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Laguna Beach Sister City Yesterday & Today in St Ives


Forgotten Beauty Art Patron talks to Michael Gallagher and Jack Reilly about Abstract Illusionism


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Interior Designer Dan Hall Design Meets Function Meets Art


Karen LaMonte Embracing Beauty


RYAN CAMPBELL “Line Segments 00,” 2015 Latex, Aerosol on Canvas, 54.5” x 92.5”

FEBRUARY 16-19, 2017 Palm Springs Convention Center

MEET the ARTISTS Phillip K. Smith lll Don Saxton Michael Childers

EXHIBITION includes work by Karen LaMonte Phillip K. Smith lll Don Saxton Michael Childers Ryan Campbell presented by





Frida Revealed Art Patron talks about the Famous Mexican Painter and Her Photographs


Tennessee Williams Finding Summer Fun – and Poultry Peril – in Laguna Beach


Indian Wells Arts Festival


Adorning the Garden Path


Where the Natural and Artistic Worlds Coalesce


Pacific Edge 30th Anniversary



ON THE COVER Jacobus Baas, “TIDE POOL AT PICNIC BEACH, HEISLER PARK.” Heisler Park is a three-quarter-mile stretch of land with a long walkway running atop ocean cliffs and bordered by some of Laguna’s oldest trees, including Torrey pines, Monterey cypress and Washingtonian palms.


#0508 Mixed Media on Canvas 49” x 73” Artist Signature Frame

COASTAL MODERN AND ABSTRACT ART Mixed Media • Surfboard Art • Collector Series • Commissions • Prints Steve Adam Gallery 760 South Coast Hwy., Laguna Beach, CA 92651 949.294.9409 • STEVE ADAM GALLERY

Co - Publishe r s C h r is t in e Do dd & Jan n e e n Jack son Ch r is tin e Do dd C r e at ive Dir e ctor Gr ove Ko g e r C o py Ed ito r J ann e e n J ac k so n A dve r t isin g Di r ec tor jan n e e n @lag u n abe a ch A R Tmag azin e . c om (949) 310-1458 Ro b Pie ph o A dve r t isin g C o n su lt ant r o b@palmsp r in g sA R Tmag azin e .com (760) 408-5750 Gr aph ic De sign S cot t A . McP h e r so n Adve r tising De sign Jar e d Lin g e C y n t h ia Wo o dr u m Ran dy Catille r We bsite De sig n Co ntr ibut o r s Da vid Au s t in Nico le Bo r g e n ich t St acy Da vie s Br u ce Do dd Liz Go ldn e r Te r r y Ha s t in g s Mar isa Ho llid a y Gr ove Ko g e r To m Lamb Ro b P ie ph o Pa m P r ice A n g e la Ro me o w w w. La g u n aB e ach A R T m ag az i n e . c o m w w w. Pa l m S pr i n g s A R T m ag az i n e. c o m For Advertising and Editorial Information: P.O. Box 9492, Laguna Beach, CA 92652 or email The opinions expressed by writers and contributors do not necessarily reflect those of the publisher. Laguna Beach ART Patron Magazine and Palm Springs ART Patron Magazine are published by Laguna Beach ART Magazine, LLC Pick up a copy of ART Patron Magazine at the following fine art fairs: Art Palm Springs • Festival of Arts • Indian Wells Arts Festival • Laguna Art-A-Fair Pageant of the Masters • Southwest Arts Festival • Spectrum Indian Wells


FRIDA REVEALED Art Patron talks with Hilda Trujillo Soto of the Frida Kahlo Museum and Victoria Gerard of the Bowers Museum about the Famous Mexican Painter and Her Photographs Director Hilda Trujillo Soto. “Experts from various parts of the world were invited

to investigate different aspects of Frida’s life as revealed in the images from her photographic collection.” Each of the

experts – Masayo Nonaka, Gaby Franger, Rainer Huhle, Laura González Flores, Mauricio Ortiz, James Oles, Horacio

Fernández and Gerardo Estrada – wrote a section of the book, which was published by Editorial RM in Mexico.

Trujillo continues, “Mexican photo-

graphy expert Pablo Ruiz Monasterio was hired to select the photographs

to be included in the accompanying

exhibition, which chronicles Frida’s daily

and intimate life in works from the Kahlo Museum Archive.”

That archive consists of some 6500

images belonging to Kahlo that were

found in a storage room in the home that she grew up in and later shared with

husband Diego Rivera – and that later still became the Frida Kahlo Museum.

Out of those thousands of images, 241 that explore the artist’s personal and

artistic world were chosen for the exhibit. “These photos were for Frida a source of inspiration for several of her best-

known works,” says Trujillo. “Likewise, Frida painting the portrait of her father by Gisèle Freund, 1951 ©Frida Kahlo Museum


nternationally known for her self-

creative all the while. Now Frida Kahlo:

an icon for women in art history.

at the Frida Kahlo Museum, explores the

portraits, Frida Kahlo has also been Despite her outspoken political

convictions, her heartbreaking albeit

deep love for fellow artist Diego Rivera,

and the anguish and pain that illness and accident inflicted upon her, she remained 20 ART

Her Photos, which debuted in Mexico City determination of this remarkable woman

she related to them ’as if they had life’ –

writing on them, cutting them, doubling

them and impulsively tearing them when she had conflicts with the people that appear in them.”

The romantic bond between Kahlo and

and artist.

Rivera was very strong, although Rivera’s

the publication of the book Frida Kahlo:

to have grieved his wife. Interestingly,

“The origin of this curatorship was

Her Photos,” explains Kahlo Museum

frequent affairs are commonly reported however, it was a lover of Kahlo’s who

took one of Trujillo’s favorite photographs

“The most singular aspect of this

in the show!

exhibition,” Trujillo points out, “is that

images from the exhibition sum up the

while explaining why she is regarded

According to the museum director, two

story of the artist’s life. The first is Frida in the Hospital, a photograph from the

series “The Broken Body.” In this image,

Trujillo explains, “Frida is coming out of surgery and despite this, she is able to

pose coquettishly before the camera of

Nickolas Murray, who was her lover at that time. Her strong attitude towards

life together with the ability to love and enjoy each moment are reflected in this

photograph and in the context that gave rise to it.” The other image is Guillermo Kahlo, in his Library. Here, “Frida’s

father poses before the camera next to his

bookseller. This image gives an account of her paternal model: a cultured, sensitive

and liberal-minded man. Frida absorbed

these qualities, becoming an intellectually restless woman attentive to the artistic,

political and cultural events of her time.” Her stunning paintings reveal Kahlo’s

depth, her pride in her heritage and her talent for reality as well as fantasy. And

while those works excel in such qualities as composition, contrast, color and

“personality,” the photographs show her among her artistic peers and convey her determination to do her best. 22 ART

it reveals Frida Kahlo’s intimate world the way she is today. Her current

recognition cannot be understood


Frida Kahlo, by Guillermo Kahlo, 1926

©Frida Kahlo Museum; CENTER Frida Kahlo in the Blue House, Anonymous, 1930 ©Frida Kahlo Museum; RIGHT Frida Kahlo after an operation, by Antonio Kahlo, 1 946 ©Frida Kahlo Museum; BELOW Frida stomach down, by

without knowing the antecedents of her

Nickolas Muray, 1946 ©Frida Kahlo Museum.

built herself as an original, developing

Rivera’s life, Trujillo continues, “that had

intellectual environment of her time, in

photographs. There had been exhibitions

life, who her friends were and how she

her talent in the effervescent artistic and both Mexico and other capitals such as Paris and New York.”

The show covers aspects of Kahlo and

not been previously exposed through of the works of this Mexican couple,

but not of images that account for their daily lives, their personal and political

interests, their audacities and the

nourishing environment that surrounded them. Although we knew that Diego and

“The thing I love most about this

exhibition,” Gerard continues, “is that

Leon Trotsky, Henri Cartier-Bresson,

personality and life. She has become

André Breton, David Alfaro Siqueiros

and Sergei Eisenstein, in this exhibition we see them documented in their daily

lives. This is a great revelation for those who admire them and wish to preserve their legacy.”

Victoria Gerard, Curator of Collections

it reveals the different layers of Frida’s a larger-than-life figure, an icon, and

viewing photographs that capture her in

vulnerable moments and that preserve the

images of those things and people that she loved best remind us of her complicated and wonderful humanity.

In essence, the exhibition’s photographs

and Special Exhibitions at Santa

are art as imagery exploring the many

comprehensive program to accompany

artist endowed with timeless creativity.

