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Laguna Coast Rentals Coastal Sales - Luxury Rentals
Cynthia Ayers, Broker Direct: 949.494.0490 CynthiaAyers@cox.net Lic. 01070654
Cathy Porter, Realtor Direct: 949.212.9898 Cathypre@cox.net Lic. 01276776
Representing premier Coastal sales, the finest Luxury Rentals and Vacation Investment Homes Along the Laguna Coast. Global presence, local Realtors. Providing concierge services you deserve! ED
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1295 Ocean Front • 2BD/2BA Laguna Beach • Upper Duplex • $12,000 mo
484 Cliff Dr #9 • 2BD/2BA • Ocean Front Laguna Beach • $5,800 mo.
114 S La Senda Drive, Laguna Beach , $13,500,000 | $50,000-$60,000/mo Spectacular 4 Bdrm + 6 Bath, 4,273 sq.ft. ocean front estate with panoramic, white water views overlooking Three Arch Bay. Luxurious home w/ complete privacy blends custom soft contemporary flair with Italian Villa style.
15 Blue Lagoon, Laguna Beach
$1,748,800
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$50,000-$60,000/mo 15 Blue Lagoon, Laguna Beach $1,748,800 2419 S Coast • Laguna Beach • Ocean Front 2049 Ocean Way • Laguna Beach • 4BD/4BA tate with panoramic, Neighboring the Montage Resort with sprawling ocean views. Turnkey 2 6,218 s.f. • 4BD/5BA + Ofc & Bonus • $20,000 mo 2536 SqFt • Ocean Front • $25,000 mo s home w/ complete Bdrm + 2 Bath villa at Blue Lagoon with Resort Amenities: Pool, tennis, beach Italian Villa style. access. Fully furnished and ready for move-in or year-round INCOME.
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34371 Green Lantern • Dana Point • 2BD Turn-Key • Harbor Front • $5,000 mo ED
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591 Dunnegan• North Laguna • Ocean View Contemporary • 2BD/2BA + Den • $10,000 mo
35325 Beach Road, Laguna Beach
$3,700,000
30394 Via Estoril, Laguna Niguel
$1,600,000
992 Cliff Dr • Laguna Beach • 1BD/2BA 310Toes Lookout Dr. • 4BD/3BA • Ocean View 34300 Lantern Bay Dr Villa #110 • Pool • Tennis in the Sand living behind guarded gates on Beach Rd. 4 Bdrm single family panoramic views, large lush yard with pool, jacuzzi, House across st from beach •Perfect $4,500family mo oasis with Steps toand Harbor/Beach • Dana Point •bedrooms, $6,000 mo. home with spacious great room; 2 Bdrms outdoor living areas, garden infrared sauna. 5 spacious 3 Walk to Beach/Downtown • $9,000 mo on main floor. Parking for 5 vehicles. Great income generating property (at price ranges of $9,500-$12,500/mo).
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$3,700,000
30394 Via Estoril, Laguna Niguel
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bathrooms, 3,675 sq.ft. 3 car garage. Close access to shopping, golf course.
$1,600,000
Laguna Coast Real Estate Coastal Sales - Luxury Rentals
1293/1295 Ocean Front • Laguna Village • $7,200,000 ($18k- 40k mo verified rents) • 4BD/4BA • Ocean Front Duplex• Completely Remodeled LD
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484 Cliff Dr #9 North Laguna • Ocean Front 2BD/2BA • Lux Condo • 1136 SqFt $1,689,000
34300 Lantern Bay Dr #110 • Pool • Tennis Steps to Harbor/Beach • Dana Point • $1,650,000
355 Saint Anns Dr • 2BD/2BA • Walk to Beach, Dinning & Shops • Laguna Village $1,650,000
reduced to $3,089,000
www.LagunaCoastRealEstate.com • 949.494.0490
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PA S S I O N I N E V E R Y D E TA I L . A P R I VAT E R E S I D E N T I A L G O L F C O U R S E C O M M U N I T Y 800.551.5578
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PA L M D E S E R T, C A L I F O R N I A
W W W. B I G H O R N G O L F . C O M A R T PAT R O N M A G A Z I N E . C O M
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SHEILA OLSEN GALLERY
“Emerald Bay Lake Tahoe” 48”x72” mixed media original
“Victoria Beach” 48”x72” oil original
784 S. Coast Hwy Laguna Beach ∙ 949-423-9990 olsensheila@yahoo.com ∙ www.sheilaolsen.com
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HIGHLIGHTS
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Building an Art Collection The PEARLY GATES Collection
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Home Is Where the Art Is The Heartfelt Collection of TRACY & CHRIS KEYS
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FRUIT of the LOOM Nettie Peña Chronicles the Vibrant Story of Mayan Weaving
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The Gift of Being an Artist LAURETTA LOWELL’s Whimsical Assemblages
Page 58
TIM SHOCKLEY Organic Surrealism in the Desert
Page 62
LARRY HEMMERICH Renewing the Artistic Landscape
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SYNERGY in ACTION Emerging Artists Intersect at Joshua Tree Highlands Artists Residence
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VANCE BURKE A Visual Symphony
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16 ARTISTS TO KNOW in 2019 Dennis Buck Joshua Tree Highlands Artists Residence, Page 66 18
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Celebrating 5 years in business with current
SALVADOR DALI exhibit at Elena Bulatova Fine Art galleries. For details and directions call 844-Elena-00
Welcome to the colorful world of Elena Bulatova Fine Art! It is a known fact that exceptional art dealers must be intelligent, knowledgeable, intuitive, educated, and business oriented - and that’s just scratching the surface. As artists themselves, art dealers, and gallerists, Elena Bulatova and Efi Mashiah fit the role on all accounts. After building a chain of art galleries on the west coast they are expanding now to Sarasota, Florida. Elena Bulatova is well recognized around the worked for her bright melting lollipops and popsicles series and colorful abstracts. Efi Mashiah is making amazing 3D screw art and brush paintings. Creating paintings and sculptures, exhibiting and helping collectors to find their favorite pieces is the biggest passion of Elena and Efi. Visit their galleries, Elena Bulatova Fine Art in Las Vegas, Laguna Beach, Palm Springs,or Palm Desert and your will fall in love with art!
