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20 HIGHLIGHTS INSPIRATION:
28 ART WITHOUT WALLS
30 SANCTUARY PALM SPRINGS
ARTIST & COLLECTOR PROFILES:
36 GOTHARD • 42 ABEL • 46 OCHS • 48 GREENBLATT
58 MEINDL • 60 AZEVEDO’S NORWAY • 64 INDIA • 68 PORTUGAL
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72 BACKSTREET ART DISTRICT • 74 PEREZ ROAD 76 PALM SPRINGS • 78 ORANGE COUNTY
Fall/Winter 2017 Oblique
384 Forest #8 • Laguna Beach CA 92651 • 949.494.8208 firstname.lastname@example.org • www.justlookingboutique.net Mon-Sat 10-6pm • Sun 11-4pm ART PatronMagazine.com 15
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PU BL I SH ER B r u c e D odd EDI T OR - I N - C H I EF C hr is tine D odd ASSI S TAN T EDI T OR Gr ove Kog er MEDI A DI R EC T OR Janneen Jac k son jan n een @ Ar t Pat r o n Mag azin e.co m (949) 535- 3095 MEDI A CON SU LTAN T S Rob Piepho (760) 932- 4307 r o b@ Ar t Pat r o n Mag azin e.co m T im Sac k (949) 535- 3098 t im@ Ar t Pat r o n Mag azin e.co m GRAPHIC D ESIGN C h r is t in e Do dd J ar ed L in ge C yn t h ia Wo o dr um C ON T RIB UT ORS Steph en Baumbach T if f any Bow n e St acy Da v ies C h r is t in e Do dd Deja K r eut zber g L iz Go ldn er Ter r y H as t in gs Gr ove Ko ger To m L amb Ro b Pieph o An gela Ro meo
www.ArtPatronMagazine.com For Advertising and Editorial Information: P.O. Box 9492, Laguna Beach, CA 92652 or email info@ArtPatronMagazine.com 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 your favorite art gallery or at the following fine art events: Art Palm Springs • Festival of Arts • Indian Wells Arts Festival Laguna Art-A-Fair • Modernism Week • Pageant of the Masters Sawdust Art & Craft Festival
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HIGHLIGHTS José Agustín Arrieta, Still life, c. 1870 Oil on canvas, 26 1/8 x 36 inches San Diego Museum of Art, Museum purchase with funds provided by Dean and Mrs. Michael H. Dessent and the Latin American Arts Committee
From Missions to Pop Culture How a Mexican Territory Became an American State written by Liz Goldner Dorr Bothwell, Translation from the Maya, 1940 Oil on Celotex, 23 x 19 inches Laguna Art Museum Collection Museum purchase with funds provided through prior gift of Lois Outerbridge
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A symbolic piece of art in California Mexicana: Missions to Murals, 1820–1930 is Charles Christian Nahl’s Grizzly Bear of California (ca.1854), a painting whose image was appropriated for our state flag. An example of the flag itself, which is also included in the show, incorporates bands of red, white and green—the colors of Mexico’s flag—and suggests a common ground between the state and the country. Those bears are among a number of works in this Laguna Art Museum show, which merges art with history while illustrating how part of northwestern Mexico became the American state of California. Arranged chronologically and artistically into nine sections, the exhibition includes detailed explanations of how the visual arts informed California’s evolution as an independent entity over the centuries. California Mexicana begins with Mission Life, a section depicting our state’s historic missions and the diverse peoples who lived and worked in them, and concludes with Old California Pop Culture. Using paintings, photographs and a reproduction of Diego Rivera’s 1930 mural Allegory of California, this final section brings to life the modernist styles bridging Californian and Mexican art. The section also includes two key works from 1931, David Alfaro Siqueiros’s lithograph Zapata, an image of the fearless Mexican revolutionary on horseback, and Alfredo Ramos Martínez’s Indio del Cactus, a painting of an indigenous father clinging to a large cactus symbolizing the Mexican nation to which he belongs. California Mexicana is on display at the Laguna Art Museum through January 14, 2018. For more information visit www.lagunaartmuseum.org
acrylic on acrylic
four 36” x 36” panels
2682 S. Cherokee Way, Palm Springs tomrossgallery.com
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MATTHEW ROLSTON Art People: The Pageant Portraits On View October 27, 2017 through February 23, 2018 Art People: The Pageant Portraits is an exhibition of new works by acclaimed photographer Matthew Rolston. The exhibition is comprised of intimate portraits of participants of Pageant of the Masters, the annual arts festival held in Laguna Beach. Rolstonâ€™s photographic subjects reenact pivotal historical figures and works from art history, from antiquity through 20th century modernism. Donning elaborately designed and painted costumes and body paint made to either flatten or enhance their dimensionality, participants of the long running Pageant of the Masters stem from all walks of life and social backgrounds. Operating within a space of theatrical performance, the Pageant is best known for its famed tableau vivant presentations of art masterpieces, which Rolston began documenting on editorial assignment 22 ART PatronMagazine.com
for The Wall Street Journal in 2015. Growing familiar with members of the Pageant, he gained privileged access to the performers, spending several weeks photographing them in a makeshift studio set up backstage during the run of the show. In their Pageant costumes and makeup, dressed as figures taken from works by Da Vinci, Fragonard, Frishmuth, Matisse, Rivera, Hockney and many more, these performers posed for their portraits away from the painted sets and stage lighting of the Pageant, drawing attention to their unique human characteristics. On view in the gallery are more than 20 highresolution photographic works printed on a monumental scale that blur the lines between painting and photography. For more information visit www.foapom.com/rolston-art-people-exhibit
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Expert Advice on How to Win an Arts Grant by Stephen Biller
There’s a lot of money out there for
artists and arts organizations, but if you want some of it, you need a plan. Three experts on the topic— grant writer Leigh Wiemann, arts administrator Brittany Delany, and artist Barbara Gothard— shared their best advice during a recent arts salon presented by the California Desert Arts Council (CDAC) and hosted by Cathedral City. The presenters wasted no time getting to the prevailing concern among visual and performing artists and arts administrators: how to get started. “I suggest beginning with your budget,” said Wiemann, a longtime grant writer for Palm Springs Art Museum (PSAM). “It will save you time and anguish down the road. It’s your time to doublecheck your project design to see if it will take you where you want it to go, and reveal whether the amount you have in mind is enough to complete your project.” Next comes the daunting task of searching for grant opportunities to suit your specific project. “The four general funders are foundations, corporations, state agencies, and the federal government,”
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Wiemann pointed out, adding that the reliability of the last source—which includes the National Endowment for the Arts (NEA)—remains uncertain under the Trump administration. “Corporations are looking for marketing, and they support events and programs that generate publicity. Most corporate foundations have grant portals.” Wiemann suggested investing time at the Foundation Center’s website (http:// foundationcenter.org/), and particularly its Philanthropy News Digest section (http:// philanthropynewsdigest.org/). The CDAC website (cadesertarts.org) also lists grants and tools. In addition, you can follow arts grants trends and research via blogs such as Americans for the Arts blog (https://blog.americansforthearts.org/), Barry’s Blog from the Western States Arts Federation (http://blog.westaf.org), and the Fractured Atlas blog (https://blog.fracturedatlas.org/). “Research is so crucial,” explained Gothard, a PSAM Artists Council board member and former educator and business executive who returned to art with the help of grants from the Kenneth A.
