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arroyo VOLUME 7 | NUMBER 10 | OCTOBER 2011

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29 47

FALL ARTS 13 THE GURU OF THE BEATS Artist Wallace Berman’s influence on L.A.’s creative community is explored in an exhibition at the Armory Center for the Arts.

— By Kirk Silsbee

21 AN EXPLOSIVE LEGACY Rachel Fermi, granddaughter of atomic-bomb physicist Enrico Fermi, compiled the photographic record of the Manhattan Project for Picturing the Bomb.

— By Bettijane Levine

24 PROOF A new show at the Norton Simon illustrates how a SoCal lithography workshop seeded a national renaissance in fine-art printmaking in the 1960s.

— By Nancy Spiller

29 THE ART OF SCIENCE The Pasadena Arts Council’s AxS Festival explores the intriguing nexus where the arts and sciences intersect.

— By Noela Huesso

DEPARTMENTS 9

FESTIVITIES Pasadena Chapter of the NAACP, AIDS Research Alliance, Huntington Gala, Descanso’s Sturt Haaga Gallery, Brian McKnight at the Levitt Pavilion

11

STYLE SPY Wine-colored fashion warms up the fall.

39

WINING AND DINING Everybody knows your name at Point08.

45

KITCHEN CONFESSIONS Dining à la Disney.

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THE LIST Craftsman Weekend, Wicked Lit, A Noise Within’s Pasadena premiere and more

ABOUT THE COVER: Kenneth Price (American, b. 1935), Jivaroland Frog Cup, courtesy Norton Simon Museum

10.11 | ARROYO | 7


EDITOR’S NOTE

LOS ANGELES’ REPUTATION AS A CULTURAL BACKWATER is as passé as Hollywood gossip columnists with the clout to scare the studios. To number MoCA, LACMA, the Getty, the Huntington and L.A. Opera among the world’s top arts institutions is to merely state the obvious. But it’s only in recent years that the city and its satellites — not least among them, Pasadena — have taken that flowering to the next level, where arts organizations talk to each other and share pieces of a larger cultural pie. I’m talking about arts festivals, with multiple venues coordinating shows and events around a single theme, illuminating it with a multi-faceted brilliance unachievable by any single organization. This month, Pasadena offers the biggest banquet yet of festival offerings — from the Getty Foundation’s SoCal-wide “Pacific Standard Time: Art in L.A. 1945 –1980” to the Pasadena Arts Council’s AxS Festival, bringing together 16 venues to host exhibitions, performances and events exploring the nexus where the arts and sciences intersect, in honor of the city’s institutional leadership in both realms. In this issue of Arroyo, Noela Hueso talks to organizers to peel back the onion of Pasadena’s unusual festival juxtaposing disciplines usually regarded as mutually exclusive. Bettijane Levine takes a closer look at one offering, Picturing the Bomb at Pasadena City College, an exhibition of archival photographs of the Manhattan Project, co-curated by assistant professor of photography Rachel Fermi, granddaughter of atomic-bomb physicist Enrico Fermi. Nancy Spiller explores one of “Pacific Standard Time’s” important shows, Proof:

The Rise of Printmaking in Southern California at the Norton Simon. And Kirk Silsbee looks at artist Wallace Berman’s outsize influence on L.A.’s creative community in honor of the Armory Center for the Arts’ exhibition, Speaking in Tongues: Wallace

Berman and Robert Heinecken, 1961–1976. All that is in addition to Pasadena’s annual October cultural events, falling on the weekend of Oct. 14 through 16 — ArtNight and Pasadena Heritage’s Craftsman Weekend, which celebrates its 20th anniversary. So take a look around. You’re bound to find something intriguing this month. — Irene Lacher

EDITOR IN CHIEF Irene Lacher PRODUCTION MANAGER Yvonne Guerrero ART DIRECTOR Joel Vendette JUNIOR DESIGNER Eisen Nepomuceno

arroyo FINE LIVING IN THE GREATER PASADENA AREA

WEB DESIGNER Carla Cortez COPY EDITOR John Seeley CONTRIBUTORS Leslie Bilderback, Michael Cervin, Scarlet Cheng, Mandalit del Barco, Patt Diroll, David Gadd, Jenn Garbee, Lynne Heffley, Noela Hueso, Katie Klapper, Carl Kozlowski, Bettijane Levine, Rachel Padilla, Ilsa Setziol, Kirk Silsbee, John Sollenberger, Nancy Spiller, Bradley Tuck PHOTOGRAPHERS Claire Bilderback,Teri Lyn Fisher, Gabriel Goldberg, Christie Hemm, Melissa Valladares ADVERTISING DIRECTOR Dina Stegon ACCOUNT EXECUTIVES Brenda Clarke, Takowa Patterson, Heidi Peterson, Cynthia Vazquez ADVERTISING DESIGNER Carla Cortez VP OF FINANCE Michael Nagami

CONTACT US ADVERTISING dinas@pasadenaweekly.com EDITORIAL arroyoeditor@pasadenaweekly.com PHONE (626) 584-1500 FAX (626) 795-0149

HUMAN RESOURCES MANAGER Andrea Baker

MAILING ADDRESS 50 S. De Lacey Ave., Ste. 200, Pasadena, CA 91105

BUSINESS MANAGER Angela Wang

ArroyoMonthly.com

ACCOUNTING Alysia Chavez, Monica MacCree OFFICE ASSISTANT Gina Giovacchini PUBLISHER Jon Guynn

©2011 Southland Publishing, Inc. All rights reserved.

CORRECTION: A story in September's Arroyo Monthly incorrectly identified the real estate firm representing Better Shelter's Pasadena property. It is Deasy/Penner & Partners.

8 | ARROYO | 10.11


FESTIVITIES Velton Paggett and Gary Moody Branch President Joe Brown, Honoree and Duarte Mayor Pro Tem Lois Gaston and Duarte Mayor Tzeitel Paras-Caracci

David R. Brown and Paul Haaga, Jr.

The Pasadena branch of the National Association for the PHOTOS: Courtesy of NAACP; Abel Gutierrez (Descanso gardnes); Jimmy Park (Levitt Pavilion; courtesy of AIDS Research Alliance; Nick Boswell Photography (Huntington Library, Art Collections and Gardens)

Advancement of Colored People honored 15 business and civic leaders on Sept. 8 at the organization’s 26th annual Ruby McKnight Williams Banquet at the Pasadena Hilton Hotel…Some 260 guests raised more than $250,000 for the Huntington Library, Art Collections and Botanical Gardens at the 2011 Huntington Ball on Sept. 17…The Alyce Williamson, Georgianna Erskine and Paul Erskine

Paul Haaga, Jr., Heather Sturt Haaga and Andrea Baldeck.

AIDS Research Alliance honored Pasadena’s Dr. Michael Gottlieb, who first identified the disease for the CDC in 1981, and actor LeVar Burton, the organization’s new

Brian McKnight

spokesman, at a Sept. 8 reception in West Pasadena…

James White, Dr. Michael Gottlieb and James Avedikian

Descanso Gardens opened its sustainable new Sturt Haaga Gallery with an exhibition of botanical photographs on Sept. 17…Brian McKnight headlined a fundraising concert for the Levitt Pavilion Pasadena’s 10th free summer series on Aug. 28.

Jim Watterson and Carolyn Carlberg

The Haagas: Blythe, Paul Jr., Heather, Catalina and Paul III

Liz Levitt Hirsch,Teena Hostovich, Brian McKnight and Lena Kennedy

Kerstin and Steve Koblik, Huntington President

Alex Engemann, Ball Co-chairs Michele and Roger Engemann, Susan Engemann Pippert and Derek Pippert

Dr. Kevin Griggs, Arthur McDermott and LeVar Burton 10.11 | ARROYO | 9


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Wallace Berman Untitled #126, 1964-76

THE GURU OF THE BEATS Artist Wallace Berman’s influence on L.A.’s creative community far exceeded his own fame, as a new show at the Armory Center for the Arts demonstrates.

PHOTO: Courtesy Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles

BY KIRK SILSBEE

DENNIS HOPPER WAS AN IMPRESSIONABLE 18 WHEN HE MET L.A. ARTIST WALLACE BERMAN. AT THE TIME, HOPPER WAS PLAYING GOON ON THE SET OF 1955’S “REBEL WITHOUT A CAUSE,” WHERE HE GRAVITATED TO THE FILM’S CHARISMATIC STAR, JAMES DEAN. WALKING ALONG HOLLYWOOD BOULEVARD ONE DAY, THE PAIR CAME UPON A STREET PERFORMER NAMED MR. CHANG, WHO SPORTED A CONFEDERATE GENERAL’S UNIFORM WHILE RECITING SHAKESPEARE, FOR COINS TOSSED INTO A HAT. CHANG HANDED THEM A FLYER FOR AN UPCOMING READING AT A STOREFRONT ON SAWTELLE BOULEVARD CALLED STONE BROTHERS PRINTERS. The place was a studio and crash pad for Berman, poet Bob Alexander and a collection of bohemians that included actors, painters and writers. By day, Berman would work on the first edition of his visionary Semina publication of limited edition collages and poetry. Though Hopper had toyed with art, Berman’s example prompted him to pursue a highly personalized way of making art using a variety of media. Berman never spoke of his work, but his path gave tacit permission to actors like Hopper, Dean Stockwell and Russ Tamblyn to express themselves in their own ways. If postwar Los Angeles had a guru of creativity, it was surely Wallace Berman, who came to be known as the father of assemblage art. Yet little attention has been paid to this influential figure. That will change on Oct. 2, when Pasadena’s Armory Center for the Arts unveils a new show of work by Berman and his fellow artist Robert Heinecken, another important but neglected figure. Speaking in Tongues: Wallace Berman and Robert Heinecken, 1961–1976, which runs through Jan. 22, 2012, is part of “Pacific Standard Time: Art in L.A.1945-1980,” a comprehensive explosion of coordinated exhibits and events around the Southland organized by the Getty Foundation. –continued on page 14 10.11 | ARROYO | 13


