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THE ART ISSUE: CHELSEA WOLFE, JAY MARK JOHNSON, ALLISON TORNEROS, CHASE N CASHE, ALT-J, WASHED OUT, MS MR, DEVIN + GOSHA, PROJECT GALLERY + ESPRESSO, IN THE VALLEY BELOW, DREW DENNY, CORTEZ, MATTHEW KENNEY, PUNK: AN AESTHETIC, TRENDING, ACCESSORIES, FASHION EDITORIALS BY GRANT YOSHINO, STEVEN YATSKO, RAYMOND MOLINAR, PHOTO EDITORIAL BY RACHEL MANY + CHRISTOPHER CAPTAIN, EVENTS, + MORE!TRANSCRIPT
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Copyright 2013, by LA CANVAS. All Rights reserved. No part of this publication may be reproduced or transmitted in any form without permission in writing from LA CANVAS. LA CANVAS makes every effort to ensure the accuracy of the information it publishes, but is not responsible for unsolicited or contributed manuscripts, photographs, artwork or advertisements. LA CANVAS is not held responsible for any consequences arising from errors or omissions.
publisherDANTE COLOMBATTI
editor-in-chiefREBECA ARANGO
+crewCOLE WESTERHOLM
RONALD PREMITCHEL DUMLAOEMILY BRADLEY
AJA DAVISOLIVER
chief account managersMATT OLSON
JANESSA MOLINA
art directorERIN DENNISON
contributorsROSS GARDINER
EMMA GOGONOVSKIBARBARA YNIGUEZ
art + books editorSHANA NYS DAMBROT
design + production directorRACHEL MANY
eventsMAX EHRLICH
JANESSA MOLINA
designersJORDAN ROMANOFF
MELANIE SMITH
VOLUME 3 ISSUE 2
JANUARY + FEBRUARY 2013
FRIENDS WITH BENEFITS
C A N V A S
photographyCAPTAIN
GRANT YOSHINOSTEVEN YATSKORACHEL MANY
social mediaASHLEY TUTTLE
KRISTA SANTIAGO
social media directorVI NGUYEN
editorial assistantJULIE ROTH
subscribe$6.00 AN ISSUE, $30 A YEAR
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1778 N. MAIN ST. LOS ANGELES, CA 90031P:(323) 352-3250 O [email protected]
WANNA CONTRIBUTE? SEND ALL EDITORIAL SUBMISSIONS TO [email protected]
LACANVAS.COM
Copyright 2013, by LA CANVAS. All Rights reserved. No part of this publication may be reproduced or transmitted in any form without permission in writing from LA CANVAS. LA CANVAS makes every effort to ensure the accuracy of the information it publishes, but is not responsible for unsolicited or contributed manuscripts, photographs, artwork or advertisements. LA CANVAS is not held responsible for any consequences arising from errors or omissions.
publisherDANTE COLOMBATTI
editor-in-chiefREBECA ARANGO
+crewCOLE WESTERHOLM
RONALD PREMITCHEL DUMLAOEMILY BRADLEY
AJA DAVISOLIVER
chief account managersMATT OLSON
JANESSA MOLINA
art directorERIN DENNISON
contributorsROSS GARDINER
EMMA GOGONOVSKIBARBARA YNIGUEZ
art + books editorSHANA NYS DAMBROT
design + production directorRACHEL MANY
eventsMAX EHRLICH
JANESSA MOLINA
designersJORDAN ROMANOFF
MELANIE SMITH
VOLUME 3 ISSUE 2
JANUARY + FEBRUARY 2013
FRIENDS WITH BENEFITS
C A N V A S
photographyCAPTAIN
GRANT YOSHINOSTEVEN YATSKORACHEL MANY
social mediaASHLEY TUTTLE
KRISTA SANTIAGO
social media directorVI NGUYEN
editorial assistantJULIE ROTH
subscribe$6.00 AN ISSUE, $30 A YEAR
VISIT LACANVAS.COM TO SIGN UP
Shot at Sakinaw Lake Lodge www.sakinawlakelodge.com
No time for laces.
OxfordRoland12 Crepe
MUSICartist CHELSEA WOLFE 28playlist RAIN SONGS 32Q&A: IN THE VALLEY BELOW 34venue GRAMMY MUSEUM 37
ARTLA STREET ART 38artist JAY MARK JOHNSON 40artist DEVIN + GOSHA 42ART EVENTS 48gallery PROJECT GALLERY + ESPRESSO 51book PUNK: AN AESTHETIC 53
STYLEeditorial KIDS ON GOOD BEHAVIOR 57editorial THE WITCHING HOUR 62editorial BACK TO BASICS 72
C A N V A S
STYLE (CONT...)designer STUSSY 78store THE WELL 84#TRENDING: THE METHOD 91
FOODchef MATTHEW KENNEY 94food scoops SOUPED UP 100restaurant CORTEZ 103drink HOT CHAI POSSET 105
&NOTED 20photo story BETWEEN THE CRACKS 106Q&A: KEEP YOUR PANTS ON 122calendar JANUARY 124calendar FEBRUARY 126last look ALLISON TORNEROS 142
T H E
A R T ISSUE
E Y E W E A RTHE PROPER / CLASSICS COLLECTION / AVAILABLE AT SELECT RETAILERS AND ONLINE. ENQUIRIES +1 800 874 1850
EDITOR’S NOTE
“Never underestimate how much assistance, how much satisfaction, how much comfort, how much soul and transcendence there might be in a well-made taco and a cold bottle of beer.”
- Tom Robbins, Jitterbug Perfume
Even though I campaigned hard for “Apocalypse Later,” we decided to go with “The Art Issue.” Could
we have chosen a more hopelessly indefinite theme than “Art”? Is every issue of LA CANVAS not an “Art” issue
of some sort? Yes, and here’s why.
As I write this from back in mid-December, I’m finding that my shady spot beneath the tree of doom
may actually be the perfect place to ponder the function of Art. When survival is no longer an option—let alone a
concern—how will you choose to elevate your final moments? Will you crank Vivaldi and pirouette around your living
room while sipping outrageously expensive wine and gorging on bacon-wrapped dates? Or perhaps break into that
reserve supply of Bud Light and fire-up the taco-matic as KLOS bids you farewell with nothing but the classics?
Don’t get me wrong—I’m not peacing-out to Madagascar upon completion of this letter. But no matter
how thoroughly it’s been debunked by accounting errors (leap year) or whatever qualifies as science (Susan
Miller?), a looming Mayan prophecy produces at least a whisper of wonder in even the best skeptic. And I’m
only an average-to-satisfactory skeptic, which means I plan to carpe diem on apocalypse-eve, as it is the best
excuse for a morbidly decadent meal I’ve had to date (Y2K, please).
Ultimately, what all of this final-countdown indulgence reinforces is the idea that creations become
Art by way of how we experience them—a statement so subjective as to inflate the definition to an even more
incircumventable size than I had previously imagined.
Let’s break it down. Classically, anyone who channels their passion into the creation of a surplus,
ideally transcendent* experience might be an “Artist;” whereas someone who skillfully improves a vital or
commercial experience might just be a “Designer,” an “Artisan,” or a “Cook.” But a lifestyle publication like LA
CANVAS can’t help but dig for holes in that distinction when looking for value across all forms of production.
Especially because as notions of highbrow and lowbrow inch towards a truce, people seem primed to find
meaning in the most inane things. For example, in one of Earth’s most ubiquitous art forms, popular music, the
past few years saw artists frequently seeking pre-apocalyptic transcendence via “the Party,”—the last hurrahs
of a doomed yet invincible youth.* So as I sit here deliberating what to eat on 12/20/12, I can’t help but wonder
if even Kim Kardashian is kind of an artist in a very post-Art way. (I mean, have you seen her instagram?)
I don’t have all the answers,* but ultimately, what I can say is that as always this issue features a
group of LA artists—or whatevers—that we are decidedly proud to present. Between drone-folk-metal singer
Chelsea Wolfe (p. 20), mad genius photographer Jay Mark Johnson (p. 28), the designer of one the world’s most
iconic street wear brands, Stussy (p. 46), and Raw Food pioneer Matthew Kenney (p. 54), there is more than
enough art to break up the “Eh.”*
REBECA ARANGO
editor-in-chief
C A N V A S
*1 Defi ned simply as surpassing the usual limits of ordinary experience.*2 See “Till the World Ends” by Britney Spears, “We Are Young” by Fun, “Give Me Everything” by Pittbull.*3 But because I care, I will tell you that the fi rst person to make a sound after the question is posed has the box. (You’ll thank me later.)*4 Math. Earth – art = eh.
NOTEDWhat kind of band is handpicked to open for Nine Inch Nails at their final
show and then proceeds to perform before No Doubt? Riding on a rather
Japanese wave of pastel freakiness, LA electro duo Io Echo are poised to
bridge the gap between goth-art gloom and quirky princess pop. To add more
famous names to the mix, they’ve recently had two music videos directed by
Natalie Portman’s ballet-genius baby daddy Benjamin Millepied. And did we
mention they scored James Franco’s new movie? Only in LA.
IOECHOMUSIC.COM
EXCUSE ME, MSTR“Meister” is of course the German word for “Master,” and it also
happens to be the name of our favorite new series of contemporary
unisex timepieces. Valuing craftsmanship over trend, Meister
watches are what our post-apocalypitc accessory dreams are made
of. Carbon fiber, stainless steel, and an assortment of leathers?
Yeah, we fux with that.
MSTRWATCHES.COM
ECHONOMIX
CARNIVOROUS
The Great Art Factory is home to half-a-dozen artists and LA-based clothing brand
S.O.Terik. Local artists collaborate to produce one-off t-shirt runs along with vintage
silk pieces cut in seasonal patterns to guarantee every garment’s unique design.