Laguna Beach - Las Vegas Palm Desert - Palm Springs - Saratoga
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www.ElenaBulatovaFineArt.com or call 844-Elena-00
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P UB L I S H E R
BRUCE DODD (760) 898-7623 Bruce@ArtPatronMagazine.com E DI TO R I N C H I E F
CHRISTINE DODD Christine@ArtPatronMagazine.com A SSI STA N T E DI TOR
Grove Koger
Grove@ArtPatronMagazine.com A RT DI R E CTOR
Christine Dodd Christine@ArtPatronMagazine.com DI R E CTOR OF P H OTOGR A P H Y
Tom Lamb
Tom@ArtPatronMagazine.com CON TR I BU TOR S
Louisa Castrodale Bruce Dodd Christine Dodd Liz Goldner Barbara Gothard Grove Koger Tom Lamb Bernard Leibov Michael McCall Pam Price Judy Sklar Denise Tanguay Catherine Tramell DI R E CTOR OF OP E R ATI ON S
Russell Wong
Russell@ArtPatronMagazine.com DI R E CTOR OF BU SI N E SS DE VE LOP M E N T
Darian Chambers
Darian@ArtPatronMagazine.com A DVE RTI SI N G DI R E CTOR
Christine Dodd
Christine@ArtPatronMagazine.com
www.ArtPatronMagazine.com
For Advertising and Editorial Information: 333 E Amado #1904, Palm Springs, CA 92263 or email info@ArtPatronMagazine.com The opinions expressed by writers and contributors do not necessarily reflect those of the publisher. Laguna Beach Art Patron Magazine and Palm Springs Art Patron Magazine are published six times a year by Laguna Beach Art Magazine, LLC
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Newport Beach 949.759.9551 • Beverly Hills 310.276.4526 • www.drgrover.com • www.facebook.com/drsanjaygrover • @sanjaygrovermd A R T P A T R O N M A G A Z I N E . C O M 23
A R T AWA R D S
The Laguna Plein Air Painters Association
“Art & Nature” Award Winners Announced 1st Place Camille Przewodek, On Golden March, 16 x 20 oil
3rd Place, Mary Christie, That’s what I thought, 8 x 10 pastel
The Laguna Plein Air Painters Association (LPAPA) celebrated the beauty of nature with its annual “Art & Nature” juried art exhibit of paintings. The exhibit was presented at the Forest & Ocean Gallery, 480 Ocean Avenue in Laguna Beach, and featured 45 original paintings created by 33 LPAPA Member Artists. A total of 118 original works of art were showcased in the expanded online gallery show. The award winning artists were announced during a well attended Gallery Reception on November 10th and included the 1st Place Award for “On Golden Marsh” by Camille Przewodek, 2nd Place Award to Larry Cannon for “Irresistible Force”, 3rd Place Award for “That’s What I Thought” by Mary Christie, plus Honorable Mention Awards were given to Nanette Briers for her painting “Golden Hour” and to Esther Engelman for “Nature’s Simplicity”. Save the date Saturday January 7, 2019, for LPAPA’s next gallery reception to celebrate LPAPA’s next art show titled “Town & Country”, an annual juried art show celebrating the landscape where the cities meet the pastures. LPAPA was founded in 1996 to help preserve Laguna’s rich landscape painting heritage and the tradition of plein air painting. LPAPA is one of the most highly respected art associations in the world with a growing roster of more than 500 local, national and international artist members. In addition to providing opportunities for established and emerging artists to show their work in our world-renowned art colony, LPAPA has a strong commitment to education aimed to inspire the future generations of plein air painters. LPAPA in Residence at Forest & Ocean Gallery 480 Ocean Avenue, Laguna Beach, CA 92651 For more information: info@lpapa.org or (949) 376-3635, LPAPA.org
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5th Place, Esther Engelman, Natures Simplicity, 14 x 18 pastel
2nd Place, Larry Cannon, Irresistible Force,16 x 20 watercolor
4th Place, Nanette Biers, Golden Hour, 10 x 10 oil A R T PAT R O N M A G A Z I N E . C O M
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ART EVENT
Laguna Art Museum’s
Centennial Ball
Top Row: Rich Gordinier and Susie Gordinier (Centennial Executive committee co-chair); Laura Rohl (Centennial Ball committee and Centennial Executive committee) and Louis Rohl (Chair, LAM Board of Trustees); Amy Fulford (Centennial Ball committee) and Rick Fulford, Vanessa Helin (Centennial Ball committee) and Angel Garcia Maroto. Bottom Row: Betsy Jenkins and Susie Gordinier (Centennial Executive committee co-chairs), Deobrah Engle and Kathleen Abel (Centennial Ball co-chairs); Susie Gordinier, Chef Craig Strong, Betsy Jenkins; Lita Albuquerque (artist and LAM trustee) and Peter Blake (gallerist); Photos by Ann Chatillon Photography 26
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NETTIE PENA PHOTOGRAPHY Guatemala
nettie-pena.pixels.com nettiepenaphotography@gmail.com • (760)264-3522
Guatemala I Italy I Hawaii I Utah I Palm Springs I Joshua TreeA RNational T P A T R O N M A G APark Z I N E . C O M 27
k Lewis robert Fine Art Paintings
“Young Lady in Winter Coat” 18”x 36” Oil on Canvas
310.435.9731
studio@k-lewis-robert.com
Top Row: Laura Rohl (Centennial Ball committee and Centennial Executive committee) and Louis Rohl (Chair, LAM Board of Trustees); Chefs: Craig Strong, Amar Santana, Ben Martinek; Sara and Paul Heeschen. Bottom Row: Kathleen Abel (Centennial Ball co-chair), Malcolm Warner (LAM executive director), Deborah Engle (Centennial Ball co-chair); Bill Otton (previous LAM director), Charles Desmarais (previous LAM director), Bolton Colburn (previous LAM director), Malcolm Warner (LAM executive director); Photos by Ann Chatillon Photography
This past September over 400 people attended Laguna Art Museum’s sold out Centennial Ball, which raised more than $923,000. This once-in-a-lifetime event was held at the recently renovated Festival of Arts grounds. It was a night to remember! Proceeds from the event benefit the museum’s mission of providing acclaimed exhibitions, art education for all ages, and excellent programming to the community. Wonderfully historical and beautifully renovated for the Festival’s 85th anniversary, the Festival of Arts grounds were an especially fitting place to celebrate Laguna Art Museum’s 100th year. Guests entered the Ball by walking through a gold frame. The first part of the event recalled the era of early California art, featuring 1920s jazz 28
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NEW WORKS FEBRUARY 2, 2019 Ted Casablanca Gallery is now a working-studio gallery
BY APPOINTMENT ONLY bbibby@tedcasablanca.com
310-291-7679
by The Gatsbys, and hors d’oeuvres and creative cocktails by Chef Amar Santana of Broadway by Amar Santana. Guests arrived in black tie for this special occasion, ready to enjoy an evening with friends and fellow art lovers in celebration of the museum’s artistic heritage, which is closely intertwined with the city’s establishment as an art colony in 1918. Dinner was infused with the aesthetics of modernist and hard-edge art. Music was provided by The Tony Guerrero Quintet and special guests. Chef Ben Martinek, the recently appointed Chef de Cuisine of Studio at Montage Laguna Beach, prepared a delicious three-course dinner, paired with wines courtesy of Morlet Family Vineyards. Celebrity MCs Chuck Henry and Fritz Coleman led the evening’s program, including remarks from LAM Board Chair Louis Rohl, Centennial Ball Co-Chairs Kathleen Abel and Deborah Engle, Centennial Executive Committee Co-chairs Susie Gordinier and Betsy Jenkins, and Executive Director Malcolm Warner. Fritz Coleman provided a brief stint of stand-up comedy that had the guests greatly amused. A spirited paddle-raise to fund the museum’s two pillars of activity, A R T PAT R O N M A G A Z I N E . C O M
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Photos by Ann Chatillon Photography
Diane Kline Art dianeklineart.com
“I want people to feel an emotional response, to be drawn into the painting by the movement of color and design and to feel a connection in their soul.”
