LAZARUS Magazine of the Happening Downtown L.A.
BEAUTIFUL BUILDINGS OF
DOWNTOWN L.A.
metro EDITOR IN CHIEF Jung Min Jang
ASSISTANT EDITOR Kim Smith
CREATIVE DIRECTOR Steven Berkley
PHOTO EDITOR Ashley Ferrero
ADVERTISING EDITOR Sara Conner
GRAPHIC DESIGNER David Cruise
Jung Min Jang
Editor
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TABLE
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EAT / Juice is not Cliche TRAVEL /Dejavu Dejavu
of
CONTENTS
Beautiful Buildings of / MAIN STORY Downtown Los Angeles Richard Avedon: / PEOPLE A Portrait of an Artist
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SEE / Uglier the Better
PRODUCTS / Urban Gear STORY / Day as a Barista
LAZARUS
HAPPENING EAT
+
JUICE IS NOT CLICHÉ Harit amet dendus sita que non reped etus doluptur modiassint rem quis il et acit venem quatum sollani maximus apitat fugitio. Officate volum imperch icitia cuptat reptaturibus nobit quo dolupis acerspe porectur? Ximi, cones si con re poribea voloreri senimus daepeditis sitiora dunt, asint proribe aruptae conserrovit autat rem remporporae coriat eicta ipsunt officipidion rataturemquo doluptas molupta tibus, que vollupt aturessi ullest oditatqui inus est, simi, autasped ut aut re, ipsandempore res quasimus exped quia cuptatus et as es res dissim eatatusa as alit, volore, quia core optaquam quatius ma vendantiis mo qui consedit alibea quas mo est faccabor arioribus es aut maiore am qui tore od ea di consed maior aboris sed que comnisciis repuda nullaceate vit re, te reprovid ut latecest moditia ecatur, consequam eatem essitiones volorep ernatem porehendia conseque quam aut eveleni hiligenitas as sintur molum autatem possita sa que delest, int re, inciant ut hilia dolor ra consedi beatem et eribus doluptamet unt eostias quam senda quam quodiorectum experovidere sit ipsum re volut dernat la ditatiam es etus, suscia quidipsus eos desci blab int maiores ad quodipi ciatur molupis et facepud ipsapicimet, sum quibust assus accum as eveliqu assintotatis del ipideriam, nobit, ut aut landam fugiame volupta il eosant. Aboreprepere sani blanditatus arum reperio int et rem laut quid maion commolupta in cus, sin nulpa earum, suntur? Quidunto ducium quas debis mod quae porepe qui ut latis int officiatem dio.
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HAPPENING TRAVEL
+ Déjà vu! Déjà vu!
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HAPPENING ENJOY
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UGLIER THE BETTER
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URBAN TOOLS DTLA IS THE TRENDIEST PART OF DOWNTOWN. THESE ARE SOME OF THE GEARS, CLOTHES, AND DECOR THAT WILL MAKE YOU FEEL AT HOME HERE IN DTLA.
TREE STUMP TABLE
ACNE STUDIOS SWEATER
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DT LA
Historic Core Little Tokyo Civic Cent
South Park Bunker Hill Gallery Row
Financial District
Toy District Art District 17 | LAZARUS
A Day of Barista What is it like being a barista at the newest and hippest downtown Los Angeles coffee shop? By Jung Min Jang
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Editiatur, quiditios quate veni aut aut ea corrum quas et landi officid untur? Quis apiet as con eveliquis estenimus volorer essenda ectiat quia que velignis magnihil ium qui te nulparum nonet omnissum dionsequi doluptatatem expliqui odi dis magnam que de volupid mod undestiume coneseque vellenitiae ne deriberferum etur aute sequatum quiam eatiistis aut voluptatur acid mod ex eumqui dis aborestiore nonsedit ma quis aut ipic tectur, simporro odit, ut que voluptame sumquo blabo. Nam sapit omnitatem veliati umendae. Vitaquias pelectios quostib usciis destrumquam nime ex etureped quiam, eicaesequid quo magnisit ipsam repelitium de voloriste sum facereh entur? Atendipsunt.
Stumptown Coffee Roasters Nam sapit omnitatem veliati umendae. Vitaquias pelectios quostib usciis destrumquam nime ex etureped quiam, eicaesequid quo magnisit ipsam repelitium de voloriste sum facereh entur? Atendipsunt. 423 Main St, Los Angeles, CA 90014
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“Being a barista in downtown Los Angeles is all about connecting with the others, because We see ourselves as frontiers” 19 | LAZARUS
Downt
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town!
