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Laguna Beach
ARTm a g a z i n e
ART COLLECTORS Curt Sandman & Jennifer Barron Objects of
Desire Dinner with Picasso EDGAR PAYNE: The Founding of the Art
Association Actress Ruth Roman
ARTISTS you should know Fall Calendar of Events The Elephant
Parade20
Maggie Taylorsurrealistic dreamscapes
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We proudly Support the following Charities:
AIDS assistance program -Palm Springs Safe Nest-Las Vegas
American Cancer SocietyAmerican Healing Arts Foundation St Judes
Childrens Hospital Ophelia Foundation La Jolla Festival of the Arts
Foundation
Pegasus Foundation Humane Society of the Desert Paralyzed
Veterans of America
www.merrill-orr.com [email protected] (760) 641-5203
Master Sculptor
Merrill Orr
Maste
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Mer
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LagunaBeachARTmagazine.com
We proudly Support the following Charities:
AIDS assistance program -Palm Springs Safe Nest-Las Vegas
American Cancer SocietyAmerican Healing Arts Foundation St Judes
Childrens Hospital Ophelia Foundation La Jolla Festival of the Arts
Foundation
Pegasus Foundation Humane Society of the Desert Paralyzed
Veterans of America
www.merrill-orr.com [email protected] (760) 641-5203
Master Sculptor
Merrill Orr
Maste
r Scul
ptor
Mer
ril
l O
rr
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FALL 2013Features
38 Paradise Found
The Vernacular Architecture of North LagunaThis north Laguna
Beach neighborhood, often referred to as the flower streets,
features homes in several styles, including bungalow, Craftsman,
old-world and Pueblo;
many are examples of vernacular architecture as the original
owners helped design and/or built them.
42 Indecorous Decorations
Cecilia Paredes aptly refers to her painterly photographs as
photo performances. The photographs are a piece of
performance in that they document the painstaking, bodily and
time consuming process wherein the artist paints herself
the precise pattern of her chosen background. 46
Good for their SoulsBluebird Canyon psychologists
explore creative connectionsOne glance at Maslows hierarchy of
needs pyramid ...might also give one pause while determining
where,
between the basics of needing food, shelter and sleep, and the
pinnacle of self-actualization of creativity, lack of
prejudice and spontaneity, one might fall.52
Maggie TaylorSurrealistic Dreamscapes
Maggie Taylors photomontages, an amalgam of the old and the new,
are comprised of 19th century daguerreotypes, old illustrations,
contemporary photographs, as well as
various objects and artifacts; all layered together through
digital image editing. The resulting artworks are surrealistic
dreamscapesthat demand time and attention from the viewer to
fully comprehend.
56 Gorgeous Whatevers
To get at the heart of John Brosios work, which really mixes
three styles without ever letting one dominate (realism,
surrealism and hyperrealism) I appeal to the tradition into
which he best fits--- agnosticism.
42
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Laguna Beach
ARTm a g a z i n e
FALL 2013Departments
20Objects of Desire
24Highlights of Last Season
Dinner with PicassoAttack of the 50 Foot HeroGeorge Hurrell
Exhibition
28Ruth Roman
The Good Girl Glow32
Artist Adam SilvermanClay & Space
36Painting a Bright Future
60Artist Vanessa Rothe
64Edgar Payne and the Laguna Beach
Art Association65
20 ARTISTSyou should know
68 Artist Alrik Yuill
Creates Inaugural VANS US Open Surfing Trophy70
Raising HopeRuben Flores from Laguna Nursery shares his
experience
raising money for local charities.72
Calendar of Events78
Art ResourcesMuseums, Galleries, Studios
82Young Artist
Origami Artist Brayden Jenson, Age 10 70
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If I had to name a theme for this issue it would be Connection.
As an art magazine our goal is to connect our readers with the
creative force that is Laguna Beach. As a community we feel a tacit
ownership to the artistic reputation that has come to define Laguna
Beach. The roots of this creativity are deep and Laguna Beach ART
Magazine will explore a combination of the current local art
market, as well as the creative heritage. Our goal is to reflect
the diverse creative environment that has consistently attracted
residents and visitors to this area.
It takes many different kinds of people to make such a rich art
community. Whether you are connecting as an artist, generously
offering your efforts to this mix of artistic energy, an art
business, trying to help define what is relevant in the art world
today, or an art enthusiast, supporting the art community through
your attendance at events and adding to your own art collection,
you are equally important in our eyes.
All of us have had that moment when you are flush with the
connection between your soul and a piece of art. No matter the
preparation involved in setting up your chance meeting, it is
always a joyful, uplifting surprise. Seeking out that
soul-validating artwork is half the fun and Laguna Beach is
privileged to have many opportunities for creative encounters.
In this, our premiere issue, we offer insights into upcoming
exhibitions at Laguna Art Museum including the talented Adam
Silverman and the newly founded Art & Nature event. We also
acknowledge some of the talented students from Laguna College of
Art and Design, and their recent accomplishments. I asked local
horticultural expert and artisan, Ruben Flores of the Laguna
Nursery to describe his passion and inspiration for Raising Hope
for local non-profits through his charity work. We explore North
Laguna through the eyes of Liz Goldner and Tom Lamb, and are
welcomed into the home of Curt Sandman and Jennifer Barron to
discuss their deeply-rooted feelings about creativity, and what it
does for your soul.
Scattered throughout the magazine are profiles of artists, at
various stages of their careers, who are contributing to the
vibrancy of the art community. We have packed our pages full of
what to look forward to seeing and doing this fall, as well as a
few Highlights from last summer that we hope you enjoyed.
I asked our contributors to tell us about an exhibition that
they connected to and why (you can read about their diverse
interests on the Contributors page). My favorite exhibition was the
reconstruction, in 1991, of Hitlers 1937 Degenerative Art Exhibit.
This was the exhibit that really showed me the power and potential
threat of art and artists. Hitlers aggressive and successful
manipulation of the viewer with both the architecture of the
exhibition space, and the graffiti covering the degenerative work,
made me reconsider my own artistic expressions. I realized that
individually not every artist changes the world, but as a group we
can say something, reflect something that is very powerful and
honest about our culture. Raw and unfiltered, art conveys a
viewpoint that can not be rewritten in history books. I learned
that art can both inform and define the viewer.
Janneen and I would both like to thank you all for the warm
welcome. Launching a magazine with such lofty goals is not for the
faint of heart. We look forward to your suggestions, submissions
and contributions as we connect with Laguna Beach.
Christine DoddCreative Director
Letter from the Creative Director
Maggie TaylorBut Who Has WonPigmented digital print
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16 LagunaBeachARTmagazine.com
Co -Publishers
Chr ist ine Dodd
Janneen Jackson
Christ ine Do dd Creat ive Direc tor
Janneen Jackson Adver t is ing Direc tor
Contributing Editors
Lesl ie Jenson
Harr iet Schwar tzman
Contributors
Lisa Aslanian
Janet B lake
Stac y Davies
Liz Goldner
Janneen Jackson
Tom Lamb
M ike St ice
Malcolm Warner
w w w.LagunaBeachAR Tmagazine.comFor Advertising and Editorial
Information:
P.O. Box 9492, Laguna Beach, CA 92652or email
[email protected]
The opinions expressed by writers and contributors do not
necessarily reflect those of the publisher.
Laguna Beach ART Magazine is published quarterly by Laguna Beach
ART Magazine, LLCFacebook f Logo CMYK / .eps Facebook f Logo CMYK /
.eps
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Contributors
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Mike Stice is a native of Southern California. Born in Orange
County in 1970, Stice spent nearly his entire waking childhood
outdoors. He cherishes his memories of the pre-OC Orange County and
counts himself among the few and the fortunate who were raised
there when its orange trees outnumbered its residents. In the late
1980s and early 1990s, Stice worked at SURFING Magazine, first as
the Special Services grommet and later as an Art Assistant. In
1998, Stice graduated cum laude from University of California, San
Diego (UCSD) where he served as the Student Director of UCSDs
Language and Cognition Lab while earning a B.A. in Linguistics with
a Specialization in Language and Mind. Stices graduate studies in
English were at University of California, Irvine (UCI).With the
exception of the two-year hiatus in which he attended UCSD, Stice
worked at Laguna Art Museum in several different
capacitiesincluding Curatorial Research Intern and Director of
Operationsfor over twenty years. Stice has maintained a post as a
part-time Liberal Arts faculty member and Writing Lab Director at
Laguna College of Art and Design (LCAD) since the fall semester
2000 and has served as LCADs first Communications Manager since
July 2012. Stice is the author of Chronicle Books Wolfgang Bloch:
The Colors of Coincidence (2008) and has penned a number of other
published articles on Bloch.Since January 2013, Stice has hosted,
College. Art. Radio. a weekly, hour-long radio program on KX93.5FM.
A very, very amateur pianist, Stice counts writing, playing, and
listening to an eclectic array of music among his top passions.
Surfing, traveling, stand-up comedy, reading, writing, creating
art, and sampling craft beers are other activities that keep him
(mostly) sane.
