“I love cars and I love Los Angeles for being a city of cars. Over the last decade or so, I have been intrigued by L. A.’s love affair with the automobile, tracing back to a time when cars themselves were objects of beauty.“
“Those cars are no longer on the streets today but the buildings from that era remain. As an architectural photographer, I wanted to capture L. A.’s car-culture-induced optimism and ambition reflected in polychromatic, starspangled coffee shops, gas stations, and car washes, that once lured the gaze of passing motorists.” (Ashok Sinha)
Ashok Sinha is an architectural and fine art photographer whose large-scale photographs capture a sense of place tied to both natural landscapes and built environments. His photographs have been published by editorial outlets such as The New York Times, Architectural Digest, Interior Design, and exhibited at The Museum of the City of New York, the International Center of Photography, and The Royal Photographic Society.
THE MODERN HOUSE (AUG 2020): “I like to make things with unusual textures and I use a lot of heavy glazes, which either bubble or foam up, and I’m interested in the ways the glaze chemistry can make different textures. I’ve been making pieces with a sort of volcanic surface a lot recently, which is achieved by an element in the glaze recipe making tiny explosions in kiln, and then cooling it down very quickly so they set.”
In the first of a new series, Studio Visits, in which we’ll be meeting artists, designers and makers in their place of work, LA-based ceramist Raina Lee invites us into her treehouse studio and gallery space for a talk about her creative process.
Raina, how did you get into ceramics?
“I was a journalist in the tech and video game industry, and I still do some writing now. I happened to be living near a ceramics studio in Williamsburg, Brooklyn, and I decided to take a class. I was enthralled.
“It was so exciting to do something physical and work the clay with my hands – I just fell in love with it. Writing is very abstract and a lot of the time you work on something or pitch an idea and it doesn’t work out, by there’s always a physical end result when making ceramics.”
L.A. real estate in the post-pandemic era is about to undergo massive changes as millions work from home, hipster hoods falter amid retail meltdown, and the city’s newest hot spot might be monopolized by the richest man on Earth. Will massive home equity growth come to a crashing halt? Or will the residential market reset to its pre-pandemic self this summer? With millions sheltering in place, here’s what’s hitting home.
“Initially we just wanted to give people comforting things to feel safe and homey, but now that experience has to evolve,” says Dave Beran, the chef at Santa Monica’s Dialogue and Pasjoli. In May he offered an at-home take on Pasjoli’s famed pressed duck, an elaborate affair that, at the restaurant, involves a fowl carcass being crushed tableside in a turn-of-the century gadget to yield a juice that’s made into a savory sauce. The $155 take-home version for two includes seared duck breast, salad with crispy duck skin bits, duck leg confit bread pudding, rice pudding for dessert, and an instructional video and ingredients for making the sauce at home.
In this two-part series, six US museum directors discuss the pandemic and its repercussions for their institutions. These candid, insightful conversations address wide-ranging topics, from the logistical challenges of when to close and how to reopen to philosophical exchanges about the role of museums in society.
This first episode features Max Hollein of The Metropolitan Museum of Art in New York, Kaywin Feldman of the National Gallery of Art in Washington, DC, and James Rondeau of the Art Institute of Chicago.
This second episode features Matthew Teitelbaum of the Museum of Fine Arts, Boston, Ann Philbin of the Hammer Museum in Los Angeles, and Timothy Potts of the J. Paul Getty Museum.
It’s springtime at the Central Garden. Birds are singing, the azaleas are glowing, and burgundy tulips and blue irises line the paths. However, the crowds are gone—the Getty Center has closed temporarily to minimize the spread of coronavirus.
The quiet comes at a time of transition for the garden. Spring always brings change and renewal, but this year Getty’s new horticulturist, Jackie Flor, has been trying to channel the vision of the garden’s creator, artist Bob Irwin, as she brings the garden back to his original intent
Does the new Golden Celebration rose with its rich, sweet scent honor Irwin’s intentions for that spot? How about the trio of new Redbuds ready to pop? And how would he feel about her attempts to curtail the wildly proliferating Madeira Island Geranium? Yes, they were his favorite plant, but they have run rampant.
“I’m not heartless,” she said a few weeks ago about the robust plants with pink flowers. “But they need to be tucked back into their proper place.”
USC Fisher Museum of Art proudly presents Charles Arnoldi | Four Decades, a survey of the versatile and prolific Venice Beach artist, which traces the evolution of the artist’s expansive and materials-focused practice from the 1970s to the present.
USC Fisher Museum of Art proudly announces Charles Arnoldi | Four Decades from the Collection of Jordan D. Schnitzer and His Family Foundation, a survey of Venice Beach artist Charles (Chuck) Arnoldi. The exhibition, organized by the USC Fisher Museum of Art with the generous support of the Jordan Schnitzer Family Foundation and curated by Bruce Guenther, author of Charles Arnoldi: Paper (2017), opens January 21, 2020 and runs through April 4, 2020.
Charles Arnoldi was a young man from Dayton, Ohio who had seen little of the world when he arrived in Southern California in the mid 1960s. Following stints at a local community college and Chouinard Art Institute, Arnoldi won LACMA’s New or Young Talent Award in 1969 and thus began his ever-evolving career which continues to this day in his sprawling Venice studio.
For close to 50 years, Arnoldi’s work has reflected a passion for the material world, a commitment to experimentation, and a tireless focus on studio production. Charles Arnoldi | Four Decades is drawn from the holdings of the collector Jordan D. Schnitzer and His Family Foundation.
USC Stem Cell scientist Andy McMahon is using human stem cells to create mini-kidney structures known as organoids. His lab is using these organoids to study and find new drugs to treat polycystic kidney disease.
In 1962, Johnny Harlowe made the jump from the silver screen to chef and owner of Dear John’s. Convinced by his pal Frank Sinatra, Johnny opened the iconic spot just a ways down from Sony Studios on Culver Blvd. It became the watering-hole for the Hollywood elite with Sinatra often in the corner playing the piano against the dark brick walls once lined with portraits of famous John’s. Seasoned chefs and entrepreneurs Hans Röckenwagner and Josiah Citrin have teamed up to re-open Dear John’s this April with an updated classic American menu and old-school cocktail list.