Berman’s legacy is so portentous, yet so underappreciated, that a sharply focused show like “Tongues” is as welcome as water in a drought-struck desert. At the watershed Semina Culture: Wallace Berman and His Circle at the Santa Monica Museum of Art in 2005, Berman’s work was almost engulfed by that of his contemporaries. Born in 1926 to Russian Jewish émigrés in Staten Island, Berman moved with his family to Boyle Heights in the 1930s. As a child he showed a flair for cartooning, but his talents didn’t stop there; in 1943 he was expelled from Fairfax High for gambling. Even at that age, he was somewhat mysterious, frequenting smoke-filled jazz clubs in dark glasses and saying very little. His first notable artwork consisted of a series of representational and surreal pencil portraits of musicians: Nat “King” Cole, Slim Gaillard and Frank Sinatra. Six months in the Navy (he was honorably discharged at the end of 1944 after a nervous breakdown) were but a short interruption. He resumed making portraits as modern jazz surfaced in L.A. Renderings of Dizzy Gillespie and Charlie Parker reflected Berman’s immersion in the jazz culture of Central Avenue, the heart of the African American community and a hotbed for music at the time. In 1947, Berman painted a mural on the interior of the Tempo Record Shop on Hollywood Boulevard — the one reliable local outlet for bebop records. Both gambling and hustling were central to Berman’s life. (Artist George Herms said that Berman later haunted the Four Oaks Restaurant on Beverly Glen, so he could listen to race results over the bar’s radio.) While working in a West L.A. furniture factory in the late ’40s, Berman began to shape and join finished wood scraps in intriguing ways. He thus gave birth to the local assemblage movement –– making sculpture by juxtaposing found objects –– which continues to this day. Prosaic materials in surprising configuFROM TOP: rations echoed Marcel Duchamp’s early-20thRobert Heinecken, Time (1st Group), 1969; century assisted readymades, like his Roue de Wallace Berman, Untitled (Businessman), bicyclette –– a bicycle mounted on a painted 1964; Wallace Berman, Untitled, date unknown stool. Berman was immersed in surrealist writings and greatly admired Duchamp’s mysterious objects and aleatory theories, which called for incorporating chance into the creative process. By 1950, Berman was a presence in Pasadena’s emerging bohemian circle around rocket scientist Jack Parsons. The crowd included debutante-turned-sculptor Julie MacDonald, artist and free love advocate Jirayr Zorthian, a mysterious female Navy veteran named Cameron and Parsons’ wife, Helen. Art, the occult, jazz and casual drug use were all part of the scene. Berman married Shirley Morand in 1952 and the couple moved to Beverly Glen, where the charismatic artist soon became the unassuming guru of a growing Beat culture. In 1954, he acquired an Argus-3 camera and began learning darkroom technique from photographer Charles Brittin. Berman bought a small Kelly handpress in 1955 and began his second phase. With help from Brittin and poet Bob Alexander — a Fairfax jazz pal — Berman produced the first issue of Semina, a limited-edition publication and precious object. In each folio, collaged images of sensual bodies, electric chairs, friends and musicians commingled with superimposed Hebrew letterforms, found images and poems. For Berman, Semina was an intensely personal expression. 14 | ARROYO | 10.11

Meanwhile, he quietly drew in other creative personalities: Brittin and Herms, Alexander, the visionary art curator Walter Hopps, actors Hopper, Stockwell and Billy Gray. All began making art or were otherwise inspired by their association with Berman. One of his intimates was artist Robert Heinecken, who juxtaposed existing photographic images to create a new art form. “They both made something beyond photography,” says Dr. Claudia Bohn-Spector, art historian and curator of Tongues. “Heinecken bristled at the idea he was a photographer. They both used tools of mass media for personal statements: for Berman the camera and the Verifax printer, for Heinecken the camera and the darkroom. Wallace transcended the pedestrian quality of everyday things by changing their contexts and touching the mystical. Robert’s images were purely political. He reproduced a semi-transparent magazine page: one side had a lipstick ad, the other had a horrific Vietnam War picture.” Hopps’ Ferus Gallery on La Cienega became the prime showcase for the combustible new art scene. Berman had his show there in 1957. Freestanding tableaux, printed pieces, found-object constructions and scrawled text were on display, mute and inscrutable. Art historian Merrill Greene, who published the first critical essay to seriously consider Berman and his work in Artforum in 1978, recalls her dealings with the enigmatic artist. “Wallace didn’t talk about his work,” she says. “He was involved with personal mythmaking; I couldn’t get him to tell me when he was born. His work reflected his tastes and personal obsessions, which always had a strong sexual component. He used pornographic images but their juxtapositions with other images gave them added layers of meaning.” A reproduction of a Cameron drawing of copulating forms in a Berman piece attracted the notice of the L.A.P.D. Vice Squad in 1957. He was arrested and convicted on obscenity charges. When he left L.A. for exile in Northern California, Berman privately decried “this city of degenerate angels.” In 1961, the Bermans moved back to Beverly Glen and his final, gauzy period began. Though he worked continually, Berman’s public output slowed to a trickle. He showed and sold less and less, seldom speaking of his work. One collector wanted to buy two pieces; Berman erased his name before he sold them. Still, his celebrity drew even more people to him. Andy Warhol spent a couple of days in the Berman home, shooting his 1963 film Tarzan and Jane. Shindig dancer Toni Basil brought Rolling Stone Brian Jones. Phil Spector called from his limousine, and Berman’s face was included on the cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. Heinecken took a job in the art department at UCLA and offered Berman a post, which he turned down. In 1976, on the eve of his 50th birthday, Berman was killed in a car accident, the victim of a drunk driver. Though the larger art world might not know the extent of his worth, Berman gifted it with a resonant creative credo: art is love is God. |||| Speaking in Tongues: Wallace Berman and Robert Heinecken 1961–1976 runs from Oct. 2 through Jan. 22, 2012, at the Armory Center for the Arts, 145 N. Raymond Ave., Pasadena.The center is open from noon to 5 p.m.,Tuesday through Sunday. Suggested donation is $5; students, seniors and members are admitted free. Call (626) 792-5108 or visit armoryarts.org.

IMAGES: Courtesy Heinecken Estate, Chicago, IL (Time (1st Group)); courtesy Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles (Untitled (Businessman) and Untitled)

–continued from page 13


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An early exposure of the Trinity explosion. The film has solarized, having been blistered by “what was perhaps the greatest photographic over-exposure ever made,” according to Julian Mack, head of the Optics Group at Los Alamos. July 16, 1945

PHOTO: Courtesy of Rachel Fermi

AN EXPLOSIVE LEGACY Rachel Fermi hunted down the photographic record of the Manhattan Project and the men behind it, including her grandfather, Enrico Fermi, known as “the father of the atomic bomb.” BY BETTIJANE LEVINE 10.11 | ARROYO | 21


FULL OF OLD PHOTOS HER AUNT PULLED OUT OF A CLOSET WOULD LEAD TO A MAJOR PHOTOGRAPHY BOOK AND A SLEW OF ART GALLERY SHOWS. BUT THEN FERMI HAS AN UNUSUAL PEDIGREE: HER GRANDFATHER WAS THE RENOWNED PHYSICIST ENRICO FERMI, WHO BECAME KNOWN AS “THE FATHER OF THE ATOMIC BOMB.” And one of those shoebox photos was the catalyst for Rachel Fermi’s ongoing odyssey into her family legacy that includes the month-long exhibition, Picturing the Bomb, which opens on Oct. 5 at Pasadena City College, where Fermi is an assistant professor of photography. The show, co-curated by Esther Samra, is part of the Pasadena Arts Council’s AxS Festival, exploring the nexus where arts and sciences intersect. “I’d gone to visit my aunt in Chicago,” Fermi recalls, “and she pulled out this shoebox filled with old snapshots of babies and parties and family members. And there was one unlike all the others: It was a small red photo, not of a person but of a mushroom cloud. Just a snapshot, but so powerful — such a stark contrast to everything else in that box — and my aunt didn’t know anything about it, or how it got to be there.” Of course, Fermi knew instantly that it must have belonged to her grandfather, a key player in the World War II-era Manhattan Project, which led to the creation of the atomic bomb. “My aunt asked if I wanted the picture. I said yes.” That simple gift led to a six-year odyssey during which Fermi and her good friend Samra tracked down photos taken at all three sites of the Manhattan Project, which was an urgent, top-secret war effort to develop the Physicists John and Leona Marshall. Chicago, c. 1942 world’s first atomic bomb before the enemy did. The sites — Hanford, Washington; Oak Ridge, Tennessee; and Los Alamos, New Mexico — held a vast trove of unpublished images of the bombs being made, the test explosions and the daily lives of top physicists and the regular staff who all lived in the shadow of the most destructive force ever devised by humans. All the civilians had willingly put normal life on hold in order to enter the isolated, high-security confines of the project’s sites, where many workers didn’t even know what was being built. And those who did know were instructed never to utter a word about it, even to family members living there with them. The physicists used code words even when talking among themselves. The photos Fermi and Samra uncovered led to the publication of Picturing the Bomb: Photographs from the Secret World of the Manhattan Project (Abrams, 1995). The current exhibition offers many of those photos juxtaposed to show the extreme contrast between everyday life on the project and the deadly destructive force which co-existed in the background. The photos are “striking and almost disturbing images of everyday life in Los Alamos,” says AxS Festival Producer Aaron Slavin: “A guy in a Panama hat sitting next to an enormous bomb getting ready to go off,” for example. Fermi started her atomic photo odyssey by bringing her aunt’s little snapshot with her to Los Alamos National Laboratories “to see if anyone there could tell me about it.” They 22 | ARROYO | 10.11

could and they did. “The archivists at Los Alamos said it is one of the only existing color photos of the world’s first nuclear explosion, taken on July 16, 1945, near Alamagordo, New Mexico. It was a plutonium bomb, which they weren’t sure would work — the same bomb that was later dropped on Nagasaki.” That wasn’t all the archivists shared. “They just kept showing me more and more photos, from all different parts of the Manhattan Project.” That’s when Fermi says she first realized that the making of nuclear bombs, and the first atomic explosions, had been photographed and archived and never examined since. Test explosions had been shot in dozens of different ways. “They had a whole group in the Manhattan Project who were charged with photographing the explosions from bunkers placed at different points, using everything from pinhole cameras to cameras that took a frame in milliseconds. I saw this amazing archive, including pictures of incredibly famous physicists, like Edward Teller, and their families.” And, of course, there were more photos of her own paternal grandfather, Enrico Fermi, whom she had never met. One of the gods of modern physics, Fermi died at 53 in 1954, 10 years before she was born. “Of course I knew who he was, that he’d won a Nobel Prize,” she says. But growing up around England’s Cambridge University, where her father taught molecular biology, her family legacy seemed unremarkable. “In everyday life as a child, it wasn’t very often that people brought up my grandfather’s name or his work,” she says. It was partly due to the photo her aunt gave her that Fermi connected with aspects of the grandfather she never knew, the man whose unique talents in both theoretical and experimental physics led to discoveries that helped shape history. Enrico Fermi was born in 1901, in Rome, Italy. As a young physicist at the University of Rome, he did landmark research on the artificial radioactivity produced by neutrons and on nuclear reactions created by slow neutrons — work for which he was awarded the 1938 Nobel Prize in Physics. By then, he had a wife and two children — and Mussolini had crowned himself dictator of Italy and allied Italy with Hitler’s Germany. It was an intolerable situation for the reportedly humble, peace-loving Fermi, who simply wanted to pursue his science — and whose wife, Laura, was especially endangered because she was Jewish. He devised a plan of escape, telling authorities that he was taking his family to Stockholm, Sweden, to accept the prestigious prize. He never returned. Fermi came instead to the U.S., where he embarked on an even more momentous aspect of his career. His work in physics at Columbia University and the University of Chicago, then as a leader of the Manhattan Project, helped birth the Atomic Age. And that led not just to bombs and submarines, but to all the nuclear power plants that now dot the planet. Rachel Fermi, who is married and lives in Los Angeles, says her famous grandfather hasn’t personally impacted much of her life. “It’s a bit of a mixed bag, because the issues around nuclear power and nuclear energy are very complicated,” she says. “But when we were doing research for the book, people were very generous sharing their photos — I think because of who my grandfather was.” She says the most memorable thing about growing up Fermi is that “everybody always expected me and my brother to be really good at physics. We weren’t.” |||| Picturing the Bomb runs from Oct. 5 through Nov. 12 at the Pasadena City College Art Gallery, 1570 E. Colorado Blvd., Pasadena. Gallery hours are 11 a.m. to 8 p.m. Monday through Thursday; noon to 4 p.m. Friday and Saturday; closed Sunday. Admission is free. Visit axsfestival.org.

