Moshe Brakha and Eddie Brakha are a father and son photography team who work on fine art series together. They’ve adopted the logo of a fly with “Brakha” written on one wing and “x2″ on the other. And before we left their studio, Eddie gave us all pins that [read more...]]]>

Moshe Brakha and Eddie Brakha are a father and son photography team who work on fine art series together. They’ve adopted the logo of a fly with “Brakha” written on one wing and “x2″ on the other. And before we left their studio, Eddie gave us all pins that featured a little plastic figure of one. The piece itself originated from a small toy Moshe, the father, had found while he was in Japan and the image of it stuck with them. However, he’s a collector of awesome tchotkies, so there are plenty of other interesting items around their studio, like an unopened Mankind action figure and a bust of Darth Maul’s head.

The duo had just spent a year photographing different subjects for their latest body of work The New Economy. The series features diptychs of people in epic action poses, from bloggers to boxers, which were mostly shot in the studio. And it was great to see how they were able to transform their space in each photograph through practical lights and imagination.

The word SLICK came up a lot during our time at the studio. It has to do with the way they want their photos to look, but it also spreads out beyond the camera. Since, the pair are two of the most dapperly dressed dudes in LA.

A big thank you to the artist JAIME BECKER for introducing us!

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BRAKHA: http://www.brakhax2.com/

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There’s always new things to discover when you go to The Brewery Art Walk.  That’s why, in my guide I said the first thing you should do is not plan on doing anything. Especially since, the people walking around are half the fun. I mean, who would’ve expected a [read more...]]]>

There’s always new things to discover when you go to The Brewery Art Walk.  That’s why, in my guide I said the first thing you should do is not plan on doing anything. Especially since, the people walking around are half the fun. I mean, who would’ve expected a group of cosplay girls to show up at ART IS SHIT EDITIONS! It was pretty incredible and although I wished I could’ve walked around the whole time with them, since it would’ve felt like a giant performance, I went on my own way with a couple friends.

The walkways were packed with bodies checking our art, which ranged from really awesome to really Burning Man. So, there was literally something for everyone, including a really awkward sword dancing show located up in a metal tower that was definitely a must-see. Also, I’m not sure if it was part of a piece or not, but at one point we saw some people walking around with horse masks on, which I think must’ve been a sign of good luck because moments afterwords we walked into a really cool gallery space.

While 99% of the artists were really chill, there were still that 1% of them that were tragically paranoid and wouldn’t let anyone photograph their work. However, I photographed it anyways, especially since it’s always artists with crappy work who are the most aggressive about it. I mean, it’s the internet era, it’s all about sharing. And if you’re really that worried, then why make art at all. Albeit, it is a bit tricky at The Brewery because a lot of the studios are also the artist’s homes.

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BREWERY ART WALK:  breweryartwalk.com

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Jules Muck invited me to her studio to preview some of the works in her upcoming solo show at LAB ART, which opens on April 26th [2012]. So, I drove out to Venice Beach, where Jules showed me around her new space. And the rooms felt alive with the [read more...]]]>

Jules Muck invited me to her studio to preview some of the works in her upcoming solo show at LAB ART, which opens on April 26th [2012]. So, I drove out to Venice Beach, where Jules showed me around her new space. And the rooms felt alive with the energy of the artist because there were so many cool projects and trinkets hiding in every square centimeter.

We hung out and talked about art and life on floor — in front of a painting she was in the middle of working on. Then we walked outside to her patio, where she showed me her collection of pheasant wings a friend had given her, from which she’s able to collect fresh feathers from. And there was also a large work she was painting for her upcoming show, which I don’t want to give too much away about. However, I will reveal that there’s an interactive element to it. So, it’s up to your imagination to figure out what it is and your body to check it out at the opening reception.

I really didn’t want to leave because Muck has such a cool vibe and one could easily talk to her for hours, but I sadly had to be on my way. And, of course, just as I was leaving, I saw this really cool psychedelic portrait of MOCA’s director, Jeffrey Deitch, which she had painted and placed on top of her spray paint collection. So, I’m definitely planning to go back in order to document more of her awesome work!

