Starving Artist by Mia LaCascia

Starving artist LA Edition

The Pie Hole Great places to eat in LA

PERFECT GIFTS for

Cut it Out! Inside La's sharpest barber shops

the artist in your life

The Art Walk

L e a r n a b o u t D T L Aâ&#x20AC;&#x2122; s

art culture

INTO THE WORLD OF

JENEVIEVE WIEGMAN THE ASIPIRING ARTIST AND FASHION DESIGNER Nov 2016

Table of Contents

Starving Artist

5 Words of mia 9 The Pie Hole 10 windows into the surreal 12 The art walk 16 Art Gear 20 into the world of

Jenevieve Wiegman

28 a sense of space 38 cut it out!

Starving artist (The Important Guys) editor/Art direction Mia LaCascia

featured starving artist Jenevieve Wiegman

SATISFY YOUR CRAVING.

Starving artist Starving Artist is a publication dedicated to helping the everyday "Starving Artist." Being an artist is a labor of love but it isn't always easy getting out there for the first time so that is why Starving Artist was created. We want to bring attention to these creative people so hopefuly they won't be starving for much longer. The world is a unique place with amazning people, places, and an infinate amount to explore. Each editon of this magazine will be about a differnt place. We know as artists that it's important to see and experience as much of the world as possible and Los Angeles is a great place to start.

StarvingArtist.com

Writers Josh Morgan Hamish Bowles Peter Gossel Micah Smit

Photographers Ryan Okko Mia LaCascia Julius Schulman

Social media team Abby Baker Sasha Sanchez Albert Niche

Fellow artists and readers, I’m very excited for this issue of Starving Artist! Los Angeles is quite a unique place. The art community creates an subculture that brings people closer together. Art is essential and without it, the world be boring and lost. What I hope to accomplish with Starving Artist is to create something that brings inspiration and reccogniton for fellow artists that are just starting out. Begining to follow thier creative dreams is not always easy. But artists wouldn’t be doing what they do if they didn’t love it! I believe that all artists were “starving” at one point. So this magazine is an outlet to help find young artists and bring them out of the “starving” stage. We hope to make these young artsists closer to achieving their dreams.

- Mia LaCascia

munchies

The Pie Hole: A Place of Love and Value By Josh Morgan

LA VIBES

There’s no better place to socialize and savor a homemade pie than The Pie Hole located in DTLA’s Art’s District. What started as a small family owned business has gone international and have opened stores as far as Tokyo, Japan! Come in and enjoy a variety of sweet and savory pies. They also serve an intericate selection of organic coffees and teas. Their mission is to set the standard for a Great American Pie Shop and they live by their slogan: Pie is Love.

Munchies

5th Floor

Explore

WINDOWS INTO THE SURREAL

LA VIBES By: Hamish Bowles Photography: Ryan Okko

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli

“Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934.Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”)   Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey fur and zippers (newfangled in the thirties) were everywhere. love of trompe l’oeil can be traced to the faux-bow sweater that kick-started Schiaparelli’s career and brought her quirky style to the masses. “Dare to be different,” is t he advice she of f erer to women. Pace-setters and rule-breakers waved that flag through the sixties, the seventies, and beyond.

Munchies

5th Floor

Explore

ART Walk Travel to Downtown LA

Experience the Historic Art Walk every 2nd Thursday. Every 2nd Thursday DTLA streets are packed with art and culture

On the second Thursday of every month, artists, tourists, explorers and people of all kinds gather to see the the historic Downtown Art Walk in Los Angeles. No better place to mingle and get inspiration from local artists, photographers and singers. Up and down, Spring street is packed with nothing but people, culture and of course- art. You’ll find yourself lost in The Hive Gallery and speding way too much time in the nooks and cranies of The Last Bookstore. It’s quite a site to see. Every gallery has it’s own unique aesthetic and vibe. - But that’s not all there is to offer. When walking from gallery to gallery this is when you could get caught up in the culture. People by the dozens dress up in groups to sing, dance and play music. You’ll also find plently of peopl having the time of their lives playing the drums. Outside are also a great place to find more art, crafts and handmade items. You’ll walk by endless pop up stores and it’s quite amazing to take. Another amazing site is the barber shops. LA has truly taken the ordinary and made it stand out. LA’s barber shops looked as though they were from a different time with a strikng vintage feel and others have their own unique vibe.

LA VIBES

Floyd’s 99 is a Barber

Munchies

5th Floor

Explore

“The DTLA artwalk encompasses the culture and vibe that Downtown LA has to offer.”