Janet Blake is the curator of historical art at Laguna Art
Museum. Her field as a scholar is the history of California art
from 1900 to 1950, with a focus on American impressionists in
California and the regional or American Scene artists of the 1930s
and 1940s. In 1991 she co-edited the book American Scene Painting:
California, 1930s and 1940s with Ruth Westphal. In 2007, Blake
curated a major retrospective of the work of Millard Sheets at the
Millard Sheets Center for the Arts at Fairplex in Pomona. Since
joining Laguna Art Museum in 1998, she has worked on several of the
museums outstanding exhibitions. In 2008 she assisted Will South
with the major retrospective on William Wendt, and wrote the
chronology of the artists life for the accompanying book; and in
2012, she curated a retrospective exhibition on Clarence Hinkle,
accompanied by a comprehensive book on the artist. One of my
favorite exhibitions was Frederic Remington: The Color of Night,
which I saw at the National Gallery of Art in Washington, D.C., in
summer 2003. It was a small exhibition of only twenty-nine
paintings, all nocturnes completed between 1901 and 1909. The
installation was stunning; the walls painted a beautiful slate
blue, and all the paintings framed in charcoal-colored carved
frames. In the works, Remington explored how various
lightmoonlight, firelight, and candlelightaffected the color of
night. The gallery had several deep blue upholstered divans where
one could sit quietly and contemplate the ethereal beauty of the
paintings.
Janet Blake
SR DaviesSR Davies is an award-winning arts and culture
journalist in Los Angeles, Orange County and the Inland Empire, a
film historian at UC Riverside and the University of Phoenix, and
was the host of The Hollywood Happening radio show at KX 93.5 in
Laguna Beach. She was formerly a coverage writer for Jodie Fosters
Egg Pictures and the Sundance Institute, and a coordinating
producer of development at E! True Hollywood Story. I grew up in a
rather creative environment my mother is an artist but I had
somehow reached my teens never having seen a famous work of art.
The museums I had seen housed prehistoric skeletons and replicas of
extinct Dodo birds that is, until 1986, when the Soviet Union
released its Hermitage cache of Impressionist and early modern
works to LACMA. At age 16, one knows very little about art, but it
doesnt take a scholar of any degree to be bowled over by Monets
water lilies, Matisses The Red Room and Van Goghs Portrait of Dr.
Rey. Suddenly, art was much more than something that just anyone
could engage in at school or purchase at a Beverly Hills gallery.
It had history, longevity and story. More than that, it felt as if
the people whod created it would have died or gone mad if theyd
been stifled. Some did anyway, of course. It was then that I
realized that art was unavoidable for some; it was their calling to
greatness and to tragedy, and I was certain there was nothing more
beautiful in life than that.
Liz Goldner haunted MoMA as a teenager, later worked in
journalism, covering food, fashion, business, touring museums in
her spare time. In 2000, she became an OC Metro art columnist, soon
graduating to writing about art for Art and Living, Laguna Life
& People, Women in the Arts, Orange Coast and more. She
contributes to ArtScene, Art Ltd., Artillery, OC Register Magazine
and The Huffington Post. She owns the website,
http://www.contemporary-art-dialogue.com/. She lives in Laguna
Beach with her photographic artist partner, often attending this
towns art events and festivals. She is a member of AICA,
International Association of Art Critics. My favorite exhibition
ever, the Crosscurrents in L.A. Painting and Sculpture at the Getty
Center, was a major part of the 2011-12 SoCal movement, Pacific
Standard Time, involving more than 100 museums, galleries and
performance venues, focusing on postwar art. The gist of PST was
that artists inspired and influenced each other, creating an
expansive movement of divergent styles, becoming a cohesive,
enduring legacy.Crosscurrents included: a collection of hard-edge
paintings with ceramic artwork; an assemblage and collage section;
a collection called the L.A. Look, reflecting L.A. as a burgeoning
art center and place of scenic beauty; and my favorite, a
magnificent Finish Fetish section. Here, several iconic polyester
resin pieces, also known as Light and Space works, were placed on
pedestals, hung on the walls and carefully lit in the manner of
traditional museums to show off their luminous beauty. Pieces in
this section included: Peter Alexanders Cloud Box, a cast polyester
cube with fluffy clouds floating within; Frederick Eversleys
Untitled, a circular see-through piece that changes colors and
shape as you move around it; and DeWain Valentines flawlessly
polished Red Concave Circle. This installation conveyed the time,
effort and extensive technical knowhow needed to create the various
works, while the expert curation rendered the processes far into
the background.
Liz Goldner
Malcolm Warner joined Laguna Art Museum as Executive Director in
January 2012. Previously he was Deputy Director at the Kimbell Art
Museum, Fort Worth, Texas; Senior Curator of Paintings and
Sculpture at the Yale Center for British Art, New Haven; and
Curator of European Art at the San Diego Museum of Art. He was born
in Aldershot (UK) and pursued both undergraduate and graduate
studies at the Courtauld Institute of Art, University of London. He
received his PhD from the Courtauld in 1985. His doctoral
dissertation was on the British Pre-Raphaelite painter John Everett
Millais. He remains the leading authority on Millais and, as a
long-term project, is preparing a catalogue raisonn of the artists
works. His publications have ranged widely over European art, with
an emphasis on art in Britain, from the eighteenth century to the
twentieth. They include various articles and essays on Millais and
other Victorian painters, an introductory history of portraiture, a
guidebook to places in Britain associated with artists, and a
catalogue of British paintings at the Art Institute of Chicago. He
has taught courses in art history at the University of Manchester,
the University of Cambridge, and the University of Chicago.
Sensation was a great title for a great exhibition. Drawn from the
collection of the advertising mogul Charles Saatchi, it showcased
the young British artists now known collectively as the YBAs,
including Damien Hirst and Rachel Whiteread. I saw it at the Royal
Academy in London in 1997 and again at the Brooklyn Museum of Art
in 1999. It was indeed a sensation, causing controversy and offense
on both sides of the Atlantic. But the title was right for other,
better reasons too. This was art that didnt care about being nice,
or matching your expectations. It wanted you to feel something.
Damien Hirsts famous memento mori, a shark in a tank of
formaldehyde, was a good centerpiece for a show whose great themes
were tragedy and death. Its detractors said it was just
sensationalistic. But for me it was deeply serious, and
unforgettable.
Malcolm Warner
Mike Stice
Tom LambFormally and informally educated in a variety of
politically, social, culturally and art-based environments, Tom
apprenticed with Aaron Siskind during graduate school he grow up in
a creative household and working with great planners,
conservationists, imagemakers, storytellers and adventurists;
created the foundation for his image-making process. His supportive
family has energized and supported his life style, approach and
vision. He uses photography, as his primary tool, along with
pioneering trends in new media. Tom has dedicated his life to not
only creating, through the art of storytelling, memorable
photographs, but also championing environmental awareness. His
images, both from the air and the ground, are of the built and
un-built, often abandoned or in transition, landscapes. His images
examine how we interact with the planets most valuable but
increasingly threatened resources. Tom is interested in the culture
and with the balance between the natural world and mans mark on the
land. He travels extensively; his work is published, exhibited and
collected internationally.
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22 LagunaBeachARTmagazine.com
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LagunaBeachARTmagazine.com 25
Under the instruction of legendary Disney Animator, Director and
Voice Actor, Eric Goldberg, Attack of the 50-Foot Hero, an animated
short created by students of Laguna College of Art and Designs
First Annual Summer Animation Master Class, recently won Best
Animation at the 4th Annual New Media Film Festival in Los
Angeles.
In addition to earning top honors at the New Media Film
Festival, Attack of the 50-Foot Hero, a traditionally animated 2-D
short created on LCADs North Campus in the summer of 2012, was
honored as an Official Selection at twelve film festivals
overall.
Goldberg, instructor of LCADs 2012 Summer Animation Master Class
and Project Advisor on Attack of the 50-Foot Hero worked on such
Disney films as Aladdin, as Lead Animator on the character Genie;
Hercules, as the lead animator on Phil; and Pocahontas as
Co-Director.
The 2nd Annual Summer Animation Master Class at LCAD that
wrapped up on August 3, 2013 was instructed by famed special
effects, stop motion and puppet ace, Stephen Chiodo who oversaw the
production of The Sock Thief, a five-minute stop-motion animated
short comprised of nearly eight thousand frames, all shot in 4k
Ultra HD. The Sock Thief will be entered in upwards of than 20
international film festivals. For more information visit
www.lcad.edu. l
Laguna College of Art and Design Animated Short Takes Top Honors
in Animation at the 4th Annual New Media Film Festivalwritten by
Mike Stice
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26 LagunaBeachARTmagazine.com
This past spring, Laguna Art Museum presented the exhibition
George Hurrell: Laguna to Hollywood, which showcased over sixty
works by the famed Hollywood glamour photographer. It traced his
beginnings as a painter and photographer in Laguna Beach in the mid
1920s through his transformation into the chronicler of Hollywood
stars in the 1930s and 40s. Hurrells story is a compelling one that
revolves around a chance meeting with artist Edgar Payne in Chicago
in 1925.
Born in Cincinnati, Ohio, in 1904, Hurrell moved to Chicago with
his family in 1909. He had an early interest in learning
photography, yet aspired to be a painter, enrolling in the School
of the Art Institute of Chicago in 1922. In order to finance his
education, he photographed paintings for other artists. He also
apprenticed for three months with the pictorialist photographer
Eugene Hutchinson, learning the basics of negative development and
making contact prints.
Hurrell met Laguna Beach artist Edgar Payne sometime late in
1924 or early 1925. Payne was spending several months in Chicago
after returning from a long European sojourn. Hurrell showed Payne
some of his paintings, and the older, experienced artist encouraged
him to visit Southern California. In May 1925 Payne arranged for
Hurrell to stay in a little furnished cottage and studio in Laguna
Beach called
The Paint Box. So named because many artists had stayed there
over the years, including Payne.