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 JULES MUCK: http://julesmuck.com/

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Malcolm Stuart is at the forefront of the contemporary airbrush revolution, in which artists are breaking free the medium once reserved for boardwalks and bar mitzvahs into fresh works of fine art and bold fashion statements. When Malcolm isn’t flying all over the country to do live painting events, [read more...]]]>

Malcolm Stuart is at the forefront of the contemporary airbrush revolution, in which artists are breaking free the medium once reserved for boardwalks and bar mitzvahs into fresh works of fine art and bold fashion statements. When Malcolm isn’t flying all over the country to do live painting events, he’s busy in his studio working on one of a kind outfits that have been rocked by pop superstars like Katy Perry and Ke$ha at countless sold out concerts. And to top it all off with a cherry on top, not only is Malcolm Stuart an awesome artist, but he’s also a hula hoop master as well.

Daniel Rolnik: How did you learn how to airbrush?

Malcolm Stuart: Something neat about airbrush art is that it’s not taught in schools – the way it’s passed along is through the classic apprenticeship format. And I’m very fortunate and lucky because I learnt from Noel Degroff – a master of the medium.

DR: Isn’t airbrush complex because of how you have to mix the paints and everything?

MS: If you use water-based paint then it’s actually really easy because you don’t need to mix the colors at all – which is one of the things I miss about traditional painting. If you’re using urethanes [aka candies] it gets complicated because you have a lot more chemistry going on , but I don’t use that stuff because it’s really toxic.

Malcolm painting a commission for AOL

DR: What’s the hardest thing about airbrushing?

MS: The hardest thing about airbrushing is keeping control of your lines, since you have nothing to rest your arm on. You have to lock your muscles and learn how to be able to keep yourself from wobbling around while still being fluid. If you’re doing it right, you feel the lock take place all the way from your feet to the tip of your fingers. And in the beginning it feels like your hand is going to fall off, but after a while you develop an airbrush muscle.

DR: Whoa! Where is it?

MS: It’s this one strand on your forearm that connects to your pointer finger.

DR: Don’t you also have to control a bunch of variables with your finger on the airbrush?

MS: Only if you’re using what’s called a dual action airbrush – which everyone uses nowadays because you can alter the paint and the air flow. But back in the 80’s artists only had single action airbrushes that didn’t allow for any variations – making them very similar to a can of graffiti spray paint.

Malcolm painted this huge pair of boobs as a set piece for a performance by Narcissister

DR: How did you find the artist you apprenticed for?

MS: I was living in Brooklyn and my roommate said you should talk to my friend, he’s an airbrush artist and is always looking for people to train. So I did.

DR: Were you even looking to learn how to airbrush?

MS: There was some precedence in my life because my wife, Bec Stupak, was doing a video shoot where she wanted to have airbrush art. So, she got a few airbrushes meant for body paint and we were like whoa these things are crazy!

DR: What kind of airbrush do you use now?

MS: I use an Iwata Elcipse HP-BCS.

Collaboration w/ Gerlan Jeans‘ Spring/Summer 2012 Collection “Mall Witch”

DR: How do you usually work with textiles that are eventually turned into clothes?

MS: I hand paint them and then give them to designers.

Nicki Minaj’s dress painted by Malcolm Stuart, styled by The Blonds, and designed by SpandexMan

DR: Which designers have you collaborated with?

MS: I’ve painted dresses for Katy Perry and Nikki Minaj through a collaboration I did with the New York designers The Blonds. I’ve also worked a lot with  SpandexMan, who has a hilarious website that you have to check out, as well as Dee and Ricky, Gerlan Jeans, and Peggy Noland.

Collaboration w/ Dee and Ricky for their restaurant “Dee & Ricky’s Home Cooking” in Clinton Hill, Brooklyn

DR: How long did it take you to get comfortable with an airbrush?

MS: It took me about 8 months to get competent and the first thing I did when I was, was to do t-shirts at Bar and Bat Mitzvahs – it was like my boot camp. It was hellacious and underpaid, but really awesome training.

DR: Was your style of art like before picking up the airbrush?

MS: One of the things that’s changed for me was that I ended up in this whole other market of doing airbrush art in the mall and using imagery that was cartoony and flat like SpongeBob, Elmo, and Mickey Mouse. All of a sudden I was really confronted with cartoon forms, whereas before I was more into rendering reality.

DR: What do you like most about cartoon imagery?

MS: Speed – because the animators have to work extremely fast to get through everything. And with the speed comes choices of simplification and having to leave information out. Also, cartoon hands are actually more complicated than most people think, because you still have to imagine a bone structure underneath everything – they’re not just balloons.