Picerne Foundation’s Artist Outreach Project and Institut Calvisson in France. “Talk to your friends. A lot of people have already gone through the research process. My alumni associations were a good source for grants. Many of the alumni worked in organizations that awarded grants. ” The next decision you face is whether to write the grant yourself or hire a grant writer to help you. Before you decide, Wiemann said, you should consider how much you enjoy writing and whether the proposal seems too difficult to go it alone. “If you hire a grant writer, hire based on a project rather than a per-hour basis,” she recommended. “And ask the grant writer to develop a template you can modify and use for other submissions.” Delany, who shared her experience of winning a capacity-building grant for an arts organization, suggested reading up on the grantor’s previous awards. “Understand what they’re looking for, whom they want to partner with, and where they invest their money. It’s important for the grantor to know who’s benefitting and whom it touches.” Delany also encouraged participants to watch Shark Tank as well as crowdfunding campaign videos on Kickstarter.com and Indiegogo.com to see and hear “how passionate people can persuade funders to support their work.” “The key is answering [the grantor’s] questions specifically” Gothard added. “Don’t over promise. These people are sophisticated grant reviewers. They know what’s doable in a period of time.” And
then edit to death. “Some applications have a word limit, which helps you focus and become more concise with what you’re saying.” Once you’ve won a grant, your next concern is stewardship. “Think of a grant as a job,” said Gothard, who conceded that she was surprised by the amount of paperwork and reporting her grants required. “That’s what you’re being paid to do. I had one grant that required a monthly report, with expenses, as well as the final report.” “After I won the first grant for research with my professor and colleague, we produced documentation and artwork, as promised,” Delany recalled. “Then, with that completed work, we were able to iterate another project for grant support. Following that, we requested funds for an expanded artwork project, and the following year, we requested funding for bringing on a creative designer. Bottom line: if you show your funders you can be responsible with their money—delivering on your promise, fulfilling the mission, and completing the final report—they are more likely to consider your future proposals. The goal is to develop real trust and respect with your grantors so they have confidence in your ability to execute your vision, whether that’s a bold new art project or a 10-year plan to build a new multimedia arts space.” Finally, Wiemann pointed out, if a funder declines your grant award, be professional and don’t take it personally. “Keep writing, keep looking. If you don’t apply, you won’t get a grant.”
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WYLAND: Hope For The Ocean The Ritz-Carlton, Laguna Niguel is exhibiting marine life art by renowned artist Wyland. The exhibit, titled “Hope for the Ocean,” recognizes his foundation’s new partnership with the United Nations Environment Program in support of the UN’s 2030 Sustainable Development Goals. On display through January 4, 2018, the exhibit is open to the public and includes 25 original oil paintings, Chinese sumi brush paintings, giclees on canvas, aluminum, watercolors, a bronze sculpture, and a mixed media coffee table. “We are thrilled to welcome Wyland back to the resort,” said Shannon Gilbert, Director of Sales & Marketing at The RitzCarlton, Laguna Niguel. “This new exhibit showcases his passion and commitment to the environment which I believe will capture the imagination of our guests and inspire them to become better stewards for our planet.” Laguna Beach-based marine life artist Wyland has built an international reputation for
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his commitment to marine life conservation, most notably through his monumental marine life murals, the Whaling Walls. Spanning thousands of square feet, these massive works of art expose more than one billion people each year to the thrilling diversity and beauty of life that exists below the surface of our ocean planet. Each of his works speaks to our beautiful but fragile marine ecosystem. Dedicated to saving our water resources through art and education, his nonprofit Wyland Foundation is actively engaged in alerting millions of students around the world to become caring, informed stewards of our ocean, rivers, lakes, streams, and wetlands through classroom education, community events, and public art projects. “The ocean has been a source for awe and wonder since time began; but we’ve come to a crossroads where what we do now can make all the difference for the next ten thousand years,” said Wyland. “I’ve always seen incredible beauty in the sea. I suppose that’s why I feel such a responsibility to ensure the health of this precious resource,” he added. For more information or reservations visit www.ritzcarlton.com/LagunaNiguel.
Cove Gallery launches “New Young Artist” Program Featuring Artists from Laguna Beach High School! Cove Gallery in Laguna Beach has teamed up with Laguna Beach High School to create an exciting new program that gives LBHS artists the opportunity to not only show some of their art in a Laguna Beach gallery, but also gives the student a “total gallery experience”. The program kicked-off at the First Thursday’s Art Walk on November 2, and the first two artists selected by the school are Zander Raymond and Sophia Diaz Anderson. Both Raymond and DiazAnderson are based in Laguna Beach and attend Laguna Beach High School. According to Bridget Beaudry-Porter, Art Teacher at Laguna Beach High School, “We’re very excited to work with Cove
Gallery on this unique opportunity. It gives our emerging young artists firsthand experience of gallery life, and great exposure of their work. Zander and Sophia, the first students to be involved in this innovative program, are both students in Advanced Placement Studio Art 2D Design and Drawing and have shown great promise as artists of the future.” Steve Bernstein, one of the permanent artists at Cove Gallery, said the gallery is “proud to be helping nurture and encourage such talented young artists in the Laguna Beach community.” For more information visit www.covegallerylaguna.com
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Art With Out Walls 28 ART PatronMagazine.com
After years of study and more years of establishing a unique vision, an artist is faced with the additional challenge of finding a measure of success in the elite art market and then trying to maintain a steady income. Making a living can be tough for even the seasoned artist, but an additional consideration for many is how to become a household name when their work is not (and cannot be) priced for the average American budget. It may seem counter-intuitive to recreate your painting, photograph, print, or sculpture to target a market outside of the upscale fine art gallery. However, a creative use of an artwork may be the only thing standing between an artist and the dreaded “day job.” For your inspiration and consideration, we’ve gathered innovative applications of fine art to show how collectors can still acquire works by their favorite but otherwise out-of-reach artists, and how artists who have not found a steady stream of income from the fickle art world can still make a living doing what they love.
