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| THEY CALL IT THE CITY OF ANGELS 2017 ReDux L A RIOTS 25 Years |
On April
30th 1992,
in Los Angeles,
California
U.S.A.
An Event
changed
a
City
Forever...
Joshua Triliegi has
given us a novel, written spontaneously, and originally
published, a chapter a day, Monday through Friday at
The BUREAU of Arts and Culture Literary Magazines
On Line Readership Sites on the World Wide Web. The
BUREAU Summer Fiction Project began rather humbly
with the energy and schedule which relates directly to a
series of live jazz performances. Working without any
written notes whatsoever, on a daily basis, and posting
each days entry, allowed for the novel to be constructed
with direct participation of the Reading audience which
grew from hundreds to thousands to tens of thousands.
Our door to door delivery of ten thousand paper editions
in the Spring of 2013, to residents of Cities in California
launched on-line readerships which grew exponentially.
Season One originated in The Summer of 2013, and it
appears in this edition as Part One. Part Two and Three
are Seasons Two and Three, which were written with all
the Rules and Structure as the First : No Written Notes.
The Novel, in this version, gives us a textured and multi
Cultural view of Life in Los Angeles, sprocketing around
Five Families. The riot is simply the backdrop for a very
real and consistent group of people, who live in The City.
The event is not the burning, the looting, the beating, the
shooting, the desecration, the destruction, the decimation.
In Joshua Triliegi's fictional reflection of his Los Angeles,
African mysticism, Mexican mythology, Asian philosophy,
Prison politics, Family finances, Rock & Roll Royalty and
the Spirit of Ancestral Energy collide, collude and collect
a momentum, spiraling downward, upward & outward.
Like a live Jazz Recording, This Edition gives us a Look
at The Stories of a Los Angeles that reach far beyond the
Events of 1992 and The 25 years that burned into history.
Here we experience the year before, the year of, and the
year after, through the eyes of over a dozen individuals,
each with a Life, a History, a Family, and a Future in a
Place Out West : They CALL IT The CITY of ANGELS.
Apparently,
Twenty-Five
years
have
passed
since
we
experienced
The
Riots
of
Los Angeles
92...
It always seems like, just the other day, my City was on fire.
Time is a man made concept, based on a planets revolution.
Five times Five = Twenty - Five. The structure of the Novel,
is based on simple five count rhythms, related to Number 5.
Notes were not utilized, so each chapter break was designed,
with a kind of Basic Mathematical Structure, so whatever
challenges arose, in terms of narrative consistency or story
development, balance between all the stories was built in .
Any and all of The Interviews that proceeded this work of
Fiction definitely influenced the characters in The Novel.
For instance, The BUREAU of Arts and Culture Interview
with longtime Venice Beach resident & Los Angeles Radio
Disc Jockey helped to shape The Stone Family, which play a
large role in the book. Obviously, The writers I admire, like
Oscar Hijuelos, and his arsenal, make a few appearances.
Other influences are wide and diverse. The goal in Season
or Part One was to simply create a group of characters that
we could follow, that we cared about, that would take us into
their lives. In Part Two, there was a conscious effort to bring
two and three characters together, through story, through
each persons history & through dialogue between them. By
the time year three rolled around, it was clear who every
one was, what their circumstances were & the story simply
played out. Back to structure, five families, 5 days a week,
kept the actual revolving chapter aspect orderly & allowed
for the Imagination and Narrative Intertwining to happen.
There are also two archived Interviews included within
this edition, the first for Season One in 2013, another for
Season Two in 2014, giving readers a glimpse into process.
It is said that many Authors have trouble perusing their first
Novel, and understandably so. Glancing at this work again,
feels like, listening to a vinyl record with various & assorted
musical acts, each contributing a song, with Rock, Soul and
other Pop Music genres, eventually creating a Live Concert
Album or in this case : The Novel.
- JOSHUA TRILIEGI
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PHOTOGRAPHY DIANE ARBUS : The IMAGE
by Joshua A. TRILIEGI for BUREAU of San FRANCISCO
©The Diane Arbus Estate Now on View at SAN FRANCISCO MUSEUM OF MODERN ART
Diane Arbus is an Artist, Photographer, Mother, Friend, Teacher, Futurist, Philosopher, Collector, Lover, Dreamer, Investigator, Writer, Seeker and a Human Being who looked at The World through a Lens and Captured for All to see, what Others had shied away from. Since that time New Generations continue to discover Diane Arbus's Catalogue of Fascinating Photo Images.
Diane Arbus has been ahead of her times and ahead of her contemporaries, both through her extensive life's work in images, as well as her very creative and philosophical process. She lived in the center of an important time and place, had an uncanny ability to seek out creative, commercial and confounding subject matter that to this day surprises, influences and awe inspires artists of all walks of life. From her portrait of the young twins, which influenced the work of filmmaker Stanley Kubrick to the fashion styles in punk rock music, to the elliptical influence of above all, alternative lifestyles: Diane Arbus is still edgy and much of her work is older than you are. The dissertation among art world cronies today have focused on the newest discoveries, such as Vivian Maier, and yes Ms. Maier's work is interesting. Though, when revisiting the Diane Arbus body of work, one is completely awestruck at the bravery, the skill, the humor, the pathos, the danger, the craft, the dedication and the entirely obsessive nature with which she had returned, time and time again to her subjects. Diane Arbus's intensive photographic journaling, documentation and experimentation chronicled and discussed in "DIANE ARBUS REVELATIONS" By Random House Publishing is nothing short of Pure Artistic Bliss. The work is at once surreal and real, symbolic and documentary, fashionable and fetishistic, beautiful and astonishingly sad. How can an image be all of those things at the same time ?
"The Portraits are Stinging, Radiant, Lovely, Cute, Grotesque, Sexy, Bold, Radical, Quaint and much of the time : They are all these things at once."
Her image of "Clouds on a Screen at a Drive-In" at night, with a twilight sky scene is a great example of how Diane's humor and opposition seemed to work in a completely poetic way. The Portraits are stinging, radiant, lovely, cute, grotesque, sexy, bold, radical, quaint and much of the time : they are all these things at once. Diane's family portraits are extremely telling in a socially and psychologically important way, in the same way that classic oil painters of the 1700s might slip in details that even the subject might not entirely pick up on. One minute she was photographing Norman Mailer for Esquire or Harpers or the New Yorker and the next she was as a nudist colony, in the nude herself, capturing reality, in all its raw intensity. Ms. Arbus is the closest thing we have to a war correspondent, and, it is safe to say, the chances she took, both socially and artistically were as brave, or more so, than many of her contemporaries in literature, art and photography. Diane Arbus is still ahead of the times and will always be influential, collectible and relevant to future generations.
- Joshua A. TRILIEGI / BUREAU of ARTS and CULTURE SAN FRANCISCO EDITION
ON LINE LINKS TO ARBUS RELATED EXHIBITIONS, BOOKS, FILMS and More ...
The BUREAU Writer JoshuaTriliegi@Gmail.com
The SFMOMA Museum https://www.sfmoma.org
The Gallery https://fraenkelgallery.com/artists/diane-arbus
Tap Live Link https://BureauEditor.wixsite.com/AudioInterviews
The BUREAU SAN FRANCISCO :
NAPA VALLEY in Next E Edition
KRIS KUKSI: SCULPTOR
By BUREAU of ARTS and CULTURE MAGAZINE Editor Joshua TRILIEGI
Picture if you will, The Titanic, after submission. The bodies and their souls: passengers, crew and stow ways. What would it feel like ? What might it it look like ? Imagine a world in all it's minute detail that could illustrate such a scene & you will begin to fathom the world of Mr. Kris Kuksi's sculpture. An accomplished painter who happened upon sculpture by hobbling together preexisting objects into new and original arrangements which set the bar a notch or two above any previous ideas of sculpture since, say, French Rococo or Italian Baroque architecture of olden day. Mr Kuksi subverts the ideas of religiousity, empiric nobleness and the wreckage of a post modern society into a sort of anarchy of the mind. One of the very few artists in our known history to tap into an ephemeral world with all it's detail, all it's nightmarish qualities, all it's passion, lust, violence and posture, in a tone and style that is wholly original. Mr Kuksi is steeped in mythology, astrology, greek gods and a modern history that includes Napolean, Beethoven and Oedipus. Comparisons are few, though, I would suggest Dore', Heronymous Bosch and the films of Terry Gilliam. Kuksi manufactures an overall visual schematic that provides a battlefeild of ideas which suggest the afterlife of a major event, such as, The Civil War, The French Revolution or the end of the world.
" One of the very few artists in our known history to tap into an ephemeral world with all it's detail, all it's nightmarish qualities, all it's passion, lust, violence and posture, in a tone and style that is wholly original."
He creates a fantasy world come true in mono and duo chromatic form, that is entirley haunting, fantastic and when he is really on his game: darkly humorous.The artwork utilizes themes that freely criticize war, religious crusades and ideas of empiric ideology, while at the same time, employing the very devices, symbols and gestures that originally propagandized and sold those ideas to a hungry public. Kuksi is like a fiction writer who has established identifiable characters who will then willfully act out scenarios of a horrendous and beautifully haunting plotline that leaves us aghast, enthralled and sometimes in awe. When Jack Nicholson was asked to describe the filmmaker Stanley Kubrik after working on The Shining, he famously replied, "Brings new meaning to the word: Meticulous." To echo those sentiments and ride Jack's wave a bit, Kuksi, it might be said, brings new meaning to the word: Obsessive. Like Kubrik, he is creating a world that hints at a larger literary and historical idea wherein each character plays a part. So far, Mr Kuksi has spent a large amount of energy and time tackling European history. When he has focused on American history, there are modern takes on issues of politics and religion, though the canon is scant of our own story, such as the Native American experience or African American slavery, which is indeed a landscape worth considering. Mr Kuksi, who was born in 1973 has discovered and mined a mature style and body of work that has captured the attention of both collectors of fine art and the general populist, it will be interesting to see where he takes us next, whether it be Heaven or Hell is simply a matter of opinion.
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The PAINTER: GEORGIA O'KEEFFE
Georgia O'Keeffe, as a person, was precocious, defiant, intelligent, unwavering and spirited. Throughout her education and early years as a painter, she produced an original abstractionist style that had preceded a group of New York painters of the male variety that has, to this day, remained wholly original, breathtakingly expansive and sexually charged in a way that empowers feminine energy and iconography. O'Keeffe rejected analysis of her works from start to finish, from her early years in New York, to her later years in The West, everyone seemed to get it wrong. So then, let us look again at the paintings and life of Ms. Georgia O'Keeffe and see if we can put this incredible body of work into a new and contemporary context with a fresh eye and revisionist look at this phenomenally bold American.