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MALCOLM STUART: http://www.malcolmstuart.com/

Daniel Payavis works on a bunch of cool series at the same time in his studio in downtown Los Angeles. For example, he has huge canvasses featuring hundreds of painted faces layered on top of one another that’s next to a completely different body of work where he’s [read more...]]]>

Daniel Payavis works on a bunch of cool series at the same time in his studio in downtown Los Angeles. For example, he has huge canvasses featuring hundreds of painted faces layered on top of one another that’s next to a completely different body of work where he’s made digital prints of images manipulated on flatbed scanners. Daniel received his MFA from The University of Texas at Austin, where in addition to focusing on his practice he was also able to teach himself the precise art of frame making. It’s really awesome to see Daniel’s work in person, especially when you can see his huge canvasses juxtaposed next to his smaller studies.

Please note that some of the works pictures below are still in the process of being finished…

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DANIEL PAYAVIS: danielpayavis@gmail.com

Daniel Lane had to build several of his own tools to help him create his work – including a styrofoam cutter that incorporates a flashlight’s electronic circuity. He just recently received his MFA from The University of Austin, TX and so some of his larger canvasses [read more...]]]>

Daniel Lane had to build several of his own tools to help him create his work – including a styrofoam cutter that incorporates a flashlight’s electronic circuity. He just recently received his MFA from The University of Austin, TX and so some of his larger canvasses were rolled up to accommodate the 1,300 mile move to Los Angeles. However, when he unrolled them, a bright life of space was revealed featuring visions of the future. Daniel is fascinated by a certain shade of green which he has been using in a recent piece where he is recreating the look of a vinyl sign on canvass. And I’m really psyched to see the plastic pop-out piece of a satellite dish when it’s complete.

Please note that some of the works pictures below are still in the process of being finished…

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DANIEL LANE: http://Boduse.blogspot.com/

Tucked away in the land of Burbank is one of the most unique art spots in Southern California – Hyaena Gallery, where its founder Bill Shafer has curated an eclectic assortment of everything he likes – from meticulously hand carved gourds to hundreds of humorously shocking paintings. Hyaena Gallery makes a limited [read more...]]]>

Tucked away in the land of Burbank is one of the most unique art spots in Southern California – Hyaena Gallery, where its founder Bill Shafer has curated an eclectic assortment of everything he likes – from meticulously hand carved gourds to hundreds of humorously shocking paintings. Hyaena Gallery makes a limited edition poster for every show that’s always priced affordably, so even if you can’t take home an original you’re not left empty handed. And if that’s enough for you, they even have an art vending machine, where for $5 you can get a print, drawing, or who-knows-what from the mysterious contraption. A handful of the work is made by master prop makers who have helped to create some of the most memorable characters in cinematic history and FYI on any given night you might bump into the creator of The Oblongs cartoon or even one of your favorite directors – I mean it is only a stone’s throw from all the movie studios. They currently have their end of the year group show up in the space entitled “Kill Your Idols II.” and below are some pics of the room.

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Hyaena Gallery – http://www.hyaenagallery.com/

RAID Projects is an awesome not-for-profit gallery and artist-in-residency space at The Brewery in downtown Los Angeles. I first heard about their impressive operation when I went to the Co/Lab event in October – which Jason Ramos, the director of Raid Projects, actually helped put together. I [read more...]]]>

RAID Projects is an awesome not-for-profit gallery and artist-in-residency space at The Brewery in downtown Los Angeles. I first heard about their impressive operation when I went to the Co/Lab event in October – which Jason Ramos, the director of Raid Projects, actually helped put together. I went to interview Jason and Carrie MclLwain (asst. director) at RAID Projects while the Imposters exhibit was still up – which was so cool that I now see it everyday on my phone. If RAID Projects was a living person, it would be every artists’ best friend.

Note: Jason and Carrie’s voices have been combined to form certain RAID Projects responses

Daniel Rolnik: How did RAID Projects start?

RAID Projects: Max Presneill founded RAID Projects in 1998 as an alternative exhibition initiative and then he expanded it into to include an international artist-in-residency program. But, at a certain point Max was ready to move on to other things and so he asked me if I would take it over – to which I replied yes. After a few months I brought my longtime friend Carrie McIlwain on board to help me run the place and we’ve been doing great.

Photos of installation “Adrift in A Glass Bottom Boat” [Sept. 2011]

DR: How long do artists participate in the residency program?

RP: They usually live with us for 3-6 months. It’s tough for international artists to stay longer than that because it requires them to get an additional work visa.