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Prints are often collaged with colored Chine-collé rice “In a world whose reality paper. can often be somber, Art “Having studied in brings you a sparkle of hope. Europe and attended private My paintings, monotypes studios and art courses and multiples—some of them at Sotheby’s and ICA—the subsequently transformed Institute of Contemporary into luxury silk scarves—are Art/Christies—in London, strongly influenced by I subsequently joined the intense colors. Thanks to Art Students League of its vibrancy, color is my New York, where I first signature and the strength of became involved with my expression. Throughout printmaking. I have exhibited the years, colors have in Switzerland, England, amalgamated my style and Mexico, Romania (Arad given continuity to my work. Biennale), Italy (Florence “I often work directly with Biennale), New York City my fingers, on paper, board, metal or canvas, thus ’building (first solo show in 2002) and Houston, and am currently up’ the painting or monotype, associated with Saatchi Art.” much like a sculpture. (www.saatchiart.com/annejoelle). ART PatronMagazine.com 29
Palm Springs Where LGBTQ Youth Meet Their Future
written by Pamela Price photography by Deja Kreutzberg
In a comfortable residence in a modernism-inspired Palm Springs neighborhood, there is a change in the way fostered LGBTQ youth face their future. Sanctuary Palm Springs, an ambitious project created by licensed foster care providers David Rothmiller and LD Thompson, is starting to turn heads. A lovingly renovated house “where different is normal,” the dwelling was donated by an anonymous supporter of a program designed to accommodate six young adults between 18 and 21 who have been enrolled in a California Foster Care program. Officially the project represents the birth of the Transitional Housing Program + Foster Care, and its residents must be studying for their GED, enrolled in a college or vocational training program, or working at least 80 hours a month. According to statistics, approximately 18 percent of foster care children in Riverside County identify as LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer). When they turn 18, these young adults now have an option that was unavailable before—living for a time in a transition home. What makes the project even more remarkable is how art was brought into the picture— literally. In conception and spirit, Sanctuary Palm Springs is more a miracle than an institution. The interior furnishings were donated, right down to the stylish bookcases, while original works of art greet residents and visitors from the moment they cross the threshold. Under the guidance of leading interior decorator Christopher Kennedy and like-minded others, the rambling residence has taken on an entirely different character. “This was once a rather unimaginative home,” Kennedy points out. “The new look you see reflects how art and design inspire life and mood, how they embrace you. The pieces of art installed throughout the residence, all of them donations collected by Deborah Page Art Consulting, will have a positive impact on its LGBTQ residents, and this will be their home as they continue their education or work.” It was here that I met Sofia Enriquez, an artist wearing a catchy white blouse with black lettering. “I bought it at a thrift shop and printed the 30 ART PatronMagazine.com
Right: Artist Sofia S. Enriquez and the two paintings she donated to Sanctuary. Above: (left to right) Co-Founder of Sanctuary LD Thompson, Interior Designer Christopher Kennedy, and Director of Operations Ellen Wolf
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“Coming back to my hometown to create my own job wasn’t possible without working with my
community first. Volunteering a few hours here and there, helping out other artists, and enjoying the
process that helps me understand my own process. “ -Sophia S. Enriquez
Top: Artist Sofia S. Enriquez Middle clockwise: Interior designer Dan Hall with the painting he donated; A limited edition print donated by DJ Hall; A watercolor donated by Jeff Siehl; A hand signed Original Lithograph by Dennis Oppenheim, titled “Study For Upper Cut” donated by Stephen Biller Bottom: Artist Kara Louise with the painting she donated, titled “Boundless.”
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design,” she tells me. Her other whimsical creations include custom-designed prayer beads and rosaries. Today, two of her paintings greet guests and residents in the home’s entry. Six fortunate young people will have private bedrooms as well as use of the swimming pool, patio and chic kitchen, but will also be under 24-hour supervision. Art as therapeutic practice will be an important component to the program as it develops, Program Dir. Julie Siri explains that “what we know about foster youth is that their selfexpression is often stifled. And for LGBTQ youth, many of whom are in the midst of the comingout process, expressing sexual identity can be hindered by stigma, judgment and isolation. Art can provide a safe vehicle for expressing their confusion or sadness, or the joy of discovering their personal story. The residents of Sanctuary Palm Springs will be exposed to the arts through a variety of established artists’ works installed throughout the residence as well as enjoying tours of local studios, museums and exhibits.”
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“I am proud to be a part of the LGBT Community and thrilled and
honored to have the opportunity to display a piece of myself to shine
some hope and encourage people to explore life with no boundaries – thus the name of my piece “Boundless.” -Kara Louise Left: Artist Kara Louise sitting in a chair donated by Christopher Kennedy Right: Print donated by Phillip K Smith III
The unconditional support that the desert community has offered Sanctuary Palm Springs is visible from the moment you enter. Philanthropic artists and designers have created a new reality for LGBTQ youth with a message of personalized rather than institutionalized support. Will the concept behind the project have an impact on county programs? Or will it perhaps escalate to statewide transitional housing for the LGBTQ community? Its advocates agree that Sanctuary Palm Springs, working within the mission of the
state’s Transitional Housing Program + Foster Care, establishes a new and inspiring avenue of discovery for developing life skills. In large part, this is thanks to the inclusion of art focused on the needs of LGBTQ youth. “The commitment of Rothmiller and Thompson represents a beacon of hope for the current residents at Sanctuary Palm Springs and all those who will be joining them.” For more information: visit SanctuaryPalmSprings.org or email EllenWolf@SanctuaryPalmSprings.org
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STUDIO: 3251 Laguna Canyon Road / Studio E / Laguna Beach / 949-715-1705 Open by Appointment / www.tomswimmfineart.com
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A New Way of
THINKING about ART
Questions & Answers with Barbara Gothard
Besides being an accomplished painter, Barbara Gothard has a Ph.D. in Educational Administration and has worked in the corporate world as well. Recently she answered questions about her life and her vocation for Art Patron Magazines.
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written by Christine Dodd What did you want to be when you were a child?
Below: Beyond the Exterior 2017 Oil on canvas 22x28 Above: Barabara Gothard in her studio, photo by Stephen Baumbach
“An artist. Fortunately my mother was very perceptive. After I won first prize for a drawing I created in second grade, she enrolled me in Saturday morning art classes. I used to think that she did this to get me out of the house, but in hindsight I’m so appreciative that she recognized my creative interest and found a way for me to nurture it. This creative drive has been an integral part of my life ever since, although the degree to which I was able to implement it was dictated by family and business circumstances.”
What was the best piece of advice you have been given?
“The best advice I have received was to always remember that grace under fire is the sign of maturity.“
What is your favorite thing about your art studio?
“I draw inspiration for my art from the natural light, the ever-changing desert sky, the magnificent colors of the plants in bloom, and the way the colors of the mountains evolve throughout the day. These all influence the expansiveness I attempt to capture in my paintings. Having grown up in the Midwest, where the landscape was mostly flat, I’ve always been intrigued by mountains, and although this is my first time living in a desert environment, interestingly mountains have appeared in my paintings for a long time. Plus, I find I’m well-suited for a live/work environment in which my creative tools are available at any time of day or night.”
What is the biggest sacrifice you have made to be an artist?
“Postponing my art career while raising my children was a difficult decision, but it was also the best decision I’ve ever made. I think about my professional art career in two stages: Stage 1, before children and, not unlike many women, my career working full-time as an artist was then postponed until Stage 2, after children are grown. When I reflect on my two marvelous children, who’ve grown into successful, accomplished adults in whom I take much pride, I know I made the right decision.”
What does success mean to you?
“Favorable outcomes, which evolve along with the progress of my work, are the way I think about success. If the viewers’ takeaway from my art is that I’ve encouraged them to think about what they have seen, what it might mean as opposed to its purely decorative quality, this is a favorable outcome. When I see viewers return two, three or more times to take another look, I feel that I’ve connected with them in some way and that they are thinking about what they’re viewing. I know my work can be challenging for some viewers, but my hope is that the takeaway is to appreciate that they were exposed to a different and perhaps new way of thinking about art.
“Another favorable outcome is for viewers to sense the ’story,’ but perhaps not in a traditional or literal sense. The story is about the options we have in life. In spite of the contradictory elements in my work, they have been described by viewers as strangely peaceful. There is always an element of hope, which is often represented by windows, openings in the sky, or more organic aspects. Each series of works evolves from the previous series to convey the story of how or what triggered the evolution.”
Name the biggest overall lesson you have learned in marketing yourself as an artist.
“Perseverance! Consistency! And more perseverance! It has been important to understand brand development in the creative sector, design the look for marketing materials that is compatible with my artwork, and overcome my initial hesitancy surrounding social media. In addition, networking with fellow artists and marketing specialists to learn from their experiences is also important. Plus the value of working with and benefitting from the experience of your gallerist, in my case Jorge Mendez Gallery.”
Has learning from a mistake ever led you to success?