THE BUREAU ICON : GEORGIA O'KEEFFE
Georgia O'Keeffe is born in Wisconsin in 1887 to Irish - Hungarian parents. By the time her years equal her fingers, she discovers art. Early study of watercolors leads to college, art school in Chicago and the Arts Student League in New York City. She recalled, later in life, "I only remember two things that I painted in those years - a large bunch of purple lilacs and some red and yellow corn." Subjects and colors she would return to throughout her life. By her twentieth year, she is awarded prizes and still seems to reject the praise, due mostly to the fact that her art education seems to reward technique over originality. Adding, in those later reflections, "… I never did like school." While in New York, she and a group of fellow students visit the progressive Art Gallery, 291, eight years later, her own drawings will land in the hands of 291's founder, Alfred Stieglitz, who will become one of her greatest friends, confidants and legally, her husband. In the interim, Georgia O'Keeffe quits painting for four years straight, then, at the University of Virginia and later while studying for a teachers credentials at Columbia College, she falls under the tutelage of Arthur Dow and is set free to pursue something new and wholly original. "I decided to start anew - to strip away what I had been taught, to accept as true, my own thinking. This was one of the best times in my life. There was no one around to look at what I was doing - no one interested - no one to say anything about it one way or another. I was alone and singularly free, working into my own, unknown - no one to satisfy, but myself." This particular statement is extremely important to the core of her character, as it displays O'Keeffe's disdain for any particular reactions to the work, either casually, by fellow artists or formally, by the art critics. As a woman who was decades ahead of her contemporaries, in terms of abstraction in both form and color as well as feminine energy personified freely and independently in an iconic manner: O'Keeffe took a beating by the critics. Some of the blame often falls on Alfred Stieglitz and his in depth photographic series of Ms. O'Keeffe in all her natural beauty as a young woman. Unfortunately, the public discovered Georgia O'Keeffe as the muse of an older male rebel on the front lines of intellectual battles which included, photography as art, the importance of european abstraction and American art as a whole, before they had gotten to discover the original paintings and watercolors of O'Keeffe as Artist. The timing was off and Ms. O'Keeffe, although celebrated on a national level in art circles, was also widely dismissed through the lens of new psychological trends that included the great Freudian fraud which attempted to minimize the feminine energy that Georgia O'Keeffe's work so boldly personified. Once again, from the beginning of time and written history, the female is minimized by rhetoric & ideology through the powers that be, when all along, Georgia O'Keeffe is actually winning the game. From the modern perspective of 2015, it is time to liberate O'Keeffe's eroticism.
O'Keeffe's journey into public notoriety had all started through a mutual friend in 1916 when Stieglitz famously receives a series of charcoal drawings by a young Miss O'Keeffe and immediately is smitten by the originality, the boldness and no doubt by the fact that the drawings are created by an American who is both young and female. He has seen nothing like it before and in a letter that is formally typed and mailed to O'Keeffe, he expresses his admiration. "What am I to say ? It is impossible for me to put into words what I saw and felt in your drawings. As a matter of fact I would not make any attempt to do so. I might give you what I received from them if you and I were to meet and talk about life. Possibly then, through such a conversation I might make you feel what your drawings gave me. I do want to tell you that they gave me great joy… If at all possible, I would like to show them." O'Keeffe would later describe the 291 gallery, "The things you saw at Stieglitz's place sent you off into the world, just like his conversations did… It was a place that helped you find your own road: It was the only place."
"The things you saw at Stieglitz's place sent you off into the world…"
Alfred Stieglitz and his artistic efforts had been on the verge of the vanguard since the early 1890s. In the beginning, through his own photography in New York City and later in Austria, Italy and Germany. His trips to Paris and his friendship with Edward Steichen had exposed him to the works of Cezanne, Matisse, Picasso and Rodin, all of whom would later be exhibited at 291 Gallery. Culturally speaking, there was a fight for the new and Stieglitz had taken the side of The Moderns, "The search for the truth is my obsession." he describes, "The camera fascinated me and photography became my life." While many people enjoyed the new found art of the photograph, there were purists, such as Baudelaire, who hated photography. Although, at the same time, a new group of painters, also in search of truth on American soil, began to create a new type of painting, which became known as the Ashcan School, painters such as Bellows, Shin, Luks and Sloan, who did not shy away from everyday people, subjects and locations of the populist working class lifestyle.
Alfred Stieglitz walked the streets of New York from 1893 to 1895 capturing photographic images of everyday life. He came from a wealthy family, married into another wealthy family & soon found incompatibility, he took refuge into photography. In 1902 Stieglitz started a magazine, opened a gallery and founded a new group of photographers with Edward Steichen called The Photo Secessionists, by it's very name and definition, it was a rebel act of separation from the norm and it began a steep and unsteady incline towards a peak of cultural defiance that would slowly lead upward to the very top. At the start, Alfred Stieglitz's fight was for photography as art and he indeed found supporters and subscribers. Eventually, he began to fight for modernism at all levels, which included much of the art from the newest and most outrageous European painters. In 1907, while on a ship headed for Europe, Stieglitz has an epiphany through a photographic image that, as he describes was, "A Step in my own Evolution."
Georgia O'Keeffe Pedernal with Red Hills 1936 oil on linen, 19 3/4 x 29 3/4 inches. Collection of the New Mexico M.O.A Bequest of Helen Miller Jones
While in Paris, Alfred Stieglitz photographs Rodin, he views Cezanne's new cubist watercolors and Picasso's paintings, including, "Madame's De Avegnons." A year later, in 1908, his exhibition of the sculptor Rodin's drawings causes a stir by their very nature and erotic simplicity, again, he is ahead of the pack and slowly loses the photographic subscribers who originally supported 291 Gallery and the magazine. In 1911, Stieglitz's Gallery is the first American gallery to exhibit the drawings of Pablo Picasso.
"Alfred Stieglitz's 291 Gallery is the first American gallery to exhibit the drawings of Pablo Picasso"
The public reaction to Picasso's new modernist and primitive approach is abhorrent and with only a single sale, Stieglitz felt obliged to purchase a work himself. His magazine, "Camera Work," was the very first to publish the writings of Gertrude Stein, who would go onto become a modernist wonder of literature and a champion of Picasso's work around the world. Then in 1913, The New York City Armory Show pierces the veil of modernism and justifies many of Alfred Stieglitz's prior decisions. Soon he realizes that the struggle for American Art is lagging behind the europeans and his next cultural battle is for the validity of an American modernist art form by American artists.
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Why all this history, you wonder ? I thought this was an article about Georgia O'Keeffe, you ask ? Yes, dear reader, it is, but to comprehend the importance of the beauty, the freedom and the defiant nature of Ms. O'Keeffe's work, you must first understand the fight that preceded her grand entry and the very importance of the simple fact that Georgia O'Keeffe was a very solid American woman with ideas and images stirring inside her imagination that would come into existence and be related directly with a man that had been searching for just such an ideal for over a decade.
"Everyone began talking about the search for… The Next Great American Thing."
When Stieglitze found Georgia O'Keeffe, he had found: "The Great American Thing." As Georgia O'Keeffe herself had described time and time again, looking back at those heady times, "Everyone began talking about the search for the next Great American Novel, the next Great American Poem, the next Great American Painting, The next Great American Thing." Well, my dear readers, I am very happy to inform you that Georgia O'Keeffe not only filled that void, she had been working on the equation, without actually defining it as such, from the time she was ten years old. Now she was twenty-nine years old, had been discovered by Stieglitz and was about to take center stage.
Georgia O’Keeffe (1887–1986) Yellow Cactus, 1929 Oil on canvas, 30x42 in. Dallas Museum of Art Texas. Courtesy Colorado Springs FAC
The world of the 1920s and it could be argued, that the world of today, is a male dominated world, where woman are subjugated to second class citizenship. Georgia O'Keeffe along Steiglitz's other contemporary painters including John Marin, Marsden Hartley and Arthur Dove helped to define a new and original abstract form in painting that had never, ever, been expressed before. Ms. O'Keeffe did not copy, she did not follow, she did not supplicate, she Invented a whole new 'Thing' and it had all been based on her inner life, her female power, her very sexual and erotic nature.
"The Interesting thing about O'Keeffe is her ability to learn from the Steiglitz gang and the opposing faction of artists commonly called the precisionists ..."
It was new, it was beautiful, it was bold, it was sensual, it was exciting, it was tempestuous, it was authentic, it was avant-garde, it was unblemished, it was purely Georgia O'Keeffe and above all: It was a New American Art Form. The Interesting thing about O'Keeffe is her ability to learn from the Stieglitz gang and the opposing faction of artists commonly called the precisionists group, which culled inspiration from factories, architecture & machinery, leading the way into modern pop such as Andy Warhol's work. O'Keeffe's work includes both a very personal inner emotional and naturally inspired oeuvre and a very precise and overall interest in architecture & modernism. She won by simply using techniques, ideas and methods that did not devote themselves to any school or group.
Pelvis IV, 1944 Georgia O’Keeffe Oil on Masonite 36 x 40 (91.4 x 101.6) Georgia O’Keeffe Museum
But not so fast, there is still so much to say, so much more to explain, this is really just the beginning and yet, due to O'Keeffe's consistency, in both style and technique, the works she will produce, from 1918, when she moves to New York, up to her big abstract art exhibition in 1923, compare, very much in power, in expression and in composition with the works she will produce for the rest of her life: Amazingly so. Georgia O'Keeffe the artist, was seldom in search of a style, if anything she had abandoned her own original approach briefly, only to return to it and then held steadfast to what has now become the O'Keeffe method, with a clearly recognizable iconic brand in todays contemporary world of art. Her move from teaching in Texas to living with Stieglitz in New York happened relatively easily and her adjustment to the big city, where she had briefly studied was seamless. Having been promised by Alfred Stieglitz that she could work for a year straight, without interruption, the original vow had turned into the pledge of an entire lifetime. Though, there were times when his photographic objectification not only was a hinderance to her personal space, it did ultimately damage her perception in the public's eye and personally, she was hurt by the mainstream reaction, especially by the critics. Two years prior to her one person abstract exhibit, Stieglitz displayed 145 new photo works, many of them were of his new muse and lover, Georgia O'Keeffe.
Pelvis Series, Red with Yellow, 1945 Georgia O’Keeffe Oil on canvas 36 1/8 x 48 1/8 (91.8 x 122.2) ) © Georgia O’Keeffe Museum
The images of O'Keeffe are comparable, in modern times, to that of, say, a celebrity power couple such as Jay-Z and Beyonce'. The sexualization of Georgia O'Keeffe had begun. Lets remember, this is by no means the 1930s with Clara Bow or the 1940s with Greta Garbo or the 1950s with Marilyn Monroe or the 1960s with Bridgette Bardot or the 1970s with Raquel Welch or the 1980s with Madonna or the 1990s with Sharon Stone or the 2000s with What's - her - name: This is 1921. On top of that, we are talking about a very serious artist, not a broadway showgirl, not a singer, not an actress, an intellectual visual artist who, in the words of Arthur Dove, one of the male painters in the Stieglitz art gallery stable, "…Is Actually Doing What All The Guys are Trying to Do." O'Keeffe's Abstract Art show is more than impressive, but due to the harsh criticisms, she gives up abstraction for the next few years and switches to representational objects. Though, her choice of subjects such as fruit and flowers is a rather subtle change. If we look closely at the psychology behind this maneuver, we can see that it was entirely calculated and was actually a bold move toward flipping the script on the subjective mind-scape that had pervaded the times via Freudian theories that were trendily in vogue. By creating representational works that still contained a fierce and even blatantly sexually charged nature, Georgia O'Keeffe was tempting critics to fall on their own swords. The critics had originally tried to intimate that she was a sensual animal, expressing her hidden desires through her paintings. Two years later, when O'Keeffe showed up with pears, apples, flowers and the like, all incredibly and beautifully rendered, with the definite possibility of being interpreted as orifice - like shapes and feminine curves that one might taste or touch, she had set a trap for the critics and still marched on into the next sixty years doing exactly as she had from the very start.
