magazine

artla
magazine
july 2012
Contents
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Nicole Aronson
Roger Morante
Jodi Johnson Design
The Third Space
The Essentials of Art Business
Caravaggio’s Secret Revealed
ARTree
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This magazine is designed to keep you informed and
entertained in the ever-evolving world of ArtLA.com. As the
premier company for connecting artists with interior designers,
collectors and other art professionals, ArtLA.com is focused on
keeping a watchful eye on all the developments in the global
art and design markets. We hope that you enjoy our
publication, and remember to “like” us on Facebook.com/ArtLA
as our profile is updated daily. For submissions, suggestions or
comments please contact us at [email protected].
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Heidi Gray
Co-Founder
ArtLA.com, Inc.
CONTRIBUTORS
Tim Broughton
Mira Feldon
Cover Image: Nicole Aronson
ART DIRECTOR
Arezoo Bharthania
Nicole Aronson
Abstract Number 3, Mixed media, 48 x 36 inches
Mending a Broken Heart, Mixed media,
48 x 36 inches
by impressionistic painters, such as Monet. His
Bridge over a Pond of Water Lilies is still one of
my favorite paintings. I used to paint it over and
over again as a child. My painting, Heaven on
Earth, is really an ode to the many paintings he
did of water lilies. In quite a few of my abstract
paintings, I believe you can see the inspiration of
Jackson Pollock. I love his paintings. The colors
and the intensity of the paint just jump off the
canvas. His pieces are so visually stimulating. I
also really enjoy the work of pop artists Warhol
and Lichtenstein. I recently saw an exhibit at
LACMA of Monet and Lichtenstein paintings of
the Rouen Cathedrals and was just fascinated to
see how differently they captured the same piece
of imagery. It was quite remarkable.”
An Expressive Expression Of Abstract Expressionism
N
ative Angeleno Nicole Aronson is an
artist whose awareness of color, shape and
evident potent creative streak is clearly defined
whenever any art lover views her marvelous
works of abstract expressionist art. Almost born
with a crayon in hand, Nicole benefitted from
parents who enthusiastically encouraged her
talents, fanning the flames of her embryonic skills
by sending her to private art classes when she
was very young. This progressed after her 11th
birthday when she began studying under the
tutorage of Eli Boodnero, focusing on painting
landscapes and still life oil works. She continued
her studies at the Gayle Garner Roski School of
Fine Arts at the University of Southern California,
receiving a B.A. in Fine Arts in 2007. Nicole
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graduated Magna Cum Laude and Phi Beta
Kappa. While at USC, Nicole explored abstract
painting in acrylic and other other mixed media.
Not one to sit on any laurels, Nicole has a sponge
like mind for education, and has taken courses
in photography, design fundamentals, sculpture,
and drawing. Nicole is one of the most creative
emerging artists of our times and is looking
forward to an undoubtably glowing future. We
recently spoke with Nicole to discover more about
the passion, the art, and the person behind the art.
ArtLA: When did you first discover your talents as
an artist?
Nicole Aronson: ”I think I was born an artist. I was
always painting and drawing, even as a kid. I have
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to thank my parents for nurturing and supporting
my talents. They saw something in me before I
could see it in myself.”
ArtLA: What other interests or passions, if any,
do you have?
Nicole Aronson: ”I have many interests. Among
them are fashion, sports, and musical theater.
You can see my love of fashion in pieces such
as Louboutin Dreams and CHOOsing the Right
Shoe. I am also passionate about my volunteer
work. I lost my Grandma to ALS (Amyotrophic
Lateral Sclerosis) in 2007 and have volunteered
with the ALS Association since then. A portion
of the proceeds of any paintings I sell through
the ArtLA website will go to benefit the ALS
Association.”
ArtLA: With your abstract pieces, like
“Whirlwind,” do you have them predefined before
you start or do they evolve through the creative
process?