“Constantly. This is how I grow and how my artworks always seem to evolve into something better. For example, one of my older paintings was water-damaged by leaks in the ceiling during a rain storm. My mistake was assuming it could be cleaned. When it was returned to me, however, it was rolled up in a box rather than rolled around a tube or placed in the tube. The canvas had so many creases and cracks that the painting could never be displayed in its original form. It was tacked to a wall for almost a year. “Then this past January as I was exploring the two galleries at Space 4 Art in San Diego for a solo show, I realized that the smaller of the two was ideal for an installation, which I’d never done but wanted to. Voila! I cut the damaged canvas into strips of varying widths while maintaining the continuity of the original image, hung them with fishing line from three wood planks mounted on the supports for the light fixture, and used a conelike shipping material to cover the wood planks. The strips of canvas were hung low enough so that viewers could walk among them and experience the water damage. “This process has led to developing concepts for the Palm Springs Art Museum Artists Council Experimental Exhibit at Copper Mountain College in Joshua Tree next spring.”
In moments of self-doubt or adversity, how do you build yourself back up?
“By reminding myself that in my Buddhist practice, which is based on the teachings of Nichiren Daishonin, obstacles are to be welcomed as a way to strengthen my resolve. I also reflect on the source of my creativity and inspiration, the concept of the impermanence and ever-changing ART PatronMagazine.com 37
Moving Beyond 2017 Oil on Canvas 48x48
aspects of life, and this reenergizes me and facilitates visualizing the way the artworks start to come alive.”
In your opinion, what are the top three things someone should consider before starting a career as an artist? “Know yourself; learn about the business side of art; and network, network and network with fellow artists and become involved in arts organizations, for example the Artist’s Council at the Palm Springs Art Museum.”
What book is on your nightstand?
“Hockney on Art by David Hockney looks at art history from a contemporary perspective while considering “the influence of Picasso and Rembrandt as well as Eastern conventions.” It’s such a fresh, different way to think about art history, including my historical influencers.”
What does the world need more of?
“Optimism, trust, innate respect for all people and acceptance of differences.”
What is your no-fail go-to when you need inspiration or to get out of a creative rut? 38 ART PatronMagazine.com
“Long walks, reading about or viewing documentaries of artists’ biographies, talking
to other artists, visiting galleries and museums, and staying true to the focus of my artwork—the concept of expansion. This includes expansion of the visual space within the canvas; expansion of the principles that guide my creative process in moving from a surrealistic perspective; expansion and refinement of my color palette from a minimalist color scheme to colors that are more reflective of my current environment, the desert; and placing the organic with the abstract to create a contrasting effect incorporating dream-like or mystical metaphors. I let the works take me in new and unexpected directions.”
Name an artist past or present whom you admire or look up to. And why.
“My inner vision as an artist is set against this backdrop of historical influencers: Hieronymus Bosch for ’his use of fantastic imagery and placement’; the Dutch Masters and in particular Vermeer for ‘his masterly treatment and use of light’; Gustav Klimt for his ’elegant and decorative elements’; Georgia O’Keeffe for her ’contoured forms that are replete with subtle transitions of varying colors’; and René Magritte for ’his ability to place ordinary objects in unfamiliar spaces.’ “Among more recent artists, I’m drawn to
Woodman/Shimko Gallery “Provincetown To Palm Springs: 3,000 Miles Of Art™”
From doing design work for Bergdorf Goodman, Armani, Tiffany and 15 years in Tokyo designing for a Japanese company, Woody Shimko has turned his vision into showcasing artists from both coasts. The Woodman/Shimko Gallery features the work of many Provincetown artists as well as artists from the west coast in the gallery in Palm Springs. It truly is“3,000 “3,000Miles MilesOf OfArt.” Art.”
www.WoodmanShimkoGallery.com | WoodmanShimkoGallery@gmail.com 398 Commercial Street | Provincetown, Massachusetts 02657 | 508.487.0606 1105 N Palm Canyon Drive | Palm Springs, California 92262 | 760.322.1230 ART PatronMagazine.com 39
Above: Just Beyond 2017 Oil on Canvas 48x48 Far Left: Inter Alia Repurposed 2016 Installation 14’x16’x10’ Left: View from Gothard’s studio
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works by Carmen Herrera for her sophisticated simplicity and Francis Bacon for the emotionally charged but somehow mysterious elements in his work.”
What is your personal or professional motto?
“Never Give Up. Paraphrasing an adage, If you’re on a 10-mile journey and you stop at 9 miles, you’ll never know what the rest of the journey might have held for you.”
What called you to being an artist?
“My impetus to become an artist evolved in both tangible and intangible ways—tangible from my mother’s encouragement by enrolling me in Saturday art classes and intangible as a means of communicating visually rather than through the spoken word. “In addition, the impetus has been driven by a commitment I made to myself to return to my art. After doing so, I was confronted with the prospect of losing most of my possessions due to a combination of molds and asbestos exposure following rain storms and the experience of dealing with the uncertainty surrounding my son’s liver transplant—not as tragedies but as opportunities to refocus the way I approach and confront each blank canvas with a new kind of urgency, courage and excitement—all at the same time. “With these drivers, as the natural (metaphoric) images evoke contrasts with the abstract (confronting the viewer with their interdependence), I draw directly onto the canvas, watching the shapes and colors evolve and change as the
dynamic of the contrasting elements take shape. This unfolding mystery of complex spatial systems is what compels me to continue painting, anticipating viewers’ responses to the dramatic challenges of change, infused with great expectation.”
What quotation or saying inspires and motivates you to be yourself and do what you love? “’When we create or appreciate art, we set free the spirit trapped within. That is why art arouses such joy,’ from Daisaku Ikeda, President of Soka Gakki-International.”
Name a professional challenge that keeps you up at night. “My biggest challenge is to quiet the many thoughts and ideas for my paintings.”
What would you tell yourself 10 to 20 years ago that you wish you knew then?
“This is a double-edged sword. I would never have had the phenomenal experiences afforded me as a businesswoman traveling the world, so I would not want to diminish that, but in hindsight, the decision to transition from business to art might have happened sooner had I known then what I know now.”
What is the first thing you do every morning to start your day on the right foot? “I begin each day with my Buddhist practice, chanting ‘Nam-myoho-renge-kyo,’ and then I go for a walk.” For more information visit http://barbaragothard.com/Artist.cfm
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The Abels at Home
A Home and Legacy Steeped in Art written by Liz Goldner Photography by Tom Lamb 42 ART PatronMagazine.com
The Abel family is composed of artists and art collectors who also delight in giving back to their community. This generous spirit flows from the family’s legacy of encouraging their children to explore and pursue art from a young age. A second generation Lagunan, Gregg Abel is descended from an artist/craftsman who came to this country in the 1930s—and who himself was descended from a woodcarver. Having grown up with a strong interest in art and design, Gregg, along with his wife, Kathleen, passed this passion to their now-grown children, Lea and Tristan. Reflecting on his artistic legacy, Gregg talks about his grandfather Carl Abel, who immigrated to Laguna in 1937 from Denmark. When he and his wife, Willie, arrived here, they already had five children, three of whom became artists. Carl worked in the oil fields of Long Beach while pursuing his avocation as a woodcarver. Their youngest child, Chris—Gregg’s father—had been born in 1924 in Denmark, and later became a well-known architect in Laguna, designing and renovating many important structures. Growing up with an artistic father who encouraged his children to pursue their own passions was a “great gift,” Gregg explains. As a teenager, he often worked in his dad’s architectural office, drafting designs with a pen—as he still does. He also learned woodcarving from his uncle Mogens Abel.