PHOTOS: Courtesy of Rachel Fermi

RACHEL FERMI HAD NO IDEA THAT THE TATTERED SHOEBOX


“OF COURSE I KNEW WHO HE WAS, THAT HE’D WON A NOBEL PRIZE. IN EVERYDAY LIFE AS A CHILD, IT WASN’T VERY OFTEN THAT PEOPLE BROUGHT UP MY GRANDFATHER’S NAME OR HIS WORK,” RACHEL SAYS.

A photo of Enrico Fermi, Los Alamos, c. 1944, from Picturing the Bomb

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PROOF A new show at the Norton Simon illustrates how Hollywood's Tamarind Lithography Workshop seeded a blossoming of fine-art printmaking around the country. BY NANCY SPILLER

Nathan Oliveira (American, 1928–2010) Great Bird, 1957 Lithograph Sheet (variable): 28 1/4 x 20 3/4 in. Printed and published by the artist Norton Simon Museum, Print Festival Purchase Fund, 1958 Š Estate of Nathan Oliveira 24 | ARROYO | 10.11


LITHOGRAPHY IS HARD ENOUGH TO EXPLAIN, LET ALONE DO. SUFFICE TO SAY IT’S BASED ON THE PRINCIPLE THAT WATER AND OIL DON’T MIX. PRINTING PLATES OR STONES ARE USED, PAPER IS INVOLVED AND INK IS APPLIED. BUT BETWEEN AN IMAGE’S CONCEPTION AND ITS COMPLETION, MAJOR EQUIPMENT IS REQUIRED, MULTIPLE STEPS ARE TAKEN, A BEVY OF ODD SUBSTANCES SUCH AS ASPHALTUM, LITHOTINE AND TAPEM (TANNIC ACID PLATE ETCH) ARE USED AND NUMEROUS OPPORTUNITIES FOR DISASTER ARISE. FEW ARTISTS DARE TAKE ON THE MEDIUM WITHOUT THE AID OF A MASTER PRINTER. So how did Los Angeles, circa 1960 — a place Robert Rauschenberg derided as 1,000 miles wide and a quarter-inch deep, with “no cultural purity” — become the birthplace of lithography’s fine art renaissance? Who got local art stars Richard Diebenkorn, Sam Francis, Ed Moses and Ed Ruscha devoted to the medium and brought the likes of Josef Albers, Louise Nevelson, Claes Oldenburg, Rufino Tamayo and Rauschenberg himself here to exploit its possibilities? Credit visionary artist June Wayne, who passed away in August at the age of 93, with starting a national revival in fine art lithography that expanded to all methods of print — including silkscreen, intaglio and aquatint — providing contemporary artists a way to reach wider audiences with affordable work for collectors. Wayne, a self-taught artistic success and Chicago transplant, was frustrated by the need to travel to Paris to make her own fine art lithographs with the same master printer who worked with Matisse and Picasso. In 1960, she founded the Tamarind Lithography Workshop at 1112 N. Tamarind Ave. in Hollywood. Funded by the Ford Foundation, Wayne established Tamarind as a place for training master printers as well as introducing artists to the practice of lithography. “Printmaking was seen as a traditional medium, associated with lowbrow art, not the avant-garde,” says Leah Lehmbeck, curator of the Norton Simon Museum’s show Proof: The Rise of Printmaking in Southern California (Oct. 1–April 2, 2012), which features 125 works, 70 of them flowing out of Tamarind’s decade of work in Los Angeles. Part of the Getty Foundation’s regional mega-cultural effort “Pacific Standard Time: Art in L.A. 1945–1980,” Proof includes images by former Tamarind participants Vija Celmins, David Hockney, John Altoon and Billy Al Bengston. At the time of Tamarind’s founding, “techniques weren’t being taught in this country, really, in art schools. Lithography, silkscreen printing was considered commercial, woodcut was political,” Lehmbeck says. “But to make complete complex works of high resolution, you needed the artists and printers combined. That happened at Tamarind.” Underlining the importance of this collaboration to the finished work, Lehmbeck has credited both the artist and the printmaker for each image in the show and catalog. “That was very important to me,” she says. The artists invited to Tamarind for two-month residencies put the printers through their paces as they explored the technique’s possibilities. Sculptor Louise Nevelson printed a collage of six hinged pieces and included the cheesecloth used to wipe down the –continued on page 26

COUNTERCLOCKWISE FROM TOP: Lee Mullican (American, 1919–1998) Sleeping Gypsy, 1964, Lithograph Printed by Ernest Rosenthal, Published by the Tamarind Lithography Workshop Norton Simon Museum, Anonymous Gift © Estate of Lee Mullican Rufino Tamayo (Mexican, 1899–1991) Mask, 1964, Lithograph Printed by Michael Knigin, Published by the Tamarind Lithography Workshop Norton Simon Museum, Anonymous Gift, 1967 © D.R. Rufino Tamayo/Herederos/México/ 2011 Fundación Olga y Rufino Tamayo, A.C. John Altoon (American, 1925–1969) Untitled, 1965, Lithograph Printed by Ken Tyler, Published by the Tamarind Lithography Workshop Norton Simon Museum, Anonymous Gift, 1967 © 2011 Estate of John Altoon, Braunstein/Quay Gallery 10.11 | ARROYO | 25


–continued from page 25

lithographic plates. “She dumped it in ink and laid it across the stone for that look,” Lehman says. The fabric’s open weave creates gray sections in the composition that suggest an artist meticulously throwing in the towel. The untitled 1967 piece is used for the cover of the show’s catalog. Most notorious was San Francisco artist Bruce Conner’s visually striking conceptual piece Cancellation (1965). Tamarind established a strict protocol for print editions to assure their limited number and ultimate value, which included pulling a final print of the image bearing a disfiguring cancellation mark before the stone was scrubbed down for reuse. Conner’s Cancellation edition merges multiples of such an image. The result has the immediacy and power of a Franz Kline painting. The irony is that lithography is “a totally calculated medium,” Lehmbeck says. “You have to think in a layered way.” It’s difficult to conceive of such wild-eyed American painters as Jackson Pollack tolerating lithography’s constraints, which makes it all the more amazing that Sam Francis John Altoon (American, 1925–1969) did achieve the ebullience his Untitled, 1965 paintings were prized for in his Lithograph Sheet: 22 x 30 in. lithographic prints. Francis and Printed by Ken Tyler, Published by his collectors were so enthused the Tamarind Lithography Workshop Norton Simon Museum, Anonymous Gift, 1967 with the results that he hired his © 2011 Estate of John Altoon, Braunstein/ own master printer and opened a Quay Gallery print shop devoted to publishing his works. Tamarind-trained printers and artists went on to open other cutting-edge fine-art print shops in Los Angeles, such as Gemini G.E.L. (Graphic Editions Limited) and Cirrus Editions and Gallery, while others took their skills and enthusiasm back east to New York and beyond. At Gemini and Cirrus, artists who had chafed at Tamarind’s relatively conservative approach began pushing prints’ possibilities even further. Working at Gemini G.E.L., Robert Rauschenberg made Booster, which combines lithograph and screen-printing. At 6 feet tall and 3 feet wide, “it was, up to that time, the largest hand-pulled print in history. It is the scale of a painting,” Lehmbeck says. At Gemini Rauschenberg also produced his Cardbird series, an elaborate collage print on corrugated cardboard combining photo-offset and screen-printing along with bits of tape and steel staples, all in an elaborate effort to look like a flattened trash pile. Shortly before this print series, Rauschenberg had literally thrown together an eyebrow-raising exhibit of similar collages he called paintings that were actually castoff cardboard arrangements tacked to the wall. With Cardbirds, he proved he could apply exhaustive effort, yet achieve the same sense of ephemerality. Also working tirelessly to bend the definition of a print was Claes Oldenburg, as evidenced by his Profile Airflow, a 1969 edition of three-dimensional multiples that incorporate a molded polyurethane relief over a lithograph. Oldenburg spent a year carving the wooden relief used for the mold and then took an entire day, with assistants, to assemble each “print.” Each approximately 3 feet high by more than 6 feet long and 4 inches deep, there were 75 signed and numbered by the artist. When the polyurethane began to discolor with age, the entire edition was recalled and recast in a newly formulated material. 26 | ARROYO | 10.11

Charles Christopher Hill incorporated decay into his screen print Cuando Vayas a Cagar…, which was printed on paper, stitched together and then buried in soil. Concept trumped aesthetics, with the result looking like a square coffee filter rescued from a compost pile. But not all contemporary printmakers were drawn to such radical experiments. Vija Celmins translated her interest in obsessive, photorealist drawing into lithography by rendering an image of a desert floor directly onto the lithographic stone with a grease pencil. The technically simpler, more direct method known as screen-printing, in which an image is created by forcing ink or paint through a screen onto paper, led to other cheeky experiments. Ed Ruscha used Pepto-Bismol and caviar for one screen-print edition and apricot jam and Metrecal diet drink for another. Sister Corita Kent harnessed screenprinting for her political activism, making colorful, graphic fine-art posters advocating for human rights and against war. “At Tamarind, Wayne’s goal wasn’t just the object, but the culture surrounding it. She educated collectors. She made movies on the technique,” Lehmbeck says. Wayne’s 1973 film, Four Stones for Kanemitsu, was nominated for an Oscar for best short documentary. Aided by these efforts, prints became a hot art commodity — a lucrative boon for the artists and relative bargain for collectors. At the same time acceptance was growing for mass-produced fine art, Andy Warhol was turning images of mass-consumed products into fine art. “There was a lot of consumerism in the ’60s,” Lehmbeck notes. “The rise in popularity of art prints coincided with that.” Sadly, Proof’s opening came too late for Wayne to enjoy, but Lehmbeck worked extensively with her in assembling the exhibition and its catalog. “She had a lot to say,” Lehmbeck acknowledges, but when necessary, she was also “willing to relinquish some control, which was tough for her. She had a strong sense of herself; she was a tough cookie. But then she had to be, living in L.A. in the ’60s. She was defending the avant-garde, she was advocating for the rights of artists, the right to own their vision.” What drew Wayne to Los Angeles in the first place? As she wrote some years ago, “Hollywood is a giant craft preserve where every sort of creator, technician and supplier lives and works. Dreaming, making and hoping are a way of life here. Everybody has an idea, tries to make it happen, ‘hopes’ it will ‘go,’ and starts again.” After 10 influential years in Los Angeles, the Tamarind Workshop moved to New Mexico and in 1970 became the Tamarind Institute. Gemini G.E.L. and Cirrus continue to prosper in Los Angeles. And Proof, the show, is indeed indelible proof of Wayne’s lasting importance as an artist and arts educator. |||| “Proof: The Rise of Printmaking in Southern California” runs from Oct. 1 through April 2, 2012, at the Norton Simon Museum, 411 W. Colorado Blvd., Pasadena. The museum is open noon to 6 p.m. daily except Tuesdays, when it is closed. Admission costs $10 for adults and $5 for seniors; members, students and youth ages 18 and under are admitted free. Call (626) 449-6840 or visit nortonsimon.org.


