heart magazine - september 2013
DESCRIPTION
Southern California's Premiere Art Magazine distributed online FREE. Without HeArt, Art does not exist!TRANSCRIPT
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www.heartmag.us • Southern California’s Premiere Art Magazine • September 2013
by Local Artist Kaarin Elizabeth
Gallery Coverage
Dylan FarnhamRazors Edge
Jenny KirchnerSummer of Fire 2013
Brenda YorkA Touch of Whimsy
Elsie FisherCertified Kid
5HeArt Magazine
HEART MAGAZINE SEPTEMBER 2013. Published monthly by Sabin Design Studio, P.O. Box 3237, Idyllwild, CA 92549. ©2013 Sabin Design Studio. All rights reserved. Printed in USA. HEART MAGAZINE® is a registered trademark of Sabin Design Studio. Reproduction in whole or in part without written permission is prohibited.
Opinions expressed in articles are those of the author. All rights reserved on entire content. Advertising inquiries should be directed to: (951) 402-4200.
LORA WOODHEAD STEERE 14KAARIN ELIZABETH 22
BRENDA YORK 36JENNY KIRCHNER 54
ELSIE FISHER 74VIOLETA VILLACORTA 82
DYLAN FARNHAM 106MARCOS MELO 136
INTRODUCTION 7 PROFILES 146 STUDENTS 148KIDS 150 GALLERIES 152 EVENTS 155 CLASSIFIEDS 157
Photograph by Robert SabinMountain Fire 2013
7HeArt Magazine
I know a lot of people by face and some… by name.
That is the nature of a small town.
It’s not that I’m rude and don’t want to know you, but, like most all of us, I’ve been caught up in a personal struggle of trying to correct wrongs that I feel need to be set right.
And, during that time, I didn’t realize that I was spending more effort talking about how to bring on change, rather than doing something to bring on change.
I’ve heard many discussions about the state of our union. Coffee-shop talk. Some discussions good. Most bad. I have listened to countless frustrations that I myself have felt. Not about any one thing, but about everything.
My story about how I came to live in Idyllwild may not be too far off from your own. Then again, it may not even be in the same ball-park.
It wasn’t until the recent fire and subsequent evacuation that I found a way to do something... anything... to help my family and also help others around me.
While the whole town of Idyllwild was displaced, my family and I stayed put in Pine Cove. We met many individuals who were brought together by this tragedy.
One was a man who, after serving his country, was shunned by those very people he thought he was serving to protect. He ended up homeless for a time. Now… he’s here.
A second man, who felt he was at the top of his game in an industry he loved, woke up one morning to have that same industry utterly destroy him, as well as his passion for life.
A mother with three autistic children, who still struggles daily, but manages to squeeze in a little time to follow her dreams.
A person who is looked upon as strange, weird, or different, because he chooses to keep to himself. Go figure.
A guy who’s skills and knowledge could have saved your business, but you chose to overlook the fact that others possess knowledge and abilities greater than your own, even though they work for you.
These are some of the people who inhabit this mountain community.
Many of us have ended up here with the hopes of seeking solace or, at least, a hoped-for sense of belonging in an increasingly automaton society that is out to rob us of our humanity and dreams.
The time has come to change things. To stop hiding from what we fear and face it head on. To stop talking about solutions, but, instead,
provide solutions. Not only on a local level… but, on a global level. What say you? Let’s, at the very least, start locally!
I’m scared for my children’s future. I try everyday to prepare them for it. I try to prepare them for a future that we, as a society, continue to allow to be destroyed by greed, empty status, religious beliefs and pure ignorance.
I have created HeArt Magazine as a vehicle to help others, like myself, succeed. The creative individual who has been overlooked. The individual whose unique and brilliant talents hide in the closet, while most of society sees them only for the daily jobs they do to survive.
We have a bad habit of viewing an individual’s success by their financial situation. This is so wrong. Many of the richest people in the world have stepped on, exploited, and destroyed many lives in their pursuit for gain, self-gratification and financial riches.
Most of these ‘privileged’ people do not possess the rudimentary skills to survive, but instead, buy their way through life. The simplest skills are forgotten or… never learned. Why? Because it’s easier to purchase a person to do it for you!
HeART Magazine will always be provided for free. Regardless of the contributions from advertisers, this magazine will not cease to exist.
I’m a photographer, graphic designer, artist, sculpture, wood carver, metal-worker, painter, illustrator, software and product developer, 3D designer, publisher and even a professionally trained chef!
These are skills I have acquired, not because I had to, but because I wanted to. As long as I can remember, my days have never ended when I arrived home from a job that I had to do to survive and provide for my family. But, even after I was exhausted (usually around 3:30am), I kept learning new skills to better my life, whether they would be utilized immediately or reserved for later use.
The artists featured in HeArt Magazine are chosen not because of popularity, medium preference, money or the publisher’s/editor’s personal preference. They are chosen because they possess one crucial thing most important to art... and that, ultimately, is… heart!
Robert Sabin
Publisher/Editor-In-Chief
Introduction
R.Sabin
A word from the Publisher
It’s Just the Beginning!
It’s Just the Beginning!M
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PUBLISHER - EDITOR IN CHIEF / ROBERT SABINMANAGING EDITOR / CHRISTINE SABINEXECUTIVE EDITOR / PETER BUHL
HEART MAGAZINE IS PUBLISHED BY:SABIN DESIGN STUDIO, P.O. BOX 3237, IDYLLWILD, CA 92549
EMAIL TO: [email protected]
The publisher would like to thank everyone who has furnished information and materials for this issue. Unless otherwise noted, artists featured in HeArt Magazine retain copyright to their work. Every effort has been made to reach copyright owners or their representatives. The publisher will be pleased to correct any mistakes or omissions in our next issue. HeArt Magazine welcomes editorial submissions; however return postage must accompany all unsolicited manuscripts, art, drawings, and photographic materials if they are to be returned. No responsibility can be assumed for unsolicited materials. All letters will be treated as unconditionally assigned for publication and copyright purposes and subject to HeArt Magazine’s right to edit and comment editorially.
Display AdvertisingPremium display ads are located throughout the magazine. Sizes vary.
Two Page (w 17 in x h 11 in): $650 per monthFull Page (w 8.5 x h 11 in): $350 per monthHalf Page Landscape (w 8.5 x h 5.5 in): $200 per monthHalf Page Portrait (w 4.25 x h 11 in): $200 per monthQuarter Page (w 4.25 x h 5.5 in): $125 per month
There is no setup fee and ad creation is included only for use in HeArt Magazine. Ad copy must be submitted a minimum of 2 weeks before the first of each month.
