There’s no lack of decadent little hidden gems that I’ve encountered tucked behind the hedges of unassuming boutique hotels, alleyways and restaurants. I’ve discovered so many attractive spots since the last time I was here. These photos were taken from a narrow corridor at the”La Plaza” shopping centre which used to house workers and now instead, a handful of quaint little shops.
I’ve discovered some secret bars inside of a few restaurants that I’ve been to and didn’t know about until someone in the know showed me….very inconspicuous. One is hidden behind a phone booth (really!) and the other behind an ordinary curtain. I love that!
I’m spending time scouting cool locations for my Destinations page. And let me tell you what a pleasure it is to do so. It’s a pleasure! I’ll share them with you soon.
Getting back to Film Fest: Since my last post I’ve viewed two foreign films. “Everybody Knows” (Todos los Saben) shot in Spain with Penelope Cruz and her sexy real life husband Javier Bardem centering around a kidnapping at a family wedding and Israeli film “Working Woman” about a married woman with children who takes a job selling high end real estate, only to encounter a “me too” experience when her boss tries to sexually abuse her in the workplace. Both films were extremely well done.
After my hike tomorrow I’m looking forward to an independent film which centers around gambling, two documentaries from Mr. Rogers to Aretha Franklin on Saturday – (could they be more opposite?) and a Hollywood ending on Sunday. I’ll be reviewing these throughout the week.
For the love of tacos, margaritas, friendship, parties with people you’ve never met and photography. Not really in that order. Before leaving Palm Springs my friend Tammy invited me to talented photographer Gary Dorothy’s amazing garden + outdoor space to celebrate the sweet 16 year anniversary of his gorgeous gallery Imageville. I admired a piece she and her husband David have of his in their home. It’s obvious that Gary also has a good eye for party detail. Complete with tended Margarita bar and a help yourself to tacos smorgasbord. And any Mexican-theme party would be totally incomplete without Bichon Frise piñatas right? Exactly. Simply divine!
This from California’s Prestige Magazine Palm Springs Life:
You think you’ve seen our mountains, palm trees, architecture, and iconic places. Then you see Gary Dorothy’s photographs and realize you haven’t really seen them after all. The owner of Imageville — his gallery in downtown Palm Springs (La Plaza) has a curious eye that sees the desert from a different perspective.
I also wanted to include the Palm Springs Modern-style
home to convey what we who live here see in most neighborhoods, period pieces that reflect a simpler time long past but somehow preserved here in this unusual desert town. – Gary Dorothy
You’ve got to admire how O’Keeffe was the master of her own public persona at a time when there was no social media. She told photographers how to “shoot her”, not the other way around.
A refreshing new exhibition at the Brooklyn Museum (on until July 23, 2017) for the first time combines O’Keeffe’s art and her wardrobe with photographic portraits. “Georgia O’Keeffe: Living Modern”
The painter of simplified images of enlarged flowers, Lake George tree trunks and New Mexico’s terra-cotta hills applied her meticulous sense of austerity and detail to every garment she owned. Some she designed and sewed herself, others she had custom made, and still others she bought off the rack or in antique shops (Japanese kimonos, for example).
O’Keeffe’s self-created image shaped her work’s accessibility, while at the same time shielding her privacy. This unity is revealed in the links drawn among some 50 works of art and 50 garments or ensembles, accessories included, and nearly 100 photographs of the artist taken by 23 photographers, from Ansel Adams and Cecil Beaton to Andy Warhol and Bruce Weber.
The greatest number of these images were taken by O’Keeffe’s husband, the eminent photographer and gallerist Alfred Stieglitz, often considered her domineering mentor, whom she met in 1916, began living with in 1918 and married in 1924.
For years, O’Keeffe limited her wardrobe to mainly black and/or white, until the Southwest loosened her color sense a bit and also introduced her to denim and jeans. She favored an androgynous look, frequenting the same New York men’s tailor — Knize — (as did Marlene Dietrich), liked Ferragamo flats and wore little jewelry. A rare favorite, visible in many photographs, was a brass brooch made for her by Alexander Calder. It represents her initials, OK, with ancient rock-painting complexity, and she wore it vertically to make it more abstract. In later years, she had it copied in silver, because she thought brass didn’t look good with her white hair.
