EXPLORING IDEAS IN LOS ANGELES WITH AROTIN HARTOUNIAN DANIEL JOSEPH MARTINEZ & MARK PANGILINAN T HE NETW ORK OF ART IST, C REATIVE S , AN D E N TRE PRE N E URS O F LOS AN GE LE S .
V O LU M E 1 t I S S U E 1 t S P RING 2011
a letter from the editor F
inally this project has gotten off the ground and taken
We’re all about capturing what’s happening now.
off. I’m very proud to present to you LAQUO: VOLUME1
So enjoy this first pilot issue. It’s small, but it’s a good bite
ISSUE1. It’s been almost two years since this project
that’ll feed your artistic hunger. We would also love to hear
started. What orginally was Lifted Living Magazine has now
from you and have you featured in our magazine. Emails
evolved into LAQUO MAGAZINE. The meaning of LAQUO is a
with feedback and suggestions are highly welcomed, oh,
simple and direct one. LA is an abbreviation for Los Angeles
and send over your atwork too! We love that. Til next time Los
and QUO is abstracted from the Latin phrase “Quo Vadis?”
Angeles. Stick around for Issue two because we’ll be back!
meaning, “Where are you going?” So through this magazine, we’re asking the people of Los Angeles where they are going, specifically the youthful artist, creatives, and entrepreneurs. LAQUO seeks to ask the artists, creatives, and entrepreneurs of Los Angeles about their idea’s and goals, directions, opinions, and their influences. We seek to
capture the flow of energy that circulates within a city as lively as Los Angeles. Many amazing things take place in LA
which give rise to many amazing people, who, often times are not in the spotlight. With this magazine with are hoping to establish a network that intertwines the ideas of the underground talent to the overall city. We’re hoping to serve as an inspiration to all of our brothers and sisters out there who are trying to get started in LA.
COVER OF THE ISSUE taken by editor-in-chief
CONNECT WITH US Twitter.com/laquo Facebook.com/laquo
INTERACT We ask a question on twitter everyday. Follow @LAQUO to join the conversation.
PARTICIPATE We’d love to hear your feedback! As well as feature you! email: firstname.lastname@example.org
S t I t VOLUME 1
T HE NETW ORK OF ART IST, C REAT IVES, AN D E N TRE PRE N E URS OF LOS AN GE LE S .
FEATURED IN THIS ISSUE: interview with an illustrator AROTIN HARTOUNIAN
WE SIT DOWN WITH 19 YEAR OLD AROTIN HARTOUNIAN, AN ILLUSTRATOR AND STUDENT OF PASADENA CITY COLLEGE, AND ASK HIM ABOUT HIS INFLUENCES, INTERESTS, AND PHILOSOPHIES.
questions for the contemporary artist with DANIEL MARTINEZ PASADENA CITY COLLEGE LATEST ARTIST IN RESIDENCE DISCUSSES ART THEORIES AND WHAT IT MEANS TO BE AN ARTIST IN THE 21ST CENTURY WITH A SELECTED GROUP OF STUDENTS.
12 hanging out with los angeles native with MARK PANGILINAN
SHOTS FROM MARK’S DAY TO DAY EVERYDAY REALITY CAPTURES THE YOUTH AND CREATIVE ENERGETIC VIBE THAT SOUTHERN CALIFORNIA IS KNOWN FOR.
¿Quo Vadis? Where are you going?
INTERVIEW WITH AN ILLUSTRATOR
CITY OF RESIDENCE Glendale, California CURRENT SCHOOL Pasadena City College OCCUPATION Sales Associate at Art Center College of Design TOOL OF CHOICE Pencil FAVORITE STYLE OF ART Illustration FAVORITE QUOTE “Being an artist is hard, if you want something easier go to medical school” -David Schoffman
My name is Arotin Hartounian. I am currently 19. I was born and raised in Tehran, Iran and I moved to Autria for 6-7 months before coming to America when I was 9 years old. So I’ve been living in Los Angeles for almost 9-10 years.
How do you approach your art?
Well I mean I always drew as a kid ever since I can remember. It was always a way for me to make sense of the world. And ge t the images of the emotions I have in my head in a way to translate them into a more wordly plane. It was another way of me learning how to communicate the things I was feeling and precieving in the world.