Classified AdvertisingClassifieds are listed towards the back of the magazine. Each slot is w 3.65 in x h 2.34 in. Slightly larger than a business card. Slots may be combined if more room is needed. The rate per slot is $25.00 per month. Ad copy must be submitted a minimum of 2 weeks before the first of each month.
Contact InfoP.O. Box 3237, Idyllwild, CA 92549
Hours: 9am - 5pm, Monday - Friday(951) 402-4200
www.heartmag.usEmail: [email protected]
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www.heartmag.us • Southern California’s Premiere Art Magazine • September 2013M
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f e a t u r i n g L o c a l A r t i s t s f r o m I d y l l w i l d C a l i f o r n i a
September 2013
by Local Artist Kaarin Elizabeth
Gallery Coverage
Cover Image by Kaarin ElizabethPhotograph by Robert Sabin
Photograph by Robert SabinMountain Fire 2013
13HeArt Magazine
There is a small, core group of people in Idyllwild and Pine Cove, who, during the fire, met and came together. Although, each of them, in their own way, were pursuing their own ideas in regards to local arts, they discovered that ideas grow exponentially when dedicated people put their strengths together.
In that short time, each of their ideas, have not only grown, but have been executed.
A new art gallery for the more unusual local artists had its first show. It was a success. A new concert series reared its head and, it, too, was a success. A new local art magazine is now born. You have it in your hands, so to speak! This is only the beginning.
I invite all or any of you to become part of this resurgence in energy and the arts.
Many people I have talked to have the opinion that Idyllwild, for the locals, may have become a tad stagnant in regards to its offerings. Well, I beg to differ a little.
Idyllwild is not stagnant. There has been a flavor established in this town over time due to the hard work of others. And they should be applauded for this. IT IS NOT EASY TO ESTABLISH ANYTHING!!!
For those of you who wish for something different, or more to your liking, then get involved and help make alternative choices happen. Alternative choices ARE NOT COMPETITION. THEY ARE A COMPLIMENT TO THIS TOWN. NOT ONLY FOR THE LOCALS, BUT OUR VISITORS!!
My motto is ‘LESS TALK, MORE DO”.
We are moving forward!!!
Peter Buhl
Executive Editor
Out of the ashes, comes a flFlower...
14 Lora Woodhead Steere
Lora Mae Woodhead was born on May 13, 1888, into a socially prominent Los Angeles family. Five years earlier, her father, Charles B. Woodhead, had married fellow Ohioan Ida Gard, and they already had two daughters, Blanche and Florence, with Charlene still to come.
Since migrating to California in 1873, C.B. had built and sold a highly successful wholesale produce business, using the proceeds to invest in a temporarily depressed real estate market and to pursue his new-found interest in raising cattle. In a decision that would indirectly, but significantly, shape the course of Lora’s life, C.B. had bought an interest in a 1200-acre ranch near San Jacinto, on the future site of Mt. San Jacinto Junior College.
This drew C.B. and Ida to explore inland Southern California, and one path they took was a road newly opened to the public from the brand new townsite of Hemet up into Strawberry Valley in the San Jacinto Mountains. By 1890, when the family vacationed there, it was spawning a collection of small inns and campgrounds, including the just-opened “Camp Idylwilde.” During that trip two-year-old Lora experienced her first trek up a mountain,
Lora Woodhead Steere1888-1984 - Idyllwild Pioneer, Famed Sculptor, and ISOMATA’s (Idyllwild Arts) First Teacher
For More Information:
http://www.lorasteere.com/Lora-Steere/Home.html
HeArt Magazine 15
riding the front of her mother’s saddle all the way to San Jacinto Peak.
The natural world, especially as embodied in these mountains, was thus imprinted in Lora’s consciousness nearly from birth and would be reinforced throughout childhood by summer vacations both in Idyllwild and on the San Jacinto ranch, where the family had acquired sole ownership. Love of nature colored her early attraction to art. When she was not lying on the floor of the elegant Woodhead home, copying comics from the Los Angeles Times with colored crayons, she would be in the back yard, fashioning objects from adobe mud.
At the University of Southern California Academy she was a bright student and prominent basketball player, graduating in 1907 along with her older sisters, whose education had been delayed. C.B. and Ida then took the family on a leisurely, year-long world tour, concentrating on Europe, where Lora got her first professional training, studying modeling and sculpture at Schule Reiman in Berlin. Upon their return she entered Stanford University, where her unique blend of interests and talents
merged still further. While earning a biology degree in three years, she used laboratory specimens to hone her drawing skills and was invited by a doctoral candidate, Stillman Berry, to illustrate his scientific publications on Cephalopods (squids, octopi, and such). Two decades later, she would still be collaborating with Dr. Berry, by then a distinguished zoologist.
During Lora’s college years, the once-obnoxious older brother of a dear friend from elementary school reentered her life. By graduation she had irretrievably fallen for the now Lt. Thomas Steere of the U. S. Army, introducing a domestic third strand to her life. Lora and Tom married in 1914, honeymooned at Dark Canyon near Idyllwild, and moved to his duty station in Boston Harbor, just as the World War broke out. A chaotic decade of military life ensued, during which the family moved about, Tom rose to the rank of Major, and Lora gave birth to three children, Florence, Charles, and John.
While attentive to her growing family, Lora remained intent on developing her artistic talent. In Boston she studied at the Museum of Fine
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Arts School. Her children served as models for sculptures. She was ready when opportunity struck, during a 1921 voyage home from the Philippines on an Army transport that carried a number of Senators and Congressmen. Tom arranged for her to do bronze portraits of several, which led to her opening a portraiture studio in Washington for several months, while her family lived at the San Jacinto ranch.
Meanwhile, the elder Woodheads’ ranching business had acquainted them with San Jacinto banker Claudius Emerson. In 1917 Emerson bought the well-known Idyllwild Inn and 1000 adjoining acres, where he envisioned developing much more than a resort. As soon as he offered subdivided lots the Woodheads bought land and built a new cabin on Strawberry Creek, an instant summer magnet for their extended family.
The first few postwar years settled the course of Lora’s life once and for all. The war experience, especially a tour in Siberia, had taken its toll on Tom Steere, and he never could readjust to the noisy chaos of growing children, now numbering four with the addition of James. Lora’s remarkable solution was to urge Tom to divorce her and marry her best friend, Agnes Campbell. Lora remained devoted to Tom, and he bounced in and out of her life into the 1940s, before finally marrying Agnes.
