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Make

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THE EDITOR

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BRUNO MARS

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MOTION ART

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EMBRACE THE CULTURE

TA B LE

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ART. Design. Decor. December 2013

ART. Design.

Decor.

Editor-In-Cheif

Shane Clancey

Deputy Editor

Shane Clancey

Design Director

Shane Clancey

Creative Director

Shane Clancey

Managing Director Shane Clancey

Senior Articles Editor Shane Clancey

Features Editor

Shane Clancey

Articles Editor

Shane Clancey

Senior Edior

Shane Clancey

Senior WEst Coast Editor Shane Clancey

Associate editors

Shane Clancey

director of photography Shane Clancey

booking director

Shane Clancey

production director Shane Clancey

EMBRACE THE CULTURE

w w w. s oc almag.com 4 SOCAL Magazine Fall 2013

assistant to the editor Shane Clancey

The Editor Fresno- San Diego B Y

The Studio

The Work

S H A N E

CL ANCEY

Shane Clancey born and raised in Southern California has lived his entire life in Los Angeles. However working in the special event industry he has been lucky enough to travel all over California and especial Southern California. Traveling between Fresno and San Diego Shane has seen so much character in the art, the people and the geographical design of the land which we live. Shane is proud to bring you SoCal Magazine to show you different Art, Design and Decor along with elements that have inspired his designs for interiors and events.

The Twins Fall 2013 SOCAL Magazine

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Agenda

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Make room for the Macaron

The newest trend in small eats.

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LemonadE...

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Fall 2013 SOCAL Magazine

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epicuria / libation / the 5th floor

Windows into the Surreal

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli By: Hamish Bowles “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 paleblue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transpar-

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ent, 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 the advice she offered to women. Pace-setters and rule-breakers waved that flag through the sixties, the seventies, and beyond.

Portrait: Irving Penn Windows photographed by: Carlos Diaz

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Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States: If he approve he shall sign it, but if not he shall return it, with his Objections to

MARS The Mars Expedition

Story by: Shane Clancey Photography by: Andreas Laslo Konrath

he clearest call for independence up to the summer of 1776 came in Philadelphia on June 7. On that date in session in the Pennsylvania State House (later Independence Hall), the Continental Congress heard Richard Henry Lee of Virginia read his resolution beginning: “Resolved: That these United Colonies are, and of right ought to be, free and independent States, that they are absolved from all allegiance to the British Crown, and that all political connection between them and the State of Great Britain is, and ought to be, totally dissolved.”The Lee Resolution was an expression of what was already beginning to happen throughout the colonies. When the Second Continental Congress, which was essentially the government of the United States from 1775 to 1788, first met

these actions combined to convince many Americans that the mother country was treating the colonies as a foreign entity.One by one, the Continental Congress continued to cut the colonies’ ties to Britain. The Privateering Resolution, passed in March 1776, allowed the colonists “to fit out armed vessels to cruize [sic] on the enemies of these United Colonies.”

in May 1775, King George III had not replied to the petition for redress of grievances that he had been sent by the First Continental Congress. The Congress gradually took on the responsibilities of a national government. In June 1775 the Congress established the Continental Army as well as a continental currency. By the end of July of that year, it created a post office for the “United Colonies.”In August 1775 a royal proclamation declared that the King’s American subjects were “engaged in open and avowed rebellion.”

Sense, published in January 1776, was sold by the thousands. By the middle of May 1776, eight colonies had decided that they would support independence. On May 15, 1776, the Virginia Convention passed a resolution that “the delegates appointed to represent this colony in General Congress be instructed to propose to that respectable body to declare the United Colonies free and independent states.”It was in keeping with these instructions that Richard Henry Lee, on June 7, 1776, presented his resolution. There were still some delegates, however, including those bound by earlier instructions, who wished to pursue the path of reconciliation with Britain. On June 11 consideration of the Lee Resolution was postponed by a vote of seven colonies to five, with New York abstaining. Congress then recessed for 3 weeks. The tone of the debate indicated that at the end of that time the

