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September Issue

The Art Issue

SoCal MAGAZINE

objets d’art

12 Must Have Collectibles

Art School Confidential

Pop Icon

Ed Ruscha LA’s Most Influential Artist

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SoCal

| Table of Contents

Finding my Style

Art of waterdrop

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Oil Patnting

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1 Agenda

Swag

Cover Story

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Letter from The Editor

Welcome to SoCal magazine Socal Magazine just lunched this September. As a magazine leading the fashion and art for all age , the publication is to the limited-edition quarterly Visionaire. If Visionaire is a couture book, SoCal is ready-to-wear. SoCal is large-format and visually-driven, international in scope and collaborative in spirit. SoCal is a magazine about fashion and all the things that go with it: art, music, film, architecture…you name it. Before V was put into print, we thought of it this way: Imagine a wall of forty-four televisions, each tuned to a different station. Today you would need a wall of 250 televisions, but it’s still a good way to think of the insane and unpredictable mix of people, places, and things that V celebrates in its pages. V is a place where uptown meets downtown, celebrities mingle with total unknowns, high art converses with underground culture. Chic, wacky, fun, fabulous…in a letter: V.dolum res quam quia quiande volorepudi ium facero maio con corio evellesequi dolest, ulliquu

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AGENDA

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Drink

ONE THING LEADS TO ANOTHER Drink

Food

Interview

5th Floor

DRINK HEALTHY O

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AGENDA

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Food

How much do you EGG

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AGENDA

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the 5th floor

Window Dressing Themed windows make brilliant vignettes on FIDM’s 5th floor.

By Dagmar Winston

E

Photographs by Kyle Swinehart

ach semester at fashion school, FIDM, located in downtown Los Angeles, the 5th floor is host to a variety of window displays created by the Visual Communication students. Each semester they are given a theme and told to run with it. The results, quite often, are spectacular. This semester’s theme is nature and instructor Katherine LoPresti instructed students to build their window displays with “as much organic materials as possible.”

The students work as teams to build everything efrom the dresses to creating the typography for the windows. The group effort pays off as the nine windows are often the center of attention for visiting parents and prospective students.

Display Window at FIDM’s 5th Floor

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AGENDA

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Interview

Art School Confidential On my way to a great graphic designer By lan Mou

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SWAG

| September 2013

Herend’s Young Eleph

$375 Evenis sanis dolorrorum quataep elluptum quatemp oratemodi temporit et ad maionsed explaut empore auditatur aut et, coreprat

FORNASETTI face print vase $1,234

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Stray Dog Designs Peacock Objects d’Art $200

Mikasa®

Vogue Glass Hostess Bowl $30 Evenis sanis dolorrorum quataep elluptum quatemp oratemodi temporit et ad 14 Socal magazine

Eiffel Tower

II 14” Square Architectural Wall Art $50 Evenis sanis dolorrorum quataep elluptum quatemp oratemodi temporit et ad

Model A

SpĂŠcimen Editions Weight Vase - : W 37 cm x H 22 cm $235 Evenis sanis dolorrorum quataep elluptum quatemp oratemodi temporit et ad maionsed explaut empore auditatur aut et, coreprat

hant

Carven Collage Print Wool Skirt $439

antique camera $150

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Koziol Silk Clock $61

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KAVA BROGUE MONK SHOES

$180.00

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Authentic Models Americas Cup Columbia 1901 Large $510 Evenis sanis dolorrorum quataep elluptum quatemp oratemodi temporit et ad maionsed explaut empore

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A FASHION FOR EVERY STORY

Sorry for waiting for so long all our fashion monsters.

Here fianlly comes our SoCal. SoCal is a fashion and art magazine, including all the things that go with it: music, film, architecture, dance and etc you name it.

SoCal MAGAZINE

SoCal MAGAZINE

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SoCal

MAGAZINE

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COVER STORY

Pop Icon Ruscha

was born into a Roman Catholic family in Omaha, Nebraska, with an older sister, Shelby, and a younger brother, Paul. Edward Ruscha, Sr. was an auditor for Hartford Insurance Company. Ruscha’s mother was supportive of her son’s early signs of artistic skill and interests. Young Ruscha was attracted to cartooning and would sustain this interest throughout his adolescent years. Though born in Nebraska, Ruscha lived some 15 years in Oklahoma City before moving to Los Angeles in 1956 where he studied at the Chouinard Art Institute (now known as the California Institute of the Arts) under Robert Irwin and Emerson Woelffer from 1956 through 1960. While at Chouinard, Ruscha edited and produced the journal “Orb” (1959–60) together with Joe Goode, Emerson Woelffer, Stephan von Huene, Jerry McMillan and others. Ruscha spent much of the summer of 1961 traveling through Europe. After graduation, Ruscha took a job as a layout artist for the Carson-Roberts Advertising Agency in Los Angeles. He was married to Danna Knego from 1967 to 1972. They remarried in 1987.

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“The Acients Stole A

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All Our GreatIdeas�

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Ed Ruscha’s influence can be seen in graphic design, cinema, architectural theory, and urban history. His art depicts everyday objects – gas stations, street signs, billboards, commercial packaging yet often triggers philosophical reflection about the relationship between words, things, and ideas. The word “standard” is a case in point: it can be a banner or rallying point, an established level of quality, and an oil company’s brand name.

In his depictions of Standard stations, Ruscha points to each of these definitions and more.

LACMA’s collection includes more than 300 works by Ruscha. This exhibition highlights generous donations of the artist’s work over the years, and coincides with LACMA’s Fall 2012 Art Film gala, honoring Ed Ruscha and Stanley Kubrick.

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Ed Ruscha’s influence can be seen in graphic design, cinema, architectural theory, and urban history. His art depicts everyday objects – gas stations, street signs, billboards, commercial packaging yet often triggers philosophical reflection about the relationship between words, things, and ideas. The word “standard” is a case in point: it can be a banner or rallying point, an established level of quality, and an oil company’s brand name.

In his depictions of Standard stations, Ruscha points to each of these definitions and more.

LACMA’s collection includes more than 300 works by Ruscha. This exhibition highlights generous donations of the artist’s work over the years, and coincides with LACMA’s Fall 2012 Art Film gala, honoring Ed Ruscha and Stanley Kubrick.

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Eperet; hus locupio egilibus? Macivid erfecta befacciis cons publissules verus cutem. Catem imis, peratente es in te movena, vigitra nericie consterum, nequam hucernimum sil vigilnes At re contebus; nos octu quam ne destum consum fura, quidemum num diem dium es mus de quam nos venat intis ors rem nosus habus eore fured consult imihiliu vidici potere re, etia vitam hactarei tumus conduct orivigit? Abus in viditum utum et in tuus, Catum nunu imil vit; nimmoret Cat iam hostala renatqua coercerrium oporum opora restiqu onsuli cio vivirmis, vivis; ex nonsit omnit.

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A Sense of Space Photographer Julius Schulman’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 — 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

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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 20th-century 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.

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“I realized that I was embarking on another chapter of my life,” Shulman says, the pleasure evident in his time-softened 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 fine-tuning 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.”

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HAVE A FABULOUS SEPTEMBER

The Last

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