By 1924, Lora had settled with her children into a Hollywood home near her parents, which she had personally designed to serve not only the family, but as a highly productive studio for the next quarter-century. To minimize distractions, she turned the sound-insulated attic wholly over to the children.
Feeding her passion for nature along with her art and family, Lora in 1927 completed a graduate degree in paleontology from George Washington University, then earned a credential that enabled her to enhance the family income by launching a new career teaching night school sculpture classes in Los Angeles high schools.
Lora believed that her familiarity with nature and biological knowledge enhanced the quality of her sculpture, adding life to the product. Her reputation grew as she exhibited her work throughout the country. In 1932, the owners of Helms Bakery commissioned five life-size bronzes of athletes for the Olympics. Her celebrity commissions eventually would include personages as varied as Mahatma Gandhi, Abraham Lincoln (her favorite), Maharishi Mahesh Yogi, and distant cousin and astronaut Buzz Aldrin.
Beneath the surface, Lora’s life as a devoted single mother raising four children was hardly easy. Normal stresses were compounded by tragedy when a baseball accident killed her teenage son Charles in 1933. (A quarter-century later she would lose son John to a traffic accident.) That she maintained a productive equilibrium stemmed in part from religious faith, but also to a serenity reinforced by the mountains to which she returned regularly.
As grandchildren began to absorb her attention after World War II, a seemingly inevitable retreat into retirement halted abruptly one day in 1946, when she met Max Krone. Sought out by Krone both for her artistic repute and her Idyllwild presence, she found herself instantly captivated by him and his dream of a mountain art school. (“I had known him less than an hour before I was making out a check for thousands of dollars,” she recalled.) The next year Ida died—C.B. had passed on in 1935—leaving Lora an inheritance that enabled her to fund one of the first structures
at the new Idyllwild School of Music and the Arts (ISOMATA), a sculpture studio. She was a natural choice to pilot ISOMATA’S first class in 1949, a year before the school’s formal launch. That class was held on a freshly poured concrete pad in the shadow of the embryonic campus’s “Great Rock,” which would become a patio wall for the Lora Steere Sculpture Studio.
The ISOMATA opportunity was a crowning touch, knitting together the three lives of Lora Steere, the bedrock forces that made her a unique woman. It gave her an influential creative outlet. It provided a magnet for family and friends. And it solidified her attachment to the natural mountain environment.
Lora made Idyllwild her permanent home, despite wintering with children or friends in the flatlands. When mandatory retirement took her out of the city schools in 1953, she filled the winter void by signing up for long-desired lapidary classes. At the same time, she abandoned the old family cabin in Idyllwild to camp on land she had purchased in a new development for ISOMATA faculty just across Strawberry Creek from the campus. Immediately, she laid plans to build a new home there on Idyllmont, where she would enjoy perhaps her most satisfying years, with nature, art, and human companionship close at hand.
Throughout her sixteen summers at ISOMATA she took no salary, instead directing that students’ tuition be channeled into the sculpture program. Her influence was reflected not only in an early appointment to the ISOMATA Board of Trustees, but also in less formal ways. Her complaint that noise from a newly inaugurated Children’s Program (a program she herself had proposed) was disruptive to nearby sculpture classes brought an instant invitation from Dr. Krone to scout out and select any twenty acres on campus that could handle the program “at a safe distance.” Most significantly, she inspired and guided a steady stream of talented students.
Her home across the creek gave Lora a place for her family to visit and social interaction with literary, hiking, and supper groups. In 1950 she had inaugurated a long-lasting tradition of weekly outdoor potluck suppers that would draw up to 125 friends and associates. When her house was destroyed by fire, family, campus, and community rallied to see it rebuilt. After Agnes Steere died, Lora reunited with Tom. In 1976, at the tender ages of 88 and 92, they remarried, giving her the pleasure of sharing the last two years of his life in her Idyllwild home.
The mountains gave Lora an uplifting environment for daily living, from her garden close at hand to the heights overlooking Idyllwild. She thought nothing of hiking to the Tahquitz Peak lookout and back before breakfast. When the inevitable deterioration of even the fittest of bodies left her unable to walk, friends fashioned her wheelchair into a modified sedan chair and carried her to Tahquitz Peak for her last two visits in 1982 and 1983. So, at the age of 95 she earned her 81st and final Squirrel Card, a fitting final achievement of one extraordinary person.
When her aged body failed at last, hospice workers enabled the family to bring a smile to her face by taking her back to her familiar mountain home for her last few days. There she died on June 17, 1984.
Probably nothing better embodied Lora’s seamless blend of art, nature, and human relationships than her legendary rattlesnake encounters. More than once, be it during an art class’s field trip or outdoor session, the sudden appearance of a rattler instantly became the occasion to broaden children’s education with topics like alertness in the wild, snake behavior (both alive and dead) and anatomy, skinning and mounting, and finally cooking, with the delicious outcome shared by all.
As her grandson John Steere summed it up: “She sculpted lives as consciously and creatively as she molded clay.”
Article by by Robert B. Smith
Idyllwild Area Historical Society
Lora Woodhead Steere
Lora Woodhead Steere
Lora Woodhead Steere
18 Lora Woodhead Steere
Movie Poster for When Art Met Idyllwild: A Tribute to Lora W. Steere.Designed by: Lea Deesing.
When Art Met Idyllwild: A Tribute to Lora W. Steere (2010): an award-winning documentary short student film paying homage to the famed sculptor who helped the Idyllwild mountain village become a haven for the arts. Pioneer Lora Woodhead Steere (1888-1984) first visited Idyllwild, CA, as a toddler on horseback on the front of her mother’s saddle. After a luminous career as a sculptor and public school art teacher, Lora was recruited as the first instructor at the world-renowned Idyllwild School for Music and Arts (now called Idyllwild Arts).
This short was created by 16-year-old Idyllwild Arts Academy Moving Pictures student Paris Deesing, featuring a selection of rare archival stills and footage from the Woodhead-Steere family collection and ISOMATA’s “The Ballad of Idyllwild,” film by Robert Krone.
Winner of Best Student Film at the Idyllwild International Festival of Cinema.
Director and Editor Paris Deesing; Producer Karen Pomer and Lea Deesing; Written by Karen Pomer and Edward J. Boyer; Narrator, Lea
Deesing. Starring Lora Woodhead Steere and family.
Music Credits: “Nocturne No. 2 in E Flat Major Op 9 No.2 written by Chopin, performed by Emile Pandolfi.