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Richard Selesnick and Nicholas Kahn Liftoff, from the Apollo Prophecies series, 2002–06

THE ART OF SCIENCE The Pasadena Arts Council’s AxS Festival explores the intriguing nexus where the arts and sciences intersect.

IMAGE: Courtesy of artists

BY NOELA HUESO

CRAIG ARNOLD WASN’T A VOLCANO EXPERT YET, DESPITE THE IMPRESSION GIVEN BY HIS BLOG, “VOLCANO PILGRIM: FIVE MONTHS IN JAPAN AS A WANDERING POET” (VOLCANOPILGRIM.WORDPRESS.COM). THE AWARDWINNING POETRY PROFESSOR AT THE UNIVERSITY OF WISCONSIN HAD CHRONICLED HIS EXPERIENCES IN 2009 AS HE FOLLOWED IN THE FOOTSTEPS OF 17TH-CENTURY HAIKU POET BOSHO WHILE RESEARCHING A BOOK ABOUT ACTIVE VOLCANOES AROUND THE WORLD. BUT ARNOLD WASN’T A RISK-TAKER, EITHER, SO WHEN HE WENT MISSING IN APRIL OF THAT YEAR WHILE HIKING THE RIM OF KUCHINOERABU-JIMA, A 2,129-FOOT VOLCANO ON ONE OF JAPAN’S RYKUKYU ISLANDS, PEOPLE BECAME ALARMED. NEWS OF HIS DISAPPEARANCE AND RESCUE EFFORTS WENT VIRAL ON THE INTERNET AS FAMILY, FRIENDS AND THE LITERARY COMMUNITY POSTED ON FACEBOOK AND THE POETRY FOUNDATION WEBSITES, AMONG OTHERS. MEDIA OUTLETS SUCH AS THE NEW YORK TIMES, THE NEW YORKER AND ABC NEWS PICKED UP THE STORY. –continued on page 32

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The account of the poet, whose body was never found, fascinated theater artist Corey Madden. As she delved into Arnold’s story more closely and read his most famous poem, Hymn to Persephone, Madden found him to be a kindred spirit who shared her love of Greek mythology. She tucked the details of his tragic trek away in her mind as “one of those stories that I collect for later use,” she says. And use it she did. Two years later, Madden’s Rain After Ash, a “multimodal” theater piece with three characters — Arnold, Persephone and Persephone’s mother, Demeter — is set to debut Oct. 4 at the Pacific Asia Museum. The piece will employ audio, projections, Arnold’s poetry, a Japanese dancer and even the museum itself — and is part of the Pasadena Arts Council’s AxS (pronounced ak-sis, standing for the intersection between art and science) Festival, with exhibition openings and events running Oct. 1 through 16. Madden describes her work as a “fractured narrative.” As much a commentary on the use of technology to disseminate information as it is on Arnold’s experience, Rain After Ash is the kind of story that is a seamless fit for AxS, which is designed to celebrate Pasadena’s unique position as a leader in both the arts and sciences and nexus where the two intersect. “There are larger cities in the world and larger institutions in those cities than we have in Pasadena, but you’d really be hard-pressed to find any place in the world that could boast the kinds of arts and science institutions and resources that we have right here,” says Pasadena Arts Council trustee Stephen Nowlin, who is curating Worlds, an installation of large-scale and contemporary art, scientific artifacts, sculpture, video and sound at Art Center College of Design’s Williamson Gallery from Oct. 14 through Jan. 15, 2012. “Art and science are really in the DNA of the place.” The festival’s roots go back to the first citywide collaboration among Pasadena arts organizations in 1999, when they coordinated a slate of exhibitions on the birth of SoCal’s contemporary art scene in the 1960s. It was also the genesis of the city’s biannual ArtNight, when institutions around town open their doors for free. The success of that seminal event, “Radical Past,” prompted subsequent citywide shows exploring the arts and sciences in 2001, 2004 (when the Pasadena Arts Council got involved), 2007 and 2009. The Pasadena Arts Council’s role in the festival has grown from that of managing partner to, this year, event producer. The marrying of arts and sciences isn’t anything new, says Pasadena Arts Council Executive Director Terry LeMoncheck. “[Astronomer] George Ellery Hale had the idea some hundred years ago,” she says. “He came to Pasadena in the early 1900s and built the observatory on Mt. Wilson. He became involved in Pasadena’s academic and cultural community and played an important role in the development of Caltech and the Huntington Library, persuading Henry Huntington to permanently endow his estate and collections so they could be publicly available.” Says festival Producer Aaron Slavin: “The intellectual project of artist and scientist is in large measure the same. They’re really different kinds of people, but they’re pursuing the same kinds of end, which is ultimately reducible to an insatiable curiosity they have about whatever project is in front of them.” Nowlin agrees. “Some of the most compelling intellectual, social, cultural ideas of today are coming from the biological sciences, bioengineering and theoretical physics; the implications that filter down to how people conceive of themselves and the world in which they 32 | ARROYO | 10.11

live, the universe, the cosmos, the impact that modern and contemporary science have on philosophy and religion,” he says. “If you think of art in that way, that art is an embodiment of ideas, then in many ways you can say that science is the new art –– certainly in terms of technology, which has affected the arts as artists begin to use new material and digital material.” The “Fire & Water”–themed festival has the added benefit this year of funding from the James Irvine Foundation, along with the Ralph M. Parsons Foundation, the City of Pasadena and the National Endowment for the Arts, enabling the Pasadena Arts Council to commission four public art and performance works specifically for the festival. “That gives the festival — we like to use a scientific term — a center of gravity,” Slavin says with a wink. AxS takes place at 16 venues throughout Pasadena, including the Gamble House, the Huntington Library and Boston Court Performing Arts Center. Opening night begins with an enhanced stage reading of Carson Kreitzer’s The Love Song of J. Robert Oppenheimer at Caltech’s new Cahill Center for Astronomy and Astrophysics, staged by Caltech students. “It’s a really moving meditation on Oppenheimer’s life, his conscience and his memories,” Slavin says of the play, which focuses on the rise and fall of one of the American theoretical physicists dubbed “father of the atomic bomb.” Participating artists also include photographer Rachel Fermi, whose exhibition of archival photoJonathan Cecil graphs from the secret world of the Manhattan Basrah Zoom, 2010 Project, Picturing the Bomb, will open at Pasadena City College on Oct. 5. Fermi is the granddaughAxS Festival 2011 Fire & Water ter of Oppenheimer’s colleague, Enrico Fermi. October 1-16 Slavin cites the work of visual strategist Dan Most events are free of charge. Order tickets at axsfestival.org. Goods, who works at NASA’s Jet Propulsion LaboVenues: Ahmanson Auditorium, Art Center ratory and is a festival presenter, as a perfect examCollege of Design, Williamson Gallery at Art ple of the cross-pollination that naturally exists Center, Boston Court Performing Arts Center, Caltech Cahill Center Hameetman Auditobetween art and science. Goods’ interactive installarium, Honda R&D Americas Gallery, Villation at the Pasadena Museum of California Art, Parke Community Center, Neighborhood Church, Pacific Asia Museum, Pasadena City Beneath the Surface, is inspired by the science and College Art Gallery, Pasadena Conservatory technology behind NASA’s Juno spacecraft mission of Dance, Pasadena Museum of California Art, Pasadena Public Library,The Gamble to Jupiter, which embarked Aug. 5; it’s designed to House,The Huntington Library, ArtCenter Colhelp museum viewers experience Juno’s visit to a lege of Design’s Wind Tunnel Gallery, Xiem Clay Center cloud-covered planet. “He’s got the most amazing job in the world,” Slavin says. “He essentially makes visible for people inside the JPL fraternity — and outside in the world — things that are, essentially, unseeable and unknowable.” While Nowlin acknowledges the natural tendency for art and science to overlap, he suggests it’s useful to give that relationship an extra boost. “It goes back to the ancient dualism that we have, our right brain/left brain, intuition and intellect, emotion and reason, those kinds of dualisms that we all realize, but at the same time we admire ... individuals who are able to integrate both of them,” he says. “It’s only productive that we try to bring those worlds together.” ||||

IMAGE: Courtesy of artist

–continued from page 29


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–continued from page 19 sider as a minimum before looking at nunnecessary upgrades or bells and whistles,” says Piantanida. A BRIEF HISTORY OF GLASS Natural glass has been available for millennia. Manufactured glass appears more than 5,000 years ago in Mesopotamia, where it was used, among other things, to decorate stuff – pots and vessels mostly. In the first century AD Romans began to use glass in windows, a practice which coincides with the introduction of colored glass in church windows. Later, around the 11th to 13th centuries, the Germans and Venetians improved upon the manufacture of sheet glass, and by the 1300s the French produced blown plate glass for an indelible, flat window surface. Throughout the last century the invention of float glass, the replacement of brown plate and crown glass, and the development of toughened and safety glass revolutionized the design and use of windows. Presently the use of smart Glass, sometimes referred to as Eglass or Switchable glass, continues to refine the effective and attractive implementation of glass windows. Smart glass allows residents to control the amount of light and heat that pass through the windows of their home. With the press of a button Smart glass windows can transform from a transparent to a translucent surface. A translucent glass surface will provide a view while blocking the harsher effects of natural sunlight, diffusing the aesthetic experience of light and potentially protecting furnishings from sun damage. The technology is a bit complex – including electromagnetic devices, suspended particle devices, micro-technology and polymer-dispersed liquid crystallization! – but the results –continued on page 37

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Your Project. Your Needs. –continued from page 35 are fairly simple. Contemporary glass surfaces can save costs on heating and air conditioning; they provide available light alternatives; and block unwanted noise and ultraviolet rays. “The newest products are offering a great improvement in energy efficiency, sound control and aesthetics,” explains Danny Paintanida. “the trend of ordering grids between the glass seems to be going away and many of our latest jobs are being ordered with exterior grids, which enhance the look and resemble wood windows much better than the windows we have seen being used over the past twenty years.” American Window, adds Danny, is one of a few organizations authorized to sell the new EnergyCore product, which can achieve an R5 energy rating, with dual pane glass, or an R6 energy rating with triple pane glass. “This translates to a frame blocking thermal conductivity that’s three times more effective than wood, and four times more effective than vinyl – and six times more effective than fiberglass.” THE ULITMATE DOORS AND WINDOWS Of course, the smartest doors and windows are the ones that serve your needs and enhance your life every day. They should be environmentally sound, easy to maintain, and appropriate to the interior and exterior style of your home. When arranging for new and