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exhibitions and arteducation, led by Henry and Coleman, inspired donations from the audience, supplementing ticket sales and sponsorships. The event raised more than $923,000, a new fundraising record for the museum. The after dinner entertainment included witty “appraisals” from the anonymous performance artists The Bumbys. The Bumbys are anonymous performance artists who provide “’A Fair and Honest Appraisal of Your Appearance’ using nothing more than analog typewriters and charming wit.” After-party bites were prepared by Chef Craig Strong, formerly of Studio at Montage and now chef of his new restaurant in Laguna Beach, Ocean at Main. The celebrations continued, inspired by the California Light and Space movement, with music by Soulcirque, a three man group playing DJ’d tunes accompanied by drums, keyboard, and saxophone. The illuminated dance floor brought it all together, keeping guests dancing until the end. The event reflected the city’s heritage, its love and support of the arts. Our co-founder and “patron saint” of the museum, Anna Hills, would be proud. Lead sponsors for the event included Montage Laguna Beach, Broadway by Amar Santana, South Coast Plaza, Compass, Ocean at Main, and Morlet Family Vineyards. Supporting sponsors included Modern Luxury Orange County, Arrow&Branch, Código 1530, House of Carbonadi, Modern Illumination, gorjana, Skinfix, Zinc Café & Market, and Viña Herminia. The Centennial Ball co-chairs were Kathleen Abel and Deborah Engle, and the committee members were Wendy Aird, Rick Balzer, Susan Davis, Amy Fulford, Vanessa Helin, Lucetta Kallis, Marisa Robbins, Laura Rohl, Kristin Samuelian, Ann Wareham, and Leslie Weaver.
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ART EVENT
8th Annual
Surfing Santa Competition & Holiday Surfboard Auction at the The Ritz-Carlton, Laguna Niguel
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Left: Artist Nicholas Kontaxis with his handpainted surfboard for the auction Above: Steve Adam’s handpainted Surfboard for the auction
The Ritz-Carlton, Laguna Niguel commenced the holiday season with the 8th Annual Surfing Santa and Stand Up Paddle Board Competition at Salt Creek Beach in Dana Point on November 17 and 18, 2018, followed by the 11th Annual Holiday Surfboard Auction that runs through December 31, 2018. With a commitment to supporting worthy causes and celebrating the resort’s local footprints, both seasonal events fully benefit Surfers Healing, a non-profit whose mission is to provide children with autism the gift of surfing. “Our inspiration for the Surfing Santa Competition and Holiday Surfboard Auction began with the locallybased charity Surfers Healing and finding a way to make an impactful difference in the lives of children with autism and our community,” says Bruce Brainerd, General Manager of The RitzA R T PAT R O N M A G A Z I N E . C O M
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Alison Mosshart’s handpainted Surfboard for the auction
Carlton, Laguna Niguel. “Both events not only highlight our world-class location overlooking a famous surf break but also the resort’s mission to give back to our local community by connecting in a meaningful way.” The Surfing Santa and Stand Up Paddle Board Competition is a two-day event where contestants dress as Santa or other holidayinspired characters and battle it out in the waves at Salt Creek Beach, located directly below the resort and known as one of the best surfing destinations in Southern California. The contest features 11 divisions, inclusive of surf and stand up paddle board and available for both children and adult contestants. The Holiday Surfboard Auction which runs through December 31 showcases a selection of hand-painted surfboards from various artists that are displayed at the resort and auctioned off to benefit Surfers Healing. Donated surfboards include works by renowned artists such as Wyland, Nicholas Kontaxis, Darren Le Gallo, Jorge Gutierrez, Dana Louise Kirkpatrick, Juliet Gilden, Robin Hiers, Magda Sayeg, among others. Brawner Boards, Hobie, Album, Ellis, and Firewire are also contributing boards in support of the cause. Surfboards are on display in the lobby at the oceanfront property throughout the holiday season and bids can be placed online at Bidding for Good. The Ritz-Carlton, Laguna Niguel’s Surfing Santa Competition and Holiday Surfboard Auction were developed by General Manager Bruce Brainerd. In 2008, the Surfboard Auction raised more than $13,000. Two years later, the resort hosted the first Surfing Santa Competition. Since then, the property has raised nearly $350,000 for Surfers Healing.
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Come visit us in Newport Beach
ETHOS CONTEMPORARY ART 3405 Newport Blvd., Newport Beach, CA 92663 949 791 8917
ETHOSCONTEMPORARYART.COM ______________________________ Call ahead for free VIP parking. Located in the first block of the Balboa Peninsula across from the new Lido House hotel. 36
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ART EXHIBIT
Building an Art Collection written by Michael McCall
N
ewly arrived in our nation’s capital in 1978, I quickly found my life’s trajectory shaped by a fortunate meeting with famed art curator Walter Hopps. The meeting occurred during an event Hopps held at the Museum of Temporary Art on G Street NW, where he stood at the door and received any and all artwork presented to him for the duration of 36 Hours. He was fishing for new artists. That evening, our three-decade-long friendship commenced, and for me, an initiation into the machinations of the art world began. Mysterious and infamously known for showing up late or simply disappearing, Hopps died in 2005, but he remains present in my life. Four years ago, I was handed a brown paper bag of envelopes containing bank notes and coins from Europe. The bag had been owned by Hopps, and the money inside had become worthless after 2002 when the euro became the new legal tender of the European Union. Each envelope was inscribed with Hopps’ handwriting detailing the country of origin. Evidently, he would exchange his US dollars in the country through which he was traveling while on assignment from the Menil Collection or the Guggenheim Museum. Although I admired the quality of the engraving on the bank notes, I wondered why I had possession of them. The reason became clear through a series of events the following month, when an LA art dealer challenged me to take part in Basel Week in Miami. He offered me the opportunity to perform at the Aqua Art Fair, in the courtyard of the Aqua Hotel on Key Biscayne, suggesting that I trade my newly acquired bank notes to artists for their work. I accepted the challenge. To establish a backstory for this performance, I wrote a humorous piece partially based on a vision Walter shared with me just after his near-fatal aneurism in 1994. It involved his friend Ed Kienholz and the 1939 Packard automobile in which Kienholz had been buried earlier that year. In the vision, Kienholz drove up to Hopps standing on a sidewalk, opened the car door and told him to get in. Walter walked over to the car, slammed the door and told Ed, “I’m not done here yet.” Miraculously, he went on to live for another 11 years and curated some of his best shows. With his vision woven into my fictitious story, I detailed how God had hired Hopps to help build an art collection. It seems God has a really lousy one, thanks to being swindled by everyone over the centuries, and has realized that Hopps might be able to “go back down there” and find better art for the Halls of Heaven. Satisfied with my preposterous story, I next cleaned, pressed, photographed
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and stamped the bills “HOPPSMONEY.“ My goal was to approach this in the manner Hopps himself would curate an exhibition—by looking at everything in an equitable way, making deals and building the show. Coincidentally, the same evening the money was put into my hands, so were Hopps’ dress suits, one of which I had tailored as I prepared for Miami. My fantasy was to build a collection of contemporary art and eventually exhibit it while paying tribute to my friend. On the night of December 3, 2014, I drove to the Aqua Hotel, totally in character, wearing Hopps’ suit and carrying the briefcase with HOPPSMONEY. Four trades took place that night— three live and one conducted through a FaceTime iPhone process. That particular work had been delivered to the hotel by courier just prior to my performance. During those initial transactions, Hopps was at my side, watching every move— or so it seemed. This project asks artists and viewers to consider how we place value on things. Is it all about the money? And what is money? Is it just paper (backed by what?), or is it power and freedom? The big question for the artists involved is how they place value on their artwork, monetary or otherwise. I’m essentially asking them to participate in an event in which their reward is unknown. For the next few years after the Aqua Hotel performance, I invited many artists to be part of this project, completing trades with 50 individuals who accepted. On November 3, 2018, the world premiere of the Pearly Gates Collection was be presented to the public. The exhibition was held at the Yucca Valley Visual & Performing Arts Center. For more information visit hidesertculturalcenter.org A R T PAT R O N M A G A Z I N E . C O M
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41801 Corporate Way #2 Palm Desert, CA 92260 760.674.8786 info@desertwolff.com
www.DesertWolff.com
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Jake Dent Gallery
featuring Mark Wade - Sculptor of Large Ceramic Sculpture & Vessels | Bill Anson - Sculpture Stanton Schmid - Contemporary Painter | Dean Dennis - Metal Work, Enamels on Copper
24th year at The Art Place! 41801 Corporate Way, Unit 4, Palm Desert, CA 92260 Jakedentgallery.com Sculpturemw@gmail.com (760) 776-8051
Turry Lindstrom Metal Art
Fine Metal Sculpture and Custom Fabricated Designs
The Art Place 41801 Corporate Way, Palm Desert, CA 92260 www.artplacepd.com/shops/turry-lindstrom-metal-art (423) 718-5432 A R T PAT R O N M A G A Z I N E . C O M
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ART COLLECTION