Black Hollyhock Blue Larkspur, 1930 Georgia O’Keeffe Oil on canvas 30 1/8 x 40 (76.5 x 101.6) © Georgia O’Keeffe Museum
On the one hand, O'Keeffe had won the battle, on the other hand, we still must wonder what might have been, had the critics not been so foul. It seems that in Georgia O'Keeffe's very nature, there was a sly, humorous, independent human being with a philosophical bent that took each challenge, like a boxer might take a rap on the chin, she simply shook her head and got right back in the ring. A year later, Stieglitz handed her a different type of ring and the two began a journey that would last up until his death in 1949, he was twenty-three years her senior. Many years after his death, O'Keefe described their relationship in the simplest of terms, "I was interested in what he did and he was interested in what I did: Very Interested." Decades later, Georgia O'Keeffe had also taken a much younger lover and partner, shocking those around her and creating the same type of stir that had originally started her career in the first place. Her life had come full circle. Georgia O'Keeffe's first visit to New Mexico in 1929, five years after their marriage, started a new love affair with the landscape, which included annual summer stays and eventually a permanent home that would provide an entirely new style, technique and viewpoint which harkened back to her earliest works, before the critics had tried to sexualize, demonize and project a nasty glaze over her very robust, sensually charged paintings that, to this day, will get just about anyone thinking about the beauty of love. If I find myself looking at an O'Keeffe for very long, well, there is no other way to put it, I get turned on. Anyone who says different is either sexless, afraid or most likely, simply too young or a virgin. O'Keeffe's images simply approve of passion, desire and the art of lovemaking. It is also safe to say that, were she alive today, O'Keeffe would most likely dismiss this entire analysis. The fact of the matter is, for a painter so, 'In Love with Color,' language, words and any verbal communication seemed almost rudimentary compared to the purity of visual expressions by a genius.
The BUREAU ICON : Georgia O'Keefe / Summer 2015 / Written By Joshua A. Triliegi
To Download The Entire MAGAZINE ARTICLE FOR FREE SIMPLY Tap This Link : SUMMER EDITION O'KEEFFE
GEORGIA O'KEEFE EXHIBITIONS AND RELATED LINKS
GEORGIA O’KEEFFE MUSEUM: Georgia O’Keeffe: Line, Color, Composition
May 8 – September 13, 2015 TAP THE LINK: www.okeeffemuseum.org
PHOENIX ART MUSEUM: From New York to New Mexico: Masterworks of American Modernism June 7—September 7, 2015 TAP THE LINK : phxart.org
FINE ARTS CENTER COLORADO SPRINGS: Eloquent Objects: Georgia O’Keeffe and
Still Life Art in New Mexico June 27 – Sept 13 2015 TAP THE LINK: csfineartscenter.org
SCHEINBAUM & RUSSEK LTD: Representing Photographs by Todd Webb & Myron Wood
TAP THE LINK : www.photographydealers.com
TACOMA ART MUSEUM: TAP THE LINK : www.TacomaArtMuseum.org
DALLAS MUSEUM OF ART : Georgia O'Keeffe in The Permanent Collection
THEY CALL IT THE CITY OF ANGELS
FICTION EXCERPT Chapter Eighteen: Hole
Each Chapter of SEASON One was Written in a Twenty - Four Hour Period without Notes Consecutively in The Summer of 2013. We are reprinting the work now, in Support of Our ASIAN Friends in America and around The World. As a Journalist, an Activist, an Individual American Citizen, my Power is limited, but as a Novelist, there are No LIMITS, No OBSTACLES, No WALLS and anything is possible. Until WE ACHIEVE OUR GOALS of UNITY : Here is My Contribution. In Return, I suggest, You The Reader, find a New Way to express your views and create your future. Scroll for INTERVIEWS, Articles + Free download Links to BUREAU of ARTS and CULTURE Magazine. Contact Magazine through email :JohnnyMILWAUKEE@EarthLink.net
Fred hadn't been home in days. He had no reason to be. Running the store on his own now was his only purpose. When he did go home, it was just a reminder of what once was, a daughter and a wife that he had survived. Fred had set up an old army cot in the back of the store. It was easier to just stay there, especially since he had begun to smoke and drink. He hadn't been golfing for over a month and his pals began to get concerned. He was a great golfer, the best in his circle of friends. They all owned shops along the central portion of Los Angeles: serving the community by supplying liquor, furniture, toys, glass, sporting goods, all kinds of small businesses. Fred's ex-partners in-laws had been pressuring him to buy them out. But he had no way of keeping the store together and buying them out at the same time. He would either have to sell his house or sell the store to do so. Fred and his wife had never been particularly close to his ex-partners family. Through the years and especially since her death, his relations with them had gotten worse. He had no idea how desperate they had become for money. They had a bunch of grown children who knew that if Fred would buy them out, that they could put down payments on their own homes. One of the young men was especially distraught about his own dilemma, he had recently gotten engaged and was expecting a child in the next few months. Every one in their house seemed to blame Fred for their problems.
"Fred's ex-partners in-laws had been pressuring him to buy them out. But he had no way of keeping the store together and buying them out at the same time. He would either have to sell his house or sell the store to do so."
The young man had been hearing his mother and uncles talk discouragingly about Fred, ever since their dad had died. The young man had been rummaging through his deceased father's legal documents for the past year, thinking of ways in which he could get Fred to buy out their partnership. They had made a false complaint a few years back, which got Fred audited by the Internal Revenue Service and only ended up hurting their own income. His books were clean and in the end, he proved to be an upstanding and loyal business partner. When the young man came across the insurance policy, he noticed that they had full coverage for theft, disaster and for fire. Strangely enough, the policy, which had originally been drafted way back when, also included the parking lot as well as any living creature on it's premises. That would include a security dog, which they once had, back when the store first opened and the giant palm tree which was not like the other trees that were planted along the sidewalk. Those trees were owned by the city. Their palm tree was situated behind the store, it had cost them a pretty penny to trim it once a year and in itself had raised the value of the property by about fifty thousand dollars. The insurance on the tree would give Fred enough money to buy out the partners, or so thought the young man, who was not entirely educated. He heard about the famous 'Palm Tree Burnings' in the papers and on the news and got a bad idea in his head. Fred was awoken by the rattle of the chain link fence. It was four in the morning. He took out his pistol, climbed the ladder in the rear supply area & unlocked the skylight.
He could see a young man pouring water all around the base of his palm tree which sat just feet away from the cinder block store and inches away from the power lines up above. He shouted to the figure, "Hey you, what are you doing there?" The young man lit a book of matches, tossed it on the ground and the entire base of the tree lit up in flames. Fred was a perfect shot, he could have easily, taken the life of this person, but instead, he shot him in the leg. The bullet passed through the young mans calf and entered the palm tree. The young man ran toward the fence. Fred climbed back down the ladder, opened the back door and ran toward the young man, "Stop right there." Fred ripped the hat off the young man's head & recognized him right away. He was the splitting image of his dead partner Sam. " What are you doing ? Why would you do this ? Why ?" The young man had no proper answer. The roar of the fire was immense, it was reaching the top of the palm tree and was beginning to melt the power lines. Fred opened the padlock on the back fence and instructed the boy to leave. He owed it to Sam, who had been a life long friend, to take care of the boy, even under this type of circumstance.
"The young man had no proper answer. The roar of the fire was immense, it was reaching the top of the palm tree and was beginning to melt the power lines. Fred opened the padlock on the back fence and instructed the boy to leave. He owed it to Sam, who had been a life long friend, to take care of the boy, even under this type of circumstance."
"Don't go to the hospital, you'll have to just sweat it out. Don't tell anyone you were here either. Don't even leave your house until you hear from me. Understand ?" The young man said nothing. "Understand?" Fred repeated, the boy was now openly crying, he shook his head, yes, that he understood and limped down the side street out into the darkness, leaving an orange orb of light that could be seen from miles away, it lit the sky like a giant torch, by now the power and phone lines were on fire and fred had to run across the street to call for help. By the time the fire department showed up, all the power lines had been downed and half the block, including the street lights, had gone dark. Fred explained what had happened in all it's detail, except for the last part. There was a police report. Several detectives were assigned to the case. Because it was a part of the famous, "Palm Tree Burnings", he also had, not only the Feds, but a local reporter for The Weekly, which had been following the case since it's original inception. She had solved a series of cases through the past ten years and got the sense that something was different about this particular burning. Fred didn't get to sleep that entire next day and the store had to remain closed for the next few days. Of course, all the news teams came out and it became another item for conversation.
When the insurance investigators came out, they asked to view the video. Fred had installed three video cameras, one inside, at the register, one out front and one out back. The cameras took stills every ten seconds or so. Fred could only hope that the power lines had been severed before he had opened the gate and let the boy run to safety. When he finally got back inside the store, he looked up, there on the wall, was a picture, it was a snap shot which had been enlarged and framed, a smiling image of both Fred and Sam, with cigars in their mouths, wearing sports shirts out on the golf course. They had both been so hopeful of their new enterprise. Fred looked closely at the picture, Sam seemed to be looking at his partner from the grave, saying, "Thanks." Sam had always been lecturing Fred about this new generation. "You have to believe in these kids Fred, their the future." Fred thought to himself, 'If this was the future than were in a hell of a lot of trouble.' Little did he know, that this was the future and yes, he was in a hell of a lot of trouble. He closed up and for the first time in a month or so, he went golfing. Fred hadn't golfed alone for years. But he was in no mood to talk to the other members of his unofficial golf club. He would have to lie to them and didn't feel like acting. He had done so over five times since the fire and hadn't the energy to do so over a game of golf. He had repeated the story to the fire department, the police, the feds, the detectives and the insurance guys. Later,he had the choice to talk to reporters & had a feeling that the lady from The Weekly knew her stuff. Maybe it would be good for business, he figured that he would do as he had always done. Go with the flow.
Fred had always prided himself on only needing three clubs while playing golf. He used a putter, you had to have a putter, a Three Iron, for Bogies and the like & a Nine Iron. He had an awesome swing that seemed to utilize all of his frustrations and anger and loss into a single guided focus that harnessed his concentration. He had been called a lot of names through the years. The kind of monikers that people gave to foreigners. Things that had enraged his friends only solidified his resolve to be successful, to be good at what he did, to be what he considered a good American, a good father and in the case of Sam's youngest son, to be a good partner. His pals were enviable. Fred was not the jealous type, if a guy was better, he would simply study his technique.
"Things that had enraged his friends only solidified his resolve to be successful, to be good at what he did, to be what he considered a good American, a good father and in the case of Sam's youngest son, to be a good partner. "
The sun was setting, Fred was the last guy on the course. He had the green all to himself. The course was peppered with palm trees and he had to laugh, otherwise he would have to cry, he laughed and laughed and laughed. If anyone was there with him, it was the spirit of his pal Sam. They had been golfers from the first week they came to this country. It was the thing you did in America. They had seen it in the movies and on television. All great business men in America played golf. Business deals all went down over a game of golf, everyone knew that. They had decided to buy the liquor store together at this very golf course and had made a pact that they would get the hell out of the warehouse together. He stepped up to the Eighteenth Hole, the sunset glowed, the sky seemed to speak to him. Fred swung, he watched the ball as it hurled toward the green. It landed in the hole. The flag shook for a second or two and settled. He slowly and methodically walked toward the green. Fred was an American.
