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1 Angeles Magazine Spring 2012 Angeles Magazine Spring 2012


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FOSTER THE PEOPLE

24

BUILDING WITH A TWISTDISNEY CONCERT HALL 25

GLANCE

16

FRANK GHERY

32

MARCH 2012

FOSTER THE PEOPLE


STYLIST:AMBER KELLY


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-Walt Copyright

FOOD

PHOTO: RANDY DUNBAR


STEP 1 STEP 2 STEP 3 STEP 4

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Ed ponti, Catum te perisul icapero

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Qui essimus isum interis es in tusquid ionsicus ince consunt raequo

HOMEMADE SOUR APPLE MARTINI

DRINK

PHOTO: ALEXA DILLON

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travel

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ENDLESS SUMMER

PHOTO: SEAN DAVEY

THE BAHAMAS

13 Angeles Magazine Spring 2012 Angeles Magazine Spring 2012B

LOS ANGELES MAGAZINEThe magazine that defies description.

Angeles Magazine is perfect for any Los Angeles native who enjoys the culture of the city.

WWW.Angeles-mag.com

IPAD


PEOPLE

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PHOTO: ALEXA DILLON

KRISTINA GIBSON: HAIR APPARENT

Nam pubit quam. Otatamenihin temnes! Ser-emolis. Quo ia macte nultodiu cere aperessen Etraelaris, noc, ce postra consus


Culture

La Luz de Jesus Gallery was es-tablished in 1986 as the brain-child of entrepreneur and art collector Billy Shire, considered largely responsible for fostering a new school of California art and prompting JUXTAPOZ Magazine to dub him “the Peggy Guggen-heim of Lowbrow.”

La Jesus Gallery’s Billy Shire has been setting artistic standardsfor twenty four years.


Showcasing mainly figurative, narra-tive paintings and unusual sculpture, the exhibitions are post-pop with content ranging from folk to outsider to religious to sexually deviant. The gallery’s objective is to bring under-ground art and counter-culture to the masses. Past shows have been groundbreaking, launching unknown artists who have since become fa-mous, such as Manuel Ocampo, Joe Coleman, and Robert Williams.A new exhibit opens on the first Friday of each month, with an opening re-ception that DETAILS Magazine calls “the biggest and best party in Los Angeles.”


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“There is somepop-sensibility that has some dirt and grit to it.”


ART IN

SEARCHOF

THE CITY

winter 2012


The Los Angeles Philharmonic Continues Its Reinvention Of The Concept Of A 21St-Century Orchestra Under The Vibrant Leadership Of Gustavo Dudamel. Embarking On Its 92Nd Season In 2010/11, The Philharmonic Is Recognized As One Of The World’s Outstanding Orchestras And Is Received Enthusiastically By Audiences And Critics Alike. Both At Home And Abroad, The Philharmonic Is Leading The Way In Innovative Programming And Redefining The Musical Experience.

BUILDING WITH “The Frank Gehry

designed Disney Hall is a mass of reflections and curious angles.”


By Melissa RubensteinPhotographed by Alden Walters

A TW ST


This View Is Shared By More Than One Million Listeners Who Experience Live Performances By The Los Ange-les Philharmonic Each Year. The Philharmonic Demon-strates A Breadth And Depth Of Programming Unrivaled By Other Orchestras And Cultural Institutions, Perform-ing Or Presenting Nearly 300 Concerts Throughout The Year At Its Two Iconic Venues: Walt Disney Concert Hall And The Hollywood Bowl, A Popular Summer Tradition Since 1922. The Orchestra’s Involvement With Los An-geles Also Extends Far Beyond Regular Symphonic Per-formances In A Concert Hall, Embracing The Schools, Churches, And Neighborhood Centers Of A Vastly Di-verse Community.

The Los Angeles Philharmonic Was Founded By William Andrews Clark Jr., A Multi-Millionaire And Amateur Musi-cian, Who Established The City’s First Permanent Sym-phony Orchestra In 1919. The 94 Musicians Of The New Ensemble Met For Their First Rehearsal Monday Morn-ing, October 13 Of That Year, Under The Direction Of Walter Henry Rothwell, Whom Clark Had Brought From The St. Paul (Minnesota) Symphony Orchestra. Eleven Days Later, Rothwell Conducted The Orchestra’s Pre-miere Performance Before A Capacity Audience Of 2,400 At Trinity Auditorium In Downtown Los Angeles.

The Audience Heard Dvoák’s New World Symphony, Liszt’s Les Préludes, The Overture To Weber’s Oberon, And Chabrier’s España.