Home Is Where the Art Is The Heartfelt Collection of Tracy & Chris Keys written by Liz Goldner photographed by Tom Lamb
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The pristine Laguna Beach home of Tracy and Chris Keys has the ambiance of an art gallery. From its polished wood floors to its cleanly painted walls, spare contemporary furnishings and effective lighting, their home is designed to display their diverse collection of paintings, photographs and sculptures. A number of the works have contemporary themes, from alienation to personal sorrow and racial discrimination. And while some were completed early in their careers by artists who went on to great success, others were painted or sculpted by lesser-known figures. Tracy began assembling their collection, which today numbers about 68 pieces, while working at the former Newport Harbor Art Museum (today the Orange County Museum of Art) as Membership Chairman in the early 1990s. Upon entering their home, Tracy points to the large oil painting Heaviness by L.A.-based Enrique Martínez Celaya. Showing two small birds that are unable to connect, it expresses humanity’s alienation, she explains, adding that Martínez Celaya is “the most important living artist in our collection.” One of Tracy’s favorite painters is Orange Countian Paul Bond, a longtime Festival of Arts exhibitor. The couple’s collection includes four humorous oils from Bond’s brush. Piglet’s First Beauty Pageant depicts a pig wearing a medal, Birthday Party features a cat on a pedestal wearing a party hat, Portrait of a 19th Century Industrialist shows another cat with a monocle, and The Emissaries features a dog. “Paul is all about magical realism,” Tracy says, adding that he is influenced by René Magritte. A R T PAT R O N M A G A Z I N E . C O M
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Above Chris and Tracy’s dining room table are two large expressive photographs of faces by young Argentinian Flavia Da Rin. The untitled images depict a young woman and a young man with a cat on his shoulder. “The artist digitally manipulates the images to express a vision of her world and to distort perceptions,” Tracy explains, “as others never see us the way we see ourselves.” Hanging in the kitchen is Kim Abeles’s image of one of the country’s recent Presidents, George Bush in 30 Days of Smog, created with smog on a glass plate. In the living room are two sculptures by Joe Brubaker. Captain Charles features a head reaching backwards with its face screaming, while Jacques has a more somber face, looking forward. Equally somber are the faces depicted in the oil Manet’s Olympia by Anna Baranda, who was 16 when she created it. The scene, which is copied from Édouard Manet’s original 19th century painting, shows a naked woman lying on a bed with a black servant behind her. Oscar Magallanes’s Alta California illustrates a more current aspect of racial discrimination. In this painting, a young Latino pushes a flag-draped cart past a wall dividing him from the more affluent world. Equally political is Sandow Birk’s large acrylic on Masonite, Mundaka, a comment on the Basque separatist group ETA in Spain. Deborah Davidson’s two oil paintings of empty chairs are part of her “Chair” series. 46
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“These works are about the artist facing her own mortality,” Tracy says. “In 1982, she was given six months to live after being diagnosed with malignant melanoma. But she is alive today and is still making stunning paintings.” The oldest work in the home is the 1961 black and white photograph Mirror Times Square, depicting a young woman in a crowded outdoor setting. It was taken by William Klein, “a self-exiled American who adopted Paris as his home,” Tracy points out. While many more significant artists, including Lucy Gaylord, Tom LaDuke, Oz Ortega, Olga Sinclair and Terry Turrell, are represented in Tracy and Chris’s collection, one is worth special mention. About William Pérez’s There Is Always a Place, Tracy explains, “The colored pencil on paper in a Plexiglas box is an exploration of home and belonging. The artist’s father had taken him to see colonial homes on the coast in Cuba, which were later demolished.” She adds that “William agreed to make one more heart piece for our friend who was dying of cancer. He was selecting the art for an auction to be held after his death. This is a very special piece to us.”
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ARTIST PROFILE
FRUIT of the LOOM Nettie Peña Chronicles the Vibrant Story of Mayan Weaving written by Catherine Tramell
Palm Springs photographer Nettie Peña’s love affair with Mayan weaving started in 2002, when a woman and her 5-year-old daughter making textiles on a small loom caught her eye in the Guatemalan village of San Juan. 50
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“I was amazed how this woman could create such beautiful textiles from that little loom,” Peña recalls. “I learned that she sat there for hours weaving, day after day, just like her ancestors had done over 2000 years ago. This was truly a labor of love and preservation of her culture.” That first glimpse of still-vibrant Mayan weaving culture never left Peña’s mind, and the urge to capture it is what finally brought her back to Guatemala in 2016. Born and raised in Los Angeles, Peña marveled at the world from a very young age—and wanted to capture what she saw. Her passion led her to UCLA, where she received her Master of Fine Arts. Her student films garnered acclaim and awards, and her photography captured many of music’s greats of the time, such as the Doors. “Jim Morrison and I were friends in film school. He was charismatic,” Peña says. “Jim asked me to come and take pictures at their first gig. I knew they would be important— that’s why I saved everything.” Peña’s Doors photos were recently released by the Doors Management, and she is planning an upcoming exhibition of them. But her catalogue has expanded far beyond rock and roll. After college, Peña’s film work for the Soka Gakkai International Buddhist organization opened her eyes and mind to the rich diversity of the world, prompting her to travel to Japan several times and to film in Mexico, Panama, Peru, Brazil, Puerto Rico and throughout the United States. Her latest series, “Mayan Women Weavers,” is an ongoing photographic essay that includes hundreds of photographs, each with as much depth and texture as the weavings created on their ancient looms. “The beauty and basic living style of the Mayans is to be admired,” Peña explains. “Each indigenous Mayan group has its own traditional story to tell. It’s like being in another century.” And so Peña set out to help tell that story through the power of her lens. In November of 2017, she visited the Guatemalan village of San Antonio to photograph its weavers. Intrigued by their attention to detail, Peña marveled at the importance of each stroke within the intended design. With no written instructions or diagrams on how to use the looms she saw in use, she sought to capture the Mayans’ weaving culture, as primal as an instinct and as distinctive to each community as a fingerprint. “All the patterns and designs are inside the minds of these Mayan women,” Peña says. “They grow their own cotton to produce the cotton threads. All the dyes come from home-grown plants, bark and flowers.” In January 2018 Peña returned to see if a master weaver in San Antonio she had been documenting in November had completed her piece. More than a textile, the weaving tells a story, she explains, and is now part of Peña’s collection. “What a story she had woven,” Peña continues—a silent one “that represents the universe, their history, their status, nature and family. What is amazing to me is how they can see all these patterns in their heads and everything comes out perfect.” 52
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Art Workshops in Laguna Beach
Painting classes led by LOCA and LPAPA artists Adults: January 19, February 2, March 11, April 1 Adults and Families: February 9, March 9, April 14, May 12 Check out our website for these and other workshops LOCAarts.org • loca@locaarts.org • (949 363-4700
Last June, the Volcán de Fuego erupted, killing over a hundred Mayans, leaving thousands homeless and covering San Antonio with ash. Peña plans to return in November to see how the weavers were affected and to continue her essay chronicling their work. “I called my Mayan contact who lives there,” Peña says. “He said they were in a massive cleanup mode. His voice sounded positive.” Though most of her career has been spent as a documentary filmmaker, Peña remains passionate about her still photography. It’s a quality that’s palpable in “Mayan Women Weavers,” with each photo telling a story as colorful and vibrant as the ancient tradition living on through the weaver’s looms. “We have so much to learn from these women about perseverance and never giving up,” Peña points out. “The series reflects on the past to make sense of the present.” Learn more about Nettie Peña’s work at nettie-pena.pixels.com
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ARTIST PROFILE
THE GIFT
of Being an Artist Lauretta Lowell’s Whimsical Assemblages written by Judy Nemer Sklar
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Wildly imaginative, passionately creative, intellectually curious … Throw in touches of fantasy and whimsy, and you have La Quinta-based assemblage artist Lauretta Lowell, a creative life force whose artistic success was not fully realized until after a plane crash, a head injury and a miraculous recovery. Lowell’s father was in the military, and his career took the family overseas, contributing to his daughter’s imaginative personality and her love of travel. She was raised in Japan, and that country’s beauty and vibrant imagery would be another early creative influence. She says she inherited her artistic spirit from her stay-at-home mother, who was an accomplished artist and fashion designer. “As a young girl, I knew I wanted to be an artist like my mother,” Lowell recalls, “but I never felt I had that gift.” What she did have, however, was a passion for treasure hunting and collecting unusual
“Desert Extremities” Oil on Canvas, 29”x39”, Paul Grimm, 1891-1974, Palm Springs, CA.
