhen starting a project, it is important to understand the home’s original contextand its role in the community. For Greystone, that meant researching pictures of the104 2006 Issue 4

antiques, custom-designed rugs and velvets that she might have picked herselfduring that period.We have embraced the integrity of the mansion’s architectureand considered the footprint of the area and the furniture layout capabilities.Wehave entitled our suite “Hollywood Glamour”, considering its social history.Serving as an interpreter of style, the JWI Design Group has used both new andfamiliar vendors to achieve a beautiful space.The Solarium, Bernardo Puccio, ASID, CID. Photo by Mary E. Nichols.house as it was originally. My goal was to be true to the concept of the house as itwas during the period when it was first built and occupied.To inform myself aboutGreystone’s architectural heritage, I spoke with a relative of the Doheny family whohad spent time in the home.The scale of the rooms was important to consider, withtheir high ceilings and large, open spaces. For the Second Floor Grand Hallway, weused the original look of the house with a French design influence, with the furniturebeing understated and using oriental rugs to bring in a sense of comfort andcoziness. I knew the space was dark and that presented a major challenge. I used lightshades of color with accents of blues and reds to lighten up the space.CAROLYN BAYLONIn view of Greystone’s distinguished style and imposing history, I gave Mr. Doheny’smaster suite a very dramatic, sophisticated, Old Hollywood Haute look that issexy and inviting, characterized by clean lines and one-of-a-kind custom pieces. Ikept it very clean and minimal, as well as classical, using sharply-defined patternsin black-and-white and deep, masculine colors in accessories and artwork to setthe tone. As a hospitality designer, I like to create spaces and environments thatare innovative and visually stunning. I feel that the designer should cut a new patharound the icons of the past and strive to leave a fresh footprint, to be part ofthe next generation in design and play a role in its future.JUDITH WILSONWhile designing Mrs. Doheny’s suite, we reflected upon the glamorous 1920s inwhich her mansion was built and incorporated its grandness by using fine silks,CHRIS FOWLER & SUZY MOOREFor us, inspiration came from visualizing the previous owners as they enjoyedthe home, and how they might have made use of each of the rooms.The mansion’srich architectural details and importance in the community definitelyhelped us keep our sights clear. Our design philosophy is fairly simple: to helpclients define a personal style while making sure that comfort and function arehigh priorities. A good designer must also be a good listener, and sometimes amind-reader. Sometimes clients don’t know exactly what they want, so steeringthem towards a beautiful outcome may take a bit of patience; this, however,is always worth the effort!MONICA NORDQUISTI am inspired by the Greystone project because of the grandeur and the historyof the building itself. It is as if I am brought back in time as I roam the halls. Oddlyenough, I am more energized by the unfinished spaces, where I imagine lives livedthere, than by the gorgeously finished rooms! The scale of a room is a vital componentin the design planning process.The space must be seen from all angles andeach dimension assessed to make sure that every design element is incorporatedinto the plan. The use of positive and negative space is crucial in the earlystages of the design and to ignore the height or any other part of a room doesnot do justice to the final result. Scale and proportion play a major role in relatingcontent to container. Style is essential but, if the proportion is off, nothing willmake that mistake seem right.SHERRY STEINThe particular excitement about the Greystone project is working in an environmentwith wonderful scale, proportion, and architectural detail.To take an existingspace, color the backgrounds, and fill it with wonderful things—what a dream! Thesocial history of a residence, neighborhood, etc., is factored more or less into anydesign scheme, depending on one’s brief. If it’s to create a historic interior, obviouslyit is given more consideration; if it’s to create an everyday living space for theresidents, their needs are considered first, with an eye to making the total schemeharmonious with the architecture. When serious design produces a space forArt and Living 105