Ana’s Bowers Museum, has created a Frida Kahlo: Her Photos, including

lectures, “Frida-inspired” art projects Gisèle Freund, 1951 ©Frida Kahlo Museum

beautiful and meaningful to them.

Frida were close friends with prominent artistic and intellectual figures such as

Frida Kahlo with the doctor Juan Farill, by

successes to create something that is

and coordinated events. “Frida Kahlo is a very relatable and inspirational

figure who is loved by people across

generations and cultural barriers,” she remarks. “I do hope that visitors are

inspired by her personal struggles and

cycles of Frida Kahlo’s life – the life of an

Bowers Museum presents Frida Kahlo: Her Photos from February 25 through June 25, 2017. Visit for more information. BANCO DE MÉXICO FIDUCIARIO EN EL FIDEICOMISO MUSEOS DIEGO RIVERA Y FRIDA KAHLO

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You Won’t Believe Your Ears!


TENNESSEE WILLIAMS Finding Summer Fun – and Poultry Peril – in Laguna Beach


ennessee Williams, one of the

cash.” Instead of buying a bus ticket to

Century, was also one of the

with clarinet player Jim Parrott in tow, the

great playwrights of the 20th few who wrote successful

screenplay adaptations of his own work, including scripts for A Streetcar Named

Desire, The Rose Tattoo and Suddenly, Last

Manhattan, however, he bought a bike, and two peddled their way down to Tijuana

and Agua Caliente for further adventure and inspiration.

Once their sojourn across the southern

Summer. Long before he secured his place

border had ended, Williams and Parrott

was simply Tom Williams, a Mississippi-

through Laguna Beach down a dirt road

in literary and movie history, however, he born kid furiously penning essays, poems and plays in an attempt to unleash his stubborn muse.

Williams received the nickname

“Tennessee” from his fraternity brothers during a brief stint at the University of

Missouri (just one of several schools he’d attend) during the early 1930s, but didn’t formally adopt the moniker until 1939.

That was also the year that his westward

found themselves haphazardly cycling

in Bootleg Canyon (now Canyon Acres),

and it was there that they happened upon a chicken ranch. The homestead was

owned by an elderly couple who were in dire need of a vacation, and they offered

the drifters occupancy of a small cabin at the back of the chicken run in exchange for minding the flock. Williams and Parrott agreed.

“I don’t know why I was so committed

quest for inspiration found him in

to occupations involving poultry in those

at a squab ranch in Hawthorne.

ever explained that to me.”

California, engaged in a bird-plucking gig During that stint, the struggling writer

days,” Williams wrote. “No analyst has

It was May 1939, and with little more

than a typewriter and Victrola in hand (Williams felt both were indispensible

to his writing), the two stayed through

Williams received the nickname “Tennessee” from his fraternity brothers at the University of Missouri. received a telegram informing him that

he’d won a special award of $100 from the

Group Theatre in New York for a collection of one-act plays called American Blues.

In his memoir, Williams recalls it as “a

huge piece of encouragement and boost

of morale” that was “far more important to me than anything convertible into 26 ART

the summer. They established “friendly relations with the chickens the first

time [they] scattered their feed,” found

part-time jobs as a pin-setters at the local

bowling alley, cruised the night spots, and lazed along the beaches.

“In the thirties, [Laguna Beach] was

a fine place to pass the summer days,” Williams wrote. “There was constant

volleyball, there was surfing and surfers, there was an artist colony … and all of

it was delightful. It seems to me that the

best part of all was riding our bikes up the canyon at first dark, in those days when the sky was still a poem.”

Williams was also in a tempestuous

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struggle to wrench out his muse,

particularly through poetry. Drawn

to the soul-searching allure of jazz, he

began writing Tenor Sax Takes the Breaks, in which he describes a vociferous coastal affair:

Singing the latest jazz tunes with trumpets, with trombones the tenor sax taking the breaks! Ride out, boy! Send it solid! Or at high noon on beaches disporting our bodies that imitate bronze While the drums beat out a quick rhythm …Jitterbugs snakes swing addicts! Boy in blue trunks

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surf-rider girl with your breast half-naked! Where is disaster? Only in newspaper headlines! “I suppose that summer was the

happiest and healthiest and most radiant time of my life,” he would recall. “I

referred to that season as Nave Nave

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Mahana, which is the title of my favorite

Tahitian painting by Gauguin, and which means ‘The Careless Days.’”

Laurent Martres

During that idyllic interval, Williams

also began receiving letters from agents on Broadway who’d heard about his

Group Theatre award. One told him she was not looking for serious material,

but rather a “good vehicle” – to which

Williams responded that the only vehicle Dorothee Naumburg

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28 ART

he had to offer was a second-hand bike. He eventually signed with Audrey

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Wood, known as “the little giant of the American theatre.” She would be with him for the next 30 years, first helping

him attain a grant from the Rockefeller

Foundation, and, by 1944, promoting his break-through play The Glass Menagerie.

A few years later, she would oversee the

publication of A Streetcar Named Desire, for

which he won the Pulitzer Prize.

Williams and Parrott stayed in Laguna

until August 1939, “the month when the sky goes crazy at night, full of shooting

stars which undoubtedly have an effect on human fate, even when the sun’s

up,” but made a hasty exodus after they awoke one morning to find that a third of their flock had perished overnight from a mysterious disease.

Parrott actually left first, acquiring

a beat-up Ford and heading up to Los

Angeles to make quick money playing

Parrott eventually returned and collected his friend, and they headed for the San Bernardino Mountains. jazz, and Williams was briefly left behind. “This was, I believe, the longest time in

my life that I went hungry,” he wrote. “I

went without nourishment for about ten days except for some remnants of dried peas and some avocadoes I’d steal now and then from a grove in the canyon.” As was his nature, Williams found

inspiration in his obstacles – in this case,

starvation – noting that after about three days, “God or somebody drops in on

you invisibly and painlessly injects you with sedation, so that you find yourself drifting into a curiously, an absolutely

inexplicably, peaceful condition, and this

condition is ideal for meditation on things past and passing and to come.”

Parrott eventually returned and

collected his friend, and they headed for the San Bernardino Mountains.

New Orleans was soon to follow, where Williams would expand his jazz-

beach poem, officially anoint himself

“Tennessee,” and finally unleash in full the

muse that had, at least in part, been helped along the way by the verse and adversity he’d found in Laguna Beach. 30 ART


FROM COVETED COASTAL CITY TO INTERNATIONAL DESERT AFFAIRE Laguna Beach Artists Selected to Show at the 15th Annual Indian Wells Arts Festival


aku fired ceramics, hand-

colored photography, large-

scale metal sculpture, jewelry, hand-painted silk fashions,

Lee hand paint silk georgettes and design their wearable art into flowing jackets, tunics, blouses, shawls and scarves. Safari photographer Paul Renner

“Seaside Cottage” acrylic on canvas by Tracey Moscaritolo moludent. “Florence Sunset” handpainted panoramic photograph by Martin Roberts and Dan Witte. Indian Wells Arts Festival guests

paintings of sprawling landscapes and

was born and raised with the Serengeti

peruse Elena Bulatova paintings and sculpture

are among the fine art from nine Laguna

Crater National Park as his back yard in

and inspiration bi-continentally with his

Beach to be just as photographically

at Elena Fine Art gallery. Tracey

in the style of classic Russian masters

Beach artists chosen to be showcased at the prestigious 2017 Indian Wells Arts Festival in Indian Wells, California, March 31 through April 2.

Long-recognized for its scenic coves

and influential artist community, these Laguna Beach artists will share the

spotlight with two-hundred juried artists from twenty-five countries across the globe celebrating the Festival’s 15th

annual show. Metal sculptor Jon Seeman is perhaps best known for his 16-foot-

tall sculpture Breaching Whale, perfectly

situated at a vantage point in Heisler Park

where you can also watch whales swim by on their migration route. Life-long Laguna Beach artist Mike Brennan’s traditional Raku fired ceramics can be seen in

Wolfgang Puck’s upscale restaurants and the Palm’s Hotel in Las Vegas. Husband

and wife art team Christopher and Dinah 32 ART

Plains and world-famous Ngorongoro

Tanzania, but finds his home in Laguna extraordinary with the splendor of the

California coastline. Russian oil painter

Vladimir Ryabchikov also splits his time

gallery in Moscow and representation

Moscaritolo‘s acrylic paintings possess a

colorful and abstract quality in addition to an impressionistic style.

windmills, and nestled on the desert floor, the Indian Wells Arts Festival

has become a destination event with festival-goers making it a day-trip

and weekend-trekker’s art adventure. Artists will transform the grounds of the world-famous Indian Wells Tennis Garden (home of the BNP

Paribas Tennis Tournament) into an

international palette of art with their

collections exhibited for a distinguished panel of judges, and will have the Renowned photographer and mixed

Jeweler MarriJane Morrison’s sterling

media art partners Martin Roberts and

silver and 18-karat gold elements

capturing black and white images of

accented by semi-precious stones into

Dan Witte travel the world together

modern remains of antiquity and bring

them back to their Laguna Beach studio and gallery where the master silver

gelatin prints are then painted with

traditional art mediums of oils, acrylics

and watercolor paints creating an almost 3-dimensional image.