Nicole Aronson: ”My abstract pieces evolve
through the creative process. I generally start
with a couple of colors and/or a shape in mind, in
addition to a concept/emotion that I am trying to
get across. Then, I really see where the paint and
my thoughts take me. As a perfectionist, I find
working on my abstract pieces, without everything
defined for me, to be a very liberating process.
Last year, I was commissioned by the LAPQ
(Los Angeles Percussion Quartet) to create an
abstract piece to be featured on the cover of their
CD, Ritual Dances. I found the process for that
piece particularly enjoyable. I started out with a
color palette in mind and, after that, I let the music
guide me.”
ArtLA: Plans for the future?
Nicole Aronson: ”I am taking a class through
the ArtLA Academy entitled “The Business of
Art.” Our homework assignment, to be presented
at the end of the course, is to make a list of our
goals for the next year. So, I thought to myself,
what better place than here to share my main
goal for the year to come. That goal is to have a
solo show at the James Gray or ArtLA Gallery.
In addition, my plans include working on several
new series of abstract paintings and continuing
my volunteer work.”
Nicole Aronson’s artwork is available for
view 2012-2013 at the ArtLA Gallery,
2525 Michigan Ave, D5, Santa Monica, CA
90404. Nicole’s art can also be viewed at:
http://artla.com/artists/artist.cfm?m=1911
-Tim Broughton
ArtLA: What triggered the inspiration behind the
paintings at the ArtLA Gallery?
Nicole Aronson: ”It’s funny where you find
inspiration. It’s often in a place you’d never
expect. In the case of the painting I have in the
show, Circles, it was a television commercial. I’m
a very visual person. Colors and imagery stay
with me. I couldn’t get this ad out of my head and
thus, Circles was born.”
ArtLA: What artists inspire you?
Nicole Aronson: ”I started out painting
landscapes and still life works, largely inspired
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Roger Morante
ArtLA: How did the “Fire”
series come about exactly?
Roger Morante: After I
had taken some serious
photography classes to
cover in greater depth the
technical aspects, I was
invited by the SMFD to
cover their training event.
Given that I had been “fittested” in order to wear
the correct protective
equipment needed to
get close to the flames,
I was able to be in such
proximity that it enabled
me to capture these
amazing images. It is very
rare indeed that anyone
is able to get so close; In
fact my camera eventually
melted due to the heat,
but thankfully the memory
chip survived, as did I!
When I got home I looked
at the photographs and
immediately realized that I
was looking at images the
like of which I had never
seen before. I began to see
shapes within the flames,
faces, figures, memories
and all kinds of amazing
stuff. It was a bit like being
a kid, when I remember staring at the fire and
being mesmerized. These images are exactly as I
took them without any computer modification at all.
Burning Desire
Ghost Rider, Photography, 24 x 28 inches
Roger Morante is an artist with fire in his
eyes…literally! In his work as a photojournalist
Roger recently covered a story about his local
Fire Department’s training program, and during
the course of this experience Roger was privy
to an exercise that involved actually setting
fire to a building. Immediately Roger saw an
opportunity to transform circumstance into art,
and began focusing his camera on the deepest,
hottest areas of the flames in order to capture a
series of clear and unique images that he has
now transmogrified into a collection of works
that present the flames as a perceptive catalyst,
inspiring the viewer to access the deepest parts
of their minds in order to recall the shapes, faces
and memories that lurk tantalizingly just below the
consciousness.
We recently sat down with Roger to discuss
his evolution as an artist, his creative passion,
and his ambitions as a photographer.
ArtLA: When did you first become interested in
photography?
Roger Morante: “I used to travel a great deal. I
have visited over 30 countries, and have lived in
Paris, Florence, Czech Republic and as a child I
lived in Peru; in fact my first language is Spanish.
