Ae546ue45tgdlos angeles confidential summer 2015

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old love

new Flame

old chase

new pursuit

old Stable

new horses

one can’t just build something truly Italian ONLY HISTORY CAN ©2015 FCA US LLC. All Rights Reserved. ALFA ROMEO is a registered trademark of FCA Group Marketing S.p.A., used with permission.

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FRONT RUNNER Making a splash! “Million Dollar Mermaid” Esther Williams corrals some of her swim-school pupils at the inauguration of the Aqua Star pool at the Beverly Hilton in August 1955.

Hotel California

While old-school haunts like Chateau Marmont and The Beverly Hills Hotel have long attracted LA’s A-list, the sleek-chic, Welton Becket–designed Beverly Hilton ushered in a brand-new era when it opened on August 12, 1955, bringing with it a steady flow of midcentury hipsters like Frank Sinatra and Sammy Davis Jr. The hotel’s inaugural festivities included “Million Dollar Mermaid” Esther Williams diving into a gardenia-filled pool and voluptuous, maillot-clad starlets riding pink circus elephants through the valet area. The 569-room showpiece was revolutionary for its time—it was the first luxury hotel to have air-conditioning thermostats in each room and high-speed elevators, and the 93-by-36-foot Aqua Star pool was—and still is—the largest in Beverly Hills. Hungarian bombshell Zsa Zsa Gabor (founder Conrad Hilton’s then-wife) solidified the hotel’s oh-so-posh image by designing the enormous ladies room entirely of pink Italian-imported marble, still perfectly intact today. World-class dining also made it unforgettable. As The Beverly Hilton hotel manager Michael Robertson says, “We had Trader Vic’s and, of course, L’Escoffier, which was the place to be seen, no question about it.”


The International Ballroom became the home of the Golden Globes in 1958, and was the scene of the star-studded closing ceremonies for John F. Kennedy during the 1960 Democratic National Convention. The late president often used the hotel’s rooftop to sneak mistresses into his suite, and the mail slot (still inside the lobby) was where he sent and received countless clandestine love letters. Today, The Beverly Hilton, owned by irrepressible media/business mogul Merv Griffin from 1987 to 2003, is home to more than 200 red-carpet events annually (the Golden Globes, the Clive Davis Pre-Grammy Gala, and the Oscar Nominees Luncheon, among them). It remains a hub for Tinseltown celebrity and glamour, exceeding the legacy its creator envisioned six decades ago. The number of Hollywood stars who frequented it has left an indelible mark on its history, one that Robertson says can still be experienced. “There were so many famous regulars back then—Liz Taylor, Cary Grant, Debbie Reynolds—it’s almost easier to name the ones who haven’t stayed here!” LAC

photography courtesy of the beverly hilton

Move over, chateau MarMont! For 60 years, the Midcentury-Mod Beverly hilton has Been the play/gala-ground oF choice For h’wood’s swell set. By Erika Thomas



Portraits of the artists (clockwise Gemini G.E.L. founder Sidney Felsen snaps artist Ellsworth Kelly at the Gemini studio in 1984; Jasper Johns working on an embossing plate for Four Panels from Untitled in 1974; Roy Lichtenstein carving a woodblock for his work, Head, in 1980; Gemini co-founder Stanley Grinstein surveys Robert Rauschenberg at work on Stoned Moon Series in 1969. from top left):

The Age of gemini

On the eve Of the 50th anniversary Of Gemini G.e.L., the La-based art-print pOwerhOuse keeps the masterpieces cOming. by kelsey marrujo Rewind to the ’60s: A spry Bob Rauschenberg lies still as X-rays map the length of his body—a somber scene, but misleadingly so, as the resulting plates are destined not for a medical lab, but rather a young printmaking studio in Los Angeles called Gemini G.E.L. Standing at an impressive 72 inches, the eventual lithograph/silkscreen piece, titled Booster, would be the largest print ever produced at the time. Gemini launched in 1966, when the traditions of European art ateliers had already jumped ship to the new world. Inspired to carry the torch to a sunny corner of the US, then-accountant Sidney Felsen—who’d studied painting at the Frederick Kann School of Art and Chouinard (later Cal Arts)—pitched the idea of building an LA-based artists workshop to longtime USC pal and art collector Stanley Grinstein. Together, they stumbled upon master printer Kenneth Tyler, whose local shop seemed the perfect site to reify their plans. The place soared. It was an invitation-only workshop, hand-selecting buzzy artists like Claes Oldenburg, Jasper Johns, and Ed Ruscha to draw or carve


directly onto their printing elements, experimenting with lithography, etching, screen printing, woodcut, and sculpture. As Felsen told Humanity by Citizens of Humanity magazine in December 2014: “All of a sudden you start realizing, Wow, you know, we’re working with the most accomplished artists of our time, and they’re already in the history books!” Now headquartered at a Frank Gehry-designed facility on Melrose Avenue, Gemini’s reach is global, attracting artists from France (Daniel Buren and Sophie Calle) and Ethiopia (Mehretu), among other cultural hot spots. Projects on the horizon include Richard Serra’s Double Rift IV, expected to be one of the largest prints created in Gemini’s history, as well as new editions from John Baldessari, drawn from imagery he created for a 2014 Harper’s Bazaar magazine spread. Considering the company’s remarkable canon, each new work becomes a tougher act to follow. But not impossible. Thanks to an ever-rising all-star roster, the California-bred machine is poised to churn out art-world tours de force for another half century. lac

photography by SIDNEy b. FELSEN © 1984 (KELLy); SIDNEy b. FELSEN © 1974 (johNS); SIDNEy b. FELSEN © 1980 (LIChtENStEIN); SIDNEy b. FELSEN © 1969 (rauSChENbErg)


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summer 2015


For the love of art! Hammer Museum Director Ann Philbin surveys the institution she helped put on the global art-world map.

// front runner

22 // from the


24 // from the


26 // the list 69 // invited

style 28 // to the mAX mArA! Max Mara’s Ian Griffths designs with maximum chic and minimum fuss.

30 // Wild thinGs Accessories with equatorial inspiration.


32 // stYle spotliGht The scoop on all things fashionable!

36 // CominG up roses High-end fragrances are returning to the romance of the rose, and Moroccanoil is following suit with its new skincare line.

culture 45 // imAGine this?

57 // Queen of Arts

Las Vegas band Imagine Dragons is rockin’ ’em dead in LA with their Smoke + Mirrors tour this summer.

How has the little Hammer Museum—all grown up at 25— emerged as the symbol of LA’s dynamic, progressive arts scene? Meet Ann Philbin.

48 // dtlArt!

Socialite-about-town Yvonne Niami makes philanthropy fashionable.

As the long-awaited Broad contemporary art museum joins a new team at MOCA, will DTLA be christened the new capital of the global art world?

40 // All thAt

52 // ridinG hiGh

Is Swarovski! The legendary jewelry company marks its big 1-2-0.

The equestrian world’s pedigreed A-list rides into Del Mar this season for SoCal’s racing destination of choice.

38 // n-liGhtened!


42 // bAY WAtCh The latest water-resistant Swiss timepieces provide both athletic and aesthetic cred.


54 // Culture spotliGht All the news from LA’s dance, theater, music, and cinema hot spots.

60 // C’est lA brie! Starring opposite Amy Schumer and Bill Hader in Judd Apatow’s new comic killer, Trainwreck, femme formidable-to-be Brie Larson makes the H’wood A-list.

62 // pAintinG the toWn Gen-X lawyers/art collectors nonpareil Joshua and Sonya Roth are Los Angeles’ newest breed of art-world insiders.

photography by aaron Smith





contents 64 // urbane renewer Chinese megadeveloper I-Fei Chang makes a billion-dollar bid for DTLA!

66 // LeT THe GaMeS beGIn!

The Special Olympics—the largest sporting event in the world this year—comes to LA for the frst time ever this summer.

TASTE 74 // VIew FrOM


Food and fashion intersect at Barneys New York, where sunset hour is the best pre-dinner theater in LA.

76 // THe

summer 2015



Artists and Fallen Fruit founders Austin Young and David Burns want LA to be fruitful... and multiply!

In this special portfolio, we spotlight and celebrate the freshest, boldest artistic talent from each of the 11 locales where Niche Media publishes.

96 // FruITOPIa! With the debut of “Endless Orchard,” the produce-pushing art collective Fallen Fruit grows big, bigger… and into the record books.

102 // wOMen On THe VerGe…

As LA consolidates its position as a global art capital, women are breaking down barriers one cutting-edge canvas and avant installation at a time. Meet fve art stars of the new cultural vanguard.


110 // baHa Mar-VeLOuS

All around LA, restaurants are seducing early-bird diners with ethereal drinks and chic little bites.

From Baja to the Bahamas, fashion this season is an endless summer of chic.

78 // C’MOn, GeT HaPPY! What’s the secret of a perfect LA happy hour? Master mixologist Matt Biancaniello chews the fab with “Restaurant Week” boss lady Stacey Sun.


photography by Stella berkofSky

What’s new on the city’s foodie scene.



W W W. C A S A N O B L E . C O M Please enjoy Casa Noble responsibly. © 2015 Casa Noble Imports, Canandaigua, NY. Tequila. 40% alc./vol.


summer 2015


Change of art! Artist Alexandra Grant, at work in her LA studio, reveals her latest series of paintings, which explore color and line.

haute property 116 // QUE PASADENA! On the “other” side of arts hub downtown, Pasadena has been a font of fabulous art and architecture for well over a century.

118 // STARCHITECT SEARCH Long a showplace of architectural masterpieces, LA is welcoming a new generation of design maestros.


With a new home in the hills, New York design stars Robert and Cortney Novogratz are going Hollywood and divine.

122 // ABODE SPOLIGHT The buzz among LA’s home décor and design gurus!



Walking in LA by Fallen Fruit, 2014 Photography by Stella Berkofsky


photography by bode helm

Can two single men share an art museum without driving each other crazy?

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los angeles confidential:


LETTER from the Editor-in-Chief

OBSESSIVE EXCESSIVE DISORDER (OED)! As the late fashion icon/editor Diana

Vreeland once opined about her personal style, “Is it too much… or not enough?” When it comes to the over-the-top arts scene in LA these days, the answer is: both! Welcome to our annual arts issue. In the last 30 years, Los Angeles has morphed from a cultural bad joke to the very epicenter of the emerging arts world. In the ’70s, Andy Warhol famously remarked that he loved LA because “I love plastic.” Filmmaker/New York egoist Woody Allen offered that LA’s greatest contribution to culture was the ability to turn right on red. Frank Lloyd Wright, no less, when once asked by the mayor what he would do to improve the city’s landscape, answered that he would roll a huge boulder off the top of Mulholland to flatten the city and start all over again. Ha ha. The joke is on

Artist Hugh Steers, 1963-1995.



the pundits. Today, the City of Angels has become the City of Artists. Attracted to space, light—and cheap rents—the creative class has increasingly decamped from old-world centers such as Paris and New York to set up shop in the “wild west,” where the strictures of old-school thinking carry about as much weight as Ivy League pretensions do in a city chockablock with palm trees. The Getty. MOCA. LACMA. The Norton Simon! Our great museums are now being joined by a thriving gallery scene, which has recently sprung up on a stretch of Highland Boulevard, making Hollywood a center of more than just the motion picture arts. Downtown, there’s The Broad, scheduled to open this September after a breathtaking (-holding!) decade in the making. God bless mogul Eli Broad, whose meticulously curated collection we finally get to behold in one place after half a century of tantalizing public dribs and drabs. DTLA is now officially Art City, USA, thanks to old Eli—and Walt and Dorothy before him (that’s Disney and Chandler, respectively, for the out-of-towners). Let’s not forget Westwood. Twenty years ago, the Hammer, the museum-cum-mausoleum of energy baron Armand Hammer, hardly registered on the art-world stage. Enter Ann Philbin (see “Queen of Arts,” page 57), who over the past 16 years has transformed a stodgy museum of Old Masters into the most dynamic, art-forward paean to culture in the city—if not the country. Full disclosure: I have an enormous crush on Ms. Philbin. It’s hard not to be charmed by Annie’s twinkling Irish eyes/smile, which, of course, masks a deadly serious

commitment to deadly serious artists. As art becomes less and less a discipline dictated by the salon/collector elite and increasingly an open forum dedicated to public engagement, Ann Philbin’s Hammer has emerged front and center. That wasn’t an accident. It was foresight. Exactly 20 years ago, my buddy and former college comrade, the artist Hugh Steers, died of AIDS in New York at the incredibly young age of 32, just one of many friends, family members, and colleagues who passed away during that holocaust. Hugh was a beautiful, extraordinary creature, aristocratic by birth ( Jacqueline Onassis was a step-aunt; Gore Vidal, his uncle), determined by circumstances (his finances and health), who produced an incredible 600 or so paintings in the brief span of 10 years between 1984 and 1994. Hugh is being remembered this year by a comprehensive monograph/catalogue raisonné of his life and work, such is the resonance of his sublime figurative canvases even today. The Drawing Center in New York was the first venue to show Hugh’s work, and, in fact, it was Ann Philbin who later put that organization squarely on the map before moving west in 1999. I didn’t know Annie then, but I’m glad to renew a kind of wistful connection. And we can all be glad Ann Philbin has made a profound connection with—and commitment to—the city of Los Angeles and the forward-thinking art world at large. Brava.


Stay up to date with all that’s going on in LA at


The avant guardians (FROM LEFT): Catching (and cracking) up with Hammer Museum director/queen of arts Ann Philbin; supporting LA’s LGBT Center with nightlife impresario/king of kool Brent Bolthouse at the Canali boutique in Beverly Hills.

Letter from the Publisher

from left: With fellow host committee member and art curator Yael Lipschutz for the LA Film Festival gala benefiting The Underground Museum; a surprise visitor at former Governor Arnold Schwarzenegger’s

home for the annual Westime After-School All-Stars fundraiser; celebrating the launch of DTLA’s Metropolis project with Greenland Group CEO I-Fei Chang.

the acquisition of famed Parisian artist Pierre Huyghe’s Shore for the museum’s permanent collection. As a site-specific wall installation, it was a bold choice, one that will require great stewardship by MOCA today and in the future. Few institutions, collectors, or organizations tackle such complicated works because they also represent a great responsibility. Yet under the visionary leadership of Museum Director Philippe Vergne, anything “art” suddenly seems possible in Los Angeles. In case you haven’t been paying attention, LA has undergone a rapid-fire rebirth of its art scene and is now home to the largest creative class in the country. Many point to New York’s rising cost of living as the catalyst for artists to flee the East Coast and settle here, but this reemergence is founded on so much more. In reality, LA has been one of the strongest hubs for arts education for decades. CalArts, UCLA, USC, and OTIS—each of these prestigious arts programs have helped launch the careers of icons such as John Baldessari, Ed Ruscha, James

Turrell, and Mike Kelley. And just as importantly, they have fostered a pro-arts culture in which emerging artists can thrive. In this, our annual arts issue, we are thrilled to feature the work of one such duo on our cover: David Burns and Austin Young of Fallen Fruit. Their unique, community-based approach to public participation in urban spaces as a new form of “art” challenges our perceptions of the word’s very definition. Here in LA—and in Niche Media’s 10 other magazines around the country—we pay tribute to über-talented emerging artists this month, and we hope you’ll enjoy reading about their amazing contributions to the art community. LA’s map of hot spots is quickly expanding, with Downtown and Hollywood solidifying their positions as the latest must-see gallery destinations. DTLA’s Broad museum prepares to open this fall alongside projects like Hauser Wirth & Schimmel’s 100,000-square-foot, multidisciplinary arts center, on the horizon in the Arts District. And in the nearby Bank District, developer Tom Gilmore has announced a 50,000-square-foot rooftop exhibition space and sculpture garden.

And in case the dizzying number of options for studio, gallery, and museum visits isn’t enough, LA’s art-fair momentum continues with another successful year for Paris Photo. FIAC—one of the world’s largest contemporary art fairs—is eyeing Los Angeles as a possible outpost in 2016. And close on its heels is the 2017 unveiling of the new Academy Museum of Motion Pictures as well as Pacific Standard Time’s “PST: LA/LA,” with 45 planned exhibitions around the state celebrating Latin-American art, from San Diego to Santa Barbara. And so, for the culturally attuned, it appears that LA is the new capital of the art world. The center of gravity has decidedly shifted west, and Southern California’s next generation of artists, collectors, and contributors stands ready and able to grab the baton.

Happy arting,

alison miller

Stay up to date with all that’s going on in LA at


photography by tomas muscionico (lipschutz)

Today, I had The greaT honor, as a MOCA Directors Council member, of contributing to

the list summer 2015

Shula Nazarian

Steven Neu

Laurie Green

Michele Periquet

Tyler Shields

Tom Gilmore

Lorenzo Soria

Benjamin Allen

Kaycee Olsen

Yael Lipschutz

Rose Apodaca

Kevin Kathman

Julia Schwartz

George Nahas

Andy Griffith

Rose Theodora


Brent Gardner

Astrid Swan

Rishi Bali

Blair Breitenstein

Jeff Kreshek

Leyon Azubuike

Mariana Stanciu

Eugenio LĂłpez

Vanessa Prager

Alora Alexander

Sarah Rutson

Sylvia Chivaratanond

Caitlyn Jenner

Tamar Kelman

Travis Strickland

Tofer Chin

Jack Henry Robbins

Fabienne Soulies

David Vaughn

Mario Ybarra

Carol Radcliffe

Carrie Jardine

Firouze Zeroual

Nino Mier

Steve MacGovern

Lisa Priolo

Frederic Soulies

Hayk Makhmuryan

Tom Lazarakis

Tapasya Bali

Matthew Wiseman

Paul Schimmel

McShane Murnane

Cleo Murnane

Chantal Rickards


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STYLE Tastemaker House rules: According to Max Mara’s Creative Director Ian Griffiths,“It is our responsibility to give our customers ways of dressing that will give them complete confidence to get on with their lives.”

To The Max Mara!

Max Mara’s Ian GrIffIths desIGns wIth La In mInd: maxImum chIc wIth mInImum fuss. Max Mara Creative Director Ian Griffiths spends a lot of time thinking about the Los Angeles woman. “The thing about the lifestyle in LA is that people dress for occasions, but then in their private lives they dress completely differently. They dress for themselves,” says Griffiths, who has embraced this phenomenon through his designs. “They can come to Max Mara and find pieces for the red carpet, but they can also find pieces that are very easy.” British-born Griffiths brings to the storied Italian fashion house a bold creative vision paired with remarkable technical acumen. His most recent feat was creating the newest addition to Max Mara’s handbag slate: the Whitney bag, inspired by Renzo Piano’s design of the newly reopened Whitney Museum of American Art in New York. Collaborating with the Pritzker Prize-winning architectect was easy for Griffiths, who actually studied the discipline before transitioning to fashion. “I think rather like an architect, and I have an approach to design which tends to be quite thorough—I believe in a certain kind of rigor,”


photography by conor doherty opposite page: photography courtesy of max mara

by adrienne gaffney

An artisan works on Max Mara’s new slate-colored Whitney bag, an homage to the Whitney Museum of American Art in New York City (top right). below: A completed Whitney bag ($1,750); sketches from the label’s Pre-Fall 2015 collection.

“For me, it’s not alien at all to work with an architect. i love the logic oF an architectural approach.”—ian griffiths

Griffiths explains. “Max Mara’s forte is coats, and the design of a coat is very similar to the design of a building. So for me, it’s not alien at all to work with an architect. I love the logic of an architectural approach.” “From the outset, Renzo Piano Building Workshop wanted to produce something with the idea of the skin that envelops the building,” Griffiths continues. “The skin has sections, and we formed ridges, so those are very clearly related. The metal pieces of the bag are quite faithfully reproduced from sketches of the stanchions that hold the tension cables to the ground. The bag is very, very literally related to the physical appearance of the building itself.” The calfskin accessory comes in shades of black, bordeaux, and tan; a special-edition version mimics the exact slate color of the Whitney. Another point of excitement for Griffiths is his recently designed Pre-Fall collection, which includes a knee-length cashmere number in a bobcat-print motif. “We really did take the design from the markings of a bobcat, so it is faithful to its inspiration. For me, that represents something quite cool and new and at the same time very chic,” he says. “On the other side, in the minimal theme, is the total red look, the red suit with the red coat over it, which I think a lot of people pinpointed as a highlight of the show and the collection.” Having worked with Max Mara since finishing his master’s at London’s Royal College of Art in 1987 (he completed his undergraduate degree at the University of Manchester), Griffiths has a very clear idea of the woman he’s dressing and exactly what she needs in her wardrobe. “It’s so easy for a man; you just wear a jacket with or without a tie or jeans. There are so few decisions. For a woman, it is so difficult because for any one occasion there are any number of possibilities: Do you wear a dress? Do you wear a suit? Do you wear a bustier dress? Strapless? Do you cover up? Do you expose? What do you expose?” he wonders. “I think our responsibility at Max Mara is to give our customers ways of dressing that are going to give them complete confidence to get on with their lives.” 451 N. Rodeo Dr., Beverly Hills, 310-385-9343; LAC  29



HOT TROPIC Exotic prints and raw materials go sultry for summer. Embroidered gown, Emilio Pucci ($19,300). emilio Large raffia bangles, Alexis Bittar ($225 each). 8383 W. Third St., LA, 323-951-9803; alexis Woven clutch, Salvatore Ferragamo ($5,800). 357 N. Rodeo Dr., Beverly Hills, 310-273-9990;


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Tassels and untamed trimmings add an evocative edge.

Intricately interlaced materials take cues from island artisans.





Go for the bold with gutsy graphic prints.

A caged sandal and crosshatch clutch pack the perfect amount of safari heat.

1. Cheyenne bootie, Tamara Mellon ($995). Saks Fifth Avenue, 9600 Wilshire Blvd., Beverly Hills, 310-275-4211; Hollywood small fringe handbag, Max Mara ($840). 451 N. Rodeo Dr., Beverly Hills, 310-385-9343; Resin bangles, Missoni ($300 each). Barneys New York, 9570 Wilshire Blvd., Beverly Hills, 310-276-4400; 2. Oasis sandal, Aquazzura ($1,100). Intermix, 110 N. Robertson Blvd., LA, 310-860-0113; Kelly graphic shoulder bag, Bottega Veneta ($2,500). 457 N. Rodeo Dr., Beverly Hills, 310-858-6533; Resin bangles, Missoni ($300 each). Barneys New York, see above. 3. Kempner mule, Tory Burch ($395). 142 S. Robertson Blvd., LA, 310-248-2612; Intarsio Mini Lock bag, Valentino Garavani ($2,275). 324 N. Rodeo Dr., Beverly Hills, 310-247-0103; C Slider cuff, Lele Sadoughi ($240). Satine, 8134 W. Third St., LA, 323-655-2142; 4. Kattie sandal, Jimmy Choo ($1,575). 240 Via Rodeo Dr., Beverly Hills, 310-860-9045; Jack convertible clutch, Elizabeth and James ($345). Bloomingdale’s, 10250 Santa Monica Blvd., LA, 310-772-2100; Necklace ($1,150) and bracelet ($1,150), Salvatore Ferragamo. 357 N. Rodeo Dr., Beverly Hills, 310-273-9990;  31

style spotlight LFrank’s jewelry- and lingerie-filled flagship is a plush yet homey part of III Luxury Collective.

Three’s a Charm

A trio of cult-fAvorite venice retAilers collAborAtes to creAte the ultimAte shopping hAven on mAin street. BY JESSICA ESTRADA

Beloved Venice boutiques LFrank, Mona Moore, and Pamela Barish have waved goodbye to Abbot Kinney and realized their dream of opening III Luxury Collective, an interconnected shopping destination comprised of their three shops, which are complementary yet distinct. LFrank’s fine jewelry- and lingeriefilled flagship is plush yet homey. Accessories boutique Mona Moore carries brands including Balenciaga, The Row, and Chloé in a minimalist space. And Pamela Barish’s airy, artadorned shop showcases the designer’s eponymous collection of womenswear. Given that the trio pioneered luxury on its former bustling boulevard, it begs the question: Is Main Street poised to be the next big thing? LFrank’s Liseanne Frankfurt thinks so: “It has a vibrancy and new crops of retailers that are offering a more unique—and less corporate-feeling—environment.” 222, 224, and 226 Main St., Venice;

// collabs //


brilliant blooms This season, celebadored fine-jewelry line Misahara unveils two new collections. While the casual yet glam Misahara by Lepa (from $875) draws inspiration from the line’s signature triangular unity symbol, the Petal collection (from $5,000) celebrates love and nature with a vibrant selection of wedding accoutrements for the nontraditional bride. Case in point: The spellbinding 20-carat rose-gold Pink Persuasion engagement ring, which features a 1-carat cushion-cut pink tourmaline nestled between gold petals, each splashed with dazzling diamonds and pink sapphires. Ooh la la, indeed.