An Open Letter to All Art Lovers
Allan Pitchko Galleries is not your typical art gallery. What you will find here is a wide variety of museum quality pieces of fine art and antiques, all of the secondary market. From paintings to sculptures, glass and bronze, contemporary, art deco, art nouveau, victorian and beyond. Encompassing 12,000 sq. ft., this showroom is a visual adventure. The majority of our inventory comes from estates in Los Angeles and Beverly Hills. You will find many pieces from celebrities, the likes of Aaron & Candy Spelling, Larry Hagman, Carrol O’Conner, Ronald Reagan, Jane Wyman, and many more. One of a kind pieces that could be treasured for years to come. Do yourself a favor, come take a look. You don’t have to buy, just enjoy!
Allan Pitchko Galleries, one of the Desert’s Hidden treasures
objects, an obsession that would remain with her throughout her life. When Lowell was thirteen, the family moved to Hawaii, where the culture of folklore, spirituality and superstitions would profoundly influence her art and her personal life. It instilled within her empathy, a strong spiritual sensitivity, and an ability to sense the emotional and mental states of others. At twenty-six, Lowell moved to California and made Santa Barbara her home. She embarked upon a career in marketing that would take her to Mexico, Peru and the Channel Islands, and she immersed herself in the magic and mystery of these diverse cultures. But a plane accident a few years later would change the trajectory of her life. After taking off over the desert mountains, a private plane piloted by her husband and carrying Lowell and her son as passengers stalled in midair and dropped fifty feet. Fortunately, everyone survived, but Lowell had hit her head and sustained severe nerve damage to her face. Over the next several years, Lowell suffered challenging symptoms—the loss of cognitive abilities such as writing,
“Street Scene,” Oil on Canvas, 26” x 32,” Arbit Nicolai Blatas, 1908-1999 Provenance: Estate of Jane Wyman, Letter of Authenticity from Michael Reagan
Allan Pitchko Galleries
Open 11-5 Tuesday-Saturday 70125 Highway 111, Rancho Mirage, CA 92270
(760) 324-9595 APitchkoArtGalleries.com
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talking and understanding language, along with severe bouts of vertigo. Despite her search for the cause of these symptoms, it was not until she suffered several small strokes that a definitive diagnosis was made. Doctors discovered a slow-growing brain tumor in the same area where Lowell had hit her head. The tumor was inoperable, but after she underwent radiation therapy and extensive rehabilitation, her cognitive abilities improved and her vertigo subsided. Lowell describes her recovery as “dramatic,” adding that she felt as if her brain had shifted. “I had become a right brain thinker,” she explains, “and suddenly everything became a picture to me.” As her health progressed, Lowell returned to collecting oddities. She began making art, first collage and then assemblage art. On a visit to the San Francisco Museum of Modern Art, she was introduced to the work of Joseph Cornell (1903-1972), a self-taught artist and pioneer of assemblage. She felt an immediate connection to this selfdescribed magician and collector who combed through flea markets in search of unusual objects for his famous boxes. His pieces inspired her greatly, and with the constraints of her trauma behind her and with a new sense of freedom, Lowell committed to becoming an assemblage artist: “I felt like I was hit with a magic stick. It was the gift I had always wanted—the gift of being an artist!” The cupboards and shelves in Lowell’s La Quinta
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studio are lined with bottles and jars of assorted sizes, each containing unusual objects: metal workings, dolls’ heads and antique this’s and that’s. On her workbench are the welding equipment and other tools she uses in creating her art. Some works contain birds, a reference to her free spirit and an homage to Cornell, who was obsessed with them. Other pieces display attributes associated with magic and storytelling. Colorful and often humorous works-in-progress are placed here and there, and completed assemblages, which the artist calls “whimsical curiosities,” are ready for delivery to the galleries. Of all her pieces, the assemblage Bessy Mae Mucho means the most to her; it is a vibrant representation of a woman with a collage map of France on her thighs and a colorful heart in her hand. She is the world traveler, a woman whose exposed heart reveals her colorful personality; a woman who, after a long and difficult struggle, and with courage and determination, has finally found the ability to reveal herself. Lauretta Lowell has found her gift. Lauretta Lowell is represented by Coda Gallery in Palm Desert and the Vault Gallery in Cambria. You can visit her website at www.whimsicalcuriosities.com and read a full interview with her on the author’s website at www.artistsnarratives.com or www.judynemersklar.com.