When I was a teenager living in Paris I began to
seriously study art, and continued those studies
in Florence some years later. This led me to start
adding photographs to my journalistic stories, and
from there I developed a greater interest in the
technique of photography. Later when I continued
my studies in Art History at Santa Monica College
I began to become aware of how the camera
can be used as a brush and canvas. As an avid
sportsman I have always loved the way activity
can be frozen in time with the camera.
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ArtLA: What was your first creative endeavor as a
photographer?
Roger Morante: The first time that I decided to
be uniquely creative with the camera was in the
summer of 2011 when I was covering the Santa
Monica Pier Twilight Dance Series of Concerts, and
I remember taking a picture of a saxophone player
and being conscious of every parameter available,
color, light, composition and background. This
picture was published and received some acclaim.
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photograph in my head before I have even picked
up the camera. I have been working on highlighting
the juxtaposition of color and background with
various objects. I recently applied these principles
while creating images of a historical residence in
Santa Monica. I am very pleased with the results.
My next project is wherever I am with a camera,
and wherever my eye sees the beauty. I am
undertaking some more travel this summer and will
bring back as much photographic art as I can. I am
very excited about the opportunities that I have as
an artist right now.
Roger Morante’s work can be viewed at
http://artla.com/artists/artist.cfm?m=2011
-Tim Broughton
ArtLA: What separates photojournalism from
creative photography for you?
Roger Morante: That’s an interesting question
because we now live in a world where the lines are
blurred, it is now acceptable to be really creative in
both. Journalistic photography IS creative to me.
ArtLA: What are your next projects?
Roger Morante: I have realized that whenever I
look at something these days, I instantly relate to
all the dimensions, it is almost as if I am taking the
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Jodi Johnson Design
projects, and Jodi says that it is one of the
first things that she considers, “…it’s so very
important…its about creating the feeling and the
emotion of a space…I will often physically start
with a great piece of wall art combined with, for
example, a Hans Wegner chair, and a great light
fixture, as the immediate focal point upon entry…
the art always needs to bring life to the space.” As
any designer knows, color is just one vital aspect
of an overall design, and here Jodi told us that she
leans towards minimalism at the outset, preferring
to begin
with a white space, and creating layers on top,
almost like a gallery. “I have to get to know the
personality of the client in order to select artworks
that reflects who they are, their experiences and
their space. I tend to be very considered when
it comes to art and also take into account the
investment value… using framed posters
is a risk I would never take,” she said with
a smile.
It is always a judgment call when
presenting options of pieces to the actual
client, too many can be confusing, and not
enough can be restrictive, possibly even
omitting the presentation of the one piece
that the client will absolutely love, so Jodi
suggested that “it’s always best to go with
a not too many approach, I find using too
many can become confusing, especially
if they {the client} has limited experience
in purchasing art…plus it’s my job to
guide them. I have recently started using
the ArtLA.com system (Client Portfolio
Presentation Application) and have found
that it is very easy to collect art samples,
anything that expedites the process and
looks good to the client is great in my
book.” Jodi said, adding that the most
challenging aspect for her is to ultimately
narrow down the selections, “…especially
when I can find so many great pieces!”
We asked Jodi about contemporary
artists that she has favored, and her
personal slant has been towards
photographic artists, “…I am very excited
about artists like Richard Misrach,
especially his “On The Beach” series,
Massimo Vitali, Marilyn Minter and Jeff
Divine with all his classic surf culture
Beauty Is
In The Eye Of
The Designer
Los Angeles based interior designer Jodi
Johnson began her interest in critical visual
appreciation with what she describes as “an
aesthetic obsession,” with clothes (after being
a professional model and designer). These
experiences and opportunities for education in
design took her to 2004, when she began to turn
her evident compositional skills solely to interior
design, specializing in residential projects. Since
then she has been commissioned to create living
spaces in many Southern California locations,
Hawaii, and also on the East Coast, including
Vermont. We recently spoke with Jodi about the
design process, the importance of art, and her
plans for the future.