THEY CALL IT THE CITY OF ANGELS
FICTION EXCERPT Chapter Eighteen: Hole
Each Chapter of SEASON One was Written in a Twenty - Four Hour Period without Notes Consecutively in The Summer of 2013. We are reprinting the work now, in Support of Our ASIANS Friends in America and around The World. As a Journalist, an Activist, an Individual American Citizen, my Power is limited, but as a Novelist, there are No LIMITS, No OBSTACLES, No WALLS and anything is possible. Until WE ACHIEVE OUR GOALS of UNITY : Here is My Contribution. In Return, I suggest, You The Reader, find a New Way to express your views and create your future. Scroll for INTERVIEWS, Articles + Free download Links to BUREAU of ARTS and CULTURE Magazine. Contact Magazine through email :JohnnyMILWAUKEE@EarthLink.net
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Hear The AUDIO Version of THEY CALL IT THE CITY OF ANGELS AUDIO Season III Intro
RYAN GOSLING : So GOLD 2017
by Joshua Triliegi for BUREAU OF ARTS AND CULTURE Magazine Network
Careers in Hollywood and in International Television, Stage and Cinema are fraught with difficulty, controversy and peril. Seriously, if the Critics do not tear you to shreds, than the Audience awaits, and then there are the Studios, the Agents and the individual performers history, family and friends, the ex-girlfriends, ex-husbands and ex-Everything. Every now and then, an individual performer transcends all The X-Everything's and makes IT. The Actor or Actress, the Director or Camera Person or Costumer or Film Editor or Musician or Producer, or Screenwriter, makes a new film come alive: "It's Alive," screams Dr Frankenstein and a new monster exists. We are enthralled. The transformation of those simple and delicate words placed ever so carefully, and sometimes violently, onto paper, from the veins of experience, loss, pain and joy are somehow assembled and reassembled into a very living, breathing and thriving Entity and or Vehicle, in which we aptly call a Play, or a Film, or a Show. Oft times the hood ornament of this, 'Vehicle,' is The Actor or Actress. This year Ryan GOSLING is getting his due, not just for the new Musical, "LA LA LAND," but, to my mind and heart and eyes: A very well apportioned and risk taking career.
Born in 1980, the same year that we lost John Lennon. The same day that the World Wide Web was proposed and that Voyager One space probe reached Saturn, an unassuming Canadian Couple gives birth to a boy named Ryan. Looking back to the year in which Mr Gosling was created, I recall my first film experience on the Set of Raging Bull, in 1979. A time when New Fine Art Cinema was practiced rarely by filmmakers such as Mr Martin Scorsese. Now, one has hope for this type of filmmaking to return, with the likes of Ryan Gosling. For as much as technology and comic books and product placement have replaced talent and content, it is still the performance, that ultimately rules, in my humble opinion : Cinema.
The Canadian and now Internationally renown actor, director and musician, as well as family man, has done what few Mickey Mouse Club members could accomplish, he has graduated from the halls of Disneyland to the very real universe of World Cinema. Sure, Justin Timberlake is a great comedic actor and Mr Gosling's other early compadre's can be seen on television, here and there, but few can truly claim to have taken the dramatic risks and odd career choices that have gained the respect of this writer, and I assume many of you, our readers and more importantly : The buyers of cinema tickets and subscribers of cable networks.
If you are a woman or a girl, you may have discovered Gosling in the 2004 film by Nick Cassavettes, entitled, "The Notebook." A film which my girlfriend has referenced as a guarantee that, love lasts forever, and that when her and I reach old age, our romance may still exist, through the written word. If you are a guy, you might have discovered Mr Gosling in the dangerous and controversial film titled, "The Believer." A story loosely based on real events and brought to the screen with a scrappy film crew, hand held camera work and a dangerous ending that, to this day, has both The Jewish Community and those outside, discussing the dangerous realities and issues, pertaining to self-hating indigenous peoples of all faiths. The Film Critic, Peter Travers, of Rolling Stone Magazine, rightly exclaimed that, "Gosling gives a great, dare-anything performance that will be talked of for ages." This original performance and the film were accurately compared and contrasted to Edward Norton's breakout role in "American History X," and the young Mickey Mouser was now onto something no amusement park could ever provide : Real Danger.
In 2006, Gosling plays a drug addicted teacher in, "Half Nelson," a film which inspired this writer to consider the smaller stories in my own work. See The BUREAU Literary Site for our recent Short Story Series as an example. The on screen chemistry between Gosling and his students is both politically charged and heartbreaking. The actor is unfairly compared to actor Jason Patric, simply because of his chiseled features by Film Critic Dana Stevens of Slate magazine. Actor Ryan Gosling has much more heart, restraint and inner conflict than all performances by Mr Patric combined. That's saying a lot since Mr. Patric has proven himself, at least, for a certain decade, that has long since past. More aptly, Bob Mondell of NPR, regarding "Half Nelson," states that, "Ryan Gosling… is easily the year's most mesmerizing character study." Absolutely.
In 2011, "The Ides of March," guaranteed us that Gosling had total control of his characters purpose within the actual 'workings,' of the story itself. The thriller, aptly directed by George Clooney, pits Gosling's character against the major machinery of election style, behind-the-scenes, presidential politics. Sexual controversy, deal making, and chess-like maneuvering, in both plotting and timing, that rarely make it to the big screen. Gosling holds his own with the late-great, character actor, Mr. Philip Seymour Hoffman in one of the best Washington DC insider performances since reporters Woodward and Bernstein were brought to life in the Nixon Era film exposing Watergate. Once again, film critics ask all the wrong questions, such as UK's The Independent's headline pleading, "Is Ryan Gosling the new George Clooney ?" For years, those outside our industry have asked simple questions to the much more complicated answers that we actually provide. Is this the next James Dean to both Steve McQueen and Paul Newman ? Is This the next Bob Dylan to Bruce Springsteen and UK's Donavan ? No, this is not the next Anyone, this is the next Ryan Gosling, just as this was the last Ryan Gosling and the future Ryan Gosling. We know they are losing the debate, the conversation, and the entire point, when they compare you, or them, or us, to anyone else. Though, the important factor is that they are, at least pondering, who and what and where we actually ARE.
In 2012, Gosling appears in, "The Place Beyond The Pines," another dangerous film performance that has the film critic, Scott Foundas, of The Village Voice, wanting more. The original work, as cinema, is clearly electrifying, if not slightly off kilter in structure. While the performances of both Gosling, as a carnival performing motorcyclist who returns home, and Bradley Cooper as a do-good police officer, make up for any plot issues that may be lacking. The film itself deals more with time, regret and lost possibilities, rather than redemption or heroism, as is often the case with these smaller stories. There is indeed a long standing tradition in cinema history here, much more in line with the early working class films that have been tried and true from studios such as Warner Brothers in the 1950s. The film also stars Eva Mendes, who is Mr Goslings real life mate and the mother of his children. It is well worth watching. There are few standard wrap ups, in a Gosling picture. Even fewer happy endings, such is real life ? Possibly.
The interesting thing about Ryan Gosling, in the past decade, has been the prodigious output that helped to display his range. He can do action comedy with Russell Crowe, Dark Love Stories in "Blue Valentine," Metaphorical Reality in "Drive," Musical prowess in LaLaLand, drama with just about anyone on the planet and his odd choices set him above and beyond : "Lars and the real Girl," for instance. Where Mr Gosling allows story telling, integral casting and off kilter humor to play center stage. The sort of choices that seasoned stage actors might make, as opposed to a child actor, whom clearly has overcome his past. I recall the day my producing partner and I met Mr Gosling, some years ago, in passing, we simply stated, to the then upcoming star, "We Like The Choices You Have Been Making." And in return, we received that sphinx-like smile, that now shines, so brightly for all to see.
As a disclaimer, and as a homegrown Hollywood Screenwriter and Independent Novelist, I must admit that, I do have Products, Books, Stories and Screenplays that have been submitted to more than one Actor, Director and Producer on the stage and in the audience at this years OSCARS Ceremony, that said, the part of me that watches films, loves cinema and sometimes feels compelled to write about Cinema in this publication, does freely submit this article free of such intentions. For it is The A-List Actors, Directors and Producers who make films happen in today's day and age, not just the studios, not just the cable outlets, not just the corporations. And of course it is you too, the reader, the viewer, the audience. To twist a phrase from Billy Wilder's Classic and scathing criticism of careers and life in Hollywood, in the film, "Sunset Boulevard," those of you, no longer, "…Out There, In The DARK…" The audience today has a rather clear and poignant intelligence, that no twitter account, no established has been participant, no mainstream news organization, no account of the arts, can truly be manipulated or trashed or copied, or falsified or criticized, for too long, without the brilliance and loyalty and eventual championship recognition that comes from a career of choices that simply make sense. To you, young actor, I salute you. And by the way, when you begin to read new works for consideration, your Agents at CAA, have a project with my name on IT. Until then, KNOW, that you, and everyone else, "Up There," have earned what you have been given, So, Enjoy.
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INTERVIEW: BUREAU OF ARTS AND CULTURE MAGAZINE : JOSHUA TRILIEGI
American Novelist Joshua Triliegi discusses his New On Line Novel, "They Call It The City of ANGELS," creating believable characters and the challenges therein. Season One, Two and Three are available on line at most of the 10 various BUREAU of Arts and Culture Websites & translatable around the world. All Three On Line Seasons Make up The NOVEL's Complete 55 Chapters.
Discuss the process of writing your recent fiction project, " They Call It The City of Angels ."
Joshua Triliegi: I had lived through the riots of 1992, actually had a home not far from the epicenter and experienced the event first hand, I noticed how the riot was being perceived by those outside our community, people began to call me from around the world, my friends in Paris, my relatives in the mid west, childhood pals, school mates, etc... Each person had a different take on why and what was happening, I still have those recordings, this was back in the day of home message recorders with cassettes. So, after 20 years, I began to re listen to the voices and felt like something was missing in the dialogue.
" I noticed how the riot was being perceived by those outside our community ..."
Some of my friends and fellow theater contemporaries such as Anna Deveare Smith and Roger Guenvere Smith had been making bold statements in relation to the riots with their own works and I realized that there was a version of original origin inside of me. I felt the need to represent the community in detail, but with the event in the background. Because, I can tell you from first hand experience that when these events happen, people are still people, and they deal with these types of historical emergencies differently based on their own culture, their own codes, their own needs and everyday happenstances.
You originally published each chapter on a daily basis, explain how and why ?
Joshua Triliegi: I had been editing The BUREAU of Arts and Culture Magazine for a few years, we printed thousands of magazines that were widely distributed throughout Los Angeles and San Francisco and had created an on-line readership.The part of me that had dabbled in fiction through the years with screenplays and short stories had been ignored for those few years. On the one hand, it was simply a challenge to create a novel without notes, improvising on a daily basis, on the other hand, it gave the project a freedom and an urgency that had some connection with the philosophy of Jack Kerouac and his Spontaneous Prose theories. One thing it did, was forced me, as a creator, to make the decisions quickly and it also, at the time, created a daily on line readership, at least with our core readers, that to this day has strengthened our community sites and followers on line. Season One was a series of introductions to each character. Season Two, which happened the following year, was a completely different experience all together.
Describe Season Two of They Call It The City of Angels and those challenges.