Oh, Spring! I want to go out and feel you and get inspiration. My old things seem dead. I want fresh contacts, more vital searching. – Emily Carr
“The sun just touched the morning;
The morning, happy thing,
Supposed that he had come to dwell,
And life would be all spring.” – Emily Dickinson
The spring wakes us, nurtures us and revitalizes us. How often does your spring come? If you are a prisoner of the calendar, it comes once a year. If you are creating authentic power, it comes frequently, or very frequently. Gary Zukav (best selling author, “Seat of the Soul”).
I had always planned to make a large painting of the early spring, when the first leaves are at the bottom of the trees, and they seem to float in space in a wonderful way. But the arrival of spring can’t be done in one picture. David Hockney
“When spring came, even the false spring, there were no problems except where to be happiest. The only thing that could spoil a day was people and if you could keep from making engagements, each day had no limits. People were always the limiters of happiness except for the very few that were as good as spring itself.” – Ernest Hemingway, A Moveable Feast
Well the thing is, art can be found everywhere, even in the desert. And it makes perfect sense; beauty with beauty.
I realized that while taking a nature walk with the dogs right after a picnic. The location being Whitewater Preserve about 20 minutes northwest of Palm Springs. An absolutely stunning setting of over 2,000 acres of pristine desert with hiking trails and wildlife. From a distance I came across what looked like a birding roost, and on closer inspection found out it was made from sand bags. It’s actually an art piece. built to replicate how pigeons in Israel are put to roost. But it’s hard to keep up with everything that’s going on around town especially now, so I had to find out *more.
*From Feb. 25 through April 30, 2017, the Coachella Valley and its desert landscape will become the canvas for a curated exhibition of site-specific work by established and emerging artists, whose projects will amplify and articulate global and local issues that may range from climate change to starry skies, from tribal culture and immigration to tourism, gaming, and golf. The artworks, in various indoor and outdoor locations will be available for free and will offer visitors a way to see the valley and reflect on serious and playful issues through the lens of the participating artists’ creativity and work.
You never know what you will encounter while out on a simple walk
You never know what you will encounter while out on a simple drive
On the drive to the nature preserve you will come across hundreds on windmillsThe windmills are there for power generation with renewable energy. However I hate them for the fact that the valley is infamous for the number of birds that are killed because of them.
It’s Modernism week in Palm SpringsAn annual celebration of midcentury modern design, architecture, art, fashion and culture.
And to demonstrate what kind of 20th Century Modern Woman I am – some recent selfies taken in front of mirrored windows around town. It also proves that my dogs are modern too! They should really be in Modern Dog Magazine.
“If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t. And contrary wise, what is, it wouldn’t be. And what it wouldn’t be, it would. You see?”
– Donald TrumpLewis Carroll, Alice’s Adventures in Wonderland & Through the Looking Glass
“Where should I go?”-Alice. “That depends on where you want to end up.” – The Cheshire Cat.”!
If you are truly into Style you will have at one point picked up a copy of Italian Vogue. Either in Italy or elsewhere.
Then you should know that Franca Sozzani, the Editor in Chief of Italian Vogue, has died at 66. Sadly she now joins musician George Michael, along with witty author/actor/ex-princess Carrie Fisher (what they all have in common is that they pushed the boundaries). Yves Saint Laurent said “fashion fades,style is eternal” so the heavens now are alive with some serious style spirits.
Franca, an ageless 66, was born in Mantua. Her father, a classic Italian patriarch, was an industrial engineer who did not approve his daughter’s early ambitions to study physics. She studied literature and philosophy at university in Milan instead, and married soon after, although she knew, as she later admitted, that the marriage was doomed before she walked into the church. (Franca would later confess that romantic relationships were the one weak link in her formidable arsenal of triumphs.) The couple divorced three months later, and the free-spirited Franca went to India to find herself—“I thought it was time to do something good with my life.” Time spent in Swinging London further nurtured her creative spirit.