Jimmy Choo introduces a dreamy range of styles to its made-to-order collection this season, including showstopping metallic, exotic lizard, and romantic vintage fabrics (think gold lace brocade and playful foral prints). Choo afcionados can also personalize their soles now with a plaque engraved with a special date or a four-character monogram.


Pink Persuasion ring, Misahara ($8,525).

Not only is Aeonium the coolest-looking spa in LA, it’s also one of the city’s best-kept skincare secrets. Founder Anisa Noor, who trained under the renowned Dangene in New York, recently introduced a new express, hour-long service for the face only (her signature treatment is head-totoe). Expect 12 steps of purifcation—from microdermabrasion and a peel to LED-light therapy and lymphatic drainage. aeonium —erin magner

motherly love

This month, Mother denim and the Kind Campaign collaborate for an anti-bullying initiative aimed at spreading good vibes one T-shirt at a time. Inspired by retro collegiate tees, the LA denim brand designed cool off-duty T-shirts ($95) in white


Choo-s Wisely

and navy, emblazoned with the message play nice. Twenty percent of proceeds will benefit the Kind Campaign’s efforts to raise awareness of girl-againstgirl crime. The collaboration’s main intent, however, is to promote change by sparking a

pro-compassion conversation on social media. Says Mother cofounder Lela Rose Becker: “We want to open a dialogue that will bring about awareness, and, ultimately, healing.” Ron Herman, 8100 Melrose Ave., 323-651-4129;




StYLe Spotlight // new in town // 1


Skin deeP

Pretty in Prada


THE ITALIAN FASHION POWERHOUSE DEBUTS A WHITE-DRESS WARDROBE FIT FOR EVERY SUMMER AFFAIR. BY LISA FERRANDINO With a spring/summer collection that included long dark coats and contrast stitching, it might be hard to imagine lightness being offered for the season, but that’s what Prada does best: The label enchants us with collections that draw out femininity. And this summer, the Italian design house does not disappoint, welcoming a package of dresses exploring different white hues. On one luxe piece, creamy tones take on a bohemian look with long sleeves, while throughout the collection, a patchwork motif in cotton or crêpe de chine plays off Valenciennes lace inserts for a look that’s white-hot. 343 N. Rodeo Dr., Beverly Hills, 310-278-8661; LAC

// adornments //

full circle

Steven Alan ($195). Steven Alan, 123 S. La Brea Ave., LA, 323-792-2271;

Something Blue

Dolce & Gabbana is debuting the eye-popping Majolica collection, accessories inspired by the blues of the Mediterranean. The collection includes footwear and iconic bags, like the Sicily, and is even seen throughout ready-to-wear pieces like chiffon maxidresses, blending the blue and white brushstrokes found in majolica pottery. 314 N. Rodeo Dr., Beverly Hills, 310-888-8701;


Pony uP!

Ralph Lauren is upgrading its signature button-down collection with the new Polo knit oxford for men and women. It fuses the look of an oxford with the comfort and ease of a polo shirt, making buttoned-up look classically casual. 444 N. Rodeo Dr., Beverly Hills, 310-281-7200;

Crème de la Mer World Oceans Day Limited Edition ($450).

Make a ’70s throwback statement in spherical specs.

Oxydo ($98). Solstice Sunglasses, Beverly Center, LA, 310-659-8611;


As its name suggests, La Mer has serious ties to the sea—in fact, every product contains sustainably hand-harvested sea kelp. So it’s only fitting that the brand goes big when World Oceans Day comes around. On top of partnerships with Oceana, the National Geographic Society, and the Society’s ocean explorers, La Mer has relaunched its World Oceans Day cream for the sixth time in a row. This year’s limited-edition jar of Crème de la Mer contains a unique ‘Blue Heart’ inscription to reflect the brand’s long-standing commitment to raising awareness of ocean preservation; it will be available throughout the summer. Saks Fifth Avenue, 9600 Wilshire Blvd., Beverly Hills, 310-275-4211;

Etnia Barcelona ($345). American Rag, 150 S. La Brea Ave. LA, 323-935-3154;

Gucci ($395). 347 N. Rodeo Dr., Beverly Hills, 310-278-3451;

Fendi ($425). Solstice Sunglasses, Beverly Center, LA, 310-659-8611;


STYLE Beauty clockwise from left:

Coming Up Roses


“Consumers are looking for integrity and high performanCe.” —carmen tal


There’s no question that we’re all becoming more and more savvy about doing right by our derma—a trend that’s reflected in global skincare sales, which are expected to be worth $121 billion by 2016. But in a marketplace full of products and promises, what is it that truly resonates? “Though many of us are strapped for time, we still want an experience that offers relaxation and results in the same measure,” declares Kory Keith, spa director at The Ritz-Carlton Los Angeles. “Whether it’s a shorter treatment that packs a punch or a longer and more luxurious experience that offers multiple benefits in one sitting, people are looking to make the most out of their time at the spa and with their at-home regimen.” Case in point: Moroccanoil. Since bursting onto the beauty scene in 2006 with a single, revolutionary hair treatment, the NYC-based brand has built a rabid following by combining innovation and indulgence. The recently released Fleur de Rose collection, Moroccanoil’s second foray into skincare, is comprised of six products—including a hydrating body butter composed of antioxidant-packed argan oil with shea, cocoa, and mango butters; a

rose petal-infused body buff that both exfoliates and moisturizes with argan oil, grape seed, avocado, and sweet almond oils; and an “on the go” hand lotion that absorbs instantly into skin. (The brand’s shower milk will be released in 2016.) Together, the range provides devotees with a luxurious, yet transformative body-care arsenal. “The basic components for healthy skin in Los Angeles are a body moisturizer, a cleanser, and an exfoliant, because the air is dry and we are all exposed to a lot of sun,” explains Keith. “The argan oil base makes these products very quenching to the skin.” The line also is one of Moroccanoil’s most personal offerings, inspired by cofounder Carmen Tal’s love of roses. “I worked with a talented aromatherapist who was extremely knowledgeable about essential oils and fragrances,” Tal shares. “When I told her what I was looking for, she knew exactly where to go with it. We came to realize that it was the damask rose scent that really captured me. Our teams then worked for several years to develop and perfect the collection.” Adds Keith: “The fragrance is lovely because it utilizes something traditional and familiar in a contemporary light; this not your grand mother’s rose scent!” Moroccanoil’s Fleur de Rose collection is available at The Spa at The RitzCarlton, 900 W. Olympic Blvd., LA, 213-743-8800; LAC

photography by Don riDDle images (spa); courtesy of moroccanoil (tal, proDucts)

Moroccanoil’s new Fleur de Rose skincare line debuted at the The Spa at the Ritz-Carlton in Downtown LA; Fleur de Rose hand cream and body butter; Carmen Tal, cofounder of Moroccanoil.

STYLE Giving Back Yvonne Niami (FAR LEFT) has attracted A-list clientele like Katie Holmes and Nikki Reed, who love her new line of clothes with a charitable heart. Katie Holmes (LEFT) in an n:Philanthropy Tori LA off-shoulder sweatshirt and Gisele skinny jeans.


THIS SEASON, SOCIALITE-ABOUT-TOWN YVONNE NIAMI MAKES PHILANTHROPY ABSOLUTELY FASHIONABLE. BY EMERSON PATRICK When it comes to giving back, people often stop at good intentions. But Yvonne Niami, the founder of LA’s altruistic womenswear brand n:Philanthropy, has always been about action. “I just have a generous heart—I was born and raised with it,” says the 36-year-old Los Angeles native and mother of two boys, whose Mexican-born parents took the family on annual trips to a Tijuana orphanage

to donate clothes and toys. A decade ago, she got involved with pediatric cancer causes via a friend who’s a nurse at Children’s Hospital Los Angeles. Says Niami, “Once you go andsee the kids and what they and their families aregoing through, you’ve got to do something.” Indeed, though she’s always worked hands-on with the organizations she’s passionate about—SPCALA


is another, since before she had children, her dogs were her “kids”—Niami is truly “doing something” with her new fashion label. Conceived in January 2014 and launched in 2015, and now in its second collection, the brand not only raises awareness but gives back by donating 10 percent of sales to Children’s Hospital, SPCALA, and CAST (Coalition Against Sex Trafficking). Total 2015

giving by the company in the first four months following its launch totaled $215,000. “The lining of our pants says, ‘BTW—you just helped a child and animal in need— good work!’” says Niami. “We have a bit of a sense of humor, because giving to the causes we do is pretty heavy. You need to balance it out.” Those covetable “clothes with a conscience” have caught the eye of LA celebs like Katie Holmes, Patricia Arquette, and Nikki Reed. With the help of French-born designer Alex Caugant (he’s a veteran of denim houses AG and Big Star), they’ve melded a Parisian sensibility with LA’s easy, sporty-chic vibe. The rock ’n’ roll–imbued fall collection, which can be found in Neiman Marcus

later this month, comprises not only cool, LA-crafted denim, cashmere-infused boyfriend tees made in Portugal, graphic sweaters, and colorful faux furs, but cruelty-free, washable leather, sourced in France and sewn into moto jackets and fringed midiskirts in India. Looking forward, the duo is already working on men’s denim… and thinking big. “Because we do give back, we need to make money to give to the causes we’re so passionate about,” says Niami. “We don’t want to stay this little LA brand—we want to grow to a stratospheric level.” Available at Neiman Marcus (starting July 30), 9700 Wilshire Blvd., Beverly Hills, 310-550-5900; LAC



Make way for the Future of Tech, Santa Monica. The new Santa Monica Verizon Destination Store is here. Step out of the ordinary and get hands-on with all the latest innovations.

NOW OPEN! Santa Monica Verizon Destination Store Third Street Promenade

Explore all of the latest tech accessories like the Beats Studio Wireless Over-Ear Headphones.

Join the largest, most reliable 4G LTE network. Š 2015 Verizon Wireless.


STYLE Milestone

All That Glitters…



everything crystal into the cultural mainstream. Giorgio Armani and Diane von Furstenberg laud her support of emerging artists as she backs them on their journey to the center stage that is the world’s major runways. “We have worked with our Council of Fashion Design Awards to bring talents like Christopher Kane, Rodarte’s Kate and Laura Mulleavy, and Mary Katrantzou to the global [arena],” Swarovski says. “Design has been a huge focus of what we’ve done at Swarovski over the past 120 years,” she adds. “And I’m especially proud of the work we have done mixing different disciplines.” The company collaborates with such design stars such as Zaha Hadid, Tord Boontje, Yves Behr, and John Pawson—the latter creating the Swarovski Optik lens installation that magnified the majestic beauty of London’s St. Paul’s Cathedral’s geometric staircase during London Fashion Week in 2011. Swarovski also keeps her discerning eye focused on Hollywood. In 2007, the company partnered with the Academy Awards and created a 34-foot-long, one-ton curtain encrusted with crystals to illuminate the stage. And how, exactly, is the legendary brand celebrating its 120th birthday? “We’re publishing a stunning Rizzoli book that celebrates our creative collaborations. We’ve also established the Swarovski Foundation, launching a number of new philanthropic initiatives across the three pillars of education, health, and environmental protection,” Swarovski says. In addition, 13 of the company’s milestone creations have been exhibited in New York, including an ensemble worn in a Victoria’s Secret runway show in

FROM TOP: Alexis Mabille was one of the labels shown at Paris Fashion Week as part of the Swarovski Collective; Swarovski silver-plated ring with jet hematite (TOP) and purple crystal ($199 each). RIGHT: Beyoncé sparkles onstage in a Ralph & Russo design adorned with Swarovski crystals.

2014. This same look, called the “Fairy Tale,” was one of the items on display at the Spring/Summer 2016 innovation launch event as part of a retrospective that kicked off a year of celebrating Swarovski’s 120th anniversary. As it heads into its 121st year, the brand continues to prove that not just diamonds, but also crystals, are a girl’s best friend. LAC

GLAMOUR IN THE GROVE Opened in November 2010, Los Angeles’ flagship Swarovski boutique features the shimmering Atelier collection with jewelry in rose gold. It also offers stylish pieces for casual-chic days as well—unique work designed exclusively by Masha Ma (who worked under the late Alexander McQueen) and Victor & Rolf. Popular here are the slake bracelets touted by Oprah, and a dazzling spiral ring whose beauty will make your head spin. The Grove, 189 The Grove Dr., LA, 323- 935-0433;


You don’t need a crystal ball to see that the future of Swarovski looks brilliant. The company, founded by Daniel Swarovski in 1895, continues to dazzle in the worlds of jewelry, fashion, design, and collectibles. This summer, it celebrates its 120th anniversary, a milestone that marks a very rare achievement in business: success and longevity. It’s a track record that has made Swarovski an international treasure. The company’s headquarters, which still houses the original subterranean maze where Swarovski perfected the precise cutting technique that catapulted him to fame, has become a landmark in the Austrian Tyrol, a cross between a museum and theme park for thousands of tourists. The brilliant glass crystals that once embellished the gowns of Queen Victoria have become more than twinkling eye candy for royal décolletages and tiaras. They encrusted Dorothy’s ruby slippers in The Wizard of Oz and clung provocatively to Marilyn Monroe’s famous form while she sang “Happy Birthday” to John F. Kennedy at Madison Square Garden in 1962. The gemstones also illuminate the Christmas tree in Rockefeller Center and glitter on the Vegas Strip, highlighting a 14-foot crystal starburst. And this year, Swarovski’s famous Aurora Borealis stone adorned the glass slipper in the latest film version of Cinderella. Swarovski remains a family-owned business. In 2011, Nadja Swarovski, the great-great-granddaughter of the founder, became the first woman to sit on the executive board, and has since become the face of the company. Nicknamed “The Crystal Medici,” she is a singular force, a 21st-century patron of design, intent on bringing

STYLE Time Honored

The laTesT waTer-resisTanT swiss Timepieces provide boTh aThleTic and aesTheTic cred. by roberta naas photography by Jeff Crawford

Summer in Los Angeles means spending time on the water. Whether you’re at the wheel of a sailboat or just bodysurfing at the shore, watch brands are ready to go as deep as you want. These pieces not only weather the sea, sand, and salt air, they also look good on the wrist when you come out of the water. For more watch features and expanded coverage, go to LAC


clockwise from top: The Corum

Admiral’s Cup AC-One 45 Tides watch ($9,350) is crafted in titanium with a blue dial and blue rubber strap. It features the legendary nautical pennants and has luminous markers and indexes. The 45mm timepiece is waterresistant to 300 meters. David Orgell, 262 N. Rodeo Dr., Beverly Hills, 310-273-6660; From Audemars Piguet, this Royal Oak Offshore Diver watch ($19,000) is powered by a self-winding movement and offers dive-time measurement and date indication. The case is made from stainless steel with glare-proof sapphire crystal and is water-resistant to 300

meters. Westime, 254 N. Rodeo Dr., Beverly Hills, 310-2710000; Bulova’s Sea King Limited Edition timepiece ($1,595) is crafted in titanium and features an automatic movement. The watch has a helium escape valve and is water-resistant to 1,000 meters. It is created in a numbered, controlled production of 500 pieces and is accompanied by a certificate of authenticity. Feldmar Watch Company, 9000 W. Pico Blvd., LA, 310-274-8016; This Hamilton Khaki Navy Sub Auto Chrono ($1,995) is inspired by a classic model from 1928. It is fashioned from stainless steel and powered by

an automatic movement. The 43mm watch is water-resistant to 300 meters. Westime at Sunset Plaza, 8569 Sunset Blvd., West Hollywood, 310-289-0808; shop.hamilton Omega’s Seamaster Ploprof 1200M watch ($9,450) is made of stainless steel and houses the Omega Co-Axial movement. The timepiece is a COSCcertified chronometer with a helium escape valve and antireflective treatment on both sides of the sapphire crystal for easy underwater reading. It is water-resistant to 1,200 meters. Westime Malibu, 3832 Cross Creek Road, Malibu, 310-456-2555; omega

styling by terry lewis

Bay Watch




CULTURE Hottest Ticket

ImagIne ThIs?

Las Vegas band ImagIne Dragons is rockin’ ’em dead in La with their smoke + mirrors tour this summer.

photography by jeff gale

By Lisa PierPont

Daydream believers! Six years ago, Imagine Dragons was playing $100 shows at the Whiskey. This summer they’re headlining at The Forum.

To put it mildly, Imagine Dragons is no stranger to the unexpected. The band—guitarist Wayne “Wing” Sermon (31), bassist Ben McKee (30), drummer Daniel Platzman (28), and lead singer Dan Reynolds (28)—did not expect multiplatinum sales with their first album in 2012, Night Visions. The lads didn’t plan to win a Grammy two years later, and never predicted they would make history performing a live song, “Shots,” in a Target-sponsored commercial break during this year’s Grammys. (The production involved a 360-degree screen, LED jewelry, helicopter shots, and 22 cameras.) “It’s been one surprise after another,” says Sermon. So when the blessed-tressed musician says that the Smoke + Mirrors summer tour (also the name of their second album, which debuted this year) will boast “things that have never been done before,” you better believe it. He coNtiNued oN page 46  45

CULTURE Hottest Ticket The boys in the band: (from left) Drummer Daniel Platzman, guitarist Wayne Sermon, singer Dan Reynolds, and bassist Ben McKee. inset: The band’s second album, Smoke + Mirrors, debuted atop the Billboard charts earlier this year.

“la is an exciting place to be. there is an underground scene on the rise here, a community just waiting to be discovered.” can’t go into detail—trade secrets and all—but says there will be more lights (“Hundreds!”), speakers, galactic visual effects, and overall phantasmic shenanigans on July 24 at LA’s The Forum. “LA is an exciting place to be,” McKee says (three out of the four band members live in California). “There seems to be an underground scene on the rise here, and not just a VIP kind of scene, but an accessible community just waiting to be discovered.” “Band life may seem glamorous—and it is, sometimes, but we sure didn’t start out that way,” says Sermon, who cofounded Imagine Dragons

just six years ago with Reynolds in Las Vegas. Before that, he was studying at Boston’s Berklee College of Music, where he met McKee in an ear-training class. “He was the guy in the front row asking all of the questions,” Sermon says. “I was the one in the back row being quiet.” Before long, the yin and yang duo took to practicing together, along with fellow classmate Platzman. What came out of that was a groove and a spiritual core. “It’s a given that everyone can play at Berklee,” Sermon says, “but we [also] got along.” When he joined forces with Reynolds to form a band, Sermon picked up the phone


and called only two guys: McKee and Platzman. “It cannot be overestimated how much you need to like your bandmates.” The quartet named themselves Imagine Dragons—an anagram based on a top secret group of words that even family members do not know—and started to perform at tiny joints around Vegas and LA. “We’ve spent a lot of time in LA,” McKee says. “We worked our way up through the clubs here, from the bitter dregs of the Cabana Club—which charged us $150 for the privilege of gracing their stage—all the way up through The Viper Room, the Troubadour, the

Whiskey, and now The Forum.” They also picked up fans, lots of them, along with a record deal. It all sounds very sex, drugs and rock ’n’ roll, but it is far from their reality: Reynolds and Sermon are married with children. And Mormon. The Dragons produce a powerful hook, beating out one haunting, jarring, and catchy anthem after another—chart-topping hits “Radioactive” and “Demons,” among them. Each is laced with Reynolds’ moods, bright and dark, and his sun-blistering, voiceroaring lyrics about the apocalypse, dreams, demons, and fame that cut across all, for lack of a better

word, expectations. “Dan writes lyrics like journal entries,” Sermon says. “They are deep thoughts and extremely honest. He documents the hard stuff—sudden fame, the loneliness of touring. It’s therapy for him. It’s raw, but it’s real.” This summer, the band will perform in 39 cities in 58 days, with barely a day off per week. The guys are ready. “We are upping our game,” Sermon says. “We owe it to our fans. Their energy is palpable. They have booked babysitters, paid for parking. It is our responsibility to bring the best stage presence that we can.”  LAC

photography by jeff gale (imagine dragons)

—ben mckee

Terranea is a land unto itself. A land with classic beauty and personality. A land where you fall for more than one another.

Come discover a land not far away at



AS THE dEbuT of THE bRoAd CoNTEMPoRARY ART MuSEuM JoINS A NEW TEAM AT MoCA ANd HAuSER WIRTH & SCHIMMEl’S MEGAGAllERY-IN-THE-MAKING, WIll dTlA bE CHRISTENEd THE NEW CAPITAl of THE GlobAl ART WoRld? By Michael Ventre Along Grand Avenue, the influence of art is becoming so pronounced that it’s a wonder aficionados don’t look at tall buildings and see easels instead. To the east, impassioned young dreamers turn forgotten spaces into incubators of brilliance. If you think of the four borders of Downtown Los Angeles as forming one massive picture frame, your eye would be exhausted trying to focus on the next development in a rapidly burgeoning arts scene. To wit: Affordable warehouses and lofts have been dolled-up for reuse, juxtaposed with the luminescent anchor that is MOCA (250 S. Grand Ave., 213-621-1741;, its soon-to-debut affluent cousin, The Broad (221 S. Grand Ave., 213-232-6220;, and other Downtown


magnets like Walt Disney Concert Hall, Staples Center and L.A. Live. Factoring in a bounteous restaurant landscape and a building boom in both the commercial and residential sectors, plus a general disillusionment with pricey New York City among many artists, there is a sense that Downtown LA is the global art world’s new star. “I’ve been visiting Los Angeles since 1994,” notes MOCA Director Philippe Vergne, “and over the past five years what’s happened in Downtown Los Angeles is what happened to Soho [in New York City] over 20 years, so it’s a very accelerated pace. “Young people, young entrepreneurs, are finding spaces where they can live and work and produce content and produce experience,” he adds. “And it

ranges from theater to art galleries to restaurants and stores. There is a real urban ecology to the city that I don’t believe I’ve seen in Los Angeles before.” Although many points of interest in this local resurgence are scattered throughout Downtown in spaces considered abstract and eccentric by outsiders, but inspired and visionary by the cognoscenti, it is a more conventional museum venue, The Broad, opening in September, that has cast klieg lights on the entire thriving community. The collection is a source of some mystery, but suffice it to say Eli and Edythe Broad haven’t spent the past 40 years scouring thrift shops. “There is a specificity to this collection—it has clear areas of focus and interest, which is a different

photography by marissa roth, courtesy of the museum of contemporary art, los angeles. opposite page: photography by warren air (aerial view); stefanie keenan/wireimage for the museum of contemporary art los angeles (vergne); robert wedemeyer (“sogtfo”)

MOCA, an LA landmark since 1979, remains the nexus of Downtown’s burgeoning art scene.

An aerial view of the recently completed Broad Museum of Contemporary Art (center). inset: The “SOGTFO” show, an exhibit of five artists’ work, at the cutting-edge Francois Ghebaly Gallery. right: Philippe Vergne and artist John Baldessari ham it up at this year’s MOCA Gala.