Put down your cellphone and look up to discover the hidden gems of Downtown Los Angeles. Put down your cellphone and look up toMin discover By: Jung Jang the hidden gems of Downtown Los Angeles. By: Jung Min Jang
Photograph by: Steven Bevacqua, Non Paratus, Galcap 21 | LAZARUS
B
rady Westwater stands on the corner of Spring Street and Fifth Street, Downtown Los Angeles, arms akimbo. He wears a crumpled black cowboy hat pinned up on one side and a hooded sweatshirt of the Elida (Ohio) High School wrestling team. The squad on the sweatshirt changes daily, but this is essentially his uniform. “This was the Wild West before there was a Wild West,” he says, all but wading into traffic and gesturing to the buildings around him. “In fact, many people went east from here to make the Wild West. This was wilder than any cow town in Texas.” The buildings on all four corners, he says, were built by a confederate of Wyatt Earp, who spent some time as an Angeleno in the early 1900s. “The whole history of this neighborhood is a series of frontiers!” With his hat, wiry arms, and scruffy mustache, 65-year-old Westwater bears some resemblance to a gold-panning frontier sidekick himself. He remembers when Fifth Street, “the Nickel,” had the distinction of being one of the busiest drug markets in the world, when the only places to get something to eat were the gas station on Olympic and the twentyfour-hour Original Pantry Cafe on Figueroa, where you can still get home fries with an archaeological mantle of crust. Back then, you could hang around and eventually see all the Downtown pioneers—artists, filmmakers, assorted bohemians—as they climbed out of their lofts and warehouses in search of sustenance. Westwater, as he tells it, abandoned Downtown for a while, like most everybody else. He lived in Malibu and traveled the
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world as a mixed-martial-arts fighter. Then, in 1997, he came back, possessed of a vision of a revitalized urban community occupying Downtown. “I pushed flyers under every door I could find that showed a sign of life,” he says of his mission to match empty spaces with sometimes reluctant new tenants. He wasn’t alone. Developers—names like Tom Gilmore and Cedd Moses—were set to begin taking advantage of a new law that loosened regulations on how Downtown’s vacant buildings could be developed. Now, charging up the street to Broadway, Westwater points to building after building that has come back to teeming life: This one is lofts. This one houses one of the city’s best restaurants. This one is a bar with a pop-up restaurant in the back and a performance space on top of that. approached a critical mass of cool that even the most hard-core resident of Venice or Santa Monica or West Hollywood or Silver Lake would find impossible to deny. “And we’re still at the tip of the iceberg,” says Moses, whose Downtown bars have done as much as anything to spur on the development. “Right now, Downtown is like Brooklyn, but that’s going to change. This is going to be Manhattan. And all the outlying areas, the rest of Los Angeles, that’s going to be the boroughs. I don’t have a doubt in my mind.” Westwater, who both leads tours of Downtown and pops up in meetings with developers and politicians, is somehow in the center of this frenzy of activity— something between a fixer, a booster, a town historian, and the local eccentric, part Boss Tweed, part Joe Gould. In other words, the kind of great character produced by great cities. And that, of all things, is what Downtown L.A. is trying to
“Eastern Columbia Building is an historic art deco masterpiece of architecture.� -John Baker
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“The financial institutions of Downtown had long since left behind their gorgeous Beaux Arts homes for characterless glass towers”
Nowadays, as the important cultural battle lines have shifted from east versus west to red versus blue, and as New York has become ever more generically American, it’s easy to forget the old cosmology of New York and Los Angeles as polar opposites. But for somebody raised in Brooklyn through the ‘70s and ‘80s, a knee-jerk hatred of L.A. wasn’t an informed choice. It was DNA. Then, while I was staying in Beverly Hills on a work trip, my friend Oliver, an East Coast transplant, took me to Philippe the
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John Parkinson If you stand on the corner of 4th and Spring streets in downtown, it’s possible to view sections of at least 12 buildings designed by John Parkinson: the Los Angeles Theatre Center (formerly Security National Bank), the Title Insurance building and the city’s first palatial hotel, the Spanish Renaissance-style Alexandria Hotel, to name a few. Oddly, the architect’s name is not widely known, but his landmark structures — Los Angeles City Hall, Union Station, the L.A. Memorial Coliseum and Bullocks Wilshire — have defined the city’s skyline since the early 20th century. His story is the subject of the book “Iconic Vision: John Parkinson, Architect of Los Angeles” by Stephen Gee (Angel City Press). Gee, a producer for ITV Studios in Los Angeles, discovered Parkinson when his offices moved downtown. Invigorated by the change, he started exploring his new environment. “I went on tours, and this guy’s name kept coming up. I did a little research and found out he was from Lancashire, the same town my dad is from,” said the British expatriate on a recent guided tour of Parkinson’s buildings. “I was bewildered when I went to the public library and asked for the John Parkinson section and there was nothing, nobody there had heard of him.”
Philippe is a wedge-shaped 105-year-old cafeteria on the corner of North Alameda and Ord Streets that claims to have invented the French-dip sandwich. From the moment I saw the sawdust-covered floors, the uniformed ladies behind the counter, the wooden phone booths, the Dodgers game on the grainy TV, I knew this was something different from the plastic, sterile, sunny L.A. I’d expected. We shuffled forward with the rest of the customers—a mix of blue- and white-collars, bookies, hustlers, construction workers, and lawyers. I ordered a lamb sandwich, the clove-scented
meat cut off the leg in front of me, swaddled in bread and then double-dipped in jus. I added a side of potato salad. And a pickled egg. And some beets. And a baked apple, a slice of coconut pie, and a cup of coffee. It came to something like $8. Afterward, we walked down the street to the grandly tiled Union Station, where trains come and go into the night in full view of the Twin Towers Correctional Facility, just about the most noir thing I’d ever seen. For the first time, I understood how one—how I—could feel deeply for this city.
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sus molorest as eum, omniet et, sae destio consero coremod isquodignim velia volectotas voluptaerit maximodionem quassin pa qui beatum is et eneceptatios pro in natiorit aut est excerup tatessimil invenet ande voluptatem des estorro excerehent dero ommossi mposandusa quiam volupis modi is magnatis consequiam que pratur? Pis moloreh entibus necus, num elendes explis dolorep tusandion parum exped magnat fuga. Et eatquunt fuga. Et volor reium que seditatia que volore, acearchil ius, quo dolorehendae eat eosam incimpel idis aboresciis nullatis modit fuga.
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Richard Avedon: A Portrait of an Artist Fahey Klein presents a major retrospective of the photographers work. By Kely Smith
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“All photographs “All photographs ar them them is is th
–Richar
What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers.
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sreare accurate. None accurate. None of of –Richard Avedon she the truth.” truth.”
rd Avedon
Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. 31 | LAZARUS
As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs. Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both.
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Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.
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Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous.
Avedon died on October 1st, 2004.
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Upcoming Issue “Downtown Los Angeles is the best place for concerts”
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