DR: Did you help put Co/Lab together?

RP: Yeah, but it was put together by another group named ARTRA Curatorial, which is comprised of myself [Jason Ramos], Max Presneill, and Colton Stenke.

Photo of Naomi Buckley’s installation at RAID Projects by Matt Wardell

DR: What was Co/Lab all about?

RP: All the exhibitors at Co/Lab were mostly artist-run and alternative spaces like ours. We had been working on it independently and then Art Platform came along and we found a way to connect the two, so we did.

DR: What does it mean to be an alternative gallery?

RP: We act as an alternative to the standard commercial gallery. We don’t actively try to sell the art because we want to give artists the freedom to create non-commercial work. Don’t get me wrong though – if someone wants to buy a piece, we’ll help sell it to them, we just want to create a platform free from that concern.

Photos of MUC’s “Self Help Karaoke” installation and performance

DR: Then how do you keep RAID open if you don’t sell the art?

RP: RAID is funded through the residents, who all have to pay rent. We also rent out studio space on the first floor, so it’s sort of self-funded.

DR: Are you competitive with the other alternative galleries in Los Angeles?

RP: On the contrary, we’re actually trying to encourage participation. That’s what Co/Lab was sort of about – we wanted all these spaces to meet each other and realize that we’re all in this one big situation together.

Photo of Stretching Destillment installation at RAID Projects by Try-Har-Der

DR: What’s been one of the most memorable exhibits for you at RAID Projects?

RP: “Self-Help Karaoke” by the art collective known as MUC. They built a self-help library with all these funky books from the 60’s and 70’s, like How To Dress For Success and Wild Woman/Passive Man. Each book had a number written in it that correlated to a song in a karaoke machine. So, if you picked up a book, you were sort of obligated to sing its corresponding song. It’s interesting because at the beginning of the night people were really shy, but by the end everyone was getting really into it. It seemed to be a cathartic experience for the participants. Another memorable event was a panel discussion here with Zak Smith, Geoff Tuck, Tulsa Kinney [Artillery Magazine] and myself, which was great. It was like a town hall meeting where we had all these concerned artists talking about why there is no more good art writing in LA. I felt like a city councilman – not to mention, we made the mic stands out of action figures!

DR: What future events do you have planned for the gallery?

RP: ARTRA’s putting together an exchange between the alternative galleries here in America with the ones in Berlin, Germany, and RAID Projects will be a part of that.

Photos of Jennifer Sullivan’s installation “It’s A Process”

DR: So you’re contacting all the galleries out there?

RP: Carrie spends a lot of time over there, so she’s been building a lot of the connections face to face, along with connections already established by Max.

DR: Is there a theme you’ve noticed that’s different between LA artists and artists from Berlin?

RP: A trend I [Carrie] have noticed is a general levity in the LA scene. Artworks grounded in absurdity and using humor as a medium. I don’t think that is an appropriate generalization of all of LA art as much as a point of high contrast between the two cities. Maybe LA can afford this lighter attitude because we have fantastic weather.

Exterior photos of RAD Projects

DR: What I really like about RAID Projects is that none of the pieces are crowded, is that a conscious decision?

RP: It’s important to us to give space to each work. I mean the whole world is full of constant visual stimulation and we want to create a space where you can focus in on everything and see the whole presentation of it.

DR: What do you look for in artists who want to participate in the residency program?

RP: One of the first things we look at is whether or not they’ve followed the application procedures on RAID Project’s website. Whenever I see that they’ve done that, it ensures me more that they will know what it’s like here. It also really comforts me if the artist has references – even an instructor who can say hey, this person is awesome is great. The thing I love most about potential applicants though, is when they actually visit RAID Projects in person before they apply – which is good advice for any residency program that artists want to apply to.

Photos of the installation “Esta loco, pero no es pendejo” by Matt Wardell

DR: How do the artists who come from out of the country support themselves while they’re here?

RP: They usually are more than well funded by their government, which is something that’s very difficult to come by in the United States.

DR: Have any of the artists in the resident program become art stars?