StarvingArtist.com

Shop with rock and roll in mind. From floor to ceiling are rock and roll posters from various decades. For both men and women you walk by with windows wide open and watch as people get their heads shaved. ` Out of all the galleries, on e that is a must see is The Hive. it takes about thirty minutes just to look though it all. It’s room after endless room and of course is all local work from local artist. They often have DJs playing music and digital animations projected on the walls. Another Art Walk must see is The Last Bookstore. This place truly has it all. You will for sure get lost in the endless display of books and viynl records. There are secret vaults to discover that contain material older than sliced bread, and half the store is made out of recycled books. And just when you think that’s the end of it, upstairs their are giftshops and art galleries to explore. One in particular that stands out is FOLD art gallery. FOLD always has an impressive display of work outside and then has a remarkable giftshop filled with artifacts from local artists. It’s guarentteed you will find something you like in there. The Art walk encompasses LA’s historic culture.

ART Gear 16

e h T

A L on

i t i ed

Starving Artist

into the world of

Jenevieve Wiegman

Jenevieve Danish fruitcake pastry donut. Marshmallow bear claw donut tart carrot cake dessert croissant lemon drops brownie. Soufflé sweet roll soufflé. Powder carrot cake candy canes marshmallow cookie cheesecake muffin tiramisu candy. Ice cream tiramisu brownie danish gingerbread apple pie jelly beans cotton candy. Bonbon muffin caramels lollipop brownie jelly-o topping. Chocolate cake chupa chups danish fruitcake. Cake sweet roll jelly beans

21 the aspiring Illustrator and designer that continues to pursue her dreams WRITTEN BY MICAH SMIT ILLUSTRATIONS BY JENEVIEVE WIEGMAN

How long have you been drawing?

Ever since I can remember, after I moved to college my mom had to replace our kitchen table because it was completely destroyed from years worth of paint, markers and pencil indents. The aspect, which I love most about illustration, is how individual style evolves every year and you can see your progression as an artist.

What Inspires you the most?

I’m very inspired learning about different cultures and customs, I think it’s really important nowadays more than ever to be a responsible global citizen and have respect for other people’s identities and traditions. I’m also a huge fan of fantasy art, books and movies, as well as nature, which I designed my last collection from.

who is your favorite artist or designer? It’s so hard to narrow down, some of my favorite artists are Cuno Amiet, Matisse, Antonio Soares, Phobs, Willy Virginer and of course Hayao Miyazaki. My favorite designers include Marni, Dries Van Noten, and Alexander McQueen.

When did you know you wanted to study fashion and costume design?

Around my sophomore year of high school, I really started to seriously consider pursuing fashion design. Once I got to FIDM and started to design I realized I fit better in costume design and am now pursuing that.

What is your favorite era in fashion? Definitely the 16th century, I’m absolutely obsessed with 16th century portraiture painting and the exquisite attention to detail in each garment the artist captures.

What advice do you have for artists who want to persue a career in fashion or illustration?

Don’t let others’ strengths intimidate you and don’t let yourself talk you out of things. When I first came to LA I never thought I would be able to compete with others’ levels of talent or fit in with how unique and creative my classmates were. Some of my best friends and biggest supporters I’ve met while in Los Angeles I had originally been very intimidated by. In an industry like this, it’s essential to compete only against yourself and do the best that you as an individual are capable of doing.

Follow Jen on Social Media!

@jwiggs

jenweigman

Where do you hope to see yourself in 10 years? Designing and making costumes and illustrating. I would love to merge my love of sustainable fashion and tailor it towards creating costumes in a more conscious manner. I think that the fashion industry is slowly but surely becoming more transparent and I hope the same can be done for the film and television industry.

peach111

ILLUSTRATIONS BY JENEVIEVE WIEGMAN

â&#x20AC;&#x153;Promise me you will not spend so much time treading water and trying to keep your head above the waves that you forget, truly forget, how much you have always loved to swim.â&#x20AC;? -Tyler Knott Gregson

AA SENSE SENSE OF OF SS PP AA CC EE

Photographer Julius Schulmanâ&#x20AC;&#x2122;s photography spread California Mid-century modern around the world.Carefully composed and artfully lighted, his images promoted not only new approaches to home design but also the ideal of idyllic California living â&#x20AC;&#x201D; a sunny, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.