All items are sewn alongside sponsored artists at S.O.Terik’s creative space in the
heart of DTLA, right around the corner from the Starbucks with the best cake-pops.
SOTERIK.COM
THE FACTORY
You mean the bacon is—in—the burger? Finally, mad-genius SoCal burger lab
Slater’s 50/50 hits a bit closer to home with a new location in Old Pasadena. Aside
from the famous 50% beef, 50% bacon burger Slater’s is named for, the new spot
boasts over one hundred beers on tap and a thorough menu of over-the-top comfort
food suitable for any diet—yes, veggie and gluten-free fiends are welcome. But who
can stick to a regimen when there’s the option to have a Bacon Cheeseburger Salad
followed by a B’B’Bacon burger finished off with 50/50’s Famous Bacon Brownie
and washed down with a Bacon Old Fashioned? Dreams really do come true.
SLATERS5050.COM
HAIR RAISING
To this day, the best quote we ever overheard in a Silverlake
coffee shop is still, “he’s very Buddhist.” And when we found
out our favorite spiritual/urban clothing line and twitter crush
FR3NEMY finally launched their collection to buy online, we
put our debit cards where our mouths were. So if you’re
into religious tolerance, truth, and coexistence, peep their
collection for the swaggy indigo baby in your life this Valentine’s Day.
FRENEMYCLOTHING.COM
21Following Hurricane Katrina, a teenaged Jesse Woodard, a.k.a Chase N. Cashe,
relocated to LA and started teaching himself to make beats. Apparently it didn’t take
long to graduate from MPC school, because just a few years later in 2009, Chase
landed an enormous break producing the much-anticipated Eminem and Lil Wayne
collab “Drop the World.” Now firmly established as a major hip-hop producer and
member of LA artist collective the Surf Club, Mr. Cashe is busy making a name for
himself as a rapper. His latest official album Charm dropped this past November; it
features appearances by A$AP Rocky and Lolah Brown with beats by araabMUZIK
and Jahil Beats alongside Cashe’s own. (Ed note: We left his set at CMJ in a daze
and with considerably less clothing than we arrived in.)
CHASENCASHE.COM
BEST FR3NEMIES
PAPER CHASE
Rat’s nest or lion’s mane, sure—but on the microscopic scale your hair actually looks
more like a DNA chain. And what happens when you dunk it in sodium hypochlorite
and then try to set it on fire is that links in the chain get lost, and your hair becomes
damaged. Luckily, we live in the Future, where the people who brought us Keratin
in the 70s are back with a new discovery. Tapping into knowledge learned from the
Human Genome Project, the smarty-pants scientists and stylists over at Joico have
formulated a revolutionary Bio-Advanced Peptide Complex that replicates your hair’s
exact missing amino acids in the exact order, reversing damage better than ever
before. The best part? The molecular miracle cure can now be found in all Joico
products,including the new pro stylers, shampoos and conditioners.
JOICO.COM
C O M I N G A / W 2 0 1 3
www.thecomume.com
SOMETHING
BETTER
CHANGE
DOT COMLA’S BEST ART, STYLE, MUSIC, FOOD AND EVENTS SOURCE
>> PARTY ON WAYNE:It was lovely seeing your beautiful faces around town this
past year. In 2012, LA CANVAS played host to events all
over LA, from the Standard Downtown to the Virgil in
Silverlake and Hemingway’s in Hollywood. Stick with us
in 2013 to cop some gift bags and facebook tags.
>> #SWAG:Happy New Year! This winter, we’ll be giving away
exclusive swag from some of our favorite brands like
Etnies, Globe, URBANEARS, Filtrate and more. Follow
LACANVAS on twitter (@LACANVAS) and facebook
(facebook.com/LACANVASmag) for a chance to win.
>> SUBSCRIBE: Every week our editors round-up LA’s best concerts,
parties, art openings, sales and generally excellent
happenings. Subscribe to the Weekly to get them
in your inbox every Thursday, along with exclusive
invites to LA CANVAS parties.
ON LACANVAS.COM
>> MORE: FOOD SCOOPS
The best falafel we’ve ever had hits Fairfax at
Urban Garden, plus housemade breads, pasta and
salami at DTLA’s latest Italian restaurant, Bestia.
>> Q&A: IN THE VALLEY BELOW
The up-and-coming electro-folk duo gives us the scoop
on their series of strange, cinematic music videos.
>> Q&A: CLAM LAB
Etsy's top artisan Claire Castillaz tells us about her
collection of handmade ceramic wares.
>>BEHIND THE SCENES: #FASHION
Photographer Raymond Molinar and stylist Marissa
Peden give us some insight into their creative process.
IN THE E-ISSUE
>> FEATURE: BETWEEN THE CRACKS
LAC photographers Rachel Many and Christopher
Captain capture the unseen faces of our city.
>>FEATURE: KEEP YOUR PANTS ON
Filmmaker Drew Denny chats with LAC about her latest
movie, The Most Fun I’ve Ever Had With My Pants On.
>> MORE: RACKS ON RACKS
Extended fashion stories by Raymond Molinar,
Nancy Schoenmakers and Grant Yoshino.
>> FEATURE: FALLING WHISTLES
We catch up with founder Sean Carasso to find
out the real story behind the brand’s campaign for
peace in the Congo.
23
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SCENE & HEARDIF YOU WEREN’T HAVING A GOOD TIME, YOU WEREN’T DOING IT RIGHT
25
VISIT LACANVAS.COM FOR A VIDEO INTERVIEW WITH CHELSEA WOLFE
WITH PLANS TO RELEASE
HER FOURTH ALBUM IN AS
M A N Y Y E A R S , C H E L S E A
WOLFE COMES INTO HER OWN.
CHELSEAWOLFE.NET
text REBECA ARANGOphoto STEVEN YATSKO
hair SIENREE @ CELESTINE AGENCY makeup LEIBI CARIAS
W H O ’S AFRAI D O F
CHELSEA
WOLFE?
On one of the first truly rainy days of the season, a nearly-six-foot-tall Chelsea Wolfe
arrives at the LA CANVAS studio in head-to-toe black, her inky locks drawn like drapes around
her wide, glacier eyes. Born and raised in Northern California, Wolfe has been in Los Angeles
for a little over two years now, though from the sound of her music you’d never guess she grew
up on a diet of vitamin D. Always walking on the dark side of pretty, Wolfe’s electrified drone-
folk records can be melancholic as a light-gray drizzle or heavy as a slow evening storm.
As it turns out, today’s inclement weather has disrupted what was supposed to be a
busy morning at the end of an even busier year for the singer. In 2012, she toured Australia,
Europe, the US and Japan; wrote and recorded a new album to be released this Spring; and
unveiled a collection of eerily beautiful acoustic songs titled Unknown Rooms. “I’m not big
on dream interpretation,” Wolfe tells us in a cautious, deceptively tiny speaking voice. “But
it comes from something I read, that when you dream about unknown rooms, or when you
create rooms or spaces in your dreams, it’s representative of something about yourself that you
haven’t been ready to fully explore or become comfortable with, and I think maybe making an
acoustic record was something I wasn’t ready to do until then.”
In a sense, the obstacle of becoming comfortable with herself has shaped the entire
course of Wolfe’s career. Her initial apprehensions manifested themselves in early gigs; she used
to perform wearing a veil, not quite showing audiences her face until mid-2011. And while Wolfe
has been making music since the age of nine (when she would borrow her country-musician
father’s home studio to tinker with Casio beats and record herself singing “weird” covers), it took a
lot of exploration to come to terms with the idea of being a musician in the public eye.
In 2010, after much encouragement from friends, Wolfe finally released her debut
album on nu-goth style house Pendu NYC. The Grime and the Glow was a disjointed yet
compelling collection of lo-fi eight-track recordings, culminating in a gently creepy rendition of
“You Are My Sunshine.” After a year on the road, she came back with Apokalypsis, an album
filled with idealistic reflections on the state of the Earth as humanity and nature struggle to
coexist. Named after the Greek root of the word apocalypse, the title translates to “a lifting
of the veil.” On the cover, Wolfe gazes upwards through whited-out eyes, representing the
moment of epiphany that precedes destruction.
Recorded with professional musicians in a studio, Apokalypsis reached a new level
of aesthetic cohesion and sonic clarity. The sound was still gritty, distorted, and swampy, but the
subtleties of Wolfe’s vocal performance were allowed to surface above the noise—which is crucial,
because her voice is truly her instrument. Like a guitarist switching between stomp-boxes or pick-
ups, she warps and stretches her tone and pronunciation from song to song without diluting its
recognizable idiosyncrasy. Exploring the ghostly spectrum between angelic and demonic, she uses
it to play ugly against pretty, rough against smooth.
“I’m constantly playing with contrast. The beautiful and the horrible are always
juxtaposed in life,” Wolfe tells us later that night from her LA home. Set against the relentless
California sun, it makes sense that Wolfe has always considered herself a musical outcast.
After all, our state’s definitive pop legacy was built by the Beach Boys; and even today, when
compared to their British, Scandinavian, or East Coast counterparts, LA musicians radiate a
relatively sunny disposition.
But there is a vision of California in Chelsea’s music, it’s just one you don’t often
hear. In the abstract paintings of her words, the vulnerable or ominous cry of her voice, and
the smoky doldrums of her sound, there’s a space of sharp edges against a dangerous ocean,
of an ancient, wild landscape, and of dry emptiness stretched around pockets of criminal
overpopulation. “There’s constantly a ton of cars, a ton of people, everywhere you go. And
I’m sort of a solitary person, so sometimes that can be hard for me…but there are also a lot of
creative people here who are willing to work hard and get things done, and I like to get things
done.” So misfit or not, she doesn’t plan on leaving any time soon.