34 ART

are organically styled and boldly

opportunity to demonstrate and sell their work directly to the expected

12,000 art enthusiasts in attendance from all over the country.

The 15th annual Indian Wells Arts

sophisticated adornments, while fellow

Festival will take place at the Indian

fabricates her fashion forward line of

California, on March 31, April 1 & 2, 2017

artist Catherine Reade designs and hand raw, industrial jewelry collections from precious metals and stones.

Just a short eastward drive from

Orange County, past the famous

Wells Tennis Garden, in Indian Wells, from 10:00 a.m. to 5:00 p.m. Children

FREE, Adults $13. Free parking and valet available. For more information visit





Adorning the Garden Path Where the Natural and Artistic Worlds Coalesce


as a children’s playground, this site

includes a tall rocket ship with slides, Michele Taylor’s six-foot ceramicand-glass mosaic Laguna Tortoise,

and blue, gold and chartreuse play equipment. Its colorful walls and

ledges are integrated with such species as Mexican marigold, orange clock

In our city by the sea, the synchronization of nature with art is a yearround occurrence.

Bluebird Park

The harmony of nature and art, the

You enter Bluebird Park through

vine, plumbago, lemonade berry,

worlds, has been celebrated for

Park Gate, featuring whimsical

creeper, jade plants, aloe, saponaria

mirroring of the natural and artistic centuries in a variety of cultures, and recently in Laguna Art Museum’s annual “Art & Nature” festival.

Jon Seeman’s brightly colored Bluebird designs and shapes inspired by fairy

tales. As much an artistic installation

Yet in our city by the sea, the

synchronization of nature with art is a year-round occurrence, with pocket-sized gardens and parks

displaying finely crafted art pieces

alongside lavish plantings and our larger parks mingling sculptures

and murals with native cacti, aloe,

geraniums, daffodils, bougainvilleas,

roses and nasturtiums. Then we have

the breathtaking, Treasure Island Park at the Montage Resort, Crescent Bay with its terraced gardens opening

to crashing waves, and Alta Laguna

with its view of mountains, canyons, and ocean. Here are seven favorite

spots that mix native and introduced species and seasonal flowers with original public art.

38 ART

Treasure Island Park

California holly, blue hibiscus, Carmel and jacaranda trees.

Cress Street and Bluebird Canyon Drive.

Village Green Park

with the lost-wax method, are mythical creatures—part sea animal, part horse and part dragon.

Wesley Drive and South Coast Highway.

Travel a few miles south to Catalina

Street and you’ll find Village Green

Park, modeled after an old town

square. Designed by Laguna’s Fred

Lang, Ken Wood and Ann Christoph, this park is entered through two

sculpted bronze gates and includes a tree house, native plants and

tall mature trees. Mirroring these

weathered trees is Julia Klemek’s bronze sculpture Green Man with

Red Birds, inspired by a long artistic

and religious tradition. Examples of

the iconic “Green Man” date back to

classical Rome and were incorporated A short drive down South Coast

Highway to Treasure Island Park

reveals magnificent lawns and rugged coastlines along with aloes, cacti,

daylilies and California poppies. These plants and flowers are enhanced by

into the facades of many European

churches during the Middle Ages. True to its art-historical origins, Klemek’s

part-tree, part-man statue reaches up

to the heavens while its heart is a nest of ten red ceramic birds.

Catalina Street, one block east of South

sculptures that echo the mystical mood

Coast Highway.

Voyager, a tall bronze sculptured

Located near the center of downtown,

from seaweed and stands atop a

its broad sandy beaches and vast

of the nearby ocean. Linda Brunker’s woman, appears to be fashioned pedestal bedecked with fish, starfish and seashells. Cheryl Ekstrom’s two bronze Parallel Dance pieces, created

Main Beach Park is famous for

lawns bordered by geraniums, aloes, Torrey pines, Lagunaria trees and

Washingtonia palms, not to mention ART 39

the local garden club’s “Garden by the

Sea.” Attractions include the 1920s-era hexagonal Lifeguard Tower, which was moved to this location in 1937

and has been a Laguna landmark ever

since. Nearby you’ll find Canyon Chess and Checkers, hand-formed and glazed ceramic table and chairs created by

Marlo Bartels. The newest art piece

in the park, Terry Thornsley’s bronze,

copper and stainless steel mural Grace, Main Beach Park

includes two figures rowing a dory through churning seas.

South Coast Highway, from Broadway to Laguna Avenue.

Adjoining Main Beach is Heisler

Park, a three-quarter-mile stretch of land with a long walkway running atop ocean cliffs and bordered

by some of Laguna’s oldest trees,

including Torrey pines, Monterey cypress and Washingtonia palms.

Among the park’s attractions are a

40 ART

rose garden and a nearby gazebo with

views of rocky beaches, tide pools and the sea beyond. Several large public artworks, including Jorg Dubin’s

Semper Memento, turn the area into an informal sculpture garden. Installed on 9/11/11 and incorporating two

steel beams salvaged from the World Trade Center after its demolition,

Dubin’s piece also features a base

representing the Pentagon. Made of concrete and stainless steel, George Stone’s Rock Pile Carve represents a

Heisler Park

long wave with a surfboard riding through it. A Rocky Ledge by Julia Klemek and Leslie Robbins is a

curved sculptural bench that mirrors in color and texture the surrounding flora and tide pools. And Jon

Seeman’s Breaching Whale, a realistic 19-foot artwork of stainless and

COR-TEN steel, dominates the park. North Coast Highway between Cliff Drive and Myrtle Street.

ART 41

Seven favorite spots that mix native and introduced species and seasonal flowers with original public art. The most dramatic Laguna Beach park, Crescent Bay, has the Crescent Bay

appearance of a movie set—perhaps

one out of South Pacific; its peninsulalike periphery overlooks the rock formations below and the ocean

with its crashing waves. Within the

park, granite walkways and benches

punctuate the well-manicured lawns, while plants and flowers, including

aloe, cacti, geraniums, roses, daffodils and bougainvilleas, proliferate.

Looking out to the ocean is Terry Thornsley’s magnificent bronze

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sculptures Laguna Locals, depicting an

and trees within our parks.

elegant sea lion and a large cormorant taking flight.

223 Crescent Bay Drive.

Seven-acre Alta Laguna Park

at the top of Park Avenue includes

playgrounds, sports fields, a bridge and gazebo, as well as lawns and

gardens featuring coastal sage and

wild flowers. The public artwork here

is Peter Busby’s, Interlude, six graceful

Alta Laguna Park

wire sculptures of whales’ tails.

At 1,100 feet in elevation and with 360-degree views, this windswept

hiker’s dream looks out at Saddleback Mountain, Laguna and Aliso

Canyons and the seemingly endless Pacific Ocean.

3300 Alta Laguna Blvd.

Many thanks to Laguna Beach landscape designer Ruben Flores for providing detailed information about the plants

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32392 Coast Hwy Suite 190 Laguna Beach, CA 92651 949-499-4028 ART 43

JOURNEY TO A LAGUNA BEACH Taking the Lay of the Land: Yesterday & Today in St Ives



Exterior of the Barbara Hepworth Museum and Sculpture Garden.

44 ART

e had come zigzagging down

Devon and Cornwall one hot

August afternoon on a carriage

of the Great Western Railway. It

was the Friday before the last bank

holiday of the season, and our carriage was packed with travelers fleeing London.

As it rolled past our window, Devon’s

countryside was green and soft and hilly, punctuated here and there with dense

copses and distant church spires. Sheep

grazed peacefully in its lush meadows. To

our American eyes, it was a quintessentially English landscape. But by the time we

reached Cornwall, in the far southwestern

tip of the UK, the land had grown flatter and stone walls as there were hedgerows.


more austere, flintier. There were as many

Barbara Hepworth’s stone workshop.

ART 45



Barbara Hepworth, Spring 1966, 85 x 57 x 53 cm; RIGHT Barbara Hepworth, Four-Square (Walk Through) 1966, Bronze, 429 x 199 x 229.5 cm

Lent by the Trustees of the Barbara Hepworth Museum & Sculpture Garden; River Form 1965, cast 1973, Bronze, 87 x 193 x 68.8 cm.