Within a few weeks, Hurrell became acquainted with many of the
resident artists in town and advertised his services as a portrait
photographer and as a photographer
of paintings for newspaper and magazine reproduction. He became
especially close to Julia Bracken, William Wendt and with William
Griffith. In December 1925 he attended a Christmas dinner at
Griffiths and met the woman whom he recalled as his first
enthusiastic supporter, Florence Lowe Barnes. The wealthy and
independent Barnes, who had a forty-acre estate in north Laguna
Beach, counted among her many friends the silent screen actor Ramon
Novarro. She introduced the actor to the young photographer soon
after Hurrell moved to Los Angeles, in 1927. Novarro asked Hurrell
to do a series of portraits that would promote his aspirations to
be an opera star. He later
showed the photographs to his friend, the actress Norma Shearer,
who prevailed upon Hurrell to make a series of enticing photographs
of her that she could use to persuade her husband, MGM producer
Irving Thalberg, to cast her in The Divorce. She won the part, and
Hurrell soon received a contract from MGM. His career as glamour
photographer to the stars was launched.
GEORGE HURRELL EXHIBITION written by Janet Blake
Highlights from Last Season
Photos this page clockwise: Jean Harlow,
Gelatin silver print, 1934, printed 1979-1980;
Ramon Novarro (with white horse at
Pancho Barness estate in San Marino)
Gelatin silver print, 1928, Norma Shearer,
Gelatin silver print, 1929; Photo opposite page:
George Hurrell, Self-Portrait,
Gelatin silver print, 1930.
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LagunaBeachARTmagazine.com 27
310-466-1789 l 577 S. Pacific Coast Hwy, Laguna Beach, CA 92651
l www.poshgalleria.com
Heat Infused Aluminium Photography
By 1930 Hurrell was the head of the MGM portrait gallery. He was
soon dubbed the Grand Seigneur of the Hollywood Portrait. Norma
Shearer never let anyone else photograph her. Another enthusiastic
supporter was Joan Crawford, who allowed Hurrell to photograph her
without makeup. With his knowledge of painting and chiaroscuro,
Hurrell could complete a photograph by painting directly on the
negative, adding lights to the eyes, highlights in the hair, and
luminous skin tones. Bette Davis once remarked that a great deal of
her fame was a result of Hurrells portraits.
Hurrell stayed at MGM for just two and a half years. He
established his own studio on the Sunset Strip and later worked for
Warner Bros. He was always in demand, and enjoyed a long and
storied career that only ended with his death in 1992. His dealer
at the time, David Fahey, remarked: George Hurrell is the
quintessential example of a photographer who paints with light. He
is the Rembrandt of photography. He remains today the premier
glamour photographer of Hollywoods Golden Age and a master
craftsman of enchanting and alluring imagery.l
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28 LagunaBeachARTmagazine.com
Looking Back
Each year, millions of hopefuls struggle to find out that not
every star in Hollywoods sky gets to shine Polaris. Most fall by
the wayside early, with some settling into bit players and
character actors, and while a chosen few make it to the top, most
serious actors (the ones who arent in it for the fame alone) settle
at the mid-range or B level. These second-tier stars are nothing to
sniff at, of course, for theres much to be said for the passion,
dedication and stamina it takes to remain in a game in which you
know, for the most part, you will always come in second maybe even
third or fourth.
For every Bette Davis and Jimmy Cagney, Meryl Streep and Robert
De Niro, there are doz-ens of actors who never transition to A
mate-rial, but its not necessarily due to wont of looks, ability or
charm. They just dont get the lucky breaks, perhaps, or maybe their
zing isnt quite as zingable as it needs to be. Enter former Laguna
Beach resident and Hollywood starlet Ruth Roman, the A list lady
with the B list resume, a beautiful brunette with a broad range
whom Warner Bros. designer Milo Anderson once called a stunning
example of the full-blown, shapely woman of 1951.
Born Norma Ro-man, the daughter of a carnival barker and
cleaning woman, Roman rose from the poverty of her Boston-Polish
roots through the rungs of hat check girl and dress model and once
made $5 an hour posing for crime magazines. After a few stints on
the stage, she boarded the train to Los Angeles with $200 in her
pocket and combed the Hollywood cattle calls until she landed a
glimpse in 1943s Stage Door Canteen, a wartime musical featuring
cameos by every hot property in town from Tallulah Bankhead to
Harpo Marx.
Fame was hardly beating down Romans door, however, and to save
money as she jumped from bit part to bit part, she and sev-eral
other struggling starlets rented a home in
Coldwater Canyon they dubbed The House of the Seven Garbos in an
obvious bid for some divine intervention. Roman eventually began
moving up or sideways, she might insist when she landed a low-grade
serial in 1945, Jungle Queen, in which she, in the title role,
saved dashing white hunters from a slew of ferocities. (To her
horror, Warner Bros. would re-release the series in 1951 to
capitalize on her rising star.)
After years of struggle, Roman finally caught the eye of famed
Gone with the Wind producer David O. Selznik who signed her as
Warners last contract player. Bit parts in films such as Since You
Went Away starring Claudette Colbert and Gilda with Rita Hayworth
soon turned into best friends with the lead roles in films such as
1949s Beyond the Forrest starring Bette Davis, who took an instant
liking to Ro-man and backed her up when the newbie told director
King Vidor that she was flubbing her lines because they were lousy.
Shes right, this girl is absolutely right, Davis attested and then
told Roman, Ruthie, never be afraid to fight for what is right.
While her starmeter was going up, however, one thing remained
clear: everyone saw Roman, shapely as she might have been, as the
good girl. A string of devoted wife/girlfriend roles soon flooded
her way, and while the males she was adoring were no chumps
(including Kirk Douglas, James Stewart and Gary Cooper), her desire
to be cast against type in more complex and daring roles was rarely
honored.
Warner Bros. did attempt to keep her in A material, however,
insisting that Elia Kazan use her as Stella in A Streetcar Named
Desire (with Kazan balking and tightening his grip on Kim Hunter)
and forcing her onto Alfred Hitchcock in his twisty Strangers on a
Train the most no-
written by SR Davies
RUTH ROMAN THE GOOD GIRL GLOWActress Ruth Roman was much more
than Hollywoods wholesome brunette
After years of struggle, Roman finally caught the eye of
famed Gone with the Wind producer David O. Selznik who
signed her as Warners last contract player.
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LagunaBeachARTmagazine.com 29
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Artist Adam Silverman: Clay & Space
Photo by Katrina Dickson.
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LagunaBeachARTmagazine.com 33
This fall Laguna Art Museum is proud to present an exhibition of
work by the Los Angeles potter Adam Silverman. His first solo
museum show will coincide with the publishing by Skira-Rizzoli of
the beautiful book Adam Silverman Ceramics. The show features a
selection of his best pots, including some new pieces created
especially for the occasion, and an elaborate installation designed
by Silverman himself.
In an instance of Silvermans ingenuity in creating unique
site-specific pottery, one room in the Laguna show is an
installation of pots crafted partially from local clay and fired in
the firepits on Aliso Beach.
Silverman explains his technique as the most primitive form of
firing, and the oldest. It is called pit firing because the pots
are piled up in a pit with combustibles and ignited. The fire burns
for a few hours and the pots sit in a bed of red hot coals and
eventually it just runs out of fuel. There is very little control
over the temperature or the environment that the pots are in,
beyond choosing what you burn. In the case of the Laguna Beach pit
firing, I included wood chips from the grounds of the Sawdust Art
Festival, drift wood from the beach, wood from the local canyons,
and seaweed from the beach. In addition, I collected 10 gallons of
water from the ocean and made salt from the water, which was also
added to the fire. There is clay that I got in the canyon at the
end of Canyon Acres Drive. The local potter Mark Winner graciously
showed me where to clay hunt. The clay was used to make slip to
apply to the exterior of some of the pots. I used several different
clay bodies for the pit firings and made about 50 pots, most of
which will be displayed in one of the galleries at the museum in a
very specific designed and built installation.
Also included in the show are two pieces that in different
senses bring pottery together with video. Silverman explains, One
is a collaboration between myself and Lucas Michael. It is a white
pot sitting on a pedestal, with a video projected onto it. The
video shows the same pot rotating,
written by Malcolm Warnerphotos by Stefano Massei, courtesy of
Adam Silverman.
Artist Adam Silverman: Clay & Space
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34 LagunaBeachARTmagazine.com
and the result is a very beautiful illusion of the pot being in
water, or swept by the wind. The other video piece is of Le
Corbusiers chapel at Ronchamp, a beautiful, small pilgrimage church
in eastern France. This building has been enormously influential on
me and my work. In its forms it is closely associated with the sea,
and at the same time it is like a large pot that people can go
inside. It feels like the outside and the inside were made
simultaneously, as though the building were a pot, which is very
unusual in architecture.
If Adam Silverman: Clay and Space has a recurrent theme, it is
the relation of art to nature. Silverman brings to his pottery a
keen response to natural forms and materials -- the spiral growth
of sea shells, the textures of coral and barnacles, the rhythms of
the tide, waves and seaweed, clay and wood. So its fitting that the
show will form part of the museums upcoming Art & Nature
event, a multidisciplinary celebration of arts engagement with
the natural world, which is scheduled for November 7-10, 2013.
Silvermans passion for clay began 25 years ago at the University
of Colorado. He continued his education at the Rhode Island School
of Design, where he studied architecture, art, and design. He moved
to Los Angeles in 1988 and practiced architecture before
co-founding the highly successful X-Large and X-Girl clothing
lines. He has worked full-time as a potter since 2002, exhibiting
widely in the U.S. and Japan. Since 2008 he has been studio
director of Heath Ceramics.l
Adam Silverman: Clay and Space is on view at Laguna Art Museum
from October 27, 2013 to January 19, 2014. Located at 307 Cliff
Drive, Laguna Beach, CA 92651
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Paradise Found The Vernacular Architecture of North Laguna
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LagunaBeachARTmagazine.com 39
Traveling on North Coast Highway you will spy a 1917 Craftsman
bungalow with its Swiss Chalet design. The old Cottage
Restaurantvacated and anticipating its next incarnationfeels like a
respite from the traffic on the highway. Past the Cottage and up
Aster Street, discover a community from another era, a quiet place
of mature trees, well-tended and overgrown gardens, and little
historic homes. The enclave, hidden from the main drag, has been
preserved by its residents and by the city that takes pride in it.