“Till There Was You” written by Meredith Willson for his 1957 musical play The Music Man, and which also appeared in the 1962 movie version. The Music Man was said to be inspired by Willson time as
co-creator of ISOMATA. Another song in this student film, “In Idyllwild,” was also written by Meridith Willson and is performed by Idyllwild
Youth Chorus.
“Little Boxes” written by Malvina Reynolds in 1962, performed by her friend and fellow activist/folksinger, Pete Seeger in 1963, a longtime
teacher at ISOMATA.
“For Sweetie” written and performed by Idylwild Arts Academy student Matthew Fauria
Official Website: www.lorasteere.com/Lora-Steere/Home.html
Facebook Page: www.facebook.com/lora.w.steere
WHEN ART MET IDYLLWILDA Tribute to Lora W. Steere
Showing for the first time Online @http://youtu.be/ZJ4BKKcA3K0
Watch the complete Film
19HeArt Magazine
Pioneer Lora Woodhead Steere (1888–1984) first visited Idyllwild as a toddler on horseback on the front of her mother’s saddle. Now, over a century after that fateful trek, the award-winning short film “When Art Met Idyllwild: A Tribute to Lora W. Steere”, a thoughtful and informative homage to the famed sculptor and teacher, who helped the Idyllwild mountain village become a haven for the arts, opened at the Idyllwild International Festival of Cinema. The short makes its on-line debut, timed to coincide with the launch of the brand new HeArt Magazine.
The filmmaker, Paris Deesing, was a 16-year-old film student at Idyllwild Arts, the very same school where Lora Steere was hired as the first teacher. To create the film, Paris used her considerable editing skills to choose from dozens of hours of rare archival footage and stills, courtesy of the Woodhead-Steere Family collection.
What started off as Paris’ first professional film job, quickly turned into a labor of love. “I felt compelled to tell the story about how
Lora’s fame and success as an artist and teacher helped establish Idyllwild as an art community. She taught the first class at the school, now known as Idyllwild Arts Academy, where I now attend as a film major. That, along with the fact that my father is a sculptor and teacher, made Lora a relatable subject in many ways.”
Paris’ talent was quickly recognized by the Idyllwild International Festival of Cinema’s Director, Steven Savage. “There are those moments when a new filmmaker brings something to the attention of the world that has so much promise, so much vision and style, that its obvious there is untapped genius at work. Paris Deesing is just such a filmmaker. Her documentary shines
a clear and admiring light on what is sure to be an important future career in movies.”
Paris’ talent also caught the eye of the late Irvin ‘Kersh’ Kershner, director of “Star Wars: The Empire Strikes Back”, during his very last trip to Idyllwild to attend the town’s “Lora Woodhead Steere Day” festivities in 2010.
Kersh had taught photography in the early days of Idyllwild Arts and was an old friend and colleague of Lora’s. He enjoyed watching “When Art Met Idyllwild: A Tribute to Lora W. Steere” and commended Paris for her choice of being an editor, rather than a director. He said, “That’s good, editor, very smart. Do you know why it’s smart? You finish editing, then, you go home. You have a life. Then, you keep on editing, but the director, producer, they don’t have a life when they’re making a film.”
Paris is currently attending a local community college and plans to transfer to UCLA film school thereafter. She has a long-standing goal of
becoming a film editor. She recently finished an internship with a local municipal television station, where she performed TV scriptwriting, editing, production and voice-over work.
Lora Woodhead Steere, daughter of a wealthy Los Angeles grocer, rancher and developer, was first brought to Idyllwild in the San Jacinto Mountains at the turn-of-the-century. Loving the outdoors, she grew up to study and receive advanced degrees in zoology and paleontology, although she won fame as an accomplished sculptor, including a commission by Helms Bakery for a series of sculptures to commemorate the 1932 Olympics. Lora returned to Idyllwild every summer with her family. Because of her reputation as an artist and teacher, as well as her connection to Idyllwild, she was recruited by Max Krone, founder of the Idyllwild School of Music and the Arts (now known as Idyllwild Arts), to become the school’s first teacher, when they opened in 1950. Lora died at her cabin in her beloved Idyllwild in 1984.
The film is narrated by Lea Deesing, Paris’ mother. Producers are Lea Deesing and Karen Pomer, friend of the Steere family. Karen Pomer and Edward J Boyer wrote the script. The filmmakers want to especially thank the Woodhead-Steere Family for their generosity in making their archives available.
When An Idyllwild Arts Student Made Her Festival Debut, She Won An Award With A
Film About the Famed School’s First Teacher
Paris Deesing’s ‘When Art Met Idyllwild: A Tribute to Lora W. Steere’, Featuring Rare Archival Footage and Stills of a So-Cal Pioneer and
Renowned Artist, Debuts in it’s Entirety On-Line
Artist Lora W Steere.Photo Credit: Virginia Garner.
Paris Deesing and Irvin Kershner, the late director “Empire Strikes Back” and former instructor at Idyllwild School of Music and Arts. Photo credit: Lea Deesing.
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This essay, typed on a typewriter – not a word-processor – emerged recently in my mom’s files. There is no attribution, but from the context we can tell that it was written about a presentation given by Lora at ISOMATA in or around the year 1971. In those days, Bowman theater was rightfully open air. Many in the audience sat on enormous granite boulders near the stage. Imagine the sweet smell of azaleas wafting by from the nearby creek, and perhaps an occasional bat flying through the footlights. -em
An Evening with Lora SteereJust to look at her standing up there, smiling, relaxed,
waiting for the introduction to be over, one knew she possessed peace of mind. She is a small woman but not thin. The lines in her face are kindly lines, showing that whatever hardships and sadness her 83 years have dealt her, it is she who has triumphed. I instinctively like a person with crows’ feet about the eyes. One can only acquire crows’ feet through an attitude of smiling toward life. Her wavy hair was drawn back in a circle around her face and fastened in the bun style often chosen by artists. It is a “quickly-done” style, and keeps all of the straggles away from one’s eyes.
The introduction was over. Ray Garner had hooked Lora up to a small neck mike which amplified her soft speaking voice and didn’t seem to bother her. She looked up at us pleasantly, asking “Can you all hear me?” Then she chatted with us a few minutes about the time she made a model of Marion, a chimpanzee. Marion had managed to get her fingers onto a small piece of Lora’s clay, and played happily with it throughout the sitting.