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Everyone knows your name at Point08, where dashing drinks and values put the happy into happy hour. BY BRADLEY TUCK

In real estate, we’re always told, curb appeal is right behind “location, location, location” in determining the desirability of a property. But I urge you today to throw those cautions to the wind, and try out Point08. Marching up and down a stretch of Green Street that, it would be fair to say, isn’t its prettiest portion, I noticed the place by chance, the clink of wine glasses and the clatter of ladies’ heels alerting me to its presence. From the street it would be quite easy to miss it --- but that would be a shame. Breezing through the gathering on the patio and stepping into the bar, it took a few moments for the eyes to adjust. The lights are low, the piercedmetal Moroccan lanterns dangling from the ceiling emitting just enough of a twinkle to sprinkle the dark teal-blue walls with their soft geometry. The bar counter itself is onyx, lit red from underneath, and there are steps down to a lounge area with club chairs. I opted to sidle up to the bar and watch the bartender, a dashing fellow named Phil, dispense rather generous pours of Pinot Noir to a couple chatting at the other end of the bar. It was happy hour, and a menu was given to me with six cocktails pulled from the more extensive regular menu of 15; there were also four food items, similarly edited from the dinner menu. The deal here is “two for one” and, very smartly, they allow you to have just a drink and a bite; then they take half off everything. There’s no need to have two of the same thing. My Uva Bella cocktail wasn’t on the happy hour menu, but I fancied something light and refreshing, and so it was duly muddled, shaken and poured, then served in a glass as wide as the rims on an SUV. Two young ladies --- Karla and Jasmine, as I found out --- arrived, and perched next to me at the bar, giggling and chatting, and clearly very au fait with the place. I asked them what brought them here.“We drive up all the way from Costa Mesa, just to see him!” Karla said with a laugh, pointing at a chuckling Phil. There’s a lot to be said for a bartender who seemed to know everyone who walked through the door. Hugs were dispensed, drinks were deftly dispatched and the lobster corn dogs I ordered were quietly set in front of me as I followed Karla on Twitter. A bar or restaurant is so much more than just a place to eat and drink. It’s a place to meet people, or a place to be alone PHOTO: Joshua Russell

with your thoughts in a room full of people. A great bartender knows when to chat and when to leave.“Coming here is like coming home,” opined Jasmine. I wish my home had delicious lobster corn dogs and a skilled mixologist on hand. –continued on page 41 10.11 | ARROYO | 39


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–continued from page 39 There was piped music playing in the bar --- jazzy soul and the like --- at just the right volume. I noticed some microphones set up in the lounge, and Phil explained that they have live jazz performances at 8 p.m., Thursday through the weekend. There’s even an empty seat available for an impromptu performance from a guest musician. Point08 is the brainchild of André Vener, and a sister property to redwhite+bluezz, his highly successful wine bar and music venue a few doors down the street. It’s clearly a formula he knows well and executes with aplomb. When my check arrived and came in at a little over $10, I blinked, grabbed my glasses and wondered if there’d been a mistake. Now that is a happy hour. ||||

It’s October, and that means Halloween. Cleanse your mind of any thoughts of pumpkin-flavored, spiced, overly sweet holiday drinks, and sip instead a fantastic wine that conjures up all manner of richly Gothic fantasies, in a classy way. Think Anjelica Huston’s Morticia rather than Elvira. Umathum St. Laurent 2008 is an intriguing red wine from Austria. The label, very Germanic in design, would look perfect coated in a millimeter of dust and a little candle wax. The stopper is glass, not cork, adding to the eyes-widening factor, but it’s the contents of the bottle that truly make one think of thunderstorms. Saint Laurent is a cousin of Pinot Noir, and it exhibits some similar traits, most notably the dark cherry flavors on the palate. But Umathum has an awful lot of other things going on: There’s the scent of damp earth and of recently struck matches, so yes, a little sulfur.That fades a little when the bottle is left to breathe a bit, and what evolves is a terrific wine to wash down a wintry beef bourguignon --- plenty of acidity and tannins that will cut through a hearty gravy. The winery is biodynamic, so it’s a fun diversion to imagine them picking grapes under a full moon, or buryPHOTOS: Joshua Russell (Point08)

ing a cow’s horn in the soil. This wine would be perfect to sip in a rainstorm, logs crackling in a fireplace and the windows thrown open, the better to smell the lightning. Trampy nurse costume is optional. –– Bradley Tuck

Umathum St. Laurent 2008, $24, Venokado, Hollywood, and K& L Wines, Hollywood 10.11 | ARROYO | 41


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RESOURCE GUIDE ARCHITECTS HARTMANBALDWIN DESIGN/BUILD HartmanBaldwin Design/Build is a fully integrated Architecture, Construction and Interior Design Company specializing in upscale remodels, additions, historic restorations and new custom homes for highly discerning individuals that are passionate about their home and lifestyle. We pride ourselves in being chosen by clients who look for a full service firm that will provide them with outstanding design services, cutting-edge materials and products, quality construction that is sustainable and energy-efficient, as well as a relationship that goes beyond the duration of a project. Call 626.486.0510 to schedule your complimentary design consultation. HartmanBaldwin.com. JAMES COANE & ASSOCIATES Since 1994, James V. Coane, has specialized in: custom residences, estates, historic renovations and expansions, residential and apartment interiors, multifamily residential, corporate interiors, retail and small commercial building design. American Institute of Architects award winners, and named Best Architect by Pasadena Weekly, their projects have been in Architectural Digest and other magazines and used as locations for filming and fashion shoots. Well-versed in historical and modern architecture and design and known for attention to detail on all projects. Visit jvca.com or call (626) 584-6922. NOTT & ASSOCIATES The “Design/Build” team of Tom and Jeffrey Nott specializes in custom homes in Pasadena. Tom Nott received his Bachelor of Architecture at USC, and has worked for decades on major projects. His work includes projects including for the 1984 Los Angeles Olympics, the L.A.Subway and countless commercial parks. Jeff began in the field at age 12, attended UCLA and UCSB and has built custom homes with distinguished designers in Beverly Hills and Bel-Air. Together they have completed over 130 projects in South Pasadena alone. Nott and Associates provides complete design through construction services, fulfilling your vision and appreciating your budget. Visit NOTTASSOCIATES.com or call (626) 403-0844. 42 | ARROYO | 10.11

BUILDERS & REMODELERS J. HARRINGTON CONSTRUCTION CORP. Jan Harrington’s high standards and small, friendly staff specialize in designing and constructing custom kitchens, baths and room additions. You’ll find examples of beautiful remodels and renovations in homes throughout San Gabriel Valley for over 25 years.Custom designed cabinetry from simple to ornate are now built inhouse. Harrington and her project manager coordinate logistics and staffing amidst the hustle and bustle of daily work sites. 626-791-5556 JanEcoConsruction.com

HEALTH & BEAUTY AURORA LAS ENCINAS HOSPITAL Behavioral health care treatment options are offered for patients with psychiatric, chemical dependency, or co-occurring disorders. Psychiatric services include inpatient, partial hospitalization and intensive outpatient programs. has remained committed to quality care and service to the community for over 100 years, and grown to include 118 licensed acute care beds, plus 38 residential treatment beds. The hospital is licensed by the State of California and accredited by the Joint Commission on Accreditation of Healthcare Organizations. Please call 626-795-9901 or 800-792-2345 and ask for the Assessment & Referral Department.

good health through a comprehensive annual physical that includes extensive blood tests, EKG, metabolic test and much more. Call us for info and how to join at (626) 793-8455. DR.GREGORY VIPOND, MD FOR VIP FACIAL ARTISTRY Facial Plastic and Reconstructive Surgery have the power to restore, enhance and correct. In the right hands, it can boost your self-esteem and outlook on life, give you a wealth of confidence, and transform how you are seen and treated by others. Dr. Gregory Vipond’s goal for every patient is for them to leave his office without appearing to have ever seen him by restoring and enhancing a patient’s natural beauty. Call today for a complimentary consultation. 626) 357-6222 or (877) 358-FACE drvipond.com or vipfacialartistry.com 51 North Fifth Avenue Suite 202 Arcadia, California 91006 DR. MARILYN MEHLMAUER Having smooth, youthful skin is the first step to feeling great about your appearance. Dr. Marilyn Mehlmauer offers a wide variety of solutions for any problem areas on your face. Whether you have lines, wrinkles or acne, we have a remedy to restore the elasticity and refine the appearance of your skin. Visit us and explore our facial rejuvenation treatment options. Call and schedule your consultation today, (626) 585-9474.

INTERIOR DESIGNERS BEAUX CONTOURS The future of body sculpting and contouring has arrived at Beaux Contours! Our facilities and staff are geared towards giving you the look you have always wanted. Whether it is a more defined mid section or a tighter jaw line, our physicians are here to help you. With multiple years of combined experience, our physicians will work with you to give you exactly the look that you have been searching for. Call our office today to schedule your complimentary consultation. You may also visit our website: beauxsurgery.com. Hope to see you in our offices soon!! CHRISTINE WON, M.D. What is Concierge Medicine? It’s a type of practice that allows you to spend 30 minutes for office visits (rather than 8 minutes in a traditional practice). You’ll be treated like a person instead of a number. We’ll focus on preventive care to maintain your

CYNTHIA BENNETT Cynthia Bennett & Associates has been a celebrated design and build firm for almost 30 years. They specialize in innovative kitchen and bath design, general construction, historical renovation, project management and interior design. With all areas of residential design and construction being taken care of by Cynthia Bennett and Associates, Inc., each detail will be thought of and coordinated. Call for a consultation at (626) 799-9701. DAY OF DESIGN WITH TERRI JULIO Day of Design with Terri Julio — Imagine the opportunity to consult with a professional designer for an entire day. Now you can for a fixed flat fee. Let Terri’s expertise be the first thing you call upon when considering any project. It is a worthwhile investment and a good dose of prevention considering valuable dollars and time can

be lost when improvements go awry. Call (626) 447-5370 or visit terrijulio.com.