greystone: the designerssomeone to live in which is beautiful, comfortable and functional, then that designhas certainly fostered a greater enjoyment of life.CYNTHIA JERVEYI come from the East Coast where preservation is a very strong aspect of culture.Many buildings are older than those found in Los Angeles. Los Angeles is consideredto be in its infancy, by European standards.Though a young city, more of itsvintage architectural treasures need to be givenattention with respect to their worthiness forpreservation so that the future of the area willconsist of more to reflect on than a landscape ofstrip malls. As a prototype house in one of theworld’s most exclusive residential neighborhoods,Greystone exemplifies the sorts of landmarkedifices in the Los Angeles metroplex thatdemand continuing efforts at careful cultivationand preservation. When considering Greystone,it’s interesting to think in terms of the peoplewho used to live there and use that to interpretwhat can be expanded upon to bring the home into the modern world—whilestill honoring the bones of the home. Scale has to be considered every step ofthe way so you don’t overpower or minimize the space. My particular space—Second Floor West Grand Hallway—is very small.Therefore the size of selectedfurnishings is of key importance, so that persons passing through the space don’tfeel overwhelmed.NICHOLAS HERTNECKWhen I consider a space such as the Guest Library at Greystone, I attempt to tailorthe interior design to enhance the function of the space in a fashion that willbe comfortable for the client as well as provide visual and intellectual stimulationand recreational diversion. I first look at the architectural detail of the space. AtGreystone, there is plenty of great detail to work with and my design takes advantageof the library paneling by applying wall upholstery and faux-painted finishesand by lining the bookcases to create a lush envelope for the room. Windowtreatments are integrated into the paneling, softening hard edges and framingviews to the outside almost like stage sets. As we move into the North Terrace,we bring the comforts of home outdoors in our room without a ceiling. Thegrand pattern and scale of the textiles used outdoors relate to the scale and theopulence of the residence.This space is the transition from the house to the terracedhillside gardens and is intended as a space to relax and enjoy the view.JULIE KAYSAllegra’s Allegory, Barbara Lazaroff, ASID. Photo byMary E. Nichols.Art is an extremely important part of an environment. The inclusion of art andantiques in a home creates warmth, depth, and soul. I respond to the structuralcomponents of a home when I design. I can create harmony and impact in an interiorby designing in the same genre as the surrounding artwork, or create an interiorin juxtaposition to the artwork which surrounds it. A wonderful energy isreleased when one style exists in juxtaposition to another. From this perspective,the reconfiguring of Greystone’s interiors presentsa unique and delightful challenge. Greystone is toCalifornia what the Biltmore House is to NorthCarolina. Both estates were designed to be domicilesfor living in a grand manner on a grand scale.The preservation of such monuments is critical.Through them, we experience a part of history; it’sas if we’re in the presence of exposed archaeology.ROBERTA MARTINThe history of a socially prominent residence such asGreystone has a strong bearing on the design schemefor the major rooms and common living areas; not so much so in the secondaryrooms. Of course, any well-designed space should flow throughout.The GreystoneEstate is a spectacular structure with a wonderful architectural style which sitssquarely in a fabulous area of Southern California. Preservation of such significant historicalentities serves to inspire contemporary architects and designers and acts as atemplate to put their own ideas in perspective. I consider the highest mission ofapplied art in general to be the way it brings a sense of history and culture and anelevated sense of style to whomever has the opportunity to see and appreciate it.SUZANNE FURSTWhile formulating my plan for the Dining Room, I envisioned the pastimes of theDoheny family who entertained guests in the Great Room, which was used as aballroom where musicians played for their guests so they could dance. I imaginedthose guests, resplendent in beautiful ball gowns and tuxedos, arriving for an elegantlyset dinner in a regally appointed dining room. Here, two round tables conduciveto intimate conversation are surrounded by luxurious chairs. The diningarea contains antique furnishings, accessories and artwork from Asia andEurope—the latest trend at that time. Mrs. Doheny was greatly inspired by havingthis look in her home. Completing the picture is a comfortable seating area inthe window bay where dinner guests could relax with their postprandial drinksbefore sojourning into the Great Room to dance the night away. B.R. Gilbert106 2006 Issue 4