The face muscles took on character, Lora picked up a chunk of clay and whomped it onto the ladder stand. The audience now faded out of the picture as she turned full attention to the clay. Her eyes grew keen, her hands and fingers masterful. With a good fist she socked the clay a couple of times, then pounded and poked it. Next she drew out ears. Her voice was clipped now, only tossing to her audience short explanations, as though she were talking to herself. “This is a dog,” she said playfully. Her tongue slid along her bottom lip; her eyes frowned. She drew back a time or two to see how it was coming. Soon a dog in the rough had emerged, unmistakably canine, and before we had time to enjoy it, she was off again, pulling and poking, telling us:
“Now, all you have to do to make a dog a llama is do this with the ears, and lower his middle.”
Another blow of the fist and there was the kneeling lama.
“Always make an animal sitting down if you can. The legs always want to break off.”
She talked of her bronze statues, answering questions on what the process is which goes into the finished statue.
“We haven’t any good bronze casters in California any more. It’s a pity. I used to have Mr. Nelli do all my work but he’s dead now. I have to send my work to the East coast if
I want a really good job done. To the Roman Bronze Works, or the Gorham Silver Company. But it’s not practical; there is always the chance the plastadene or clay will break. Mr. Nelli was marvelous. When he finished my statues every finger mark I left on the original came out on the finished bronze. Not that my fingermarks are so valuable but the bronze caster wants his finished product to be an exact replica of the artist’s work.”
Now Lora was making a French poodle. Tongue on the lower lip again, as she concentrates:
“Now to make the hair, you just push – this – clay through a screen – (your mother’s tea strainer is perfect, but don’t do it) – ‘course it washes out—“
She twinkles. We’re all chuckling now, and entranced.
“I may give him an old-fashioned hair cut. I’m not up on the latest poodle styles. SO forgive me if I do.”
Her conversation wastes no more time than her hands do. The photography students are snapping Lora’s picture right and left, over and under. Ray has probably told them, as our Middlebury professors used to tell us* of Robert Frost’s last poetry readings on the campus, “You don’t want to miss this opportunity. No one knows just how many more years the artist will be around here. It’s a rare pleasure. One of the greats of the world you know, right up here on our own campus ….”
A few more animals, an elephant, then a pig. She showed us how to slice him in half, hollow him out, put him back together for a piggy bank. Now people begin to call out questions from the audience.
“What’s that?” she smiles inquiringly, as she looks up at our faces. Ray relays the questions to her.
“Should one be an artist before becoming a sculptor?”
No, it’s not necessary at all.”
“Can you freeze clay?”
“What’s that?” Squeeze clay?”
“No, freeze it.”
“Oh, well, not so well. Once I wanted to lay aside a piece of sculpture for the winter and I tried to freeze it, but it alternately froze, expanded, thawed and t’wasn’t any good, I couldn’t use it.”
A little more time for questions and the night with Lora is over. Smiling, she retires to a chair in the midst of a thunder of applause. We all go home delighted, knowing we have been treated to a rare experience – an evening with a woman over 80 as keen and talented as ever, her love of life radiating from face and hands.
* According to Wikipedia, Frost taught at Middlebury until 1963. If the author of this piece was a 4th-year student in 1963, she would be perhaps 30 years old at the time of this writing.
An Evening with Lora SteereProvided by Evan Mills
Lora Woodhead Steere
22 Kaarin Elizabeth
As with many children being brought up in a small town, Kaarin Elizabeth felt stifled by its limitations. At an early age, she knew she wanted out and as she puts it, “Anyone I met during that time who was from somewhere else felt different to me and they became my flowers.”
At the age of 12, she picked up her first camera and began taking pictures of every ‘freak’ she could find; punk rockers, the homeless, the strange and the unusual. And, thus, began Kaarin’s journey of personal and creative self-discovery.
This period ended with her first pregnancy at the age of 23. As she puts it, “With no plan and no example of good parenting, I assumed that being a good mother did not include the artist’s life. I knew I wanted my child to have an intellectual, free-thinking environment for healthy development, but, I wasn’t sure what that meant. So, I dedicated myself to finding that out.”
“Trying to be the perfect mother and wife, I eventually forgot who
Kaarin ElizabethLocal Artist - Idyllwild, CA
Contact Information:
[email protected]. Box 3153, Idyllwild, CA 92549Management - (323) 806-4249
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I was as a person.”At 31, Kaarin’s foster sister was found dead in her home. She was
only 28 years old. It was because of this unexpected death that Kaarin began to reflect on her own life and what was becoming of it. Mortality had become real.
Kaarin realized that the part of her she had given up, the creative part, was not making her a better mother. In fact, her family was only getting a part of a person.
It was time to ‘come home’. And, this time, with her family included in the process.
“I now have three autistic children. The youngest, Buddah, is the most seriously afflicted. Presently, I am a single mother raising my kids. My foster sister’s death is the reason I returned to art. Buddah, is the reason I went back to photography. He isn’t part of this world. He sees things differently. He sees things in a way that I can’t. I need to be a part of that.”
“Life is never perfect. Oftentimes… ugly. Yet, in this imperfection, you can fine mood-altering beauty every day. When I share my work with people, I want them to see both the ugliness and the wondrous glory of life. So, I can only hope that you enjoy my perfectly imperfect moments in time that all tell a story of a perfectly imperfect life.”
Article by Peter BuhlPhotograph by Robert Sabin
24 Kaarin Elizabeth The Sirens
Mixed Medium
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Mixed Medium
26 Kaarin Elizabeth Survivor I
Mixed Medium
27HeArt MagazineIn The Dark
Mixed Medium
28 Kaarin Elizabeth Dementia and Purity II
Mixed Medium
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30 Kaarin Elizabeth Unknown Girl I
Mixed Media
31HeArt MagazineGilded Cage
Mixed Media
32 Kaarin Elizabeth Woman Warrior III
Mixed Medium
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36 Brenda York
“I came out of the womb with a pencil!”Born in the Midwest (Kansas City, to be exact) and having lived most of
her life in San Diego, Brenda, now a one-year resident of Idyllwild, displayed her wry sense of humor as she recalled her early years as an artist.
“I’ve just always drawn. I’ve always leaned toward the more creative pursuits. The nuns weren’t thrilled with me because (while doing math or spelling tests) I would draw in the margins! I didn’t really like school until I went to college and I got to choose what I was going to study. I majored in fine arts and then I just took off with it.”
“My early stuff, when I was doodling as a kid, was mostly faces. Then, when I got older, I thought, in order to be a ‘serious artist’, I had to do still-life, landscapes and more realistic work. But, it didn’t thrill me. It wasn’t feeding my soul.”
“I love narrative art. I love wacky art. Outsider art.”“In college, I learned the techniques. I learned the craft of painting and
of making art. I learned the rules. And, as I always say, you have to learn the rules in order to break them.”