Art is a vital ingredient in almost all design
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photographs…I love those!”
Many designers have experienced what they
describe as “unusual” requests from a client, so
we inquired with Jodi about any projects that were
strange, or at least unorthodox, and she said
that she has never considered anything to be in
that context at all, telling us that, “every space is
unique and they all have there own challenges and
inspirations, in some curious way each of them is
“unusual” in the truest sense of the word.” Jodi
Johnson continues to work on residential projects
but has also begun work on a brand new venture
that will specialize in creating therapeutically
centered design elements in living environments
for people who have suffered specifically difficult
events in their lives. Jodi said that, “our living
spaces have a profound effect upon our state of
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mind, and we usually take that energy out into the
world with us. This service is really designed to
help people who have had some form of emotional
trauma, including substance abuse, problematic
familial circumstances, divorce, single parent
experiences...you name it! I intend to help them to
design a living space that is focused upon creating
a sanctuary that will encourage the individual to tilt
towards happiness, self-confidence and productivity.
It’s an area of personal recovery that is often
overlooked, but is vitally important to a person’s
overall improvement and well being, I mean they will
most likely spend most of their time in their home so
how can it not have a powerful effect?”
Jodi Johnson can be contacted at Jodi Johnson
Design (310) 570-9994
email: [email protected]
-Tim Broughton
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The Third Space
All Tied Up!
As human beings, we are constantly
transforming the space that surrounds us. For good
or ill, we are capable of making a great impact
wherever we go, from massive environmental
change to simply redecorating the living room. How
often, though, do we think about the conceptual
reasons we change spaces? The transformation of
a space can happen utilizing a variety of materials.
The most elementary base material, with a lot of
time and the vision of an artist, can rise beyond
its initial purpose and become thought-provoking,
conceptual, even ethereal. Just as carbon and
water make up human beings, many of today’s
artists create pieces that are much greater than the
sum of their parts.
Believe it or not, The Third Space is
constructed entirely from zip ties. A total of 52
graduate and undergraduate architecture students
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bicentenary of the Munich Academy of Fine Arts.
The installation was conceived to be an experiment
that combined the work of all three divisions of the
“Interior Architecture” faculty, comprising interior
design, product design and designing free space.
Intending to communicate the interdisciplinary
basic idea of the study course in full size, 52
students created an installation in order to make
interior space sensible instead of just showing a
retrospect of the students work. The project deals
with sociological terms such as profiling, community
and privacy, translating them into specific spacious
situations. Questions that arose included “Is there
interior design without form? What are the real
qualities of good design? How do interior spaces
correspond with outdoor spaces?
The visitor is dipped into an abstract yet
tangible landscape of light. The installation
reminds the visitor of a bird`s nest and invites
them to “cocoon” in woven construction. During
the exhibition guests were also able to take a
very special bath in the “light-shower” or playfuly
explore a tent-like structure made of braided mesh,
reminiscent of a spider’s web. The students were
organized in teams and were responsible for
curating the entire show by creating the concept
of the exhibition. It is impressive to find such
sensuous quality, and great flexibility with this
unique material.
After very successful shows in Munich and
Dresden, the installation was presented in a new
modification. In November 2008, The Third Space
was exhibited at the annual “Designers` Saturday”
in Langenthal in Switzerland. It is one of the
most important design events in Switzerland and
“The Third Space” won the Designer’s Saturday
Award, after being nominated in the category for
“Best Stand Design”.
It is a natural progression for an installation
of this nature to get recognition across the pond,
and this team of young designers was overjoyed
when they learned that Swissnex San Francisco,
a platform for the exchange of knowledge and
ideas in science, education, art, and innovation,
entered The Third Space for the 2012 Burning
Man Festival.
The Third Space will be featured from
August 27 - September 3, 2012 in Nevada’s Black
Rock Desert.