greystone: the designersBarbara LazaroffThe designer behind oneof Greystone’s revampedbedrooms and its adjoiningbathroom and patio revealsshe’s got more on her platethan her dining creationsBy Steve BasiloneSitting in the sun-drenched breakfast nookof her Beverly Hills home overlooking herbeloved garden with her parrots talkingaway, Barbara Lazaroff is surrounded by a large, colorfulcanvas, fancifully painted ceramic vases andplates by artist Anna Silver and a piece by sculptorRobert Graham. One thing about this virtuoso ofBarbara Lazaroff outside Spago Beverly Hills. Photo by Jim McHugh.pigment is clear—her world is one that is mostunquestionably rich in color.“We see in color and people seem to want to make everything black and ing mural of oversized, whimsical flowers realized by fine artist Mimi Feldman, towhite,” says Lazaroff, the president of Imaginings Interior Design and a partner in vines and elegant butterflies conjured from Lazaroff’s own imagination. Her designthe Wolfgang Puck empire of fine dining restaurants. “There’s a reason why we also incorporates two photographic art canvases of seven-foot-tall poppies createdspecifically for Allegra’s room by artist Pip Bloomfield and an aquatic artsee in color; we should celebrate it.”Indeed, Lazaroff has never shied away from making use of every color availableto her extensive palette. Now this visionary presents her talents to the chil-The room promises to be a veritable wonderland full of butterflies, flowers andinstallation by Richard Bilow.dren’s playroom and terrace at Greystone Estate, where she is creating what she delightfully eclectic appointments.“I designed a dreamlike carpet of imagined flowerscalls “Allegra’s Allegory”, a fairytale bedroom for Lazaroff’s imaginary daughter. and creatures but the time was too limited to produce it,” she recounts.“I was disappointeduntil Minassian carpets lent me a glorious antique Chinese creation.” LazaroffShe is one of 27 interior designers and eight exterior designers who have providedtheir time and money to help in the annual restoration of this Beverly Hills will also display museum-quality art and antiques from her personal collection; furthermore,she has replaced the original fireplace mantel and is replacing various missinglandmark, which will be open to the public starting November 4th. All designersare part of the American Society of Interior Design (ASID).and damaged fixtures and elements in the adjoining bathroom and closet.With Greystone, Lazaroff is taking the same spirited approach that has been But her contributions to Greystone are only the latest addition to the Lazarofflargely instrumental for the overwhelming success of the Wolfgang Puck empire folio. Her vibrant designs have undoubtedly changed the dining lexicon and, in theand using it to transform the Doheny sons’ former bedroom into a storybook fantasyroom for her envisioned young girl. Never one to sit idly by, she has ardentness-partnerMr. Puck as the most recognizable name on the culinary stage.process, have been largely responsible for establishing ex-husband and still-busilyworked to create every facet of the room—from a vastly oversized book constructedby conceptual artist Kingsley to house Allegra’s bed, to the vaulted ceil-(home to legendary Oscar parties), Spago Beverly Hills, Malibu’s Granita, SantaThough a multitude of pioneering eateries such as the original Spago Hollywood,Monica108 2006 Issue 4

and Las Vegas’ Chinois and such accolades as the 1991 Platinum Circle Award fordesign fill the columns of Ms. Lazaroff’s resume, the titles “restaurateur” and “interiordesigner” were not always in the cards for this girl with a background in biochemistry.Growing up in the Bronx and Queens, Lazaroff’s family was of modestmeans, though her upbringing didn’t dissuade her from lofty aspirations. Like manya young lass, she had dreams of becoming a couture-designing ballerina.Eventually, her flair for the eccentric landed her at NYU as a theater major.Witha life in the theater came many odd jobs, one of which was at the acid-base laboratoryat Roosevelt Hospital.There, between bouts of brushing up on her Shakespeare,she developed a love for organic chemistry, which inspired her to head to a chemistryprogram at the University of California, Berkeley before heading back to NewYork and finally onward to Southern California to continue her studies in 1979.Since then, her life has not been lacking in adventure. She’s accrued two honorarydegrees (including one Ph.D.) and more than thirty business, design and humanitarianawards—all the while developing and designing restaurants throughoutAmerica, Japan and Australia.