Rothwell Remained The Orchestra’s Music Director Until His Death In 1927. Since Then, Ten Renowned Conduc-tors Have Served In That Capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klem-perer (1933-1939); Alfred Wallenstein (1943-1956);

Eduard Van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); And Gustavo Dudamel (2009-Present).

Following Its Opening Season In 1919/1920, The Or-chestra Made Philharmonic Auditorium, On The northeast corner of Fifth and Olive, its home for the next 44 years. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until its final performances there in May 2003.

In October 2003, the doors to one of the world’s most celebrated venues — the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Los Angeles Philharmonic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker) Praise for both the design and the acoustics of the Hall has been effusive, and the glistening curved steel exterior of the 293,000-square-foot Walt Disney Concert Hall embodies the energy, imagination, and cre-ative spirit of the city of Los Angeles and its orchestra.

ming that remains faithful to tradition, yet also seeks new ground, new audiences, and new ways to enhance the symphonic music experience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to delve further into certain artists’ or composers’ work.


The Audience Heard Dvoák’s New World Symphony, Liszt’s Les Préludes, The Overture To Weber’s Oberon, And Chabrier’s España.

Rothwell Remained The Orchestra’s Music Director Until His Death In 1927. Since Then, Ten Renowned Conductors Have Served In That Capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard Van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Sa-lonen (1992-2009); And Gustavo Dudamel (2009-Present).

Following Its Opening Season In 1919/1920, The Orches-tra Made Philharmonic Auditorium, On The northeast corner of Fifth and Olive, its home for the next 44 years. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until its final performances there in May 2003.

“In richness of sound, it has

few rivals.”

In October 2003, the doors to one of the world’s most cel-ebrated venues — the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Los Angeles Philhar-monic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker) Praise for both the design and the acoustics of the Hall has been effusive, and the glistening curved steel exterior of the 293,000-square-foot Walt Disney Concert Hall embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra.

Inspired to consider new directions, Gustavo Dudamel and the Philharmonic aim to find programming that remains faithful to tradition, yet also seeks new ground, new audi-ences, and new ways to enhance the symphonic music ex-perience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philhar-monic creates festivals, artist residencies, and other thematic programs designed to delve further into cer-tain artists’ or composers’.


FRANK GHERYFrank Gehry was born Ephraim Owen Goldberg in Toronto, Canada. He moved with his family to Los An-geles as a teenager in 1947 and later became a natural-ized U.S. citizen. His father changed the family’s name to Gehry when the family immigrated. Ephraim adopted the first name Frank in his 20s;

since then he has signed his name Frank O. Gehry.

Uncertain of his career direction, the teenage Gehry drove a delivery truck to support himself while taking a variety of courses at Los Angeles City College. He took his first ar-chitecture courses on a hunch, and became enthralled with the possibilities of the art, although at first he found himself hampered by his relative lack of skill as a draftsman. Sym-pathetic teachers and an early encounter with modernist architect Raphael Soriano confirmed his career choice. He won scholarships to the University of Southern California and graduated in 1954 with a degree in architecture.

Los Angeles was in the middle of a post-war housing boom and the work of pioneering modernists like Richard Neutra and Rudolph Schindler were an exciting part of the city’s architectural scene. Gehry went to work full-time for the notable Los Angeles firm of Victor Gruen Associates, where he had apprenticed as a student, but his work at Gruen was soon interrupted by compulsory military service. After serving for a year in the United States Army, Gehry entered the Harvard Graduate School of Design, where he stud-ied city planning, but he returned to Los Angeles without completing a graduate degree. He briefly joined the firm of Pereira and Luckman before returning to Victor Gruen. Gruen Associates were highly successful practitioners of the severe utilitarian style of the period, but Gehry was restless. He took his wife and two children to Paris, where he spent a year working in the office of the French architect Andre Remondet and studied firsthand the work of the pio-neer modernist Le Corbusier.

The Los Angeles Philharmonic’s commitment to the presentation of music of our time is evi-dent in its subscription concerts, the exhilarating Green Umbrella series, and its extensive com-missioning initiatives. Now in its 29th year, the Los Angeles Philharmonic New Music Group, devoted exclusively to performing compositions on the cutting edge of the repertoire, attracts leading composers and performers of contem-porary music.

The Los Angeles Philharmonic Association expands its cultural offerings by producing concerts featuring distinguished artists in re-cital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of organ recitals, chamber music, and baroque music.

The Philharmonic has led the way into the digital age, with groundbreaking web and mo-bile device applications. Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online, including the first classical mu-sic video released on iTunes.

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