- Mira Feldon
spent 17,000 hours weaving and knotting 1,292,300
recyclable cable ties with their hands to create an
astonishing interior landscape. The idea of this
interior art is to highlight the three types of space
that humans create: places of retreat, places of
communal living, and places of self expression.
The above area, which receives its form from
halogen balls netted with zip ties, provides ample
and relaxing seating for large groups of people. The
images here show one of the cocoons of retreat.
Isn’t it incredible how over one million zip ties can
be used? It is hard to imagine the amount of time
that goes into something like this – the monotonous
repetition and the necessary attention to detail
required is truly astounding.
The award winning installation The Third
Space, was first shown in Munich, Germany at the
Pinakothek der Moderne, on the occasion of the
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The Essentials Of Art Business
“Most insurers who are insuring a gallery or personal
collection will insist on state-of-the-art security for both
fire and burglary prevention.”
-David Genser
Art Insurance
Art insurance is one of the most important aspects of making sure that a work of art is protected.
Whether you are an artist, a collector, a gallery or a museum, this is one field of your business that it
would be foolish to ignore, to say the least. When you need to insure your piece, what is the best way
to do it, and who are the best people to call? In order to obtain expert advice about this very important
subject we spoke with art insurance broker David Genser of Genser Insurance, and discovered that
it can be easy to unwittingly make an insurance related choice that could end up being very costly
indeed.
Many people are under the mistaken impression that their standard homeowners insurance
will cover their art valuable collection, but as David points out, “general homeowners insurance will
insure art under contents, and therefore only up to the insured contents value. However, if one has an
important collection it should be insured under an art policy and that can be with a different company
than your homeowners insurance, or a separate policy with the company that does your homeowners
insurance…we always recommend a separate policy for both personal and commercial clients.”
One of the parameters that you have to take into account is the security of the location where the
art is housed, David told us that, “this is an important factor in calculating the premium.” He elaborated
by saying that, “most insurers who are insuring a gallery or personal collection will insist on state-of-theart security for both fire and burglary prevention.”
So, you own you artwork and it’s time to value it for insurance purposes. Many people are of the
belief that it is essential to have the art appraised, but David assured us that, “an invoice will suffice,
and sophisticated and knowledgeable collectors will know the current market value of their collection
and that should be enough for most underwriters.”
We asked David if a policy always covers the transportation of the art and he said that a “proper fine
arts policy for personal and commercial insurance should be worldwide, and include worldwide transits.
For someone who only wants to insure for the bare minimum premium they can request a quote without
transits or without additional locations.”
The word specialist is defined as a person who specializes in or devotes himself to a particular
area of activity or field of research and it is always wise when dealing with something as important as
the insurance of highly valuable and invariably irreplaceable works of art to seek such a person. David
recommends that a collector, gallery, artist or museum seek a broker who knows about art and also has
a comprehensive understanding of all the important inclusions that are necessary in a worldwide policy.
David added that, “they need a broker who represents them and can go to numerous markets to obtain
the very best coverage at the very best price.”
David Genser has over 25 years experience in art and valuables insurance, and he can be reached for
confidential consultations at 781-398-1387.
-Tim Broughton
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Caravaggio’s Secret Revealed
A Treasure Trove Of Undiscovered Works
“It’s Caravaggio, like nobody has ever seen
him before”, is what a pair of scientists, who have
discovered roughly 100 unfamiliar early works
of the brilliant Baroque master, are promising
to bring to their audience. The findings from the
archive of the Castello Sforzesco, a castle located
in northwest Milan, are in flawless condition and
originate from the Stock of Simone Peterzano’s
atelier, where Caravaggio had trained as his
student. The value of the sketches is enormous,
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even though some art historians are still a bit
skeptical. Although, what has been visible so far
appears to be very promising.