Our destination was one of Laguna Beach’s “sister” cities, St

Ives. Once a thriving fishing port, it grew into an important art colony in the late 1930s, thanks in large part to its mild climate

and robust light, and has long been a popular tourist destination. Britain’s national art gallery, the Tate, opened a branch in the port in 1993 on the site of a former gasworks.

Bernard Leach, later celebrated as the father of British studio

46 ART

pottery, set up base in the little port in 1920, and a St Ives Society of Artists was founded a few years later. But the most original

artist at work in those early days, although he would have been dumfounded to be told so, was Alfred Wallis. A retired seaman, Wallis had taken to painting scenes on scraps of cardboard

with boat and house paint. “What I do mosely,” he wrote in an

idiosyncratic elegy for the port’s vanished way of life, “is what use


Barbara Hepworth Museum (interior view); RIGHTT Barbara Hepworth Museum (interior view).

to Bee out of my own memory what we may never see again.”

Young Ben Nicholson, who had studied at the Slade School of

Fine Art, met Wallis on a visit one day in 1928. Struck by the crude

power of the old seaman’s naïve style—Wallis was self-taught and cared nothing for perspective—the up-and-coming artist bought

several of his works. A decade later Nicholson married sculptress Barbara Hepworth, and in 1939, shortly before the outbreak of World War II, he returned to St Ives with his new wife.

Striving to escape the straitjacket of Britain’s “fine art”

tradition, Nicholson himself had once experimented with a fauxnaïve style. Then, under the influence of the avant-garde works he had seen in Europe, he had begun creating wholly abstract pieces. But now he forged a synthesis of the two approaches.

A number of his paintings from this period depict the graceful, simplified lines and muted colors of land- and seascapes

glimpsed through a window, often with a homely jug or cup

ART 47

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In the greenhouse at the Barbara Hepworth Museum and Sculpture Garden with plaster work The Bride from Family of Man.

resting on the sill. Like his abstracts, they’re keenly

analytical but more personable, as if the artist were standing next to you sharing the view.

Old St Ives is a maze of cobbled streets spilling

Jeannette Charnay 30 years experience

down a hillside toward the water. Strolling down one of them the afternoon I arrived, I grasped the logic of Nicholson’s paintings. There, over a cascade of slate

rooftops glowing with yellow lichen, lay a distant view of the pale sea, and over there, down another stony

Advanced colorist and hair cutting techniques

vista, I glimpsed one of the port’s sandy beaches and a

pair of weathered boats swinging at anchor. The colors

and contours of the land and the sea and the sky echoed and re-echoed in a gentle regression.

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Today tea shops, art galleries, pubs and fish-and-chip

stands fill the jumble of the port’s old stone buildings. It’s among these, if you’ve provided yourself with a good

street map, that you’ll find the Barbara Hepworth Museum and Sculpture Garden. Hepworth bought the property,

known as the Trewyn Studio, in 1949, shortly before she and Nicholson divorced, and lived there until her death

in 1975. Now it’s administered by the Tate. The museum’s first floor offers a good overview of the sculptor’s life and work, but its greatest attraction is an adjoining garden of

Mediterranean lushness displaying a number of her large— and very large— pieces in stone and bronze.

We timed our museum visit to take in a lecture about

Hepworth by Tate assistant Andrew Jackson, and ended up returning to hear his lively presentation a second

time. It’s clear that Hepworth, like Nicholson, drew upon the Cornish landscape for her work, but hers was a more


revolutionary course. Most of her works are abstract,

but she maintained that they represented aspects of the

physical world. In the case of her famous 1946 sculpture Pelagos, a hollowed-out piece of painted elm whose


spiraling arms are strung together, she suggested the

San Juan Capistrano, CA

sweeping shore of the bay at St Ives, the white sand of its beach, and the currents of its wind and water.

A Major West Coast Reservoir of Vintage and Contemporary Photographic Works of Art

Within a short time other artists gravitated to St Ives,

including Russian Constructivist sculptor Naum Gabo.

It was at Gabo’s suggestion that Nicholson gave lessons

to budding painter Peter Lanyon, who had been born in

the port and who would go on to become a star of a later generation of artists. Lanyon was inspired by the edges of things—“the junction of sea and cliff, wind and cliff,

the human body and places,” as he put it. Like Nicholson and Hepworth’s pieces, his dramatic paintings owe a

great deal to Cornwall, and in fact he went on to explore its landscape in a particularly dynamic way, taking up gliding in 1959.

Another important figure was Patrick Heron, who

worked at the Leach Pottery as a conscientious objector during the war and whose bright, Apollonian abstracts

stand in sharp contrast to Lanyon’s furiously Dionysian ones. One of his most famous works is an unleaded

stained glass window that he designed for the Tate St


Ives—at 15 by 13 feet, one of the largest of its kind in

the world. (As luck would have it, the gallery itself was

closed for expansion during our visit, but it’s scheduled

Cornwall’s landscape, she was adamant that her works

An exhibition of the life of Marilyn Monroe

inhabiting” it. We were able to grasp something of that

Photography by Kelley, Barris, Greene, Schiller, Bernard,

to reopen in 2017.)

However much Barbara Hepworth drew upon

fused it with “the human figure and human spirit

spirit a few days later thanks to Martyn Jackson, who

Kirkland and many more top Hollywood photographers.

showed our party some of the area’s many standing

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To attend openings, lectures or schedule a guided tour,

Impression of completed Tate St Ives Project, autumn 2017.

please call 949.496.5990

Gallery Open to the Public by Appointment 27184 Ortega Highway, San Juan Capistrano, CA 92675

ART 49

stones—mute but compelling monuments that clearly influenced Hepworth’s later works. Martyn and his wife, Amanda,

run an enterprise called Ancient Stones

of Kernow (“Kernow” being the Cornish

name for Cornwall), and there’s no better way to learn about the region’s distant past than to book your own tour with

Martyn. As an added bonus, you’ll catch glimpses of abandoned tin works, a

reminder that Cornwall’s production of

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the metal spanned four millennia.

Along with high culture and prehistoric

monuments, St Ives offers humbler

pleasures. One afternoon we crowded into a tiny shop to share a cream tea of freshly baked raisin scones, a bowl heaped with

the richest clotted cream imaginable, and a pot of ruby-red strawberry jam. Such teas are a specialty of Devon as well as

Cornwall, but the savory pasties (PAHsteez) we devoured the next day with

pale ale had a more distinct association

with Cornwall, whose miners once found them a handy meal to eat underground. Like so many other aspects of what we

had encountered on our visit, the beef-and vegetable pies represented something old made new again—redolent of the past and yet richly alive.

Established in January 2008, Laguna

Beach Sister Cities Association (LBSCA) Inc. is a broad-based, Laguna Beach City

Council approved, all volunteer, non-profit organization. The LBSCA has a primary

goal to establish and maintain long-term

relationships between the City of Laguna

Beach and our sister cities, Menton, France, San José del Cabo, Mexico, and St. Ives, England. These partnerships encourage a collaborative exchange of cultural, educational, and business activities. TATE ST IVES BARBARA HEPWORTH MUSEUM ANCIENT STONES OF KERNOW

50 ART

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“Living Masters”

EDITOR’S PICK Pacific Edge Celebrates 30 Years Back in 1987 a young art consultant looked around his adopted home

of Laguna Beach and saw an opportunity. While thousands of tourists flocked to the summer art festivals to meet local artists and see their

work, few of the local galleries showed these painters the rest of the year. Three decades later, Pacific Edge Gallery is known as the home

of some of Laguna’s best artists. Beginning with contemporary

Impressionist Maria Bertran, then adding nationally known realist Tom

Swimm, contemporary Expressionist Sandra Jones Campbell, and plein air virtuosos Jacobus Baas and Bryan Mark Taylor, the gallery now attracts collectors

from around the world interested in seeing

established painters who have remained true to their personal visions.

Paul Jillson was that consultant, a

professional musician who had taken a day job in an art gallery in order to live in his

favorite place, Laguna Beach. Finding that he had a talent for selling artwork, he opened

Pacific Edge Gallery as a showcase for local artists whose work he believed in.

Inspired by Bertran’s bold version of

Impressionism, he filled the gallery in the landmark Villa Building across the Main

Beach with her work. It was an immediate

success, and Pacific Edge soon outgrew its small space, moving to a larger showcase farther south on Pacific Coast Highway.

“The continuing success of the gallery,” Jillson explains, “relies on the

loyalty and commitment of the uniquely talented painters who make

Pacific Edge their home. I believe that by putting them first, the gallery is always filled with fresh paintings that will entice new collectors.”