I’m constantly playing with contrast. The b e a u t i f u l a n d t h e
horrible are always
j u x t a p o s e d i n l i f e ,
’’
I’m constantly playing with contrast. The b e a u t i f u l a n d t h e
horrible are always
j u x t a p o s e d i n l i f e ,
VISIT LACANVAS.COM FOR A VIDEO INTERVIEW WITH CHELSEA WOLFE
CHELSEAWOLFE.NET
RAIN DANCE
“I’m A Mess” Body Language
“Outsiders (Slow Version)”Io Echo
“Break Yr Heart”ooOoO
“Theia”Hundred Waters
“Running Back”How to Dress Well
“Flatlands”Chelsea Wolfe
“Hurricane”MS MR
“A Dedication”Washed Out
“Stark Weather”Icky Blossoms
“Tesselate”Alt-J
“Kill Yourself”Chase N. Cashe
“Kiss Me Dead”Magic Wands
Finally. It’s grey and wet and except for the serious athletes,
nobody’s gone surfing. So let’s just stay inside and have some
tea. Maybe take a nap. Sniffle. Have a little cry even. Because
that’s what people in Portland do when they’re not hiking or
at the bookstore, right?
STREAM THE FULL 32-TRACKS OF GLOOMY GOODNESS ON THE LA CANVAS SPOTIFY
I N T H E
VA L L E Y B E L O W
T H E N E W E L ECT RO - FOL K DUO ON T H E I R AU DIO - V ISUA L I NSPI R AT IONS
HAVE YOU GUYS EVER MADE A QUILT? ARE YOU AVID QUILTERS?
ANGELA: I tried to make a quilt once, it nearly drove me to madness. Respect to the Amish.
JEFFREY: I have a Quaker quilt from the 70’s on my bed.
HOW DOES THE CULTURE, LANDSCAPE AND IMAGERY OF THE OLD AMERICAN WEST INFORM YOUR MUSIC?
A & J: Growing up in Michigan and Tennessee, the west was always a mild fairy tale and it still intrigues us.
Also, there’s plenty of that landscape here to work with.
CAN YOU TELL US MORE ABOUT THE CONCEPT BEHIND THE “TAKE ME BACK” VIDEO? WHAT CAN WE EXPECT
IN PART TWO?
ANGELA: It was pure collaboration when we met Laurent Michel Moreau, an odd character with a very
strange and beautiful mind. He splits his time between Paris, Berlin and LA, and I think he brings that
influence to the video. One evening we were having visions of how the video looked with all these women.
The concept becomes more clear in part two. You can expect a little more bedlam.
DO YOU ALSO DRAW NARRATIVE INSPIRATION FROM CULT HISTORIES, FRINGE SOCIETIES OR THE OCCULT?
THERE SEEM TO BE TRACES OF THAT IN THE VIDEO.
ANGELA: I tried a couple spells in my life and got freaked out, so I have a respect for the Occult. Cults and
religions (same thing?) are profoundly fascinating. So much power and emotion is involved, and when a
group concentrates that energy it can be catastrophic or magical. It’s a phenomenon of nature like auroras
and earthquakes. So, yes, it interests us.
YOU’VE MANAGED TO MARRY A DIGITAL, ELECTRONIC PRODUCTION STYLE WITH A NOSTALGIC, OLD-TIMEY
VISUAL AESTHETIC. HOW DID THAT HAPPEN?
A & J: It wasn’t really a planned thing. We just kind of look this way and gravitate towards the visuals of the
prairie frontier. When we started ‘In The Valley Below’ we used 80’s Synths as our altar, most notably, the
well named Prophet 5. We built our sound around that. We try and write songs that are both interesting and
epic. Most everything is recorded at home or in our rehearsal studio Downtown.
HAS LIVING IN LOS ANGELES SHAPED OR CHANGED YOUR APPROACH TO MUSIC OR YOUR SOUND?
A & J: I think it pushes us to be more creative. There are a lot of great bands here, and we have to dig deep
to come up with something original. Los Angeles is full of darkness despite the sunshine. The ghosts of the
city creep in and whisper to us.
ANGELA, YOU LIVED IN A SMALL BOAT IN THE WEST INDIES. WE’RE INTRIGUED. CAN YOU TELL US MORE?
ANGELA: My ex and I decided to sell everything we owned and buy a sailboat. We intended to sail around
the world, and got as far as Dominica. A friend gave me an old warped classical guitar, which I brought
along and found that writing songs was easier and more rewarding than learning songs. Eventually El Nino
crept in and blocked the Pacific, our empty pockets turned us north, and Los Angeles split us apart.
Somewhere in the cross section of 70s psychedelia, prairie frontier nostalgia, and lo-fi synth-pop, LA duo In the Valley
Below have built a strange world all their own. Following the release of their debut self-titled EP this Fall, vocalist Angela
Hail and vocalist/guitarist Jeffrey Jacob collaborated with director Laurent Michel Moreau to create a two-part video for
their songs “Take Me Back” and “Palm Tree Fire,” scored a residency at the Bootleg, and went on tour with Mates of State.
We caught up with the LA transplants to fi nd out a bit more about their new project.
I N T H E
VA L L E Y B E L O W
interview REBECA ARANGO
35
THE FAB 4 WERE ONCE 5
They were ready to change the world. But first, they would change each other.
Before they were the Beatles, five rowdy working class lads from the docks of Liverpool rocked out eight days a week in the raucous clubs and red-light seediness of Hamburg, Germany, creating an epic new sound.
Direct from London, Backbeat thunders with live rollicking classics like “Twist and Shout,” “Love Me Do,” “Long Tall Sally,” “P.S. I Love You,” “Rock and Roll Music,” “I Saw Her Standing There” and so many more!
Pick your exact seats online! CenterTheatreGroup.org/BackbeatJanuary 20–March 1 Ahmanson Theatre
season sponsors
213.972.4400
SCAN
THE CODE
TO
ROCK & RO
LL!
Based on the Universal Pictures film.
BEHIND THE MUSIC 37
Keeping up with the incessant onslaught of recorded music is hard
enough—how can we be expected to know what Muddy Waters was up to in
the 1940s, or how many records the Beach Boys released before they ditched
the surfboards and took a trip to the petting zoo? How can we understand the
relationship between Jazz and Third Stream when we’re so busy deciphering
Chillwave from Witch House? Does anyone have the time to keep track of this stuff?
Apparently, yes. The Recording Academy has been actively
celebrating and documenting popular music since 1959, with the 55th
annual Grammy Awards taking place at the Staples Center this February. At
the Grammy Museum, you can sift through the entire archive of televised
shows, starting with the inaugural event at the Beverly Hilton that awarded
Ella Fitzgerald, Count Basie, and Perry Como, among others.
While you could spend hours perusing epic performances and searching
for train-wreck acceptances speeches, the viewing room is only one small part of
this four-level building. Inside, you’ll find futuristic audio-visual exhibits like the
big colorful touch-table linking together almost every genre imaginable (though we
don’t think they’ve added Witch House yet), interactive maps exploring American
music by city, and short video docs analyzing social trends by decade. There’s
also a smattering of weird pop-artifacts: stage costumes—like the little pink get-up
Beyonce wore to sing “Purple Rain” with Prince, a collection of Michael Jackson’s
signature jackets, and even an original blood-stained Andrew WK outfit—are
presented alongside hand-written lyrics—Brian Wilson’s scrawl of “God Only
Knows” in blue pen (suspect)—as well as original albums, label contracts, early
recording devices, instruments, sketches, and artwork.
But that’s not to say the Grammy Museum is all inanimate objects;
it’s a space for live humans too. Annie Lennox, Tom Morello, Stevie Nicks
and Yoko Ono—just to name a few—have all been featured in the program
“An Evening With,” in which legendary musicians are interviewed on
stage, engaged in an audience Q&A session, and then invited to perform
in the intimate, 200-seat Clive Davis theater. Other performance series, like
“Homegrown” and “The Drop,” focus on up-and-coming or local artists, while
“Reel-to-Real” screens music documentaries followed by panel discussions.
So as soon you and Ross Geller are all done brushing up on fossils,
set your next field trip for LA Live. Gearing up for a game of trivial pursuit or
not, a day at the Grammy Museum is a foolproof way to get your music-history
IQ up. (And, they have synthesizers.)
text REBECA ARANGO
THE GRAMMY MUSEUM PRESERVES AND CELEBRATES MUSIC HISTORY THROUGH INTERACTIVE EXHIBITS, ARTIFACTS, AND INTIMATE LIVE PERFORMANCES
800 WEST OLYMPIC BOULEVARD A245
LOS ANGELES, CA 90015
GRAMMYMUSEUM.ORG
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powered by Jarritos LA
photos provided byCOLORS IN LOS ANGELES // COLORSINLA.COM
LA STREET ART GALLERY // LASTREETARTGALLERY.COM
39A R T
ADVENTURES IN SPACE & TIME
ADVENTURES IN SPACE & TIMEADVENTURES IN SPACE & TIMEADVENTURES IN SPACE & TIMEADVENTURES IN SPACE & TIME
PHOTOGRAPHER JAY MARK JOHNSON BREAKS HIS CAMERA AND BLOWS YOUR MIND
text SHANA NYS DAMBROT
JAYMARKJOHNSON.COM
Digital-age machinations aside, the camera enjoys a
reputation for providing trustworthy, unmediated depictions of the real world, more or
less as it actually appears. Whatever filters or post-production technologies abound, the
basic idea remains that you can look at a picture and know what something looked like
in a recognizable world. But when it comes to the photographs of Jay Mark Johnson, that
presumption is turned on its head. His pictures look nothing like the world as we know
it, and they are not really meant to. Yet still, their brain-melting relationship to the truth
remains unassailable. The best thing to do is just relax, and let art and science blow your mind.