Prince PhiliPPe

MOCA’s Philippe Vergne, the newest member of LA’s art-world royalty, surveys his Downtown fiefdom. When a 14-member committee in Los Angeles votes unanimously on anything, it’s cause for either a celebration or an investigation. The former was clearly the case early last year


when the MOCA Board of Trustees voted without dissent to appoint Philippe Vergne as director of the museum, following a stormy reign under Vergne’s predecessor, Jeffrey Deitch. Married to curator Sylvia Chivaratanond, a native Angeleno, Vergne had spent the previous fve years as director of the Dia Art Foundation in New York City, and before that was deputy director and chief curator at the Walker Arts Center in Minneapolis for a decade. Recently, he spoke with Los Angeles Confdential about the city’s cred as a cradle of new talent and ideas in art.

experience from the art you encounter in a longstanding museum that has been built through a mosaic of donations filtered through successive groups of staff and trustees,” explains Joanne Heyler, director and chief curator of The Broad Art Foundation. “We also are aiming to craft a distinctive experience for our visitors,” Heyler continues. “From our mobile app to the experience of our lobby, we are looking at how things have always been done and selectively rethinking. This is our one chance institutionally to start from scratch on that front.” The Broads have long been involved in the development of the Walt Disney Concert Hall and MOCA, so bringing their museum Downtown was a natural fit. To the east, nestled in Little Tokyo, The Geffen Contemporary at MOCA beckons (152 N. Central Ave., 213-626-6222; It used to be a police-car warehouse until architect Frank Gehry got a hold of it. Now it’s a must-see destination with imaginative exhibits like Matthew Barney’s upcoming operatic film River of

Fundament (opening September 13). The Geffen Contemporary serves as a signpost to the nearby and ever-evolving Arts District, which is where gallery superheroes Hauser Wirth & Schimmel have planted their multidisciplinary arts center at 901 East Third Street, in a 100,000-square-foot megafacility that was once a flour mill. Closed now for renovations, it hosted a two-month pop-up show in January. It will reopen permanently sometime in 2016. Just south of the 10 sits Night Gallery (2276 E. 16th St., 323-589-1135;, which was moved from a Lincoln Heights cubbyhole into the more spacious digs it currently occupies; it shares a parking lot with Francois Ghebaly Gallery, another heralded destination (2245 E. Washington Blvd., 3-282-5187; Both have become social hubs for the bold and innovative in the local arts hive as well as internationally. Ditto for the nearby The Mistake Room (1811 E. 20th St., 213-749-1200;, the brainchild of curator CONTINUED ON PAgE 50

WHERE DOES LOS ANGELES FIT INTO THE ART UNIVERSE? “They say we are the sun. We are at the center of the galaxy. If you go too close, you get burned. It’s interesting. I was talking to a friend of mine, a young collector who lives between Paris, Geneva, New York, London, and Nairobi. When I moved to Los Angeles, he told me, “Ah, I don’t know; I don’t like Los Angeles.” I talked to him today and he said, ‘I think I have to come to Los Angeles. What’s happening is so dynamic, so alive; I want to see it, because every time I talk to an artist, they are talking about Los Angeles.’” HOW DO YOU FEEL THE NEW BROAD MUSEUM WILL IMPACT THE DOWNTOWN ARTS SCENE? “It will be a wonderful magnet. I think it’s going to add to this already-existing constellation of cultural institutions. The architecture of the museum is absolutely stunning. Like everybody else, we’re dying to see the collection in a building that will give full credit to the 20, 30 years of the collecting practice that Eli Broad embraced.”  49

CUlTURe art Full and entrepreneur Cesar Garcia. Housed in an old garment factory, it’s a nonprofit and non-collecting exhibition space for artists from around the world. But the arts scene is not limited to gallery spaces, although the 50 or so along Gallery Row that pass through the Fashion District, South Park, and Financial District are indeed alluring—and available‚ to experience via the Downtown LA Art Walk on the second Thursday of each month ( It’s also a mind-set that has drifted through the Downtown ether into other inspired manifestations, like The Industry (, a mobile opera company that sometimes takes over Union Station for performances, and even a new Soho House club coming to the southern Arts District. Art critic Christopher Knight of the Los Angeles Times, a three-time Pulitzer Prize finalist, has observed frequent fluctuations in the Downtown environment over the years. “Artists have worked Downtown ever since I can remember,” he says. “But the public profile has never matched that private activity. A renaissance is a rebirth, and I’m not so sure Downtown LA ever had a vibrant, substantial, sustained art scene of

major significance. Instead, it has had its hits and misses, ups and downs, and this is one of its up times. “There are many reasons for this,” Knight adds, “including sustained residential growth Downtown—and that will likely continue.” MOCA has been a landmark since 1979. Although Vergne has been its director only since January 2014, he has developed a longstanding sense of Downtown Los Angeles as a masterpiece in the making through his marriage to LA native and curator Sylvia Chivaratanond. “Los Angeles has become one of the magnets of the art universe,” he said. “I don’t think you can look at the art world as one would 50, 70 years ago—thinking Paris is a center, New York is a center; that’s not the way it works anymore. The art world is a constellation. So you have a three-dimensional map of the world, and the center is changing all the time. Some centers are brighter than others. “Right now Los Angeles attracts so many people—from artists to gallery owners to museum people, writers, musicians, architects,” he added. “So it’s not only the art world. What people are finding in Los Angeles is a culture that encourages creativity. LAC

Sylvia’S ChoiCe

LA’s art insider nonpareil, Sylvia Chivaratanond, goes gallery-hopping! Sylvia Chivaratanond’s credentials are as eye-popping as a blue-chip work of art. The native of Los Angeles is an art historian, independent curator, and critic; earlier this year, she was named the frst Suzanne Deal Booth Adjunct Curator of American Art for the Centre Pompidou and the Centre Pompidou Foundation in Paris. She is also the wife of MOCA Director Philippe Vergne. We asked Chivaratanond what qualifes as must-see in the current LA gallery scene. FreeDMAn FiTzPATriCk: “A new gallery that shows international artists; formerly based in Berlin.” 6051 Hollywood Blvd., No. 107, LA, 323-723-2785; GAVLAk GALLery: “A recent addition to Highland [Avenue] from Palm Beach [Florida], Sarah Gavlak circled back to LA after having left the city over a decade ago. She has a potent program of emerging and established artists.” 1034 N. Highland Ave., LA, 323-467-5700; HAnnAH HOFFMAn GALLery: “One of the frst young galleries to move to Highland over a year ago; a young but very experienced and impressive roster of international artists.” 1010 N. Highland Ave., LA, 323-450-9106; LA><ArT: “The long-standing, artist-driven nonproft recently moved to a new home a few blocks from Highland; it’s a stalwart champion of the arts.” 7000 Santa Monica Blvd., West Hollywood, 323-871-4140;


kOHn GALLery: “This gallery just moved to a grand space on Highland, where it shows the best of California—both emerging and historical artists.” 1227 N. Highland Ave., LA, 323-461-3311; OVerDuin & CO.: “Located on Sunset Boulevard, you’ll fnd a hot international group of artists here. The work is always challenging and new.” 6693 Sunset Blvd., LA, 323-464-3600; PArk VieW: “This new space in MacArthur Park is run by Paul Soto,

836 S. Park View St., Unit 8, LA, 213-509-3518; reGen PrOjeCTS: “This veteran LA gallery’s star-studded list of A+ artists continues to grow.” 6750 Santa Monica Blvd., LA, 310-2765424; reSerVe AMeS: “More of an artist-run space, this gallery is housed in a barn near uSC. it has had a series of impressive shows since its inception less than two years ago. Super low-key and super interesting.” 2228 Cambridge St., LA, 213-534-7455; VAriOuS SMALL FireS: “One of the newest additions on Highland The 3,500-square-foot, column-free, third-floor gallery at The Broad.


hailing from new york, esther kim has worked for several international galleries and is contributing to the vibrant Hollywood scene with her great roster of artists.” 812 Highland Ave., LA, 310-426-8040;

photography courtesy of the broad and diller scofido + renfro

a one-man show, who exhibits local artists in an apartment.”

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culture Sports

Riding High


Ring-a-ding-ding, the Del Mar Thoroughbred Club— one of those peculiarly Southern California-retro institutions that have managed to retain its hipness for eight decades—raises the starting gate for a new season July 16. A glamorous trot ever since cofounder Bing Crosby acted as ticket taker for the first race in 1937 (other partners included Pat O’Brien, Oliver Hardy, and Gary Cooper), this one-mile

oval has witnessed some of thoroughbred racing’s biggest moments, including Seabiscuit’s dark-horse victory in 1938 and legendary jockey Bill Shoemaker’s record-breaking wins over three decades on the track. For those in the know, opening day is when some 44,000 fans pack into the distinctive tan grandstand right on the ocean, sporting some of the most elegant and over-the-top (literally)


hats—from pillboxes to 10-foot-tall numbers. “It’s such a big people-watching day that some say the race isn’t even necessary,” notes Del Mar’s marketing honcho, Craig Dado. “It’s like England’s Ascot, except a lot more outrageous and sexy.” Despite the fact that this is officially “where the turf hits the surf,” there’s a certain fashionable elegance that pervades all races— “people really dress up for


Del Mar offers More than a Day at the races. a few highlights for 2015: July 16:

Opening-day party, featuring  the infamous hats contest  with $5,000 in prizes, a  beer garden, and DJs July 18-September 6:

Family Weekends, with  carnival events, games, and,  of course, pony rides July 18:

Donuts Day, a behind-thescenes look at horseracing,  featuring Q&As with  jockeys, trainers, and  announcers July 18:

Cards 4 Carma, a Texas  Hold  ’Em poker tournament  beneft for thoroughbred  horse-wellness programs July 24:

Free after-race concert with  the Wailers AuguSt 1:

Free reggae fest featuring  Ziggy Marley  OctOber 29:

Opening day for Bing  Crosby Season, with vintage  Hollywood fashion contest

photography by donald Miralle/getty iMages (horses); Zoe MetZ (espinoZa)

Star tracks: Del Mar Thoroughbred Club has attracted Hollywood’s swell set ever since its founding by Bing Crosby and Gary Cooper over 75 years ago.

them,” adds Dado. But the old place has taken on a new sheen. To make it consistent with other courses on the Southern California racing circuit, the track is being replaced using 31,000 tons of El Segundo sand, the same stuff being dumped on the nearby racetrack at Santa Anita. “It’s safer for horses to have [the same kind of] dirt when racing between the two,” says Dado. Also, Del Mar has taken over several races that used to be run on the recently closed Hollywood Park racetrack, which means it has added a second season in the fall. For now, 43 races are on the calendar for summer, topped by the $1 million TVG Pacific Classic (August 22) and the ever-popular $300,000 Bing Crosby Stake ( July 26), now almost into its seventh decade. As with the racetrack’s halcyon Hollywood years, Del Mar’s glamorous allure goes far beyond horseracing. The track and adjoining grounds will also be hosting VIP parties, craft beer and food festivals, and free concerts after the last horse crosses the finish line. Just don’t forget to wear a hat.  LAC

CULTURE Spotlight Singer/songwriter Frank Ocean will be among the performers appearing at FYF Fest, slated for August 22 and 23 at the LA Coliseum.


On POinte!

Rock ’n’ Legend

Dancing in the Moonlight


The perfecT LA nighT? TAke in some of The ciTy’s besT bAnds under The sTArs. By Jamie Wilde From Downtown to Santa Monica, opportunities to listen to live outdoor music can be found all across LA this summer. The season kicks off with KCRW Summer Nights, which presents free performances in locations such as Chinatown, Pasadena, the Santa Monica Pier, and the Hammer Museum (summernights. The roster of performers set to play this year includes TV On the Radio, De La Soul, and Cold War Kids. (Inside tip: RSVP to win VIP passes.) Over in DTLA, Grand Performances on South Grand Avenue will feature an eclectic mix of artists, from The Gaslamp Killer to Malaysian pop star Yuna (grand For the Westside crowd, Friday Flights at the Getty joins the museum’s already-popular Saturdays Off the 405 concert series ( A new artist or group—No Age and Wilco’s Mikael Jorgensen among them—will host each of these end-of-week creative confabs featuring a cash bar with local brews and bites. And as Labor Day approaches, celebrate the last days of summer with FYF Fest ( Founder Sean Carlson started this once-tiny festival 12 years ago, when he was just 18. Now big-time headliners Frank Ocean and Morrissey, along with bands such as Bloc Party and Belle & Sebastian, will be tearing up the festival’s four stages at the LA Memorial Sports Arena & Exposition Park on August 22 and 23. LAC



It’s no surprise that A Night with Janis Joplin is returning to The Pasadena Playhouse’s stage— after all, its run in 2013 became the venue’s highestgrossing production of all time. Tony Award–nominated singer Mary Bridget Davies plays the rock icon, performing many of Joplin’s most-loved songs— from greatest hits to deep cuts. This musical biography is more about the singer’s tunes than her tale, but along with the powerful vocals, it does lend a glimmer of insight into Joplin’s rocky background and rock ’n’ roll life. July 21–August 16; pasadenaplay

// film //

Roberto Bolle, principal dancer of the American Ballet Theatre, will perform as part of BalletNow, a series of three unique dance performances showcasing European and LatinAmerican talent.

Cinema ParadisO

Luxury Bev HiLLs HoteL Mr. C will be hosting a series of movie screenings—Casablanca and Pretty Woman, to name two—on its newly revamped pool deck this summer. unlike many of LA’s other outdoor flm nights, this one epitomizes chic, taking place in a yacht-inspired space with posh seating and a decadent menu of authentic Cipriani bites and specialty cocktails. Through August 18;

photography by giovanni gastel (bolle); (joplin poster)


Combining Latin fair and Euro style, 18 dancers from 12 different countries, and two lauded artistic directors, this original three-night dance spectacle is a ballet lover’s midsummer night’s dream. Conceptualized by artistic directors and American Ballet Theatre principals Roberto Bolle and Herman Cornejo, BalletNow consists of three unique performances: The frst features European ballet stars, the second, Latin-American talent, while the third blends the two. Expect classic solos and pas de deux from ballet masters like George Balanchine and Marius Petipa, as well as cutting-edge contemporary works, including world, US, and West Coast premieres. Cornejo wants to give the audience “a complete experience related to Latin-American culture,” and Bolle adds that the program is “a taste of the full range of ballet.” The programs, part of Glorya Kaufman Presents Dance at The Music Center, kick off with discussions with the artistic directors one hour before curtain; at least one of the nights will end with a freworks fnale. July 10–12;




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PEOPLE View from the Top

Queen of Arts

photography by aaron smith

How Has tHe little Hammer museum—all grown up at 25—emerged as tHe very symbol of la’s dynamic, progressive arts scene? meet Ann Philbin. by finn-olaf jones

Thy kingdom, come! Hammer Museum Director Ann Philbin, photographed here in a gallery showcasing the work of artist Charles Gaines, has transformed the once-dowdy institution into a veritable citadel of all that is avant-garde... and fabulous.

The courtyard at the Hammer Museum is lined by an only-in-LA mix of students, skateboarders, artists, office workers, senior citizens, and oddballs amid a cluster of trees and lawn furniture rising above the concrete. They’re all trying to get into the final screening of artist Matthew Barney’s five-film cult classic The Cremaster Cycle. Those already blessed with the free tickets are tucking into hummus and eggplant caviar or other delicacies at Ammo, the Scandosleek restaurant slid into one side of the courtyard. It’s another one of those typically atypical Hammer Museum nights that have made the place a nexus of LA’s arts community. “Fifteen years ago, this courtyard was empty and dreary and the theater was just a hole in the ground,” says Ann Philbin, the Hammer’s director, gesturing around the modernist courtyard shaded by a newly installed, gleamingly white, Michael Maltzan–designed bridge traversing the upper level. One alcove used to be a popular spot for passersby to take a leak. Now, there’s a constant buzz around a place that was once widely derided as late LA energy mogul Armand Hammer’s “mausoleum.” One night, there’s a multimedia concert by composers Osvaldo Golijov and Kaija Saariaho, and another night, an architectural lecture by Diane Keaton on renovating LA’s iconic buildings. It’s a place where the esoteric, fun, and controversial seem to occur in tandem every day. “I didn’t know about the Hammer before Annie, and that alone says a lot,” notes Philippe Vergne, who was recruited last year from New York to be the director of the Museum of Contemporary Art, Los Angeles. “Now, she’s turned it into a forum for LA’s living artists and has become a catalyst for all of the city’s curators, ConTinued on page 58  57

people View from the Top

including me. I consider her to be the grande dame of LA’s art community.” Armie Hammer, the actor (he played both Winklevoss twins in The Social Network), who is also the great-grandson of the Hammer’s founder and one of the museum’s honorary directors, agrees. “The Hammer went from being a place to showcase my great-grandfather’s collection to being a place to boldly show emerging art. There was a complete tonal shift when Annie came in with her vitality and eye for the new.” A broken foot and a bout of flu haven’t slowed that vitality as Philbin comes rolling into Ammo with a special scooter for her leg, causing everyone from the waiter to half a dozen diners to stop what they’re doing and nod to her. This is definitely her realm. Although she still speaks with the light brogue of her native Boston, she’s got the beachblown, sun-freckled features of a local, which she has been since 1999, when she took over as the Hammer’s director. Even with the encumbering foot brace, she has a ready-to-surf playfulness and physical intensity. “I thought I would only stay here for a maximum of five years, but I fell in love with this city around year two,” she says. The daughter of a lawyer who served in the JFK administration, Philbin originally wanted to be an artist after graduating from the University of New


Hampshire. “But I preferred other people’s art to my own, so I decided to be a curator, and I went to graduate school [at NYU],” she says. A stint as an AIDS activist and a fundraiser in the arts community followed, until Philbin came across a tiny ad in a paper advertising an open curator position for a small New York City museum called The Drawing Center. She got the job in 1990 and immediately started bringing in artists, filmmakers, and musicians for readings, screenings, and concerts, transforming the dormant spot into a vibrant community center. “An artist who taught at UCLA, Lari Pittman, was on the search committee [for a new Hammer Museum director] and he knew my work at The Drawing Center,” remembers Philbin. “They kept writing me letters but I kept on throwing them out because, quite honestly, I’d never heard of [what was then called] the Armand Hammer Museum of Art.” At the time, the museum was largely an annex adjoining the lobby of Occidental Petroleum, whose president was Armand Hammer—a legendary entrepreneur who personally cut business deals with everyone from Lenin to Nixon while acquiring an impressive collection of Impressionists and Old Masters. The loot had been pledged to LACMA, but Hammer changed his mind two years before his death in 1990. Back then, his treasures were languishing on the upstairs floor of a

faux-Renaissance building fronting Wilshire, mired in litigation until 1994, when UCLA—whose campus is two blocks away—stepped into the fray to manage the place as an offshoot of the university. During an LA visit to scout talent for The Drawing Center, Philbin stopped by the museum and her inner artist awoke. “The first thing I saw when I walked into this courtyard was its potential. I knew I could make it a great gathering space, but I also have a bit of a construction jones, so I saw all the things that I wanted to do to ‘fix’ it—like get rid of all the arches.” Much to everyone’s surprise, including her own, she at long last interviewed for the job and became the fledgling museum’s director. The arches were straightened, and a team of four additional curators were hired and given unprecedented freedom and budgets to choose what they wanted to exhibit. “One of the understandings that UCLA established was that the museum’s staff would have complete curatorial control over its programming,” remembers Philbin. “As soon as I arrived, we established the Hammer Projects series, which focuses on emerging and underrepresented artists.” The small exhibit spaces and the university aegis proved to be conducive for experimentation. “We became known as a porous and accessible place—a place where artists can penetrate the walls of the art cathedral.”

photography by tiffany Koury (theater). opposite page: photography by stefanie Keenan/getty images for hammer museum

The Billy Wilder Theater, considered by many to be the heart and soul of the Hammer, attracts a wildly divergent crowd who come for the entertainment and stick around to tour the galleries.

If the Hammer is a cathedral, the stage of the 300seat Billy Wilder Theater is its altar, funded with a $5 million grant from the famed director’s widow. “The Wilder Theater is the heart and soul of the museum,” says Philbin. “We built our community through that.” It’s indeed the Wilder that has attracted the crowd tonight, waiting in line for the free Cremaster tickets as it will for an upcoming forum about the militarization of America’s police force, a poetry reading by V. Penelope Pelizzon, and other servings in the vast allyou-can-eat thought buffet of weekly Hammer events. It’s telling that when the museum started its free-ticket policy last year, overall attendance rose by 25 percent, while attendance in the Hammer’s surrounding galleries rose by 60 percent. People come to the Wilder and stick around for what’s new in the galleries honeycombing the Hammer. During her tenure, Philbin has managed to nearly quadruple the museum’s annual budget to $18.5 million—much of that fueled by the annual fundraising Gala in the Garden, a highlight of LA’s social calendar that takes place on October 10 this year. “You see a graffiti artist standing next to the mayor standing next to a billionaire,” enthuses Armie Hammer. “But it’s small enough that it’s a fun, intimate evening.” The Hammer’s rising budget reflects the changes

in LA’s art scene in general. More and more artists and galleries are moving here, bringing the city closer to the center of gravity for the contemporary art world. “LA is mutating into a hugely interesting city because there are more creative individuals per capita than anywhere else in the world. You can feel that enormous energy,” notes Philbin. “Before, this was not a place where you could sell art, but now it’s become important for galleries to have a presence here as well.” And as LA’s contemporary art scene expands, so will the Hammer. There has been some speculation that now that Occidental Petroleum is moving to Houston, the museum might take over some space there or construct a new building along Wilshire. So far, Philbin is keeping mum about the rumors, but no one doubts she will continue to use the Hammer, which is one of the few Los Angeles museums to charge no admission fee, to break the mold of LA’s art world. “I’m looking for gamechangers,” says Philbin. “Our audience trusts us and knows that whatever we have on view will be something worth seeing—a surprise or discovery of some kind—and often something that will blow your mind.” 10899 Wilshire Blvd., LA, 310-4437000; LAC


“Steve Martin is curating our upcoming Lawren Harris exhibit [opening October 11]. He’s got an incredibly discerning eye, is a very serious collector, and has written extensively on art. We have a habit of asking artists to curate exhibitions here at the Hammer, so he ft the bill and has taken it very seriously.” FAVORITE SPOT IN LA:

“In my downtime, I am most often at the beach. My partner [international kneeboard champion Cynthia Wornham] is a big surfer, so we go to our surf pad in Malibu on the weekends. It instantly lowers my blood pressure.” ANGELENOS SUPPORTING THE ARTS:

“In New York, everyone writes a check, even if they make $50,000 a year! Now that mentality is coming here. People have begun to realize that they have a civic obligation to support the arts.” THE OTHER PHILBIN:

“Regis is my father’s cousin.”

“[ANNIe] HAS BeCOMe A CAtALYSt fOR ALL Of tHe CItY’S CuRAtORS, INCLudINg Me. I CONSIdeR HeR tO Be tHe gRANde dAMe Of LA’S ARt COMMuNItY.” —philippe vergne Members gather in the museum’s courtyard for the opening of the “Made in LA 2012” exhibit.

above: Ann Philbin (right) and singer/songwriter Sia at the Hammer’s 12th annual Gala in the Garden last year, attended by artists and H’wood A-listers, including John Baldessari, Julia Roberts, Orlando Bloom, and January Jones.  59

PEOPLE Talent Patrol INSIGHT “I did a fake Barbie commercial for Jay Leno. They put my name on the door and I just fipped out when I saw it–I thought I was a star!” Mais oui!:

“My frst language was French. I lost it very quickly, however. Once I started frst grade and began learning

more English, my dad thought that it might be too confusing. Such a bummer… I wish I could still speak it.” Her ’Hood:

“I’m a Valley rat. I like the sweet suburbs, and I love being around families; there are cute houses and little bungalows on every street.”

Sitting pretty! Brie Larson’s acting career is building steam with her next projects–a starring role in Judd Apatow’s Trainwreck and a big-screen adaptation of the best-selling novel Room.

C’est la Brie!