In the 1970s, Gregg and Kathleen lived in Austria for a year studying art and design, and married soon afterwards. After returning to Laguna Beach, Gregg founded his own architectural design and construction firm, Kathleen began working as an interior designer, and the couple had two children. They purchased and moved into their current home, then nearly six decades old, in 1985. The Abels’ large rambling home near Park Avenue is not only a work of art in itself. It has an illustrious history as well, having housed seven family members and hosted a variety of social, literary and political events over the years. The saying “if these walls could talk” could easily apply to their home. Yet the many decorative accoutrements and artworks throughout its many rooms say quite a lot. The 4,200-square-foot-house was an 1,100-square-foot bat and board cottage when the Abels moved in, and they have lovingly modified and enhanced the simple structure during their more than three decades there. Today their home features gabled roofs, tall windows, extensive use of stucco and decks overlooking lush canyons and the ocean. Among other renovations, the Abels added several rooms on three levels, replaced plate glass windows with beveled and carved glass, ART PatronMagazine.com 43
and built decks and patios. They have also added a dining room with a fireplace and cabinetry designed by Gregg and windows designed by Tristan and carved by Greggâ€™s sister Lark. This room also features a large carving of a samurai, created by ancestor Mogens Abel nearly 100 years ago, and a figurative regionalist painting by California artist Dennis Hare. In the living room, a hand-painted mural above the fireplace by local artist Alfred Dupont (a friend of the original owners) displays an English country scene. Gregg carved the woodwork below the mural, as well as the mahogany woodwork on a side wall. The vaulted exposed beam ceiling features an added skylight, while leaded glass windows look out to lush gardens. The large wooden snail that you encounter 44 ART PatronMagazine.com
on the railing of the entryway is one that Gregg himself carved decades ago, while the iridescent glass window with a pastoral scene that you see as you descend the stairs was created by Laguna designer C. Stanton Herbert. A dark-toned semiabstract painting by local artist Jorg Dubin hangs on the opposite wall, along with a small still-life of an apple painted years ago by Kathleen. In the nearby bathroom, a mixed media collage of a mermaid by Laguna artist and art dealer Leonard Kaplan is illuminated by a large window. Down the hallway are several colorful floral scenes drawn by daughter Lea in high school when she was influenced by the psychedelic works of her classmates. There are many more unique pieces in the Abelsâ€™ collection. These include artist Vincent
Calenzo’s painting, “The Inventor Series.” Lea explains, “The theme is about a man having to reinvent himself and fashion all of these tools in order to be able to survive the tempests of the modern world.” Among Kathleen’s favored works are whimsically decorated bottles by Connie Archbold. Other art pieces include large 50-year-old ship models in the den alongside a tall sculpted wooden seat by local artist Jon Seeman. Also on display are works by local artists Cunningham/Haight, Scott Moore and Pat Sparkuhl near an original print by Shepard Fairey and a drawing Point Pleasant by famed actor Lionel Barrymore. Drawings, paintings and figurative ceramic sculptures by the Abels’ multitalented son Tristan are also on display, including a painting of his
wife, Sarah. His assemblage piece of a skeleton adorns the den, while a Prisma and ink work, The Bone Collector, features a vulture and stacks of coins. Currently studying studio art at Laguna College of Art + Design while working in design and construction for his dad, Tristan is also a fifthgeneration wood carver, having learned the craft from his father as an eight-year-old. Admiring the Abels’ residence on the day of our visit, albeit in his own special way, is their infant grandson Sterling. As his mom, Lea, walks him through their home with its seemingly endless array of art, it is easy to envision him making his own mark in the art world and carrying on his multi-generational family tradition of creating art and giving back. ART PatronMagazine.com 45
I Love You, California
An Exhibition Expressing the Beauty and Radiance of California Impressionist Paintings
Maurice Braun The Land of Sunshine, n.d. Oil on canvas, 50” x 70”
Casa Romantica Executive Director Berenika Schmitz first came across the California Impressionist collection of Peter and Gail Ochs in 2014, while participating in the executive leadership program created by the Fieldstone Foundation, which the Ochs founded to empower nonprofit leaders. “The inspiring environment that the Ochs created with their incredible private collection, hung on the walls, motivated my desire to share this ultimately invigorating experience with our community. I knew they had lent out a few works at a time to other art institutions, and I think I surprised them when I requested almost 30 paintings for an exhibition.” After a meaningful dialogue with Schmitz, the Ochs agreed to loan many of their landscape paintings for the exhibition, “I Love You, California: The Peter and Gail Ochs Collection” exhibition at Casa Romantica Cultural Center and Gardens in San Clemente. Comprised of 25 landscapes, this display features the Ochs’ most prized artworks; while its renowned “plein-air” artists include Frank Cuprien, Joseph Kleitsch, Jean Mannheim, Granville Redmond and William Wendt. When Peter and Gail Ochs moved to Orange County from eastern Pennsylvania in 1968, they already had impressive understanding of classic and modern art. Peter grew up with artistic relatives, and both Gail and Peter enjoyed attending museums in Philadelphia. When they moved here nearly 50 years ago, south Orange County was still primarily farm and 46 ART PatronMagazine.com
ranch land. Yet as they saw the area develop, they were drawn to California Impressionist paintings, to works displaying the natural beauty of our state during a bygone era. This style, they explain, “…captured a unique period of time in California history, a time of major growth and change as people by the tens of thousands began to pour into the relatively uninhabited southern part of the state.” California Impressionism originated in Southern California in the early 20th century in Laguna Beach, Pasadena and other SoCal locations. Painters here used the light, broad brush strokes and pure, bright colors of their earlier French counterparts to depict the picturesque scenery, much of it urban. Yet the California version concentrated on the magical southland light and on bucolic landscapes. Many artists came to the southland from Europe as impressionism there gave way to a variety of newer modern art movements. They settled here, formed art colonies and used local landscapes as subjects of their artwork. Their paintings express reverence for the beauty of the area while preserving on canvas the land in its pristine state. These vibrantly colored works are also reflections of the influences of these newer art movements, including post-impressionism. The Ochs began acquiring California Impressionist paintings in 1985. They had viewed these works at the Laguna Art Museum, and then sought out art dealers who carried this type of art. They
Written by Liz Goldner
William Wendt Sunny Slopes, 1912 Oil on canvas 39.75” x 49.75”
were drawn to these paintings, Gail Ochs explains, because they present the land as it was 100 years ago. As their collection grew (today to nearly 125 California Impressionist paintings), they hung them in the offices of their Fieldstone Foundation in Newport Center. And they began loaning them to museums and cultural centers on the west and east coasts and in between. They explain that loaning their art flows from their sense of responsibility to make these historic masterpieces accessible to the public. Peter and Gail add, “It is our hope that the beauty of today’s California will be preserved for future generations just as these early artists preserved for us the beauty as it once was.” “I Love You, California: The Peter and Gail Ochs Collection,” a radiant series of landscapes, pays tribute to our golden state. Or as the first two lines of our state song go: “I love you, California, you’re the greatest state of all. I love you in the winter, summer, spring and in the fall.” One highlight of the exhibition is Spring Flowers (n.d.) by Franz A. Bischoff, featuring deep blue lupine flowers with blue and gold poppy fields in the distance. The contrasting Golden Haze, Laguna (n.d.) by Joseph Kleitsch is a classic Laguna Beach landscape with trees in the foreground and a majestic purple-hued canyon in the background. William Wendt’s Sunny Slopes (1912) extols the southern California landscape with its fertile fields, bountiful trees and snow-capped mountains in the distance. California Symphony (n.d.) by Granville Redmond features the artist’s characteristic bright orange poppies among green fields, trees, mountains and sky. Jean Mannheim’s Sierra Madre (1910) illustrates the purple mountains against a foreground of golden hills and trees in deep shadow. These are just a few of the treasures in this show. Berenika Schmitz, who curated the exhibition explains, “Private collections are distinctive because they express something personal about the collectors. Therefore, it was important that I curate this exhibition from the heart, not only from my knowledge of the prestige of this collection.” A graduate of Harvard and Oxford Universities, she selected works that “capture the adoration by these great masters for our naturally blessed California landscape. I paired the works with quotes from the great author and naturalist John Muir who also loved the California wilderness. Our intent is that the walls of our gallery will inspire awe.” One favored quote by Muir included in the exhibition, reads, “Pursuing my lonely way down the valley, I turned again and again to gaze on the glorious picture, throwing up my arms to enclose it as in a frame.” For more information visit www.casaromantica.org
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Passion, Art & the Movies Robert Greenblattâ€™s Vintage Movie Poster Collection written by Angela Romeo 48 ART PatronMagazine.com
Some people buy a house and fill it with art. Some people have art and build a house around it. And some people collect art, buy a house and find the synergy between the two. Such is the case with the residence of Robert Greenblatt, the Chairman of NBC Entertainment.