Instead of recording the optical contours of what a place looks like, JMJ has
figured out a way to record the temporal events that happen there. Instead of what a
person looks like, he records the evidence of what they’ve done—in a unique process
he calls Spacetime that produces fixed-point images depicting objects and figures
as time passes. The overall effect is ironically surreal and abstract, considering the
hyper-accuracy of the information the images contain. There is a certain conceptual
kinship with the work of video artist Bill Viola —who also manipulates time and sees
the drama of motion as central to an event’s meaning. In Viola’s case, he dramatically
slows down time to set a seemingly still image in motion; in JMJ’s case, he converts
motion into a still image. Basically by “tricking” a moving camera lens into taking
still images in a process not unlike what happens when your scanner breaks, objects
in motion appear still, while stationary surroundings appear as stripes of pure color.
Yet even though you don’t “see” the backgrounds, they play a huge role in the
images’ energy, giving liminal subconscious cues to the eye as to the urban, natural, bustling,
or remote location. He’s the only guy I know that has the surf report and the CalTech particle
physics lab on speed dial. His subjects range from ferris wheels that appear to corkscrew;
waves that carve out infinitely receding spaces; architecture that collapses; roads and rivers
that straighten out their bends; mining towns enveloped in dust storms. His travels take him
to Rome, Cambodia, Ojai, West Virginia, South America, the Venice boardwalk, and Belgrade
—no small feat considering the miniature space station he carries around with him. Besides
the ten-pound camera and hefty tripod in its own case, we’re talking 100-150 pounds of
equipment in titanium briefcases wherever he goes, and the TSA guys stop him every time.
On the ground, he relies on local drivers and guides up for driving around for hours “in
Terminator scan mode” looking for the perfect shot. From train depots to dance studios,
rain forests to recycling plants, what JMJ is really documenting are the innate, inescapable
underlying patterns of the universe, the stripped-down coordinates of where beauty comes
from—but try explaining that to your average random cabbie. He was once abandoned in
a Cozumel alligator reserve, but still he isn’t daunted. “I’m hoping this year to shoot the
Wildebeest migration in Masai.” Drivers wanted.
THE THING ABOUTPHOTOGRAPHY IS ITS TRUTHINESS.
CATCH JMJ'S SPECIAL PROJECT EXHIBITION AT JANUARY'S PHOTO LA ART FAIR.
TEXT ROSS GARDINER
PHOTO CAPTAIN
O F FT H E W A L L
LA ARTISTS DEVIN LISTON AND GOSHA LEVOCHKIN JOIN FORCES TO PAINT A POWERFUL
NEW HOLLYWOOD MURAL
“I’ve been playing around a lot with telephone lines,” said
Gosha as he pointed out the thin silhouettes of pylons poking up from
the half-finished mural. They were connected by a single line moving
across the entire wall, transcending moods and scenes in its path
around us. “I’m fascinated with how everyone in the world is connected
now. But I’m forever puzzled with how lonely everyone seems.”
In the acidic LA drizzle, falling on us like someone spitting as they
spoke, we all stood on top of The Audience building in Hollywood and looked
at the sprawling dreamscape that spread across the once expressionless grey
wall. Devin Liston, formerly of LA-based art collective Cyrcle, and Russian
watercolor painter Gosha Levochkin tried to explain the narrative that nudged
along the characters and colors that burst from the cold damp canvas.
“We see it being about conscious and subconscious states,”
said Devin, gazing off, trying earnestly to form what was clearly a
powerful aesthetic vision into words that people could directly relate to.
“But within that there’s the battle between nature and industry, man
and machine, connect and disconnect.” The mural does exactly what
a great collaborative piece of work should: it simultaneously divides
and unites the artists. Though they have distinctly different styles, they
have managed to blend their work together perfectly, utilizing Gosha’s
tremendously steady hand and vivid characterization to complement
Devin’s striking realism and acute understanding of depth, creating a
vibrant dream world that seems to claw at you from the wall.
Connected by the single black telephone line, themes of
diminishing social relevance and evolving and devolving environments
wrap around one another, playfully strangling the textured central figure
that bears the proverbial weight of the city on his head. Around him, beasts
devour semblances of positivity while eerie silhouettes of strangers, lacking
description but for their reddened eyes, brush past one another without a
glance. Opposing the blaring dissonant city is the loosely layered image
of a young Vietnamese girl topped with a volcano. Her soft, damp eyes
seem to stare down the chaos on the opposite wall from her simple, serene
environment, yet the imminent destruction of that environment is palpable.
The artists met around five years ago in an art supply store.
Gosha was working, and Devin was buying paints and canvas. They got
“THIS BUILDING REMINDS ME OF RUSSIA. FUCKING NICE T O P U T SOME COLOR ON IT!”
to talking about their art, exchanged information and quickly became
very close friends. As they got deeper into their portfolios the two found
that their styles complemented one another. “Since I met him I wanted
to collaborate with him,” said Devin, “I was blown away by his art.”
But soon after, Devin became preoccupied with Cyrcle, the
much-lauded art and design trio responsible for some of the boldest murals
in Los Angeles, and plans to collaborate with Gosha were temporarily
shelved. Giving almost all of his time to the Cyrcle project took its toll, and
he recently left the group to pursue his own path, finally allowing time for a
serious collaborative venture with the young Russian painter.
“This building reminds me of Russia,” said Gosha, as he
looked around and the sterile straight lines and the damp dark grey
walls of the building we stood on, “Fucking nice to put some color on
it!”Levochkin’s family arrived in Los Angeles from the Soviet Union
seventeen years ago. Influenced by a mixture of Japanese and American
animators, he first got a taste of their colorful cartoons on Sunday
nights as a child. “There was one TV station that would play American
and Japanese cartoons, and they would run from 5pm to midnight on
Sundays. I remember how much more color they had than the Soviet
cartoons. Russian cartoons are bleak.”
Gosha paints the vivid watercolor worlds that he treads in his
imagination, polarizing both the overbearing, morose landscape of his
birth and watercolor’s more typical roots in realism. And it’s this reaction,
fueled by an ethereal optimism, which defines his vast body of work.
Despite the fact that their stylistic compliments stem from
stark differences, there is a conceptual outlook that binds the two artists
strongly together. Both believe in inspiring people to create, addressing
the individual rather than society as a whole, and encouraging a spatial
awareness that travels to the very edges of the worlds they depict.
As Devin and Gosha work towards hitting that stride and
finding the perfect balance between their talents, they’re quickly
building up a body of work for their first show, “Pressure,” opening at
the Soze gallery on March 1st. And given the work they are producing
this early into their collaborative venture, you can be sure of a unique
creative experience when the opening night finally comes round.
®
SILVER LAKE. STUDIO CITY. MAR VISTA. COSTA MESA. SEAL BEACH. SAN MARINO. HOLLYWOOD. SANTA MONICA. 3RD AND FAIRFAX. REDONDO BEACH
®
SILVER LAKE. STUDIO CITY. MAR VISTA. COSTA MESA. SEAL BEACH. SAN MARINO. HOLLYWOOD. SANTA MONICA. 3RD AND FAIRFAX. REDONDO BEACH
GET MORE OF L.A.’S BEST OPENINGS AT LACANVAS.COM
GALLERY OPENINGSMARC FICHOU: CONTENANT CONTENURobert Berman GalleryJanuary 5 - February 16, 2013Opening: January 5, 6-9pmMarc Fichou produces cross-platform work investigating the relationship between time, image and matter that combine video, painting, sculpture and photography. His new exhibition is part of the city-wide program Ceci n’est pas…Art between France and LA, organized by the Cultural Services of the US French Embassy. robertbermangallery.com
LA EXISTANCIALLos Angeles Contemporary Exhibitions (LACE)January 16 - March 3, 2013Opening: January 16, 8-10pmLA Existancial, organized by curator Marie de Brugerolle, is an ambitious group exhibition that brings together international artists across generations, media, styles, and disciplines to explore LA as myth as well as a site of cinema and crime. The show is part of the Ceci n’est pas…Art between France and LA programs. welcometolace.org
FREE ENTERPRISE: THE ART OF CITIZEN SPACE EXPLORATIONUC Riverside Arts BlockJanuary 19 - May 18, 2013Opening: January 19, 6-9pmThe fi rst contemporary art exhibition in the US to explore implications of civilian space travel, which represents a major political and cultural shift away from sponsorship by the federal government and toward a free-market, private enterprise model. This exhibition focuses on artists who have had a deep engagement with space exploration issues throughout the course of their work. sweeney.ucr
CHRIS OATEY: SOME THINGS I’VE BEEN THINKING ABOUT.CB1 GalleryFebruary 24 –March 31, 2013Opening: February 24, 5-7pmHalf of the gallery is dedicated to a solo show Chris Oatey, whose drawings, sculptures, and installations riff on obsession, repetition, and pattern. The other half features the group show
“Performing Methods,”curated by Oatey, with dynamic work by Amelie Chabannes, Marc Philip van Kempen, Joey Kötting, Pascual Sisto, Maria Walker, Joe Winter. cb1gallery.com
TILT: ALL YOU CAN EATFabien Castanier GalleryJanuary 19 - February 17, 2013Opening: January 19, 7-10pmFabien Castanier Gallery is proud to present “All You Can Eat,” a solo exhibition by Tilt. Recognized internationally as a traditional graffi ti artist, Tilt began as a youth on the streets and train cars of Toulouse, France. Most intersted in conveying the action of graffi ti throw-ups and tagging, Tilt’s style retains this classic hip-hop ideology. Tilt will present new work for his solo exhibition. castaniergallery.com
LLYN FOULKESHammer MuseumFebruary 3 - May 19, 2013One of the most influential yet underrecognized artists of his generation, Foulkes makes work that stands out for its raw, immediate, and unfiltered qualities. His extraordinarily diverse body of work—including impeccably painted landscapes, mixed-media constructions, and deeply disturbing portraits— resists categorization and defies expectations. hammer.ucla.edu
SCRATCHING THE SURFACE: CONTEMPORARY WOOD SCULPTURECraft and Folk Art Museum (CAFAM)January 27 - May 5, 2013Opening: January 26, 6-9pmAn exhibition featuring the works of nine contemporary sculptors who capitalize on the naturally occurring textures and irregularities of wood. Using both machine-cut and natural surfaces, each shares a proclivity for working with the grain of wood surface via sawing, bleaching, sandblasting, and exposure to the elements. cafam.org
ANDREW SCHOULTZ: Fall OutMark Moore GalleryJanuary 12 - February 9, 2013Opening: January 12, 6-8pmFor his first solo show at Mark Moore, SF-based artist Andrew Schoultz translates the motifs in his frenetic two-dimensional works into a real scale three-dimensional installation—presenting an interrelated combination of painting, sculpture, drawing, and collage drawing aesthetic inspiration from 15th Century German map making and Indian miniature paintings. markmooregallery.com
THE ART OF COFFEE 51
Unless you’re there for an opening party or a little afternoon
art-shopping (NBD), walking into a gallery can be a bit intimidating. Enter
Project Gallery + Espresso, the latest art space to grace Cahuenga Boulevard
in Hollywood. With an artisan espresso bar tucked neatly inside, Project
manages to bridge the gap between the highbrow art patron and the average
passer-by. The brain child of Sarah Gough, originally from Kentucky via
Miami, Project opened last November with an inaugural show by young San
Francisco-based artist Zio Ziegler.