Starring oppoSite amy Schumer and Bill hader in Judd apatow’S new comic killer, Trainwreck, femme formidaBle-toBe Brie Larson makeS the h’wood a-liSt. By Juliet izon “When I was 6 years old, I said to my mother while she was doing the dishes, ‘Mom, I know what my dharma is; I’m supposed to be an actor!’” Brie Larson recalls, laughing. “I had aspirations early on: I once did a 300-page storyboard for The Lion King that I wanted to bring to the animators at Walt Disney World. So I always had weird, strong ambitions.” Growing up in Sacramento as the daughter of two chiropractors, Larson was given acting lessons soon after her pronouncement in the kitchen. They paid off


for the young prodigy, prompting an eventual relocation to Los Angeles. “The move to LA was twofold,” Larson says. “My parents were going through a divorce, and I had this big ambition, so it became the perfect getaway to try our luck. It was me, my mom, and my sister with a car full of stuff and $1,000 to our name.” While the trio initially predicted they’d only last a month in the city, jobs kept appearing, although sometimes only at the 11th hour. “My whole career has been just hitting my last dollar and then getting a job that allows me to work a couple of months longer,” she says. With a starring role in July’s Judd Apatow–directed Trainwreck, it’s unlikely Larson will be scrounging for work any time soon. While she first made a splash with her understated performances in such critically acclaimed indie films as Short Term 12 and The Spectacular Now, Larson, 25, is finally gaining traction in mainstream Hollywood. “Brie is one of those rare people who can play serious drama and get big laughs at the same time in the same scene,” Apatow says of directing the actress in his new comedy, which also stars comedienne Amy Schumer. “I’ve wanted to work with her since I saw her on United States of Tara.” The love is mutual for Larson: “I had wanted to work with him for so many years,” she says. “Anything that I knew about comedy changed and grew from this experience.” Her next project, Room, will bring her to a decidedly less lighthearted place. Larson will be playing Ma in the film version of Emma Donoghue’s haunting best seller about a woman and her son who are trapped in a single room, imprisoned by a maniacal man. “It required the most work I’ve ever had to put into anything,” Larson says. “There were so many layers to all of it —fascinating and very dark at the same time.” After tackling both comedy and drama this year, the actress already has her eyes on her next genre: “I would love to do a big sci-fi action movie, one that has a lot of heart and great subtext,” she says. “That’s my dream.” LAC

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people Dynamic Duo

Painting the town

GEN-X LAWYERS/ART COLLECTORS JOSHUA AND SONYA ROTH ARE LA’S NEWEST BREED OF ART-WORLD INSIDERS. By Alexis Johnson le Guier “Josh has always been a collector,” says Sonya Roth, 39, former deputy attorney general for the state of California, of her husband’s propensity for procurement. “Baseball cards when he was little, stamps, coins. He had this amazing Nike shoe collection. You know, dead stock items… That is his personality.” So it’s no wonder the native Angelenos, who met in their first year at Loyola Law School and began collecting art soon after, have amassed an enviable trove of some of LA’s most sought-after artists: Paul McCarthy, Billy Al Bengston, Raymond Pettibon, Sam Durant, Sterling Ruby, and Alex Israel, just to name a few. The collection’s significance stems from its assortment of works—from the now-top-brass creatives who began as emerging artists in the early 2000s (when the Roths began collecting) to white-hot pieces from the present, with some historical heavyweights rounding


out the mix. It’s a personal, yet overarching sample of the creative conversation taking place in the LA art world. And this doesn’t even include their latest acquisition, a Jack Goldstein painting. “For us, he’s one of the most significant artists from LA,” says Josh, 37, whose passion for LA-made art is palpable. In fact, most of the couple’s impressive collection—housed in their 1919 Hancock Park home built by H.J. Knauer (friend/designer Cliff Fong helped the Roths achieve that perfectly chic mix of African imports and vintage Pierre Jeanneret finds)—focuses on this city’s creative output. “There is a lot of art [in our collection] by our contemporaries in LA. I identify very strongly with this city—I’m an Angeleno, and I always have been and I always will be,” declares Josh. “For me, the history of this city and the artists who have participated in our creative ecosystem are so invigorating to me.” Josh, the son of CAA cofounder Steven Roth and a longtime art law attorney with Glaser Weil, was recently plucked by UTA to head up the agency’s new Fine Arts Division, which works in tandem with galleries to help secure financing and partnerships for artists’ bigger-than-life dreams. “Whether it’s connecting artists with publishing opportunities or digital experiences or the apparatus of the film industry, it’s a very natural extension of how artists are making art today,” he says. The lawyer-agent notes that, “Artists have to deal with overexposure in a number of ways. One is making and selling too much art. I think there is this cool continuum of making art available for sale—that’s on one end of the spectrum—and at the other end would be looking for worthwhile creative projects outside of the studio. And that could be, depending on the artist, making a film or collaborating with a brand. Maybe outside projects can be a way to prevent overexposure.” Enter UTA. The agency’s division is the first of its kind anywhere, so it’s no wonder insiders are holding their breath to see how Roth delivers. Sonya, who is spearheading the new Director’s Council she and Josh inaugurated at MOCA (there’s a $10,000 annual buy-in), believes firmly—as does Josh—in giving back. “We’re looking for people who are really interested in the arts and are maybe wondering how to get involved. To be charitable is something you learn. That’s where we step in.” The couple, with their dreamy home, beautiful daughters (Anabel, 5, and Colette, 2), and killer jobs, couldn’t be friendlier or more gracious. Maybe that’s the secret. Notes a grateful Josh with “pinch-me” enthusiasm: “When I graduated from law school, I never could have flashed forward 10 years and imagined myself where I am today. It’s been a spectacular ride… It’s like a dream come true.” LAC

photography by aNDrEEa raDUtoIU

Picture perfection: Joshua and Sonya Roth’s art collection is singularly LA-centric. Says Josh, seated here before Paul McCarthy’s Violet Bear, Pink in their Hancock Park home: “The history of this city and the artists who have participated in it are so invigorating to me.”

I-Fei Chang, photographed with a model of the Metropolis project, believes her company, Greenland USA, is “not just investing in a project; we’re investing in the city.” A groundbreaking public art element by Susan Narduli and Refik Anadol was commissioned to jazz up the façade of one of the towers of the complex.

Urbane renewer

Chinese megadeveloper I-FeI Chang makes a billion-dollar bid for a bigger, bolder, better dtla. By Scott Huver Plenty of people arrive in Los Angeles hoping to make a mark on the city, but a rarefied few actually do. Count I-Fei Chang among them. The chief executive and president of China’s stateowned enterprise Greenland USA, Chang comes with her share of descriptors that mark her as a singular woman: Taiwan-born, Yale-educated, a peer-designated “dynamo” in the field of international real estate ventures, overseeing a staggering $6 billion in

development in the US. A billion dollars of that is centered firmly in Downtown Los Angeles, where Chang and her company not only resurrected the long-dormant Metropolis project skirting the 110 Freeway—imagined as a city within a city as far back as the 1980s—she supercharged it. Synced ideally with the recent economic recovery and resurgence of LA’s Downtown district, the 6.3-acre Metropolis property includes the luxe 18-story,


350-room Hotel Indigo and a 38-story, 308-unit condo tower currently being built—quickly, per Chang’s mandate—with two more multi-unit towers to follow. Chang reveals her vision for how the project promises to legitimately reconfigure the heart of the city and transform Downtown into a genuine urban hub for the next century. What sets Metropolis apart from any other project you’ve worked on?

I think this project gives us a sense of opportunity: the gateway project that can really redefine LA’s skyline, streetscape, and lifestyle. So it’s more than just [expanding] our boundaries; it’s more about reaching out to the community and being able to connect. You’ve said that Greenland USA believes in investing in cities that are “in transition.” Tell me about that aspect of Downtown LA and where you saw opportunity? In Los Angeles—with its own historical background, with the multiple cultures, different nationalities all blending very well with different industries—we have the opportunity to develop these projects right in the center of Downtown, which, I think, has been underestimated in its potential. But this time I joined hands with a lot of partners here, with companies and also with business leaders. City transformation is not just possible; we’ve turned the vision into action! By building four vertical villages all together, we’ll be able to bring in more people to live here, not just to work here. The Metropolis project was first envisioned years ago. What caught your eye about it and motivated your company to realize it now? With Greenland’s capability of building multiple large-scale, mixed-use projects—with the hotel, residential, and retail [elements]—it just fit right in here. Traffic is a heavy burden for a lot of people who need to commute from suburban [areas] to work Downtown. We saw more than half a million jobs being provided here in Downtown, increasing employment opportunity. And also, [with nearby attractions like] Staples Center, [people] moving in from [the suburbs] can enjoy better use of their

time after work. People want to rediscover urban living right in Downtown, so I will say that the new Los Angeles’ time is now, is here! They want to enjoy the game, to celebrate the moment with a community. After work, they want to spend more time in a newly opened restaurant or even [shops] like the Caravan Book Store, right next to the Water Grill. Even for people who don’t buy a Metropolis unit, I hope they will be able to spend more time after work and rediscover the city. It’s evolving every day. Tell me about the concept behind Metropolis’ public art element, created by Susan Narduli and Refik Anadol, which will adorn the façade of the condo tower. The art will be part of urban living, and we’d rather it not just be a piece hanging on a wall. We really appreciate all the movement on the street. That’s why we want digital art that can reflect, interact, and is ever-changing—because this city’s transformation is ongoing. I hope that this art will be able to continue to evolve, even when the project is done, to have a more emotional interaction—with the NBA games, the hockey games, and with entertainment, the shows. It should be able to speak to people. What have you responded to about Downtown LA during your time here? Every day you see things change. You see an art studio move in. You see people hanging out much later than they usually do. I think we are now redefining the area and moving more people in, creative people. So we’re not just investing in a project; we’re investing in the city. We believe that we still have a lot to say. The story will continue. LAC

PhotograPhy by Melissa Valladares. styling by stacey KalchMan. MaKeuP and hair by cooPer with exclusiVe artists using Mac cosMetics and oribe hair care. blazer, Rag and Bone. IntermIx, 110 n. robertson blvd., lA, 310-860-0113; blouse, TheoRy. bloomIngdAle’s, 8500 beverly blvd., lA, 310-360-2700; Pants, Rag and Bone. IntermIx, see aboVe. shoes, ToRy BuRch. bloomIngdAle’s, see aboVe

PEOPLE The Arbiter

PEOPLE Spirit of Generosity

The Special OlympicS—The largeST SpOrTing evenT in The wOrld ThiS year—cOmeS TO la fOr The firST Time ever ThiS Summer. by michael ventre


Gold mettle: Special Olympics board member Maria Shriver poses with a group of Global Messengers—athletes who serve as spokespeople and advocates for the Games in their countries. left: At this year’s Special Olympics in LA, fireworks produced for the Sochi Olympics in 2014 will be duplicated to stunning effect. right: Newly minted medals for the 2015 games.


back and be in a major media market,” notes Patrick McClenahan, president and CEO of LA2015, the organizing committee for the Games. “In a city full of movie stars and allstars, these athletes will be the stars of the show. There is no greater stage.” More than 7,000 Special Olympics athletes from 177 countries will flock to the area to compete in 25 Olympic-type sports. These Special Olympics Games will be the first to take place in the US since 1999, when they were held in Raleigh, North Carolina. Opening ceremonies take place July 25 at the LA Memorial Coliseum. The tent is large and vast. The Special Olympics community consists of parents, coaches, administration personnel, spectators (there is no charge for the sporting events), volunteers, and supporters—just about anyone who wants to take part. It’s a jubilee of inspiration created by the late Eunice Kennedy Shriver on her Maryland farm in 1962. Back then, it was called Camp Shriver. It evolved into the first Special Olympics at Chicago’s Soldier Field in 1968 and has grown steadily since.

photography courtesy of special olympics

Let the Games Begin!

Since he was a young boy, Luke Rose had an attraction to water. His father, Ted Rose, says it offered comfort. “It had to do partly with his disability of autism,” Ted explains. “Even at an early age, he would crave sensory input. When we would take him to the mall, it was really hard to keep him out of the fountains… he just wanted to be in water! “We found out later that water helps him find his own boundaries,” Ted adds. “To feel what most people feel regularly, he needed something around him to have that information. Bottom line, whenever we’d go out and he’d spot water somewhere, we’d have to have hold of him or else he’d get in it.” This summer, no one will hold Luke back. A seven-year veteran of the swimming competition in the Special Olympics, he will participate again when the festivities take place here from July 25 through August 2 at several locations in the greater Los Angeles area. The Special Olympics will mark the largest event staged in Los Angeles since the 1984 Summer Olympics. “Certainly we’re in a position—after growing internationally over the years—to come

Charity register Opportunities to give.

CONCERN FOUNDATION BLOCK PARTY The Concern Foundation hosts its 41st annual block party in an effort to raise money for cancer research. Awards will be presented to preeminent research scientists for their contribution in the fght against cancer. Expect a wide array of cuisine with over 60 of LA’s best restaurants, four stages of musical entertainment, spa services, and a live auction featuring popular travel destinations. When: Saturday, July 11 Where: Paramount Studios, 5555 Melrose Ave., Hollywood Contact:


Swimmer Luke Rose (center) in the Special Olympics Circle of Inclusion, with his father Ted and mother Ellen (left) and Dwayne Jones (right), Vice President of Special Events and Entertainment for the 2015 Special Olympics World Games.

Help make the arts accessible to every child by making a contribution at the Dizzy Feet Foundation’s Celebration of Dance Gala. The foundation aims to sponsor, fund, and support dance education programs in low-income areas and in national dance schools. All proceeds go toward the expansion and improvement of dance programs as well as scholarships for outstanding dance students. Past performances have included talent from So You Think You Can Dance, Dancing with the Stars, and the American Ballet Theatre. When: Saturday, August 1

“These aThleTes will igniTe The CiTy of angels—igniTe iT wiTh Their bravery, Their aThleTiCism, Their Courage, and Their humiliTy.” —maria shriver “The World Games are coming to Los Angeles and I, for one, couldn’t be happier or prouder,” says Eunice’s daughter Maria Shriver. “These athletes will ignite the City of Angels—ignite it with their bravery, their athleticism, their courage, and their humility. I’m so delighted that the world will bear witness to this fact.” Individuals like Luke Rose are among the many reasons for her enthusiasm. Now 19, the Northridge resident epitomizes the spirit of the Games, simply because he doesn’t let anything stop him. Recently, he took part in a relay during the Los Angeles Marathon. He has been swimming competitively since 2000 and can often be found at the Cleveland High pool in Reseda, usually surrounded by a coterie of coaches, fans, and friends. “I want to win,” he declares, “with dignity and respect.” Says his dad: “It’s great to have it here. More family and friends can attend. I know Luke is really

excited to meet all the people from the different countries. He can rattle off all the countries.” McClenahan is also thrilled and gratified to have the Special Olympics in Los Angeles. He says former Mayor Antonio Villaraigosa embraced the idea immediately when it was first proposed, and community and business leaders rushed to help. “It is estimated that these Games will bring $420 million to the local economy,” McClenahan adds. Other riches will be more evident. “People with intellectual disabilities are, first and foremost, people like you and me,” Shriver says. “They have the same dreams and the same hopes that we all have. The world will be inspired by what goes on in LA this summer. Everyone is invited to take part. You will be forever changed.” For more information on how you can contribute and participate, visit the Special Olympic Games’ website at LAC

Where: Club Nokia at LA Live, 800 W. Olympic Blvd., LA Contact: celebration-of-dance

OCEANA SEACHANGE SUMMER PARTY Calling all ocean lovers! Support Oceana’s mission of protecting oceans both locally and around the world by attending its eighth annual Summer Party. Last year’s special guests included Leonardo DiCaprio and Ted Danson. The evening will commence with a cocktail reception, followed by a gourmet dinner and live auction, and fnally a live performance as guests dance under the moonlight. When: Saturday, August 1 Where: The Strand at Headlands, 33971 Selva Rd., Dana Point Contact:

TASTE OF SUMMER The fourth annual Taste of Summer will bring together 500 guests for an indulgent evening of food and drinks. Enjoy sips from top local wineries and breweries as well as culinary creations from renowned chefs. All proceeds will beneft the Fulfllment Fund, a Los Angeles-based organization that aspires to empower students through education by providing college counseling, mentoring, and scholarships. When: Saturday, July 25 Where: The Victorian, 2640 Main St., Santa Monica Contact:  67


Paris Meets PalM sPrings PhotograPhy by billy Farrell

By Kelsey Marrujo

Dusting the desert with Hollywood glamour, iconic French fashion house Louis Vuitton impressed both locals and visiting A-listers with a futuristic runway show to debut its women’s 2016 cruise collection. The California-chic line wowed celebrity supporters like Michelle Williams, Miranda Kerr, and Selena Gomez, who arrived clad in Louis Vuitton to the show, held at the Miranda Kerr and Selena Gomez

continued on page 70  69

INVITED Gaia Repossi

The show’s venue is a Palm Springs landmark, designed by famed modernist architect John Lautner.

Delphine and Alexandre Arnault

Alicia Vikander

Bob and Dolores Hope Estate outside Coachella Valley, and the carnival-themed afterparty at The Parker Palm Springs. Also on site to toast the occasion and greet the brand’s enthusiasts was artistic director Nicolas Ghesquière, the visual mastermind behind the new pieces.

The line is Ghesquière’s second Cruise Collection for Louis Vuitton.

Britt Robertson Catherine Deneuve

Denise Ho

Liz Goldwyn

Nicolas Ghesquière Rainie Yang A model walks the runway in one of the collection’s boho-chic dresses. Michelle Williams



Gia Coppola

// style spotlight //


UCLA arts MFA student C.J. Heyliger accepted the Young California Photographer Award.


Johnny Hallyday

Mena Suvari

Deb Klowden Mann, Ed Ruscha, and Bettina Hubby Mel Shimkovitz and Devendra Banhart

Names go here and Teekay Teekay Giuditta Badiali and Cristina Crescentini Jamie Lee Curtis Minnie Driver


third US edition at the famed Paramount Pictures Studios, drawing forth a crowd of art collectors, artists, and Hollywood screen stars. The opening event included 79 exhibitors from 17 countries who set up galleries throughout the New York backlot and sound stages for guests to view and enjoy. Billy Zane

Manuela Herzer, Bridget Shuster, and Sydney Holland




William Moseley, Kelsey Chow, John Varvatos, and Joyce Varvatos

Shelby and Tommy Chong


Zoe Buckman, Cleo Buckman Schwimmer, and David Schwimmer

welcomed high-profile guests to its West Hollywood boutique for a festive afternoon of live music, shopping, and live and silent auctions. Supported by Chrysler, the festivities donated 25 percent of all sales to special organization Stuart House, which serves the needs of sexually abused teens.

Jesse Metcalfe

Lydia Hearst

Paul Marciano, Eric Garcetti, Charlie Beck, Jackie Lacey, and Mark Ridley-Thomas

Dani WilliamsJones

Aloe Blacc

Paul Marciano and Mareva Georges Marciano


Denim Day has become a global movement since its inception 16 years ago, attracting over 10 million participants.



ANGELENOS JOINED GUESS at its downtown headquarters to commemorate the 16th annual Denim Day, which encourages men and women from around the globe to wear jeans and take a stand against sexual assault. The local rally brought forth supporters like Mayor Eric Garcetti, LAPD Chief Charlie Beck, musician Aloe Blacc, and more, all raising awareness for the GUESS Foundation and Peace Over Violence. Maya Jupiter


Perla Ferrar


Francesca Eastwood and Frances Fisher Rita Ora

Kelly Osbourne and Carmen Electra

Paris and Kathy Hilton Lisa Vanderpump

RACE TO ERASE MS GALA RACE TO ERASE MS held its 22nd annual gala at the Hyatt Regency Century Plaza, honoring fashion icon Tommy Hilfiger with the Medal of Hope Award. The evening, sponsored by Los Angeles Confidential magazine and featuring performances by Ne-Yo and Rita Ora, supported the organization’s Center Without Walls program and its initiative to find a multiple sclerosis cure.

Randy Jackson and Cheryl Burke

Ne-Yo, Nancy Davis, Dee Ocleppo, and Tommy Hilfiger

AJ and Aly Michalka

James Tupper and Anne Heche

Rumer Willis and Valentin Chmerkovskiy



taste Happy Hour!

View from the Shop

Food and Fashion intersect at Barneys new york, where sunset hour is the Best pre-dinner theater in La. by jen jones donatelli

Sunset rising! At Freds, pretty-as-a-picture dishes such as tuna tartare, paired with a fruit-topped sangria made with red wine, Hennessy VS cognac, and apple, orange, lemon, and lime juices, are making happy hour the chicest repast of the day.


photography by jessica sample

As the shopping day winds down, the fifth floor at Barneys New York is just getting its second wind. The power-lunch scene at Freds bleeds into the more relaxed late-afternoon hour, when the restaurant’s recently introduced Sunset Menu kicks in—characterized by light bites like classic tuna tartare and beef sliders on brioche buns along with cocktails and fresh-pressed juices designed to take the edge off a long day. Freds’ Sunset Menu speaks to a bigger trend happening around LA, in which upscale restaurants from Spaghettini to Scarpetta are offering pre-dinner cuisine and cocktails that are elevated from the typical “happy hour” fare. But Freds Executive Chef Mark Strausman’s inspiration was simple—he wasn’t chasing trends, he was just awed by LA’s stellar sunsets. A native New Yorker, Strausman first decided to launch the late-afternoon aperitivo hour during the months he spent in Los Angeles preparing Freds for its late- 2014 opening. “I kept sitting on [Freds’] patio every afternoon waiting to see the sunset, with ‘Hotel California’ going through my mind; my son tells me I’m like a cliché postcard,” laughs Strausman. The sweeping terrace views are one of the only things that remain intact from the restaurant’s former incarnation, Barney Greengrass (though die-hard fans will be relieved to know that the bagels—now

The two outdoor terraces at Freds, which offer sweeping views of the Hollywood Hills, are where most diners choose to chill during Sunset Hour.

At Freds, the fashion-centric motif also translates to drinks like “Orange Is the New Black” juice (inspired by designer Paul Smith).

a big part in the food at Freds. “We like to call ourselves the handmade—and smoked fish platters still live on at weekHouse of Barneys,” jokes Strausman, adding that the end brunch). The restaurant was fully remodeled as part of menu’s take on French, Italian, and American cuisines a larger renovation to the Barneys New York store and reinpays homage to prominent designers in those locales. The troduced as Freds last October to much fanfare. fashion-forward motif also translates to the drinks: For “Barney Greengrass was an amazing idea when it first instance, the bold flavors of the “Orange Is the New Black” opened and did phenomenal business—people loved it,” juice were inspired by designer Paul Smith’s wares, while says Strausman. “But Freds at Barneys New York is our the classic, crisp Negronis and old-fashioneds on the list brand [in sister locations like New York and Chicago], and are a nod to the men stocking up on the classical suits caras the company grew, it seemed like the right move.” ried at Barneys New York. The new Freds has a style all its own, offering contemAs Barney Greengrass once did, Freds still acts as a porary Italian-American fare from Strausman and Barney what to order commissary of sorts for the Beverly Hills set—from enterGreengrass alum Emmanuel Pradet. Special pains were Though many dishes tainment industry types to power shoppers to celebrities to, taken to make sure the new outpost reflected its West skew on the healthier side, the indulnaturally, designers. (Regulars range from United Talent Coast surroundings: Scott Sternberg, founder of LA-based Agency CEO Jeremy Zimmer to jewelry design darlings clothing label Band of Outsiders, designed the waitstaff gences are worth the waistline wear Jennifer Meyer and Irene Neuwirth, along with boldface uniforms, while artist Rob Pruitt was commissioned to and tear. Don’t leave without ordering names like Usher and Gwyneth Paltrow.) “A great percentcreate a four-paneled wall mural with gradient hues meant the house-made Belgian pommes age of our clientele are from Hollywood agencies, along to evoke a distinctly LA feel. frites, served with a trio of with the store clientele itself,” says maitre’d Waleed “Wali” “The LA restaurant is more modern; we didn’t want to dipping sauces, or the robiola with Mohammed. “It’s a magnet for power lunching.” take Grand Central Station and move it to Los Angeles,” truffe oil (served on Freds’ houseAdds Strausman, “For people who work in Beverly explains Strausman. “We made conscious decisions to Hills, sometimes we function as their kitchen, their dining ensure our California child was very Californian.” made focaccia); both can be found on room; it’s a place people come to have lunch, do business, The menu follows suit: According to Strausman, up to the Sunset Hour and regular menus. and socialize.” one-third of it comprises dishes exclusive to the Beverly To meet the expectations of its high-powered clientele, Hills location. The focus is on seasonal, “salad-based” Freds’ employees—from the bussers to the servers—were put through a month cuisine, with selections like raw vegan cashew “cheese” dip, farmers marof “rigorous, intense” training before the restaurant opened, according to ket flatbread, and zucchini and sage fritti on the Sunset Menu. On the Mohammed. The result? A “never say no” policy when it comes to individual regular menu, salads like the Madison Avenue (chopped salad topped with orders. “We make sure they get their food the way they want it,” says vegetables and imported Italian tuna) and the Asian chicken salad are top Mohammed, formerly of the Polo Lounge. “The hosts and servers are trained sellers—though there may be a practical reason for that. “We chop it so you so that they know [the customers] by name and remember their preferences don’t stain your expensive tie,” jokes Strausman. every time they come in.” Inspired by the documentary Forks Over Knives, Strausman also expanded Of course, as Strausman sees it, it’s hardly a chore to offer service with a the house-made juice program to include LA-inspired healthy sips like the smile in Freds’ posh, sunny surroundings: “From the minute you wake up to Laurel Canyon Sunrise (pineapple, orange, and grapefruit juices with pureed the minute you go to sleep, it’s happy hour in LA.” 9570 Wilshire Blvd., Beverly strawberries) and the Afternoon Berry Lift (blueberries, blackberries, and Hills, 310-777-5877; LAC pomegranate juice with a splash of OJ). True to form, design influences play  75

Arbor daze! At The Larchmont, happy hour cocktails include the scrumptious Walk in the Woods, made from three types of gin—copper-kettle, purple-sage, and lavender-infused.