Joshua Triliegi: Well first of all, the opening line of Season One is, " Los Angeles is a funny place to live, but those laughing were usually from out of town, " That opener immediately set up an insiders viewpoint that expresses a certain struggle and angst as well as an outsider — looking — in — perception that may be skewed. In introducing characters throughout season one, I was simply creating a cast of characters that I knew somehow would be important to set the tone surrounding the riots of 1992 in Los Angeles. With Season Two, and an entire year of gestation, which was extremely helpful, even if it was entirely on a subconscious level, I had a very real responsibility to be true to my characters and each persons culture. I had chosen an extremely diverse group of people, but had not actually mentioned their nationality, or color in Season One. By the time season Two rolled around, I found it impossible not to mention their differences and went several steps further to actually define those differences and describe how each character was effected by the perception of the events in their life. This is a novel that happens to take place before, during and after the riot. The characters themselves all have lives that are so complete and full and challenged, as real life actually is, that the riot as a backdrop is entirely secondary to the story. I was surprised at how much backstory there actually was. I also think my background in theater, gave me a sense of character development that really kicked my characters lives into extreme detail and gave them a fully realized life.
How do you go about creating a character ?
Joshua Triliegi: Well, there is usually a combination of very real respect and curiosity involved. Sometimes, I may have seen that person somewhere in the world and something about them attracted my attention in some way. In the case of They Call It The City of Angels, I knew the people of Los Angeles had all been hurt badly by the riots of 1992, because I am one of those people and it hurt. One minute we were relating between cultures, colors, incomes, the next we were pitted up against one another because some people in power had gotten away with a clear injustice. So with season two, I personally had to delve deeper into each persons life and present a fully realized set of circumstances that would pay off the reader, in terms of entertainment and at the same time be true to the code of each character. Once they were fully realized, the characters themselves would do things that surprised me and that is when something really interesting began to happen.
Could you tell us a bit more about the characters and give us some examples of how they would surprise you as a writer ?
Joshua Triliegi: Well, Jordan, who is an African American bus driver and happens to be a Muslim, began to find himself in extremely humorous situations where he is somehow judged by events and circumstances beyond his control. I thought that was interesting because the average person most likely perceives the people of that particular faith as very serious. Jordan has a girlfriend who is not Muslim and when he is confronted by temptation, he is equally as human as any of my readers and so, he gets himself into situations that complicate his experience and a certain amount of folly ensues. Fred, who is an asian shop owner and a Buddhist, has overcome a series of tragedies, yet has somehow retained his dignity with a stoicism that is practically heroic. At one point, in the middle of a living nightmare, he simply goes golfing, alone and gets a hole in one. Junior, who is a Mexican American young man recently released from prison really drives the story as much of his backstory connects us to Fred and his tragedies as well as legal decisions such as the one that caused the city to erupt as it does in the riot.
You talk a lot about Responsibility to Character, what do you mean and how do you conduct research ?
Joshua Triliegi: Well, if I make a decision that a character is a Muslim or Asian or Mexican or what have you, if I want the respect of my readers and of those who may actually be Muslim, Asian or Mexican, it behooves me to learn something about that character. As a middle aged man who lives in Los Angeles and has done an extensive amount of travel throughout my life, there is a certain amount of familiarity with certain people. But for instance, with Fred, I watched films on the history of the Korean War and had already respected the Korean Community here in Los Angeles for standing up for themselves the way they did. I witnessed full on attacks and gun fights between some of the toughest gangsters in LA and I think even they gained respect for this community in that regard. Fred is simply one of those shop owners, he is a very humble and unassuming man, in season two, he finds himself entering a whole new life and for me as a writer, that is very gratifying and to be totally honest, writing for Fred was the most bitter sweet experience ever. Here is a man who has lost a daughter, a wife, a business partner and he is about to lose all he has, his shop. Regarding Junior and Jordan, I grew up with these guys, I have met them again and again, on buses, in neighborhoods at school. Jordan has a resilience and a casual humor that has been passed down from generations, a survival skill that includes an ironic outlook at life. He also has that accidental Buster Keaton sort of ability to walk through traffic and come out unscathed. Junior on the other hand is a real heavy, like any number of classic characters in familiar cinema history confronted with the challenges of poverty and tragedy. He is the character that paid the biggest price and in return, we feel that experience. There is a certain amount of mystery and even a pent up sexuality and sometimes a violence that erupts due to his circumstances. In season two, within a single episode, Junior takes his father, who is a busboy at a cafe and repositions him as the Don or boss of their original ranch in Mexico.
There seems to be a lot of religion in They Call it the City of Angels, how did that occur and do you attend church or prescribe to any particular faith ?
I never intended for there to be so much religion in this book. But, if you know Los Angeles like I do, you will realize how important faith is to a good many people and particularly to the characters I chose to represent. With Jordan being Muslim, it allowed me to delve into the challenges a person might have pertaining to that particular faith. Fred's life is so full of tragedy that even a devout buddhist would have trouble accepting and letting go of the events that occur in his life. Junior found god in prison as many people do, upon his release back into the real world, he is forced to make decisions which challenge that belief system and sometimes go against his faith, at the same time, he finds himself physically closer to real life events and objects of religious historical significance than the average believer which brings us into a heightened reality and raises questions in a new way. As for my own belief system, I dabble in a series of exercises and rituals that spring from a wide variety of faiths and practices.
You discussed Jordan, Fred and Junior. Tell us about Cliff and Charles and Chuck.
Joshua Triliegi: I don't really believe in secondary characters, but in writing fiction, certain characters simply emerge more pronounced than others. As this project was a daily serial for the magazine, I did try my best to keep a balance, giving each character a fully realized set of circumstances and history. That said, some characters were related to another through family, incident or history and later, I felt compelled to know more about them and see how they would emerge.
Charles is one of those legendary rock and roll guys who was on tour with music royalty and simply disappeared. He's the missing father we all hear about and wonder what would happen if he were to suddenly return into our lives ? His son Mickey, his wife Maggie, his daughter Cally have all gone on with their lives, when Jordan, accidentally runs him over while driving his bus, Charles returns home and a new chapter in their lives begins again.
Chuck is a cop who just happened to marry Juniors sister and they have several daughters. When Junior returns from prison, he and Chuck clash simply because of their careers and history. I felt it was important to include authority in this story and once I decided to represent a police officer, I wanted him to be as fully realized and interesting as any other character, though, clearly Junior drives much of this section of the novel and Chuck is simply another person that complicates Juniors arrival. I should also explain that the arrival of Junior from years in prison is really the beginning of events that lead up to the basic thrust of the story and somehow almost everyone in the novel has a backstory that connects in some way.
Cliff is absolutely one of my all time favorites. He is a mentally challenged boy whose father happens to be the judge on the case that develops into the unjust legal decision and eventually the actual 1992 riots. I have always felt that challenged individuals deserve much more than the marginalized lifestyles that we as a contemporary society provide. Many ancient societies have relegated what we dismiss as something very special. Cliff is challenged, but also happens to be a very intuitively gifted human being whose drawings portend actual future events. Even though his parents are extremely pragmatic, they are forced to consider his gifts.
Cliff is a young upper middle class white boy who is entirely obsessed with the late great comedian Richard Pryor and at very inopportune times, Cliff will perform entire Richard Pryor comedic routines, including much of the original risqué language. Cliff is an innocent who pushes the societal mores to the edge. I have found through fiction the ability to discuss, develop and delve into ideas that no other medium provided me. And as you may know, I am a painter, film maker, photographer, sculptor, designer, who also edits a magazine reviewing art, film and culture.
As a man, do you find it challenging to write female characters ?
Joshua Triliegi: To some extent, yes. That said, I have spent a good many years with women and have had very close relationships with the female gender, both personally and professionally, so on average, I would say that I am not a total buffoon. In They Call It City of Angels, Jordan's girlfriend Wanda and his mom both appeared and bloomed as fully realized characters that I really enjoyed writing for. Cliffs mother Dora is also a very strong female character that I am very proud to have created. Season two presented a special challenge with dialogue between characters that was new territory for me. I have written screenplays in the past, sometimes with collaborators, once with my brother and more recently with my nephew and in Angels, I found it, for the first time, very easy to imagine the conversations and action in a way that was totally new to my process. I would most likely credit that to my own relationships and possibly to the several recent years of interviewing and writing for the magazine in general.
When will we see another season of They Call It The City of Angels ?
We have set a tradition of it being the Summer Fiction Project at the Magazine and since August is a relatively slow month for advertising and cultural events, we will most likely see a Season Three in the summer of 2015. As you may know, I do not take any written notes at all prior to the day that I actually write the chapter, so the characters simply develop on a subconscious level and then during the one month or two week process, I pretty much do nothing at all, but ponder their existence, day to day. This can sometimes be nerve racking as I do plot things out in my head and sometimes even make extreme mental notes, though even then some ideas simply don't make it on the page. During Season Two, I omitted a section of a chapter and later revealed another chapter into a different sequence of events, but besides that it has been a rather straight ahead chapter a day experience that simply pushed me to invent, develop and complete the work of fiction that might have otherwise never existed or possibly taken much more time. I am curious to see how my next project will develop.
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MUSIC 2016 Edition
BUREAU ICON Essay: HANK WILLIAMS . Guest ARTIST INTERVIEW Realist Painter CHRISTOPHER STOTT . . PHOTO ESSAYS and ARTICLE BY THE INFAMOUS MR. ART SHAY . MATHEW BARNEY at MOCA LA Plus BUREAU PROFILE : ANDREW HOLDER . BUREAU PHOTOGRAPHIC INTERVIEW with LAURA STEVENS in PARIS . BUREAU FILM : BLUE VELVET at THIRTY . ART of MILES DAVIS "The SHAMAN" . PRINCE TRIBUTE plus MUSIC INTERVIEW with Singer-Songwriter: JOSHUA TATE . SOUND ARTIST : CÉLESTE BOURSIER - MOUGENOT with CHRISTOPH COX . DESIGN: ITS ABOUT WALLPAPER . COMEDY INTERVIEW with Andre HYLAND . John DOE . Aimee MANN . Chris STAPLETON . BLACK IS BEAUTIFUL : KWAME BRATHWAITE'S New HARLEM RENAISSANCE . DANNY LYON at THE WHITNEY MUSEUM + R. CRUMB at SEATTLE MUSEUM . Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES RAP MUSIC'S : TUPAC and ICE CUBE with PHOTOGRAPHER Mr. Mike MILLER . BUREAU TRIBUTE TO " LEGENDS OF THE FALL'S," WRITER: JIM HARRISON. Download The FREE Edition in Hi Resolution.