This north Laguna Beach neighborhood, often referred to as the
flower streets, features homes in several styles, including
bungalow, Craftsman, old-world and Pueblo; many are examples of
vernacular architecture as the original owners helped design and/or
built them.
Flower streets residents, among them local artists and art
lovers, are proud of their eclectic mix of homes, several citing a
bit of personal dwelling history. Emily Wineingar, owner of an
Aster Street 1920s home, explains, I grew up in that house. We
bought it from an elderly couple named Riddle in 1952. The rose
garden was there and my grandmother lovingly tended it and the rest
of the yard for years. There was a fish pond and a pergola covered
with wisteria that was so big, every spring, people from the
neighborhood would smell its scent and come over to pay homage. My
grandmother, Georgia Derge, bought the house next door in the
fifties, so our family had three lots and put a passage between
them. I sort of grew up in that house, too. My home has no
hallways, just a bunch of rooms put together.
For a walking/biking tour, you might start at The Cottage and go
up three steep blocks to 466 Aster Street to a classic two-story
shingled Craftsman structure with gabled roof; extensive shrubbery
attests to the homes 90-year longevity. A few blocks away at 397
Poplar Street, there is a1930s cottage modeled after an old
European-style home, with its arched windows, heavy wooden door,
gabled roof and tall chimney. Nearby at 406 Linden Street, youll
see a classic California bungalow, with clapboard siding and front
porch; built in the early 1900s, it is one of few such
written by Liz Goldner photos by Tomb Lamb
Paradise Found The Vernacular Architecture of North Laguna
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40 LagunaBeachARTmagazine.com
dwellings in Laguna. A few blocks away at 416 Jasmine Street is
a small English country style cottage, reminiscent of the house
that Snow White escaped to, with rough cut wood door and shingled
roof. One of Lagunas oldest homes is a block south at 390 Magnolia
Drive; this small 1907 cottage, built over a weekend, has simple
board and batten exterior and a few steps leading to a small front
porch. North to 385 Locust Street, a 1929 Pueblo style bungalow
with white stucco exterior, large arched paned window and curved
roof, could have been in a Roadrunner cartoon. These are just a few
of many historic homes along the flower streets, but three gems
just outside the neighborhood beckon.
Suitable to Lagunas quirkiness is the nearby Witches House at
290 Wave Street. Perhaps this citys most unusual building, it is on
the National Historic Registry. Architect Vernon Barker created
this 84-year-old whimsical home as he built it, including in its
design soaring gables, irregular shake shingles and a variety of
paned windows, some tall and narrow, others broad. Equally
eccentric is the interior with its unusual stairways, and series of
inter-connecting rooms, some too small for adults, as they were
built for the children and grandchildren who once inhabited it.
Walk around the corner to 770 Hillcrest Drive, and you might
wonder what a majestic Norman-style castle is doing in Southern
California. Legend tells us that construction on the Pyne Castle
was begun during the roaring twentieswhen many people here had
grand ideas. Wealthy Orange Countyan Walter Pyne commissioned the
62-room mansion with its steep stucco exterior, pitched turrets,
pointed and Gothic style arched windows. Yet after he died, his
family
sold it and it passed to several owners. Had President Nixon
made the castle into the Western White House, as he considered
doing, it might have prevailed as a home. But he did not, and it
was divided into apartments. Fortunately, the renters love the
place.
The final leg of this journey is along the rugged upper edge of
Boat Canyon to another unusual setting, the Hortense Miller Gardens
and residence. Here you can tour the classic Eames-inspired modern
home, designed by Newport Beach architect Knowlton Ferald, with
inspiration from teacher-writer-artist-gardener Hortense Miller
(1908-2008). When completed in 1953, this one-story post and beam
Allview Terrace home was an anomaly here. Constructed with
concrete, glass, wood, brick, tile and Fiberglass, it features
floor to ceiling glass or brick walls, and includes a fenestrated
brick-bearing wall, bridging the kitchen garden and entry. Leah
Vasquez, former Miller estate board member/architectural guide,
explains that the open horizontal plan maximizes natural lighting,
including light entering glass panels under the kitchen cabinets.
The building, housing Millers art and artifacts, overlooks 2.5
acres of native and exotic gardens, while the estate is in the
Laguna Beach Historic Registry. To reserve guided tours, contact
(949) 497-0716 or check out
http://www.hortensemillergarden.org/.
As you leave the Hortense Miller Garden, you might look westward
toward the nearby shoreline and envision Crescent Bay Point Park.
This dramatic park is like a movie set with its pristine landscaped
area jutting into the ocean and sea foam crashing around rock
formations. But that is for another journey. l
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LagunaBeachARTmagazine.com 41
While Lagunans are proud of their historic homes, they also
embrace reinvented properties. One such space at 1205-1223 North
Coast Highway is anchored by the popular Mandarin King Restaurant.
This formerly down-at-the heels 7,000-square-foot site was
purchased 16 years ago by an entrepreneurial woman who moved into
the third floor apartment, and then renovated the multi-use
building. She refurbished the exterior and turned the second level
into a suite of four offices with such elegant amenities, including
ocean views, ceramic tile floors and a waterfall in the lobby, it
could be a high-end condominium. She also renovated her
third-level, 2,300-square-foot apartment to be her own Shangri-La
as she calls it, from which you can hear seals barking. The nearby
Art Hotel at 1404 North Coast Highway was a run-of-the-mill
franchise until Gail Duncan purchased it in 2009. With imagination
and support of local artists, she turned the place into a charming
European style pensione replete with original artwork in nearly all
rooms, the lobby and elevator. Ocean murals even adorn the pool
area and waves are painted on the deck. Each room features a
different local artist and all artwork is for sale, with the
proceeds going to the artists. As Duncan explains, the hotel helps
support the artists, while benefitting from the beauty of their
work. l
Shangri-La is currently listed for sale with Remax Evolution in
Laguna Beach www.coastalcitiesrealty.com
Join California horticulture expert Ruben Flores on a garden
walk of Pyne Castle (historic rose garden shown). Times and dates
vary contact Laguna Nursery for more details.
(949) 494-5200www.lagunanursery.net
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42 LagunaBeachARTmagazine.com
Indecorous Decoration:
Cecilia Paredes
NarcissusPerformance photography39.25 x 33.25 inches
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LagunaBeachARTmagazine.com 43
Cecilia Paredes aptly refers to her painterly photographs as
photo performances. The photographs are a piece of performance in
that they document the painstaking, bodily and time consuming
process wherein the artist paints herself the precise pattern of
her chosen background. The backgrounds vary. They are floral or
forest like, referring to nature while remaining artificial; they
are wallpaper, man made, stylized, faux and decorative. Or they are
chintz or damask, unabashedly ornamental, domestic, of another time
or another place and unwaveringly feminine.
Paredes then enters into the background, and is photographed,
sometimes her entire body (in evocative and sensual repose), but
mostly only a part of her bodyan arm or two, her torso, the back of
her legs---- nearly disappears into the decoration and
patterning.
She is captured, or photographed, in various gestures or
expressions. Her relationship to the background, or broadly
speaking, the environment (nature, culture, technology, the
decorative, the feminine, whatever category she finds herself
negotiating) is dynamic. She is not a doll; she interacts with her
staged, imagined and visually vivid environment.
The photographs are also photographs in the most traditional
sense. They freeze a moment in time, serving as a kind of memento
of said moment. Yet they are painterly in (at least) two respects.
First, they look like paintings; they are lush, textured and
saturated. Second, they are paintings in part because Paredes is
painted and her body paint uncannily matches the patterned
backdrop.
What separates Paredes from the elaborately patterned flowers,
leaves and Victorian or Art Nouveau wallpapers into which she
paints herself is Paredes herself. She never completely blends,
never becomes part of the decoration. Instead, she leaves a trace
of herself--- her hair, or her eyes
and lips or a touch of unpainted flesh. In setting herself apart
from what surrounds her, she may
go surreal, as in Art Nouveau. The artists torso and hands are
disproportionate in relation to her tiny head, a dolls head on a
human body--- and this puny head is jarring in that its face is
painted over and it is crowned with an orange-y brown wig. The
overall effect is discord; the backdrop is beautiful, patterned so
as to lull but the figure is odd, even jarring.
With Narcissus, Paredes deepens the work with reference to Greek
myth. Adding layers to an already stacked work, the artist paints
herself not into a background of water but into a background of
leavesa wallpaper of leaves, a forest like, earthy palette.
She stares at her reflection in the leaves, a slight bit of her
cheek and skin around the eye left unpainted---exposed. A reminder
that this is an image of a human being, and in this case a human
being entranced with and enamored of herself, or her reflection.