Brenda YorkLocal Painter - Idyllwild, CA
Contact Information:
www.brendayork.comwww.brendayork.blogspot.comwww.facebook.com/[email protected]
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“This is something that many younger artists don’t get. When they look at my work, they want to go directly from the starting point to doing something very unusual. (But), the problem is, they don’t have the craft down, yet.”
“I spent years learning the rules. Even after college I took a class with Stanley Goldstein at Idyllwild Arts and I took classes in children’s book illustration at the Pasadena Art Center.”
“It was a lot of discovery. But, I finally spiraled back to faces. (To me) you can tell a complete story in a face. There’s as much in a face as there is in a landscape.”
“There’s probably a face in every painting I do. Some of them you don’t notice right away. I love different levels of discovery. If you see one of my pieces from across the room, it’s very bright and eye-catching. But, if you bother to go view it up close, you’ll notice a lot of things… symbolism, words and phrases. I scratch into the paint, actually, or draw on top of it.”
“I always think that my work is sort of a universal story of the human condition. They’re not just my stories. We’ve all felt these things or had
these things happen to us.”Presently, Brenda’s work shows in two galleries: one in Chicago and
one in Austin. “I’m also in two online galleries. It’s great! I sell a lot of my work online, but I like a combination of both.”
Recently, her work has also gone up in one of Idyllwild’s more delightful venues, the Idyll Awhile Wine Shoppe Bistro, lovingly referred to by locals as the ‘Cheers’ of the town.
Go check her work out and, while you’re at it, have a glass of wine… or two!
Article by Peter BuhlPhotograph by Robert Sabin
38 Brenda York Eye2Eye12x30”
oil on canvas
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40 Brenda York Fork in the Road. No Map.18x24”
acrylic, collage and charcoal on canvas
Dreamer (Not The Only One)16x20”oil and cold wax on canvas
41HeArt MagazinePostcards From The Tightrope Of Calamity24x30”
acrylic, collage and charcoal on canvas
Moonrise Over The Gardens Of Kismet18x24”acrylic, collage and charcoal on canvas
42 Brenda York Urban Cliff Dwellers20x16”
oil and cold wax on canvas
43HeArt MagazineBrain Vapors14x11”oil and cold wax on canvas
44 Brenda York Wild Blue30x24”
oil and cold wax on canvas
45HeArt MagazineBig Fairy Odd Mother48x36”oil and cold wax on canvas
46 Brenda York Alejandro In Wonderland18x24”
oil on canvas
Center Of His Own Attention24x36”oil on canvas
47HeArt MagazineHeartquakes And Jive16x20”
oil and cold wax on canvas
Boneyard Forest19x27” (triptych)acrylic, collage and charcoal on canvas
48 Brenda York A Spot Of Bother In The Garden30x24”
oil and cold wax on canvas
49HeArt MagazineTug Of War48x36”oil and cold wax on canvas
50 Brenda York Diamonds And Lies (Spill From His Tongue)24x36”
oil and cold wax on canvas
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Without Heart, Art does not exist!
Without Heart, Art does not exist!M
AG
AZI
NE
54 Jenny Kirchner
Not only did the recent Idyllwild fire make national news, it was reported that some natives of the town were getting calls from as far away as Switzerland from concerned family and friends, who were watching the developments on television and the internet.
Jenny, an Idyllwild resident and professional photojournalist, was basically thrust into the center of the dire situation and saw the threat to her hometown in a completely different light than other reporters.
“I came here when I was four and haven’t really left for any long period of time. So, documenting this fire was more than just work. It was personal.”
“The fire is definitely the biggest and longest piece that I have focused on.”
Jenny KirchnerLocal Photographer - Idyllwild, CA
Contact Information:
www.jennykphoto.comwww.facebook.com/[email protected]
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At a young age, Jenny’s father bought her a camera and throughout her teenage years, they would go out together and take pictures of nature and wildlife.
“I always said that I didn’t want to make photography a career because I loved it too much and I didn’t want it to become more than what it was. But, it kind of kept growing and coming back. So, obviously, I was supposed to do something with it.”
At 23, after graduating from a crime scene investigation school, working at a dead-end job and not being able to find opportunities in her new area of expertise, Jenny got a call from the The Town Crier, Idyllwild’s local newspaper. She was hired on as a staff photographer and remained there for three years.
“That’s what got me into photojournalism. I didn’t really go looking for it. But, once I was in it, I found out that I loved
it. It became my passion. After the newspaper, I decided to freelance.”
As to the future… “It would be wonderful for my photojournalism to grow. Get bigger. I haven’t outgrown this town, but it would be great to expand. Do different parts of the world. See what else is out there. That would be a dream.”
Article by Peter BuhlPhotograph by Robert Sabin
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74 Elsie Fisher
Precocious. Adorable. Loveable. And, smart as a whip!That’s Elsie Fisher in, as they say, a nutshell. At only 10 years old, she
already has spent half her life as an actress. Her first gig was a commercial for ‘Toys ‘R Us’ and, now, you know her best as ‘Agnes’ from the highly successful movies ‘Despicable Me’ and its sequel.
Elsie said the second film was her favorite because her involvement allowed her to raise funds for the Idyllwild Fire Department following the Mountain Fire.
When asked about being an actress, Elsie doesn’t seem fazed by the work she puts in, saying, “It’s not really hard - it’s kind of the easiest job. The best part is that you get to be someone else.” She did note, though, that the only downside was the driving from Idyllwild to Los Angeles. “That’s not fun!”
Elsie is animated when asked about her pets. She has a Labrador puppy, which she loves spending time with, and a cat she says is “mean sometimes”. She “loves, loves, loves!” animals and dreams about being in a room with dozens of puppies.
Elsie FisherLocal Actress - Idyllwild, CA
Contact Information:
http://www.elsie-fisher.com/
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She also enjoys drawing and painting, “But, I love doing another kind of art which some people might not see as art. That’s – music!”
Elsie has played the cello for the last year at the elementary school under the instruction of Buzz Holmes. She laughs when her size is compared to that of the instrument. “Yeah, it’s pretty much bigger than me! At one time, I had the biggest cello and I had it dragging behind me through school. When I walked along the second floor hallway, everyone thought the janitor was coming because of the noisy clack-clack-clack of the wheels on the case! The best part about playing such a big instrument is that I get to use the elevator at school to ride up to the music room!”
Asked about what she would do if she had an entire day to do whatever she felt like, Elsie said, “I would wake up, play with my dog for about two hours, then, I would Skype my friend and play ‘Minecraft’ for awhile. I would go over to my friend Brooke’s house and, because she lives so close, we could walk and then we’d come back to my house and throw a party, with unicorns, and all kinds of cool amazing stuff would happen!”