By Peter Gossell Photographs by Julius Schulman Even if you’re confused by the fork in the driveway, which slopes up to the Edenic apex of Laurel Canyon, or don’t recognize architect Raphael Soriano’s mid-century design landmark, you can’t miss Julius Shulman’s place. It’s the one with the eight-foot-high banner bearing his name—an advertisement for his 2005 Getty Museum exhibition “Modernity and the Metropolis”—hanging before the door to the studio adjoining the house. As displays of ego go, it’s hard to beat. Yet the voice calling out from behind it is friendly, even eager—“Come on in!” And drawing back the banner, one finds, not a monument, but a man: behind an appealingly messy desk, wearing blue suspenders and specs with lenses as big as Ring Dings, and offering a smile of roguish beatitude. You’d smile, too. At 96, Shulman is the best known architectural photographer in the world, and one of the genre’s most influential figures. Between 1936, when a fateful meeting with architect Richard Neutra began his career, and his semi-retirement half a century later, he used his instinctive compositional elegance and hair-trigger command of light to document more than 6,500 projects, creating images that defined many of the masterworks of 20thcentury architecture. Most notably, Shulman’s focus on the residential modernism of Los Angeles, which included photographing 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine between 1945 and 1967, resulted in a series of lyrical tableaux that invested the high-water moment of postwar American optimism with an arresting, oddly innocent glamour. Add to this the uncountable volumes and journals featuring his pictures, and unending requests for reprints, and you have an artist whose talent, timing, ubiquity, and sheer staying power have buried the competition—in some cases, literally. Shulman’s decision to call it quits in 1986 was motivated less by age than a distaste for postmodern architecture. But, he insists, “it wasn’t quite retiring,” citing the ensuing decade and a half of lectures, occasional assignments, and work on books. Then, in 2000, Shulman was introduced to a German photographer named Juergen Nogai, who was in L.A. from Bremen on assignment. The men hit it off immediately, and began partnering on work motivated by the maestro’s brand-name status. “A lot of people, they think, It’d be great to have our house photographed by Julius Shulman,” says Nogai. “We did a lot of jobs like that at first. Then, suddenly, people figured out, Julius

is working again.” “I realized that I was embarking on another chapter of my life,” Shulman says, the pleasure evident in his timesoftened voice. “We’ve done many assignments”—Nogai puts the number at around 70—“and they all came out beautifully. People are always very cooperative,” he adds. “They spend days knowing I’m coming. Everything is clean and fresh. I don’t have to raise a finger.” As regards the division of labor, the 54-year-old Nogai says tactfully, “The more active is me because of the age. Julius is finding the perspectives, and I’m setting up the lights, and finetuning the image in the camera.” While Shulman acknowledges their equal partnership, and declares Nogai’s lighting abilities to be unequaled, his assessment is more succinct: “I make the compositions. There’s only one Shulman.” “The subject is the power of photography,” Shulman explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20 different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flower photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.” It all adds up to a very full schedule, which Shulman handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”—and with remarkable ease for a near-centenarian. Picking up the oversized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom Mayne—we had lunch with him. Long Beach, AIA meeting. People were here for a meeting about my photography at the Getty [which houses his archive]. High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture. Then an assignment, the Griffith Observatory—we’ve already started that one.”

“I MAKE THE COMPOSITIONS. THERE’S ONLY ONE SHULMAN”

“A JUL CA H INT

AMERICAN PHOTOGRAPHER LIUS SHULMAN’S IMAGES OF ALIFORNIAN ARCHITECTURE HAVE BURNED THEMSELVES TO THE RETINA OF THE 21TH CENTURY.”

Yet rather than seeming overtaxed, Shulman fairly exudes well-being. Like many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of veneration (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the resulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude. As the man himself puts it, “The world’s my onion.” Given the fun Shulman’s having being Shulman, one might expect the work to suffer. But his passion for picture-making remains undiminished. “I was surprised at how engaged Julius was,” admits the Chicago auction-house mogul Richard Wright, who hired Shulman to photograph Pierre Koenig’s Case Study House #21 prior to selling it last year. “He did 12 shots in two days, which is a lot. And he really nailed them.” Of this famous precision, says the writer Howard Rodman, whose John Lautner– designed home Shulman photographed in 2002: “There’s a story about Steve McQueen, where a producer was trying to get him to sign on to a movie. The producer said, ‘Look how much you change from the beginning to the end.’ And McQueen said, ‘I don’t want to be the guy who learns. I want to be the guy who knows.’ And Shulman struck me as the guy who knows.” This becomes evident as, picking up the

transparencies from his two most recent assignments, he delivers an impromptu master class. “We relate to the position of the sun every minute of the day,” Shulman begins, holding an exterior of a 1910 Craftsman-style house in Oakland, by Bernard Maybeck, to the lamp atop his desk. “So when the sun moves around, we’re ready for our picture. I have to be as specific as a sports photographer—even a little faster,” he says, nodding at the image, in which light spills through a latticework overhang and patterns a façade. “This is early afternoon, when the sun is just hitting the west side of the building. If I’m not ready for that moment, I lose the day.” He does not, however, need to observe the light prior to photographing: “I was a Boy Scout—I know where the sun is every month of the year. And I never use a meter.” Shulman is equally proud of his own lighting abilities. “I’ll show you something fascinating,” he says, holding up two exteriors of a new modernist home, designed for a family named Abidi, by architect James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of indoor and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency. “The house is