The Bewitching Hour

All Around lA, restAurAnts Are seducing eArly-bird diners with ethereAl drinks And chic little bites. By Eric rosEn What do ladies’ social clubs, the US Navy, and Prohibition all have in common? Happy hour. The phrase first came into popular usage late in the 19th century to describe gatherings for socalled “ladylike” pursuits such as book clubs and afternoon tea. After World War I, American sailors co-opted it to encompass regularly scheduled periods of entertainment, including boxing matches and musical performances, to relieve the tedium of day after day on the high seas. The term then became associated with a preprandial tipple during the teetotaling temperance of Prohibition, when fancy folks would slip into a speakeasy for a drink before sitting down to a dinner sans alcohol. And today, happy hour is back big-time at some of LA’s best restaurants, where it means specialty drinks and bites—usually at a fraction of the cost of the normal menu. New executive chef (and French Laundry alum) Kevin Kathman has helped revive The


Larchmont (5750 Melrose Ave., LA, 323-4644277;, thanks in part to his penchant for foraging. According to Kathman, “You can expect to see modern, whimsical plays on some happy-hour classics, such as rabbit ‘nuggets’ with sauce verte and wild salmon tartare with wasabi emulsion and wakame seaweed salad.” Among the ingredients he is currently plucking from the wild are morels, ramps, fiddlehead ferns, and watercress. The Larchmont mixologist Chris Kramer has gotten in on the foraging as well with new summer cocktails to pair with Kathman’s plates. “The Walk in the Woods incorporates my own trademark triple threat of gin,” says Kramer, “a snappy, dry Citadelle copper-kettle gin, a purplesage gin by Ventura Spirits, and Uncle Val’s lavender botanical gin.” He created it to complement a smoked sturgeon dish with cold potatoes, fennel shavings, and caviar. The drink is served

in a chilled coupe with foraged dill, fennel, and chives, which are also incorporated into the dish. Over at the Four Seasons, Culina (300 S. Doheny Dr., LA, 310-860-4000; has introduced an innovative new predinner treat called Crudo Hour, available weekdays from 6 to 8 pm. The selections include carefully chosen carafes of Italian wine as well as signature cocktails and whistle-wetting spritzers like Il Carosello, a heady mix of Prosecco, gin, Aperol, and absinthe, and the Che Figata with tequila, jalapeno simple syrup, and fresh strawberry. Among the summer crudo options are salmon with a refreshing spring-pea vinaigrette, mint and savory pancetta dust, and halibut with strawberries, pickled shallots, chili, and frisée. Chef Mette Williams says, “The lightness and delicateness of the crudo make them ideal for hot weather. The subtle flavors complement many summer cocktails without tiring out your palate for the meal ahead.” We say happy hour, but in Italy, they call it aperitivi. Hence Cecconi’s Aperitivo Hour from 4 to 7 pm Tuesday through Saturday (8764 Melrose Ave., West Hollywood, 310432-2000; “In my native Italy,” says executive chef Andrea Cavaliere, “cicchetti, or Venetian tapas, are meant to be enjoyed while drinking aperitifs prior to dinner, and it is a ritual we wanted to recreate at Cecconi’s for our guests.” Among Cavaliere’s creations are fried olives stuffed with mortadella and Parmigiano; fava bean and burrata bruschetta; and pizzette, including one with porchetta, artichoke, mushroom, and fontina. Diners can wash it all down with specialty sips, including barrel-aged Negronis, Aperol spritzes, and even a sparkling specialty of on-tap Prosecco. Just across the street, Gracias Madre’s Hora Feliz happy hour takes place from 3 to 6 pm Monday through Friday, when everything is priced at $5 (8905 Melrose Ave., West Hollywood, 323-978-2170; Chef Chandra Gilbert serves up signature items from her Mexican-inspired, all-vegan menu, including the potatomasa gorditas with warm salsa verde, avocado, and cashew crema, along with taco options like the one with flash-fried cauliflower and cilantro pesto. Over at the bar, beverage director Jason Eisner mixes up an array of agave-driven cocktails such as the bracingly smoky Mezcal Mule with lime, ginger beer, and chile de arbol, and the Purista Margarita with light tequila blanco, lime, orange bitters, and a tantalizingly salty-sweet combo of agave nectar with a flor de sal rim. And because no predinner snack is complete without oysters, Blue Plate Oysterette (8048 W. Third St., LA, 323-656-5474; stocks one of the widest selections of briny bivalves in the city, and you can down them for just $1 apiece during the restaurant’s Oyster Hour from 4 to 6 pm Monday through Friday. Along with draft beers, sangria, and house wines by the glass, guests can slurp signature Blue Plate-branded oysters—think Surfriders from Washington and Royales from Maryland— served with house cocktail sauce, shaved horseradish, fresh lemon slices, and a tangy pickled-shallot mignonette. Who can resist settling in over a plate of those for a happy hour? Make that two. LAC

photography by Melissa Valladares

tastE Cheers!

Š2015 Universal Studios. All Rights Reserved. 14-ADV-15941

taste On the town

What’s the secret of a perfect La happy hour? Master MixoLogist Matt Biancaniello cheWs the fab With “restaurant Week” boss Lady Stacey Sun. by jen jones donatelli

clockwise from above, left:

Stacey Sun and Matt Biancaniello enjoy a happy hour cocktail at new haute spot Terrine; Terrine bartender Ryan Wainwright mixes a cocktail; octopus with toasted broccoli, burrata, salsa Calabrese, and sunflower seeds makes an exquisitely original predinner cocktail accompaniment.


What’s the first thing that comes to mind when you think happy hour? Stacey Sun: With both the craft cocktail and food scenes rising at the same time in LA, we’re seeing [that movement] converge with happy hour. I’ve witnessed a huge influx of places like Terrine [embracing happy hour], as restaurants realize that people’s eating habits are shifting as far as when and how they want to eat. Restaurants are really upping their games, and happy hour is really elevated now—it’s not just Budweiser and Buffalo wings. Case in point: Komodo in Venice (235 Main St., LA, 310-255-6742;, where they serve authentic, Nashville-inspired hot chicken wings alongside deep-fried oxtail. Matt Biancaniello: I agree. Take a place like The Fat Dog on Fairfax: The chef trained under Charlie Trotter, and here he is offering incredible gastropub food and a lot of great craft beer specials. The potato skins with crab, hickory-smoked bacon, asparagus, and hollandaise are probably the standout for me. I’m obsessed with rosé, so I also love that they offer a $4 Pol Clément during happy hour. I’m more of a daytime drinker, so to have a drink at 4 or 5 pm is actually ideal for me. What’s the art of putting together a great happy hour menu? MB: A cross-section of [food and drink] selections that is revolving—it’s important to rotate a lot and highlight items that get people excited. It’s getting to the point that people are so schooled that they can make a lot of drinks at home, so it’s also important to offer something they can’t make on their own. The Corner Door does a great job with that; at happy hour on Sundays, they offer barrel-aged old-fashioneds, and [mixologist]

photography by jessica sample

C’mon, Get Happy!

Since they’re both foodies-about-town, dineL.A. director Stacey Sun and mixologist Matt Biancaniello are having a hard time remembering whether they first met at the LA Sriracha Festival or the Food GPS Fried Chicken Festival, but they both vividly remember the cocktails he made for each event: a tequila-passion fruit-sriracha drink and a blueberry concoction garnished with a cinnamon sugar-coated fried chicken foot, respectively. No shocker there: One look at Sun’s and Biancaniello’s Instagram pages shows that their lives are narrated in food and drink bytes. Today, they’re talking all things happy hour at Terrine (8265 Beverly Blvd., LA, 323-7465130;, which makes a fitting setting since the restaurant recently introduced an after-hours bar menu. Sun and Biancaniello are sampling some items from the new lineup, like gooey-perfect onion soup poutine and croque Cubano sandwiches piled high with smoked ham, Gruyère cheese, and pickled Fresno chili relish. “You can tell [chef] Kris [Morningstar] is having fun in the kitchen,” says Sun over sips of a Plymouth gin martini. “The food he makes is soulful.” And what better time to enjoy soulful comfort food than LA’s golden hour?

“Terrine has one of the most beautiful patios in LA,” says Sun, shown here sharing a late-afternoon alfresco bite with Biancaniello. right: A best-seller at Terrine is the “gooey-perfect” onion soup poutine.

“The cool Thing abouT happy hour is ThaT iT’s The Time when chefs and barTenders can play.” —stacey sun Beau du Bois is always experimenting with new infusions, syrups, and bitters. SS: The cool thing about happy hour is that it’s the time when chefs and bartenders can play. A great example is Black Hogg in Silverlake (2852 sunset blvd., la, 323-953-2820; The chef, Eric Park, gives a nod to his heritage with the “Korean Happy Meal” cocktail (a Soju shot and kimchi “sangrita” paired with a can of OB beer). You drink them all together, and there’s a playfulness to it—which is the mark of a great happy hour menu. Also, at A-Frame, their Hawaiian “Loco Moco” dish is crazy over-the-top with hambagu steak, rice, curry gravy, sunny-side-up egg, and pickled pearl onion. If you want to go on vacation through a dish, that’s the one, and it’s only $10. Price definitely still comes into play when it comes to happy hour; you can’t have an item for [more than] $15. MB: Unless it’s white-truffle eggnog, which I’ve made in the past. [Laughs] Stacey, dineL.A. launched a happy hour-themed week in April—what was the impetus for that? SS: When I post an Instagram photo with both food and cocktails in it, the engagement goes way up, and that’s what gave me the happy hour week idea—it’s the best of both worlds. What new projects are each of you currently

cooking up? MB: I’m finishing eat your drink (HarperCollins)—it’s all of my cocktail recipes divided into the courses of a meal. Mia Wasilevich, a famous forager, is doing all of the photography; it’s been amazing to shoot at her home, which is like a lab for wild food. This summer, I’m also planning to do a pop-up with ocean-themed cocktails at Vertical Wine Bistro (70 n. raymond ave., pasadena, 626-795-3999; SS: Summer Restaurant Week for dineL.A. ( is coming up July 13–26, so we’re in the throes of planning that. We’re always looking for ways to expand the program—just like we created the happy hour-themed week, now it’s about finding the next new thing. What do you think is the next wave in happy hours for LA? MB: My favorite thing is to do dinners where I’m pairing a cocktail with each course, and that could be an amazing concept for happy hour. You could do cocktail flights—small tastes of different cocktails to go with the food, with infused alcohols you could pour that wouldn’t take much time [to prepare]. I think I’ll just open a place called Happy Hour and it will only be open from 5 to 7 pm; I’d work all day just to plan for those two hours! SS: That would be next-level awesome. LAC

Find Your HappY place

A-FrAMe (12565 W. Washington Blvd., LA,

310-398-7700; “They have a nightly ‘luau hour’; my favorite menu picks are the cracklin beer can chicken and the furikake kettle corn.”—sun CookS County (8009 Beverly Blvd., LA,

323-653-8009; cookscounty “They have a great wine list, and all wines by the glass are half off during happy hour.”—biancaniello the Corner Door (12477 W. Washington Blvd., Culver City, 310-313-5810; thecorner “i can’t believe how big the happy hour menu is; they have everything from oysters to salads to desserts. The sticky toffee pudding is to die for.”—biancaniello the FAt Dog (801 N. Fairfax Ave., West

Hollywood, 323-951-0030; “it’s an old-school happy hour with [items like] mini cheeseburgers, fried pickles, and beers, but it’s elevated.”—biancaniello terrine (8265 Beverly Blvd., LA, 323-746-

5130; “The space is gorgeous; Terrine has one of the most beautiful patios in la. you feel like you’re coming into someone’s home.”—sun  79

TASTE Spotlight

hot ticket

Eveleigh’s Cynar Julep.

Secret Service


Hot Happy Hour destination EvElEigh is revealing tHe recipes beHind its coveted cocktails… for insiders only. By Eric rosEn Ever wonder what the alchemy in some of your favorite cocktails involves? Devotees of Sunset Strip cocktail spot Eveleigh need wonder no more thanks to a new secret cocktail book available solely to those in the know. Head barman Garrett Mikell explains the new pet project this way: “Craft cocktails have experienced a huge surge in the past few years, and our guests are much more informed than ever. This book of recipes is our way of tipping our hat to industry friends who played a major role in growing the movement.” Put your wallet away: The only way to get a copy is to request one from the bar staff, and you’ll be presented with your very own leather-bound edition for free (better tip well, though). 8752 W. Sunset Blvd., LA, 424-239-1630; LAC

According to Japanese legend, on the seventh day of the seventh month of the year, the two stars Altair and Vega, which are usually separated by the expanse of the Milky Way, come closest together in their perigee. To celebrate the Tanabata Star Festival, Asian-inspired Industry fave Hinoki & the Bird will be offering a limited number of hyperseasonal tasting menus that will change nightly, along with a rare sake list. At the end of the meal, guests are presented with a card on which they can express a personal wish for the future and then hang on a tree in the outdoor patio. Kanpai! 10 Century Dr., LA, 310-552-1200; hinoki above:

Green papaya salad with baby carrots and peanuts at Hinoki & the Bird.

// one to watch //

Sakara Life cofounders Danielle DuBoise (left) and Whitney Tingle.

Strawberry shortcake pancakes with rose coconut cream.


Rocky Mountain HigH

Former Top Chef contender and coproprietor of LA’s Playa Provisions, chef Brooke Williamson, returns to the ultraluxe Resort at Paws Up in Montana for her annual “Bounty on the Blackfoot” farm-totable feast (August 29). Guests can join Williamson at the Missoula Farmers Market as she sources the local, seasonal ingredients for the once-in-alifetime tasting menu they’ll enjoy that evening, or indulge in the panoply of outdoor and wildlife activities or spa experiences on offer.

cHai Fidelity

Basanti launched its frst high-end tea room a decade ago in Mexico, and it’s now bringing its selection of over 50 traditional and rare loose-leaf teas to Beverly Hills with its frst US fagship café. Among the distinctive drinks on offer are smoothies made with yogurt, tea, and fruit, and the “T&C,” which combines rooibos and espresso for a serious energy boost.

Cleanse Masters

A secret weapon of the NYC style crowd, organic food delivery service Sakara Life has debuted in LA, and not a moment too soon; its frst week of fve-day plans sold out in less than 24 hours. Those lucky enough to make the delivery list will receive a supply of plant-based cleansing meals that detox without depriving—think superfood-enhanced takes on comfort dishes like Cobb salad and waffes. Good fats are celebrated, calorie counting is condemned, and everyone from Iman to Gwyneth has given it props. Pass us a gluten-free scone.

photography by pablo bucio (EvElEigh); Dan golDbErg (paws up); DEacon tylEr (basanti)






HOPE is in the bag.

QVC 速 Presents Super Saturday LIVE to benefit Ovarian Cancer Research Fund

Tune in and shop Saturday, July 25, 2pm ET

ARTof THE CITY IN THIS UNIQUE, inaugural Art of The City section, we spotlight and celebrate the freshest, boldest artistic talent from each of the 11 cities in which we publish. From Aspen to Washington, DC; LA to NYC; and for art connoisseurs and enthusiastic voyeurs alike, we’re delighted to reveal the diversity and richness of America’s emerging artists with in-depth profiles and a rare glimpse into the creation of their portfolios. Be sure to pick up our magazines when you visit our cities for the complete story on each of our featured artists (and how to support them)— together, they make a compelling collection.





photography by shawn o’Connor (girvin)

Amid Aspen’s booming cultural scene, painter Linda Girvin’s visceral “Portraits” highlight an artist in transition.

For longtime Aspenite Linda Girvin, art is an exercise in duality. Her latest series, “Presence with Absence,” explores the boundary between life and death, realism and abstraction, movement and stillness. The striated shapes of the new works have a Richter-scale feel with Rorschach-test bursts of color. And like those tests, Girvin wants the audience to suspend rational thought and absorb the work more viscerally. But, the process is so interesting that even the most far-fromreality viewer will have a hard time resisting the urge to dig into each piece’s multiple layers. Quite simply, the series is composed of scanned images of dead birds mixed with acrylic paint and blown up to 48-by-56-inch posters. However, as an intensive artistic process they’re “two-minute performances” that straddle two- and three-dimensional shapes. To produce the images, Girvin uses bird carcasses as paintbrushes. She manipulates and moves their bodies while they’re being scanned to create discontinuous lines and amorphous shapes. The results are spontaneous, beautiful, and haunting. She says, “I like the beauty of birds,” she says. “I like their freedom, their gestures—they have such ‘ta-da’ about them.” Girvin is careful to point out that no birds are harmed in the creation of her work. While transition and movement have always been prevalent themes in her work, the current series didn’t come about until she and her husband started to spend more time in Mexico. “I feel closer to life and closer to death down there,” she says. “[I feel] the immediate quality, the palpable quality, and the heart down there.” That synchronicity with the cycle of life has allowed her to peaceably work with a medium as ostensibly grotesque as bird carcasses. “I don’t think I’m talking about death; I’m talking about life. I’m trying to push the boundaries of photography.” Visit for the full story.

Artist Linda Girvin at work in her Aspen studio. below, from left: Girvin’s Presence With Absence #42 and Presence With Absence #40.

Artist Beili Liu at work. A detail from Liu’s project “Stratus,” 2015.




Austin’s Beili Liu is dazzling the world with luminous, poignant installations.

The ghostly white tree hovering over Austin’s downtown Lady Bird Lake appeared at once to have risen from the water and drifted down from the heavens, a haunting memorial to the 300 million trees lost to the Texas drought in 2011. “Thirst,” a collaborative public art project by Women & Their Work Gallery (dreamed up and executed by visual artist Beili Liu, architects Emily Little and Norma Yancey, and landscape architect Cassie Bergstrom), was perhaps the city’s fnest moment demonstrating the beauty and reach of public art. Two years later, Liu, the toast of Austin’s emerging art scene and a professor at the University of Texas who has shows around the world, is readying another public art installation, this one to launch in San Francisco in August. She plans to transform a little-used pedestrian bridge (which connects Chinatown


to the Chinese Culture Foundation within the Hilton Hotel) by affxing pieces of silver Mylar onto nearly 50,000 brick faces. “People will walk on it, and they’ll see their refection,” she says. “So then the bridge becomes a river with this rhythmic kind of energy.” Born in a rural farming village in China, Liu works with everyday materials like thread, paper, and incense to compose installations that seem effortless and exacting, weightless and profound. She moved to Austin seven years ago, and triumphant shows soon followed. This year she continued the climate conversation she started with “Thirst” with a more hopeful solo show called “Stratus.” “I’ve grown so much since I’ve moved here,” says Liu. “Imagine how wonderful it would be if our visual arts scene could catch up to our music scene?” Visit for the full story.

The Starn Brothers, Doug (left) and Mike. left and below: The brothers’ Minotaur Horn Head, 2012, at Rome’s Museum of Contemporary Art, and Big Bambú: 5,000 Arms to Hold You, 2014, at Jerusalem’s Israel Museum.


STARN BROTHERS opposite page: photography by romain blanquart (liu). this page: photography by shane mccauley (starn)

Doug and Mike Starn are skyrocketing to global acclaim for their multimedia masterpieces. When most of their classmates were grappling with puberty, 13-year-old Doug and Mike Starn had already realized their purpose in life. They discovered art. They learned they were talented. And, they understood that they naturally enjoyed working with no one but each other. They are identical twins, but over the past three decades, the Starns’s art has been anything but repetitive. Sculpture, video, photography, and painting are mixed and matched into pieces that resist categorization but captivate art critics and collectors alike. Just two years after graduating from Boston’s School of the Museum of Fine Arts (SMFA), the Starns garnered international attention at the Whitney Museum of American Art Biennial. Since then, they have won the SMFA Medal Award, two National Endowment for the Arts Grants, and The International Center for Photography’s Infnity Award for Fine Art Photography. Their artworks are exhibited in La Bibliotèque Nationale, MoMA, the Guggenheim Museum, the Jewish Museum, La Maison Européenne de la Photographie, LACMA, the Metropolitan

Museum of Art, SFMOMA, the Whitney Museum of American Art, and the Yokohama Museum of Art, among others. The Starn brothers frequently explore duality: light and dark, technology and nature, past and present. They are no strangers to the dramatic statement: “Big Bambú: You Can’t, You Don’t, and You Won’t Stop,” which they installed on the roof of Manhattan’s Metropolitan Museum of Art, was created from 6,800 bamboo poles and measured 50 feet high by 50 feet wide by 100 feet long. Visitors strolled through the sculpture, while the Starns directed a brigade of rock climbers to continuously build out the piece to echo a wave’s movement. This summer at Boston’s Museum of Fine Arts, the brothers are exhibiting Manjushri, an intricate four-color carbon print of a bodhisattva, a Buddhist symbol of enlightenment, which, true to Starn form, expresses colliding concepts encased in artistic wonder. Visit for the full story.

Austin Young (left) and David Burns of Fallen Fruit. below, from left: Fallen Fruit’s Walking In LA, 2014 and “Lemonade Stand,” 2014, part of a museum installation.



Emerging LA arts collaborative Fallen Fruit is reinventing the very notion of “public art.” Does art grow on trees? For the emerging Los Angeles–rooted arts collaborative Fallen Fruit—whose “Endless Orchard” will likely ripen into the world’s largest collaborative art project this month—the answer is an emphatic, organic yes. “We use fruit as a media to change how you see the world,” says cofounder Austin Young, with friend and fellow cofounder David Burns grafting on, “and as a material by which we can reimagine the world around us.” The collaboration frst germinated in 2004, when Young, Burns, and third cofounder Matias Viegener saw a call by The Journal of Aesthetics & Protest for proposals that addressed social or political issues positively rather than negatively. Or as Burns explains, “to show how it’s possible to be like-minded in a way that’s not a critique or in opposition to something.” As part of the resulting project, the trio created a map of their Silverlake neighborhood in Los Angeles, one that showed the location of all fruit trees growing in or over public property such as in streets or on sidewalks. It was a de facto invitation for drivers to get out of theirs cars, to walk, to experience the city differently, and even to grab an orange, lemon, avocado, or fg. It also was an exploration of the concept of “public,” what constitutes community, and how new interactions and exchanges between citizens can be both created and encouraged, and all this in relation to… fruit. “It’s transnational, transhistorical, transcultural; it crosses all classes, all ages, and moves through all geographies,” says Burns. Evidently. Fallen Fruit has since mapped fruit trees in cities nationally and internationally, and exhibited and curated wildly popular exhibitions and collaborative happenings at cultural institutions far and wide. But it’s the collaborative’s groundbreaking work in creating nontraditional forms of public art—California’s frst public fruit park in 2013, and, most recently, “Endless Orchard,” a noncontiguous online map of fruit trees in public space the world over (a project partially funded by the cultural philanthropy nonproft Creative Capital)—that will likely weather time’s seasons while benefting the emerging publics of tomorrow. Visit for the full story.


JK Russ at work in her Vegas studio. left and below: Russ’ Desert Bloom, 2013, and detail from the collaborative window collage (with P3Studio) House of Paper Birds, 2014/15, which is on display at The Cosmopolitan of Las Vegas in conjunction with Art Production Fund 2015.

opposite page: photography by stella berkofsky (young). this page: photography by jeff gale (russ)



Collage artist JK Russ creates a bawdy—and otherworldly— Vegas landscape. New Zealand–born artist JK Russ is known for her collages, surreal landscapes that are imbued with a disconcerting sensuality— imagine Dalí meets Georgia O’Keeffe. Now based in Las Vegas, she has two favorite hideouts in the city, both central to her work: secondhand bookstores and burlesque shows. She hunts down underground burlesque shows, often held in neighborhood bars, as a source of inspiration. In fact, she calls them places of creative expression and female empowerment. “I love showgirls, but in burlesque you can be all sizes and shapes,” Russ explains, though she says she’s never been tempted to join a troupe herself. As for secondhand bookstores, that’s where she trawls for the old

magazines that form the raw materials for those collages. She’ll buy anything she fnds visually arresting, but is especially keen on 1960s and 1970s pornography. With its color saturation and acres of fesh, it’s especially well suited to her aesthetic. And her composite worlds of fashion and the desert landscape in saturated hues evoke the overt sexuality and commerce in an otherworldly natural environment that is the reality of Las Vegas. Prepping for a piece, Russ will often rip through a pile of recent purchases, blade in hand. “I have envelopes with legs, arms, lips, and fowers,” she confesses, “Once they’re cut out, they get put in a little categorizing system.” Visit for the full story.