“I get obsessed,” she reveals.“The only thing that matterswhen I’m into a project is getting it accomplished as close to my vision as possible.”That fearlessness and voracious appetite for realizing her vision has led to manytriumphs, most notably to the wild success of the original Spago Hollywood, whichwas the 1994 recipient of the James Beard Foundation’s award for Restaurant of theYear.“The idea with Spago was to create a sort of playground. Spago was boisterous,free-spirited and wildly fun. It had a bold, young design spirit and, as simple as it was,there was a lot of thought involved,” she says. Barbara’s use of open ovens at Spago isoften celebrated as the creation of what is now known as the exhibition kitchen.Indeed, Lazaroff is characterized by her aptitude for out-of-the-box thinking.For instance, you might presume that an interior designer would not be all thatinterested in most matters pertaining to chemistry—organic or otherwise. Andyet, Lazaroff maintains that convergences of man and nature are present in allwalks of life. “People often think that the sciences and the arts are so unrelated,but I think that’s a misnomer—that’s a total misconception,” she says.In fact, when she designed the visceral underwater visual of Malibu’s nowclosedGranita, she drew inspiration from her days in the laboratory. “I wouldlook at the space and see the striking biomorphic and organic-looking tile andincredible glazes and all the undulating lines—it was all very reminiscent ofThe main dining room of Lazaroff and Puck’s Chinois on Main. Opened in 1983, the restaurant helped spark the “Asian fusion” trend and its interiors were lauded as Oz-like. Photo by Penny Wolin.Art and Living 109

greystone: the designersLazaroff’s art-infused design brings life to the iconic Spago Beverly Hills. Photo by Penny Wolin.what I used to see under the microscope,” she says.While drawing inspiration from the microcosmic world of the left-brain hasalways been a vital part of Lazaroff’s allure, art has always been the other integralelement of her design equation. Sure, she now displays Hockney, Lichtenstein,Rosenquist and Frankenthaler in her restaurants but, from the beginning, one of herprincipal goals was to showcase young artists.“I always wanted to show artists whoweren’t well-known enough to get exhibits in galleries,” she says.“I still do so.”In the beginning, Lazaroff would spend countless hours searching for artists’lofts or seeking out these artists whom she had discovered by word of mouth.Over the course of two years, she had thousands upon thousands of submissions.“I’ve always tried to expose more of the masses to art and the importance ofit—to give people some insight into its uplifting nature. People are changed forthe better living with art; it allows imaginations to soar,” she says.Lazaroff is also continually engaged with her many charitable undertakings.TheLazaroff-and-Puck-created American Wine and Food Festival that benefits the Mealson Wheels program has just celebrated its 24 th year and the event has raised millionsto feed the homebound elderly. She also co-founded the American Cancer Society’sCalifornia Spirit Event and has helped host the festival for 23 years, which has alsoraised millions in funds for research and care. It’s evident by the quiver in her lip andthe rapid blinking of her animated eyes that philanthropic work is how the restaurateur’sheart is truly fulfilled.Most recently, Lazaroff was honored with the Spirit of Compassion Award bythe Aviva organization, which encompasses—among its most important missions—ahome for abused girls ages thirteen to eighteen years of age. Barbara iscurrently working to renovate the living spaces for the girls with contributionsfrom many of her colleagues in the design industry. Additionally, she is excited toadd art to the girls’ lives; her friends Michael Dargen and Jesse Kalisher havedonated to the center photographs of locations around the globe.“I want the girlsto have an idea of how vast the world is and what they have to aspire to. Life isoverflowing with an amazing expanse of beauty and discovery.The Aviva girls haveto learn to trust again their own strength and abilities to succeed.”And her more-than-full schedule only fuels her sense of ambition to “do good.”“In the end,” she says,“the only thing that remains is character. I hope my twosons will learn that lesson above all else.”110 2006 Issue 4