It is discernible even to laypersons that the
recently discovered drawings possess Caravaggio’s
unique identity, although these early pieces do
seem a bit clumsy in their execution. In the margins
of the sketches one will find felicitous jottings of
a foot here, a beard there, and numerous portrait
studies of elderly men and young women, which
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Caravaggio later fully incorporated into his work.
The remaining sketches are mainly copies,
homework assignments and somewhat awkward
studies of an extraordinarily talented alumnus.
Michelangelo Merisi da Caravaggio (15711610) died at the all too early age of 38 as a result
of Malaria. He was persecuted all of his life due to
his explosive temper and violent demeanor, and
even more so after he killed another man in 1606
after losing a tennis match. This forced him to
flee Rome after a bounty had been placed on his
head. While he was on the run from authorities, his
artwork matured and grew more consummate. This
becomes evident when one takes a closer look at
his harrowing self-portrait as Goliath. A young David
is presenting his severed head to the observer, as if
he wanted to say: “Here is what you want, just take
my head and leave me alone!”
Up to this point, nobody had painted in a
manner quite as luscious as Caravaggio. No other
artist has adapted a style as dramatic, secularist
and capricious as the Milanese mastermind. The
human flesh he painted purported to transpire and
give off odor, the apples in his still life works had
worms and withered leaves - his Realism broke the
mold of Mannerism, a style that was prevalent up
to this point and therefore revolutionized painting
in an unprecedented way. It is hardly surprising
that the discovery of his early work, which is valued
at 700 Million Euros, has turned out to be quite a
sensation in the art world. The market value is one
thing, but the artistic and historical value, which is
fueled by legends about Caravaggio’s eccentric and
adventurous life, is another story altogether.
These early sketches could be considered
the precursor of the visual documentation of what
would become a remarkable life. While they do
document the development of a genius during
his student years in the period from 1584-1588,
while studying under Simone Peterzano who
was trained by Tizian, it would be quite a stretch
to describe these pieces an “oeuvre” or even an
“epochal turning point in Caravaggio’s perception”,
as the two historians that made this revolutionary
discovery have claimed. The use of these terms
appears to be a marketing coup, considering
the fact that they plan to publish their discovery
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as a series of e-books on Amazon in the near
future. These eBooks will be entitled “Giovane
Caravaggio. Le cento opere ritrovate” (The Young
Caravaggio. The Hundred Retrieved Works). The
goal is to juxtapose a selection of sketches with his
later masterpieces, and focus on the characteristic
details; thus attempting to reconstruct and explain
how the artist developed his unmistakable
technique.
It is the individual “stylistic matrix” that makes
the duo so certain that they have identified the
young Caravaggio in Milan. Among the 100
sketches are at least 83 characteristic figures and
motives that can be found in his later works. This
revelation must certainly be quite a honor for these
scientists, who have researched 1,374 drawings
in two years and have examined each and every
facsimile of Peterzano and his students. “It just
seemed unimaginable to us that Caravaggio would
not have left any evidence of his four year period
of apprenticeship behind”, said museum director
Bernardelli Curuz. The thought is so plausible,
that you cannot help but wonder why nobody else
has ever applied these research methods before,
which allowed them to filter the aforementioned
100 drawings from Peterzano’s workshop.
Drawings, which most probably are going to
surprise the art market even more than
the art world.
- Mira Feldon
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ARTree
Deeply Rooted In The Community
When Bob Hernandez was faced with a
career change, he quickly realized that he had a
calling to make some kind of change in the world.
Bob has always been a person who enjoyed
challenges, big or small and tackled these
challenges with great passion. As a California
Institute of the Arts graduate, Bob took great joy in
discovering his unique gifts as an artist, designer,
and later in his career, as he branched out to
become a communicator of ideas and visions.
Bob has been a Design Director at KCBS, Fox
Sports Network, and Telemundo. His multi-media
work on The Amazon Jungle and Animals of the
World has been on display at The Smithsonian
Institute. Though Bob has won an Emmy, and
various national and international awards during
his career, he has found true joy in seeing the
sight of a child or adult’s face light up at the
very moment he or she has created something
beautiful.