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BUREAU ICON Essay: John STEINBECK . NOVELIST IRVINE WELSH . BUREAU GUEST Visual Artist New YORK City PAINTER : Nathan WALSH . Cinema: AMERICAN Director Hal ASHBY & The CLASSIC FILM "BEING THERE". ART Reviews: Emilie CLARK . Michael KAGAN + The Max GINSBURG LECTURE . San FRANCISCO : Photographs Roman VISHNIAC . Bill GRAHAM at The CJM . The South West Photographic Essay Winner Rich HELMER Plus Diane ARBUS . NEW FICTION ENCORE: They CALL IT The CITY of ANGELS Selected Chapters . INTERVIEWS: Sandy SKOGLUND . Shaun HUSTON on Library Comic BOOKS . MUSIC: The MALLETT Brothers Band . Kehinde WILEY in SEATTLE. USA Museums : Arizona . Oklahoma . San Francisco . ART: John MELLENCAMP. BOOKS : ALI & Malcolm X . SPRINGSTEEN . Literature by U.S. Military Vets . The SEATTLE Photographic Essay . FIVE Best Bookstores in BERKELEY +LITERARY Events 2016 S. E.Hinton's The OUTSIDERS + WOMEN Writers RULE. Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES. Download The FREE Edition in Hi Resolution
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SPECIAL LIVE EVENT IN NYC AT JFK MUST SEE NOW
ANOTHER BRICK IN THE WALL
Part One in a Series of Reports by J. A. TRILIEGI JANUARY 2017
All along the border, double fences topped with barbed wire, trail across the land like so many scars on the flesh of a beaten horse. Humans of all shape and size, age and color, wander on either side, like ants, gathering bits of this and that, simply to survive. The border itself is well fortified. Giant steel posts thrust upwards in a multiple vertical fashion, cold, grey, metal, blocks of concrete and men with guns, stand on either side, they are doing time, they are doing their job, they are taking orders, by a government, by a policy and by a code of service, which may very well, hurt their families, their future and themselves. As for international relations, well, "We The People …," have got some real work to do.
Rain trickles down, unlike finances, in abundance, on both sides of the border. Drops of h2o feel the same from either side. This reporter walks across the great divide, entering simply to see, to observe, to experience and to meet the people of Mexico, or at least, the people of Baja California, which is not exactly, 'M - e - x - i - c - o,' in the same way that, Ellis island, is not exactly, 'A - m - e - r - i - c - a.' And yet, there they are, offering this gringo a taxi ride to and fro. I am on a budget, no publisher or editor or local or national or international publisher would sponsor this sojourn, so I have travelled by bus, a simple twenty dollars from Downtown Los Angeles into Baja, and another 200 pesos, which is ten dollars, gets me into the tourist port town of Ensenada. A destination for the Princess Cruises. In olden day, frat boys, surfers, and tourists of all types descended upon this lovely destination in search of debauchery, coastal beauty and artifacts such as clothes, furniture, objects of value, offered, for much less than anywhere else. Decades of taking have left its mark on this locale, and yet, the new world, the world of technology. the world of commercial enterprise, the world of modern banking has emerged, and stands side by side with the ancient world, we have mythologized about this great land, the land of the Maya and the Spanish Conquistador, mixed, long ago, to create this special race of people, we know as Mexicans and their country: Mexico. History tells us of a country that once sprawled much further north, into the continent that we, as Americans, now inhabit, California, Arizona New Mexico, Texas, etc… The Southwest border states, where, we are now told, that a wall, will be built. As we drive south, over the first hurdle of hills into Ensenada, I can see a double fence, so high, that my eyes have trouble actually measuring its vertical height. Were I forced to estimate, I would guess that the swirling, jagged, barbed wire top sits at least some twenty or so feet in height ? As we drive up and over, I recall the early days of visits to Mexico, taking this same route, with my father, to see the bullfights, with my friends to Surf the coast, and as an artist, simply in search of something different in culture, lifestyle and respite. Since that time, I have been told, by my government, by my friends and by highly propagandized stories of struggle, anguish and fear of overlords, that this place is not safe to visit.
The Western Coast and indeed, the California route from North to South, has a beauty, that is unrivaled and Baja California is no exception. Choose any one mile section of Carmel or Big Sur or Malibu or Baja, and, you will find, they are identical. The earth, the flower, the fauna, the water, the light are all the same. Green valleys peppered with long stretches of two lane highways, merge into gold, rust and creme colored edges that jut downward into rocky cliffs, bays, full with blue, turquoise and white topped waves that careen into the coastal edge. I am on a tourist bus, for the first time in my life. I focus on the coast, as my fellow passengers watch some such film being projected on a television screen, mounted high above their heads. American actors faces dubbed into spanish incongruously describe a false drama that does not relate to the landscape of the earth, the coast, the real beauty of a continent that we share with others. We share this continent with more than one country, that is clear to me, the politics of borders and policies and current views, are not at all as clear as the very FACT, that We share this continent with others.
The tour bus pulls into Ensenada proper, and already I can see a great indian past, the textures of Baja Mexico, are not at all unlike those of Rome or Tokyo or Bangladesh, the history is evident. The street corners, bus stop benches, and even the surface of the streets themselves speak to the viewer, "Where have you been and where are you going ?" I have no answer. I am seeking simply to see what is here now, and what I see are thousands of people walking to and from their homes, their jobs, their responsibilities to whomever and wherever and whatever. Then it comes to me, "Why I am here?" Some time ago, I jokingly told a group of Mexican maids that if Mr. Donald Trump becomes the President of the United States of America, that I will be in Mexico on the day that this incident occurs, and so, I kept my promise, for in less than a day, this man will become the next President of our great country.
Besides occupying my time as a Journalist of some fledgling notoriety, I also write literature of a varying style and length: Screenplays, Short Stories and a Novel, so far. It comes to mind that many in the industry including, Matthew McConaghy, Matt Damon and Ryan Gosling, all very white men of some talent, are married to women with descendants of the latin variety, men whom derive from Texas, from Boston from Canada. A symbol of the sharing of this continent, we call, America. And still we are told that a wall will be built: A Wall. A fence guards against entry, a wall blocks ones view, in obscuring views, perception and reality can be manipulated, like blinders, does this new government wish to obscure our views of one another ? To block our vision ? To control our vista's as well as our Visa's ? It appears so. The Great Wall of China, The Berlin Wall, Pink Floyd's song lyrics from 'The Wall,' explains something about this policy, that most likely, a scared white man in power is, "… Just Another Brick in The WALL."
Like much of America, during the banking bailouts, some eight years ago, Mexico too has been pervaded by a proliferation of Banks. All over Mexico, young upwardly mobile individuals have been employed by this new modern system of checking and deposits, transfers and exchanges. A map of Mexico displays and amazingly flourishing economy of some sort, while on a near by television screen, an attractive young lady speaks excitingly about the new opportunities and services offered by this new technological wonder of modernity. Though this particular town has always had its own economy, and, long before these new technological advances gave them surveillance, invasions of privacy and the desecration of anonymity, this little town had and still retains the old ways of knowing who is here, what they have with them and where they are going, with whom and why. The gained or earned - through - experience, survival skills, of any port or pirate town that, for over a hundred years, has found ways to survive its visitors, its inhabitants and even, it's conquistadors. In this particular case, the Indian past, sits side by side the technological future, old world and new world meet, they make eye contact, they understand one another, they may even assist one another.
Pacific Coast Highway is not Malibu, just as Santa Monica is not Los Angeles and Big Sur is not Northern California. Suffice it to say, that the Coastal Section of Ensenada is not Baja California, by any means. And certainly Baja as a whole, is not at all a representation of Mexico, though, it is safe to say, if you speak to individuals, a bank teller, a bus driver, a casual man or woman on the street, you are indeed talking to a real Mexican, with real human concerns about a very real world that they are living in. I check into my hotel, the room is roughly 12 US dollars and some change, laundry is washed, dried and folded just across the way for under a dollar, fresh food at the local market is priced as such that I find myself giving bags I have purchased for mine own, to those I meet along the way. The first evening passes quickly, rain whips through the town,
the streets flooded with over a foot of water in the lower regions.
Inauguration day arrives without much fanfare here, the television in the hotel lobby displays little about Mr Trump. I am beginning to realize that, the populist of Mexico have already been prepared for this new leader, they understand that American Presidents and most likely all leaders of major powers in the world, then and now, are what they are, a symbol, a face, or, if we search for the latin derivative source: simply a Facade. One need only walk a mile or so east, to find that Mexico, is not unlike any other place in the California's. Middle class neighborhoods lined with houses on either side, one and a half cars per home, some folks living at a higher elevation in the upper middle class areas and those whom own businesses, land and expanses of property of all variety. It is much like any place in the world, some people have money and some people do not. We have heard the new American Presidents criticism's over the past year regarding this country, its people, its past, it's problems. Something comes to mind, as I walk through town, a question arises, " Does any Country in the world send us their best ?" and conversely, "Do we send any other country our best ?" Australia's history tells a story of disbanded and exported individuals whose personal history was somewhat sorted, at least by its own monarchy's point of view, and yet, they seem to have created a land of promise, fortitude and originality, and within that, ab-origin-ality too. Yes, this is digressive, but worthy of note, very worthy.
My clothing is soaked, from top to bottom. I carry my possessions over the shoulder. I am in a country that is not my own. I have little finances, neither a job, nor, a relative in town. I do not speak the language fluently. In essence, for this brief moment in time: I am a Mexican in America. Now I am beginning to understand the beauty, the stoic and sometimes exhilarating aspects of searching to find something more. In this case, I am seeking to learn more about the border, it's realities, it's myths and it's challenges, while many of those among me, are looking for, a better job, some more income, possibly an opportunity, wether imagined or real. I drop off my clothes at the laundry. By the time I pick them up, an hour or so later, several locals are sitting on a couch, watching the television, which displays Mr. Donald Trump uttering the words, "…So help me God." Within a week, he has ordered the building of a wall, the closing of EPA protections and reopening an Oil Pipeline straight through America. My clothes are clean, my conscious is clear and my country is in trouble.
BUREAU OF ARTS AND CULTURE Magazines . Books . Publications Contributing Photographers: Norman Seef, Melissa Ann Pinney, Kwame Brathwaite, Art Shay, Laura Stevens, Craig Reilly, Walter Rothwell, Sandy Skoglund, Rich Helmer, Stephen Sommerstein, Herb Ritts, Jack English, Alex Harris, Gered Mankowitz, Bohnchang Koo, Natsumi Hayashi, Raymond Depardon, T. Enami, Dennis Stock, Dina Litovsky, Guillermo Cervera, Moises Saman, Cathleen Naundorf, Terry Richardson, Phil Stern, Dennis Morris, Henry Diltz, Steve Schapiro, Yousuf Karsh, Ellen Von Unwerth, William Claxton, Robin Holland, Andrew Moore, James Gabbard, Mary Ellen Mark, John Robert Rowlands, Brian Duffy, Robert Frank, Jon Lewis, John Weston, Sven Hans, David Levinthal, Joshua White, Brian Forrest, Lorna Stovall, Elliott Erwitt, Rene Burri, Susan Wright, David Leventhal, Peter Van Agtmael, Mathilde Grafström , Steve Coleman.
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BUREAU OF ARTS AND CULTURE Magazines . Books . Publications Special Thanks: Seattle Art Museum, Whitney Museum, Irvine Welsh, Andy Warhol Foundation, City Lights Bookstore, Joan Schulze, NYMOMA, Da Capo Press, Cantor Arts Center, Stanford University, Pace/MacGill Gallery, National Gallery of Art, Georgia O'Keefe Museum of Art, Fresno Art Museum, Fine Arts Center Colorado Springs, Duke University, The Broad LA, Phoenix Art Museum, Wadsworth Atheneum Museum of Art, Art Institute of Chicago, Museum of Fine Arts Boston, Crystal Bridges, United Artists, Spot Photo Works, Nasher Sculpture Center, D.G. Wills Bookstore, Dallas Museum of Art, Museum of Fine Art Huston Texas, Gallerie Urbane, Mary Boone Gallery, Pace Gallery, Asian Art Museum, Magnum Photo, Chicago Museum of Contemporary Art, Fahey/ Klein, Tobey C. Moss, Sandra Gehring, George Billis, Martin - Gropius - Bau Berlin, San Jose Museum of Art, First Run Features, Downtown Records, Koplin Del Rio, Robert Berman, Indie Printing, American Film Institute, SFMOMA, LA Art Show, Photo LA, Jewish Contemporary Museum, Yale Collection Rare Books, Richard Levy.