INTERIOR SPACES COCKTAIL HOME Cocktail Home specializes in unique, design-forward barware, house ware, and home furnishings, including art from talented local artists. Cocktail Home is home entertaining’s best kept secret! Mixologist Dan who works alongside fellow owner Suzanne, has won numerous awards and recognitions including ranking in the Top 5 for GQ Magazine/Bombay Sapphire cocktail contest in Los Angeles,944 Magazine’s Top 4 "Best Sangria Recipe" in Los Angeles, City of Long Beach "Cocktail of the Week", and was a featured bartender in Patterson’s Beverage Journal. Come in and let us bring cocktail culture to your home! cocktailhomestore.com In Westfield Santa Anita CAROUSEL FLOORS This family-owned, 38-year-old company provides a superb selection along with remarkable service. For hardwood, select from all the top names, including Appalachian Hardwood Floors, pre-finished or finished by expert craftsman. For linoleum, Marmoleum is a natural, eco-friendly, stylish flooring with multiple patterns. Carousel is a Mohawk Color Center, carrying Fabrica, Karastan, Masland and Schumacher to name a few. Free consultations; designers welcome. Open 10 a.m. to 5 p.m. Monday through Friday; 10 a.m. to 4 p.m. Sat.; or by appointment. 676 E. Green St., Pasadena. Call (626) 795-8085. MAUDE WOODS Stepping into Maude Woods: Artful Living, shoppers may feel they’ve entered someone’s beautiful home. Owner Carrie Davich mixes new upscale furnishings with vintage and renovated second-hand treasures. Within this “home” shoppers can find a unique hostess gift for $25, a $5,000 table and a variety of beautiful items in between. 55 E. Holly St., Pasadena. Call (626) 577-3400 or visit maudewoods.com MODERN LIGHTING Modern Lighting has been serving Southern California’s lighting needs since 1946. With all types of fixtures in every price range, you’ll find what you want. If not, we do custom design. We have stocks of light bulbs to compliment your fixture and we continually watch the marketplace for the best buys. Our staff has decades of light-


ing experience.. Feel free to contact us if our service is what you are looking for: call (626) 286-3262.

JEWELRY, ART & ANTIQUES ARNOLD’S FINE JEWELRY It’s a busy time at Arnold’s Fine Jewelry. Spring brings in brides and their mothers to select attendant gifts. Bruce Arnold and his seasoned staff work with patrons in choosing just the right Mother’s Day and Father’s Day gifts from diamond heart pendants to watches and rings. They also personalize jewelry by engraving graduation gifts sure to please lucky high school and college grads. “I’m often able to guide a gift giver, knowing what the recipient has chosen in the past,” says Arnold. Being a third generation jeweler, and frequently serving the next generation of a family, he knows the value of trust and tradition. After all, Arnold’s is celebrating 100 years in Pasadena. If you have something special in mind or an estate piece that needs updating, Bruce will custom design a piece of jewelry. Arnold’s Fine Jewelry is at 350 S. Lake Avenue. Hours are 10-6 TuesdaySaturday. 626-795-8647. FANCY THAT! Unwary visitors will be whisked inside Fancy That! by a coven of wicked witches, ready to turn your All Hallows Eve into a memorable moment in time. Within you’ll find a bewitching batch of creepy crawlers, inspired web works and tasty tricks and treats. Whether shopping or simply celebrating this most unique season, Fancy That! Is a spellbinding, not-tobe missed spot to experience with your family and friends. See you there, if you dare! Fancy That! 2575 Mission St. San Marino 626 403 2577 fancythat.us.com JOHN MORAN AUCTIONEERS A full-service auction house for over 40 years, John Moran Auctioneers is internationally recognized as a leader in sales of exceptional antiques, fine art, jewelry and eclectic estate items. In addition to monthly Estate Auctions, Moran’s conducts tri-annual California and American Art auctions featuring top 19th and 20th century Impressionist and Western artists. Clients value Moran’s for expertise and dedication to top-quality personalized service. For information about consigning, purchasing at auction, estate services, appraisals, and free walk-in Valuation

Days, please call (626) 793-1833 or visit johnmoran.com. WAYNE JASON JEWELRY DESIGNS Wayne Jason Jewelry Designs has been in business since 1987, in the same location in the city of Pasadena, California. Wayne designs most of his own jewelry and manufactures it on the premises, eliminating a middleman. Wayne Jason Jewelry Designs offers unique, often one of a kind, top quality jewelry pieces at a value well below the competition. Most of our designs can be made in any color gold, 18-karat or 14-karat, with any stones. 105 West California Blvd., Pasadena - 626 795-9215

OUTDOOR LIVING CARSON-MAGNESS LANDSCAPES We blend artistry and ecology to create gardens that are at one with you and with nature. We are a full service landscape design, installation, and maintenance company that works with you to transform your outdoors into a beautiful sanctuary, while providing you peace of mind throughout the process. For over 20 years we have been bringing our passion for art and the environment to residential, commercial and various architectural, landscape and construction projects throughout southern California. 818-2412128 - carson-magness.com GARDEN VIEW LANDSCAPE Specializing in landscaping, nurseries and pools, Garden View Inc. can take you from a design idea to a finished, detail-oriented garden. Garden View & their clientele are recipients of 60 awards from the California Landscape Contractors Association. The intent of the company is to provide high-quality interrelated outdoor services. The synergy between having their own designer/project managers, inhouse crews, their own large nursery, and being a licensed pool builder provides for efficiency, competitive pricing, quality and schedule control. Call (626) 303-4043. HUNTINGTON POOLS & SPAS Huntington Pools & Spas designs and builds custom pools, spas, and outdoor spaces. We create spaces that complement your home’s overall landscape and architecture using a combination of engineering, form, and fit. Our philosophy is that each project should have a unique balance and connection to the prop-

erty’s overall landscape and architecture. We view each of our waterscapes as a unique work of art and use only top industry professionals, select finish products, and proven technologies. 626-332-1527 – huntingtonpools.com

REAL ESTATE KELLER WILLIAMS REALTY, NATALIE AGUILAR-VOGIE As a dedicated Real Estate professional, Natalie Aguilar–Vogie of Keller Williams Realty believes that “The Best Things in Life are not Things, it’s people”. Natalie has a Senior Real Estate Specialist designation and assists Baby Boomers in down sizing and divesting of Real Estate for a simpler life and can provide you with the resources and information needed to make the best decision for you and your family regarding buying, selling or moving to a Retirement community. Contact Natalie at 626-379-6742, NatalieAguilar@kw.com or visit pasadenahomesearch.com for more information. SOTHEBY’S, LIN VLACICH Lin Vlacich of Sotheby’s, a 25-year veteran in the real estate profession, is known for her reputation and success as a leader in the San Gabriel Valley brokerage community, as well as for high professional ethics, superior negotiating skills, innovative marketing plans and extensive knowledge of real estate sales. Committed to excellence in representing buyers and sellers throughout Pasadena, San Marino, South Pasadena and the surrounding communities. Call (626) 688-6464 or (626) 396-3975 or email vlacichs@aol.com

Pasadena. 626-921-4108. Visit us at regencypk.com for more information PROVIDENCE ST. ELIZABETH (PROVIDENCE ST. JOSEPH’S) Providence St. Elizabeth Care Center is a 52 bed skilled nursing facility. We offer an array of health care services for residents to enjoy themselves with family and friends. To complement our reputation for caring, our specially trained staff works in partnership with residents, families, doctors, referring hospitals, and health professionals to make sure residents’ needs are met. As a skilled nursing facility, Providence St. Elizabeth is staffed 24 hours a day by licensed professionals specially trained in geriatric medicine. For more information or to tour Providence St. Elizabeth Care Center, please call (818) 980-3872. TERRACES AT PARK MARINO The Terraces at Park Marino is a modern assisted-living community located in Pasadena, up against the foothills of the San Gabriel Mountains and overlooking the dramatic vistas of Eaton Canyon. Terraces at Park Marino is located at 2587 E. Washington Blvd., Pasadena, Ca 91107. 626-798-6753, parkmarino.com, marketing@parkmarino.com

SENIOR RESOURCES FAIR OAKS BY REGENCY PARK Regency Park Senior Living, with over 40 years’ experience, is renowned in Pasadena for its luxurious, beautifully-appointed senior communities. The Fair Oaks by Regency Park is Pasadena’s most luxurious independent and assisted living senior community. Here residents enjoy a lifestyle of relaxed elegance and the opportunity to select from a broad array of services and activities—from fine dining and daily housekeeping to assistance with any of the activities of daily living. At The Fair Oaks, you can live entirely independently or choose the level of care that you require. 951 S. Fair Oaks Ave., South 10.11 | ARROYO | 43


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Argentina is world famous for its cuisine, and Malbec Argentinean Bistro brings that cuisine to Pasadena with their homemade salads, pastas, fish and an abundant selection of their signature free range meats prepared on a wood-fire grill.

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A Different Impression of Taste HANDS-ON METHODS AT MAMMA’S HOUSE DESERVE A BIG HAND BY DAN O’HERON With Italian cheeses, meats and sauces, a New Yorker’s fancy, an alchemist’s knack with flour, a magic oven – and a nimble-fingered staff continuously cutting fresh veggies into ideal shapes – its pizza is more than just another reliable pleasure. The discerning will appreciate that Owner Jaimie Inzunza won’t throw just anything on top a disk of dough. In the “Brick Oven Special,” prized fresh mozzarella – soft-textured, sweet and delicate – holds together a fine batch of meats, MAMMA’S BRICK including fragrant Italian sausage, boldly seasoned pepOVEN PIZZA peroni and air-dried salami, plus olives and onions. 710 Fair Oaks Ave. The “Shrimp Special,” topped with diced fresh tomatoes, South Pasadena plus etceteras, is twigged with fresh parsley. Brushed with (626) 799-1344 olive oil, laced with spinach and judiciously flavored with mammasbrickoven.com pungent oregano and garlic, The “South Pas” contains four cheeses: mozzarella, rich ricotta, tangy Romano and sharp Parmigiano-Reggiano. With “R-E-G-G-I-A-N-O” pin-pricked on the rind, this preeminent Parmesan is freshly grated in house from wheels imported from strictly defined regions of northern Italy. Pre-grated Parmesan, used widely in many pizza parlors, just doesn’t match the freshly grated in flavor. Pizza-crust flour, handcrafted on the premises, is gluten-free, but at no cost to taste and texture. Inzunza has come up with a perfect balance of rice flour, potato and corn starch that keeps the crust crisp but still chewy. Pizzas are done to a turn atop a three-inch-thick stone slab in a gas-fired oven. Topped and bottomed with bricks, the unit heats crust, cheese and all other ingredients evenly. No tongue-tugging here over half-baked toppings. Home-style pasta dishes, including penne and broccoli in pink sauce, are also glutenfree. A fresh-cut supply of veggies for the pizzas and pastas makes many salads worthwhile. How’s business? Inzunza said she’ll be opening a second Mamma’s on Rosemead Boulevard in Pasadena later this year. ■ 44 | ARROYO | 10.11

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New Moon's contemporary take on classic Chinese cuisine is a happy balance of traditional Asian flavors and fresh ingredients that have been re-imagined for contemporary tastes. Impressive wine list and a full bar.

Casual, yet sophisticated atmosphere and attentive service has gained Zagatrated New Moon a dedicated following. The newly opened bar has already proved a popular spot with special happy hour drink prices and menu.