transfigured,” Shulman explains. “I have four Ts. Transcend is, I go beyond what the architect himself has seen. Transfigure— glamorize, dramatize with lighting, time of day. Translate—there are times, when you’re working with a man like Neutra, who wanted everything the way he wanted it—‘Put the camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated. And fourth, I transform the composition with furniture movement.” To illustrate the latter, Shulman shows me an interior of the Abidi house that looks out from the living room, through a long glass wall, to the grounds. “Almost every one of my photographs

has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the upper right, then a second perpendicular line from the lower right corner to the first line. Circling the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line formed by the bottom of the glass wall— dividing inside from outside— roughly mirrors the diagonal he’s drawn. Shulman then indicates the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the

owner saw the Polaroid, she said to her husband, ‘Why don’t we do that all the time?’” Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by moving furniture but by adding everyday objects and accessories. “I think he was trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim StreetPorter. “He was doing—with a totally positive use of the words—advertising or propagandist photographs for the cause.”

“BUT I HAVE ALWAYS OBSERVED AND RESPECTED MY DESTINY. THAT’S THE ONLY 37 WAY I CAN DESCRIBE IT. IT WAS MEANT TO BE.”

Inside LA's Sharpest Barber Shops

Photo by Mia LaCascia

Photo by John Shmit

By Will Akerman

The Proper Barbershop was created by Vinnie Morey and Trent Magnano as a way of bringing back the classic old fashioned barbershop to the modern world. Vinnie and Trent are both very decorated barbers with a driving passion and true respect for the art and tradition of their craft. They both realized that there was a huge gap in the Los Angeles men's grooming community. In their view, too many men have never been to or even seen a real traditional barbershop! With that in mind, those two 23-year-old kids built a barbershop never before seen. It was the most beautiful marriage of modern art, street culture blended with the traditional, old-fashioned barbershop. In that moment, The Proper was born! Come in today for a hot towel shave and a real barber's haircut, and make sure to enjoy our fun-loving, easy-going atmosphere while your here! Relax with an X-Box, watch a funny movie, and have a cold beer in our back lounge. We set out to create the last true safe house for a man to come and enjoy being a man. So say what you feel and let the good times roll at your neighborhood barbershop, the Proper Barbershop! Men young to ancient are all welcome here!a

Bolt Barbers was founded in Downtown Los Angeles in 2009 by former P&G marketing executive & corporate drop out "Mohawk Matt" during his mid life crisis. Bolt Barbers Flagship is on Fifth & Spring Sts in DTLA, where Bolt Barbers has played an active role in contributing towards revitalization efforts of DTLA through commitment to create community as a "Third Place" for guys while providing authentic old school barbering services.

Photos by Mia LaCascia

Voted "Best Barber Shop in LA" you can always be sure Shorty's has got you covered for all the classics and latest hairstyles. Our generous eclectic crew of stylists and barbers carry over 30+ years of experience, there's always someone here that specializes in whatever style you're feeling. You don't need an appointment! Come through on our 'Walk In' service, first in first served. To get in even quicker there is a call-ahead service, call when you are on your way in and you will find yourself on the list for when you arrive. If you're a little old school and really need an appointment, there are senior stylists which you can schedule an appointment with. Traditional barber shops tend to cater to mostly male clientele, but Shorty's has re-envisioned the barber shop as an all-inclusive experience whether your're a man or a women, regardless of hair texture or style. Looking for color or a brazilian blowout? Don't worry we've got you covered with specialists in these areas too!

Photo by Daniel Holten

At Floyd’s 99, we mix old-school client service with the appeal of experienced, talented staff in a high energy barbershop environment. Floyd’s 99 stylists and barbers are encouraged to display their individuality from their personal fashion and hairstyles, to taste in music. No two shops are the same, as the walls are plastered with posters of current and timeless bands and musical artists. At Floyd's 99, our approach is to keep services simple, providing quality cuts, shaves, and styles to the masses with our accessible pricing model. With cuts starting at $21 and color at $45, our brand delivers a rockin’ haircut at a value price. To top it all off, every client’s experience is complete with our signature shoulder massage.

Photo by Jenna Young

Walk-in service is the norm, but clients can also call ahead to be put on a wait list (just like in restaurants), or call anytime on the day they’d like to come in and make a reservation with their favorite stylist or barber. Appointments are recommended, though, for those wanting face and head shaves and coloring services. Clients can even check out individual stylist and barber schedules on our website.

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Starving Artist