Levy pubdesign sp by Randy Dunbar

Dance Bag

Valerie ty

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in n er d a nce

e b e r

Making it practical

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in n er d a nc

Anderson Let your inner dance rebel.

The epitome of contemporary ballet in the city. By Natasha Levy

Richard Avedon Nutty Snacks A portrait of an Artist

How to keep it easy, simple and healthy!

Time for a break Get inspired with the beauty of NY

Windows into the surreal Celebration of the work of Elsa

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Essentials

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Let your inner dance rebel.

Finding yourself in the world of contemporary ballet Tutu-Rebel will help ballerinas to discover their own style by shifting away from tradition. It will inspire contemporary ballerinas to discover their souls. Tutu-Rebel will offer in their weekly issue, daily-life tips like nutritional diets for a healthier and stronger body, fashion trends for an up-to-date look, techniques to nurture a passionate performance, a travel guide inspired by contemporary dance and special Tutďż˝ culture Rebel Rebel issues of outstanding modern ballerinas. -

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reb

Anderson

The epitome of contemporary ballet in the city. Let your inner dance rebel. By Natasha Levy

Valerie

Tutďż˝ Rebel

ou r

in n er d a nc

reb

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in n er d a nc

Editor in Chief Natasha Levy Photographer Roy Clark Art Director Alexandra Cherniavky

Graphic Designer Jade Calhoun Asistant Director 1 GDaniel McDonald Asistant Director 2 Kaylie Lyon

editor From the

How it started As editor of Tutu-Rebel, I wanted personally to introduce the 1st Issue of this wonderful magazine and share my excitement with you! Tutu-Rebel will help ballerinas to discover their own style by shifting away from tradition. It will inspire contemporary ballerinas to discover their souls. Iâ&#x20AC;&#x2122;ve been photographing my best friend Mariana Carillo for the past 4 years, whom is a professional ballerina. She introduced me to the world of contemporary ballet, and fell in love with it. Mariana wanted to be different, she wanted to be herself and express it through her dance with my photograohy, and eventually she did. She became my bigest inspiration for the creation of this magazine, because just like Mariana I want to be able to help other ballerinas to let their inner dance rebel.

Tutu-Rebel

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Warm

3 From the Editor

7 START 12 Dance Bag Essentials

16 Valerie

Anderson

24Richard Avedon

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START Bon appetit / Bon voyage 5th floor

Nutty Snacks

How to keep it simple, easy and healthy! By Natasha Levy PHOTO by ------

Cashew Almonds

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Walnut

7 Tutu-Rebel

START Bon voyage

Time for a break! Get inspired with the beauty of New York By Natasha Levy PHOTO by -----

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8 Tutu-Rebel

dipicie ndianditiuri tem volor saeptas dem nem. Otatur sequis endes a voluptin cum iduntiorest qui quaeris nobis moluptaque porem fugia nonsere voloreic temquam fuga. Nam, id excerum fugiasp isquis natur? Olorecae. Parum ipsanie tureicit latus. Soluptatur molles ditatur minimin plis ducius exerion et faccusa quodigendit et velibus nisi rem aut et quate pos dollestias dolorectorem aut que nitatquatia quid moluptas quibus, consequasped qui repudiscium ent in conseque poreped molupient liquam, et omnist dolupis seribus doluptatur? Qui consequam dipsam fugitaque volenda num ut quam faccum nest, omnima saniet perspe nostio b

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START Bon voyage

Windows into the surreal

FIDM’s 5th floor windows celebrate the surreal work of Elsa By Hamish Bowles Portrait: Irving Penn Windows: photographed by Carlos Diaz

“M

adder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934. [1] Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”)[2]  Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey fur and zippers (newfangled in the thirties) were everywhere. love of trompe l’oeil can be traced to the faux-bow sweater that kick-started Schiaparelli’s career and brought her quirky style to the masses. “Dare to be different,”[7] is the advice she offered to women. Pace-setters and rule-breakers waved that flag through the sixties, the seventies, and beyond.