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Artist Profile: TIM SHOCKLEY Organic Surrealism in the Desert written by Denise Tanguay
1063 North Palm Canyon Dr. Palm Springs www.readbrownhairsalon.com
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If you have cruised the luxurious shopping area of El Paseo Drive in Palm Desert, you may have noticed some intriguing artworks along the road. Every two years, artists can apply to install pieces there as part of the city’s public art program. Tim Shockley is one of these artists, and his sculpture Taming the Wild West II is on exhibit on El Paseo through November. But don’t worry if you haven’t seen it yet—you’ve got time. The city has purchased the piece for its permanent collection and will relocate it to the corner of Portola and Haystack roads near the Living Desert Reserve— one of Shockley’s favorite places and his hometown source of inspiration. Part of Shockley’s “Taming the Wild West” series, the sculpture features steel and powder-coated barbed wire tumbleweeds enclosed in large cages and stacked on top of each other. The tumbleweeds look organic, although they are completely (and very carefully) made by Shockley, who calls his work “organic surrealism.” The term, says the sculptor, “speaks to our mindset of trying to control nature, which finds a way to break free but we’re always trying to contain it. Putting tumbleweeds in a cage tweaks the idea of what a tumbleweed should be doing.” Shockley has always been influenced by organic creatures and surroundings. He grew up in Palm Desert and Laguna, in the latter of which he spent time with his grandfather smashing snails in the garden to keep them from devouring the plants. Later he immortalized the creatures in bronze as part of his “Small Reminders” series. “Growing up in the desert and near the ocean gives my work an organic infusion,” says Shockley, who is an expert at tweaking the perspective of ordinary objects. “My past knowledge and memories help me pose things into organic shapes.” Shockley’s most recent works have an organic surreal vibe while also paying homage to Andy Warhol. He has re-created one of those iconic Campbell’s Soup cans, but in this case it’s expired mushroom soup and cast-metal mushrooms are
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The Idle Hour
THE IRVINE MUSEUM COLLECTION AT THE UNIVERSITY OF CALIFORNIA, IRVINE
November 9, 2018–March 10, 2019 Casa Romantica Cultural Center and Gardens 415 Avenida Granada, San Clemente, CA 92672 Open daily Tues–Thu 11–4 and Fri–Sun 10–2
More information: www.CasaRomantica.org A R T PAT R O N M A G A Z I N E . C O M
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bursting out of its seams. The first one he made sold fast and patrons are asking for more. Shockley is influenced by what he calls the “subtle surrealism” of artists René Magritte and Man Ray. He loves Marcel Duchamp’s work due to its timeless originality that is not mass produced. “My aim is to create art that withstands the test of time and trends,” he explains. “If I have a so-so idea, it’s not going to happen. But if I’ve never seen it, I’ll do it.” To create his barbed wire tumbleweeds, Shockley dons his goggles and gloves to manipulate the wire. He starts cutting it into little pieces, bending, welding, wrapping and winding them to make them look like an organic branch. “It required a vicious circle of thinking to figure out how to do it,” he says. The caged tumbleweed may become Shockley’s signature art concept—he’s developed a proposal to create a giant 30foot example for a company in Texas. At the same time he’s expanding on his “Taming the Wild West” and “Big Picture” series. He’s breaking out of his comfort zone and creating larger pieces for future public art installations. Taming the Wild West II was his fourth such installation. “I’ll do whatever it takes bring a good concept to fruition,” Shockley declares. “I never want to compromise the integrity of an idea due to lack of knowledge about materials or how to work with them. Once you start the idea, more ideas come.” Over the years, the sculptor has learned how to be an expert at woodworking, casting, welding and metalwork. And he’s not afraid to share ideas with other artists who are calling him with questions about his process. Tim Shockley is all about ideas. “The most exciting part of creating is stepping back and seeing that the idea that was strong in your mind has worked,” he says. “When it all comes together, it is such a satisfying feeling. I wish everyone could experience that.” Learn more about Tim Shockley at www.TimShockley.com. You can also see Shockley’s work at the inaugural Indio public art exhibition founded by the Indio Public Arts and Historic Preservation Commission. Shockley’s work can be seen in downtown Indio alongside Marnie Navarro, Delos Van Earl, Chris Sanchez, and Cathy Allen through April 29, 2019. 60
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LARRY HEMMERICH
Renewing the Artistic Landscape written by Denise Tanguay
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The premier art event in the leading destination and community of fine art galleries. SAVE THESE DATES THURSDAY | NOVEMBER 1ST | 2018
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Larry Hemmerich always knew that when he got closer to retirement, he would return to art. He had put his fine art education on the back burner after college to focus on making a living in advertising and sales. But luckily his work pace changed in 2013 and he moved to the desert to renew his life at age 62. As his recent exhibitions and sales make clear, he made the right choice to reinvest in his artistic talent. Now he lives in Palm Springs and has developed a following of patrons and peers who are enthusiastically embracing his desert landscape pastel drawings and paintings. “I have an art background, but didn’t take it seriously,” says Hemmerich, who is now a member of the California Art Club and Palm Springs Arts Council. “Over the last few years, it all fell into place. I got into the right universe and everything started to align.” The alignment Hemmerich is referring to began in December 2017 when he rented space in photographer Stephen Baumbach’s gallery and sold two pieces on opening night. After that, he launched the Larry Hemmerich Pastels Facebook page and immediately sold one more piece. “Selling three works in one month gave me lots of confidence!” Hemmerich exclaims. “In January 2018 I walked El Paseo Street in Palm Desert to research galleries where I could show my art and found D Gallery. I exhibited there from February through June and sold more work.” Hemmerich’s style and subject matter have earned him the right to be called a “desert artist.” He uses a rich palette of pastels to draw and “paint” landscapes that he has personally experienced while hiking in the Palm Springs area. He works from photographs taken on those hikes, which are usually off-trail and often dangerous. “When you look at my work, it isn’t broad landscapes,” Hemmerich points out. “Because of my hiking, I capture in my art what I see close-up. I want to share what I’ve seen in places that most people will never experience.” His work Rocks of Ages, a pastel drawing of boulders
intermixed with grasses, is one example of what Hemmerich experiences when he spends “so much time climbing over the rocks.” A similar landscape, Vortex Sunset, was recently shown at the Joshua Tree National Park (JTNP) art exhibition held at the 29 Palms Art Gallery in September. The work was one of 58 chosen from 310 submissions by 121 artists from across the desert, California and the U.S. It was Hemmerich’s first time competing in a juried show. Hemmerich spent some time in the national park after the JTNP exhibition and immediately began his latest piece, a 12”x9” pastel on canvas based on a photo of a rock formation he took while on a hike there. “My inspiration is always the desert,” he explains. Hemmerich also found inspiration this year at a plein air workshop that he attended in the Highland Springs Resort’s lavender fields in Beaumont. Although most of his works look as if he created them en plein air, he has actually worked primarily from photographs. “Experiencing plein air affected how I look at light and contrast,” Hemmerich recalls. “It forces you to see things differently.” He applied the technique to his Lost in Mecca Hills piece and says that it “made the painting much better as a result.” Currently, Hemmerich is applying to other juried art shows and working on three commissioned pieces, one of which is based on a palm tree landscape drawing he recently sold titled Fly Over. The inspiration for the work was a photo Hemmerich shot while looking up at the sky from a lounge chair in his backyard. It’s a common scene in Palm Springs—tall palms stretching up into a big sky punctuated with a distant airplane—but Hemmerich’s painting reveals how such a common scene can be a beautiful thing. Learn more about Larry Hemmerich and his work at www.larryhemmerich.com.