When she returned from her odyssey, she stumbled into a job at Vogue Bambini(as “assistant to the assistant to the assistant,” as she playfully remembered). By 1980, she landed the editorship of Lei, aimed at young women, with Per Lui, its male counterpart, following in 1982. She transformed both these titles into showcases for the most dynamic trends in international fashion and lifestyle image-making. When Oliviero Toscani, her key photographer, moved on from her magazines, she began nurturing a dazzling talent roster of emerging photographers including Mario Testino, Paolo Roversi, Herb Ritts, Peter Lindbergh, Bruce Weber, and Steven Meisel, all of whom were attracted by the unprecedented editorial freedom that she gave them, and her passion for photography.
“Why would anyone buy Italian Vogue?” she once queried, “They wouldn’t—only Italians read Italian.” She knew that she needed to communicate instead through powerful imagery, and by showcasing her photographers’ work in this way, she earned their unswerving loyalty and their willingness to work with her magazines’ negligible budgets. “When I sent all these photos to you, I would write on the package ‘personal,’ ” Weber wrote to her, “I now realize that I took them for you because you would be the only one who would understand.”
At the same time, Franca became an indispensable part of the Italian fashion scene, a shrewd power broker with an unequaled reach to its designers and the manufacturers and industrialists who keep the industry’s wheels turning.
In 1988, she was appointed Editor in Chief of Italian Vogue—the same month that Anna Wintour was made the Editor in Chief at American Vogue. (By 1994, she was made Editor in Chief of Italian Condé Nast, enjoying great support from an at times long-suffering Jonathan Newhouse, the chairman of Condé Nast International.) Franca immediately shook up the formulaic title with dynamic covers and content, creating a magazine that, in her words, would be “extravagant, experimental, innovative.”
Franca’s ethereal, otherworldly beauty, with her limpid blue eyes and tumble of pale blonde Pre-Raphaelite waves, belied her indomitable personality. “I listen,” she said, “but I must go my own way.”
A maverick spirit, she turned her Vogue into a magazine that not only celebrated the power of the image, but also used fashion stories as a platform to discuss broader issues, and the obsessions of the fashionable world. Franca had a passion for, and a deep knowledge of, fashion and its history, but an ability to keep an amused distance from its modern day excesses.
She was fearless in her willingness to tackle provocative and controversial social and cultural issues through the medium of fashion shoots. (“Fashion isn’t really about clothes,” she said, “it’s about life.”)
A remarkable woman whose talent was matched by her fierce loyalty and her passion for life.
Story (condensed): Hamish Bowles for Vogue Magazine
Now here’s a documentary for those who adore art, culture, music, fashion, politics, celebrity & larger than life celebratory, astonishing and horrendously shocking legendary moments in time.
Saying that Scottish photographer Harry Benson is a Zelig-like character who’s witnessed every major cultural and political event of the last 50 years is not an exaggeration. Here’s just a partial resumé of the man’s astounding life: he arrived in America with the Beatles in 1964 as a photographer for their American tour (he took the famous photo of the Beatles’ hotel room pillow fight); he has photographed every American president from Eisenhower to Obama; he was just a few feet away from Bobby Kennedy on the night Kennedy was assassinated; he was alongside Martin Luther King, Jr. on the Meredith march and attended his funeral; he was in the room when Nixon resigned; he was there when the Berlin Wall went up—and when it came down; and he has taken iconic fashion photos for the likes of Vanity Fair, Paris Match and a half-dozen other magazines.
Benson, now 86 and still working, certainly deserves the wonderful tribute offered here in Matthew Miele and Justin Bare’s fascinating portrait. Featuring testimonials from Sharon Stone, Alec Baldwin, Donald Trump, Piers Morgan, Dan Rather, James L. Brooks, Henry Kissinger, Ralph Lauren and Joe Namath among others, the film reveals that Benson is not only a globetrotting legend of the photography world but that he’s also a nice guy!