From an absurd message to her eventual grandchildren to envelope-pushing selfes, it’s hard not to watch what Miami artist Jillian Mayer will do next.

Visual performance artist and filmmaker Jillian Mayer. left and below: Mayer’s DIY Lap Top Case (brown), 2014/15, and Saving Space, 2013, a piece in which performers swung into a video projection of a computer-enhanced blue sky.


Jillian Mayer’s frst computer was on the bedroom foor; she spent hours in front of it, her body folded over in some parody of prayer. “The computer is your shrine,” she says. “Think of the halo, Byzantine gold leaf—it’s now the glow of the screen.” Mayer, who works with anything from video to photos to other peoples’ pornography, has thrown our search history back in our faces, showing us who we are. And while you can fnd it on YouTube, her art is just as likely to be projected on the exterior of the Guggenheim, at Sundance, or on the streets of Montreal. By the time she graduated from Florida International University in 2007, followed by an internship at the nonproft Locust Projects, she’d had a full introduction to Miami’s art scene and become a favorite among those “in the know.” Her comic yet disturbing short flm, I Am Your Grandma, at once a message to her unborn grandchildren and a study in meme psychology, garnered more than 3 million views on YouTube, but it was her 400 Nudes, an art installation of both digitally and physically altered images, at the 2014 Montreal Biennial that received real notoriety. For Nudes, Mayer downloaded 400 nude selfes from around the Internet, Photoshopped her face onto them, and recirculated the images online at, a site created especially for the project (tagged with search terms such as “revenge porn”) and on card stock around Montreal. The piece nimbly debates sexual politics and rights of representation and privacy as the online world proliferates. “These are the things I think about—the state of identity, the state of existence,” she says. Visit for the full story.


opposite page: photography by camilo rios-white (mayer); courtesy of david castillo gallery and the artist; special thanks to elsewhere museum and the nea (lap top case). this page: photography by shane mccauley (burwell)


As Charles Burwell prepares new work for a local exhibition this summer, the Philadelphia painter contemplates how the City of Brotherly Love informs his aesthetic, while his evolving style propels him onto the national stage. Abstract artist Charles Burwell represents a growing number of artists who not only live and work in Philadelphia, but also draw inspiration from the city itself. “A lot of my work has something to do with not being able to push your way through,” says Burwell, who grew up in West Philadelphia and has a studio in Kensington. “There’s certainly a connection to my living and working in Philadelphia with all of its visual complexity.” In fact, Burwell says he may not have pursued this career at all if not for the opportunities he had here growing up, like Saturday art classes during elementary school and then classes at Moore College of Art during high school. A graduate of Temple University’s Tyler School of Art with a master’s degree from Yale University School of Art, Burwell’s aesthetic is equal parts Jackson Pollock action painting and

Charles Burwell in his Philadelphia studio. left and below: Burwell’s Invisible Dialogue and White Temp #2, both from 2014.

Matisse cutout, with sprinklings of color feld, op art, Pop Art, and other styles. A drip technique characterizes many of his works, but his true signature is his ongoing exploration of geometric shapes: Over the years Burwell has created hundreds of templates, frst by hand and then in the last decade by computer. Once the templates have been traced onto the canvas, his fondness for stripes, dots, grids, and other shapes comes to life. Burwell’s work can be found in the Philadelphia Museum of Art, the African American Museum in Philadelphia, and the Studio Museum in Harlem. This summer, one of his latest works will be installed at the Delaware Center for the Contemporary Arts in Wilmington, where it will serve as a focal point for an exhibit called “Layering Constructs” (through September 7). Visit for the full story.




Melinda Hackett in her Southampton studio. right: Hackett’s Gravesend, 2012.


Artist Melinda Hackett creates vibrant layered paintings of biomorphic shapes inspired by a combination of the landscape and light of the East End and 1960s Finnish textiles. Her paintings fuse together the play of interior and exterior spaces in oversize format pieces and represent a state of nonlinear time. Objects move through the picture plane at various speeds and directions, some gliding slowly and others spinning as if in a blender. Forms firt with the edges of the works, providing the sense that the activity continues outside the borders. Born and raised on the Upper East Side of Manhattan, Hackett spent her childhood summers in Southampton on Coopers Neck Lane with her parents and grandparents, who have been residents of the area since the 1940s. All three generations of her family have been heavily involved in supporting exhibits at the Parrish Art Museum and were instrumental in the institution’s move to its new Herzog & de Meuron space in Water Mill. Hackett was selected by fellow artist Gary Simmons to be a part of the museum’s Artists Choose Artists program in 2011. Before devoting herself to painting full-time, Hackett founded Realart Inc. in the East Village with literary critic Charles Finch, displaying the work of artists such as Phoebe Legere and Anthony HadenGuest. Hackett earned her MFA from Parsons/The New School while painting and exhibiting at the Charles Cowles Gallery in Chelsea in 2009. She is currently represented by Cade Tompkins Projects in Providence, Rhode Island, and her bold, colorful oils and watercolors are often displayed by interior designers like Jamie Drake, Jeffrey Bilhuber, Todd Alexander Romano, and Ashley Whittaker. She divides her time between her studios in New York City and Southampton. Proceeds from the sale of her work will beneft the Parrish Art Museum’s educational initiatives, programs, and artists-in-residence series, which support the talent of emerging artists. Visit for the full story.

photography by shane mccauley (hackett). opposite page: photography by kristie kahns (brantley); courtesy of the artist (six)

Elements of East End light infuence the sharp detail of artist Melinda Hackett’s “super nature” paintings.

Chicago native Hebru Brantley at his studio. BELOW: Brantley’s Six, 2014.



With his vibrantly colorful, grafti-inspired paintings, Chicagoan Hebru Brantley is inspiring a generation of youth. Superheroes abound in the work of artist Hebru Brantley: a Batman and Robin here, a Captain America there, and—almost everywhere else—his own heroic figure, Flyboy, the begoggled child, inspired by the Tuskegee Airmen of WWII, who has become his signature character (“My Mickey Mouse,” Brantley laughs). It makes perfect sense for this native of Chicago’s South Side, whose pop culture-heavy influences range from comic books and graffiti to Basquiat and who, at a towering sixfoot-eight, jokingly calls himself a “tall black nerd.” Nerd or not, Brantley’s star is rising incredibly fast in the art scene; celebrity fans include Jay Z and Beyoncé, Lenny Kravitz, Chicago Mayor Rahm Emanuel, and Star Wars director George Lucas, who recently snapped up several of Brantley’s paintings. He first came to prominence

in 2012, when Red Bull and Bombay Sapphire both selected Brantley’s work to be displayed at the Scope Art Show, a sister event to Art Basel Miami Beach. Since then, his pop-inspired contemporary pieces have been exhibited in LA, London, New York, and Art Basel Switzerland, and he has done work for Nike, Adidas, and Swiss watch brand Hublot. What sets Brantley apart, in the end, are the stories his art tells: With spray paint, oil, acrylic, and watercolor, his paintings project a world of optimism, hope, and youth empowerment. For Brantley, though, the medium is just as important as the message. “Being able to express myself through different characters—some appropriations, some my own—is me being true to who I am.” Visit for the full story.

Patrick Miller (left) and Patrick McNeil of Faile in their Brooklyn studio. below: Miller and McNeil’s Delicious, 2011.



Street art meets high art in the multimedia mash-ups of Brooklyn-based duo Faile. Patrick McNeil and Patrick Miller—better know by their nom d’art, Faile—started creating street art in New York City in the late 1990s, using stencils, wheat-pasting, and other media to emblazon the urban landscape with their bold, graphic images. “There was something exciting about that art form,” says McNeil. “It had a life to it. One day it was there and the next it was not, and every day you walked down the street there was something different.” At the time, McNeil and Miller weren’t trying to become famous or impress people in the art world (though they eventually achieved all that and more). “It was a way to participate in something that was inspiring and cool and immediate,” says Miller. Since then Faile has achieved major recognition (including auctions at Sotheby’s and a commission from the New York City


Ballet) with vibrant, large-scale works that incorporate elements of graffti, religious iconography, vintage cartoons, and a healthy dose of punk rock attitude. This summer the Brooklyn Museum presents “Faile: Savage/ Sacred Young Minds,” the duo’s frst solo museum show in New York City. Many of the artworks in the show take inspiration from the city itself—like layered paintings reminiscent of peeling subway posters, or wood-block installations that echo the streetscape’s quiltlike juxtaposition of contrasting images. It’s an approach, says Miller, that allows them to “look at the chaos that is the city visually and say there’s something beautiful here.” Visit for the full story.




Maggie Michael is making a name for herself in the nation’s capital with her original approach to abstract art. As a painter, Maggie Michael’s work is always shifting. Her earliest shows in Washington, DC, featured pours of latex paint. These pools of dense, earthy colors were vivid and organic, but also viscous and methodical. It was as if she were trying to capture the body’s humors—sanguine, choleric, phlegmatic, and melancholic— through large, biomorphic, abstract paintings. Born in 1974, Michael began showing these paintings after she received her MFA from American University in 2002. Just a few years later, her poured paintings yielded to a different style altogether. She began using spray paints and other applications to strike the canvas in a new way. If her previous paintings were slow, these were swift. Once again, she seemed to be referencing another powerful system for organizing the world: the elements—earth, wind, air, and fire—never by name, but through the textures, colors, materials, and applications of her paintings. The artist’s abstract paintings are totemic. She often paints in series, exploring an idea through several iterations. These series

Maggie Michael in her Washington, DC, studio. LEFT AND BELOW: Michael’s Colored Ground Series (Orange): How to Make (Frame) a Black Rainbow, 2014, and Colored Ground Series: Grey Cosscutting Silver (Delta), 2014.

summon powerful forces to mind—the compass rose, the zodiac, and the four seasons—again, never explicitly. For example, in Michael’s latest show at G Fine Art, her gallery in Washington, she showed a series of silver paintings that each repeat an “X” figure, as if they were stations of a cross of her own making. Michael and her husband, sculptor Dan Steinhilber, are two of the District’s favorite artists during a time when the local art scene is still settling into the pace of the city’s incredible growth over the past decade. As she prepares for a significant survey at the American University Museum, Michael is weaving new abstract narratives. The personal mythos she explores in her painting is broad, intimate, and, like the city itself, poised to change once again. Visit for the full story.

Fruitopia! With the debut of “Endless Orchard,” the produce-pushing art collective Fallen Fruit grows big, bigger… and into the record books. By Michael Herren



Photography by Stella Berkofsky

opposite page: grooming by thea istenes for exclusive artists management using recipe for men


allen fruit: It’s a visual, evocative, nearly palpable phrase fecund with groves of meaning and metaphor. A Hollywood talent agent might see a Loveboat of actors ripe beyond their close-ups, sinking on the rocks way past prime time. A fire-andbrimstone finger-wagger would likely envision a spiritual descent steeper and even more perilous. A philosopher would perhaps ponder lost opportunity, whereas a supersize corporate farmer would almost certainly decry laxity while fearing lost profits. Artists David Burns and Austin Young, however, see nothing but positives: Fruit as a delicious, nutritious, at times viscous bounty that symbolizes abundance and generosity, intercommunal exchange, and social collaboration; a nonpolarizing connector that transgresses culture, class, race, nationality, age, and epoch—and which serves as the fruitful media through which they hope to change the topography of the planet and improve the geography of your mind, all while making organic, vitamin-enriched snacks readily available, too. Judging by the success of “Endless Orchard,” the duo’s most ambitious project to date— which this month grows into one of the largest collaborative art projects in the world (and it’s just in its sapling stage!)— they’re well on their way. What exactly is this incredible fruit cocktail, and what’s its recipe? First, take a healthy pinch of inspiration… The collaboration germinated in 2004, when cofounders Burns, Young, and fellow artist and cofounder Matias Viegener (who exited the group in 2013) responded to a call for proposals from The Journal of Aesthetics & Protest—a call that came with an intriguing curveball. Basically, as Burns explains, the crux-in-question was: Is it possible to create a project that engenders positive social momentum that isn’t in the form of opposition, as protests or activism typically are? In response, the trio scrutinized their own Silver Lake neighborhood. What they confirmed was nobody walks in LA. What they discovered were pedestrian-challenged streets lined with fruit trees laden with ignored produce, all free for the picking, all seemingly invisible in plain sight. What they then asked themselves was: Is it possible to explore a place in a way that’s more meaningful or magical, and if so, how could that be encouraged? “We were interested in getting people out of their cars, to interact with their environment directly without the mediation of a windshield or cell phone,” says Young, age 49, who hails from Reno, Nevada, and has lived in LA for decades, studied painting at Parsons in Paris, and has a practice across many media, including photography (he’s captured the likes of Debbie Harry, Leigh Bowery, and Amy Poehler in his signature pastel palette; and you might recognize him

from recurring appearances on The Real Housewives of Beverly Hills and Gene Simmons Family Jewels). The exercise also led them to question how “California art” differs from art from other places. “We decided that California art, and maybe LA art in particular, was really fun and unpretentious, and when we were starting off, we really had that in our minds. We wanted to keep that tone,” Young explained in a TEDYou talk at TEDActive 2013. For their project, which they titled “Fallen Fruit” in reference to the Bible’s book of Leviticus (which decrees that fallen fruit on the edge of a field should remain unharvested so as to feed the stranger, the poor, and the passerby), the trio drew a map of all the fruit trees growing in or over public space, such as streets and sidewalks, in their immediate Silver Lake environs. They also took a series of stylized, humorous photographs of themselves advancing their fruitfilled agenda and wrote a manifesto exploring the concepts of public space. “We learned there is no definition of ‘public’ in US law. There’s no language for that,” says Burns, a 44-year-old LA native with a BFA from the California Institute of the Arts, an MFA from UC Irvine, and who, in addition to his arts and curatorial practices, has held faculty posts at CalArts and California College of the Arts in San Francisco. Interesting, undoubtedly. But is it, uh, art? “‘Fallen Fruit’ was at the forefront of social practice in LA,” says Allison Agsten, the public engagement curator at the Hammer Museum, referring to a fresh and vigorous iteration of an arts medium also known as “public practice,” “socially engaged art,” and “nonmaterial art,” in which the lines of object-making, activism, performance, community involvement, and even investigative journalism blur and blend to create immersive environments and participatory results. With this first project completed, the three artists intended to return to their own individual practices. “It was going to be a one-off, a one-time thing,” says Burns. Except that’s not what happened. “That first little action,” he adds, “was picked up by the press quickly and was on the radio within a couple weeks after being published. Then we got ambitious about it.” Next step, select your choicest fruity ingredients, throw ’em in a bowl, and mix, baby, mix! In short order, Fallen Fruit started to grow… and grow fast. Public fruit maps sprouted in other LA neighborhoods, such as Sunset Junction, Venice Beach, Larchmont, and Sherman Oaks; spread around the Golden State; colonized other urban centers in other states; jumped North American borders; and crossed oceans. Each map is online, readily available, without copyright, free. And according to Burns and Young, every mapped

“[Our frst Fallen Fruit project] was going to be a one-off, a one-time thing. But it was picked up by the press quickly… Then we got ambitious about it.”—David Burns

opposite page: Austin Young (left) and David Burns. above: Fallen Fruit’s “Lemonade Stand,” 2014, was part of the “Food for Thought” exhibit, which ran from June through August 2014 at the Weatherspoon Art Museum at the University of North Carolina Greensboro. As part of the exhibit, visitors were asked to create self-portraits using black-ink markers on lemons and to share stories, both happy and sad, about their lives.  97

this page, clockwise from above left: Young and Burns with their trusty apple pickers; Fallen Fruit’s Peeled Banana

wallpaper, commissioned by the New Children’s Museum in San Diego for the exhibition “Feast: The Art of Playing With Your Food,” October 2013; Fallen Fruit’s “Fruitique,” part of the Hammer Museum’s “LA2050” project, was a site-specific art installation that functioned both as an exhibition and a retail store open to the public. Curated and consigned works were displayed on the walls using Fallen Fruit’s wallpaper as a background. opposite page, from top: A tree planted as part of the Riverside “Urban Fruit Trail”; a tree planting along the “Urban Fruit Trail” in Lafayette Park.


neighborhood has since seen an increase in numbers of fruit trees, additions the duo attributes to the maps’ agency in focusing people’s attention, raising consciousness, and planting the seed of a bigger vision that builds on what’s already there. “The maps are symbolic. They don’t have addresses; they don’t tell you when the fruit is ripe. They instead invite you to walk through a space and reconsider it,” says Burns. Additional ongoing projects include the wildly popular “Public Fruit Jams,” collaborative happenings in which the public is invited to bring homegrown or street-picked fruit, to sit with people they don’t know, and, without recipes but with general guidelines, work together to make jam from whatever fruit they have in hand—with every participant leaving with a free jar of the sweet stuff (a “Public Fruit Jam” is planned for August in Pasadena); spirited “Neighborhood Infusions,” in which fruit picked in a particular locale is infused in vodka to get to the “essence” of a place, in which docents (not bartenders) offer an enlightening tipple to the of-age public; “Lemonade Stand,” where participants are offered an organic glass of lemonade in exchange for a selfportrait on a lemon with black-ink marker (a “Lemonade Stand” will go up sometime this summer at City Hall in Downtown LA); and “Fallen Fruit Factory,” in which the public collaborates to make eye-popping images created in an almost automatic process (think Arcimboldo on acid). “We create tasks, and there’s no right or wrong way to do what we invite people to do,” says Young. “There’s no fail,” adds Burns. Other branches of Fallen Fruit extend to group shows, residencies, and one-off projects across the US and the globe, from north of the Arctic Circle to South America, from Australia to Athens; as well as solo exhibitions at museums and cultural institutions, including the Atlanta Contemporary Art Center, Los Angeles Contemporary Exhibitions (LACE), the Hammer Museum, the Utah Museum of Contemporary Art, and the Los Angeles County Museum of Art (LACMA). To give a taste of how bananas (and oranges and avocados) these fruit-packed extravaganzas can be, consider the project’s yearlong residency at LACMA in 2010. Titled “EATLACMA,” it included an exhibition that reorganized pictures, paintings, and sculptures in the permanent collection according to the fruits depicted in the respective works and then hung the pictures and paintings against a wallpaper made by Fallen Fruit. “It was generated by photos of all the fruit we picked in the streets in LA on one day,” says Burns. The residency then culminated on a single day when over 50 artists and collectives reimagined the entire museum, galleries, and grounds—resulting in such fruity actions as a massive tomato fight, an electronic melon drumming circle, an interpretation of Josephine Baker’s famed banana dance, and a selection of the food served to prisoners in California’s jails. Called “Let Them Eat LACMA,” the series of tasty spectacles smashed the museum’s attendance records. And then there’s “Endless Orchard,” the project’s biggest endeavor to date,

which got extra juice as a seedling as the recipient of an extremely competitive Creative Capital Award in Emerging Fields (see “Capital Creatives,” p. 102). Says Ruby Lerner, Creative Capital’s executive director, “The panel that selected them was enthusiastic about their project as an exploration of food and public space that truly engaged local communities.” The roots of “Endless Orchard” stretch back to “Public Fruit Tree Adoptions,” an ongoing project Fallen Fruit launched in 2007 through which hundreds of bare-root fruit trees have been distributed for free through art spaces or cultural centers to residents throughout LA. “Recipients sign adoption papers promising to care for the tree, and we, of course, encourage them to plant the perimeter of their property so a part of that tree goes to feed their family, and part of the tree goes to feed the public,” says Burns, who underscores that after fruit trees are established, which takes approximately three years, they’re drought-tolerant. This correlative concept—increasing the amount of publicly accessible fruit trees, ergo increasing the amount of public fruit—was expanded in 2013 with the dedication of the Del Aire Public Fruit Park, California’s first public fruit park (located in Hawthorne near LAX). Fallen Fruit planted 27 trees in the park itself and distributed 65 more in the surrounding blocks. “You don’t have to be an art historian to get it, to have an immediate connection [with the park and fruit trees], and that’s what matters at the end of the day,” says Laura Zucker, executive director of the Los Angeles Arts Commission, which provided financing. “Expanding people’s ideas about what art can be, that’s one of the most joyful aspects of this project.” The idea was then enlarged even further with last year’s “Urban Fruit Trails,” an ongoing project in which walkways through underserved areas of the city are lined with fruit trees. All of which leads to “Endless Orchard.” “Ultimately, that’s exactly what we want to create: endless orchards,” says Burns. While there are hopes for projects in urban centers the world over, for now the vision centers on Los Angeles: its goal, to connect urban fruit trails with public fruit parks and the pockets of already-existing fruits trees to create uninterrupted ribbons of fruit-bearing verdancy— which, in turn, will change the nature of the city by bringing back nature. “We’re asking everyone to participate, to plant a fruit tree for public consumption and then map it,” says Young, explaining that these fruit trees will be marked online in mapping systems similar to Google Maps, and that this data will then integrate with already existing databases into the largest single-source map of public fruit trees in the world. “It’s the largest collaborative art project in the world!” “And it’s such an LA project,” says Burns, his enthusiasm infectious. “Its approachability, its cheerfulness, its politeness, its complexity under an apparent simplicity.” He’s not just talking about “Endless Orchard,” but about Fallen Fruit as a whole. It’s a description—and a mission—that fits Los Angeles snug as an orange rind. To contribute to the “Urban Fruit Trails” project, go to urbanfruittrails LAC

“We’re asking everyone to participate, to plant a fruit tree for public consumption… It’s the largest collaborative art project in the world!” —Austin Young  99


Adventurous artists worth their pigment, mixed media, or found materials know their praxis from their practice, can hold forth on any aesthetic “ism” with nonchalant aplomb and are able to distinguish Praxiteles from Picasso at 50 paces. But what these creative cruisers of the right cranial hemisphere often lack is a solid tether to everything la vie bohème ostensibly eschews. Namely, the ever-pressing quotidian quantitatives—a steady income stream, financial planning, career assessment, and strategizing—that their parents



likely espoused at eardrum-hazardous decibels. Enter Creative Capital. Inspired by correlatives of venture-capital principles that have propelled many a start-up to nosebleed Nasdaq heights, the New York-based nonprofit seeks to support artists holistically, helping them to realize a discrete project while simultaneously imbuing skills and lending advisory support that translates to long-term career success. Think of it as bohemian boot camp, or tough training under the aegis of a stern but loving uncle. (Or aunt, lest one be accused of gender bias.) Think of it also as a reinvention, nay revolution, in cultural philanthropy. Like all revolutions, Creative Capital’s was catalyzed by strife. Founded in 1999 by a cadre of

arts organizations and advocates—such as The Andy Warhol Foundation for the Visual Arts, which spearheaded the foundation’s formation, and LA’s own producer/MOCA board honcho Jeffrey Soros—Creative Capital was a result of the culture wars of the early and mid-1990s, and a direct response to the National Endowment of the Arts’ evisceration of its grant programs for individual artists. “In the beginning, it was simply to fill this void,” says Soros, full stop. But basta to destruction. Creative Capital’s mission is creation and the perpetuation thereof. Here’s how it works: Once a project like Fallen Fruit’s “Endless Orchard” is selected, it receives direct funding for up to $50,000, moolah that is provided at benchmark moments such as the project’s kick-off, production, premiere, and, hopefully, as is the case with “Endless Orchard,” the project’s expansion. But it’s not just about the greenbacks, because the artists also receive what the foundation calls “career development services” valued at $45,000. Those services include instruction in the Dark Arts of Business (aka marketing, public relations, fundraising, online sorcery); pro bono legal services ranging from intellectual property rights and copyright to patents and contracts; retreats for artists, arts professionals, and supporters; and multiple platforms through which artists can sing their project loud and proud—for example, Creative Capital’s e-mail blasts, blog, website, newsletters, and year-end reports, not to mention its posse of over 40,000 friends and art lovers. “Somebody once told me that nonprofits do what the marketplace ignores and the government overlooks,” says Soros, who, in apparent agreement with that sentiment, has sat on the foundation’s board since its 1999 onset. “Creative Capital is an ongoing experiment; it’s fun and interesting. Nobody’s dogmatic. We try something, and if it doesn’t work, we move on. If it works, we continue.” Evidently, a lot has worked. In the intervening 16 years, Creative Capital has shelled out in excess of $35 million in both financial and advisory support to 465 projects produced by 579 artists across five disciplines: visual arts, performing arts, emerging fields, film and video, and literature. In turn, these projects have premiered at such august institutions as the Museum of Modern Art, the Guggenheim, the Walker Art Center, The Kennedy Center for the Arts, and the Venice Biennale, and literary works have been published by the likes of Knopf and the University of California Press. Then there’s Creative Capital’s less easily quantifiable contribution to the nearly 10,000 additional artists in 400 communities across the country who have been reached through the foundation’s career-supporting retreats, workshops, and webinars.