Trenz Gallery
www.trenzgallery.com
68845 Perez Raod, Suite H-15, Cathedral City, CA 92234 (760)202-8769 A R T PAT R O N M A G A Z I N E . C O M
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ARTISTS RESIDENCE
Synergy in Action
Emerging Artists Intersect at Joshua Tree Highlands Artists Residence written by Barbara Gothard
Dennis Buck
Dennis Buck
Converging in Joshua Tree, four emerging artists from Germany, Maryland, North Carolina and Pennsylvania were faced with challenges and opportunities in this unfamiliar desert environment. Their task was to create artworks independently, then collaborate on developing a cohesive exhibit of their diverse output. Dennis Buck (visual artist), Emily Quinn (painter/photographer), Dimitri Staszewski (filmmaker/ photographer) and Chris Zickefoose (sculptor) were awarded seven-week residencies at Joshua Tree Highlands Artists Residence (JTHAR) during the summer of 2018. Their individual and collective experience would give them what art critic Henri Neuendorf describes as the benefits of a residency: time to reflect, to do research and/or produce work outside of their usual environments with potential long-term effects on both their art and their lives. Developing a unique theme that these artists could write about in a thoughtful manner was paramount, and this step became the catalyst for their collaboration. Equally important was determining how each of their specific genres would complement the others’ works in terms of the theme they chose—Optical Instruments. Buck kicked off the weekly potluck sessions at their respective Joshua Tree residences. Long conversations followed a formula of sharing updates on their work sessions, critiquing each other’s works, brainstorming exhibition titles, discussing art making and art history, and marketing and promoting their work. An unanticipated benefit of these sessions was the recognition that although each created works based on an interior “monologue,” the feedback from the other artists proved to be not only valuable but also resulted in changes to their individual works. Buck’s process involved collaborating with rabbits, the rain and, most profoundly, the heat of the sun (this last in stark contrast to his native Berlin), demonstrating how the elements affect a variety of fabrics and produce paintings without paint or brushes. His work focuses on the act of signing and dating— name, initial and year are the objects of the image. Numbers and letters are obscured into an abstraction of color, line and form. Displaying the power of the desert sun, H.M.2018 pays homage to Matisse’s late scissor cuts. UVresistant materials were cut and arranged on the textiles to allow the sun and rain to bleach the canvases. In his works, Buck observed the outcomes of transparency. The layering of vitreous and translucent 66
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Celebrating 40 Years of Wyland Galleries
Emily Quinn
materials allowed the image to exist within the painting rather than on its surface, shifting fluently between painting and sculpture. Quinn’s realistic oil paintings of domestic objects and spaces were inspired by the aesthetics, forms and concepts of Noah Purifoy’s sculptures at the Noah Purifoy Outdoor Desert Art Museum. Focused on domesticity, the objects, textures and compositions she chose are the result of her viewing Purifoy’s works. Like the older artist, she grew up in Alabama, uses found objects in her artistic practice, and believes art can be an effective vehicle for social change. Quinn’s feminism and concerns regarding women’s roles in the home lead her to paint the domestic sphere in order to elucidate certain psychoanalytic assumptions about female character. For her, a house is a fitting way to represent the psyche, because one’s home is an extension of oneself. No other type of building embodies such symbiotic association between occupant and object. Quinn critiques an overly glorified or sentimentalized view of the home using a muted color palette, dramatic perspective and an atmosphere of stillness and expectation. Her work displays a different side of the American experience than Purifoy’s, but she shares his interest in silence, whimsy and horror. Her paintings demonstrate how silence can be comforting in one moment but deafening in the next. Unbeknownst to the viewer, Quinn creates small dioramas with her found objects before she executes a work. She paints these white, exaggerating the shadows and creating an eerie atmosphere. For her, the interaction with the other JTHAR artists enabled her to move outside of her Southern conservative background to see her
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Chris Zickefoose
Ed Keesling Clayworks Pottery, Ceramic Murals, Scupture
Wholesale, Retail, Commission Yucca Valley, CA www.edsclayworks.com ededkeesling@aol.com 68
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Dimitri Staszewski
own work differently. Not surprisingly, her influences include Edward Hopper (as master of melancholy), Michael Borman and Stockholm-based Mamma Andersson (for her treatment of domestic space). She explains that she is inspired by a remark from a worker at the National Chloride Mine of America in the Mojave Desert community of Amboy: “This land here, people don’t stop. They just go through it.” Staszewski’s photos examine the order and chaos of the desert, a barren and fragile ecosystem in which humans nevertheless make their presence felt. He stepped away from the paths, trails and roads of the Morongo Basin to create images that preserve the feelings that this dystopian landscape elicits. A chloride mine, for instance, rips a seam through the Earth as visitors trample delicate desert plants. We associate palm tree with Hollywood, but Staszewski discovered that the process of growing these American symbols of success has been overlooked. Driving alongside the Salton Sea towards Slab City, he passed farms growing row after row of palms, revealing the trees as wholly manufactured symbols, while desert flowers burst forth regardless of who is watching. As an overlooked enclave of Southern California, the Morongo Basin is alive with a feeling of transformation, and preservation seems necessary. While tension exists and the future remains unclear, Staszewski’s images show a reverence for the ways in which the natural and human worlds exist as mirrors of each other, in effect paying homage to their collaborative efforts while acknowledging that drastic change may be on the way. Zickefoose’s work is closely aligned with and determined by his environment, and he utilizes materials that are readily available. His goal for his residency was to determine the ways in which a drastic change in environment, from Maryland to the California desert, would alter the methods and materials he uses. Intrigued by the abundance of life that persists in the desert, he found a transformation occurring, with aging homestead cabins demolished or renovated to accommodate a
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help support the “99-Sheep” project
www.lilykostrzewa.com 99-Sheep - magic (8) 36”h x 48” w
growing desire on the part of individuals to occupy the Joshua Tree area. Old roof tiles, support struts, siding, fence posts and other architectural debris pile up on such redeveloped properties. Zickefoose’s work encapsulates these fragments, paying homage to the past while also welcoming the future. Removed from their context and allowed to transcend themselves, these otherwise useless materials take on a metaphysical utility. The sculptor’s work challenge how we assign meaning and value to the physical world. In addition, Zickefoose’s work is deceiving. On first look, the viewer assumes that the objects are painted on the canvas, but upon closer examination, it’s apparent that the found objects are masterfully embedded in the canvas. In fact, the reverse sides of Zickefoose’s constructions are as striking as their fronts. According to the Guardian’s Matthew Caines, “No matter what they look like, at the heart of all artist-in-residence programs is a relationship between practitioner and venue … residencies can have huge benefits for both tenant and landlord.” Established in 2007, JTHAR awards artists the gifts of time and space. As Quinn points out, the result is an atmosphere that makes his work so much stronger, thanks to the collaboration of his fellow artists and the mentoring of JTHAR’s board members, many of whom are artists themselves. JTHAR’s goal of fostering creativity through opportunities for exploring, experimenting, reflecting, engaging and exchanging with the vibrant local artistic community is evident in the works that Quinn and her fellow artists have exhibited in Optical Instruments. “We establish spaces where inspiration happens on a daily basis,” points out JTHAR co-founder Frederick Fulmer. Its residents innovate while they change the cultural landscape, and their fresh approach in connecting with each other is evident in the ways in which they have continued to communicate regularly with each other after their residencies ended.