Here is where we should really pay attention to the image---
instead of water, which reflects, we have leaves, which do not
reflect. Paredes offers a staging, an imitation of a reflection, a
kind of mythologically resonant visual and cerebral echo. The myth
is present in the works
written by Lisa Aslanian
NarcissusPerformance photography39.25 x 33.25 inches
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GOOD for their SOULSBluebird Canyon psychologists explore
creative connections
written by SR Davies l photos by Tom Lamb
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LagunaBeachARTmagazine.com 47
When you sit down for a piece of pistachio pound cake with two
people whove made careers in the cognitive sciences, its even money
that, eventually, a famous psychological model will be mentioned if
youre lucky. Theres really nothing more fascinating than people, of
course, and why they do the things they do can provide hours of
captivating conversation. One glance at Maslows hierarchy of needs
pyramid the model in question might also give one pause while
determining where, between the basics of needing food, shelter and
sleep, and the pinnacle of self-actualization of creativity, lack
of prejudice and spontaneity, one might fall.
Curt Sandman and Jennifer Barron have been climbing that
pinnacle together for 33 years and not just in their cognitive
science careers. Indeed, both have pursued their fascinations
with humanity he, as a much-lauded professor in UC Irvines
Department of Psychiatry and Human Behavior, and she as a highly
successful clinical psychologist and marriage and family therapist
but theyve also pursued what can certainly be called
self-actualization in their private, artistic lives.
The momentum began around 1985 when Jenny found a new home for
their family. Nestled in Bluebird Canyon so snuggly that if you
blink youll miss the hand-painted street sign at the beginning of
the dirt road, the 1970s architecture of the modestly-sized,
five-level structure appealed to their aesthetic immediately. They
also appreciated the folklore of the area apparently, their road
was named after Babe Didrikson, an Olympic athlete who took up
residence there when the 1932 Olympics came to Laguna Beach.
GOOD for their SOULSBluebird Canyon psychologists explore
creative connections
written by SR Davies l photos by Tom Lamb
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48 LagunaBeachARTmagazine.com
Once theyd gutted the place, they hesitated to fill it right
away. The living room, in fact, went without any furniture for four
years, save a grand piano, until they found two orange chairs.
Well, Curt thinks theyre orange. Jennys pretty sure theyre
condensed tomato soup, and they politely agree to disagree. After
the last of four daughters was well on her way through college, the
two decided it was time to spend some of their resources on things
they personally enjoyed, not just needed, and the Maslow climb was
on.
Their first piece of original art was found on a trip to New
Orleans when they happened by a gallery exhibition of sculptures by
Daniel Meyer, who had just completed an Absolute Vodka campaign.
Curt caught sight of the slick, sophisticated Red Hot Trumpet
player, a futuristic Robocop-type figure done up in mustard and
burnt orange, and was struck.
I took one look at it, he says, and just thought, wow, this is
awesome. This is my taste.
Soon after, the couple began exploring more original art, as
well as returning to galleries in Laguna and elsewhere to revisit
pieces theyd once seen, but had been unable to afford. Luck
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LagunaBeachARTmagazine.com 49
was with them, and they eventually tracked down Toast to Love by
Soviet Block artist Yuroz from a poster theyd seen at Lagunas
Fingerhut Gallery. The enormous ode to companionship, pomegranates
and wine now hangs in their foyer. They also immediately sought out
local artist, Sandra Jones Campbell.
For ten years wed seen Sandra Campbells work at the Festival of
the Arts, Curt says, Finally, we just thought, life is short and we
love being surrounded by beauty and its silly for us to defer this
any longer. They now have 14 works by Campbell.
While neither Curt nor Jenny had any formal training in the
arts, they both have deeply-rooted feelings about creativity, and
what it does for your soul. For Jenny, it wasnt the encouragement
from a high school art teacher to pursue her potential I had other
aspirations and goals, and in 60s, you just took it one day at a
time, she laughs but rather, various family members who encouraged
her to explore artistic avenues. She and Curt routinely enjoy the
arts of cooking (Im the souse chef and shes the director, he
laughs), wine making, architecture and landscape. In fact, Jenny,
in conjunction with their architect, designed their
second home, located in Breckinridge, Colorado.Curt grew up
relatively removed from the
arts, and recalls his fascination beginning with a poster of
Rubens Daniel in the Lions Den that his grandmother hung above his
bed when he
While neither
Curt nor Jenny
had any formal
training in the arts,
they both have
deeply-rooted feelings
about creativity,
and what it does
for your soul.
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50 LagunaBeachARTmagazine.com
was five. Many years later, when he was able to see the massive
original at the National Museum in DC, it was profound.
It buckled my knees and flooded me with memories of childhood,
he says. Art does that. It can remind you of a place and it can
have a spiritual influence on you. Its historical, its mythological
and Ive had that experience so many places.
From that moment on, he was determined to see every collection
that he could find. For years he kept a catalogue in his mind of
what hed seen and where it was housed- never even dreaming that hed
own an original piece himself one day.
Now, Curt and Jennys Laguna home has nary a spot of unadorned
wall space. There are Sandra Jones Campbells multi-peopled oils of
family day trips and decadent dining and gambling scenarios circa
the 1930s she moves with the times, first conspicuous consumption
and then the bubble burst, Curt notes. They also have an array of
work by America Martin seven in all which they found at the JoAnne
Artman Gallery and that they moon over with great admiration. We
love her work, Curt says. Big, strong, primitive strokes great use
of color.
Fred Stodders vibrant ceramics also make the scene, and a moody
Kathy Jones piece titled A Stranger to Me hangs in their bedroom,
evoking a multitude of interpretations from guests. Featuring the
backs of two figures staring out of a window, the image is
haunting; some see parental rejection, others, spousal trouble, or
perhaps its merely two people stalled in the same gray loneliness.
Curt points out that art does not have to be beautiful, to be
beautiful. Its just pure, he says. A form of truth.
Because its also spiritual for them, its no surprise that Curt
and Jenny also connect with the works of Native American artist
Frank Howell. After many years of searching, Curt
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LagunaBeachARTmagazine.com 51
finally acquired an original Howell a few years ago. It now
hangs in their Breckinridge home in a triangular-shaped room they
loosely refer to as the cathedral.
Its this feeling of connection to the piece, and to all of the
works in their collection, that drives them, in fact. Theyre
uninterested in decreasing or increasing values, and dont even
really consider themselves the owners of the art.
I hate to think of it as collecting, Curt says. I think of it
more as borrowing. Collecting seems purposeful, with an
organizational element. Ours is really random.
Jenny agrees. We buy things and we dont even have a place to put
them, she laughs. We do not know how to buy strategically at
all.
But who needs strategy? According to Maslow, self-actualization
isnt planning things out purposefully and scientifically. Its about
accomplishing everything that one can, and becoming the most that
one can be. What better way to explore all that might entail than
to be surrounded by the wistful, wise and wonderful creations of
the soul. l
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Maggie Taylor surrealistic dreamscapes
The Nest, Pigmented digital print
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LagunaBeachARTmagazine.com 53
Maggie Taylors photomontages, an amalgam of the old and the new,
are comprised of 19th century daguerreotypes, old illustrations,
contemporary photographs, as well as various objects and artifacts;
all layered together through digital image editing. The resulting
artworks are surrealistic dreamscapesthat demand time and attention
from the viewer to fully comprehend.
written by Liz Goldner
Taylors Burden of Dreams, a visual duet of a woman and a man,
features old photographic portraits found at antique fairs,
combined with objects, photos and illustrations, all representing
the numerous thoughts exploding out the couples heads. To create
these artworks, Taylor scans the images and objects into her
computer; then using Photoshop, she manipulates the faces, adding
retro-color schemes. She finally engages in the laborious task of
layering the scanned objectsincluding flowers, plants, animals,
snakes, insects, books and musical instrumentsto convey the couples
numerous private thoughts. She says that Burden of Dreams is
semi-autobiographical, adding that she often loses herself in the
creative process while building these complex artworks.
Burden of Dreams, exemplifying Taylors three-decade body of
work, also flows naturally from her childhood pursuits of reading
and listening to stories, as well as building and creating things.
I was a very introverted child
who loved a good story, whether it was by Ray Bradbury or in a
Mary Tyler Moore episode, she says. Building houses with blocks
made me feel like an architect, while my dollhouses became design
projects or stage sets. In high school, Taylors driving passion to
know more about life helped her excel at her studies. She was
admitted to Yale University in the early 1980s, choosing philosophy
as a major in order to gain broad knowledge of worldwide ideas and
beliefs. She also took many photography classes, soon realizing
that with this discipline, she could combine her love of art with
her desire for philosophical expression. She attended graduate
school at the University of Floridaa place where students were
merging film photography with painting, sculpture and performance,
and often collaborating on larger installations. Taylor reveled in
that multidisciplinary environment. Adapting this broad artistic
approach to her own work, she began combining seemingly unrelated
objects,
Maggie Taylor surrealistic dreamscapes
The Nest, Pigmented digital print
Left:The Burden of Dreams 2013Pigmented digital printRight:The
Burden of Dreams 2012Pigmented digital print
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54 LagunaBeachARTmagazine.com
including old toys, dead birds, caterpillars, various junk and
debris, in individual photographs. Looking back, these surreal
still-life images became the precursors of her current multilayered
works. She received an MFA from the University of Florida in
1987.
Taylor lives near a small swamp in Gainesville, Florida, with
three large dogs and her husband, Jerry Uelsmann, who is a pioneer
in the photomontage darkroom technique. Jerry is totally committed
to making photographs as a way of life, she says. It is inspiring
to see the magical things he comes up with in the darkroom. From
her home studio Taylor talks about living a life of artistic bliss.