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Greenblatt’s impressive resume includes a Golden Globe as television producer for Six Feet Under and Tonys as producer for Dear Evan Hansen and A Gentleman’s Guide to Love & Murder. Prior to taking the reins at NBC in 2011, he was President of Showtime Networks for seven years and is one of the founding programmers of the Fox network. He has also been involved in a range of hit shows including 90210, Ally McBeal, The X-Files, Dexter, Nurse Jackie, Shameless, The Blacklist and, most recently, This Is Us. It should be no surprise, then, that Greenblatt has a passion for art that embraces the entertainment industry— specifically movie posters. Movie posters began appearing in the 1890s, and many attribute the first example to French lithographer Jules Chéret. As the years went by and movies became more popular, the posters began to increase in importance. No longer tombstone advertisements, they began depicting actual stars and scenes, and some became more iconic than the movies themselves! Who cannot visualize the poster for Attack of the 50 Foot Woman? And does the poster for A Clockwork Orange not send chills down your spine? “I’ve been collecting movie posters for 30 years, “says Greenblatt. “I’ve bought some at auction and many others online through galleries in France, London, and even Sitges in Spain. These are world-class dealers who have beautiful pieces that arrive in pristine condition. Many in my collection date from before 1960, and the quality of the printing is what makes them collectible. Some are stone lithographs on very high-quality paper. And many of them have been museum-mounted on linen to stop the degrading of the paper. “Some are hand–tinted,” Greenblatt continues, referring to examples in his collection from the 1940s. “That was just the sophisticated nature of printing back then, which helped preserve the vibrancy of the color. Some have faded or suffered some decay, and these have been restored professionally and even repainted, but most of my posters are in their original state.” He adds that as color film came in ART PatronMagazine.com 51
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to being, the technique of hand-tinting began to die away. “There are 25 vintage movie posters in the house, and they’re in every room,“ Greenblatt points out, adding that they range in size. “Traditional one-sheet posters are 27 by 41 inches. Examples of this size include my Breakfast at Tiffany’s and Vertigo posters. Three-sheet posters are 41 by 91 inches, and a good example of this size is the one for A Star Is Born. The largest posters, 81 by 81 inches, are made up of six sheets. A Place in the Sun is a good example of that size. But several posters are of American movies released in foreign countries, and they can vary widely.“ The Grace Home Furnishings’ design team of Michael Ostrow and Roger Stoker had the challenge of respecting the history of Greenblatt’s posters as well as his lifestyle. Built in 2009, his home is located in the Little Tuscany area of Palm Springs, a hillside enclave of Palm Springs that enjoys views of the Santa Rosa Mountains and boasts an impressive pedigree of A-list residents – the Gabors, Ava Gardner, Patty Hearst, and so on. Famed architects Richard Neutra, Albert Frey and Craig Ellwood left their mark on the area, while Greenblatt’s own residence is a mix of Spanish and Midcentury Modern design. “Bob had a very good vision of what he wanted,” Ostrow recalls. “I sometimes pointed him in a direction I thought might be more practical or balance the feel of the room, but overall we saw eye to eye. I knew he wanted his collection of movie posters to stand out, and we always kept that in mind. “Art tends to be very personal,” the designer continues. “I can direct clients toward what I think will work for them but ultimately they need to decide. They are the ones who live with it. Generally I get a feel for the house and the décor. Next I discuss with the client what he sees filling the walls. It is always great when a client comes to me with a collection, because I can then design in ways to show it off.” “There were no design issues incorporating the posters, as they complement any kind of décor,” Greenblatt explains. “In some cases, the colors of the posters worked perfectly with the rugs and furniture. An example of this can be seen with the Some Like it Hot and Anna Christie posters. Both are in the living room and both incorporate the same color of blue as the chairs and wall color, which was just a nice coincidence.” In Robert Greenblatt’s world, art, home and talent work together well even when the camera is off. ART PatronMagazine.com 53
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The Treasures in Susie and John Meindl’s Indian Wells Home “Acquire what most stirs your passion.” That’s the advice that Susie and John Meindl give beginning collectors, and it has guided their own efforts in
assembling a collection that, Susie explains, “enriches the visual atmosphere in our homes and John’s office and enhances the cultural experience of our travels.” Asked what they love about their favorite pieces, they point first to a pair of West African native wood carvings. “They evoke a feeling of welcome and hospitality. They recall one of our first trips to Africa and remind us of the tribal rituals practiced by various African cultures, in this case, a wedding. We love the mixed media use of carved wood embellished by glass, metal and shells.” The couple are especially fond of works by Doug Randall. “The vibrant colors in his glass ’baskets’ recapture our up-close encounters with macaws and other colorful wildlife around Tree Top Lodge on the Rio Negro, a tributary of the Amazon. We love how Doug translates Latin ethnic cultures into a contemporary setting. His work embodies an intricate procedure combining creative patterns.” They also single out an oil of a Tahitian woman by Jean-Jacques Jouet that “captures the romance of the South Seas islands of French Polynesia. We love how he combines vibrations of movement with color in a primal setting.” What do these particular pieces have in common? As Susie and John explain, they “conjure emotion and skill and fulfill intent of uniqueness”—qualities that distinguish all successful works of art.