There have been many changes over the past three decades, but the

constant at Pacific Edge is the quality of the gallery’s artists and their

works. Four of them still maintain studios in Laguna Beach and plan to

attend and show their latest paintings at a special anniversary exhibition on Sunday, February 26, from 1 to 5 p.m.

Ethos Contemporary Art, 3405 Newport Blvd, Newport Beach. Featuring the art of Vladimir Cora, Georgeana Ireland, and Dick Marconi. Paintings, sculptures and art glass by local and international artists.; (949) 791-8917 NOW-FEBRUARY 27

LPAPA in Residence: “Urban & Abstract Landscape / The Edgier Side of LPAPA” Opening Reception, February 11, 5pm-8pm. LPAPA in Residence at Forest & Ocean Gallery, 480 Ocean Ave, Laguna Beach. An exhibition of theme-based original work by LPAPA members. Gallery hours Sunday-Friday 11am5pm; Saturday 10am-6pm; closed Mondays.; (949) 376-3635 NOW-MARCH 15

“Marilyn” House of Photographic Art, 27184 Ortega Hwy, San Juan Capistrano. An exhibition of the life of Marilyn Monroe, with photography by Barris, Greene, Kelley, Schiller, Kirkland, Bernard and other top Hollywood photographers. Call for appointment (949) 496-5990 NOW-APRIL 31

“SoCal Fun in the Sun” On the “Gallery Walls” at the Ritz Carlton Hotel, 1 Ritz Carlton Dr, Dana Point. A variety of original works from numerous LGOCA artists will be displayed.; (949) 677-8273 WEDNESDAY, FEBRUARY 1-MARCH 5

“Fish or Fowl”: Sue Cong & Maycha Vang Showcase Gallery & Art Shop, 3851 S Bear St #B15, Santa Ana (South Coast Plaza Village). Two Asian artists and 20 OCFA members exhibit their multimedia work. Free parking, free admission. Open Tuesday-Saturday, 11am-5pm, Sunday 11:30am-3pm. OCFineArts.Org; (714) 540-6430 THURSDAY, FEBRUARY 2, 6-9PM

Artists’ Openings Sandstone Gallery Laguna, 384-A N Coast Hwy, Gallery Row, Laguna Beach. “Cosmic Dream,” acrylic paintings on linen, will be featured in the Front Gallery along with “Observations,” mixed media acrylic paintings on canvas by Dominique McKenzie, in the Skylight Gallery.; (949) 497-6775  THURSDAY-SATURDAY, FEBRUARY 2-4, 8PM

“Scottish Fantasy” Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Bruch’s “Scottish Fantasy” with violinist Ning Feng and Mendelssohn’s “Scottish” Symphony. Tickets from $25.; (714) 755-5799 SUNDAY, FEBRUARY 5

D. Yoder Family Sundays #LiveLikeAHanson Pacific Edge Gallery 540 Pacific Coast Highway, No. 112

54 ART

Casa Romantica, 415 Avenida Granada, San Clemente. D. Yoder Family Sundays provides free admission between 10am and 2pm on the first Sunday of each month for activities and a noontime program thematically based on Casa Romantica’s Casa Captivating programs for all ages.; (949) 498-2139


: :




Casa Wellness Wednesdays: Tea blending workshop Casa Romantica, 415 Avenida Granada, San Clemente. Learn about the myriad benefits of tea, practice brewing techniques, and sample custom tea blends with Lavender Lounge Tea Company. Participants will create and take home their own blends. $35 fee.; (949) 498-2139



Open Casa: Opening Reception, E. Gene Crain Collection

Call for Artists Jury Day

Casa Romantica, 415 Avenida Granada, San Clemente. Sparked by a love of art and fueled by close friendships with artists of the California School, E. Gene Crain has amassed a collection of nearly 1,000 California watercolors from 1960 to the present. On view February 7-April 16. Free with general admission.; (949) 498-2139 FRIDAY & SATURDAY, FEBRUARY 10 & 11, 8PM

Michael Bolton Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Enjoy a romantic evening with the multi-Grammy Award-winning singer/songwriter. Tickets from $45.; (714) 755-5799 SATURDAY, FEBRUARY 11, 4-8PM

Artist Reception, “Visions” by Tom Swimm Pacific Edge Gallery, 540 Pacific Coast Hwy #112, Laguna Beach. Premiere exhibition of new paintings commemorating Tom Swimm’s 30-year anniversary as a professional artist.; (949) 494-0491 SATURDAY, FEBRUARY 11, 6-9PM

Artist Reception, “Structural Polarity” Sonia & Co, 305 N Coast Hwy, Laguna Beach. An evening of figurative and abstract art blurring all traces in between. Featuring renowned artists Paige Bradley, Kymm Swank, Ryan Kingslien and Eric Willson.; (949) 342-6475 SATURDAY, FEBRUARY 11, 6-9PM

“Romance in Stone,” marble sculpture by master artist Márton Váró Ethos Contemporary Art, 3405 Newport Blvd, Newport Beach. Meet this living master and hear his stories of creating his breathtaking work. Reception 6pm, lecture 7pm. Ladies will receive roses. RSVP (949) 791-8917.; (949) 791-8917 56 ART

Boys & Girls Club, 1085 Laguna Canyon Rd, Laguna Beach. Bring 3 pieces of original artwork and a $40 jury fee for entry into Laguna Art-A-Fair summer festival.; (949) 494-4514 THURSDAY, FEBRUARY 16, 7PM

Casa Up Close: Timothy J. Clark Casa Romantica 415 Avenida Granada, San Clemente. Timothy J. Clark, an accomplished painter whose work is held in the E. Gene Crain Collection, will lead an intimate talk about the history of the California watercolor art movement. $12 general admission, $10 members.; (949) 498-2139 TUESDAY, FEBRUARY 21-MARCH 5

“Keys by the Sea” Casa Romantica, 415 Avenida Granada, San Clemente. Casa Romantica invites the community to play and paint on several upright pianos that will be arranged throughout Casa Romantica. Free with general admission.; (949) 498-2139


Aida Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Verdi’s opera about a doomed love triangle involving the Pharaoh’s daughter, an enslaved princess and the man they love. Tickets from $45.; (714) 755-5799 SUNDAY, FEBRUARY 26, 1-5PM

All Artists Reception, “30th Anniversary Celebration” Pacific Edge Gallery, 540 Pacific Coast Hwy #112, Laguna Beach. Group exhibition of new paintings by Maria Bertran, Tom Swimm, Sandra Jones Campbell, Jacobus Baas and Brian Mark Taylor. Show continues through March 10.; (949) 494-0491


LPAPA in Residence – “Less Is More” exhibit & sale Opening Reception, March 11, 5-8pm Forest & Ocean Gallery, 480 Ocean Ave, Laguna Beach. An exhibition of small works by LPAPA members. Gallery hours Sunday-Friday, 11am-5pm; Saturday 10am-6pm; closed Mondays.; (949) 376-3635 THURSDAY, MARCH 2, 6-9PM

Artists’ Openings Sandstone Gallery Laguna, 384-A N Coast Hwy, Gallery Row, Laguna Beach. Stream of Consciousness, abstract oil paintings on canvas by Jong Ro will be featured in the Front Gallery along with Imagined Places by Lynn Welker.; (949) 497-6775 FRIDAY, MARCH 3-JUNE 3; MONDAY-FRIDAY, 9AM-6PM; SATURDAY, 9AM-4PM

Jacqueline Nicolini & Karen Weichert CAP Gallery, 260 Ocean Ave, 2nd floor, Wells Fargo Bldg. Two exquisitely detailoriented painters juxtaposed.; (949) 533-7507 FRIDAY & SATURDAY, MARCH 3 & 4, 8PM

The Beach Boys Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Enjoy “Good Vibrations,” “Surfin’ U.S.A”, “California Girls” and “Fun, Fun, Fun.” Tickets from $45.; (714) 755-5799


DPFA Festival of Whales Outdoor Art Show Dana Point Harbor Boardwalk along the boat docks in Mariner’s Village. Works by award-winning local artists will be available for purchase. DPFA donates a portion of proceeds to Dana Hills High School Art Dept.; SUNDAY, MARCH 5

D. Yoder Family Sundays #KeysByTheSea Casa Romantica, 415 Avenida Granada, San Clemente. Explore the “Keys by the Sea” exhibition (February 2 – March 5) and create music with pianos scattered in our gardens. Physics of Sound learning stations will provide a fun learning experience, and Casa Romantica Music Academy and Festival and/or SOCSA students will perform short pieces at noon. Free admission all day.; (949) 498-2139 ART 57