DINERS’ FAVORITES 1. Chloe Shrimp ($14.95) 2. Filet of Sole in a Black Bean Sauce ($13.50) 3. New Moon's Dragon Beef ($12.95)

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TIBET NEPAL HOUSE 36 E. Holly Street Old Pasadena (626) 585-0955 Tibetnepalhouse.com

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DINERS’ FAVORITES

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KITCHEN CONFESSIONS

Disneylicious This intrepid columnist chews over one of Mickey’s signature dishes.The mouse’s version of a value meal, mayhaps? Not so much. BY LESLIE BILDERBACK | PHOTOS BY CLAIRE BILDERBACK

I love going to Disneyland. I am not, however, a Disneymaniac. I don’t express my love with T-shirts, license plate frames or lanyards crammed with collector pins. Nor do I feel the need to procure an annual pass. The magic, I fear, would be greatly diminished if I were to visit more than once a year. In fact, the magic popped like a mouse-shaped balloon the first time my ankle was clipped by a stroller. I mention this because I am currently recovering from a weekend at the Happiest Place on Earth. The sensation is much like the hangovers of my twenties. I woke up disoriented and exhausted, with a stomachache, a hand stamp and a glow-stick necklace. But that’s the fun of Disneyland. You get to act childish, even when you’re pushing 50. I still love a flight with Dumbo, an expedition through treasure-filled pirate caves and a giddy encounter with a life-size Winnie-the-Pooh.(Although now I suspect that inside there is likely a disgruntled college dropout sweating his Tinkerbells off.) Even the teenagers, who typically try to act like adults, are delighted to put aside thoughts of homework and the SAT and act like their third-grade selves, wearing Mickey ears and racing to get to the purple teacup. Disneyland is one of the few places where my breakfast consists of a giant pickle and a cinnamon roll the size of a spare tire. As a chef, I realize that the quality and nutritional value of these treats is subpar. But that’s not the point. Disneyland needn’t strive for a Michelin star. No one wearing a Peter Pan cap and plaid Bermuda shorts expects that. For me, a trip to Disneyland is about the memories it evokes of a simpler, innocent time, before I cared about debt ceilings, global warming or strengthening my “core.” It is –continued on page 46 10.11 | ARROYO | 45


KITCHEN CONFESSIONS

–continued from page 45 about savoring a pineapple-whip float whilst enjoying the warbling of audioanimatronic birds. Yes, I am willing to forgo all rational behavior here, with one exception. Due to my repeated exposure to food service, my expectations soar as soon as I am placed in front of a cloth napkin. If I am forced to pay through the nose for a sit-down meal, I expect the price to be reflected in the food quality, not just pay the rent on a space to rest my tired feet. I do not require a Zagat rating. But at Disneyland I expect the campiness to be accompanied by certain standards. In the old days, Disney food was far from groundbreaking. At the Chicken of the Sea Pirate Ship Restaurant in Fantasyland, you could get a Tuna Boat Salad, Tuna Sandwich or Tuna Burger. Before tackling the Matterhorn Mountain Sundae at the Carnation Ice Cream Parlor, you could get a sandwich “delightfully garnished with dairy-fresh Carnation Cottage Cheese.” They’ve never catered to the culinary elite here. Nor should they. As a kid, I longed to eat at the Blue Bayou terrace restaurant visible from the Pirates of the Caribbean ride. Only once did my parents consent to my extravagant dining request, and I fondly remember ordering the famous Monte Cristo sandwich. For those of you who haven’t experienced this relic of gastronomy, the Monte Cristo is a magnificent cross between breakfast, lunch and dinner. It is a lightly battered and fried ham-andcheese sandwich, dusted with powdered sugar and served with a side of raspberry jam. It is thought to be 1950s America’s wrongheaded approximation of the French Croque

Monsieur. Its creation is simultaneously claimed by the Brown Derby restaurant of Hollywood and the Hotel del Coronado of San Diego. But regardless of its origin, the Monte Cristo is well known to have been popularized here as a standard menu item at several of Disneyland’s restaurants. On this visit, in an effort to re-create that experience, I overrode my nutritional conscience and ordered a Monte Cristo. But as it turned out, like the Swiss Family Robinson Treehouse, this experience is best kept in the memory banks. For what arrived at my table was not the retro dining delight I had hoped for, but rather a pile of greasy fried dough wads, unrecognizable as a sandwich. To be clear, I am not against fried dough wads. I can best any cop at the Doughnut Olympics. But the small amount of ham and cheese that my sandwich contained had to be excavated from its doughy inner core like dinosaur bones along the Disney railway’s Primeval World. Considering the park’s general attention to detail, from hidden Mickeys to constant tidying, this lack of quality was discouraging. The food at Disneyland should not be regrettable. It should be magical, like everything else in the Magic Kingdom. I had to tack this sandwich onto my growing list of Disney disappointments, which includes the mysterious disappearance of “America the Beautiful” — the ‘70s-vintage panoramic view of the country in Circle-Vision — and the fact that our kids now prefer to

The Perfect Monte Cristo

run off without us. As a result, we were resigned to experience Disneyland on our own with the rest of the deserted parents. Abandoned, we found ourselves drawn to the rem-

INGREDIENTS 1 egg 1/3 cup milk 2/3 cup flour ½ teaspoon salt 1½ teaspoons baking powder 1 cup vegetable oil 4 slices white sandwich bread 2 tablespoons butter, softened ¼ pound sliced turkey ¼ pound sliced Swiss cheese ¼ pound sliced ham ¼ cup powdered sugar ½ cup strawberry or raspberry jam, or red currant jelly 46 | ARROYO | 10.11

METHOD 1. In a medium bowl, combine the egg and milk, and whisk together thoroughly. Sift together the flour, salt and baking powder and add to the egg mixture. Stir to combine, then set aside for 10 minutes. 2. Fill a frying pan a half-inch deep with vegetable oil, and place over high heat. Spread the softened butter evenly on each slice of bread, then layer the turkey, cheese and ham in between, creating two sandwiches. 3. When the oil reaches 375˚, dip the sandwich into the batter, coating it well, and place it carefully into the hot oil. Fry until golden brown, about 5 minutes per side. 4. Remove fried sandwich from oil and drain on paper towels. Slice on the diagonal and serve with a dusting of powdered sugar and a side of jam or jelly.

nants of Disney-past: the chalet entrance to the long-gone Skyway that still stands at the edge of Fantasyland; the People Mover track that hovers stubbornly over Tomorrowland, conjuring memories of the Adventure Thru Inner Space and the Carousel of Progress; and Great Moments with Mr. Lincoln — which, as it turns out, is the congregating point for all the empty-nesters grasping for a glimmer of yesteryear. Yup. I am turning into a cranky old broad, and I freely admit to spending more time thinking about the past than enjoying the present. For that, kids, I apologize. I will endeavor to hide my melancholia in incessant criticism of Disney culinaria and hope that I will be vindicated when you’re my age. That’s what they call “the circle of life.” For now, I’ll just pretend that you still cherish the princess signatures in your autograph books, and try to forget that on any given non-Disney day you’ve got one foot out the door. ||||

Leslie Bilderback is a certified master baker, chef and cookbook author. A South Pasadena resident, she teaches her techniques online at culinarymasterclass.com.


THE LIST

A SELECTIVE PREVIEW OF UPCOMING EVENTS COMPILED BY JOHN SOLLENBERGER

GLENDALE’S GEMS ON DISPLAY

write, but brings faithfully to life the

Pasadena Convention Center from

around the intersection of Baldwin Av-

Oct. 2 — The Glendale Historical Society

essence of the stories. The cast takes sug-

8 a.m. to 2:30 p.m. “Power is Knowledge”

enue and Sierra Madre Boulevard in

presents its 2011 Fall Home Tour --- “Glen-

gestions from the audience to create a

is the theme of this year’s event. Dozens

downtown Sierra Madre. Ticket-holders

dale Gems: Historic Homes of the Jewel

new production in the moment, never to

of booths will offer information on detect-

can sample fine wines and cuisine from

City” --- from 11 a.m. to 4 p.m. Stops on

be seen again. Performances are at

ing, preventing, treating and curing can-

local establishments, hear live jazz, partic-

the local Register of Historic Resources in-

8 p.m. Fridays, 2, 8 and 10 p.m. Saturdays

cer, heart disease, diabetes and obesity,

ipate in a silent auction, view exotic cars

clude a 1926 Spanish Colonial Revival

and 2 and 7 p.m. Sundays. Tickets cost

plus information on beauty, wellness and

and motorcycles and more. San Antonio

home designed by architect Paul R.

Winery also offers a VIP wine garden, with

Williams, a 1926 French Revival home, a

premium wine, food and live music, from

1936 Spanish Colonial Revival with Art

6:30 to 10 p.m. Regular tickets cost $40 in

Deco influences and a 1936 American

advance, $50 on event day. Wine garden

Colonial Revival home by Glendale’s Mer-

tickets, which include the walk, cost $125.

rill W. Baird. Tickets can be purchased in

Visit sierramadrewineandjazzwalk.com

advance online or by phone for $30 ($20 for members) at the Brand Library, start-

CELEBRATING THE AEROSPACE CENTURY

ing at 10:30 a.m.

Oct. 8 — The Huntington Library, Art Col-

The Brand Library is located at 1601

lections and Botanical Gardens unveils

PHOTOS: Daniel Kitayama (“The Chimes”); courtesy of the Pasadena American Society of Interior Designers; Will Adashek (“Tessessee Williams Unscripted”); courtesy of the Golden California Antiques Show

for members) or on tour day for $35 ($25

Mountain St., Glendale. Call (818) 242-

Blue Sky Metropolis: The Aerospace Cen-

7447 or visit glendalehistorical.org.

tury in Southern California, continuing through Jan. 9. The exhibition includes

ASID HOSTS HOME AND KITCHEN TOUR Oct. 2 — The Pasadena American Society of Interior Designers (ASID) hosts a tour of residences in Pasadena, San

WICKED LIT ADAPTS CLASSIC CHILLERS IN ALTADENA

a rocket engine, early satellite models and some 50 manuscripts, documents and photographs that explore the industry’s impact on the region, including the innovations it sparked in surfing, architecture, design and even hot-rodding.

Oct. 21 through Nov. 6 — Unbound Productions presents the 2011 season of its Wicked

The Huntington Library, Art Collections

Lit series, staged adaptations of classic horror stories, at Mountain View Mausoleum and

and Botanical Gardens is located at

Marino and Arcadia from 9:30 a.m. to

Cemetery in Altadena. Production A, which starts Oct. 21, features Charles Dickens’

1151 Oxford Rd., San Marino. Call (626)

5 p.m. Stops feature diverse architecture

The Chimes, H.P. Lovecraft’s The Unnamable and Edgar Allan Poe’s The Cask of Amontil-

405-2100 or visit huntington.org.

and interiors spanning a century --- from

lado. Performances continue through Nov. 5. Program B, opening Oct. 27 and continu-

1911 through 2011. Guests can meet de-

ing through Nov. 6, features three plays never before staged by Wicked Lit, including

signers Cynthia Bennett, Jennifer Bevan-

Robert Louis Stevenson’s The Body Snatcher, M.R. James’ Casting the Runes and Mark

GOLDEN CALIFORNIA ON DISPLAY IN GLENDALE

Montoya, Marlene Oliphant, Edward

Twain’s A Ghost Story.These are walking productions that take place outside at night;

Oct. 8 and 9 — The

Turrentine and Rozalynn Woods. Tickets

please wear comfortable, soft-soled shoes and dress appropriately for the weather.

sixth annual Golden

cost $30 in advance, $35 on tour day.