Sarah imagined the concept while working in various art galleries
and observing the way the museum-like spaces left audiences apprehensive.
“Project started as a multifunctional space,” Sarah tells LAC. “I wanted it to be
all about the art, yet with something else added into it.” Sarah has succeeded
in creating a welcoming space; warmth is emanated through exposed brick and
the barn wood bar that holds the magnificent espresso machine in the rear of
the gallery. The aroma of coffee drifts out onto Cahuenga, drawing you in, while
the small act of holding a coffee cup allows you to stay just that much longer.
As for the art, Project is focused on showcasing established
and emerging artists in the genres of Contemporary, Street, Lowbrow, Pop
Surrealism, Photography, and Installation. Zio Ziegler’s Lost Illusions set the
tone for the program with a fitting showcase of color-drenched, large-scale
canvases and murals. Creating an illusion of simplicity from afar, Zio’s work is
incredibly intriguing, drawing you closer (coffee in hand) to discover intricate
patterns and stories. It will be a bittersweet moment when Lost Illusions
closes; but Zio’s work is now ingrained into Hollywood, his murals dotting the
walls along Cahuenga. Next to Project is Venice local Cari Lee, followed by
Facebook HQ’s in-house artist and muralist Ian Ross.
So the space is great and the art resonates, but what of the coffee?
Sarah’s “Espresso Master” Toby believes Project has all the makings to be the
best espresso in LA, with beans sourced from a micro roaster and blended
specifically for the gallery. But whether it rules the city’s roast-race or not, Project
is an exciting moment for the LA art and coffee worlds alike. It is a space for all,
with infinite possibilities to walk out feeling all the richer.
text EMMA GOGONOVSKIphoto CAPTAIN
PROJECT GALLERY + ESPRESSO ADDS AN AROMATIC NEW DIMENSION TO THE ART GALLERY EXPERIENCE
1553 N CAHUENGA BLVD.
HOLLYWOOD, CA 90028
PROJECTLA.NET
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text SHANA NYS DAMBROT
53
Graphic violence and violent graphics are the order of the day in
Punk: An Aesthetic. Rizzoli ’s hefty new tome revisits the proliferation and
perfidy of the punk era, roughly 1975-84, and in the process i l luminates
the enduring, fresher-than-ever legacy of those years not only on our
music, but on our fi lm, visual art, and design.
The visual art associated with the punk movement was just as
important as the music and the clothes; embodying the same raw rush for
total freedom of expression and reckless disregard for authority that exploded
on stages and in back alleys from London to Los Angeles and the Lower East
Side. Intertwined and inextricable, the incendiary painted, photographed,
and printed matter was frequently made by the same people that made the
music—especially when it came to concert posters and fan zines. Raymond
Pettibon’s early work for Black Flag is legendary and he is well represented in
the book, alongside other artists who went on to become fine-art giants, like
Larry Clark, Malcolm McLaren, and Gary Panter.
This lavish eye-feast of expertly archived and contextualized
culture is framed by suitably pop-academic texts from, among others, post-
modern science-fiction luminary William Gibson, author of Neuromancer and
All Tomorrow’s Parties (yes, like the song). His essay is called 1977, and is
centered on the Velvet Underground, Patti Smith, and xeroxing. “Punk was
the last pre-digital counterculture. The last thing I thought about punk, in
1977, was how amazingly old-fashioned the technologies it took for granted
would seem. I’d never seen a fax machine, or a PC.” Ironically, the dead sexy,
high production value of the book is, itself, about as far from a DIY object
as punk can ever get, with a fineness of reproduction the 70’s could only
dream about. Yet this poshness is only fitting, as the occasion for the book
is the official creation of the Cornell University Punk Archive, founded on
the extensive collections of punk-era art and ephemera bestowed by Johan
Kugelberg and Jon Savage, the book’s editors. High-end irony aside, crushed
beer cans and spiked boots never looked so good on your coffee table.
RIZZOLI’S NEW PUNK: AN AESTHETIC GIVES A HIGH-IMPACT SURVEY OF PUNK ROCK’S VISUAL LEGACY.
RIZZOLIUSA.COM
B
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BREN NECKLACE$68
CARLY NECKLACE$78
LIFE LINK BRACELET$100
BLESSED RING$95
DISC-O-BALL NECKLACE$85
BRANCH BANGLES$95
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T H E W I T C HI N G H O U R
PHOTOGRAPHY RAYMOND MOLINARPHOTO ASSISTANT ALEX SCHMIDT
STYLING MARISSA PEDENHAIR + MAKEUP JENNA KRISTINA
MODELS MEGHAN + SABINE @ NEXT MODELS
DRESS BY AGAIN / HAT BY BRIXTON
BONNETS BY WESTERN COSTUME COMPANY, VINTAGE / SHOES BY JEFFREY CAMPBELL
W W W . S H O P W A S T E L A N D . C O M
L O S A N G E L E S S A N F R A N C I S C O S A N T A M O N I C A S T U D I O C I T Y
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After an opulent, barouque-inspired fall, a minimalist spring peaks its well manicured hand around the corner.
backto
photography STEVEN YATSKOhair + makeup JEFFREY BAUM
model ALEX NOIRET @ VISION MODELS LA
BA
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THESTYLING RAUL GUERRERO
ASSISTANT STYLIST SARAH PERILLOGROOMING TIFFANY LEIGH PATTON
MODEL MICKY AYOUB @ REQUEST NY
STUSSY’S ROOTS IN SURF AND STREET CULTURE BEGAN IN 1980, WHEN SEAN STUSSY HAPHAZARDLY SCRIBBLED HIS NAME ONTO ONE OF HIS CUSTOM SURFBOARDS, UNWITTINGLY CHANGING THE STREET WEAR LANDSCAPE FOREVER. TODAY, THAT SAME HANDWRITTEN LOGO STANDS FOR A BRAND WITH A GLOBAL CULT FOLLOWING COMPRISED OF SURFERS, SKATERS, INDIE KIDS AND HIP-HOP HEADS ALIKE. LAC SAT DOWN WITH STUSSY HEAD DESIGNER NICK BOWER FOR A LITTLE INSIGHT INTO THE ICONIC BRAND’S IDENTITY, PERSPECTIVE AND EVOLUTION.
THETRIBEWHAT MAKES STUSSY SO ICONIC? CAN YOU TELL US A LITTLE BIT ABOUT THE
STUSSY “TRIBE”?
As a brand, Stussy played a major part in the birth of a worldwide youth style.
The OG Stussy Tribe were like-minded kids from LA, NY, London and Tokyo
that were the early style makers. They recognized that the gear Shawn Stussy
was making was what they wanted to represent. Tribe was a title Shawn gave
this crew who were mostly kids he had met in NYC and became his friends.
HOW HAVE YOU EXPANDED THE BRAND WHILE STAYING TRUE TO STUSSY’S
ORIGINAL CULT FOLLOWING?
Our distribution in the USA is not that different from what it was some years
ago; we don’t sell to a lot of stores that would like us to. The expansion
over the last ten years was in Japan, where quality and design is part of
their national character. More recently we’ve expanded our presence online
through our own site and collaborations.
HOW CAN YOU MAKE STREET WEAR DAPPER?
Dapper is not gear, it’s a style. If that’s your thing, and you put it together
right, I guess street wear could be made dapper.
DO YOU SKATE OR SURF? HOW DID YOU BECOME INVOLVED WITH THE BRAND?
I surf. I was loosely involved, not so much with the brand, but with Shawn
because we both lived in Laguna Beach in the 80’s.The job of designing for
Stussy wasn’t offered to me till 97—two years after Shawn had left. I joined
Paul Mittleman in the design department.
WHAT ITEM OF CLOTHING DO YOU WEAR MOST OFTEN?
Solid poplin shirts.
WHAT CAN’T YOU LEAVE THE HOUSE WITHOUT?
It depends on how long I’m leaving the house for. For a day, there’s nothing
that important, but for a week I have to have a quiver of shoes.
DO YOU WASH YOUR JEANS?
Nope, I’m only interested in indigo rigid denim. When my denims get to the
point where even I can smell them, I wash them with water only, inside out.
After that happens twice, I’m over them.
STUSSY STARTED IN SOUTHERN CALIFORNIA WITH SURFBOARDS. HOW WAS
THE BRAND ABLE TO ADAPT AN EAST COAST SENSIBILITY?