DPFA “Festival of Whales” Outdoor Art Show Dana Point Harbor Boardwalk along the boat docks in Mariner’s Village. Award-winning local artists’ work available for purchase. DPFA donates portion of proceeds to Dana Hills High School Art Dept.; SATURDAY, MARCH 11, 5-7PM

Opening Reception, “Paris Deconstructed,” Featuring Artist Nancy Villere Showcase Gallery & Art Shop, 3851 S Bear St #B15, Santa Ana (South Coast Plaza Village). Nancy Villere will exhibit mixed-media work from her recent drive through France ( In addition, 20 OCFA members will exhibit their multimedia works. Free parking, free admission. Open Tuesday through Saturday 11am-5pm, Sunday 11:30am-3pm. OCFineArts.Org; (714) 540-6430 SUNDAY, MARCH 12, 3PM

Fritz Lang’s Metropolis Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. This sci-fi and silent-film masterpiece influenced Star Wars and Blade Runner. Tickets from $10. (714) 755-5799 THURSDAY, MARCH 16, 7PM

Casa Up Close: Olivia Anastasiadis Casa Romantica, 415 Avenida Granada, San Clemente. Learn about former President Richard Nixon’s special relationship with San Clemente in a talk led by Olivia Anastasiadis, Curator of the Richard Nixon Presidential Library in Yorba Linda. $12 general admission, $10 members.; (949) 498-2139 SATURDAY, MARCH 18, 6-9PM

“Everything Beautiful” Ethos Contemporary Art, 3405 Newport Blvd, Newport Beach. Featuring the art of Georgeana Ireland, JT Burke, Lisa Palombo, Peggy Hinaekian. Paintings, sculptures and art glass by local and international artists.; (949) 791-8917 THURSDAY-SATURDAY, MARCH 23-25, 8PM

Beethoven’s Third Piano Concerto Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Pianist Zhang Zuo plays Beethoven. Plus Elgar’s “Enigma” Variations. Tickets from $25.; (714) 755-5799

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Casa Classic: An Evening with Ivan Rutherford Casa Romantica, 415 Avenida Granada, San Clemente. Ivan Rutherford’s acclaimed Broadway career includes over 2,300 performances in the lead role of Jean Valjean in “Les Misérables.” Rutherford will perform at Casa Romantica’s spring fundraiser, which includes a catered dinner, fine wine, and a live auction, to benefit Casa Captivating programs. $165.; (949) 498-2139 SATURDAY, MARCH 25, 6-9PM

Artists Reception, “Quest” Sonia & Co, 305 N Coast Hwy. Artists TBD., (949) 342-6 475

Desert Rocks

SATURDAY, MARCH 25, 10 & 11:30AM

King Arthur and the Legend of the Dragon’s Lair Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Journey back in time to the wondrous kingdom of Camelot. Tickets from $15.; (714) 755-5799 WEDNESDAY, MARCH 29, 7PM

Casa Wellness Wednesdays: Sushi-making workshop Casa Romantica, 415 Avenida Granada, San Clemente. Learn to make three kinds of sushi, including cut and hand rolls, in this delightful hands-on class led by Tspoons Cooking School. $35 Materials fee.; (949) 498-2139



D. Yoder Family Sundays #OpenmARTketplace Casa Romantica, 415 Avenida Granada, San Clemente. Learn about California watercolor landscape paintings of the 20th century in Open Casa: The E. Gene Crain Collection with watercolor stations in the courtyard, live painting by plein air artists, and a mARTketplace with local artisans. Free admission all day.; (949) 498-2139 SUNDAY, APRIL 2-JUNE 15

Graham Nash and Friends House of Photographic Art, 27184 Ortega Hwy, San Juan Capistrano. Call for appointment or further information (949) 496-5990 MONDAY, APRIL 3-MAY 1

LPAPA in Residence-“Birds, Bees & Botanicals” exhibit & sale

Jacqueline Nicolini

Opening Reception April 15, 5-8pm Forest & Ocean Gallery 480 Ocean Ave, Laguna Beach. An exhibition of theme-based original work by LPAPA members. Gallery hours Sunday-Friday, 11am-5pm; Saturday 10am-6pm; closed Mondays.; (949) 376-3635

Karen Weichert

CAP Gallery


Artists’ Openings

260 Ocean Ave, Laguna Beach

MARCH 3-JUNE 3, 2017 w

















Sandstone Gallery Laguna 384-A N Coast Hwy, Gallery Row, Laguna Beach. “Works on Paper,” watercolor paintings on paper by Susan Gale will be featured in the Front Gallery along with “Dreamscapes,” oil paintings on canvas by Ann Kim, in the Skylight Gallery.; (949) 497-6775


“Ellis Island” Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Peter Boyer’s stirring work celebrating the hopes and dreams of immigrants. Tickets from $25.; (714) 755-5799 FRIDAY, APRIL 7, 10AM

Casa Kids: Birdhouse-Making Workshop Casa Romantica 415 Avenida Granada, San Clemente. Children ages 6 and up will create birdhouses from repurposed milk cartons to take home, while learning about garden ecosystems and southern California native wildlife.; (949) 498-2139

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Opening Reception, “Paint the Metro” / “Imagination Celebration” Showcase Gallery & Art Shop, 3851 S Bear St #B15, Santa Ana (South Coast Plaza Village). Winners and runners-up of the 2017 “Imagination Celebration” high school poster contest. In addition, OCFA members will “Paint the Metro” (Costa Mesa-Santa Ana). Free parking, free admission. Open Tuesday through Saturday 11am-5pm, Sunday 11:30am-3pm. OCFineArts.Org; (714) 540-6430



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Casa Romantica, 415 Avenida Granada, San Clemente. Casa Romantica debuts its third original dance commission with the Contemporary Dance Collective, consisting of members of Helios Dance Theatre and the Assembly along with a Grand Prix finalist from the Orange County Ballet Theater. During the first half of the evening, each company will present an original, site-specific performance commissioned by Casa Romantica, with patrons walking from performance to performance throughout the facility. During the second half of the evening, the companies will perform repertoire highlights on the main stage. General admission $25, members $20.; (949) 498-2139 THURSDAY-SATURDAY, APRIL 27-29, 8PM

“The Magic of Chopin” Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Mozart’s Symphony No. 31, Chopin’s Piano Concerto No. 2, with Louis Lortie. Tickets from $25.; (714) 755-5799


Open Casa: Artists of Tomorrow

The premier art event in the leading destination and community of fine art galleries.











| | |


Casa Romantica, 415 Avenida Granada, San Clemente. The 14th annual Artists of Tomorrow exhibit will feature paintings, drawings, ceramics and photography from San Clemente High School and local middle school students. The opening of the juried exhibition will include an awards ceremony and public reception with a performance by the San Clemente High School Jazz Band. Free with general admission to Casa Romantica.; (949) 498-2139 SATURDAY, APRIL 29, 10AM & 11:30AM

“Carnival of the Animals” Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. Pacific Symphony and the Bob Brown Puppets bring a zoo to musical life. Tickets from $15.; (714) 755-5799

2017 2017

Join our member galleries throughout Laguna Beach on the first Thursday of every month from 6 - 9 pm for an art-filled evening. F I R S T T H U R S D A Y S A R T W A L K . O R G

Art Workshops in Laguna Beach

Learn to Paint Landscapes Led by LOCA and LPAPA artists Indoor and outdoor workshops Beginners and all levels welcome Take home finished art For Adults February 13, March 11,13 For Adults and Families February 11, March 25, May 7 Also enjoy our monthly Art Club lectures, Art and Sea Lions workshops, and Grand Cabaret Party April 30

Advance Registration Required • (949) 363-4700 64 ART


“All is Surreal” Ethos Contemporary Art, 3405 Newport Blvd, Newport Beach. Featuring the art of Kevin Grass, Luke Reichle and JT Burke.; (949) 791-8917 SUNDAY, APRIL 30, 3PM

Monte Maxwell Organ Recital Renée and Henry Segerstrom Concert Hall, 615 Town Center Dr, Costa Mesa. The U.S. Naval Academy’s chapel organist performs music of the Baroque and beyond. Tickets from $10.; (714) 755-5799

Greg Stogner, Falling Tides, Acrylic on Canvas, 36” x 46”

LG O C A • Lag u n a G aller y of C on tem porar y Ar t 611 S Coast Hwy Laguna Beach CA 92651 • • 949-677-8273 Tania Alcala, Love of Self, mixed media on wood panel, 48” x 36”




FORGOTTEN BEAUTY Art Patron talks to Michael Gallagher and Jack Reilly about Abstract Illusionism restrictions and allowing viewers

to perceive colors, not recognizable

images, as the primary subject matter.