The Fall of Man by Creative Capital artist Edgar Arceneaux, 2009.


Clouded Sulphur (death is a knot undone) by Creative Capital grantee Janie Geiser, 2013.

Creative Capital award winner Kristina Wong performs Going Green the Wong Way in 2013.

This year Creative Capital awarded grants to 46 artists nationwide in its Moving Image and Visual Arts category. LA-based artists/projects garnered 13 of the awards. And the winners are: Heather Cassils A series of bronze monuments explores acts of violence aimed at gender-nonconforming people. Carolina Caycedo The artist’s interdisciplinary piece investigates the social and environmental impact of large dams. Cherien Dabis An immersive cinematic work chronicles a young Muslim woman participating in the Egyptian revolution. Danielle Dean Dean’s video work appropriates language from Nike commercials and political speeches to investigate how advertising can shape a subject. Maryam Keshavarz Keshavarz’s feature film follows a cross-dressing musician and her romance with the king in 19thcentury Persia. Jeff Malmberg and Chris Shellen The artists’ documentary focuses on villagers in a small farming town who confront

Artists in LA and its immediate environs have fared particularly well. Edgar Arceneaux, Kristina Wong, Janie Geiser, and, of course, Fallen Fruit number among a total of 83 awardees (representing upwards of $5 million in support). A further 150 artists have participated in career-development workshops, including a recent workshop at LACE. And Creative Capital-backed projects have premiered at local venues including REDCAT, CalArts, Luis de Jesus, and LAXART. In its latest round of grants announced in January in the Moving Image and Visual Arts categories, 46 projects were selected from a pool of 3,700 applicants, a jawdroppingly competitive open-application process yielding a success rate of just under 1.25 percent. LA-based artists garnered 13, or over 25 percent, of those awards. Asked about a through line uniting these lucky 13, Ruby Lerner, Creative Capital’s founding president and executive director, answered with an emphatic: “Our 2015 LA-based Moving Image and Visual Arts awardees are an incredibly diverse group. I think that is the most exciting thing about them—that I couldn’t really call out specific trends! Their work ranges from experimental film to performance art. The commonality in all that varied artistic exploration is that these are ambitious, rigorous artists addressing timely issues.” Given Creative Capital’s own big-picture-changing approach, what would be more artfully appropriate than that? LAC

community issues by turning their lives into a play. Lofty Nathan A feature film follows Mohamed Bouazizi, the Tunisian fruit vendor whose self-immolation ignited the Arab Spring. Gala Porras-Kim Porras-Kim’s work examines the link between undeciphered Mesoamerican artifacts and the development of a standardized Zapotec dictionary. Pat O’Neill The artist’s video installation presents imagery drawn from life and radically restructured via digital technologies.

Lee Anne Schmitt Schmitt’s nontraditional documentary draws on the case of an 11-year-old girl convicted of murdering two young boys in England. Anna Sew Hoy A sculptural installation is comprised of bronze pieces enlarged from spontaneous gestures in clay. Wu Tsang Tsang’s film project explores the legacy of 19th-century Chinese poet and revolutionary Qui Jin via a queer lens. Travis Wilkerson The artist’s documentary examines a racially charged murder mystery relating to his own family history.

A still from the movie Mishima in Mexico, 2012, by Wu Tsang.

Jeffrey Soros with Creative Capital’s Executive Director Ruby Lerner

Founding board member of Creative Capital as well as president emeritus of the Museum of Contemporary Art, film producer and financier Jeffrey Soros is as much a part of LA’s cultural vanguard as the artists and institutions he champions. What compelled you to join the Creative Capital board? “I thought somebody needed to support artists not supported by the marketplace.” What makes LA unique as an arts incubator? “I speculate there’s a snowball effect. LA’s now like a baseball team with a good farm system. It used to be administrators at local arts schools handed out one-way tickets to New York along with the diplomas. Now they just hand out the diplomas.” Who are some Creative Capital-awarded artists in your collection, and what most beguiles you about their work? Erika Blumenfeld uses photographic paper—but not cameras—to record celestial phenomena. She luminously captures abstraction in the natural world…. Franco Mondini-Ruiz is a trickster in the art world. His work challenges assumptions about art and consumerism… Edgar Arceneaux combines media, iconography, and associations to his own socially conscious ends… Jason Salavon is a real pioneer in computer code as art… Hasan Elahi’s work makes a brilliant political statement… One of Paul Shambroom’s photographic works on canvas resides in our breakfast room. It captures the theatrics of power, in this case a small-town council meeting. Our family enjoys making up stories about the four council members and their relationships!





Native Angeleno Fay Ray, 36, needed to step outside of LA and experience the cold concrete jungle of NYC to learn the true value that her childhood home added to her artistic life. “I think the lizard is my spirit animal,” says the artist, who earned her MFA at Columbia University. “Stepping outside and being smacked in the face with warmth and sunlight makes it easier for me to work. Coming home in 2009 was a process of healing.” From working at many different art spaces (LAXART, LACMA) to starting her own gallery to assisting artist John Baldessari, Ray experienced every avenue of the art world, thus giving her a unique perspective into both the business and creative sides of the field. “In Los Angeles you can author your own art scene—you can put your art up on a cinder block wall in your apartment, and people will come. There are many more opportunities here than there are artists.” And people do come to see Ray’s meticulously crafted work. She has found early and sustained success nationwide, with upcoming gallery shows that will exhibit both her sculptures and her image-based collages. Ray initially viewed these collages as sketches for her sculptures that were often too momentous or too expensive to make, but they took on a life of their own. “I always had the two streams going, and it used to torture me,” she says. “Now I’ve surrendered, and the new work will have aspects of both!” Inspired by female artists like Sarah Lucas, Valie Export, and Hannah Hoch, Ray’s pieces live in a feminine space, often contemplating the use of female imagery and construction in the media. “I make work from the inside out, and some of the themes I work through are essentially female. I’m not afraid of feminine-looking sparkly stuff, even if I don’t trust it.” It is in her collages that she takes bits and pieces, changes the scale of images, and inserts her own photographs to change their contexts and meanings. “I’m trying to rescue the beauty in there and dignify it.” Fay Ray’s work can currently be seen in the group show “Bananas” at Gallery Diet in Miami ( and in a solo show in early 2016 at Louis B. James Gallery in NYC (



Food fix: La Playita in Santa Monica Favorite summer spot: El Segundo Beach Artists to watch: Max Maslansky, Melanie Nakaue

Fay Ray photographed at her studio in Downtown Los Angeles.



Alexandra Grant photographed at her Los Angeles studio.


With a long résumé of well-received shows at museums including MOCA, The Contemporary in Baltimore, and LACMA, Alexandra Grant is just hitting her stride. However, that doesn’t mean the 42-year-old is resting on her laurels—her latest body of work is not what most would expect. Her new series of paintings, “Antigone 3000,” has been hidden in the artist’s studio for the past year, and it has a sense of freedom and play not found in her earlier, often text-based pieces. Many artists would be nervous unveiling such a divergent body of work, but surrounded by her new paintings, Grant exudes excitement. “For me the nerves come at the beginning of the project, but once I give myself permission to change, I get excited.” These vibrant works of color and line, which debuted at Barnsdall Art Park as part of the COLA (City of Los Angeles) Fellowship the artist recently received, “harken back to childhood and the freedom of spilling paint. I feel like, at this stage in my career, I’ve earned the right to experiment,” she says. And for Grant, there is no better town in which to flex one’s creative muscles than Los Angeles, which she calls “the city of creative energy.” Besides having a generous art community, a landscape dotted with ample opportunities, and a taste of the Mexican culture she grew up with in Mexico City with her mother, then the head of US-Mexico educational exchanges for The Fulbright Program, she “was drawn to the LA art scene by artists like Barbara Kruger, Ed Ruscha, and John Baldessari—all of whom have a conceptual approach and language in their work.” But it is not just in these other visual artists that Grant finds inspiration, as collaboration is at the heart of her artistic philosophy. From her series of bubble works created with hypertext author Michael Joyce to her second book project with actor Keanu Reeves, Shadows, coming out later this year by Steidl Books, Grant embraces the creativity of others. “I feel in cahoots with all of them,” she says. “It allows the opportunities to be bigger and lets my creativity flourish.” Alexandra Grant is currently in the group show, “We Must Risk Delight: Twenty Artists from Los Angeles,” at la Biennale di Venezia, Biennale Arte 2015 (

Food fix: Any of Josef Centeno’s restaurants in Downtown LA Favorite summer spot: Grifth Park Artists to watch: Claire Anna Baker, Patricia Fernández




Gisela Colón photographed at Ace Gallery in Los Angeles.


Food fix: République Favorite summer spot: Ahmanson Ranch in Malibu Artists to watch: Johannes Girardoni, Adam Belt


“When I landed here in my 20s from Puerto Rico and saw all the lights and grids from the air, I felt like I was a pioneer in a new land,” recalls Gisela Colón. It is that idea of discovery and innovation that informs the artist’s work, which will be featured in more than six solo museum shows in the next two years. After abandoning her career in law, Colón, 48, evolved from being an abstract painter to a sculptor and continuously employs this sense of reinvention in her work. Her new Glo-Pods—recently shown at Ace Gallery and soon to be gracing the pages of her first monograph—are innovative in both their form and fabrication. By pushing the limits of technology and science, Colón created a proprietary method of imbuing acrylic sculptures with light, air, and color. “Los Angeles allows artists to push boundaries and use all the different industries to create new discoveries.” Colón’s vision refers back to the Light and Space art movement originating in


LA in the ’60s, which focused on minimalism and abstraction and was popularized by artists like DeWain Valentine, Robert Irwin, and Donald Judd. She, however, pushes that vocabulary of symmetry and precision into a more organic—perhaps a more female—space. “With regard to the sexual overtones some read in my works, my art has been identified as feminist. Although I do not consider myself a ‘feminist’ per se, I do agree there is power in being a woman.” Her pods have a life of their own, constantly changing appearance and shape depending on light, angle, and how they are hung. “I wanted to create an object that can change its nature depending on the environment and the viewer,” she says. “This inherent mutability allows the work to always become something new.” In September Colón’s work will be exhibited at The Butler Institute of American Art in Youngstown, Ohio (


Food fix: Night+Market Song in Silver Lake Favorite summer spot: Elysian Park Artists to watch: Sarah Conaway, Nicole Miller

Whether it was the legacy of creativity in her family (including her printmaking grandmother and her modernist sculptor great-aunt) or a city that embraced and showcased the arts with its excellent public museums, Chicago-born artist Lisa Williamson, 37, lived and breathed art even before she decided to make it her profession. “I was a late bloomer, but I have always been a lover of arts and always was making art shyly,” she says. There is a unique language to Williamson’s work that embodies the dialogue she has with the arts all around her. Working in multiple mediums, including painting, sculpture, and writing, she looks to “create a totally autonomous space where my internal dialogue turns into something tangible.” She describes her current sculpture work as having a totemic presence, informing any given art space with a sense of strange conversation among the objects themselves: “They are a forest of objects all similar but manipulated in a different way.” Some of her work is also site-specific, the architecture of the given space guiding the work —for instance, her pieces in the Hammer Museum’s first Made in LA show in 2012 were crafted specifically with the museum’s vault gallery in mind:

“One object informs the next in conversation with each other and the architecture.” Settling in LA after receiving her MFA at USC, Williamson acknowledges the ease of living in a city known for its exceptional art spaces and schools. Los Angeles is a place where “multiple generations of artists have access to one another. I am always examining longevity and how artists can be in it for the long haul.” Influenced by other female artists like Barbara Smith and Simone Forti, Williamson hopes for a day when gender is a nonissue. “I don’t feel limited as a woman, but the more inclusion, the better,” she says. Williamson shares a studio with her artist husband, Leroy Stevens, and art continues to weave a strong thread through her life. “We have an implicit understanding of what each of us is going through,” she says. “Having that support in my life gives my work an added boost.” Lisa Williamson’s work can be seen in a group show at Marianne Boesky Gallery in New York this summer ( as well as at the Shane Campbell Gallery in Chicago in October (shanecampbell


Lisa Williamson photographed at her studio in Sun Valley.



In a town that famously celebrates youth over talent, painter Carol Sears, 73, is turning that stereotype on its head with a new collection of well-received and beautifully lyrical abstract paintings. Success can happen at any age, and it was only three years ago that Sears was able to make art her full-time profession. “I always knew I wanted to be an artist,” she says. “I remember being in kindergarten in Sydney, Australia, and making a plasticine elephant that the teacher praised and put on her shelf. I remember how special that made me feel and how I wanted to keep doing that.” Sears worked as much as she could for many years, mostly as a figurative painter, but could not find a true signature until recently: “I started with abstraction with line, form, and color, and it finally started to gel.” Sears begins by taking shapes from nature and drawing them on the canvas. She then paints around and through the drawings. “I see beyond the leaves on the tree; I abstract it, and it could be anything,” she says. “It’s an intuitive process, and it’s a great joy to have it come together.” A passionate lover of all the arts, Sears sees inspiration in everything around her—from the light on her deck to the work of such artists as Cézanne, Modigliani, and de Kooning: “Everything I look at I turn into a painting. I dream in clay; I can’t turn it off. It all feeds me.” For Sears, Los Angeles is the ideal city to nurture her creative spirit, as its approach to art and artists is more relaxed. (“There are so many rules in New York,” she says, “It’s too anxiety-ridden.”) Her professional success could not be coming at a better time, as the artist recently faced a grave health crisis that almost made painting impossible. Now that she is regaining her strength and is able to work again, Sears’ process is back on track: “If I get [a painting] right, that’s all I care about… that I did it.” LAC

Carol Sears photographed at her studio in Bel-Air.

Carol Sears’ work can be seen in a solo show at Coagula Curatorial through July 11 (, and in a pop-up exhibition at Art Basel Miami Beach with Mat Gleason of Coagula in December (

Food fix: Chinois on Main Favorite summer spot: Venice Beach, my home Artists to watch: Michelle Andrade, Diane Silver



Printed silk dress, Roberto Cavalli (price on request). 362 N. Rodeo Dr., Beverly Hills, 310-276-6006; Quadruple V bracelet, K/ller Collection ($529). Ron Robinson, 8118 Melrose Ave., LA, 323-651-1800; Location courtesy of Baha Mar, the new Bahamian Riviera, set on 3,000 feet of pristine beachfront in Nassau. The 2,200-room, $3.5 billion luxury lifestyle resort reflects the vision of its CEO and chairman, Sarkis Izmirlian. Architect Mike Hong master-planned and designed the 1,000-acre destination, while interior designer Dianna Wong translated the ocean, people, art, and glamorous history of the Bahamas’ 700 islands into a resort that celebrates them all. Baha Mar features four hotels; a luxury villa designed by Grammy Award winner Lenny Kravitz; private residences; a world-class, Jack Nicklaus–designed 18-hole golf course and clubhouse; multiple restaurants and retailers; a nightclub; a lavish 30,000-square-foot spa; three 14-foot-deep blue-hole pools; and the Baha Mar Casino—the crown jewel of the resort, showcasing 100,000 square feet of gaming and rivaling the best casinos in the world. For reservations or information, call 844-800-BAHA or visit



From Baja to the Bahamas, Fashion this season is an endless summer oF chic. photographs by randall slavin

styling by cannon  111


opposite page:

Dress, Salvatore Ferragamo ($4,450). 357 N. Rodeo Dr., Beverly Hills, 310-273-9990; Chainlink cuff, Jennifer Fisher ($930). Barneys New York, 9570 Wilshire Blvd., Beverly Hills, 310-276-4400; Moray sandal, Jimmy Choo ($950). 240 Via Rodeo Dr., Beverly Hills, 310-860-9045; this page: Swimsuit,

Eres ($490). 9566 Dayton Way, Beverly Hills, 310-246-1008; Coconut necklace, Holst + Lee ($255). Saks Fifth Avenue, 9600 Wilshire Blvd., Beverly Hills, 310-275-4211;  113


PhotograPhy assistance and Video by noah schutz; styling assistance by izzy ruiz; hair and makeuP by craig honeycutt/utoPia; model: Pernilla/Q models; shot on location at baha mar casino & hotel, nassau, bahamas; sPecial thanks to Valentino lloyd, eureka smith, and karlyle harris

opposite page: Mist embroidered dress, Bottega Veneta ($6,800). 457 N. Rodeo Dr., Beverly Hills, 310-858-6533; Kona fringe bracelet, Holst + Lee ($165). Saks Fifth Avenue, 9600 Wilshire Blvd., Beverly Hills, 310-275-4211; this page: Bodysuit ($895),

tulle skirt ($5,995), and Blasia sandal ($550), Ralph Lauren Collection. 444 N. Rodeo Dr., Beverly Hills, 310-281-7200; ralphlauren. com. Viti tube cuff, Pluma ($402). Neiman Marcus, 9700 Wilshire Blvd., Beverly Hills, 310-550-5900; beauté: Giorgio Armani Luminous Silk Foundation in #4 ($62). Saks Fifth Avenue, 9600 Wilshire Blvd., Beverly Hills, 310-275-4211; Bobbi Brown Long-Wear Cream Shadow in Heather ($26). Saks Fifth Avenue, see above. Nars Eyeliner Pencil in Mambo ($23). Saks Fifth Avenue, see above. Tom Ford Lip Color in Sable Smoke ($50). 346 N. Rodeo Dr., Beverly Hills, 310-270-9440; Oribe Après Beach Wave and Shine Spray ($39) and Thick Dry Finishing Spray ($39). Eden by Eden Sassoon, 8600 W. Sunset Blvd., West Hollywood, 310-861-4660;  115


Que Pasadena!

On the “Other” side Of arts hub dOwntOwn, Pasadena has been a fOnt Of fabulOus art and architecture fOr well Over a century. by kathy a. mcdonald Change comes slowly to Pasadena; most would agree very slowly. For better or worse, an adherence to traditional residential styles and strict historic preservation and zoning rules sets the leafy suburb apart from LA metro’s fluid streetscapes. “Most of Pasadena was built a long time ago,” explains Catherine “Tink” Cheney, the previews estates director at Coldwell Banker Pasadena ( While prices often fluctuate in Malibu and Beverly Hills, “It’s steady as you go in Pasadena,” says the veteran real estate agent of the city known for its family-friendly ethos,

excellent private schools, and multigenerational habitants. Founded in 1886, Pasadena began as a winter resort destination for Midwesterners, hence the early and ongoing preference for Midwesternstyle homes, from bungalows (The Gamble House by Greene & Greene being a prominent example) to neo-Colonial and other conventional architecture. Railroad magnate and businessman Henry Huntington, foremost in the area’s development, had Myron Hunt design his Italianate showplace, now a beloved gallery within the grounds of The

Pasadena à la mod! This $5.28 million steel and glass contem­ porary on Glen Summer Road is a bit of an anomaly for Pasadena, which is more famous for its exquisitely crafted traditional masterpieces from the 1910s and ’20s. When one of the rare modern “architecturals” comes on the market, it is snapped up in days.


The ciTy’s arT scene can’T be overlooked. “Pasadena is a world unTo iTself.” —brent chang

Brent and Linda Chang’s listing on Glen Summer Road in west Pasadena is one of the few contemporary homes for sale in the area. below: Built in 1908, the nine-bedroom $9.95 million Merritt Mansion features vintage wood paneling, a basement pool, and formal gardens.

Huntington Library, Art Collections and Botanical Gardens in San Marino, Pasadena’s upscale neighbor. (High-end homes here tend to sell more quickly due to the city’s popularity with Chinese buyers and its lauded school system.) Because of its rigorous zoning enforcement and adherence to historic preservation guidelines, Pasadena doesn’t suffer the ills of runaway mansionization, as building square footage-to-property-size ratios are strictly regulated. The city’s 27 historic and landmark districts require a design review of

plans before exterior renovations, demolitions, and new construction can proceed. Pasadena’s community-minded citizens and city government willingly lend support to many nonprofit arts and cultural institutions. Home to the Norton Simon Museum, Pacific Asia Museum, Art Center College of Design, Pasadena Museum of California Art (PMCA), and the Armory Center for the Arts, the city’s contribution to the art scene can’t be overlooked. “Pasadena is a world unto itself and very neighborhood-centric,” says Brent Chang of Coldwell Banker (, who grew up in the area along with brother Blair Chang of The Agency (theagency The neighborhood surrounding the Huntington, bordering Pasadena and San Marino, blooms with architecturally significant estates and mature landscaping. Prices range from $875 per square foot in San Marino (though the monthly trend is upwards) to $600 per square foot in Pasadena, per Brent Chang. He contends Pasadena buyers pay one-fifth the cost of a comparable home in Brentwood and the Palisades. Those rare modernist or contemporary homes that list tend to attract Westside buyers. When a $2.5 million, 1,800-square-foot, Richard Neutra–designed property came up for sale recently, it was bought preemptively and never appeared on the MLS, says Chang. “We have very few modern contemporaries,” says the agent. However, he’s representing a 2008-built, $5.28 million contemporary steel and glass home; the living room’s concrete floors, exposed steel beams, and

clean lines are very atypical for Pasadena. In contrast, City Ventures ( is selling the 1908-built, nine-bedroom, historic Merritt Mansion, replete with vintage wood paneling, basement pool, beamed ceilings, and formal gardens designed by Garrett Eckbo. “There’s nothing else on this scale in Pasadena,” says an agent of the Millionaire’s Row landmark on 1.81 acres, listed for $9.95 million. Once the center point of Ambassador College’s campus, it currently is the sales office for the nearby City Ventures’ Ambassador Gardens, a project 15 years in development, where newly built Spanish Revival-style townhomes (topping at $2.4 million) are selling quickly. However, across the board, residential inventory is low. “There’s nothing to buy, no place to go, so [homeowners] don’t sell,” says Catherine Cheney. “They are even more conservative now than they were before the 2008 market downturn,” adds Cheney of the town’s residents. She’s representing the 1979-built Bridge House by architect Thornton Ladd (Norton Simon Musuem’s original architect), a prime example of modernism with its striking combination of glass, wood, and concrete, sited specifically for its views. Home to numerous LA Dodgers and their coaches, celebrities who live in the area keep a very low profile ( Jennifer Lopez formerly owned a restaurant here, as did Kevin Costner; famed boxer Oscar De La Hoya owns a sprawling estate). “Pasadena has been doing quite well,” says Henry Suarez, an agent with Dilbeck Real Estate ( “We’re on an uptrend, but it’s not over the top.” “Our residents are ardent about keeping the city the same,” adds Brent Chang. “You know what you’re getting when you buy here.” A grande dame who keeps her assets intact? Enviable—and unexpected—in Southern California. LAC  117

haute property realty Check

Starchitect Search

Long a showpLace of architecturaL masterpieces, La is weLcoming a new generation of design maestros. By Kathy a. McDonalD


The recently sold Yudell/Beebe House—designed by architect Buzz Yudell and architectural colorist Tina Beebe of Santa Monica’s Moore Ruble Yudell (moorerubleyudell. com)—has an unconventional, though easily transformable, floor plan: one bedroom with two studios. The 5,100-square-foot home (listed at $6.975 million) received several offers. “It is both architectural and very livable,” says listing agent Frank Langen of Deasy/Penner & Partners ( It also has a major benefit, one coveted by realtors—“I didn’t have to turn on a light to show it,” says Langen of the 2010-built house. A surfeit of windows and translucent panels make the structure airy and remarkably light-filled, while screening for privacy outdoors. Infrastructure was upgraded (rarely a client’s request): Framing was engineered to prevent termites, there’s radiant heating indoors and out, and the house exceeds LEED certification standards for energy use. It is net-zero, meaning the house produces more energy than it uses. Unlike most luxury homes, Langen contends the house is sited thoughtfully on its lot to enable natural ventilation, and windows are louvered so there’s no need for air conditioning. “Although they did some experimentation, it’s not trendy,” he says of the house, which incorporates modernism in its strong lines and functionality. “A buyer of an architectural house or property becomes enamored with the house,” says Weiss of Douglas Elliman. Sometimes it takes time for that attraction to cement. Weiss is representing a $10.995 million, four-structure Brentwood compound known as the Schnabel House, designed by Frank Gehry in 1989 (one of the architect’s 28 or so

The blocks-long One Santa Fe townhome complex in DTLA’s Arts District was designed by architect Michael Maltzan, whose inventive design gives renters more than 70 layouts from which to choose.