Barbara GOTHARD
Contemporary Surrealism: Digital and Oil Paintings
barbaragothard.com saatchiart.com/barbara.gothard #barbaragothardart gothardfineart@me.com Palm Springs, CA 832.993.0290
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A Visual Symphony by Vance Burke Fabrics, Furnishings and Art Create this Classic Palm Springs Home written by Liz Goldner
Just as a conductor is well-versed in the many musical parts of a symphony, and as she or he unifies the entire orchestra, Vance Burke Design Inc., a Los Angeles/Palm Springs firm, orchestrates the design components of luxury homes. Burke and his collaborator and business partner Todd Peter create the furnishings, fashion the upholstery, incorporate color schemes, map out the floor plans, select rare art pieces and even work with the architecture. “Many people have a difficult time understanding what we do, as we create complete and unique environments,” Burke explains. This holistic approach is based in part on Burke’s educational background. He graduated from New York City’s Parsons School of Design with a degree in Environmental Design, having completed courses in art history, decorative arts, and interior and product design, all of which prepared him to undertake the broad range of projects that he engages in today. Early in his career, Burke took positions with the international firms Donghia Associates, Jed Johnson Associates and Parish Hadley, creating luxurious interior environments. He moved to Los Angeles in 1997 to work on his own, soon attracting high-end clients and teaming up with Peter. As the quieter member of the firm, Peter brings a background in fashion design and a refined sense of color, both of which he applies to their current projects. Discussing
Opposite Page: COURTYARD ENTRY The sculptural Bertoia Diamond Chair from 1952 features geometric lines which contrast a white lacquered rock table and a modern Italian resin “Totem” lamp. This Page: DESIGNER: Vance Burke ARCHITECT: Richard Harrison Circa 1962
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Opposite Page: MEDIA ROOM A Robert Kuo Drum table, Custom Pieced Cowhide Rug from Argentina Italian Resin Totem Lamp, Pillow Fabric: Vintage Verner Panton for Maharam COSMOS”, 2014, JAMES NARES, Orange Cashmere Throw: Pratesi Custom Upholstery by Vance Burke Design Inc., Yellow Mohair: Brunschwig and Fils KITCHEN Cabinets wire brushed white rift oak in Driftwood finish Oval Dining Table: Custom Vance Burke Design Inc. COURTYARD ENTRY Textural contrasts Rough Elephant Grey chiseled limestone walls and polished black and white terrazzo floors, Courtyard upholstery by David Sutherland This Page: LIVING ROOM “PLYMOUTH”, 2014, Mark Sheinkman, Oil and Graphite on Linen A pair of early 1960’s Martz Glazed Ceramic Lamps, Carrara Marble Cocktail Table by Pierre Charpin, Yellow and Black Ikat Pillow fabric by Dedar, available at Kneedler Faucher 72
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the Palm Springs residence featured in this article, he points out that “the interplay of textured walls within a neutral palette adds sophistication and interest to the main area of the home as well as the master suite. With the space having an abundance of natural light and gallery-sized walls, the client was enthusiastic to add art that was simultaneously peaceful and dynamic.” Burke conducts a tour of this classic mid-century modernist home, designed by architect Richard Harrison, built around 1962 and recently decorated by Vance Burke. “First,” he says, “we created the floor plan for this home with its slightly retro vibe. We also fashioned the upholstery and then sat in the furnishings many times to make sure that they are comfortable. “The courtyard entry,” he continues, “is a palette of surfaces, and features black and white terrazzo stone tiles, which we also used throughout the home.” One of the few pieces of furniture in the home not created by Burke and Peter is the classic 1952 Bertoia Diamond Chair in the entryway. The media and living rooms, Burke points out, contain upholstered furniture designed by the pair. The array includes modern-style yellow chairs and sofas with natural heathered fabric. The two also fashioned the coffee and end tables and many of the rugs scattered throughout the home. Even the kitchen has custom cabinetry designed by Vance Burke, along with a banquette that they covered with A R T PAT R O N M A G A Z I N E . C O M
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Opposite Page: LIVING ROOM DETAIL A Salvador Dali Pate de Verre Sculpture by Daum and Italian Glass This Page: GUEST BEDROOM “HIGH ROLLER”, 2012 by Heidi Spector Red Lacquer stool from Robert Kuo Custom Upholstery Fabrics from Schumacher, Knoll, and Perrenial MASTER BEDROOM “PSALM EXAUDI DOMAINE”, 2009, Damien Hirst Cabinet - White Laquer and Rift Oak, Custom Vance Burke Design Inc.
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custom fabrics similar to those used throughout the home. Among the few pieces that the partners did not design are the carefully chosen lamps, some from the midtwentieth century, and the Argentine cowhide rug in the media room. Yet the Japanese vases wired as lamps in the master bedroom are their own concepts, and they created many of the bedroom linens as well. To select the art for the homes they decorate, Burke and Peter often visit art fairs and exhibitions in the United States and Europe, noting and photographing pieces that clients might enjoy. Cosmos, an abstract burnished red print, adorns one wall of the media room in this featured Palm Springs home, while a pâte de verre sculpture by Daum in the living room has a Salvador Dali profile. Other art pieces include the abstract multi-colored painting Heart above Head by Tim Bavington in the living room and the oil-and-graphite-on-linen painting Plymouth by Mark Sheinkman, a swirl of grays and whites evoking smoke. With many more custom-made and chosen treasures and its magnificent view of the mountains beyond, this elegant home is a large, flowing art installation. Add its subtly nuanced ambiance —created through the use of custom fabrics, carefully arranged lighting, harmonious placement of furnishings and accessories, and balanced use of colors—and the result is a Palm Springs home that is inviting to all and eminently livable for its owners. Learn more at vanceburke.com.
Reginald M. Pollack 1924-2001
Fantastic Tale, 1972 24x24, Oil on Panel
Memory, 1988/1996 24x24, Oil on Panel
The Ascension of the Golden Triangle, 1977 24x24, Oil on Panel
Included in prominent museums and private collections; including: Metropolitan Museum of Art, Vincent Price Gallery & Art Museum, Museum of Modem Art, and Palm Springs Art Museum. Oceans Restaurant in Cathedral City has 16 Reginald Pollack paintings on permanent display. Designworks Talent at 333 N. Palm Canyon Dr has seven paintings on permanent display.
www.reginaldpollackpainting.com • 760-320-1424
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ROBERT MERRITT
16
ARTISTS
to Know in 2019
WWW.ROCANVAS.COM
ROCANVAS1978@GMAIL.COM
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LINDA SCHROETER
REINDER OLDENBURGER
www.lindaschroeter.com ljsdesign1@mac.com
www.reinderoldenburger.com
contact@reinderoldenburger.com
Gallery Affiliation: Laguna Art Gallery
RON KINGSBURY
ImpressionisticArtist.com R6514@aol.com (781) 724-5764 A R T PAT R O N M A G A Z I N E . C O M
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JEROME WRIGHT
ROXANNE ROSSI
JOHN TRINH
Flip-Flops, A New Coral Species
The Sea, 2018
Cityscape--Wired
jjjjh777@hotmail.com (717) 454-6095 Abstract, Figurative, Nudes, Sacred, Jazz, accepting commissions and portrait requests 78
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www.roxannerossi.com/ roxanne@roxannerossi.com
https://www.behance.net/JohnTrinh https://www.facebook.com/JohnTrinhArtwork/ https://www.facebook.com/AO30YRSLATER/ http://johntrinh18.wixsite.com/agentorangefilm/home
METIN TUTUN
MICHAEL PANETTA
metintutun.com
Ocean Earth Glass
Facebook metintutunart Instagram metintutun
Artist/Designer
WWW.OCEANEARTHGLASS.COM
MICHAEL@OCEANEARTHGLASS.COM 2955 Laguna Canyon Rd. Laguna Beach, CA 92651 (949) 874-8466
JUAN EMILIO CHECA QUEVEDO
Wabisabiconmojo@gmail.com
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JANET MULLER
CLAUDIA CAMPBELL
WWW.JANETMULLER.COM
WWW.CLOARTISTE.COM INFO@CLOARTISTE.COM
MEGHAN STARLING
meghanstarlingart.com meghan_starling
KIM MANFREDI
www.kimmanfredi.com
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RUTH MAYER FINE ART INC.
Ruth Mayer’s 60 year career as a professional artist has taken her to distant places on the globe, painting virtually hundreds of works. When not traveling and painting Ruth can be found in her California home studio or in Laguna Beach art gallery.
Ruth Mayer Gallery - Laguna Beach
380 S Coast Hwy, Laguna Beach, CA 92651 • (949) 494-8185
www.ruthmayer.com artist@ruthmayer.com
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