Having a creative job is essential to me. If I did not make these
images, I might be writing or working as a designer of some sort. I
like anything hands-on that involves imagination. When asked about
other recent images, she lovingly describes them as though they
were offspring. Discussing But Who Has Won, part of her Alice in
Wonderland series, she points to a Victorian girl scanned from an
1850 daguerreotype, while the surrounding birds are from 18th
century botanical illustrations. For The Nest, she used a 19th
century photograph of a girl, added goggles, and then scanned a
hornets nest that, today, is proudly displayed in her home. For the
bees swarming out of the nest, she scanned dead
bees and old bee drawings. In Moving On, her homage to last
years Olympics, she scanned an image of an athletic young man, had
him pull a cloud with a face on it, while a similar cloud is on his
shirt. The surrounding landscapes in her works are derived from
various sources, including photographs from her own travels. When
asked about the symbolism in these artworks, she says that the
ideas simply flow out from her, that she has difficulty putting
their origins into words.
Taylor, who has won several awards for her images, is widely
exhibited in the U.S. and Europe and is in gallery and museum
collections, talks poignantly about her future. While she plans to
continue building artworks within her computer, she is equally
enamored with the resulting old-fashioned looking prints comprised
of ink on paper. I will always want to create finished pieces that
can be hung on the wall or go into books.l
Maggie Taylor is available locally at : Joanne Artman Gallery,
326 North Coast Highway, Laguna Beach, CANo Ordinary Days:
Everything You Never Imagined! Runs November 7-December 31Artist
Reception & Book Signing November 7th
Left:Small Celebration
Pigmented digital printRight:
Moving OnPigmented digital print
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Lightning Strikes Twice, Pigmented digital print
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GORGEOUS WHATEVERS The work of John Brosio written by Lisa
Aslanian
Edge of Town #9
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LagunaBeachARTmagazine.com 57
The above is the final line of Rabelaiss farce, an exit
strategy, a way out, and above all else an agnostics affirmation of
meaning: I am going to look for the grand perhaps. The meaning is
conveyed in part by the choice of genre (farce) and the idea of
ending the story with a question mark, without a resolution.
Agnosticism is a stance or an attitude of engaged indifference. To
get at the heart of John Brosios work, which really mixes three
styles without ever letting one dominate (realism, surrealism and
hyperrealism) I appeal to the tradition into which he best fits---
agnosticism.
While his work may be dominated by images of tornados and these
works merit the critical attention they attract--- his rendering of
tornadoes is stunning, forceful and conceptually (and literally)
loaded---- his oeuvre is united not by his focus on this particular
force of nature. Rather, Brosios work is held together as a body of
work by his attitude. Whether nature or science fiction or an image
of the grotesque, Brosios affect---- and it comes through in each
and every work--- is wry, curious and ironic, in that however close
he is to embracing what he paints, he maintains the distance of the
agnostic; he prefers to be alive and unsure than to have
decided.
Agnosticism has a long history and a long relationship with art
so in the interest of brevity and keeping it fresh, lets place
Brosio in the company of a few contemporary American agnostics.
First, the work has the sensibility of Andy Warhol, who delivered
us an innocuous, seemingly canned
Je vais men chercher un grand peut-etre - Francois Rabelais
written by Lisa Aslanian
Edge of Town #9
Edge of Town #11, 35 x 40, 2012
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58 LagunaBeachARTmagazine.comNocturne 2, 60 x 36, 2006
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LagunaBeachARTmagazine.com 59
(pardon the pun) Americana with the brillo boxes and soup cans
alongside a voyeuristic and violent America in the car crash series
and the electric chair series, the latter alluding also to the
sadism of state sponsored violence. Warhol made farce, was irony
and really made no statement that led anyone anywhere.
Brosio also has the wit of the Coen brothers. Take Fargo. In
this flic Fargo is more Fargo than Fargo. The mimicry stays so
close to what is mimicked it slips into hilarious satire. And the
story revolves around an unfathomable crime (and that which we
cannot access, that which is unfathomable, belongs to the
sublime).
Brosio shares his attitude toward painting, and life more
generally, in an interview with John Seed in the Huffington Post,
wherein he calls life and the effort we make as we go about it a
gorgeous whatever. Is this not tantamount, at least in vibe, to the
big perhaps? Like Rabelais, Brosio has a kind of generative
agnosticism. There is no reason, he says, to put the pipe down and
get up off of the couch. But there is also no reason not to put the
pipe down, get up and try to create some of the greatest things
that have ever been done. In other words, if you are going to
bother to get off of the couch, dont do anything half-assed. Live.
Be curious and fascinated about and with the world, which he refers
to as a gorgeous whatever. He loves the phrase whatever because it
is dismissive and celebratory at the same time. I have come to see
his paintings as a bunch of, or a series of, gorgeous
whatevers.
Nocturne 2 and Texas Road are both painterly and gorgeous and
the tornado itself dominates the pictorial space, dwarfs the man
made objects (cars and boats and highway) and the other bits of
nature (ocean and trees). But they are tranquil paintings. The
observer is distant, watching, beholding the form and the grandeur
of the storm.
There are many varieties of tornado but as a rule they come on
fast, overpower, destroy and dissolve into dust almost as quickly
and suddenly as they came. People take shelter underground --- but
they wreak havoc even though they look as innocuous as a funnel
used to drink beer by frat boys. Finally, if the tornado comes at
night, no one would be able to see it without lightening, or
something else that
illuminated the distinct shape of the thing. So in Dorothys
Kansas, people experienced tornados as coming out of nowhere, with
only sound for warning.
We live side by side with nature and are subject to its
destructive force. Lives are lost all over the world in earthquakes
because the infrastructure is shabby---- so nature, in this sense,
has not lost its connection to the sublime. Brosio gets all this
and he gets all this in the paintings, yet they remain calm. Yes,
the calm before the storm--- and it is a kind of enthralled calm
that the images impart. I imagine Brosio in awe at the same time
that he shrugs his shoulders.
In Edge of Town 11 and Edge of Town 9 the tornadoes are more
fully offset by architecture and people. They are still the ominous
element of the work but they share the space with the goings on of
every day life. The images, though they share a title and a basic
imaginary framework of nature, place and people, are radically
different.
In number 11, we see a figure sitting calmly in front of a donut
store. Life goes on regardless of the darkening of the sky and the
approaching destruction, and this disconnect separates the planes
of the picture. It is as though we have the coexistence of two
separate realities, as in surrealism but the tie between the two
realities, the narrative, somehow remains intact, as in
realism.
Number 9 is straight up realism. A gorgeous piece of work that
captures how we imagine people react to the coming of a tornado.
They scatter in different directions away from the impending
destruction---- but the dominant feel of the work is observation,
an intense engagement with and removal from the image. We do not
feel fear when we look at the work; fear gives way to wonder, to
awe, to a sense of reverence and eh, so be it.
Brosio shows at Sue Greewood Fine Art and he is an exciting
painter, a painter who really revels in the art of painting. While
he works in a variety of idioms, he is always figurative and he
never completely leaves narrative. Yet, to get it, to appreciate
it, to revel in what is his talent and vision, see it. You have to
see not just the talent but also the wit, the character of the work
and its creator. l
Nocturne 2, 60 x 36, 2006
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60 LagunaBeachARTmagazine.com
Artist Vanessa Rothe
written by Janneen Jackson
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LagunaBeachARTmagazine.com 61
VVanessa Franoise Rothe grew up in the heart of the Laguna Beach
artists colony. Inspired at an early age by her father, a
well-known German clothing designer, Detlev Rothe and her French
mother, Jacqueline Ricaud, her passion for art ignited when she won
1st place in the Color it Orange competition as a child. As a high
school student, Rothe won the senior art contest and received top
art scholarships from Laguna Beach High School and the Fes-tival of
the Arts to study at the University of San Diego and the University
of California, Irvine. It was after earning a Business degree in
Marketing and French Literature that Rothe returned to study fine
art at the Laguna College of Art and Design and at ateliers in
France and Italy.
Being in front of my subject is a crucial part of my work.
Whether I create the work on location, take a photo of it as I walk
around it, or make a small watercolor sketch of the scene, its
important to me to have experi-enced it firsthand. commented
Rothe.
Her long time influences include a mix of traditional
representational artists, impressionist artists, such as Sargent,
Sorolla and Chase, and master artist friends, such as Scott
Burdick, Ray Roberts and Peggi Kroll-Roberts.
this page (clockwise): Riviera Boats,
oil, 12x16Vanessa Rothe Gallery at
418 Ocean Avenue, Laguna Beach Moss Point Laguna Beach,
oil, 12x16opposite page:
the artist in her studio
Artist Vanessa Rothe
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62 LagunaBeachARTmagazine.com
Vanessa Rothe
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LagunaBeachARTmagazine.com 63
Rothe takes the essence of a subject and captures its charm on
canvas with the use of color, shadow, and light. The natural
simplic-ity of her work, her visible brush strokes and pleasing
color combinations form a realistic yet slightly impressionistic
style which her collec-tors admire.
When creating my works of art, I look for and enjoy the subtle
changes in value and color within each thing I paint, such as in a
field of fresh cut wheat, where there are at least four main shades
of gold and ochre. Getting those values right and laying them down
side by side on the canvas to build the volume is what I enjoy
about painting in oils.
Her subjects include classic California seascapes and
landscapes, the beautiful pastoral landscapes of France,
Switzerland and Italy, the allure of historic cities such as Paris
and Venice, colorful boats from the Riviera, vibrant still lifes,
and her new collection of figurative work.
Among her many accomplishments, Rothe has been honored to
exhibit alongside some of the nations top artists and painters. She
is proud to have had many successful solo exhibi-tions at the Wendt
Gallery in Laguna Beach, as well as with an impressive list of
group shows, including Richard Schmid Fine Art Auction, the Annual
American Impressionist Society Exhibition, and California Art Club
exhibitions. Rothe was also included on an esteemed list for
Artists for a New Century at The Bennington Center for the
Arts.