Internet Links to The FREE PDF DOWNLOAD of the Electronic Interactive Version of BUREAU of Arts and Culture Magazine. We suggest you view the pdf in the [ Two Page with Cover ] and [ Full Screen Mode ] Options which are Provided at the Top of your Menu Bar under the VIEW section. Simply choose Two Page Layout & Full Screen to enjoy. This format allows for The Magazine to be read as a Paper Edition. Displaying images and Text in Center-folds. When reading on a computer, utilize the Arrows on your keyboard to turn the pages. Be Sure To Download A High Resolution Version at BUREAU of Arts And Culture's Official Magazine Website or any of Our Community Sites with Links Provided Below.
MUSIC 2016 Edition
Guest ARTIST INTERVIEW Realist Painter CHRISTOPHER STOTT . This New Edition Contains The BUREAU MUSIC ICON Essay: HANK WILLIAMS . PHOTO ESSAYS and ARTICLE BY THE INFAMOUS MR. ART SHAY . MATHEW BARNEY at MOCA LA Plus BUREAU PROFILE : ANDREW HOLDER . he BUREAU PHOTOGRAPHIC INTERVIEW with LAURA STEVENS in PARIS . BUREAU FILM : BLUE VELVET at THIRTY . ART of MILES DAVIS "The SHAMAN" . PRINCE TRIBUTE plus MUSIC INTERVIEW with Singer-Songwriter: JOSHUA TATE . SOUND ARTIST : CÉLESTE BOURSIER - MOUGENOT with CHRISTOPH COX . DESIGN : ITS ABOUT WALLPAPER . COMEDY INTERVIEW with Andre HYLAND . John DOE . Aimee MANN . Chris STAPLETON . BLACK IS BEAUTIFUL : KWAME BRATHWAITE'S New HARLEM RENAISSANCE . DANNY LYON at THE WHITNEY MUSEUM + R. CRUMB at SEATTLE MUSEUM . Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES RAP MUSIC'S : TUPAC and ICE CUBE with PHOTOGRAPHER Mr. Mike MILLER . BUREAU TRIBUTE TO " LEGENDS OF THE FALL'S," WRITER : JIM HARRISON . Plus BUREAU ORIGINAL PHOTOGRAPHIC ESSAYS, REVIEWS and ARTICLES
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PLUS THE NEW AUDIO SHORT STORY SERIES :
BUREAU PHOTOGRAPHER
INTERVIEW : LAURA STEVENS
© Laura Stevens / All Images Courtesy of the Artist and Schneider Gallery Chicago, Ill, 60654 U S A
BUREAU: How long have you been creating images with the camera ?
Laura Stevens : I had always wanted to be a painter but didn’t pursue it as I couldn’t perceive how to make a living from it, so I followed a more vocational creative path, becoming a video-maker and graphic designer, which I eventually found frustrating and unfulfilling. I started using photography in my mid-twenties and immediately began to shift directions. It presented a way for me to directly engage with the world from a slight remove, perfectly suiting my curious yet reserved nature. The camera had an immediacy and also offered the means to organise and adapt reality, without stepping too far away from it, becoming the object through which I could better interpret what was around and inside me.
BUREAU: Mood plays a key role in your work, discuss where this element .
Laura Stevens : I am attracted to looking at moments of intensity, to the darker sensations of longing, loss and loneliness, attempting to describe emotions which can be difficult to verbalise and near impossible to share. By constructing scenes, all gestures, expressions, colours and situation help interplay to communicate a feeling. It’s a natural tendency I have to veer towards the shadows - finding it a place more intriguing and challenging to step into in my work. With the series Another November I was describing the sensation of losing love, the deep and lingering emotions following separation. It was following my own experience of a breakup that I made these images, when I desperately needed an outlet to understand and convey the extreme and unbearable moods I found myself in.
BUREAU: The lines between Fine Art, Fashion and Filmmaking seem to have blurred in the past decade, your work includes all three, can you cite examples of each whom have influenced your Work ?
Laura Stevens : All three disciplines feed into my work. In fashion, Deborah Turbeville, with her theatrical, melancholy photographs which went into the private worlds of the models, with such beauty and enduring elegance, and, Horst P Horst for his incredible sense of colour and form. In art; I love Eric Fischl whose voyeuristic paintings of interior lives have such vulnerability and narrative, like a more libidinous and immediate Edward Hopper; as well as Vallotton, Schiele, Hockney and Courbet to name a fair few. My favorite directors include Todd Haynes, Aki Kaurismaki, Gus Van Sant, David Lynch, Louis Malle and Douglas Sirk. I was watching a lot of Sirk when making Another November. His rich and complex melodramas were a big inspiration with their beautiful and uncanny use of colour and light, which cleverly use the domestic space around characters to project their psyche and heighten mood.
BUREAU: When working in a series, do you generally start with a single idea / image or picture and then follow that through with a particular aesthetic, or is there a theme / story to begin with ?
Laura Stevens : They typically start with a theme I want to explore, which at the root is autobiographical. It won’t be defined till after making several images when I’ll begin to understand what is at it’s heart and how best to interpret the subject. The aesthetic develops with time and will be refined to fit the mood. They are narratives centered around women within the domestic space, the divide between the public and the personal, looking at what can only be revealed when in the safe space of the home.
BUREAU: It appears that you are a bit of a Short Story writer, with the camera, does literature influence your work ?
Laura Stevens : Words don’t come easily to me, so I would make a terrible short story writer, but I do enjoy creating narratives within images. When I’m working on something I will try to read around the subject, whilst working on Another November, some particular books which were deeply resonant were Days of Abandonment by Elena Ferrante, The Year of Magical Thinking by Joan Didion, Anna Karenina by Leo Tolstoy, Jane Eyre by Charlotte Bronte and Mrs Dalloway by Virginia Woolf - many of my favourite authors. Literature is the most direct way to get into the mind of another, through reading I can experience the intimate language and thoughts of another to help articulate and process my own individual experience and give it weight and clarity.
"Through Reading,
I can Experience
the Intimate Language
and Thoughts of Another
to help Articulate
and Process my Own
Individual Experience."
INTERVIEW : LAURA STEVENS
BUREAU: How do you choose locations, yours are particularly thick with atmosphere ?
Laura Stevens : Normally the locations are the homes of the people in the photographs. The space around the subject creates an added layer of narrative and they have the ability to feel more comfortable if within their own environment. It gives me the chance to work in different, surprising spaces, finding a frame which is aesthetic and balancing to the subject, whether by colour, shape or objects within it. I have been working in Paris for eight years now, so the locations are often very old, bohemian and rich with details. Living within this city has greatly influenced my work both visually and psychologically.
BUREAU: Discuss the technical aspects of Photography.
Laura Stevens : I have always worked alone, preferring to create a more intimate atmosphere between me and the subject. Technically, I use a DSLR, portable lights, which I sometimes mix with ambient light and a tripod. I am in contact with the subject for some time, viewing their apartment in advance, in person or by a photo, planning the situation and scene before arrival. I bring outfits along with me from my own wardrobe or use something I find of the subjects, searching for a harmony between the styling and the decor. I give the subject a scene to play, directing and stimulating an emotion and we work together to find the best representation of that. I always have a general idea of what I think I want to achieve but leave a large space open for the accidental and unexpected to happen.
BUREAU: Historically speaking, do you ever long for another time or place, and if so, please describe which and why ?
Laura Stevens : Paris in the twenties sounded like fun, but I’m happy living in the present day, even amongst the growing turbulence around us. In another time I wouldn’t have been able to have the opportunities and freedoms I’ve been able to access as a woman. Although I recognize that my work is steeped in nostalgia, from its references to its aesthetics and themes, where memory and dislocation fill the scene.
BUREAU: When was your breakthrough moment before entering the Art gallery Scene as a Fine Artist ?
Laura Stevens : I have been exhibiting since finishing my Masters degree in 2007, but it was after, "Another November," that I seemed to receive more opportunities. I attended Santa Fe last year, meeting gallerists and agents, which gave me some valuable connections and the opportunity of showing my photographs at The Schneider Gallery in Chicago this September.
BUREAU: You live in Paris, describe how your city affects your work .
Laura Stevens : I came to Paris in 2008 expecting to stay in the city for a year or so, but 8 years later I’m still here. This experience has created a shift in my understanding of my identity and of how I approach my work. I spent some years in the city without being in much communication with others or feeling a sense of connection - due to language, culture, relationships. Solitude became a frequent companion and transferred itself to my work. City life itself with its intense proximity to other people heightens this sense of aloneness and it sometimes can feel a little like being James Stewart in Rear Window. The shifting boundaries of self when outside of one’s country are interesting and exciting to play with, but can create a sense of dissonance. The home is the background to my work, questioning what home implies and where one can find it when the location itself becomes lost. Paris, the city of melancholy and romance, with its rich cultural history, the architecture, all combine to affect the ideas and visual notes in my work.
"Paris, The City of
Melancholy and Romance,
with its Rich Cultural History,
The Architecture,
All Combine to Affect
The Ideas and Visual
Notes in my Work."
INTERVIEW : LAURA STEVENS
BUREAU : Give OUR READERS a top ten of things to do in Paris.
Laura Stevens :
1. Francesca Woodman exhibition at La Fondation Henri Cartier-Bresson
2. Olafur Eliasson at Chateau de Versailles
3. Josef Sudek at Jeu de Paume
4. Sunbathe by the Seine at Paris plage
5. Flow - a new concert venue/rooftop bar/beach/boat/restaurant on the Seine
6. Have a picnic at Buttes Chaumont - the most beautiful park in Paris
7. Get out of Paris along with all the other Parisians
8. Ride a Velib through the empty streets on a Sunday morning
9. Go to a flea market - all over town every weekend. www.vide-greniers.org
10. Visit Musee de la Ville Romantique and take a tea in the garden
© Laura Stevens / All Images Courtesy of the Artist and Schneider Gallery Chicago, Ill, 60654 U S A
"The Shifting
Boundaries of Self
when Outside of One’s Country
are Interesting and Exciting
to Play with, but can Create
a Sense of Dissonance."
INTERVIEW : LAURA STEVENS
© Laura Stevens / All Images Courtesy of the Artist and Schneider Gallery Chicago, Ill, 60654 U S A
INTERVIEW : LAURA STEVENS Schneider Gallery 770 North LaSalle Dr. Suite #401
Chicago, Illinois 60654 (312) 988-4033 www.schneidergallerychicago.com
LITERARY 2016 Edition
BUREAU of ARTS and CULTURE MAGAZINE. NOVELIST : Irvine WELSH . ICON Essay : John STEINBECK . BUREAU GUEST Visual Artist New YORK City PAINTER : Nathan WALSH . Cinema: AMERICAN Director Hal ASHBY & The CLASSIC FILM "BEING THERE". ART Reviews: Emilie CLARK . Michael KAGAN + The Max GINSBURG LECTURE . San FRANCISCO : Photographs Roman VISHNIAC . Bill GRAHAM at The CJM . The South West Photographic Essay Winner Rich HELMER Plus Diane ARBUS . NEW FICTION ENCORE: They CALL IT The CITY of ANGELS Selected Chapters . INTERVIEWS: Sandy SKOGLUND . Shaun HUSTON on Library Comic BOOKS . MUSIC: The MALLETT Brothers Band . Kehinde WILEY in SEATTLE. USA Museums : Arizona . Oklahoma . San Francisco . ART: John MELLENCAMP. BOOKS : ALI & Malcolm X . SPRINGSTEEN . Literature by U.S. Military Vets . The SEATTLE Photographic Essay . FIVE Best Bookstores in BERKELEY +LITERARY Events 2016 S. E.Hinton's The OUTSIDERS + WOMEN Writers RULE. Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES.