Well most often it starts with research. And to quote Daniel Martinez, “Art starts with an idea.” That’s it. There’s no other way around it. First you get the idea. Which is your consciousness picking up something in your percep-‐ tion that really sparks something in your soul. Something that is inspira-‐ tion, to say in a simple form. But it
I N T E R V I E W C O N T.
starts out with an idea you have. Something that just resonates in your conscious and spirit; something of great emotion or intellectual value. So once I have the idea.. usually the idea sparks through the research I do with art history. A lot of my art works I look at other artworks from differ-‐ ent periods of time in art history and also looking at the art of other artist. So it first starts out with me looking through history and trying to see how others approached art from there and trying to borrow the success of the artist and adding it to my own through research. And also making a social commentary, for example DJ Dali Lama series. What it does is that it takes... by looking at traditional Buddhist art and Nepalese, and taking that and making it modernized and western-‐ ized, and exploring concepts such as idolizing, and that’s something I’ll talk about more later. The reason why I put such an iconic Buddhist figure in the traditional Buddhist style art but in-‐ stead placing him as a DJ which is very western and very contemporary. It’s that juxtaposition of both eastern and western art, and his spiritual presence and the connection of music and art as a spiritual expression. ǤǦ ǫ
Simply put, it’s a documentation of my life. I number all the pages in my sketchbook and try to date the pages to kind of show my development of an artist, and it kind of shows my influence, what I’ve been to exposed to as far as arts and culture. As with most sketchbooks it’s just where I work out my ideas and gather all the inspiration that I come across and then refer back to it, almost as a reference material. It’s also overall the most importance of the sketchbook is ex-‐ perimentation. I collect all these dif-‐ ferent inspirational things that capture the attention of my soul or resonating emotions and then just experimenting
with them and what concepts come about. And how I can develop the basis of the concept and also the basis of the visual vocabulary-‐how I orchestrate things together using my skills in drawing and painting. ǫ Ǥ
Yes. It’s all in the sketchbook, probably because it’s the most accessible one. But recently I haven’t had a chance to work in my sketchbook because I’m currently working on a larger piece. You pick out the things you like and you decide to pursue a certain idea that you’ve explored in your sketch-‐ book onto a larger piece, and I’m cur-‐ ϐ Ǥ
Who is the Dalai Lama? Dalai Lamas are the most influenial figures in the Gelugpa lineage of Tibetan Buddhism. Tibetans traditionally belive the Dalai Lamas to be manifestations of Avalokiteshvara or Chenrezig, the Bodhisattva of Compassion and patron saint of Tibet. Itâ€™s said that Bodhisattvas are enlightened beings who have postponed their own nirvana and chosen to take rebirth in order to serve humanity.
of Â it. Â I Â mean Â the Â concept Â of Â the Â piece Â is very Â important, Â but Â if Â the Â piece Â is Â not visually Â stimulating Â and Â doesnâ€™t Â draw Â you Â in, Â the Â concept Â wonâ€™t Â get Â trans-Ââ€? ferred. Â So Â in Â a Â way Â if Â I Â develop Â an Â idea in Â my Â sketch, Â at Â first Â it Â has Â to Â be Â very visually Â pleasing Â to Â look Â at. Â From Â then if Â I Â like Â how Â it Â looks Â I Â will Â go Â on Â to Â de-Ââ€? velop Â and Â explore Â the Â concept Â more Â to try Â and Â explain Â why Â I Â chose Â the Â certain visual Â vocabulary Â and Â imagery Â that Â I like. Â And Â from Â then Â if Â I Â look Â at Â it Â and see Â the Â piece Â is Â very Â comprehensive ÂƒÂ?Â†Â™Â‹ÂŽÂŽÂ?ÂƒÂ?Â‡ÂƒÂ‰Â”Â‡ÂƒÂ–Ď?Â‹Â?ÂƒÂŽÂ’Â‹Â‡Â…Â‡ÇĄÂ–ÂŠÂ‡Â?