The ARTree’s mission is to offer and provide
opportunities to explore, create, and cultivate
artistic potential for children and adults throughout
the community of Santa Clarita. The ARTree’s
activities are divided into three categories;
Classes, Events and Projects.
The organization provides an “Art Sampler” of
classes to introduce their students to a variety of
art experiences. The ARTree weaves the sampler
of classes together through a common theme. The
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last theme was “Urbanology,” and it encouraged a
city related flavor throughout the classes. During
each class of the six-week course, the ARTree
offers visual arts seminars that instruct on painting,
origami, sculpture, and collage. Performing arts
classes have included story telling, salsa and hiphop dancing, rhythm instruments, and song writing.
By offering such a large variety of subjects, the
ARTree is able to discover an arts passion in every
child who participates.
The charity organizers also just completed week
three of their seven-week summer program at the
Newhall Community Center. During that week, the
kids enjoyed African rhythms and mask making, as
Paula Dwyer taught a wonderful, creative lesson
on the history of masks. She also provided palm
husks, paints and brushes so the kids could create
their very own masks. Once the paint was applied
the kids could adorn them with shells, seeds,
and other natural materials, creating a variety of
beautiful and unique masks. In addition to arts and
crafts, there was also a musical accompaniment.
Carlos Lopez and his two sons shared an exciting
lesson in rythms, as they brought in a variety of
fabulous drums, a keyboard, an amplifier and lots
of percussion instruments so that everyone could
participate and play an instrument throughout the
lesson.
The Art Walk falls into the Events catagory; It is
a monthly activity that the ARTree engages in, and
is an effort by the artists and Old Town Newhall
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Association to revitalize the arts in Old Town
Newhall. It is also a way for The ARTree to reach
out to the community by supplying much needed
art activities for children of all ages. The Art Walk
typically opccurs the first Thursday of each month
and usually starts on Main Street in Newhall, CA.
The art of mural painting falls into the Projects
category. It started off as an effort for the youth at
The Newhall Community Center, in order to keep
them busy during the summer months. However,
it eventually became a community beautification
event, allowing the kids to express their creative
potential, while at the same time, giving them pride
by contributing to the community in a positive
manner. After presenting the idea to the property
owners, Mr. Tim and Laurie Crissman, the project
was approved and the group was off and running!
The Mural Painting Class is a collaboration
project between Newhall Community Center and
The ARTree Community Arts Center for at-risk
responsible citizens, and also give them a forum
where they can explore visual art and express their
creativity through the use of drawing, color, and
painting.
ARTree’s involvement with the Newhall
Community Center and with the residents of
the Valle del Oro area of Newhall has brought
more than just art to the community. Through
the generosity and talent of the artists, and
the leadership of Bob Hernandez, ARTree has
provided the youth and their families with an
opportunity to experience the arts and take pride in
their neighborhood through creative beautification
projects that help to revitalize the downtown
Newhall area. ARTree is an exemplary effort, that
is going to make living in the Valley richer not just
for children, but for the community as a whole.
For more information, please visit http://theartree.org
- Mira Feldon
teens. The objective of this project is to support,
teach and encourage life skills such as goal
setting, decision-making and teamwork, through
the creation of an art mural. The goal is for the
students to integrate these newly acquired skills
into their lives as they develop into productive and
artla magazine
19
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unique and elegant picture frames
_______________________________________________
Absolutely beautiful
Beverly hills - west hollywood
picture framing
gallery
Thanks for viewing
artla
magazine
For advertising enquiries:
email Tim Broughton
at [email protected]
or call 310.586.9789
9685 little santa monica blvd. Beverly hills, ca 90210
phone 310 . 278 . 4798 fax 310 . 278 . 4703
www.bhpictureframing.com
artla magazine
20
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artla magazine
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