My work is simply about capturing a moment, the way I saw it or
experienced it.
Whether its the ocean changing multiple colors of blue in the
sunlight, an Italian Riviera port when the light brightens one side
of the old wood boats, or the quiet coolness of sitting under the
shade of rows of platan trees as the sun flickers between long
shadows at the end of the day. It may not be the exact colors of
the scene, rather it is what I saw or remember, that is the most
important part of that moment.
Rothe is a signature member of the Ameri-can Impressionist
Society, a member of the California Art Club, Oil Painters of
America and Laguna Plein Air Painters Association. She is also
honored to be the California Editor of the nationally acclaimed art
collector magazine Fine
Art Connoisseur, as well as a long time contrib-uting writer for
Plein Air magazine.
Rothe works as a professional fine artist, curator and writer.
You can often find her at her studio at 418 Ocean Avenue in Laguna
Beach. In addition to showing at fine art galleries world-wide, she
now teaches atelier style private art lessons and workshops, and is
the author/artist to a new series of art instructional books
entitled An Art School Approach to Oils published by Walter Foster
Publishing. Rothe is sponsored by SENNELIER The Paints of the
French Impres-sionists and Savoir Faire fine art
materials.lUpcoming Exhibition:
Solo Exhibition From Paris to Marrakech at Randy Higbee Gallery
including over 30 new works done on location in Morocco as well as
large studio pieces. Randy Higbee Gallery 102 Kalmus Costa Mesa CA,
92626, www.randyhigbeegallery
this page: Picolo Chiesa Tuscany, oil, 8x10 Montage Seascape
oil, 18x24opposite page (clockwise): Rue des Platans, oil, 18x24
Laguna Canyon Study oil, 8x16 Mas Provincial, oil, 16x20
When creating my works of art, I look for and enjoy the subtle
changes in value and color within each thing I paint, such as in a
field of fresh cut wheat, where there are at least four main shades
of gold and ochre...Vanessa Rothe
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64 LagunaBeachARTmagazine.com juried advertorial
Every summer, Laguna Beach comes alive with multiple arts
activities and festivals, drawing visitors from around the country.
Laguna Beach evolved into an arts-oriented community due to its
early history as an art colony. Artists were drawn to Southern
California because of its uniquely varied geography and its
unrivaled climate. Along the coast, art colonies developed in
Carmel, Monterey, La Jolla, and Laguna BeachLaguna Beach being one
of the first.
By 1917, there were many noted artists who lived or worked in
Laguna Beach, among them Frank Cuprien, Conway Griffith, Anna
Hills, William Wendt, Julia Bracken Wendt, Gardner Symons, Donna
Schuster, Edgar Payne, and Elsie Palmer Payne. Edgar Payne, who was
originally from Chicago, recognized a need for a community space
where artists could exhibit and sell their paintings as a group. In
July 1918, he persuaded Laguna Beach Hotel owner Joseph Yoch to
allow the artists to convert a vacant, one-room cottage on the
grounds of
the hotel into a gallery. Town residents were enthusiastic about
the idea, and donations were collected to pay for the
renovation.
Many years later Frank Cuprien recalled that first gallery in an
article published in the Los Angeles Times: In the summer of 1918
we fixed up the ramshackle old building with the assistance of Nick
Isch. (Nick was Joseph Yochs brother-in-law and proprietor of
the
general store.) First we drove the bats out of the building and
built a skylight in the roof. We whitewashed the walls and oiled
the old floors. Later on we had a sewing bee, with all the ladies
of the town present, and covered the walls with burlap. Everybody
worked like Trojans.
Just outside the building they erected Elsie Paynes
hand-lettered sign, Art Gallery.
Their exhibition opened on July 27, 1918, with 100 works by
twenty-five artists. Within three weeks, over 2,000 people visited
the little gallery. On August 20 several artists met at Edgar
Paynes home on Glenneyre Street to discuss creating an organization
that would
1935 Postcard, courtesy of Laguna Art Museum
LBAA Art Gallery c1935, courtesy of Laguna Art Museum
written by Janet Blake
Edgar Payne and the Laguna Beach Art Association
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LagunaBeachARTmagazine.com 65juried advertorial
20ARTISTSyou should knowANDREPEEYAY
[email protected](714) 603-3431
Mixed Focus, Acrylic on Canvas, 18x 24
Live By X, Acrylic and Oil on Framed Canvas, 36x36
A Tribute To Mohandas Karamchand GandhiAcrylic on Canvas,
60x60
MAIDY MORHOUS
[email protected](858) 259-0234
FreeFall, Bronze, 16x11x5
Extension2, Bronze, 8x8x12
UnderWraps, Bronze, 22x10x3
CHAD MOUNT
[email protected](646) 820.2788
Old GrowthAcrylic, Oils, Pencil on Hardboard, 18 x 18
Its Just You and MeAcrylic, Oils, Pencil on Hardboard, 18 x
18
Ive Been Waiting (detail)Acrylic, Oils, Pencil on Hardboard, 36
x 24
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66 LagunaBeachARTmagazine.com juried advertorial
allow the gallery to become a permanent institution. Anna Hills
became temporary chairman, and a constitution was drafted adopting
the name of the organization as the Laguna Beach Art Association.
Officers were selected from the resident artists, and, fittingly,
Edgar Payne was elected the first president, with Anna Hills as
vice-president. Members were both artists and laymen. They paid
annual dues of $1.00. They began holding monthly juried exhibitions
and every August would hold an anniversary exhibition.
Edgar Payne was one of the most important artists to have been
associated with Laguna Beach. Born near Cassville, Missouri in
1883, he was largely self-taught and spent the early part of his
career in Chicago. He exhibited at the Art Institute of Chicago and
at other galleries and museums throughout the United States.
Between 1909 and 1917, he made several trips to California,
visiting Laguna Beach in 1909 and 1911. He moved from Chicago to
Glendale in the
summer of 1917, and, in November, moved to Laguna Beach. In
1920, after completing his term as president of the art
association, he moved to Los Angeles. However, his ties with the
Laguna Beach Art Association were strong, and he continued to be
active in various activities and exhibitions. He contributed to the
fund that the association organized in order to build a permanent,
fire-proof gallery on Cliff Drive. The new gallery opened to much
fanfare in February 1929, and todays Laguna Art Museum occupies
part of that original structure.
When Edgar Payne first visited Laguna Beach in 1909, he was
already a well-known American artist who had garnered numerous
awards. Stylistically his work falls in the canon of American
Impressionism, yet in many works he employed a heavy impasto and
bravura brushstroke that set him apart from traditional
impressionists. Highly prolific, his subjects included landscapes,
seascapes, harbors scenes, desert scenes, and mountain vistas. He
is likely the most prolific painter of the High Sierra, traveling
extensively through the region and camping for weeks at a time in
remote areas. He also traveled throughout the deserts of Arizona,
New Mexico, and Utah. His paintings of Canyon de Chellypowerful in
their composition and rich colorationare sought after by
collectors. He spent a long sojourn in Europebetween 1922 and
1924painting in France, Italy, and Switzerland. His painting of
Mont Blanc, The Great White Peak, won an honorable mention at the
spring 1923 Paris Salon.
The art association held a memorial exhibition for Payne
following his death in 1947. In 1952, a bronze plaque created by
his widow, Elsie Palmer Payne, was dedicated and installed in the
art associations gallery. It can be seen today on the upper level
of Laguna Art Museum. The museum held an exhibition of Paynes work
in 1973. His work was included in several group exhibitions over
the next four decades, and in February 2012, a major retrospective,
Edgar Payne: The Scenic Journey, opened at the Crocker Art Museum
in Sacramento. It traveled to the Pasadena Museum of California Art
and the Gilcrease Museum in Tulsa, Oklahoma.
Laguna Art Museum holds several works by Payne in its permanent
collection, including scenes of the High Sierra and seascapes of
Laguna Beach. l
Photos from upper left: Edgar Payne in the Alps, courtesy of
Laguna Art Museum; Edgar Payne, Eternal Surge, Oil on canvas, c.
1921, 34 x 45 inches; Edgar Payne, Sierra Packer, Oil on canvas,
1939, 28 x 34 inches.
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70 LagunaBeachARTmagazine.com juried advertorial
Raising Hope
How long have you been fundraising for non-profits? Five years,
but Ive been raising funds as a business owner for 27 years! How
did you get into fundraising? I was pushed into it, and I fought
it, until I saw how rewarding it is. A good friend here in Laguna
asked me to sit in on a board meeting and meet some great people,
and that was it. What was your first event? It was with the Pacific
Marine Mammal Center, the annual fundraiser to benefit our oceans
and environment here in Laguna. It was a smashing success and it
was fun. For me it doesnt get any better than great people, a great
organization and a great cause. What is the most successful event
you have had? It was my first fundraiser as President of the Laguna
Beach Beautification Council. We had a daunting task of putting
together our first grand gala. We were fortunate enough that Todd
Orlich and the Montage Resort stepped up to help us put it on, as
they will again with our event this year on October 31st. I had
never chaired an event like this before. It was a great
success.
We had wonderful people come and learn about the organization.
There were great auction items, and we introduced the importance of
keeping Laguna Beach clean and beautiful through the presentation
of store fronts, gardens, parks and residences. Its a rewarding
non-profit in that the success of LBBC brings our city such luster
and presence. Do you have any suggestions for someone who wants to
get involved with raising money for charities? Just do it. We all
need help. Just ask someone in the organization you are interested
in how you can help. Let them know your skill set and your
willingness to lend your hands and your time. They will be happy to
accept. How do you choose the charities to partner with? They must
align with my thoughts on the environment, the city and the
culture, etc. It has got to be something Im truly passionate about.