ÇŻÂŽÂŽÂ’Â—Â”Â•Â—Â‡Â‹Â–Ç¤Â‘Ď?Â‹Â”Â•Â– Â‰Â—Â‡Â•Â•Â…Â‘Â?Â‡Â•Â–ÂŠÂ‡ visual Â imagery Â with Â a Â little Â bit Â of Â con-Ââ€? cept Â behind Â it. Â And Â if Â I Â like Â how Â it Â looks and Â if Â it Â looks Â like Â it Â would Â stimulate the Â viewer, Â then Â Iâ€™ll Â start Â developing the Â concept. Â So Â drawing Â the Â viewer Â in by Â how Â overall Â nice Â the Â visuals Â look, drawing Â them Â in Â by Â the Â craftsmanship, and Â then Â raising Â questions Â after Â draw-Ââ€? ing Â it. Â But Â looking Â at Â it Â and Â liking Â how Â it Â looks Â like, Â I Â ask, Â â€œWhatâ€™s Â the Â meaning Â behind Â it?â€? Â So Â thatâ€™s Â the Â process Â that Â I Â go Â through Â with Â starting Â and Â develop-Ââ€? ing Â my Â ideas. ÂƒÂ•ÂŽÂ‹Â˜Â‹Â?Â‰Â‹Â?Â‘Â•Â?Â‰Â‡ÂŽÂ‡Â•Â…ÂŠÂƒÂ?Â‰Â‡Â† Â–ÂŠÂ‡Â™ÂƒÂ›Â›Â‘Â—Â†Â”ÂƒÂ™ÇŤÂ”ÂŠÂ‘Â™Â™Â‘Â—ÂŽÂ† Â›Â‘Â—Â†Â‡Â•Â…Â”Â‹Â„Â‡Â–ÂŠÂ‡Â‹Â?Ď?ÂŽÂ—Â‡Â?Â…Â‡Â–ÂŠÂƒÂ–Â‘Â• Â?Â‰Â‡ÂŽÂ‡Â•ÂŠÂƒÂ†Â‘Â?Â›Â‘Â—Â”Â™Â‘Â”Â?ÇŤ
an Â illustration Â of Â the Â 14th Â Dalai Â Lama, Â Tenaain Â Gyatso
So Â Iâ€™ve Â been Â focusing Â more Â of Â my Â at-Ââ€? tention Â on Â finalizing Â one Â of Â my Â large pieces Â rather Â than Â working Â on Â new ideas. Â So Â not Â as Â often Â as Â I Â would Â like Â to, Â I Â would Â like Â to Â go Â out Â sketching Â more. Â Taking Â notes Â and Â inspiration, Â but Â real-Ââ€? istically Â it Â doesnâ€™t Â happen Â as Â often Â with Â ÂƒÂŽÂŽÂ–ÂŠÂ‡Â–ÂŠÂ‹Â?Â‰Â• ÂŠÂƒÂ˜Â‡Â–Â‘Ď?Â‹Â?Â‹Â•ÂŠÂ™Â‹Â–ÂŠÂ™Â‘Â”Â? and Â school.
Â–Â™ÂŠÂƒÂ–Â’Â‘Â‹Â?Â–Â†Â‘Â›Â‘Â—Â†Â‡Â…Â‹Â†Â‡Â–Â‘Â•Â–Â‡Â’ Â‘Â—Â–Â‘ÂˆÂ–ÂŠÂ‡Â•Â?Â‡Â–Â…ÂŠÂ„Â‘Â‘Â?ÂƒÂ?Â†Â’Â—Â”Â•Â—Â‡Âƒ Â„Â‹Â‰Â‰Â‡Â”Â…ÂƒÂ?Â˜ÂƒÂ•ÇŤ Well, Â being Â an Â illustrator Â myself, Â I Â do Â value Â a Â lot Â the Â merit Â of Â draftsmanship Â and Â just Â how Â visual Â stimulating Â a Â piece Â looks. Â So Â having Â my Â background Â as Â a Â draftsman Â and Â an Â illustrator Â I Â do Â place Â special Â importance Â on Â the Â aesthetics
Well Â of Â course Â greatly. Â There Â is Â a Â Â•Â’Â‡Â…Â‹ÂˆÂ‹Â…Â•Â–Â›ÂŽÂ‡ÂƒÂ?Â†ÂƒÂ•Â’Â‡Â…Â‹Ď?Â‹Â…Â?Â‘Â˜Â‡Â?Â‡Â?Â– in Â art Â that Â is Â more Â characterized Â by Â being Â in Â Southern Â California Â and Â Los Â Â?Â‰Â‡ÂŽÂ‡Â•Ç¤Â’Â‡Â…Â‹Ď?Â‹Â…ÂƒÂŽÂŽÂ›Â–ÂŠÂ‡Â’Â‡Â‘Â’ÂŽÂ‡ ÂŠÂƒÂ˜Â‡ been Â around, Â the Â schools Â I Â have Â been Â to, Â and Â the Â people Â I Â learn Â from Â all Â have Â distinctive Â West Â Coast Â or Â specifically Â Southern Â California Â style. Â For Â example, Â schools Â like Â Art Â Center, Â which Â I Â have Â been Â involved Â with, Â and Â Cal Â Arts, Â and Â all Â the Â students Â that Â have Â been Â in Â that Â circle Â all Â have Â a Â distinctive Â approach Â to Â art, Â whether Â itâ€™s Â figurative Â art Â or Â
I N T E R V I E W C O N T.