RP: A lot of them have been included in museum shows and found representation since staying with us, which is really cool.
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ANSWERS by: RAID Projects
QUESTIONS by: Daniel Rolnik
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JASON RAMOS: jasonramos.com/
CARRIE McILwain: http://carriemcilwain.tumblr.com/
MAX PRESNEILL: http://www.maxpresneill.com/

The grad students at UCLA put on quite an impressive display for their open studio show and there isn’t a doubt in my mind that many of them will soon be taking over the fine art world by full force [that is, if they haven't started to already]. As [read more...]]]>

The grad students at UCLA put on quite an impressive display for their open studio show and there isn’t a doubt in my mind that many of them will soon be taking over the fine art world by full force [that is, if they haven't started to already]. As I navigated around the maze-like corridors of the MFA building in Culver City, I found myself stumbling into all sorts of wonderful rooms that showcased not just the artists’ work, but also their character. From entire walls painted to look like fireplaces to William Kaminski’s awesome homemade green screen – everywhere you looked was floor to ceiling creativity and ingenuity. I heard from my good friend James Dean that one student even started going around the entire facility licking the walls as an act of performance art. Unfortunately, I didn’t see this event go down or I would’ve captured it on camera, but my initial thought was that he felt the art was just so delicious he had to taste a little bit for himself.

Video by William Kaminski

Hallway at UCLA’s facility

Painting by Jonathan Apgar

Sculpture by Kathleen Ryan

Painting by Michael Kelly

Video by Owen Kyyd

Sculpture by Veronique d’Entremont

Mixed-Media Sculpture by Sarah Cromarty

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UCLA: http://www.art.ucla.edu/
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STUDENTS…

TIMO FAHLER: http://timofahler.wordpress.com/
GERARDO MONTERRUBIO: http://www.gerardomonterrubio.com/
KATHLEEN RYAN: http://kathleen-ryan.com/
DAVID WHITAKER: http://davidwhitakerart.com/
MARINA PINSKY: http://www.marinapinsky.com/
MARTEN ELDER: http://martenelder.com/
A’ALIA BROWN: http://aaliamarilynbrown.com/
DAVID ZUTTERMEISTER: http://davidzuttermeister.com/
JANNA IRELAND: http://jannaireland.com/main
MASOOD KAMANDY: http://masoodkamandy.com/
WILLIAM KAMINSKI: http://www.williamkaminski.com/
KATIE SINNOTT: http://katiesinnott.com/home.html
LUCAS BLALOCK: http://lucasblalock.com/
RYAN KELLY & BRENNAN GERARD: http://www.movingtheater.org/artists
EJ HILL: http://ejhill.info/
LEON BENN: http://www.leonbenn.com/
OWEN KYYD: http://owenkydd.com/
MIKE KELLY: www.michaeljohnkelly.com
SEAN RASPET: http://www.seanraspet.org/
RAGEN MOSS: http://ragenmoss.com/
VERONIQUE D’ENTREMONT: http://babel.massart.edu/~veronique/
ROXANE FARHAT: http://www.roxyfarhat.com
JANE HUGENTOBER: http://janehugentober.com/
LILLY ALDRIEDGE: http://www.lilly-aldriedge.com/
SARAH DOUGHERTY: http://www.roomportraits.com/Portrait.htm
ERIN MORRISON: http://www.erinmorrison.com/
THEODORA ALLEN: http://www.theodoraallen.com/
BECKY KOLSRUD: http://www.rebeccakolsrud.com/
CHRISTINE WANG: http://www.christinetienwang.com/
KIM YE: http://www.kimye.com/
LAEH GLENN
MATHIEW GREENFIELD
HANS KUZMICH
SARAH CROMARTY
JONATHAN APGAR
DYLAN HURST
SEAN BOYLE
TEJPAL AJJI
DEVIN KENNY
SHOSHI KANOKOHATA
EMILY SUDD
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More photos available here: http://www.flickr.com/photos/danielrolnik/sets/72157628399401207/

I first saw Tami Demaree’s work at Art Platform in LA and felt such an awesome force of positive energy coming from it, that I immediately sent her an email about doing an interview. A few days later we met at La Cienegas Projects, a massive gallery space that [read more...]]]>

I first saw Tami Demaree’s work at Art Platform in LA and felt such an awesome force of positive energy coming from it, that I immediately sent her an email about doing an interview. A few days later we met at La Cienegas Projects, a massive gallery space that was originally her and her husband’s personal studio. As we talked, I grew to admire Tami Demaree’s work even more than I had already, since I learnt about all the stories behind her series – which involved the love between Paul Guaguin and his Tahitian mistress as well as some more interesting twists that you will read about below. Tami Demaree received her BFA from UCLA and her MFA from Otis.