All performances start at 8 p.m.The cost is $39 to $60.

California Antiques

Call (800) 237-2634 or visit

Mountain View Mausoleum and Cemetery is located at 2300 N. Marengo Ave.,

Show, celebrating

asidpasadena.org.

Altadena. Call (818) 242-7910 or visit wickedlit.org.

the pre--World War II California lifestyle,

UNSCRIPTED PRODUCTIONS PLAY OFF WRITERS’ THEMES

takes place from 10 a.m. to 6 p.m. Saturday and 10 a.m. to 4 p.m. Sunday at the

Oct. 7 — Impro The-

$25 each, except for 10 p.m. Saturday

more. Attendance is free, but online regis-

Glendale Civic Auditorium. California

atre presents three

performances, which cost $15. Student

tration is required.

and Southwestern fine art, furnishings,

“unscripted” produc-

and senior citizen tickets cost $20, $10 for

The Pasadena Convention Center is lo-

pottery and accessories will be avail-

tions from Oct. 7

10 p.m. Saturday shows.

cated at 300 E. Green St., Pasadena. Visit

able for purchase. In addition, Los Ami-

through Nov. 13 at

The Pasadena Playhouse is located at

socalhealthconference.com/register.

gos Del Arte Popular presents a panel

the Pasadena Play-

39 S. El Molino Ave., Pasadena. Call (626)

discussion on “Art of the Mexican Mask”

356-7529 or visit pasadenaplayhouse.org.

WINE AND JAZZ WALK HELPS CITY OF HOPE

at 2 p.m. Saturday. Admission costs $12,

Oct. 8 — The annual Sierra Madre Wine

and younger.

merses itself in the writer’s work during re-

WOMEN’S HEALTH CONFERENCE HIGHLIGHTS POWER OF PREVENTION

hearsals, then takes the stage to create something that the author didn’t actually

house’s Carrie Hamilton Theatre. The shows include Tennessee Williams Un-

scripted (pictured), Chekhov Unscripted and Twilight Zone Unscripted. The cast im-

good for both days; free for children 12

& Jazz Walk returns from 4 to 7 p.m., with

The Glendale Civic Auditorium is located at

proceeds benefiting the City of Hope. The

1401 N.Verdugo Rd., Glendale. Call (626)

Oct. 7 — The Women’s Health Confer-

event, presented by San Antonio Winery

437-6275 or visit goldencaliforniashow.com.

ence and Green Expo comes to the

Riboli Family Wine Estates, takes place

–continued on page 48 10.11 | ARROYO | 47


THE LIST

–continued from page 47

seum, Lineage Performing Arts Center,

HERITAGE WEEKEND OFFERS CRAFTSMAN LANDMARK TOURS

One Colorado, Pasadena Central Library, Pasadena City College, Pennington

Oct. 13 through 16 —

Dance Group at ARC Pasadena and

Pasadena

Side Street Projects. Admission is free, as

Heritage launches

are shuttles available at each venue.

Craftsman Weekend

Call (626) 744-7887 or visit

--- an annual event

artnightpasadena.org.

that includes home tours, receptions, auctions and lectures --on Thursday with a luncheon at Il Fornaio

ACCLAIMED SOPRANO BRINGS POETRY TO CLASSICS

restaurant and a presentation and walking

Oct. 15 — The Los

tour of Castle Green, the 1898-vintage re-

Angeles Chamber

sort hotel located in Old Pasadena, from

Orchestra performs

12:30 to 5 p.m.Tickets cost $45. On Friday,

a concert of works

various bus, drive-yourself and walking

by Benjamin Britten,

tours run from 9 a.m. to 5:30 p.m.Tickets

Beethoven and

range in price from $30 ($25 for members)

Dvorák at 8 p.m. at Glendale’s Alex

to $75 ($70 for members). An opening re-

Theatre, conducted by Music Director

ception will be held from 6:30 to 8:30 p.m.

Jeffrey Kahane (pictured). Soprano Ka-

at the Pitcairn House on the Westridge

rina Gauvin sings Britten’s “Les Illumina-

School campus.Tickets cost $40 ($35 for

tions,” based on the poetry of Arthur

members). Saturday features tours and

Rimbaud, and the lullaby “Now Sleeps

workshops from 9 a.m. to 4:30 p.m. at vari-

the Crimson Petal,” with text by Alfred

ous locations, with tickets to each event

Lord Tennyson. Tickets cost $24 to $105.

ranging from $18 to $45 ($15 to $40 for

The concert repeats at 7 p.m. Oct. 16

members). A reception at the Manor Del

at UCLA’s Royce Hall.

Mar from 6 to 8:30 p.m. caps the day; tick-

The Alex Theatre is located at 216 N.

ets cost $120 ($100 for members).The

Brand Blvd., Glendale. Call (213) 622-

weekend culminates in the Craftsman

7001 or visit laco.org.

to 5 p.m. Saturday and Sunday at the Pasadena Convention Center, 300 E. Green

GROWING YOUR OWN BREW TOPS DESCANSO FALL FUN

St., Pasadena. Passes are included with all

Oct. 15 and 16 —

Craftsman Weekend ticket purchases and

On “Autumn Air”

available at the door for $5 per day.

days, wander under

For a complete schedule and to buy

Descanso Gardens’

tickets, call (626) 441-6333 or visit

oaks and meet local

pasadenaheritage.org.

artists working on the lawn and selling their wares, from 10 a.m.

FREE NIGHT OF MULTI-MUSEUM MADNESS

Oct. 15 — The “In Praise of Grasses”

Oct. 14 — ArtNight

festival celebrates the workhorse family

Pasadena, the city’s

of the plant world. Activities include a

annual salute to

1 p.m. workshop on growing a beer

local arts institutions,

garden with wheat and barley (cost is

runs from 6 to 10 p.m.

$15, $10 for members), a workshop on

Opening their doors

home beer-making at 2:30 p.m. (cost is

to the public will be the Norton Simon

$25, $20 for members; reservation dead-

Museum, Art Center College of Design,

line is Oct. 10) and a beer garden featur-

Pasadena Museum of California Art,

ing German beer, bratwurst and music

Pasadena Museum of History, Pacific Asia

from 3 to 7 p.m.

Museum, Armory Center for the Arts, Al-

Oct. 22 and 23 — The family-friendly

liance Française de Pasadena, artWORKS

Harvest Festival kicks off with a costume

Teen Center, Kidspace Children’s Mu48 | ARROYO | 10.11

to 4 p.m. Free with Descanso admission.

–continued on page 50

PHOTOS: Courtesy of Pasadena Heritage (Craftsman Weekend, Grassie House); courtesy of Art Night Pasadena; Michael Burke (Jeffrey Kahane)

Exposition Show and Sale from 10 a.m.


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CONCIERGE MEDICINE

Tired of waiting to see your doctor?

THE LIST

–continued from page 48

Oct. 23 — A free open house from 1 to

parade at 10:30 a.m., followed by a pup-

4 p.m. spotlights upcoming perform-

pet show at 11 a.m. Food is available for

ances and offers tours of the facility, read-

purchase from Patina’s Chuckwagon

ings and presentations by the company’s

Grilling Station from 11 a.m. to 3 p.m. Free

resident artists, interactive activities for

with Descanso admission.

children and more.

Descanso Gardens is located at 1418 Des-

Oct. 29 — The company opens the sea-

canso Dr., La Cañada Flintridge. Call (818)

son with Shakespeare’s Twelfth Night, a

949-4200 or visit descansogardens.org.

gender-bending romp of merriment, mischief and true love directed by company

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Co-Founder and Co-Artistic Director Julia Rodriguez-Elliott. The play starts at 6 p.m.

Oct. 16 — The Califor-

and continues on select dates at 8 p.m.

nia Art Club and La

Thursdays and Fridays, 2 and 8 p.m.

Casita Foundation

Saturdays and 2 and 7 p.m. Sundays

present an exhibition

through Dec.16. Tickets cost $42 to $46,

and sale of plein air

and special group and school rates

paintings at La Ca-

are available. In addition, an optional,

sita del Arroyo from 11 a.m. to 4 p.m. Plein

black-tie opening night gala starts at

Air Paintings of the Arroyo Seco features

5:30 p.m. with a champagne reception

the work of numerous contemporary-tra-

and dinner following the performance.

ditional fine artists, who will have painted

A Noise Within is located at 3352 E.

on location at the historic Casita del Ar-

Foothill Blvd., Pasadena. Call (626)

royo during the week prior to the event.

356-3100 or visit anoisewithin.org.

La Casita del Arroyo is located at 177 S. Arroyo Blvd., Pasadena. Call (626) 583-9009 or visit californiaartclub.org.

PASADENA SYMPHONY LAUNCHES CLASSICS SERIES Oct. 29 — The

AN A-LISZT EVENING OF CHAMBER MUSIC

Pasadena Symphony opens its season at

Oct. 18 — The Santa

the Ambassador Au-

Barbara--based

ditorium with Mei-Ann

Camerata Pacifica

Chen (pictured) con-

chamber ensemble

ducting Tchaikovsky’s Symphony No. 5,

continues its 22nd

Korngold’s “Violin Concert” and Huang’s

season with a visit

“Saibei Dance.” Featured soloist is violinist

to the Huntington Library, Art Collections

James Ehnes. Concerts take place at 2

and Botanical Gardens. The 8 p.m. con-

and 8 p.m. Tickets range from $35 to $100.

cert features Liszt’s “Transcendental

The Ambassador Auditorium is located at

Études.” Pianist Adam Neiman is the

131 S. St. John St., Pasadena. Call (626) 793-

featured performer. Tickets cost $45.

7172 or visit pasadenasymphony-pops.org.

The Huntington Library, Art Collections 1151 Oxford Rd., San Marino. Call (805)

PASADENA CONSERVATORY OFFERS SOMETHING FOR THE KIDS

884-8410 or visit cameratapacifica.org.

Oct. 30 — The Pasadena Conservatory of

and Botanical Gardens is located at

Music offers a family-friendly performance

TWELFTH NIGHT IS FIRST CHOICE FOR A NOISE WITHIN SEASON

50 | ARROYO | 10.11

Mozart, Paganini and others, with curtains

The classical reper-

at noon and 1, 3 and 4 p.m.The event is

tory theater com-

staged by Chroma, a group of conserva-

pany A Noise Within

tory teachers.Tickets cost $10 per person.

launches its 20th an-

The Pasadena Conservatory of Music is

niversary, 2011-12

located at 100 N. Hill Ave., Pasadena.

season in its new Pasadena location.

of Queen of the Night, featuring music by

Call (626) 683-3355 or visit pasadenaconservatory.org. ||||

IMAGES: Courtesy of the California Art Club (Junn Roca, Golden Afternoon); Marta Elena Vassilakis (Camerata Pacifica); John Berry Architects (A Noise Within rendering); courtesy of the Pasadena Symphony (Mei-Ann Chen)

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Arroyo Monthly October 2011