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l a c i t c a pr

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bag e

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By N

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Healthy snacks

2 Reusable water bottle

3 Emergency Kit

4 Tennis shoes

Deodorant

Antibacterial Gel

6 7

10 Dolls Skills Kiss dance bag

Pointe shoes

9 Extra pair of tights Comb Advil

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POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL POWERFUL

ale V Ande

How her dance style became the epito

ny discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital “M,” which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small “m.” It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and

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innovative, regardless of what your particular stylistic or ideological bias may be. Modern designers who were not necessarily Modernist would include designers like Milton Glaser, Charles and Ray Eames, and Tadanori Yokoo. With all the confusion in these early days of formulating theoretical paradigms, it is understandable why some designers have given up trying to connect their practice to contemporary theory. By the time postmodernism came along, many designers were quite happy to dismiss it as a trendy fad or irrelevant rambling, and be done with it. That is exactly why I think it is important to examine some of the connections between the postmodern condition and graphic design. Although there has always been some confusion about what postmodernism is, the most obvious feature is that it is a reaction (not rejection), to the established forms of high Modernism. The second most prominent feature of postmodernism is the erasing of the boundaries between high culture and pop culture. But probably the most contested feature is that of “theoretical discourse,” where theory was no longer confined to philosophy, but incorporated history, social theory, political science, and many other areas of study, including design theory. Postmodernism is not a description of a style; it is the term for the era of late capitalism starting after the 1940’s and realized in the 1960’s with neo-colonialism, the green revolution, .

erie eri

erson

ome of contemporary ballet in the city.

By Natasha Levy Photo by Ron Clark

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“I wanted to be different.

Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital “M,” which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small “m.” It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. Modern designTutu-Rebel

ers who were not necessarily Modernist would include designers like Milton Glaser, Charles and Ray Eames, and Tadanori With all the confusion in these early days of formulating theoretical paradigms, it is understandable why some designers have given up trying to connect their practice to contemporary theory. By the time postmodernism came along, many designers were quite happy to dismiss it as a trendy fad or irrelevant rambling, and be done with it. That is exactly why I think it is important to examine some of the connections between the postmodern condition and graphic design. Although there has always been some confusion about what postmodernism is, the most obvious feature is that it is a reaction (not rejection), to the established forms of high Modernism. The second most prominent feature of postmodernism is the erasing of the boundaries between high culture and pop culture. But probably the most contested feature is that of “theoretical discourse,” where theory was no longer confined to philosophy, but incorporated history, social theory, political science, and many other areas of study, including design theory. Postmodernism is not a description of a style; it is the term for the era of late capitalism starting after the 1940’s and realized in the 1960’s wpitalism starting after the 1940’s and realized in the 1960’s with neo-colonialism, the green revolution, .realized in the 1960’s with neo-colonialism, the green revolution,

I wanted to be myself ”. In 1989 I designed a typeface to use in my design work for experimental arts organizations like Los Angeles Contemporary Exhibitions and CalArts. I called the typeface Bondage Bold. Rudy VanderLans saw it in some of my work and wanted ts organizations like Los Angeles Contemporary Exhibitions. ts organizations like Los Angeles Contemporary Exhibitions.nd CalArts. I called the typeface Bondage Bold. Rudy VanderLans saw it in some of my work and wanted ts organizations like Los Angeles Contemporary Exhibitions.ts organizations like Los Angeles Contemporary. esigned Keedy Sans as a “user,” simply based on a vague idea of a typeface that I had not yet seen but wanted to use in my graphic design. Most typefaces are logically systematic; if you see a few letters you can pretty much guess what the rest of the font will look like. I wanted a typeface that would willfully contradict those expectations. It was a typically postmodern strategy for a work to call attention to the flaws and artifice of its own construction. But I neverake. Absolute clarity, or extreme distortion, is too simplistic a goal, and it is ground that has ready been well covered. I wanted to explore the complex-ound that has ready been well covered. I wanted to explore the complex-

Upcoming shows Irvine Ballet Theather May 15th, 2015 Los Angeles Ballat TheatheMay 23, 2015 Sam Diego Ballet Theather May 30, 2015 Sacramento Theather April3rd, 2015 San Fransisco Ballet Theather April 15th, 2015

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d r a h c i R

Ave don

A portrait of an artist

Fahey Klein presents a major retrospective of the photographers work. By Kely Smith

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s h p a r g o t o h p l “Al are accurate.

None of them

is the truth.”

- Richard Avedon

hat do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and

was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.

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Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast

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to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans. Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the w Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous.

â&#x20AC;&#x153;Many people loved him, besides his talent, he also had a big heartâ&#x20AC;?. 29 Tutu-Rebel

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Avedon died on October 1st, 2004.

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Finale

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