For dinner she would have “dumplings and mac and cheese - but only
if my Dad made it, because the way he makes it is amazing!” Elsie knows how to make brownies with walnuts ‘by heart’ and says she likes fudge, but curiously, not with walnuts... just regular fudge!
We talked with Elsie at Idyllwild’s community-built playground, and she, like any other 10-year-old, displayed boundless energy; running, sliding and climbing.
Her favorite thing is the giant tire swing. She smiles and says, “It’s so cool because I got to fund that and it’s the most fun thing to play on, I think!”
Elsie talked about her recent interview for the ‘Kickstarter’ project – ‘Be Natural’, a film about Alice Guy-Blache, the first female film director and her relative obscurity. Elsie said, “When I learned more about what she did back then, and how she was the first person to do certain things in film, it changed the way I think. Now, I think I can do so much more when I grow up!”
We concur, Elsie!Article by Peter Buhl
Photograph by Robert Sabin
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82 Violeta Villacorta
International in flavor, eco-conscious and a staunch supporter of sustainability, Violeta and her one-of-a-kind clothing are true expressions of fashion as art.
As with most artists, her interests started at a young age. “When I was eight or nine years old, I would make drawings of girl’s clothes and accessories. Super colorful. I’d draw up little paper dolls and then put clothing on them. I didn’t really care to buy the books that had that. I wanted to make them (myself). I thought I was just playing. But, it actually became my work.”
“Initially, I wanted to be an architect. My father was a Civil Engineer back in Peru. He had a number of architects and draftsmen (working for him). I used to spend a lot of time on top of their desks, just watching them work.”
“My father died when I was nine. At that time, I figured, okay, I’m not going to get to work with my dad and, so, at around thirteen when we moved to the U.S., I realized that I wanted to do fashion.”
“(Career-wise), I started working for companies in New York City. First
Violeta VillacortaLocal Clothing Artisan - Idyllwild, CA
Contact Information:
www.ORGbyvio.comwww.violetavillacorta.com
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as an assistant, obviously, and then designing. It was an interesting process because you (end up) doing just about everything. And, (at that time), all of it was hand-drawn. Nothing was computerized. I didn’t start computer drawing until I worked with Patagonia.”
While I was writing a business plan for my clothing line, I pulled heavily from them (Patagonia) because they were a sustainable company that was profitable. I was very involved with environmental concerns and I wanted to do things that were beautiful, sustainable and healthy for everybody. It was a perfect fit while I was there.”
“But, long before I worked there, I started doing one-of-a-kind clothing in 1993. That’s when it all began. I was researching companies that were making sustainable fabrics. Sally Fox and her company, FoxFiber, which is still functioning to this day, were making fabrics from organic cottons made from cotton that was (and is) grown in their natural colors. Browns that were grown brown. Greens that were grown green and others. There used to be a great variety of organically grown colored cottons before white became the norm.”
“By 1996, when I moved to Los Angeles, I had a line of eco-friendly clothing. I like to work with companies that are in tune with my values. But, I am independent. If I do three or four pieces a year, I am happy, because it’s art. I work with a talented group of women; one does patterns, another embroiders and another one sews. So, I don’t need a big team. Whenever I need somebody, they’re there.”
“At the moment, I am focused on working with artisans from the Amazon. I really want to see that take off while I continue to create and sell (my one-of-a-kind creations) to more clients.”
Article by Peter BuhlPhotograph by Gerard Boucher
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93HeArt MagazinePhotograph by Gregor Soleo Galos
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106 Dylan Farnham
Soft spoken, articulate and a man who obviously, albeit humbly, takes pride in what he does, Dylan creates one-of-a-kind pieces by hand that, without question, not only hearken back to days gone by, but, also, relegate his work to a higher level of craftsmanship and artistry.
Originally from British Columbia, Canada, his journeys have taken him ‘over the hills and far away’ until finally, he and his wife, Violeta, have now settled in Idyllwild to ply their respective crafts.
“Like most little boys, I wanted to be a ninja when I grew up, and that obviously contributed to my interest in knives and swords. At about 23 years old, I spent three years as a machinist. After I left that, I started making knives as a hobby.”
“I worked for a man named Noah Walt, producing designs for knives. Noah trained police and military personnel all over North America. He would commission me to create self-defense blades based on his ideas. I did over a hundred of those and some of them were quite successful.”
“In 2009, I left Canada, heading south. No plans, really. Just backpacking. I ended up in South America. During that year and a half journey, I met my wife, Violeta, in Panama. I went back to Canada, but stayed in close contact
Dylan FarnhamLocal Metal Artist - Idyllwild, CA
Contact Information:
also check out his work at:
www.classicshaving.com
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with her.”“Eventually, we decided that I should move back down here to California.
That was about three years ago. We spent some time in Ventura and then in the hills of Malibu. Now, we’re here in Idyllwild.”
“I really love it here. Being from British Columbia, it’s really more my style. The trees. The mountains. It’s quiet and you can do more of what you want. I can hammer on my anvil and not feel like I’m disturbing the neighborhood too much.”
“One of the great things that happened moving up here was I met the owners of ‘Classic Shaving’. They’re a straight razor company that produce their own line of products, as well as do marketing and sales for some of the European designed razors. They were in need of someone with my skills. Meeting them was quite serendipitous.”
“It’s been great. Now, my razors are well-known and sought after all over the world. I can’t make them fast enough. Each of them are done by hand from scratch. Nothing pre-made. A lot of them I forge. You know, hammer and anvil! So very traditional.”
“With my work, I have found a way of making the functionality (of a piece)
perfect so that it starts looking like art. The form of it, the shaping of it and everything else about it is brought to a level where it’s going to perform so well, it starts to look different from the usual stuff. Kind of like how a sports car or a race car looks different from a normal car because they’re meant for high performance.”
When asked about his workspace, Dylan commented, “Well, I’d like to eventually get some better machines. My set up is quite rustic compared to some other people doing this kind of craft. I do with a hand tool what most people do at a machine shop.”