In the interest of clarity, Shawn Stussy started with surfboards, shaping
and selling them. The brand Stussy was born when Shawn started making
clothing. Stussy was originally designed for California with Reggae being the
musical influence. Then in the mid 80’s, the musical influence became more
about Hip-Hop—the Beastie Boys, Run DMC. It was this influence that had
an impact on the Stussy gear and made it relevant on both coasts.
WHAT’S THE DIFFERENCE BETWEEN EAST COAST AND WEST COAST STREET
STYLE? WHICH DO YOU PREFER?
Not much difference. The internet has changed all that. There’s a common
language to streetwear worldwide. There are obviously groups within street
style that see themselves as “local” and wear their own style, but in the big
picture we don’t design for it.
WHAT’S NEXT FOR STUSSY?
Making sure we stay relevant, everything will follow on from that.
“STUSSY PLAYED A MAJOR PART IN THE BIRTH OF A WORLDWIDE YOUTH STYLE. THE OG STUSSY TRIBE WERE LIKE-MINDED KIDS FROM LA, NY, LONDON AND TOKYO THAT WERE THE EARLY STYLE MAKERS.”
URBAN LEGEND THE WELL OPENS ITS FIRST PERMANENT
LOCATION DOWNTOWN
text ERIN DENNISONphoto GRANT YOSHINO
assistant photo DIANE JONGstyling TON AGUILAR
hair JEFFERSON NTYS makeup BARBARA YNIGUEZ
models JEREMY YUGECLINTON @ PHOTOGENICS
BROOKE @ VISION MODELS LABRANDON @ VISION MODELS LA
G E TW E L L
G E TW E L L
G E TW E L L
URBAN LEGEND THE WELL OPENS ITS FIRST PERMANENT
LOCATION DOWNTOWN
text ERIN DENNISONphoto GRANT YOSHINO
assistant photo DIANE JONGstyling TON AGUILAR
hair JEFFERSON NTYS makeup BARBARA YNIGUEZ
models JEREMY YUGECLINTON @ PHOTOGENICS
BROOKE @ VISION MODELS LABRANDON @ VISION MODELS LA
G E TW E L L
G E TW E L L
G E TW E L L
GETTWELL.LA
opposite page ON BROOKE TOP BY CLOVER CANYON / NECKLACE BY AVANTE GARDEthis page ON BRANDON JACKET BY CHAMBERS / TOP BY ROARK COLLECTIVE
What do you get when you cross an events space, salon, photo
studio, and clothing store? The Well. Our favorite underground party
hosts and creative types have collaborated with some of their closest
fashion friends to bring Angelenos a retail experience they haven’t even
dreamed of yet. Emerging from the ashes of their former warehouse digs,
The Well has finally opened its doors in the heart of Downtown LA.
Walking in on the day of the shoot, we discovered an expertly
cultivated array of designer garments lining the space’s custom-built
racks to the left, while to our right, five salon chairs sat facing rows of
candy-colored hair product and wooden wave-shaped walls. Embedded
flat screens streaming fashion videos lined the inner consul next to Nail
Swag’s art manicure station. The Well’s brightly-lit futuristic ambiance was
impressive on its own, but enhanced by the notion that just the night prior,
we were shuffled to the back through a revolving door and into a 3,000 sq ft
warehouse space where we moshed to Juicy J until our gel-eyeliner got all smudgy.
Needless to say the Well has graduated from underground
warehouse jump-offs to a high-concept design experience, and we’re more than
just a little excited to see what this team of creatives has in store for us next.
ON JEREMY TOP BY UNIF / BOTTOMS BY PUBLISH ON CLINTON TOP BY UNIF
91THE METHOD
text ERIN DENNISON
Ever considered the alchemy and architecture behind handmade jewelry design? These kids have. Here’s a brief rundown of our favorite LA-based precious metal masters.
Blake Hardy and Logan Stanton are the real life couple of model-slash-designers
who joined forces to create re-worked vintage jewelry in 2010. After two years
of swap-meet thugging and exponential demand, the sartorially-inclined duo are
producing their fi rst major collection, slated to drop this spring.
BLOJEWELRY.COM // @BLOJEWELRY
PHOTO BY ALEX STONE
B.LO
The brainchild of Nicole Morral and Natalie Mauro, BFC is conceived and produced in the lovely Jewelry District in
Downtown LA. The girls began designing fresh fl owered headpieces in 2010 and have since transitioned to molds
of puzzled bones and pieces made of recycled bullet casings. Nicole and Natalie’s combined Hawaiian/Midwestern/
Manhattan infl uences are especially felt in the line’s goth-inspired utilitarian boho-chic FW’12 collection.
BANDFCOLLECTIVE.COM // @BFCOLLECTIVE
PHOTO BY ROBERT SIGLER
BONES AND FEATHERS COLLECTIVE
It takes up to 48 hours of labor to make one of Jared Tate Johnson’s custom metal pieces. Based in
the warehouse district of Downtown LA, the jewelry artisan behind Dear Raymer has earned a loyal
following over the past six years for his raw and geometric, yet streamlined aesthetic. By using hand
oxidized precious metals, a draping technique more often used in fashion/textile construction, and
soldering up to 100 jump rings per piece for strength and functionality, Johnson’s taken a step
away from the mass-produced norm and built a personalized genre of accessory design.
DEARRAYMER.BLOGSPOT.COM/ //@DEARRAYMER
PHOTO BY GREG GAINOR
DEAR RAYMER
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1410 Abbot Kinney Ste. 101, Venice, CA 90291 310.399.3988 - gossamershop.com - facebook.com/gossamershop
Hudson | BB Dakota | One Teaspoon | Joie | Joe’s Jeans | Eberjey
A space filled with memories, designer collectibles and a variety of items that fit any style or budget.
WWW.MATTHEWKENNEYCUISINE.COM
HOW HAVE THE TECHNIQUES CHANGED SINCE YOU STARTED?
When I first got into raw food, everybody had a blender and a dehydrator. Over
the last six years, we’ve started to incorporate more types of fermentation; we
use something called an ultrasonic homogenizer, it’s a multiplication. And we
do a lot of smoking, and we use thermal immersion. So we’re incorporating
all these modernist techniques that allow for different textures and lighter
ways to prepare the food with less fat and less nuts. It’s changed from one-
dimensional, completely raw or dehydrated recipes to utilizing the modernist
equipment and all the new ingredients that are available in the market. If
people ask how we do what we do, I say the best ingredients, really innovative
techniques and equipment, and a lot of creativity.
CAN YOU THINK OF ONE DISH THAT EXEMPLIFIES THE NEW TECHNIQUES AND
EQUIPMENT?
Sure, we have this very simple dish on our lunch menu—or it appears to
be simple. It’s a salad, but it’s got a coconut bacon that’s smoked with
our smoking gun, and it’s got this Portobello mushroom that’s prepared
under vacuum-sealed pressure in a machine called the thermal immersion
circulator, and that allows us to keep all the moisture inside the mushroom
while still tenderizing it, or “cooking” it, at a low temperature whereas if
you dehydrated it, it would get dry. So that dish combines the smoking, it
combines the thermal immersion, and it’s still a salad.
WWW.MATTHEWKENNEYCUISINE.COM
HOW HAVE THE TECHNIQUES CHANGED SINCE YOU STARTED?
When I first got into raw food, everybody had a blender and a dehydrator. Over
the last six years, we’ve started to incorporate more types of fermentation; we
use something called an ultrasonic homogenizer, it’s a multiplication. And we
do a lot of smoking, and we use thermal immersion. So we’re incorporating
all these modernist techniques that allow for different textures and lighter
ways to prepare the food with less fat and less nuts. It’s changed from one-
dimensional, completely raw or dehydrated recipes to utilizing the modernist
equipment and all the new ingredients that are available in the market. If
people ask how we do what we do, I say the best ingredients, really innovative
techniques and equipment, and a lot of creativity.
CAN YOU THINK OF ONE DISH THAT EXEMPLIFIES THE NEW TECHNIQUES AND
EQUIPMENT?
Sure, we have this very simple dish on our lunch menu—or it appears to
be simple. It’s a salad, but it’s got a coconut bacon that’s smoked with
our smoking gun, and it’s got this Portobello mushroom that’s prepared
under vacuum-sealed pressure in a machine called the thermal immersion
circulator, and that allows us to keep all the moisture inside the mushroom
while still tenderizing it, or “cooking” it, at a low temperature whereas if
you dehydrated it, it would get dry. So that dish combines the smoking, it
combines the thermal immersion, and it’s still a salad.
VISIT LACANVAS.COM FOR A VIDEO INTERVIEW WITH MATTHEW KENNEY
DO YOU HAVE ANY FAVORITE RAW RE-INTERPRETATIONS OF TRADITIONAL DISHES
OR THINGS YOU LOVED GROWING UP?
I always loved pizza; we don’t call it pizza but we do a flatbread with a topping,
it’s more of like a hummus-type of topping with fennel. And I always loved Italian
food, so we have this heirloom tomato lasagna, which incorporates zucchini
instead of pasta, but it still has pesto and tomato sauce and a macadamia nut
cheese. And we do dumplings, but they’re entirely different than a typical
dumpling because we’re using a young Thai coconut wrapper colored with
spinach juice, spread thin and dehydrated just enough to give it that texture.
Then it’s filled with kimchi, cashew, ginger, green onion and a little bit of chili.
IS IT POSSIBLE FOR A DEDICATED PERSON TO CREATE AN INTERESTING RAW DIET
USING WIDELY AVAILABLE INGREDIENTS? WHERE DO WE START?
One of the programs we’re doing here is a guided cleanse. We have a nutritionist
on our staff, and you can do a week-long or a month-long cleanse, and people
have the option of us preparing the food, or we can give them a digital guide
to let them know what they have to shop for and how to prepare it themselves.