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BUREAU of ARTS and CULTURE MAGAZINE. This New Edition Contains The BUREAU ICON Essay: BRUCE SPRINGSTEEN The BUREAU GUEST Artist from CANADA Painter and Sculptor Mr. Erik OLSON NEW Interviews + Photographic Essays with Three from The United Kingdom: Street Photographers Craig REILLY, Steve COLEMAN and Walter ROTHWELL. BUREAU Dance: Martha GRAHAM, Plus Mathilde GRAFSTROM : CENSORED German Muralist: Hendrik BEIKIRCH, The CLASSICAL Genius: Daniil TRIFONOV. BUREAU NEWS: David GANS on SUPREME COURT, Plus Mexico's DR.LAKRA Daniel GEORGAKAS on HOLLYWOOD BLACKLIST, The OSCARS and Spike LEE 2016, PHOTO ESSAYS: Stephen SOMERSTEIN at The FREEDOM MARCH of 1965, Alex HARRIS showcasing The Afro AMERICANS in North Carolina in The 1970s Artist Tristan EATON + The Post Modern Paintings Plus BUREAU Film: TRUMBO Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES Across America an The World Through Internet. BUREAU is an Official MEDIA Partner for The ITALIAN Film Festival Plus Our BUREAU ofARTS and CULTURE PHOTO Essays.
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THE MUSIC 2016 BUREAU OF ARTS AND CULTURE MAGAZINE TAP for a FREE Download LINK to Receive 300+ Pages of Music, Articles and More. BUREAU OF ARTS AND CULTURE MAGAZINE'S E-EDITION. ALL The CONTENT for The 2016 MUSIC EDITION Edited and Complied by Joshua A. Triliegi + ONLY Available by Download in E-Edition. All Other previous Editions are available by scrolling down or reading pages above or tapping the features to the left, which also showcase events in The Bay Area Arts + Culture. Alternate Cover designs are also Available, including The Laura Stevens cover and The EYE Cover, with More to arrive throughout the Summer...
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WELCOME to The SUMMER Music 2016 Edition BUREAU of ARTS and CULTURE MAGAZINE. The BUREAU Guest ARTIST INTERVIEW Realist Painter CHRISTOPHER STOTT . This New Edition Contains The BUREAU MUSIC ICON Essay: HANK WILLIAMS . PHOTOGRAPHIC ESSAYS and ARTICLES BY THE INFAMOUS MR. ART SHAY . MATHEW BARNEY at MOCA LA Plus BUREAU PROFILE : ANDREW HOLDER . The BUREAU PHOTOGRAPHIC INTERVIEW with LAURA STEVENS in PARIS . BUREAU FILM : BLUE VELVET at THIRTY . ART of MILES DAVIS "The SHAMAN" . PRINCE TRIBUTE plus MUSIC INTERVIEW with Singer-Songwriter: JOSHUA TATE . SOUND ARTIST : CÉLESTE BOURSIER - MOUGENOT with CHRISTOPH COX . DESIGN : ITS ABOUT WALLPAPER . COMEDY INTERVIEW with Andre HYLAND . John DOE . Aimee MANN . Chris STAPLETON . BLACK IS BEAUTIFUL : KWAME BRATHWAITE'S New HARLEM RENAISSANCE . DANNY LYON at THE WHITNEY MUSEUM + R. CRUMB at SEATTLE MUSEUM . Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES RAP MUSIC'S : TUPAC and ICE CUBE with PHOTOGRAPHER Mr. Mike MILLER . BUREAU TRIBUTE TO " LEGENDS OF THE FALL'S," WRITER : JIM HARRISON . Plus BUREAU ORIGINAL PHOTOGRAPHIC ESSAYS, REVIEWS and ARTICLES
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" THE EYE "
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"LAURA STEVENS PHOTO COVER"
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SAN FRANCISCO is one of the Original Cities where we Launched this Magazine. The Paper Editions went Door to Door. We featured Francis Ford Coppola's film company Zoetrope & their opus production of Jack Kerouac's On The Road. We brought you inside the Art Studios of Artist Joan Schulze on Potrero Hill, Punk Rock historian, participant & photographer Ruby Ray, Photo essays of the City and Interviews with Local Galleries & Updates of Events. More recently, we brought you inside the galleries, museums, book stores and music venues : The Jewish Contemporary Museum, The Asian Art Museum, City Lights Bookstore, The San Francisco Philharmonic, Chinatown and more… This Magazine is Seasonal, but everyday, year round, you will find events, celebrations and discoveries about The Great City by The Bay by simply tapping the link below & there you are. Also at each Community Site, you will find previously published Articles, Interviews, Photo Essays +More...
image : Bureau Guest Artist Painter Christopher Stott Courtesy of George BILLIS Gallery New York + L.A.
BUREAU BOOKS : MUSIC
Our friends at DaCAPO Press have you covered for your Summer Music reading list. Books on and by, The Stones, Dylan and Woodstock, Jim Croce, Metallica, The Replacements, Gun's and Rose'e Duff McKagan, X's John Doe, Dee Dee Ramone and this Fall, new books on and by, Brian Wilson, Keith Morris, The Cure, The Sex Pistol's Steve Jones, Paul Zolo on Songwriting and Kent Hartman on L. A. 's Infamous Rock and Roll Recording Studio Stories. Here are a few quick look reviews, check the site link for the latest at DaCapo.
SMALL TOWN TALK by Barney Hoskins is a well researched, conversational work which immediately drops us into both the current and past mythologies connected with the small town world of Woodstock, New York, through happenstance, interviews and investigative inspiration. A Down home take on a historical spot that helped to provide a refuge to many a good rock and roller.
I GOT A NAME : The Jim Croce Story by Ingrid Croce is a personal, tell all about her late husband, the prolific and well grounded songwriter and musician of the 1970s. Ingrid and her writing partner soberly relate, in honest moments, Jim's journey. We suggest this for anyone who is a hardcore fan of Jim Croce and his musical contributions which are vast and varied, both moody, lyrical and poetic.
TROUBLE BOYS The True Story of The REPLACEMENTS by Bob Mehr is a comprehensive and detailed laden insider's story of the forming of and ultimate trajectory and downfall with and about this uncompromising lot of musicians and their recent resurrection. No one connected with this band has been left behind in this family and music industry detailed exposition of Paul Westerberg's excursion.
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We Also highly suggest this compendium of Reads:
- WAITING FOR DIZZY: Fourteen Jazz Portraits By Gene Lees / Cooper Square
- GONZO Hunter S. Thompson with Ben Corbett and Johnny Depp / Ammo
- ROLLING THUNDER LOGBOOK : The Legendary Tour of Bob DYLAN By Sam Shepard / Sanctuary Publishing
- LEXICON DEVIL: The Fast Times & Short Life of Darby Crash & The Germs By Brendan Mullen with Don Bolles and Adam Parfrey / Feral House
JOHN DOE
West Coast Punk Rock was elevated entirely by the Romance, the Poetry, the Work Ethic and the Love that emanated from John Doe and Exene, backed by DJ Bonebreak and Billy Zoom. The band known simply as, "X," was an impossible cast of characters straight out of The Wizard of OZ. Exene, was part Dorothy and part Witch and The Boys were perfect as the Scarecrow, The Lion and the Tin Man. The World was OZ and we kids, were all drops in the bucket of water. It was all really, rather beautiful, not at all what outsiders, may have perceived. For us kids, many of the characters in the West Coast Punk Rock Family Scene, were our brothers, people like Keith Morris of the Circle Jerks and Darby Crash of the Germs and Henry Rollins of Black Flag Part II, but John Doe, was always a father figure. He was trustworthy, sincere and mature and Exene, became our Mother. They were really the Royal couple of L. A. Punk Rock and Roll, and to me, they still are.
"Many of the characters in the West Coast Punk Rock Family Scene, were our brothers, people like Keith Morris of the Circle Jerks and Darby Crash of the Germs and Henry Rollins of Black Flag Part II, but John Doe, was always a father figure."
There was danger at a Meat Puppets gig and frenetic energy at a Channel 3 concert, There was violence expected and delivered at a Huntington beach venue called the Cuckoos Nest and there would be riots at Ballrooms and Lodges from Redondo Beach to Hollywood Boulevard Venues. TSOL was meant to shred and they did. Watching The Dead Kennedy's was as powerful as viewing Apocalypse Now, twice. Fear, The Minutemen, Adolescents, The Screamers and The Weirdos, all lived up to, and beyond, their names. The Vandals, Social Distortion and Wasted Youth, were so young, on the road, it was really insane, they were as young or younger than us, the audience, and that made it beautiful. Through it all, John Doe was our father, and to many of us, he always will be. Mr. Doe has a new book and album out, with Tom DeSavia and a slew of fellow writers, sharing stories on The True Personal History of L. A. Punk. Entitled,"Under The Big Black Sun," after all, even Punk Rock Father's Know Best.
- Joshua A. Triliegi
JOHN DOE : THE FATHER OF WEST COAST PUNK ROCK
The new album features ten new tracks from Doe with guest appearances from Chan Marshall of Cat Power, Debbie Harry of Blondie, Cindy Wasserman of Dead Rock West and Tom Brosseau. The Westerner was produced by Howe Gelb (Neko Case, M. Ward), Dave Way (Fiona Apple) and Doe. The album’s artwork was designed by Shepard Fairey and Aaron Huey to support Native American rights via a campaign called Protect The Sacred, with additional photography by Jim Herrington.
Of the record Doe says, “The Westerner is dedicated to Michael Blake, author of many books, including Dancing With Wolves, who was a scholar and advocate for Native American rights. He was also one of my best friends for over 30 years. Michael taught me how to ride horses (we knocked each other off them several times) and we taught each other about writing, music and art. Many of these songs are about him or use him as the main character. The new book explores the Los Angeles punk rock movement and its evolution to hardcore punk from 1977-1982, sharing chapter-length tales from the author along with personal essays from players in the scene. The book is written by Doe with the help of Tom DeSavia. Other contributors include twelve notable members of punk bands of the era.
Fans can pre-order the book and album via Doe’s PledgeMusic page at http://bit.ly/1SWr2W5 with part of the proceeds going to Honor The Treaties. John Doe is a founding member of the seminal L.A. punk rock band X and the country spin-off band The Knitters. Doe’s solo career began with 1990’s Meet John Doe, followed by Kissingsohard (1995), For the Rest of Us (1998), Freedom Is… (2000), Dim Stars Bright Sky (2002), Forever Hasn’t Happened Yet (2005), For the Best of Us (extended version in 2006), A Year in the Wilderness (2007), Country Club (a collaboration with The Sadies in 2009), A Day at the Pass (a collaboration with Jill Sobule in 2011), Keeper (2011) and most recently The Best of John Doe: This Far (2015) a compilation of Doe’s favorite solo recording moments.