Ǥ ϐ right now there is a lot happening in LA as far as art hotspot withing the whole. So being involved in this whole mess that is going on, culturally and artistically, has greatly influenced the way I go about making my art. ǫǫ
I guess overall pursuit in the long run is.. well I plan to work as a commer-‐ cial artist doing illustrations. Which is more of my means of surviving, my bread and butter. It’s just the way I’ll approach making money in art, but also my overall long term goal of what I’m doing in my life’s work on is studying the human need to create art and seeing how different human be-‐ ings in different culture periods have approached art making and what func-‐
tion art serves… basically art history. But yes, exploring the human urge and need to create art. I mean this interest first came when looking at works of cave paintings and hearing the reasons why prehistoric human beings felt the urge to express these ideas and thoughts in their head and try to bring it into life with art. And then how art from there developed taking on a dif-‐ ϐ in relation to their life and the culture they’re in.
has a very strong root in spirituality. And to quote an artist I’ve been look-‐ ing into, an artist by the name of An-‐ drew Jones, or Android Jones, and one of his quotes quite simply talks about is how art is the fruit of consciousness. The process of art making happens as the consciousness in humans develop. And as human beings gain conscious-‐ ness of their world around them, art becomes a way to communicate how they perceive the world. And there’s a really strong spiritual connection.
My life goal is as far as learning about art is understanding how different cultures approach different art and the ϐ Ǥ an artist makes his/her art is a direct commentary of how they perceive the ǯϐ what’s going on around them.
That’s one thing I’ve realized is that art making is a very spiritual experience, past the function it serves socially and past the means of how it’s been just job for people to make money. It also
During his week of residency at Pasadena City College, Daniel decided in order to maximize his presence on campus as a resource, he will hold a 3-day class in which he titled, “Everything you wanted to know about the art, artists, graduate schools, galleries, theory, reading and anything else you can think of, but were afraid to ask. Or a taste of something both sweet and sour and bittersweet.” Students were invited to the class based on their future goals and their involvement with art. A series of discussions were held where questions were raised on what it means to be an artist in the 21st century–a vital question for any contemporary artist. DANIEL JOESEPH MARTINEZ IS A NATIVE OF LOS ANGELES AND IS PASADENA CITY COLLEGE’S 2011 ARTIST-IN-RESIDENCE. HE IS INTERNATIONALLY RECOGNIZED FOR HIS POLITICALLY CHARGED ART THAT HAS BEEN EXHIBITED INTERNATIONALLY SINCE 1978. HE EMPLOYS DIVERSE MEDIA TO ADDRESS THE NATURE OF DEMOCRACY, CITIZENSHIP, CULTURAL MEMORY, AND “THE FUTURE OF THE SPECIES.” MARTINEZ IS ALSO A PROFESSOR AT THE CALIFORNIA STATE UNIVERSITY OF IRVINE WHERE HE TEACHES A CLASS
BUILD A LIBRARIES FOR OURSELVES.
WHY BE AN ARTIST? INVENT A PARADIGM YOU WANT TO LIVE IN.
WHO ARE WE AS HUMAN BEINGS IN THE 21ST CENTURY? YOU CANNOT MAKE ART IF YOU DO NOT KNOW WHAT HAPPENED IN THE 21ST CENTURY
DON’T BE SOCIALIZED AND BRAINWASHED EVERYDAY.