Despite its unconventional layout, the recently sold Yudell/ Beebe House (asking price: $6.975 million) is “very livable,” because of its open floor plan, abundance of windows, natural ventilation (no AC needed!), and LEED-certified eco-friendliness.

residential projects). Visually intriguing, the copperclad buildings are asymmetrically shaped and quite sculptural (not a surprise with Gehry). The glassboxed master bedroom edges a reflective pool. Potential buyers have asked Weiss if updates or modernization are possible. “The answer is yes, but one should really research how to make those changes,” he advises. Larger residential projects are often like “living sculpture,” too—finely tuned architecture, as opposed to cookie-cutter boxes. At One Santa Fe, built for $165 million at the edge of Downtown’s Arts District (, the developers selected Michael Maltzan Architecture to design the blocks-long complex of 438-unit apartments and

ground-floor retail spaces. “Everything is purposeful,” says developer Charles F. Cowley, president of Cowley Real Estate Partners, of the massive building punctuated by a grid of 600 differentsized windows and balconies. Because One Santa Fe curves and has few right angles, it almost appears to hover above Santa Fe Avenue, creating more than 70 kinds of layouts within units. The apartments, which lease from $1,580/month for studios to $4,530/month for two-bed/two-bath townhomes, feature exposed steel beams and much natural light from their varied windows. The atypical design has already resonated with renters, who appreciate the thoughtful design at the Arts District’s border. Living with art, literally. LAC

photography by Shaunacy Ferro photo 2014 ©LaMbStuDIo (one Santa Fe)

An architect’s home is his brick-andmortar business card. More so than commercial projects, residential work can be a creative outlet, a showcase for inventive finishes and visual flourishes. One thing about an architect’s home, though: It can become a perpetual work in progress. “Architects are never done; there’s always another project,” explains Michael Rachlin, founding partner of Rachlin Partners (, on a recent AIA Los Angeles tour of his house. “Part of the fun is experimenting with finishes and forms,” adds the architect, who spent 20 years remaking his 1950s Beverlywood ranch house into a fashionable Cape Cod-meets-cool-style cottage. There’s a major upside when an architect is his own client: The decision-maker is in-house. LA is home base for iconic, architect-built homes that are now revered as influential labs for modernist living—Charles and Ray Eames’ glass-and-steel Case Study home in Pacific Palisades, Rudolph Schindler’s 1921 slab/tilt-constructed communal house on Kings Road in West Hollywood, and Richard Neutra’s VDL Research House II in Silver Lake, among them. A new generation of LA architects is remaking residential style once again, and on occasion, one of their projects comes up for sale. Despite their design pedigrees, architect-designed homes, especially an architect’s own home, can be a challenge to sell because of the extent of personalization and experimentation that has taken place. “With an architecturally significant house, there’s not the typical square footage, layout, and price point,” says Cory Weiss, executive vice president of Douglas Elliman, Beverly Hills (





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Haute property Abode & Beyond

California, Here We Come!

With a new home in the Hills, New York design stars Robert and Cortney Novogratz are going Hollywood and divine.  By Allyson Rees As the stars of Bravo’s 9 By Design and HGTV’s Home by Novogratz, interior design power couple Robert and Cortney Novogratz are no strangers to dramatic reinvention. Their bold, unpretentious sensibility is featured in numerous high-profile spaces—including Tony Hawk’s Mammoth home and Babakul in the Fred Segal Santa Monica store—and in product collaborations with retailers from Macy’s to CB2. This summer, the couple (along with their seven children!) is working on a more personal project—the redo of their brand-new “castle” in the Hollywood Hills. Here, Robert Novogratz waxes aesthetic about his family’s new digs and LA’s many hidden design treasures.

above: The nine Novogratzes ( back row, from left) Wolfgang, Five, Tallulah, Breaker, Robert, Holleder, (front row, from left) Bellamy, Cortney, and Major. left: Babakul at Fred Segal Santa

photography by Tim Geaney (family); Teren Oddo Photography (fred segal)

Monica is one of the Novogratzes high-profile design concepts. below: The exterior of the Novogratz’s new Hollywood Hills digs.

LA is an architecture mecca. How did you land in your Hollywood Hills home? As ex-New Yorkers, [Hollywood] is probably the closest thing to New York as far as the action of the city. We love and have stayed at Chateau Marmont and The London, so we know the area really well. No doubt you’re in the thick of renovations… One thing we’ve seen in LA that has not been a great trend is that a lot of buildings are being knocked down—beautiful old ones—and McMansions are being built. We wanted to keep the integrity of our old building, yet update it significantly, because we really love the Old-Hollywood vibe. What are some of your favorite local design resources? We always do our kitchens in Boffi, and there’s a great Boffi here (8775 Beverly Blvd., West Hollywood, 310-6525500; But we’ve always loved vintage, so we go to all the flea markets—we love the Rose Bowl and the Melrose Trading Post—and antiques stores like Shopclass (5215 York Blvd., LA, 323-258-2500;, Sunbeam Vintage (106 S. Avenue 58, LA, 323-9089743;, and Big Daddy’s Antiques (3334 La Cienega Pl., LA, 310-769-6600; You have a vast art collection. Any tips for designing around art? Support young artists. It’s kind of like picking up on a band before it gets famous. LA has always had a great art scene, so we plan on buying a lot of LA- and NY-based artists for the new place—a few we love are Raymond Pettibon, Marcel Dzama, Glenn Ligon, and Ed Ruscha. Has the city changed how you and Cortney work? LA is about being outside, so we’re doing stuff like outdoor kitchens, gardens, and outdoor living. It’s something that we’re new to…. LA definitely has the outdoors down!  LAC  121



Hammer Time!

the buzz


“It’s thrilling to be here late at night and see our neighbors peering in during their evening walks,” say Hammer and Spear owners (and husband and wife duo) Scott Jarrell and Kristan Cunningham. “This element has made us feel that much more connected to our community.” More than two years after opening in Downtown’s Arts District, the vintage furniture and lifestyle emporium has doubled its size and integrated company headquarters and design offices into the shop floor. With its dark and moody ambiance, Hammer and Spear is a treasure trove of East Coast-sourced vintage furniture and affordable gifts like Santa Maria Novella potpourri, Delfonics pens, and Allegheny Treenware carved-wood utensils. Tools for stylish living, indeed. 255 S. Santa Fe Ave., LA, 213-928-0997; LAC

LA’s high priestess of design, Kelly Wearstler, grows her repertoire this summer with a new luxury lighting collection with Visual Comfort & Co. Known for her mixedmedia interior design concepts and her knack for seamlessly balancing multiple furniture periods in one space, Wearstler’s lighting portfolio is no different. The designer offers eight distinct collections, each featuring classic metals like bronze, silver, and gunmetal juxtaposed with unexpected materials such as alabaster, marble, and other natural stones. Ranging from $275 for a glass sconce to $7,350 for an antique brass chandelier, the collection’s subtly chic color palette is quintessentially KW.

// one to watch //


After 20 years as a successful illustrator—and fashion designer who has dressed the likes of Gwyneth Paltrow, Cindy Crawford, and Heidi Klum—designer Eliza Gran transitions into home accessories with a collection of handmade baskets, place mats, and table runners. Mixing neutral colors (we love the stark black, $92) with playful bright pom-poms, Gran’s baskets are the cure for the common farmers market bag.


Known for her boldy colored vases, cheeky jewelry, and geode sculptures, LA-based artist and sculptor Elyse Graham introduces “Confetti” ($450) to her playful dip cake plate series. Always experimenting with new techniques, Graham pours hand-pigmented resin onto clear glass plates, creating haphazard, exposed layers. Each plate is made to order, so the whimsical drip details—meant to mimic homemade icing—differ from piece to piece.


Fashion fans know Sophie Buhai as one half of Vena Cava, the quirky, feminine brand she founded with Lisa Mayock in 2003. Now a Silver Lake resident, Buhai forays into interior and product design, launching a namesake e-commerce site that sells Buhai’s home décor and jewelry collections. Curated vintage pieces, like an Elsa Peretti vase and Pierre Jeanneret lounge chair, mix effortlessly with Buhai’s own collection of sculptural sterling silver jewelry and carved wood objects.






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The Gallery Scene

Los Angeles’ contemporary art scene is thriving and there is no shortage of captivating work on display today to celebrate. Tis Summer, allow us to connect you to some of the city’s most prolifc art galleries.

© Ed Ruscha. Courtesy of the artist and Gagosian Gallery.



JULY 9 - AUGUST 21, 2015







Group Exhibition featuring Magdalena Atria, Antonio Muñiz, Ricardo Rendón, Mariángeles Soto-Díaz, Rubén Ortiz Torres. Curated by Cecilia Fajardo-Hill.

"WALLS" is a seven piece original collection by artist Gregory Siff.

A group exhibition that examines how cultural references originate, are remembered, obsolesce, and renew.


4AM Gallery Pacific Design Center 8687 Melrose Avenue Space B273 West Hollywood, CA 90069

2919 La Cienega Blvd. Culver City, CA 90232 310.876.3529 //


456 North Camden Drive Beverly Hills 310.271.9400 //

JULY 17 – AUGUST 29, 2015

JULY 21 - SEPTEMBER 26, 2015








Kohn Gallery presents an exciting show spanning generations of California-based artists whose varied practices gave rise to a West Coast avant-garde resonating in art history and younger artists today. 1227 North Highland Ave Los Angeles, CA, 90038 323.461.3311 //

Featuring over 100 costumes from more than 20 television shows. Fashion Institute of Design & Merchandising 919 S. Grand Avenue Los Angeles, CA 90015

A vivid color exhibition capturing a surreal and synthetic world. Aldridge’s glamorous women stare off vacantly and act out violently in a wonderfully strange hyper color world of unexplained narratives. 148 North La Brea Avenue Los Angeles, CA 90036 323.934.2250

Miles Aldridge, 3-D, 2010

My Favorite Sweatshirt, 2015 House paint, acrylic, tape, marker, spray paint, and graphite on panel 33.25 x 61.75 inches

Douglas Gordon Self Portrait of You + Me (Jackie smiling II), 2008 © Studio lost but found / VG Bild-Kunst, Bonn 2015. Courtesy Gagosian Gallery.




The Fahey/Klein Gallery has been dedicated to the exhibition and sale of Fine Art Photography in Los Angeles since 1986. The gallery has had the pleasure of representing and working with renowned photographers such as Herb Ritts, Helmut Newton, Horst P. Horst, Peter Beard, and James Nachtwey. In December, 2014 the Fahey/ Klein Gallery opened its second gallery location, in Miami’s vibrant Design District.

4AM presents a solo exhibition by LA-based artist Gregory Siff. Siff explores the notion of freedom of expression and being an American artist using hand-drawn images that refer to cultural icons such as Mickey Mouse and Coca-Cola. Emerging from complex mixed media backgrounds, Siff’s images comprise a range of found elements from the artist’s studio; acrylic, oil, spray paint, marker, tape, house paint, and graphite.

Theories on Forgetting: A group exhibition that examines how cultural references originate, are remembered, obsolesce, and renew.




This ninth annual exhibition celebrates the art and artistry of Primetime Emmy® Nominated Costume Designers and Costume Supervisors. Presented with the Television Academy, the exhibition gives visitors an opportunity to review their favorite TV shows and characters, including costumes from Empire, Mad Men, Marvel’s Agent Carter, Better Call Saul and more.

Since its establishment in 1985 by former Flash Art editor Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles creating meaningful contexts to establish links to the greater art historical continuum. Kohn Gallery also boasts an exciting roster of emerging and mid-career artists including Simmons & Burke, Ryan McGinness, and Troika.

Multifarious Abstraction, a group exhibition guest curated by Cecilia Fajardo-Hill, features the work of five Latin American artists, Magdalena Atria, Antonio Muñiz, Ricardo Rendón, Mariángeles Soto-Díaz, and Rubén Ortiz-Torres. Multifarious Abstraction brings together these five artists to explore diverse themes related to art and experience through individual practices of conceptual abstraction.

Photo credit: Karl Puchlik

INVITED Fritz Coleman

Renne Bilson

Blanca Blanco

Charles Agron and Lauren Shaw

Daniel Franzese

CASA OF LOS ANGELES held its 3rd Annual Evening to Foster Dreams Gala, honoring local leaders who have dedicated their lives to helping neglected children in foster care. Held at The Beverly Hilton,

the special evening featured a performance by Jay Leno and honored former LA Mayor Richard Riordan with the Robert Morrison Community Service Award for his philanthropic work.

A dancer performs outside the museum before guests of the gala.

Liberty Ross

Armie Hammer and Elizabeth Chambers

Liev Schreiber and Naomi Watts

LACMA’S 50TH ANNIVERSARY GALA TO TOAST ITS golden anniversary, the Los Angeles County Museum of Art

(LACMA) hosted a fundraising gala before a crowd of 750, raising $5 million for the museum’s programming and acquisitions. The event, cochaired by LACMA trustees Ann Colgin, Jane Nathanson, and Lynda Resnick, gave guests a sneak peek of exhibition “50 for 50: Gifts on the Occasion of LACMA’s Anniversary.” Ryan Seacrest and Ben Silverman



Barbra Streisand



Hannah Kat Jones

James Cromwell and Ed Asner

// who wore what //


Wayne Pacelle and Kaley Cuoco-Sweeting Torrey DeVitto


The Beverly Wilshire to support The Humane Society of the United States at its annual Los Angeles Benefit Gala. Included on the evening’s program were a three-course gourmet vegan meal, awards ceremony, live auction, and afterparty. Proceeds supported the organization’s Farm Animal Protection and Pets for Life campaigns.

Gillian Jacobs and Anna Camp

Laura Vandervoort

Ireland Baldwin and Paul Wesley

Erin Beatty Sebastian Roché

Fatima Robinson

Pia Toscano




Shawn Perine, Joe Manganiello, and Edgar Sargsyan

Sharon Hernandez, Arnold Schwarzenegger, and Joe Hernandez

Jennifer Sidani, Tarek Sidani, and Nicole Creamer

Natella and Dimitry Mazur

BJ Elvis Doss and Joseph Holyfield

WESTIME AFTERSCHOOL ALL-STARS WESTIME HOSTED ITS annual charity poker tournament at the residence of former Governor Arnold Schwarzenegger, benefiting the national organization After-School All-Stars. The evening, which drew forth guests like Don Cheadle, Joe Manganiello, and Patrick Schwarzenegger, supported the charity’s initiative to provide after-school programs for underprivileged youth.



Ben Paul, Arnold Schwarzenegger, and John Simonian

Omar Spahi and Robert McRae

Don Cheadle and Greg Simonian

Patrick Schwarzenegger


Guests were greeted by exotic animals as they entered the residence.

David and Blair Kohan

Pauley Perrette

Brent Bolthouse and Linda Perry

Sarah Silverman and Fortune Feimster

Sia and Denna Thomsen

Kiernan Shipka


forces for An Evening with Women, a gala benefiting the Los Angeles LGBT Center emceed by Pauley Perrette. The event included performances by No Doubt, Sia and Sarah

Silverman, and included a seated dinner and auction. Over $700,000 was raised to benefit the Los Angeles LGBT Center and the many services it provides to senior citizens, young women, and more than 2,000 homeless LGBT youths in the city. Victoria Justice

Benjamin Walker

Valarie Van Cleave

Jenna Ushkowitz and Reid Scott


celebrity ocean activists at the Annenberg Community Beach House for the Third Annual Nautica Oceana Beach House. The evening, emceed by Jenna Ushkowitz (Glee) and Reid Scott (Veep) and sponsored by Los Angeles Confidential magazine, treated guests to beverages by TruvĂŠe Wines and a special performance by musician Max Schneider. Shark and Keo Motsepe

Jon Frank

Sam Trammell and Kristin Bauer van Straten




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Based in San Francisco, the Margaret O’Leary clothing company is renowned for its cutting-edge knitwear and California Chic aesthetic.

13-Years Strong on Abbot Kinney. YAS (Yoga & Spinning®) was the first fitness studio dedicated to the hybrid, founded in 2001 by fitness pioneer Kimberly Fowler. Her signature yoga style Yoga for Athletes® offers a proven, succinct, balanced style of yoga that is accessible to everyone. The YAS class (½ Spin and ½ Yoga) “Zen on Wheels” offers the perfect blend of cardio, strength and flexibility training all in one class. Come try a Spin, Yoga for Athletes®, Ripped (Yoga plus Weights) or YAS class. First class is $10!

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Buy a painting from David Phillips while you can. This young prolific artist does it all. He is showing works at Axis Gallery in July. He is showing his films at Bideo Romo (Spain). He just signed new management with Underground Jam (LA). In his spare time, he fronts the LA band The Buffalo Grass.

Berlin star chef Tim Raue’s new restaurant STUDIO is part of the Factory Berlin start-up campus; a creative space that inspires his changing thematic menus. Raue’s creations are internationally influenced, balanced and aromatic. The cozy urban living-room interior complements the street art and a bare wall that is part of Berlin Wall. Photo credit: Sean Costello




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The Point captures the essence of the South Bay, delivering an unmatched collection of regional shops, chef-driven restaurants and emerging national brands. The Point is celebrating its Grand Opening by hosting a series of events open to the community July 30 through August 1, 2015.

King Baby offers handcrafted pieces that unite sterling silver with precious stones and leather. Experience an exclusive tour of our on-site factory giving you a rare glimpse into jewelry making. Housing a diverse range of men’s and women’s jewelry and accessories the King Baby Flagship store is a must see.

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You’re invited to Bloomingdale’s Beauty Lounge at Santa Monica Place! On Saturday, July 11 and Saturday, August 1, experience a complimentary makeover from the most sought-after beauty brands and experts, enjoy cooling refreshments and jam to tunes played by a DJ. Event is from 1pm-4pm on Level 1, outside Bloomingdale’s. 395 Santa Monica Place Santa Monica, CA 90401 310.260.8333,

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CORNETTI Cornetti sandals are handcrafted in Southern Italy from Nubuck leather soles and fine Calfskin straps. With each pair being designed and named after its point of inspiration, a particular beach along the Amalfi Coast, the collection is meant to embody the colorful seaside spirit of the Mediterranean. Instagram: @cornettisandals

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Orange County: 1040 Irvine Avenue Newport Beach, CA 92660 949.630.0555 @orangetheoryLA

MINT SWIM Mint-Swim is an upscale swim-wear brand designed and owned by business entrepreneur Draya Michele. The brand is aimed to make the everyday women feel confident yet classy. Not only is Mint Swim the exemplar of sexy stylish and bang on trend, but the suits are tailored to give away just enough, without baring all. In 2015, the Mint Swim brand will vastly expand, offering plus sizes and children’s swim-wear. For more information, visit

SKINWAVE™ INSTITUTE IN BEVERLY HILLS Remodel the contour of your face & improve your skin complexion.Reveal the youth and brightness in your inner self. Try SkinWave™’s 100% Natural Touch-Up today. Erases jetlag tiredness effects. Book your session now and get 20% off on your Touch-up skin care session (new customers only) SkinWave™ Institute 222 North Canon Drive Beverly Hills, CA 90210 1.310.288.9771





A perfect throwback to the classic ice cream parlors of the past, Beachy Cream and the pin-up styled Beachy Cream Girls serve more than “the perfect ice cream sandwich”. The new organic catering menu offers healthy comfort food, along with its delicious ice cream, for fantastic summer parties and events.

The Ice Cream lab provides a fun and unique treat by freezing every single cup of fresh ice cream made to order, using liquid nitrogen. Ice Cream Lab uses the freshest locally grown fruits and vegetables along with flash-frozen all-natural California milk and dairy products to craft a smooth and creamy ice cream that will leave you begging for more. Come create a delicious experiment at the Beverly Hills Ice Cream Lab, which is one of 4 locations in Southern California, making it a delicious treat accessible to everyone in the community.

1209 Wilshire Blvd., Santa Monica, CA 90403 310.656.4999 @BeachyCream (Facebook, Twitter, Instagram)

9461 Santa Monica Blvd, Beverly Hills CA 90210 Facebook / Twitter / Instragram @LAIcecreamlab



Froyo Life is committed to providing quality frozen desserts in a clean, fun environment. We won’t cut corners to lessen your experience with us. We have a great selection of fresh fruits and dry toppings to compliment our frozen yogurts. Come try our NEW flavors...

Four exotic chocolates. Four fascinating vanillas. Our single-origin ice creams taste amazingly different from other ice creams – and each other. Scoop globally. Buy locally at Gelson’s, Bristol Farms and other gourmet retailers.

241 S. Beverly Dr. Beverly Hills CA, 90212 310.777.0018 Visit

855-4CHOCTAL (855.424.6282) Facebook: Twitter: @choctal Instagram: @choctal





Transporting the charm of Southern France into Hollywood, this outdoor garden oasis is the exclusive lounge for the crème de la crème. Le Jardin, a beautiful patio accented with olive trees, elegant tiles, plush striped lounge seating, and two outdoor fire-pits, is the ultra-lounge for elite patrons to enjoy evenings of cocktails and live music beneath the stars.

Hutchinson Cocktails & Grill is a wood-fired steakhouse set on Restaurant Row at 826 N. La Cienega Blvd. The thoughtfully executed fare is based on decades of culinary tradition and family travels. Open 5-7pm for happy hour, dinner and late-night dining Tuesday-Sunday. Please visit, or call 310.360.0884.

Address: 1430 N. Cahuenga Blvd., Los Angeles, CA 90028 Hours: Tursday – Saturday, 9:00 PM to 2:00 AM / Sunday, 5:00 PM – 10:00 PM Website: For VIP Service: Call 323.463.0009

EAST LA MEETS NAPA The most IRRESISTIBLE food and wine festival of the summer is here! East LA Meets Napa is July 17, at Union Station. AltaMed’s signature event will take you on a journey through Bordeaux’s wine-making history. The event is almost sold out, so buy your tickets today at

GREEK THEATRE The place to be this summer is under the stars at the iconic Greek Theatre. Don’t miss internationally acclaimed, Culture Club on July 23 and 24 in their first LA area concerts in over 10 years. Boy George and all original members will be performing their greatest hits and more. Tickets available at

And FinAlly… Summer 2015

The ArT Couple

Can two single men share an art museum without driving eaCh other Crazy? By Sam WaSSon

photography by daniel o’leary

I don’t know how to go to a museum with another person. Let’s say I’m going to LACMA on Saturday. (I don’t really want to go, but I’m going anyway, because I want to have gone. It is the same reason I watch TV, or get vaccinated.) I’ll wake up Saturday morning worried about what the museum will do to my friendship with Bob, who will be joining me. I love Bob. He’s open-minded and perennially curious. That’s what worries me. He is going to give every artwork the benefit of the doubt. Either my anxiety is a self-fulfilling prophecy or just good intuition, because inside the museum, Bob is enjoying everything. He is impressed by color. The shade of blue impresses him. How did Cézanne get that shade? Bob wants to know. He steps in closer to the painting, I assume, because he figures proximity will yield a deeper understanding. His nose is so close to the canvas that the security guard asks him to please step away. Others turn and look, smiling at him. Bob smiles back. They understand each other. I figure this is some kind of badge of honor, to trespass in the name of aesthetic inquisition. I don’t understand. This happens every time I go to a museum with an excited friend. I realize one of us is defective. Either Bob is faking his enthusiasm for blue or I’m aesthetically and emotionally broken. Is he being pretentious, or is he, admirably, deepening his relationship with Cézanne? Am I a closet philistine or just having an honest response to the work? I don’t know. But it’s either him or me. That right there is the danger. To uphold the veracity of my own experience, I begin to hope Bob is the defective one. I turn against him. He drifts, hands behind his back, to the Mondrian, and I think, Schmuck. Before a Picasso, he throws a hand to his heart, and I think, Okay, sad. He is delusional. As we approach the gift shop on our way out, I am afraid of what a conversation will yield. I am ashamed of my feelings and ashamed of Bob’s, so I just get quiet, and become unrecognizably antisocial. What will we say to each other during lunch? What if he orders an espresso? And then I watch, aghast, while my friend pays $45 for a Cézanne coffee-table book. “Oh!” I exclaim. “Nice!” Now we are both lying. Then the dreaded question: He asks, “What did you think?” “I loved it,” I say, loudly. “What did you think?” Bob shrugs. He was disappointed. I am shocked. And kindly, like a good friend, he’s interested in knowing what I loved about it. LAC


JEWELRY & ACCESSORIES COMING SOON TO SUNSET PLAZA 8590 Sunset Blvd, West Hollywood CA 90069 310.828.4438

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