Later that year, Parliament passed the American Prohibitory Act, which made all American vessels and cargoes forfeit to the Crown. And in May 1776 the Congress learned that the King had negotiated treaties with German states to hire mercenaries to fight in America. The weight of 16 SOCAL Magazine Fall 2013

On April 6, 1776, American ports were opened to commerce with other nations, an action that severed the economic ties fostered by the Navigation Acts. A “Resolution for the Formation of Local Governments” was passed on May 10, 1776.At the same time, more of the colonists themselves were becoming convinced of the inevitability of independence. Thomas Paine’s Common

The committee consisted of two New England men, John Adams of Massachusetts and Roger Sherman of Connecticut; two men from the Middle Colonies, Benjamin Franklin of Pennsylvania and Robert R. Livingston of New York; and one southerner, Thomas Jefferson of Virginia. In 1823 Jefferson wrote that the other members of the committee “unanimously pressed on myself alone to undertake the draught [sic]. I consented; I drew it; but before I reported it to the committee I communicated it separately to Dr. Franklin and Mr. Adams requesting their corrections. . . I then wrote a fair copy, reported it to the committee, and from them, unaltered to the Congress.” (If Jefferson did make a “fair copy,” incorporating the changes made by Franklin and Adams, it has not been preserved. It may have been the copy that was amended by the Congress and used for printing, but in any case, it has not survived. Jefferson’s rough draft, however, with changes made by Franklin and Adams, as well as Jefferson’s own notes of changes by the Congress, is housed at the Library of Congress.)

Jefferson’s account reflects three stages in the life of the Declaration: the document originally written by Jefferson; the changes to that document made by Franklin and Adams, resulting in the version that was submitted by the Committee of Five to the Congress; and the version that was eventually adopted.

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On July 1, 1776, Congress reconvened.

The following day, the Lee Resolution for independence was adopted by 12 of the 13 colonies, New York not voting. Immediately afterward, the Congress began to consider the Declaration. Adams and Franklin had made only a few changes before the committee submitted the document. The discussion in Congress resulted in some alterations and deletions, but the basic document remained Jefferson’s. The process of revision continued through all of July 3 and into the late morning of July 4. Then, at last, church bells rang out over Philadelphia; the Declaration had been officially adopted.

The Declaration of Independence is made up of five distinct parts: the introduction; the preamble; the body, which can be divided into two sections; and a conclusion. The introduction states that this document will “declare” the “causes” that have made it necessary for the American colonies to leave the British Empire. Having stated in the introduction that independence is unavoidable, even necessary, the preamble sets out principles that were already recognized to be “self-evident” by most 18th- century Englishmen, closing with the statement that “a long train of abuses and usurpations . . . evinces a design to reduce [a people] under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.” The first section of the body of the Declaration gives evidence of the “long train of abuses and usurpations” heaped upon the colonists by King George III. The second section of the body states that the colonists had appealed in vain to their “British brethren” for a redress of their grievances. Having stated the conditions that made independence necessary and having shown that those conditions existed in British North Amer-

ica, the Declaration concludes that “these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved.”

Although Congress had adopted the Declaration submitted by the Committee of Five, the committee’s task was not yet completed. Congress had also directed that the committee supervise the printing of the adopted document. The first printed copies of the Declaration of Independence were turned out from the shop of John Dunlap, official printer to the Congress. After the Declaration had been adopted, the committee took to Dunlap the manuscript document, possibly Jefferson’s “fair copy” of his rough draft. On the morning of July 5, copies were dispatched by members of Congress to various assemblies, conventions, and committees of safety as well as to the commanders of Continental troops. Also on July 5, a copy of the printed version of the approved Declaration was inserted into the “rough journal” of the Continental Congress for July 4. The text was followed by the words “Signed by Order and in Behalf of the Congress, John Hancock, President. Attest. Charles Thomson, Secretary.” It is not known how many copies John Dunlap printed on his busy night of July 4. There are 26 copies known to exist of what is commonly referred to as “the Dunlap broadside,” 21 owned by American institutions, 2 by British institutions, and 3 by private owners.

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Richard Avedon

A Portrait of an Artist

By Kely Smith

hat 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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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.

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.

“All photographs are accurate.

None of them is the truth.”

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.

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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