It was in the 1960s that Al Held, Ronald

Davis and Allan D’Arcangelo started

using modes of perception and elements of color as a way to create another

kind of abstraction. They arranged


geometric objects on

a canvas and enhanced the

experience with shadows behind the

objects, projecting the image forward off

the surface. This represented a break with the tradition of depicting objects receding


into the canvas or toward a focal point within the pictorial plane as we see in

early examples of the technique of trompe l’oeil (“deceive the eye”). We can say that

these artists laid the foundations on which others created the movement of Abstract

Illusionism, as New York art dealers Louis K. Meisel and Ivan Karp called it.

Artists James Havard, Jack Lembeck,

Tony King, Michael Gallagher, George

Green and Jack Reilly can be viewed as

Jack Reilly, Floating Image, 1994, 38x42 inches,

the forerunners of the movement, using

acrylic polymers on shaped canvas.

three-dimensional painting as a way

Collection of Rob Piepho, Palm Springs, CA


uring the 1970s and

began to treat the canvas as a window

a new style transformed

techniques for suggesting depth with

‘80s, artists working in the pictorial plane into

a three-dimensional space by using

shadows and angles to challenge our perceptions in an abstract way.

Over the preceding hundreds of

years, artists had accustomed our eyes

onto the unconscious, combining

realistically depicted imagery based on random thoughts to evoke a Freudian

universe. They placed their subjects in

a space in which our eyes could explore our fears and hopes and desires.

By the late 1940s, however, artists had

to the fact that a flat canvas could

reverted to the idea that the canvas is

world beyond its two-dimensional

splattered paint onto his canvases,

transport us into a three-dimensional surface. But in the 1920s the Surrealists 68 ART

essentially a flat surface. Jackson Pollock breaking out of the confines of academic

to create abstract works. Each had his

own style and ideas about the direction that depth perception and abstraction

could take him. In order to understand this shifting paradigm, Art Patron

reached out to Michael Gallagher and Jack Reilly, asking them to share their

unique experiences at the height of the movement. Gallagher lived in New

York and Reilly in Los Angeles, and

the two had approached the movement differently, with Gallagher interested

in undefined abstract forms and Reilly

more attracted to sharply defined shapes.

But these spaces were barely habitable,

he remembers. They were missing floors and had bad plumbing and electrical connections. When businesses were

closed on lower levels at night and on

weekends, there might be no heat. This was Bohemian living, as Gallagher describes it – surviving “in a space where an animal could die.”

There were fewer than half a dozen

galleries in the neighborhood, but

artists were just as respected as any

other profession. Gallagher remembers becoming fascinated early in his career Michael Gallagher, 4X, 1978, 72x70 inches, acrylic and oil on canvas. Private collction.

Educated at Yale, Gallagher explains

that New York’s art world has

changed immensely since the 1970s.

He remembers the Lower Manhattan

district of SoHo as being a warehouse area of light manufacturing (mostly

with exploring modes of perception in

fine art, specifically painting. “Learning

about the various schemes deployed for constructing illusions – overlapping,

scale and placement, linear perspective, relative hue and value, chiaroscuro

and atmospheric perspective – fueled further study.”

Gallagher and his Yale colleagues

printing and garment shops) supported

created a co-op named Razor Gallery on

population. Business was going through

shows” in which “Kurt Vonnegut gave

by a diversified blue-collar immigrant a depression and large loft spaces

became available for very little money.

West Broadway where they had “atypical


readings and Annie Sprinkle showed her wire mesh house models inhabited by

Jack Reilly, Ace, 1980, 60x80 inches, acrylic polymers on shaped canvas. Private Collection, Los Angeles, CA

ART 69

horizontal and vertical lines creating a reference point in layers of loosely

applied color forms that appeared to be

floating in front of or behind the veil. The paintings were well received by critics thanks to the aggressive and daring

manner in which Gallagher balanced his abstract compositions in an organized, three dimensional scheme.

A 1978 graduate of Florida State,

Reilly became interested in a similar

approach when he discovered the endless possibilities of using an abstract format in

a three-dimensional space. He remembers this being unheard of at the time, and

contemporary abstraction was ripe for a shake-up. He began to produce his first Jack Reilly, Eclipse of Reason, 1993, 60x94 inches, acrylic polymers on shaped canvas.

hissing cockroaches while performing

large canvases of organized, floating

was then that he solidified his fascination

grid-like plane. The compositions had a

stripteases a couple of times a day.� It

with his new painting style, producing

color fields that were often placed on a

sense of structure, held together by faint


70 ART

large-scale minimalist works – canvases

that were essentially backdrops for floating

Collection of the Artist.

multi-colored bars – right out of college. It was a simple yet dramatic attempt to

combine geometry, color and perception in a transcendent form of organic

composition. His works were well received

Woodman/Shimko Gallery “Palm Springs Just Got Cooler™”


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-Provincetown To Palm Springs: 3,000 Miles Of Art™398 Commercial Street | Provincetown, Massachusetts 02657 | 508.487.0606 ART


dealer Molly Barnes discovered Reilly’s work and offered him a solo exhibition at her gallery. Like Gallagher, he was

accepted a short time later in a traveling exhibition of Abstract Illusionist artists

called The Reality of Illusion that opened at the Denver Art Museum and made its way to other museums around the country. He felt like a rock star.

Reilly describes Abstract Illusionism

as a “bourgeoning hybrid style

which combined aspects of Abstract Expressionism and post-painterly

abstraction with a longing to redefine three-dimensional depth (as a formal element) in pain ting.” He and

Gallagher made their contributions to Jack Reilly, detail from Fidelity, 1993, acrylic polymers on shaped canvas. Shadows are painted to emulate dual light sources. Collection of Stuart and Arlene Marzell, Hacienda Heights, CA.

and his first Los Angeles exhibition sold

over fifty large scale works per year to

his studio into a literal factory, producing

It was in 1979 that prominent art

out immediately. He remembers turning

keep up with the demand.


72 ART

a period of art history that we would do well to revisit and celebrate, but

they are still working today, producing works that collectors continue to appreciate.


ART 73


vintage • modern • furniture


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76 ART

Nocturne installation, white bronze, Artist’s studio in Prague


ART 77


Nocturne 5, 2015, cast glass, 59 x 25 x 22 inches


Reclining Nocturne 1, 2015, cast glass, 22 x 49 x 33 inches

Karen LaMonte’s work focuses on the idea of beauty. She observes that

beauty is not in the eye of the beholder, but a specific cultural expression equated with truth, goodness, and morality. It is the subject of philosophical musings from Plato and Nietzsche as well as

modern writers like Arthur Danto and David

Hickey. In it’s embrace or abnegation, the idea of beauty informs all art and architecture, eroticism and evolution.

Inspired by the beauty of night, LaMonte calls her

new body of work “Nocturnes”: dark, seductive

and sublime. They are absent female forms rising from penumbral garments, figurations of dusk.

With twilight as her muse, LaMonte builds on the

legacy of night meditations by Whistler, John Field and Frederick Chopin. Her works explore the 78 ART


ADVERTISEMENT Floating World installation, cast glass

transition from known to unknown, from conscious to

unconscious, from reality to dream, and from material to

immaterial. Night is transcendent, transfiguring the personal into the universal. When the veil of daylight recedes,

the darkness of night opens the infinite space of the universe that surrounds us. Night seduces with an erotic, limitless

and unobtainable beauty. These sculptures explore evening’s sublime, the mysterious side of feminine beauty.

Sculpting with drapery, LaMonte gathers darkness around the

body using lightly tinted crystal. She envisions her technique as “drawing with dusk,” a sculptural interpretation of tenebrism. It took over two and a half years of experimentation for her to


rior to embarking on “Nocturnes”, LaMonte began research on Ukiyo in 2007 during a seven-month fellowship in Kyoto sponsored by the Japan-US

Friendship commission. The resulting works are a

culmination of her study of the kimono as a cultural icon

and her continuing investigation of beauty, seen here through the lens of Japanese aesthetics and material expression.

LaMonte’s vision for the project demanded broadening her

material vocabulary. She continued casting glass in the Czech

Republic, but also started sculpting ceramic in the Netherlands and Denmark, and forging bronze and iron in Italy.