Otherwise it is just a show and not much gratification will come
from it. How does a person or business go about partnering with you
on a charity event? Just ask. I request that they have a
relationship with me or my companies. Do some business with us. Get
to know us. What kind of preparation do you reccomend for a garden
prior to an event? Wow. So much! If its an important garden event,
it starts about six weeks earlier when you can trim plants to
promote flowering for the day of the event. Plant annual flowers
and fill in containers so that they will be ready. Then for five
weeks water, trim, and spray so that
it is perfect on the day of the event. The day before the event
make sure everything is swept and windows are washed. Dont forget
to clean the bird poop off the statues and garden art! On the day
of the event put out cushions, light the fireplace, set out
candles, make sure the fountains are perfect with beautiful
floating flowers and cue the mood with music. You must be an expert
by now at throwing parties, any tips for the rest of us? Make sure
it is a party you want to throw. When its not, there is no spirit.
When it is, its easy. Its about enrollment. Not asking, not
pushing. Its Hey Im having a party and of course you would want to
be there!! and I can tell you why.
Flores is the President of the Laguna Beach Beautification
Council, on the board of directors for the Pacific Marine Mammal
Center, and an advisor and the creative director for the Community
Garden in South Laguna Beach. He would love to tell you more about
each organizition just stop by the nursery and ask!
Ruben Flores has infectious enthusiasm. When asked about being
born and raised in California, he gushes, I love this place. With a
degree in ornamental horticulture and an MBA, Flores is the
creative force behind Laguna Nursery.
My work is art I have done gardens in 16 countries and all have
incorporated major art. Im working on a job in Dallas, Texas right
now where I designed, commissioned and will install 2 ceramic koi
murals to give an illusion of a koi pond with an Asian garden from
the interior of the mansion. Landscape design is pure art.
Clearly Flores is passionate about creating beautiful
environments for his clients, but he is also passionate about his
community. Giving back is a large part of his business plan. We
asked him to share some insights on getting involved in the
community.
Ruben Flores on how to give back to your communitywritten by
Chirstine Dodd
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LagunaBeachARTmagazine.com 71
20ARTISTSyou should knowROBERTA NIETO
[email protected](562) 221-2872
Red, Acrylic on Canvas, 48x48
Breaking Free, Acrylic on Canvas, 24x48
Broken, Acrylic on Canvas, 54x54
Buddha in a Straight Jacket, Cast Stone, 18x15x10
juried advertorial
JANETMULLER
[email protected](949) 292-5481
Toils of the Wealthy, Mixed Media, 48x48
Puppets Revenge, Mixed Media, 24x36
Egypts Queen, Oil on Canvas, 12x16
MYUNGWON KIM
[email protected](443) 939-1452
Untitled 1_ Color Series, Mixed Media, 96x96
Untitled 4_ Color Series, Mixed Media, 96x96
Wet Wash (detail of triptych), Mixed Media, 96x60 (triptych
96x180)
written by Chirstine Dodd
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72 LagunaBeachARTmagazine.com juried advertorial
SEPTEMBERSeptember 1 October 31, 2013The George Gallery354 N.
Coast Hwy, Laguna BeachNature Doesnt Knock, Featuring multi-media
work of seven radically different artists on the subject of nature.
www.thegeorgegallery.com
Sunday, September 1, 2013 Art-A-Fair, Closing DayLocation:
Art-A-Fair FestivalSunday 10-6pm777 Laguna Canyon Rd., Laguna
Beachwww.art-a-fair.com
Sunday, September 1, 2013 Sawdust Art FestivalAddress: 935
Laguna Canyon Rd., Laguna Beach10am-10pm
www.sawdustartfestival.org
September 1-29, 2013expose: beatriz da costaFaux realJohn Mason
Blue WallLaguna Art Museum307 Cliff Dr. , Laguna
Beach949-494-8971www.lagunaartmuseum.org
September November 16Elephant Parade and Art ExhibitionFree,
located throughout Dana Pointwww.elephantparade.com
Wednesday September 4, 2013Pelican Hill Art & Wine
Walks22701 S Pelican Hill Rd Newport CoastComplimentary guided
walks depart from the Concierge Gallery at
5pmwww.pelicanhill.com
September 4-8, 2013Laguna Dance
Festivalwww.lagunadancefestival.org
September 5-8, 2013Quorum Gallery Celebrates 50 Years! 374 N.
Coast HighwayQuorum Gallery, the first co-operative gallery to open
its doors in Laguna Beach celebrates 50 years!
www.quoremgallery.com
Thursday, September 5, 2013 Laguna Gallery of Contemporary Art
LGOCA 611 South Coast HighwayIntroducing a collection of 17
Salvador Dali signed lithographs, 6-9pmwww.lgoca.com
Thursday, September 5, 2013 Townley Gallery570 South Coast
Highway, 6-9pmCome by and see a new abstract series by Townley
www.townleygallery.com
Thursday, September 5, 2013 First Thursdays Art WalkVarious
Galleries, FreeShuttle services are available from 6-9pm
www.firstthursdaysartwalk.com
September 5-6, 2013Parsons Dance Company PerformancePart of
Laguna Dance FestivalLaguna
Playhousewww.lagunadancefestival.org
Friday, September 6, 2013 Flavors Of Laguna Food Tasting TourWe
capture the most intricate and flavorful culinary delights that
Laguna Beach has to offer and we bring it to you in a 2 to 3-hour
walking tour. Times: 10-2pmwww.flavorsoflaguna.com
September 8 & 15, 2013The Artistry of Wine SeriesThe Loft,
2-4pm30801 South Coast Hwy., Laguna Beach(at Montage Laguna
Beach)www.montagelagunabeach.com
Friday, September 6, 2013 Sawdust Studio Art ClassesSawdust Art
Festival (inside the Healy House)10:00am & 2:00pm935 Laguna
Canyon Rd., Laguna
Beachwww.sawdustartfestival.org/studio-classes
September 6 8, 2013Toshiba Tall Ships FestivalOcean
Institute24200 Dana Point Harbor Dr., Dana
Pointwww.tallshipsfestival.com
September 6- 27, 2013Sunset SerenadesHeisler Park, Rockpile
Amphitheatre5:30pm-Sunset
Saturday, September 7, 2013Laguna Nursery Garden Walk1370 South
Coast Highway, Laguna BeachJoin California horticulture expert,
Ruben Flores on a garden walk to explore North Laguna. Bring your
friends and your walking shoes and meet at Laguna Nursery at 10am
-$10www.lagunanursery.net (949) 494-5200
Saturday, September 7, 2013Laguna Culinary Arts Saturday Wine
TastingLaguna Culinary Arts, 1-4pm Address: 845 Laguna Canyon Road,
Laguna Beachwww.lagunaculinaryarts.com
September 7-8, 2013Aspen Santa Fe Ballet PerformancePart of
Laguna Dance FestivalLocation: Laguna
Playhousewww.lagunadancefestival.org
September 7 -22, 2013 Rogers Gardens2301 San Joaquin Hills Rd,
CDMSolo Exhibit | Joe Paquet: New WorksMeet master plein air artist
Joe Paquet. Joe will be conducting a discussion from 2- 4pm on Why
Paint in Plein Air? Reception from 4 6pm www.rogersgardens.com
Thursday, September 12, 2013 Laguna Art Museum307 Cliff Drive,
Laguna BeachEvan J Marshall, Solo Mandolin, 7-8pm
Saturday, September 14, 2013 Art and Sea Lions (Painting)
Presented by LOCA9-10:30amPacific Marine Mammal Center20612 Laguna
Canyon Road, Laguna Beach
September 14 - 28, 2013Randy Higbee GalleryFrom Paris to
Marrakesh is one woman solo exhibition by Vanessa Rothe featuring a
collection of original works in a variety of media. The French-
Moroccan themed Artists Reception will be held September 14th from
6 to 9 pm.102 Kalmus Drive, Costa
Mesawww.randyhigbeegallery.com
September 15, 2013Bluegrass and BBQConcert 4pm-7pm, BBQ
4pm-6pmMagnolia Patio at Aliso Creek Inn & Golf Course31106 S.
Coast Hwy., Laguna BeachTickets: (800) 595-4849; Info: (949)
715-9713
September 17- 29, 2013 The Laguna Playhouse 606 Laguna Canyon
Road, Laguna BeachThe World Premiere Preview Production of Hershey
Felder as Franz Liszt in ROCKSTAR!A Strictly Limited Engagement!
Romance, Scandal, Intrigue. All played out on the keys.
www.lagunaplayhouse.com
Wednesday September 18, 20132013 Taste of Laguna & Business
ExpoExplore Laguna Beach through an unforgettable evening of
exceptional food and spirits, live music, demonstrations and more!
4:30-8:30pm, 650 Laguna Canyon Rd., Laguna
Beachwww.lagunabeachchamber.org
Wednesday September 18, 2013Pelican Hill Art & Wine
Walks22701 S Pelican Hill Rd., Newport CoastComplimentary guided
walks depart from the Concierge Gallery at
5pmwww.pelicanhill.com
Calendar of Events
Children in local schools participated in painting
miniature baby elephants for the Elephant Parade
shown here are a few of their pieces.
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LagunaBeachARTmagazine.com 73
20ARTISTSyou should know
juried advertorial
MERRILLORR
[email protected]
(760) 641-5203
Sunrise, Steel11x 4 x 4
Untitled 2, Steel11x 4 x 4
JESSICA JANG
http://[email protected](714)785-2995