Daniel Rolnik: What materials are your tiki sculptures made from?

Tami Demaree: The tikis are made out of shells, feathers, driftwood, and other mediums I find around me. Then I use glue and nails to put them together. If a piece is really small, like the shells I use for eyes, I’ll carve into the wood a little bit before I glue them in.

DR: Is there a particular beach you collect all the shells and driftwood from?

TD: There’s one in Crystal Cove that I go to in Los Angeles and I’ll also gather a bunch of shells when I visit family in Hawaii. Some are even from the craft store, but they’re all mixed together so you can’t tell.

DR: Did you grow up on Hawaii?

TD: My family is from the Big Island, but I grew up in Orange County. When I graduated, my parents moved back to Hawaii and since I have a baby now, we go there quite often.

DR: Have you noticed a change in your work since becoming a mother?

TD: It’s actually helped me to slow down my process so I can flesh out ideas more, and this body of work is a lot stronger because of it. I can separate my personal life from the artwork, but I have put my son in a couple of my paintings instead of just using some random image from Google.

DR: Did he like the piece?

TD: He’s been surrounded by artwork his entire life, so he doesn’t pay attention to a lot of it. The one piece of art that he’s really responded to was one of Marnie Weber’s giant circus bears that we have in our living room. He was scared of it for a while, but now that he’s used to it he says hi and introduces it to people. It’s his friend. He also loves his dad’s work cause it has trains moving around in it.

DR: What is your current body of work about?

TD: It’s following this sort of fake biography where I’m re-mythologizing the ideas of the Hawaiian Islands and tiki culture. But, I’m dealing with it the same way Temple of Doom filtered India – so it’s more of a pop version of seeing it through new eyes, rather than in the traditional Orientalism sense…I do something different for every show. For instance, the specific historical element of Paul Gauguin that was in my last body of work is now gone and has been replaced by a fictional story about a tribe of savage women living in the jungle.

DR: How did Paul Gauguin play into the work?

TD: I had this theory that Gauguin made his best paintings while he was in Tahiti with his mistress, Tehemana. So, everything at my last show revolved around Paul Gauguin’s brief time in Tahiti and the theories and myths he created there. I used his book Noa Noa as the starting point and the show ended up being a lot about love because she was his true muse. The exhibition was titled Noa Noa, Yes Yes.

DR: What kind of pieces did you make for it?

TD: I made a bunch of Tahitian tiki collages with palm fronds that went all around their frames, as well as a lot of large scale woodblock prints – since Gauguin made most of his when he was on the island. A lot of the pieces also featured historical images of Gauguin – like his house and photographs of the women he painted. I also had a full-scale recreation of Gauguins grave in the middle of the room.

DR: How long did it take you to make the work for that show?

TD: I spent about a year researching the project, without creating very much. And then I made everything about three months before the exhibit. Even with the short time frame, I ended up creating way too much work to choose from when I installed the show and had to edit it down.

DR: Where did you find the historical images of Gauguin?

TD: I bought tons of postcards and found really old books that were collected about Tahiti on eBay.

DR: I noticed that you made postcards for the opening, do you always make small items to give away?

TD: I just like having something that people can take home with them to remember my show by. The postcards were more like a souvenier. I’ve also made zines to give away at shows too.

DR: What was in one of the zines?

TD: My work used be really based on word play, so in I incorporated a lot of that into the pink zine I made called A Little Something To Remember Me By Because I Sorta Still Love You. For the art, I used drawings I liked from my sketchbook that never turned into actual pieces of artwork.

DR: Is that how your book Love Sentence come about?

TD: Love Sentence was actually part of a project that my husband Steven Hull, myself, Annie Buckley and Jon Sueda did, where we published 24 books at the same time. We took over 400-framed drawings with us and toured the project to museums, galleries, and stores all around the world over a two year period.

DR: Whoa! That must have been incredible…

TD: It was, especially since each book is by a different author, artist, and designer.

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Answers by: Tami Demaree
Questions by: Daniel Rolnik
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Photos by Daniel Rolnik, Tami Demaree, Steven Wolf Fine Arts, Emily CM Anderson, and HEADLANDS
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UPCOMING SHOWS

When: T.B.A in November
Where: Las Cienegas Projects [2045 S. La Cienega Blvd., Los Angeles, CA 90034]
Time: 7pm-10pm
What: This is the final show at LCP’s current location, so don’t miss it!