There’s also my book Everyday Raw Express; all the recipes in there are done
in less than a half hour, it doesn’t require any fancy tools, there aren’t any Thai
Coconuts—you just need a good blender—so that’s a really good place to start.
We’re also doing a weekend intensive program here, it’s a twelve hour class, so
that’ll give people a really thorough understanding of how to get started.
It may be rare compared to your biweekly fro-yo craving, but a hankering
for a bowl of hot, savory, slurp-able goodness can be very downright dire.
Whether triggered by dreary days, the sniffl es, or plain old nostalgia, here
are some of your best bets for scratching that old soup itch.
WEST LA o NONG LA CAFESPOT: A Vietnamese eatery isn’t so easy to find on the Westside, so it was pretty exciting when Nong La moved into Little Osaka last year. The home-spun food—soups, rice dishes, bahn mis and appetizers—is as comforting as any apple pie. SOUP: If the Pho craving strikes, any of Nong La’s five flavors will surely satisfy. But there’s also the Bun Bo Hue, a Central Vietnamese broth of lemongrass, beef and chili oil served with a heap of pork patty and some nice juicy brisket. 2055 Sawtelle Blvd Los Angeles, CA 90025
SOUPED UP
GET MORE OF L.A.’S BEST FOOD SCOOPSAT LACANVAS.COM
CULVER CITY, BEVERLY HILLS + HOLLYWOOD o M CAFESPOT: Macrobiotic bungalow M Café is famously a favorite among health-conscious celebrities, but even omnivores can get down with M’s potently yummy and diverse menu listing everything from macro burgers to bi-bim-bop. SOUP: A rotating selection of seasonal soups like Mushroom Barley, Butternut Squash, or Curried Lentil accompany the miso that’s available daily. Any option succesfully warms up a combo of two deli salads. Three locations; visit mcafedechaya.com
HOLLYWOOD o THE BOWERYSPOT: LA’s first ever gastropub, this dark and cozy joint brings a little bit of NYC to Hollywood, boasting a menu of on-point modern comfort food—burrata and butternut squash salad, burger with red onion confit, gravy fries with brisket—and the bar to back it up. SOUP: There’s only one on the menu, but it’s the quintessential one—perfected. Bowery’s Roasted Tomato Soup topped with an Herb Goat Cheese Crouton may just be the best tomato soup in the city, and you can have it at lunch or dinner. 6268 Sunset Boulevard Los Angeles, CA 90028
SILVERLAKE o FORAGESPOT: This minimalist-modern Silverlake staple is family-owned, sourcing ingredients from the local farmers they’ve known for years. You can compose your own meal from their daily-made seasonal salads and sides, and finish it off with one of their stunning pastries. SOUP: Through the winter months, you’ll fi nd one soup special daily (except Mondays, when Forage is closed). Recent favorites include the Butternut Squash with creme fraiche and pumpkin seed oil, as well as the made-to-order Chicken Pozole with salsa roja. 3823 West Sunset Boulevard Los Angeles, CA 90026
DOWNTOWN o SAI SAI NOODLE BARSPOT: Chances are you’ve already waited in line at Daikokuya or Shin Sen Gumi, and while they may be the reigning king and queen of DTLA ramen, Sai Sai is definitely the unsung hero. SOUP: Sai Sai is only open for lunch and happy hour, so pop in before seven for some Kimchee Pork Belly or Lobster Miso Ramen and some sake, beer or wine. And don’t forget to start with spicy edamame and end with a selection of specialty mochi from Bubbies in Hawaii. 501 South Olive Street Los Angeles, CA 90013
VENICE o FARMHOUSE KITCHENSPOT: Started by two farmer’s market pros, Farmhouse Kitchen is the latest bastion of the local food movement, now serving up hearty but healthy food from a window on Ocean Front Walk in Venice. SOUP: Every day the kitchen cooks up a whole slew of organic soups from their market haul. Alongside traditional favorites, you’ll find inspired creations like Pomegranate Beef Stew, Curried Squash Soup and their signature Sloppy Jake’s. 1827 Ocean Front Walk Venice, CA 90291
600 S. Main St., Los Angeles, CA 90014213.622.6333
artisanhouse.net
“Break Bread. Share Wine. Feed the Soul.”
600 S. Main StreetLos Angeles, CA 90014
www.artisanhouse.net213.622.6333
Open daily 11am - late515 West 7th. st. LA, CA 90014213 985-4332www.masmalorestaurant.com
103
Food shopping in Los Angeles rarely means strolling to the
neighborhood green grocer and picking up a few essentials. Unless you live
in Echo Park, where Martha Teegan’s tiny shop Cookbook stocks a small,
careful selection of responsibly grown produce, meat, dairy, freshly-baked
bread, artisanal delicacies, and house-prepared goodies.
Elegantly contained and never crowded, Cookbook takes you back to a
time before towering aisles of plastic packaging, long cash register lines and thirty-
two-pack toilet paper. And because just one magic tollbooth to the old world is a
bottleneck waiting to happen, Teegan did the smart thing and introduced another.
You can catch a glimmer of Cortez as you dart past the Super 8
on Sunset Boulevard, where floor-to-ceiling windows on the slope of Allison
Avenue reveal a warmly lit dining room barely larger than a Beverly Hills
master bath. The sparsely decorated space whispers a modern version of
rustic, with rectangular terra cotta tiles sitting beneath bare walls in stark
white and exposed brick. You can grab a stool at the modest bar offering a
view into the kitchen, or pull up a chair to one of two communal tables. Space
is limited, and reservations are not an option. Because going to Cortez is less
like your typical LA dining experience than it is like going over to Martha’s to
sip from her fabulous collection of wine and sample whatever fantastic thing
she’s managed to do to Brussels sprouts this week.
As with Cookbook, Cortez is focused on simplicity, agricultural
sustainability, and curatorial integrity. The streamlined menu is inspired by
Spanish cuisine with all its Middle Eastern influences, and the kitchen turns
out an ever-changing list of about twenty items each night. Plates are shareable,
but not too small, and ultimately they feel homespun and comforting rather than
pretentious. While the food is old in spirit, it’s still contemporary in style; and
often, simply executed dishes are elevated through an unexpected twist—like
the supremely tasty pickles we found tucked beneath a spicy Merguez sausage
on soft grilled flatbread, or the crisp hazelnuts and savory, gooey roasted apples
dressing up our Brussels sprouts.
Meanwhile, the concise drink menu is all Belgian beer and rare
family-vineyard wines listed from light to heavy. And the servers will not
only guide you towards the right bottle, but regale you with stories about the
people and places it comes from. Naturally, the bulk of Cortez’s collection is
from Italy, France or Spain, where the art of wine has been perfected over
centuries and historical practices are being actively preserved. So if the food
isn’t enough to transport you into the old world countryside, fear not—you can
always pour another glass.
EURO TRIP text REBECA ARANGO
photo RACHEL MANY
CORTEZ BRINGS OLD WORLD GASTRONOMY TO ECHO PARK
1356 ALLISON AVE
LOS ANGELES, CA 90026
RESTAURANTCORTEZ.COM
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RECIPE
Chai-infused Steamed Milk
5 cups Whole Milk
4-5 packs sugar in the raw
3 bags of the fresh, high-quality Chai tea (make sure spices are listed as
ingredients)
Heat on medium in a saucepan for 15 minutes until milk is toffee-colored,
stirring frequently. Transfer to a teapot.
Hot Chai Posset
1 oz Plantation 5-year old Grand Reserve Rum
Dash whiskey-barrel aged or angostura bitters
Nutmeg-infused whipped cream (Add grated nutmeg to whipped cream to taste)
2 oz Chai-infused Steamed Milk
Heat the teacup by pouring in boiling water and allowing it to sit for a few
minutes. Empty the glass, then pump in whipped cream to taste. Add the rum
and a dash of bitters. Pour Chai-infused steamed milk on top. Garnish with
grated nutmeg and another dash of bitters on top of the whipped cream.
For more of Greg’s toddy tips and to learn how to make his Green Tea Toddy with Japanese whiskey, visit LACANVAS.COM
SOME LIKE IT HOT 105
It’s tempting to keep 1886 our little secret. This intimate cocktail
bar tucked into The Raymond’s backroom is a favorite hideout haunted by a
colorful history. Once the caretaker’s cottage to the old Raymond Hotel during
its turn-of-the-century heyday, the lovingly restored building is now home
to some of LA’s most innovative mixologists. And so on a particularly dreary
winter night, we turned to 1886’s Greg Gertnenian for a lesson in hot booze.
As soon as we arrived, Greg began heating our glasses by pouring
in hot water. “Making sure all the ingredients are as hot as you can reasonably
make them before you combine them is really important,” he explained,
adding, “No one wants a warm toddy.” We learn that a hot toddy is traditionally
just hot water, a spirit, and a sweetener (boring), but that Greg’s been busy
playing around with fresh green tea and Japanese whiskey; fig-infused rye
and maple syrup; and most interestingly, something called a Posset.
“The Posset is a drink from hundreds and hundreds of years ago. It
was traditionally made by heating milk and mixing it with ale or wine to curdle
it. You would then separate the whey and spice it.” Okay—curdled anything
sounds terrifying, we know. Thankfully, Greg’s Hot Chai Posset is a modern
twist on the medieval punch, with spiced milk tea, nutmeg-infused whipped
cream, and a healthy dose of dark rum.
The resulting concoction is ideal for winding things down like only
a mix of rum and melatonin can. First, a warm, milky aroma crawls up your
nose and gives it a hug. A hearty swig will then leave a sweet, spicy kiss on
your tongue and a soft bite in the back of your throat. Make a big batch of
spiced milk and keep the rum coming; you’ll be either blissfully ready for bed
or passed out in front of your iPad with the fireplace app running.