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Opposite Page: Male & female native wood carvings, Ghana West Africa; acquired in a Nairobi, Kenya gallery; flanked by Susie & John Meindl This Page (Clockwise): Australian aboriginal acrylic on canvas, Emilie Luong Kung Knwarreye, N.W. Territories, Australia;
Glass bead and seashell detail on female figure’s head from opposite page; Detail of a yellow & cobalt blue Doug Randall glass “basket”; Native Woman Weaving Hat, oil on canvas dip-tych, J.J. Jouet, Papeete, Tahiti; Detail of a Doug Randall multi-color glass “basket”
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A Unique Holiday Present
Photographer Ron Azevedo Treats His Family to a Week in the Lofoten Islands written by Liz Goldner Two days after Santa Claus rode his sleigh down from the North Pole to deliver presents, Ron Azevedo flew to Norway to photograph a place that, he says, is characterized by “lights, color and atmospheres.” The San Clemente resident and Laguna Festival of Arts exhibitor left sunny California on December 26, 2016, accompanied by his wife, Myrtha, 30-year-old daughter Nicole and 24-yearold son Preston. After arriving in Norway’s capital city of Oslo, they transferred to a smaller plane for the next leg of their journey. Their destination was an ancient fishing village north of the Arctic Circle, once inhabited by Vikings, in the Lofoten Archipelago. The weather was so inclement that 60 ART PatronMagazine.com
their pilot thought he might be forced turn back, but after “a scary 20-minute flight,” as Azevedo describes it, they landed and went on to spend seven glorious days. The photographer was there to capture images of what he describes as “the majestic mountain landscapes rising from the sea like some spiky dragon, the sandy beaches, deep fjords and cute red cabins.” Azevedo explains that in Lofoten, the sun is below the horizon from December 7 through January 5, but that for five to six hours each day, the available light is like a gorgeous winter sunset. “The darkness becomes the real protagonist,” he remarks, “and although our days were very short, the lights during this period make this
Sakrisøy “Come forth into the light of things, let nature be your teacher.” ~ William Wordsworth Early morning light over fishing houses (rorbuer) and the majestic peaks of Lofotenveggenon on the tiny island of Sakrisøy. Sakrisøy was selected & published to National Geographic’s “Daily Dozen” on June 15th, 2017. Nat Geo editor Matt Adams commented: “The colors are just so nice, there’s a nice mix of cool and warm tones here in this photo that make this scene just pop right off of my screen.” Sakrisøy, Moskenesøya-Lofoten Archipelago, Norway ~ 12/31/2016
archipelago stunning. They are bright, intense, incredible, and the colors are unforgettable. My goal was to capture that beauty with my camera, to share the perfect juxtaposition of water, rock and human habitation that is Arctic Norway.” Azevedo’s photographs feature winter scenes so magical that they might have been conjured up by highly imaginative painters. Happiness Found depicts a small red cabin, or rorbu, decorated with antlers and sitting on an isolated, snowcovered beach, with the waters of the Selfjorden Fjord and the snow-covered peak of Volanstinden lying beyond. “With not a soul to be found for miles,” Azevedo remembers, “we discovered this small colorful building. And with the deep and the amazing colors of a sunrise, it became a favorite image from our Norwegian winter.” Sovereign features a cluster of the rorbuer, as several of the cabins are called, on stilts, nestled beneath a cliff and overlooking the snow-covered beach and deep blue ocean. Azevedo points out that these seaside wooden structures in the town of Hamnøy once housed “hardened fishermen who made the winter pilgrimage to the world’s most fertile cod fishing grounds.” By the midtwentieth century, though, their owners had begun restoring them and renting them out to tourists. In A Winter Wonderland, a classic wooden walking bridge leads to a row of larger houses ART PatronMagazine.com 61
Happiness Found “If you search the world for happiness, you may find it in the end, for the world is round…and will lead you back to your door.” ~Robert Brault With not a soul to be found for miles, we discovered this small colorful outbuilding while exploring outside of Fredvang. Add the deep waters of Selfjorden Fjord, the rocky peak of Volanstinden rising in the background & the amazing colors of a Lofoten sunrise and this became one of my favorite scenes of our Norwegian winter. Fredvang, Moskenesøya-Lofoten, Norway 12/31/2016
Sovereign ‘Sovereign in the mountain air, sovereign on the ocean floor. With me in the calm, with me in the storm.’ ”Sovereign”~Chris Tomlin Hamnøy is the oldest fishing village on the eastern side of Moskenesøya by the spectacular fjord of Reinefjorden. The brightly colored seaside wooden ‘rorbuer’ cabins of the Lofoten Islands are steeped in tradition, once housing many hardened fishermen who made the winter pilgrimage to the world’s most fertile cod fishing grounds. Hamnøy, Moskenesøya-Lofoten, Norway 1/2/2017 62 ART PatronMagazine.com
abutting the mountain peak of Hammerskaftet and illuminated by the setting sun in shades of yellow and orange. “Reine was the most beautiful place in the world,” Azevedo recalls. “With its blanket of snow, jagged granite mountains, red cabins, pastel colored skies, and the warm lights of the village, it was a hypnotizing sight out of a storybook.” Sakrisøy is a similarly enchanting scene of orange and white homes on stilts, their lights reflected in aquamarine waters, with jagged mountains and a pale blue sky rising behind them. The Gift of Norway features azure waves crashing against the rocks at Skagsanden Beach, with mountains in the distance. Returning to Oslo before flying home with his family, Azevedo spied a bright red Volkswagen next to an old-fashioned gas station—a scene that he captured in the image Bensinstasjon. “Though around long before my time,” he admits, “I couldn’t help but feel a sense of nostalgia checking out this vintage 1920s petrol station.” Growing up in Big Bear Lake, Azevedo was smitten with both photography and skiing from an early age. His parents provided him with a camera and a portable darkroom by the time he was 10 years old, and he took photography classes in high school. “I was also raised on skis,” he explains, adding that he skied on his high school team. He went on to study cinematography at Columbia College of Motion Pictures & Television Arts & Sciences, and worked for an NBC affiliate as a videotape editor and cameraman. He has received recognition from the National Geographic Society for his images, and his photos of Norway received Top 10 honors out of 140 exhibitors in the Festival of Arts in September. Azevedo’s wanderlust has led him to roam the world, traveling to places as diverse as Peru, Germany, Romania and, recently, Chernobyl, site of the catastrophic nuclear disaster in 1986. With the aid of guides, he toured the city and photographed its abandoned dwellings, fields and amusement parks with their decrepit bumper cars and Ferris wheels. “Photographing Chernobyl and the city of Pripyat [a ghost town in northern Ukraine] is like walking the set of a horror movie, except the horror there is very real,” Azevedo says. “My goal is to display the beauty that can be found in a zone left uninhabitable for humans, and to portray earth’s amazing ability to teem with life, not long after annihilation.” For more information visit www.ronazevedo.com
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AMAZING INDIA Arts & Delights written by Tiffany Bowne
India is an exotic land whose very name conjures up the rich aroma of exotic spices and vibrantly colored images of bustling markets and awe-inspiring architecture. Its arts and crafts are still created using ancient techniques, and its artisans draw upon millennia of influences from other Asian countries such as Pakistan and Mongolia. This Page (LtoR): Women at the Red Fort, Delhi; A Miniature Painting; Tuk Tuk in Old Delhi; Art Rambaugh Palace Taj Hotel Jaipur; Making a camel hair rug. Opposite Page: An example of an elaborate Miniature Painting.