IN CELEBRATION OF THE 2006 BEVERLY HILLSGARDEN &DESIGNSHOWCASEAT HISTORIC GREYSTONE ESTATEBARBARA LAZAROFF ASIDOF IMAGININGS DESIGNWOULD LIKE TO EXTEND A WARM THANK YOU TO THE DONORS WHO WITH THEIR TALENTSAND PRODUCTS MADE THIS YEARS GREYSTONE EVENT POSSIBLE.General ContractorFRANK BRUNNERProject ManagerJIM GILBERTOStorybook BedKINGSLEYCONSTRUCTION ART,KingsleyCanvas Fine PhotographyPIP BLOOMFIELDPhotographic Art & DesignCeiling Mural Painting& trompe l’oeil on bedDEMAR FELDMAN STUDIOS,Mimi FeldmanStorybook “Once Upon a Time”art by Kate SternAquariumAQUA-TERRA STUDIOS,Richard BilowMirrors in bedroomGIDEON GALLERY, LTD.,Pamela Gideon-HawkeWallpaper InstallationDAVID R. HANNONBathroom & closet hardwareEMENEE,Barbara BriskinWallcoverings - Bath & closetsMAYA ROMANOFF,Joyce RomanoffFabric – cushions & chairsFABRICUT CONTRACTDIVISION,Kim Brindle/L.A. Rep.Embroidered FabricTERESA COLEMAN FINE ARTS,Teresa ColemanPainter – Bedroom, closets & bathHOWARD S. HOPPE CO.,Al KruchtenMarble for fireplace mantelMARBLE EMPORIUM,Robert ZohouryAntique CarpetJ. H. MINASSIAN CARPETS,Jonathan SoleimaniCarpeting in closetsANGELES CARPETSShahrokh MobasserBathroom FixturesDELTA FAUCETS,Robert PetersDrapery Manufacturer/Duvet/Window Cushion UpholsteryS.K. TEXTILE,Debra CenturionGlass bath counterPULP STUDIO,Bernard LaxMirror in bathPACIFIC GLASS,Joseph KlaverTerrace LandscapingVALLEYCREST TREECOMPANY,Burton SperberCalligraphy on the bedART BY K,D.,Kathryn DeBra“Eggtimer” & “Bandshells” sculpturesMoye Thompson

greystone: the designersBrent GreenA tour-de-force behind Greystone’s newgardens opens up about his inspirationBy Victoria ChartersWhen The City ofBeverly Hills commissionedlandscapedesigner Brent Green of Green ArtLandscape Design to help update apart of the renowned GreystoneMansion’s gardens, Green createdwhat he calls “a garden for all seasons,”using foliage and blooms like an artistuses the colors on his palette.Green’s interest in seasonal vegetation stems from his love of his home ofSouthern California.“Here in Southern California, we have one of the best climatesin the country,” he says.“I’m inspired by the fact that I have the opportunity to transitionthe interior space outside, to create outdoor rooms for people, year round.”Intuitively, Green’s portion of the revamped grounds at Greystone are dividedinto four sections for four seasons. In the Spring Garden, the focus is pastelplantings of foxglove and snapdragons. The Summer Garden boasts a bubbly,cobalt blue fountain and a garden table and chairs to suggest the lazy days of baskingin the summer sun. Green populates the winter space with greens and whites,using evergreens to evoke a winter landscape; the Fall Garden uses sunflowersand black-eyed Susans to create washes of color.“My signature is graceful things. I love elegant trees that blow in the breeze,”says Green, a fan of foliage from a young age. “I’ve always loved plants, which isweird. I was teased quite a bit for it as a kid.”Prior to Greystone, Green was perhaps most famed for the 15-foot-wide “livingstaircase” at the Sharon and Ozzy Osborne Mansion in Beverly Hills. SaysGreen,“I designed that staircase specifically for that house. It’s actually built of concrete.I laid in an irrigation system and, once the concrete was poured, I went inwith a jackhammer and broke out the tread of the stairs to create beds for planting.”Theeffect is that of an old ruin or mood staircase.To match Sharon Osborne’slove of an English-style, flowing garden—where different plants grow at differenttimes of the year—the “living staircase” plantings are changed with seasons.Top Left: Brent Green, landscape designer.Top Right:The warm and brilliant hues of the Fall Garden, Greystone Mansion.Above: Ornamental kale, white cyclamen and emerald evergreens create a crisp and elegantfeel in the Winter Garden, Greystone Mansion. Images courtesy Green Art Landscape Design.“I do primarily residential, so I like to use a full palette to evoke the architecturalstyle of the home and match the personality of my clients,” says Green.Gardens can be enhanced by strategic plantings to achieve a private yard or blockunwanted views.112 2006 Issue 4