1250 SOUTH FAIR OAKS AVE.
SOUTH PASADENA, CA 91105
WWW.THERAYMOND.COM
1886 BARTENDER GREG GERTMENIAN SHOWS US THE RIGHT WAY TO MAKE A HOT COCKTAIL
D
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text REBECA ARANGOphoto CAPTAIN
PHOTOS BY RACHEL MANY
PHOTOS BY CHRISTOPHER CAPTAIN
FILMMAKER DREW DENNY CHATS WITH LAC ABOUT PERFORMANCE ANXIETY, DARK HUMOR AND THE ABSURDITY OF THE HUMAN CONDITION.
keep yourp a n t soninterview ERIN DENNISON
HAVE YOU ALWAYS BEEN ABLE TO NAVIGATE BETWEEN PERFORMING AND
DIRECTING? WHICH CAME FIRST? CAN YOU DESCRIBE THE PROCESS WHEN
YOU’RE MAKING AND STARRING IN A FILM?
Performing definitely came first! I performed as a musician and performance
artist for years before making this film. In both music and performance art, I
negotiate a desire to be completely swept up by the performance and a need
to occasionally exit my body and view the piece from afar to make sure I’m
communicating with the audience… In many ways, that’s easier to do in live
performance because I can feel the response and resonance in the room. I’d
never really acted before making this film, so it was exciting and a bit scary to
work with a pro like Sarah Hagan! She’s so natural and easy-going though, and
a brilliant improviser so my, um, “performance anxiety” subsided eventually. I
placed a huge amount of trust (and pressure!) on my collaborators Clay Jeter
and Will Basanta. Sometimes scenes were shot with just Will and me so I had
to ask him not only if we got the shot we needed but if I got the performance
we needed. Most scenes were shot with a crew of four or five led by Clay, who
worked closely with Will as well as with Sarah and me. I can be a bit of a control
freak - requesting to see the monitor before every take so I could check the frame
for production design or lighting or our blocking – but Clay and Will knew just
when to tell me to stop thinking about the frame and submit to our performances.
HOW DO YOU THINK YOUR GRIEVING PROCESS WOULD HAVE BEEN DIFFERENT
HAD YOU NOT HAD THE OUTLET OF MAKING THIS FILM?
I can’t imagine the grieving process without the filmmaking process. Art-
making and storytelling are the processes by which I understand the world
and my relationship to it and to my own experiences. A philosophical quandary
regarding humanity’s representation of nature becomes a series of installations;
a break up becomes a song of course; my father’s death becomes a film...
HOW WERE YOU ABLE TO GET SUCH EPIC FOOTAGE AND PHOTOGRAPHY ON SUCH
A TIGHT BUDGET?
Will Basanta, Clay Jeter, Matt Chavez, Naveen Chaubal! Our incredible
cinematographer, creative producer, AC/grip/gaffer and PA who had to do a little
bit of everything. Will, Clay and I discussed the look of the film for hours and hours
over the weeks preceding our shoot. We watched tons of movies together and
looked at photography, paintings, and performances. We share a passionate love of
landscapes – both as physical environments and as a photographic form. We share
a common philosophy. Our tastes align for the most part but, again most importantly,
I trust their instincts completely. It was that trust that allowed us to show up to a
location, let’s say a cliff in Sedona, and be able to block performance and camera in
a couple hours so we could shoot before the monsoon chased us out.
DESCRIBE YOUR RELATIONSHIP TO BOTH HUMOR AND ART? HOW ARE THEY
RELATED? HUMOR AND TRAGEDY?
Humor is a brush and art is the frame—a mode of manifesting meaning and
its context, regardless of medium. In EMT school I learned that cardiac tissue
cut from two different hearts will start beating on the same rhythm if placed
near one another. That’s how I think of humor and tragedy—composed of the
same substance, pulsing with the same life but representing different destinies.
HOW IMPORTANT IS STRUGGLE IN NARRATIVE? ARE YOU ABLE TO CREATE
WITHOUT GOING THROUGH SOMETHING DIFFICULT?
Struggle is the skeleton of narrative, right? Our attempts to meet our needs, to
manifest our desires, even if that’s as simple as wanting to be loved or to feel
okay. That quest is the foundation, and everything else hangs on to that. I’ve
never written a happy song but I’ve written a sad song in a major key. My movie
doesn’t have a happy ending, per se, but my desire to celebrate life, love and
friendship is apparent in every frame—at least, I hope so. And the end is about
making peace with memories, remaining present, and celebrating the collective
nature of existence despite the absurdity and tragedy of life… I don’t know
what kind of artwork or stories I’d make if I hadn’t enjoyed the totally fucked
up life that I have! I’m kidding. But you know, being a runaway, a drop-out,
experiencing abuse and all that… becoming friends with my dad just in time to
watch him die. The difficult bits shape my perspective but optimism colors it.
WHEN MAKING/THINKING ABOUT/WATCHING A FILM, WHAT COMES FIRST, THE
PICTURES OR THE WORDS? WHICH DO YOU CONNECT MORE WITH?
This project arose as text embedded in the landscapes of the American
Southwest. I think it reads almost like theater because of that, which could
be due to my history in live performance and probably has a lot to do with the
fact that it’s my first film. My next one is written with the language of imagery,
so it will be a very different experience to make and view. I think that’s the
goal of cinema because the power of imagery is much more subliminal and
can be much more emotional than language. But I’m a writer and am very
critical of the manipulation inherent in the filmic medium so there will always
be some textual experimentation and self-reflexivity involved in my projects.
WHAT’S NEXT FOR YOU? ARE YOU CURRENTLY WRITING?
I’m writing two features and a series, hoping to get started on one of them
this year. I’m also starting to go out for auditions. It’s a very odd sensation,
coming from the worlds of art and music into the TV/film universe… but it’s an
interesting experience and I’m very excited to challenge myself as a performer.
Performance artist, songwriter, actress, and screenwriter Drew Denny’s first feature film, The Most Fun I’ve Ever Had with My Pants On, was undoubtedly one of our favorites screened at this year’s AFI FEST in Hollywood. The film, a quasi-autobiographical com-edy-drama follows Denny, or rather, “Andy,” and best friend “Liv” as they spread her recently deceased father’s ashes across the Southwest. The duo’s aesthetically compelling journey from Los Angeles to Austin beautifully captured the dark period in her life
with sincerity and a sense of humor. We caught up with Denny after the film festival to get a little more insight.
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NEW WORKS BYCHARLIE ANDERSON
JONONE
SEEN
SPEEDY GRAPHITO
RERO
TILT
Fabien Castanier Gallery12196 Ventura Blvd. Studio City, CA 91604 t.818.748.6014
www.castaniergaller y.com
Opening Reception | Saturday, January 19 7-10pm
All You Can Eatsolo exhibition by TILT
January 19 - February 17, 2013
Tilt-LaArtShow.indd 1 12/16/2012 4:34:13 PM
barrassalon
5607 North Figueroa St. Los Angeles, CA 90042 323 257 8493 •
$30 Blowouts ~ All DayBlowout Tuesdays
A Full Service Salon
BARRAS-ba’hass
barrassalon
5607 North Figueroa St. Los Angeles, CA 90042 323 257 8493 •
$30 Blowouts ~ All DayBlowout Tuesdays
A Full Service Salon
BARRAS-ba’hass
STRAIGHT FROM THE HUEMAN’S MOUTH
142text SHANA NYS DAMBROTphoto CAPTAIN
COVER ARTIST ALLISON TORNEROS BLURS THE BOUNDARY BETWEEN STUDIO AND STREET
ALLISONTORNEROS.COM
I LIKE THAT OLD SAYING, ‘IF THESE WALLS COULD TALK.’ I FEEL I'M GIVING THE WALLS AND ENVIRONMENT A VOICE.
Her paintings begin with an energetic, free-form
splattering of paint, then a step back, allowing imagery to
emerge from the primordial chaos. “For my Design Matters show,
I painted a giant woman taking her shirt off, and a small man
standing next to her, pointing a gun. I saw those characters in
the paint, but the viewer puts together their own story by reading
their body language.” Translating the splatter-actionism to the
size and verticality of a wall isn’t easy, but she’s learning to love
freestyling with latex and spray. One of the most impressive things
about her art is its consistency of style, detail, and delicacy that
transfers seamlessly from canvas to mural. And her trademark
glossy plump lips look, if possible, even hotter on the big walls.
“I like that old saying, ‘If these walls could talk.’ I feel I'm giving
the walls and environment a voice. And sometimes that voice
is a raspy, sexy one!” And it’s not just the walls, but her true
inner self that gets a voice in these works—hence the advent of
her alter-ego, Hueman. “For a long time I was working in web
design, spending crazy hours staring at a computer screen. I was
dying to create art, and live life. I would literally repeat to myself,
‘I'm human, not a robot!’ Going by the name Hueman marked a
transformation point for me; it represents being true to yourself
and going after what you really want in life.”
Allison Torneros is part of a new generation you
might call Post-Street. Perhaps it was inevitable given the
recent passion for Street Art style, but younger artists coming
into their own under its heady influence are incorporating
its raw vibrancy and pop-culture puckishness into their
studio work, whether or not they’ve ever climbed a ladder
with a bucket of wheat paste. Growing up in the Bay Area,
Torneros has been looking at graffiti, murals, and throw-ups
since childhood. She was fascinated by “beautifully executed
artwork on cold walls and rough surfaces and environments.
I think that's partly why I like juxtaposing different styles and
elements: spontaneous splatters, dripped backgrounds, dense
details, tight subjects, the beautiful and grotesque.” Her 2004
move to LA, where Street Art is impossible to avoid, influenced
her art even more profoundly. Eight years later and with a slate
of successful gallery shows under her belt, she’s all up on that
ladder, executing an ongoing series of murals across the city.
“
”
OSAMU KOYAMA, JEWELRY DESIGNERNEWERACAP.COM/FLAGBEARERS
©2012 New Era Cap Co., Inc. All Rights Reserved.