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Given the many amazing sights that such a vast country has to offer, suggesting an itinerary can be overwhelming. This is particularly true since individual cities have their own specialties to offer, ranging from sandstone sculpture and inlaid marble to painted miniatures, handmade jewelry, carved wood and camel hair rugs. But a trip focused on seeing and selecting the very best locally produced articles is well worth the 20-hour flight. You’re immediately immersed in India’s dynamic energy upon arriving in New Delhi. Begin your trip with visits to the National Museum of India and the National Gallery of Modern Art, which will introduce you to India’s rich history and the wondrous sites that still inspire its art. Rickshaw through Old Delhi and dive into its bustling spice and sari markets, where you’ll see the daily life of shopping and bargaining as it has been carried out for centuries. No trip to India is complete without a pilgrimage to Agra and its world-famous Taj Mahal, a testament of love that will leave you breathless with awe. The structure is an example of the kind of intricate marble inlay work still being done today, and the city is the ideal place to purchase tables and other pieces made from the translucent white Indian variety. You’ll have a chance to watch artisans inlay it with precious and semiprecious stones following the same techniques used in the Taj Mahal itself. The craft has been handed down from generation to generation, and each family has
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its own unique patterns, making your purchases even more fascinating. The Pink City of Jaipur brims with unique objets d’art and is known for blue pottery tiles, porcelain plates, gemstones and jewelry. It is the only place to shop for Rajasthani camel hair carpets and to see how they are still made by hand. Outside of town, the roadsides are dotted with small tents doubling as workshops where artisans using saws and sanders sculpt the area’s red sandstone to create articles reminiscent of the pieces found in Mughal palaces. Visit Jodhpur to shop for its famous handcrafted woodwork, including antique doors and furniture reproductions. Jodhpur is also known for hand-embroidered materials such as bed sheets and saris. Given the many choices you’ll be making, it is crucial to plan this portion of the trip with an expert guide who has access to the city’s workshops. Textiles hand-stamped from wooden blocks are unique to Udaipur, and you can easily see the high level of craftsmanship in those made by the city’s artisans. Udaipur is also known for paintings on bone, paper and silk created with brushes of a single squirrel-tail hair—an intricate process that yields extremely detailed pieces. Tiffany Bowne is a luxury lifestyle specialist and independent agent with All Star Travel Group. Learn more at allstartravelgroup.com/Tiffany_Bowne
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Blessed by the Sun Time Past and Time Present in Southern Portugal
ike most other visitors to the Algarve, Maggie and I got our first taste of Portugal’s southernmost region in Faro. And although we’d armed ourselves with a few key words in Portuguese—por favor and obrigado (or obrigada if Maggie were speaking) for “please” and “thank you”—we weren’t prepared for the city’s madhouse of an airport. But Faro also lies at the heart of the Ria Formosa Natural Park, a complex ecosystem of marshes, low-lying islands and shallow channels, and it was the lure of this fascinating region that induced us to linger. The small boat tour we had booked with Islands 4 You the following morning threaded us through the Ria’s maze at low tide, stopping here and there to let us swim in the warmish lagoon and eat lunch on Culatra Island, the site of the towering 151-foot Cabo de Santa Maria lighthouse. Along the way we passed storks and egrets and scurrying shorebirds, but by the time we made our return journey a few hours later, the few landmarks we remembered from our voyage out had disappeared beneath the tide. That interplay between land and water was also at work in the small city of Tavira, an hour east of Faro near the mouth of the Gilão River, whose level rises and falls dramatically with the tides. At this point the intricate patchwork of wetlands
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written by Grove Koger photographs by Maggie and Grove Koger has given way to a narrow channel separating the mainland from eight-mile-long Tavira Island. Ferries operate between the city’s wharf and the eastern end of the island, where a seemingly endless expanse of fine white sand—the stunning Praia da Ilha de Tavira—draws hordes of swimmers to the Atlantic’s waters on sunny summer days. But for those who can tear themselves away from the beach, Tavira offers much more. Aside from the picturesque Gilão itself, most of the city’s attractions are concentrated near the ruins of its castle. The lowest reaches of the site date to the Bronze Age (we’re talking about 1,000-800 BC), while the Phoenicians, who arrived near the end of that period, seem to have built their own fortifications on the same spot. The castle itself boasts the tomb of Dom Paio Peres Correia, who wrested control of the Algarve from the Moors in the mid-thirteenth century, but more appealing to us on the hot afternoon of our visit was a refreshingly cool botanical garden tucked away within the structure’s massive stone walls. A few minutes from the castle we found the Igreja da Misericórdia, whose carved stone doorway depicts an unlikely menagerie of mermen, griffins, hippocamps (mythological seahorses) and saints. Inside we were greeted by a sumptuous gilt altar bursting with cherubim and a series
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of large azulejo (colored tile) depictions of the Works of Mercy. Usually pale blue, azulejos are one of the glories of Portuguese art and we encountered them again and again throughout our trip. The Romans reached the Algarve in the second century BC, but few traces of their presence remain in Tavira. It’s a different story with the Moors, however, who ruled the city beginning in the eighth century and whose heritage is celebrated by the displays in the Núcleo Islâmico. That heritage, we learned, lay all around us—in Tavira’s whitewashed houses, for instance, and in their latticework doors and tiled pyramidal roofs. The foundations of Tavira’s picturesque “Roman” bridge are actually Moorish, and even the city’s name is Moorish in origin. A few steps away we enjoyed a bird’s-eye view of the attractions we’d just visited from the Torre de Tavira, a water tower converted into a delightful camera obscura. A modern version of an ancient device, the camera projects a real-time image of the city down onto a circular concave screen. We thought we’d finished with Tavira’s attractions, but the nearby Palácio da Galeria presented us with two unexpected treats. The first was a large traveling exhibit, O Surrealismo em Portugal. Surrealism was an international movement, but Portugal’s involvement came as a surprise just the same. The pieces ranged from flippant to mordant, and recalled, here and there, works by the movement’s well-known masters, but theses artists’ names were entirely unfamiliar. Another surprise was the continuing vitality of the movement in Portugal, with some of the best pieces dating from the twenty-first century, including striking metal sculptures by Isabel Meyrelles and Manuel Patinha. The other exhibit at the Galeria couldn’t have been more different—a celebration of the Mediterranean Diet, which the United Nations Educational, Scientific and Cultural Organization (UNESCO) has proclaimed an “intangible cultural heritage.” In UNESCO’s formulation, the diet is something much more than a shopping list of healthful ingredients. Instead, it’s seen as a lifestyle involving “crops, harvesting, fishing, animal husbandry, conservation, processing, cooking, and particularly the sharing and consumption of food.” After Tavira Maggie and I moved on to the little port of Santa Luzia for a week of swimming. The barrier islands lying off the coast of the eastern Algarve are famous for their magnificent beaches, which offer gentle slopes, playful swells and water temperatures similar to Laguna’s. A ferry and a boardwalk gave us access to the nearest, Praia da Terra Estreita, while a pedestrian bridge a mile and a half down the coast coupled with a miniature train carried us
to Praia do Barril. The latter is famous for its cemetery of anchors, a tribute to the region’s once-thriving tuna fishing industry. Kabourophobes should beware, however, for when the tide’s out, the channel between the mainland and the islands is reduced to a mudflat teeming with thousands upon thousands of small fiddler crabs. From the Algarve we headed north into the Alentejo region for a glimpse of Portugal’s earliest history. We had signed up with Ebora Megalithica for a tour of Neolithic sites near the small city of Évora, and, led by archaeologist Mário Carvalho, we visited a large field of standing stones known as the Almendres Cromlech. Dating to some 7,000 years ago and weathered smooth by millennia of sun and wind and rain, the stones stood silently amid rolling acres of holm and cork oaks. Évora also boasts an elegant Roman temple from the first century A.D. as well as examples of Manueline architecture, an ornate style that grew out of the Portuguese voyages of discovery of the early sixteenth century. The city’s narrow cobbled streets are a jumble, though, and finding our way through them proved to be hot, hard work, so every evening we relaxed outside a tiny bar to drink gin and tonics under feathery jacaranda trees. It was an opportunity to look back on the wonders that Portugal had shared with us, from the magical Ria Formosa to the stones of Almendres biding their time patiently beneath the dazzling blue sky of the Alentejo. Obrigado, Portugal. Obrigado. Islands 4 You, www.islands4you.pt, email@example.com Ebora Megalithica, www.eboramegalithica.com, firstname.lastname@example.org
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