Ahhh… but, Dylan… therein lies your magic!Article by Peter Buhl
Photograph by Adrian Garza Sada
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136 Marcos Melo
Marcos MeloLocal Circus, Trapeze, Capoeira Artist - Idyllwild, CA
Contact Information:
www.spideracrobatics.com
Capoeira is a Brazilian martial art that combines elements of dance, acrobatics and music. It is sometimes referred to as a game. It was developed in Brazil, mainly by African descendants with native Brazilian influences, probably beginning in the 16th century. It is known by quick and complex moves, using mainly power, speed and leverage for a wide variety of kicks, spins and highly mobile techniques. Capoeira, used in genuine self-defense situations, incorporates many sweeps and low moves, whereas, when played as a game, there is more emphasis on high moves, demonstrations of acrobatics, full cartwheels (called au) for evasion and flips, or other exotic techniques by mestres (masters).
The word Capoeira probably comes from the Tupi language, referring to the areas of low vegetation in the Brazilian interior where the game was played. It was invented by slaves and disguised as a dance in order to prevent its ‘capoeiristas’ from punishment or execution for learning how to fight and defend themselves, which was forbidden to those who were legally defined as property. It is nearly always practiced to traditional Brazilian berimbau music.
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With a burning desire to one day be a part of the pinnacle of circus shows, Cirque du Soleil, Marcos, a native of Brazil now residing on the hill, recalls how it all began.
“(When I was young), I had a lot of friends in Brazil who used to practice Capoeira. I watched them training and training and, I said, ‘Okay, that’s nice!’. I started to see different and interesting things as being part of Capoeira. And, I thought, ahhh, this is kind of dance, acrobatics, fighting all mixed together. So, I started with Capoeira at eight years old.”
“In Brazil, I had been working in different things, like helping in construction and selling things in the street to make money to help my family. When I found Capoeira, I was glad. I started to grow. It gave me opportunities. I started to do shows and to do work in the circus.”
“Now, I like to teach a lot, but I love performance. People who work with the circus want to work with the big companies like Cirque du Soleil. That’s why I keep training and training.”
“Teaching is a good way to stay in shape and (it) keeps you ready for any opportunity that comes. There are a lot of people who are still in Brazil doing circus and Capoeira. But, I came to the United States because it’s the right place
here. Because, here, people are very competitive. So, when you get to a place like this, you have to be competitive, too. You have to show that you do a good job.”
“That’s why I came here with my family. I think that was the best decision.”
Just after our interview with Marcos, we had learned that he and his family, after living a year here in Idyllwild, had to relocate to Florida. We at HeART wish you, Marcos, and your family, the best of luck.
Keep following your heart and it will pay off!
Article by Peter Buhl
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146 Profiles
Profiles Coming Next IssueEach and every month we will be featuring additional artists and their work.
If you are an artist and would like to be featured in the ‘Profiles’ section of HeART, feel free to send five (5) photographs of your best work.
Each photo should be of print quality, with a minimum resolution of 8.5x11 at 300 dpi for portrait and 11x17 at 300 dpi for landscape.
Also, include your contact information.
HeART assumes that what you send is free to publish and has no copyright restrictions. Also, if you wish to have your submission returned, please include a self-addressed, stamped, appropriately-sized envelope.
Send submissions to P.O. Box 3237, Idyllwild, CA 92549 or by email to [email protected]
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Meanwhile check out Mark Ryden’s work featured above. This guy is a brilliant artist. His website can be found at:
http://www.markryden.com
His work can be viewed at the following galleries:
Kohn Gallery1227 North Highland Ave.Hollywood, CA 90038Ph: 323-658-8088Fax: [email protected]
Paul Kasmin Gallery293 Tenth Ave.New York, NY 10001Phone: 212.563.4474Fax: 212.563.4494www.paulkasmingallery.cominquiry@paulkasmingallery.com
Tomio Koyama Gallery1-3-2-7F, Kiyosumi, Koto-ku, TokyoTel: +81-3-3642-4090www.tomiokoyamagallery.cominfo@tomiokoyamagallery.com
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Students Coming Next IssueEach and every month we will be featuring students and their work. This
is for the High School to College Level who have a strong interest in art. and/or currently enrolled in an art program.
If you would like to be featured in the ‘Students’ section of HeART, feel free to send five (5) photographs of your best work.
Each photo should be of print quality, with a minimum resolution of 8.5x11 at 300 dpi for portrait and 11x17 at 300 dpi for landscape.
Also, include your contact information.
HeART assumes that what you send is free to publish and has no copyright restrictions. Also, if you wish to have your submission returned, please include a self-addressed, stamped, appropriately-sized envelope.
Send submissions to P.O. Box 3237, Idyllwild, CA 92549 or by email to [email protected]
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Kids Coming Next IssueEach and every month we will be featuring kids and their work. This is for
the Elementary to Middle School Level who have a strong interest in art. We have been amazed at the work we have encountered from these little guys.
If you would like to be featured in the ‘Kids’ section of HeART, feel free to send five (5) photographs of your best work.
Each photo should be of print quality, with a minimum resolution of 8.5x11 at 300 dpi for portrait and 11x17 at 300 dpi for landscape.
Also, include your contact information.
HeART assumes that what you send is free to publish and has no copyright restrictions. Also, if you wish to have your submission returned, please include a self-addressed, stamped, appropriately-sized envelope.
Send submissions to P.O. Box 3237, Idyllwild, CA 92549 or by email to [email protected]
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GALLERIES Coming Next IssueEach and every month we will be featuring additional art galleries.
If you have a gallery and would like to be featured in the ‘Galleries’ section of HeART, feel free to send five (5) photographs of your facility.
Each photo should be of print quality, with a minimum resolution of 8.5x11 at 300 dpi for portrait and 11x17 at 300 dpi for landscape.
Also, include your contact information.
HeART assumes that what you send is free to publish and has no copyright restrictions. Also, if you wish to have your submission returned, please include a self-addressed, stamped, appropriately-sized envelope.
Send submissions to P.O. Box 3237, Idyllwild, CA 92549 or by email to [email protected]
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EVENT CALENDARHeART Magazine is now accepting your event listings for October 2013. Everyone who has an upcoming event, or events, will get free listings in our Calendar
Section. And, NO, YOU DO NOT HAVE TO BUY AN AD TO GET LISTED! It’s FREE!!
So, send us your info by Monday, September 23rd and we’ll make sure it gets into our next issue. Hey, c’mon, who else is going to give you free publicity!!??
Please send your listing(s) to:: [email protected]
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CLASSIFIEDSFor advertising information, contact: [email protected]
Next month, we will be initiating this classifieds section for those who would like to advertise in HeART, but may be on a limited budget.
Each slot is w 3.65 in x h 2.34 in. Slightly larger than a business card. Slots may be combined if more room is needed. The rate per slot is $25.00 per month. Ad copy must be submitted a minimum of 2 weeks before the first of each month.