“The kimono, as vessel to an unseen body”, LaMonte

achieve the right color and density of the glass.

explains,”reflects a cultural affinity for ephemerality and

the body. They glow like stars. Like celestial bodies, together

things.’ This attentiveness to impermanence precipitates a

Her “Nocturnes” in white bronze glisten like moonlight on

they become constellations. Those rendered in rusted iron

are locked into a process of transformation and imperceptible

decay, like waning daylight. They embody transition, as does twilight, positioned between the day and night.

emptiness, expressed as mono no aware, or ‘the pathos of

melancholic sense of beauty, which I had sought to capture

in my previous work. Indeed, despite the radical differences in cultures, I was struck by the kindred sensibility between the kimono and my disembodied European dresses. For

ART 79


Maiko (front and back), 2011,

ceramic, 34 1/4 x 20 x 15 1/2 inches LEFT Odoriko,

2013, ceramic, 49 x 26 x 17 inches

me, beauty is ephemeral, it is exquisitely somber – not a

celebration of self or individuality, but an acknowledgment of one’s limits that takes comfort in the essential and eternal.” This body of work, also referred to as “Floating World”

will begin a multi-city museum exhibition tour in April 2017,

organized by her representative Austin Art Projects located in Palm Desert, California.

Karen LaMonte’s work is included in numerous collections

throughout the world, including the Chazen Museum of

Art, Corning Museum of Glass, Crystal Bridges Museum of American Art, Museum of Fine Arts, Boston, Smithsonian

American Art Museum and the Renwick Gallery, National Gallery of Australia, De Young Museum of Art, Chrysler

Museum of Art, Spencer Museum of Art, Knoxville Museum of Art, the Toledo Museum of Art, and the Palm Springs Museum of Art, among others. 80 ART




Nocturne 1 2015, cast iron, 60 x 27 x 19 inches Photo: Martin Polak

KAREN LaMONTE represented by



760.895.8658 VISIT.


44-651 Village Court Suite 142 Palm Desert CA 92260



ART 83

DesignMeets MeetsArt


Interior Designer Dan Hall


84 ART


The great room of Hall’s 2003 steel and glass case study style home in the Little Tuscany neighborhood of Palm Springs houses.

ART 85

“Lady of Thunder” metal sculpture by an unknown artist ADVERTISEMENT sits poolside of Hall’s outdoor living patio; Contemporary furniture grouping surrounds a sculptural firepit coffee table.

ome people believe that the beauty

is in the details. But Dan Hall knows that the beauty of the details is the art that drives him to create.

Established in 1990, Dan Hall Interiors is Hall’s nerve

center. It’s from here that he begins to create his designs – from custom furniture and cabinetry to the art that

graces the walls of his clients’ homes. “I was fortunate to

have wonderful mentors in my career,” he recalls. “Steve

Chase, who had trained with Arthur Elrod, was my most important one. I began as a Delivery and Art Installation

Technician, but with time I moved on to the design team. What I noticed about Steve, besides his amazing talent,

was his attention to every detail. From the initial drawing to the finished project, Steve knew every nuance. I took that with me when I left to start my own firm.”

Following in the footsteps of legendary interior

designers is no small feat. Known for their fresh

contemporary interiors, both Elrod and Chase had a

lasting impact on the Palm Springs landscape. Both had a 86 ART


A 40 foot wall of glass opens up to outdoor living, bringing the outdoors into the interior great room.

ART 87

rich sense of design and knew how to create an environment that was right for their clients.

“Designers cannot impress all of their own wishes onto every

project,” Hall explains. “I approach each one as just that – its

own project. When designing an interior, I need to take into

account not just the architecture and the physical location but

also the personalities. These are homes, not museums, and not model homes. They are homes that may be uniquely beautiful


88 ART


Custom grey

washed kitchen cabinetry designed by Hall was installed when the house was purchased in 2015. Vintage Brno chairs surround a glass dining table with glass centerpiece bowl by Tom Bloyd; Painting” “Isadora” by French artist Pierre Marie Brisson hangs above a modernist buffet table. LEFT “The Primative figure” by Miami artist Jamali and a favorite Photograph: “Fruitloops” by Don Saxton, hang in Hall’s “work station” alcove.

but are alive because of the people who inhabit those spaces.”

my clients live in the outdoors. The desert, for example, offers

of his knowledge and love of landscape design. “The exterior is

spring seasons encourage us to move outdoors. By seamlessly

Because a home is more than its interior walls, Hall makes use

as much a part of the whole as the interior,” he says. “Many of

many possibilities for life outdoors. The fall and winter and

blending the interior and exterior, the living space is that much


ART 89


A large

acrylic canvas Patchwork Landscape painted by Hall, hangs in his guest Bedroom; OPPOSITE


remodeled his clients Alexander home in Palm Springs several years earlier, Hall recently designed, supervised construction, and furnished this 1000 sq. ft Pool Pavilion.

more integrated into the lifestyle of the inhabitants.�

and Hawaii. “I have no fixed style but do enjoy working on the

homes in the Desert area. He has also worked in Los Angeles,

projects are modernist. Some are more traditional, while others

Hall has overseen design projects involving many of the

Santa Barbara, Atherton, Saratoga, San Jose, Denver, Seattle,

modernist homes of this area and beyond. But not all my design are a blend of styles, or what I call Soft Contemporary.


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90 ART

“I enjoy being involved from the beginning,” Hall continues.

“I am often called into a project early on in the architectural

stages of design, to help clients develop, visualize and create

their plans. It is important that all the elements come together.

That can only happen when there is an open dialogue between all the parties.

“In the past I have had the opportunity to work with some

wonderful clients like Jim and Jackie Lee Houston. We spent


ART 91





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character of his clients Alexander home, Hall designed new patio overhangs to STATE

float above the existing roof lines in this recent Palm Springs remodel.

over three years developing plans with

the architect, designing the interiors and




building out their dream home in the Las

NAME (Please Print)


Wanting to preserve the original

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Palmas area of Palm Springs. Their home is a magnificent example of collaboration

between client and designer. I am grateful for the opportunity to have worked on that project.”

The chance to work with the same

clients multiple times is also very

important to Hall. “When clients entrust several different projects with me, it is humbling. To know that we, the client and I, have created a bond is unique

and special. I cannot underscore how

meaningful that relationship is to me. I have had the great fortune to work on

projects through the generations – parents and now their children. There is no better feeling than to know that my work is not

only respected but has become part of the family fabric. What could be better? “I have great respect for historic

design and architecture, and have always enjoyed blending the old with the new to

create a modern interpretation of a classic, be it mid-century modern, California

Spanish, Tuscan, or elegantly traditional.” Yet Hall does not want to work back in

time. “Modernism was new at one time,

but now it is a style. I love working within that style, but it is up to me to bring it into the true contemporary – the now.”

Being aware of current and lasting

trends is not what makes Hall’s work 92 ART

stand out. It is the attention to the details

– the clients’ needs and desires as well as

their possessions. “Often my clients have extensive art collections,” the designer

explains. “It is important to respect that investment.

“On the other hand,” Hall continues,

“if the clients are not collectors or

their tastes have changed, I can work

with that too. I enjoy assisting them in

selecting and purchasing new art pieces

for their home.” Hall often achieves this through local galleries, art fairs, auction houses, or with the help of professional art consultants such as Deborah Page

Projects. “On several occasions I have

even created art for my clients. It is very

satisfying to see my artist side recognized. I think of myself as an artist who happens to have a good sense of design. Painting has been a passion since my youth, and

several of my large abstract acrylics hang in my clients’ homes.”

But while attention to detail is important,

it is Hall’s ability to create an atmosphere of livable style and elegance that is most

impressive. The hand of the artist and the


eye of the designer have melded quite well into the soul of Dan Hall. For more information visit

A contemporary Balinese stone carving welcomes guest to Hall’s front entry.

ART 93




Top Row: Bernard Hoyes, Winter Clouds Embraces the San Gorgonio, watercolors, 30”x40”; Elaine Sigwald, Fishing on Elysium, Digital Painting, 48”x48”; Katherine Kean, Marsh Glow, oil, 30”x30”; Middle Row: Ruth Gonzales, Ondine Gaspard de la Nuit, oil raw pigments on canvas in 5 panels, 80”x60”; Marcy Gregory, Demeter’s Harvest, painted wood, 42”x17”x12.5”; Barry Orleans, Crossroads, Acrylic on canvas, 36” x 36”; Bottom Row: John Luebtow, Linear Form Serie-LF1-307, 1” kiln formed etched glass, polished stainless base, 22”x 10”x 5”; Downs, Manhattan’s Last Call, acrylic on canvas, 48”x72”; Nora Helmer, OK, oil on wood, 84”x25”x4.5”

73-740 El Paseo, Palm Desert, CA 92260 760.898.0223 ART 95




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Laguna Beach ART Patron Magazine Spring 2017  

Explore Orange County's famous Coastal Art Colony!

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