WHAT’S THE MOST POWERFUL TOOL AN INDIVIDUAL HAS? THE CONVENTIONAL SOCIETY TRAINS YOU TO MAKE “DECORATIONS”
WHY SHOULD WHAT ARE YOU ONE TRAIN AND EDUCATE THE WILLING TO BRAIN? GIVE UP AS AN MAKE ART, READ ARTIST?
DECIEVING YOURSELF TO FEEL GOOD IS LIVING IN IGNORANCE.
WHY IS ART BASED ON A RETINAL EXPERIENCE?
EVERYDAY, AND ENGAGE IN DISCOURSE.
WHAT IS QUALITY WORK? DON’T LEAVE A NEW PLACE WITHOUT SEEING ITS ART.
WHERE DOES POWER EMINATE FROM? KNOWING VS UNDERSTANDING
AS AN ARTIST, WHAT ARE ONE OF YOUR RESPONSIBILITIES? TO PROTECT THE CONSCIOUNESS OF OUR CULTURE. IF WE FALL, THE CULTURE FALLS
WHY DO YOU READ AS AN ARTIST? NEVER BE AFRAID OF ANYTHING YOU DO NOT KNOW.
WHEN DO YOU GET SICK AND TIRED AND GIVE UP?
hanging with la native
CITY OF RESIDENCE Pasadena, California CURRENT SCHOOL Pasadena City College TOOL OF CHOICE Yashica FX-D
FAVORITE QUOTE “touche”
PH OTOS BY MARK 2011
SO WHAT KIND OF ART DO YOU LIKE TO MAKE?
WHAT ARE SOME OF MEDIUMS YOU WORK WITH?
SO TELL ME ABOUT THE TOOLS THAT YOU USE.
I just like making things and just going with it. Whatever I find and feel like, but when it comes to shooting, everything is candid with what I do. I donâ€™t really have a favorite because I just really try out everything.
What medium? Women. I like to work with women. Mostly candid though. I also like to draw and shoot with my camera. And even do collages and such.
I use a Yashika FX D which is a 35 mm film and I use a Nikon D3000 and I use my MacBook.
SO WHAT ARE SOME THINGS YOU ARE WORKING ON?
At the moment I am working with this blog. It’s a brand new blog that we’re creating and it’s called Artisan’s Archive. We’re doing a lifestyle blog. I’m sure you guys been on a lot of lifestyle blogs. And I’m doing work with another blog Shakethehand which is another thing going on. And there are a couple little project
shoots that I have going on where my subjects are women and their beauty of their ways and their process of beautifying themselves.
HAS LIVING IN LOS ANGELES INFLUENCED YOU?
0[OPURP[OHZPUÅ\LUJLK T`^OVSLSPMLHJ[\HSS` Cause I grew up on the I\ZVY^HSRPUN0NYL^\W everywhere around LA; )\YIHUR,HNSL9VJR Hollywood, La Puente, West Covina–I grew up L]LY`^OLYLZV0»THJ[\HSS` PUÅ\LUJLKI`L]LY`[OPUN even the suburbs even though theres nothing YLHSS`[OLYL
AND WHAT DO YOU LIKE TO DO WITH THE PICTURES YOU TAKE? I usually just have my flickr or my tumblr or I do things for websites, blogs, and I do shoots for whatever.
F L I C KR . C O M / PH OTO S/SH OTBY M A R K M A R K S M E L LO W.TU M B L R . C O M
WHAT’S YOUR FAVORITE SUBJECT MATTER TO PHOTOGRAPH?
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0YLHSS`^HU[[VNL[PU[VJVTTLYJPHS WOV[VNYHWO`HUK[OH[»ZHJ[\HSS`^OH[ 0»T[Y`PUN[VNV[VZJOVVSMVYYPNO[UV^ But unfortunately I have to put that on OVSKILJH\ZLVMÄUHUJPHSYLHZVUZI\[ P[»ZJVVS¶P[»ZQ\Z[HI\TW0»SSILIHJRPU ZJOVVSI`[OL-HSSMVY[OH[¶HUK[OH[»Z T`THPUNVHSYPNO[UV^1\Z[[VKV[OH[ HUKZPKLWYVQLJ[ZYPNO[UV^HUKQ\Z[ Z\Y]P]L
WHERE ARE YOU GOING? US $4.95 CANADA $5.95