land-2016-10-11_014Valie Export, 01-08 and 01-07 (both 2001) next to the front door*

We didn’t wear the right shoes to see On the Verge of an Image: Considering Marjorie Keller, currently on view at The Gamble House in Pasadena. While what we were in was far from stilettos, our heels were too thin to walk through the Greene & Greene designed National and California Historic Landmark, built in 1905 as a vacation home for Mary and David Gamble. Described on the docent- and curator-led tour we attended as an “ultimate bungalow,” it is one of the best preserved examples of American Arts and Crafts architecture. Every element of the house – from the furniture to the wallpaper to the sconces – was designed by Greene & Greene, and as such, every element, including the floors, had to be protected. We traded our boots for pink and white, hand-knit sock slippers. We were instructed not to touch anything except for the rails of the main staircase and to make sure that, as we walked, our feet landed entirely on or off of the rugs. No stepping on the edges.

land-2016-10-11_025Cheryl Donegan, Untitled (red and blue) and Untitled (faded blue and neon pink) (both 2013)*

Even without curators Alika Cooper and Anna Mayer’s temporary additions, The Gamble House makes one hyperaware of one’s own body. A space intended to be lived in, to be called home, is now a museum. No matter how comfortable that chair might look, a visitor can’t sit in it. This necessary adjustment to one’s performance within a domestic space is heightened by On The Verge of An Image through both the curation and the works themselves. A monitor sits on two stacks of books on top of the Gambles’ youngest son’s bed. Two are placed in bathrooms. Paintings are propped up on either side of a kitchen sink. The house is filled with the tiniest of design details, but they all serve a purpose. Cooper and Mayer’s active misuse of these details highlights and denies what we expect from them, pointing to the constructedness of these expectations and the ways we perform around them.

land-2016-10-11_018Marjorie Keller, She/Va (1973) and Alika Cooper, Wet Suit (2016)*

We learn what to expect from spaces and each other through repetition, a theme that runs through all works in the show. Keller’s She/Va (1973), in particular, ties this into the performance of gender. Comprised of short clips of children – mostly girls – being videotaped by their fathers, quotidian movements feel choreographed. The monitor on which it plays is on a mantle in the living room, exactly where one might expect to find photos of a similar nature. Keller decontextualizes intimate, familial memories through not only her editing, but the fact that, like The Gamble House, they are now intended for public view. Public and private are less clearly divided when someone else’s memories become our own.

land-2016-10-11_022Chantal Akerman, La Chambre (1972) and Vincent Ramos, Living Room (Near Window), 1310 Venice Blvd. #4 (2014)*

Vincent Ramos’ Living Room, 1310 Venice Blvd. #4 (2014) series feels even more intrusive, though we are given much less visual information. The image of nail heads has been rubbed onto the edges of large, mostly blank, white sheets of paper. Those nails once supported the images that used to hang on the walls of Ramos’ uncle. Made after his uncle’s passing, light imprints of objects we all have to deal with become heavy with loss, an emotion we also all have to deal with. A rubbing of a wall is framed and hung on another wall, one space and all of the memories it contains transposed onto another.

land-2016-10-11_047Paul Pescador, 9/6 (10-12) (2016)*

img_4959The house is lit with the same wattage that would have been available during its construction, making a few of the pieces difficult to see unless shone upon by a docent’s flashlight, adding another layer of performance.

Paul Pescador’s 9/6 (01-12) (2016) literally mis-places and -uses everyday objects found in The Gamble House, adding an element of play to what might otherwise be considered a failure. Like a child imagines a banana to be a phone, Pescador uses a lamp to dramatically light a Barbie doll, laying at its base and covered in a doily fashioned into a dress. He then takes a photo of this scene, frames it, and places it on a desk in Aunt Julia’s bedroom. An incorrect performance is celebrated and documented as an accomplishment.

land-2016-10-11_037Trulee Grace Hall, After Misconception (2016)*

img_0384The part of After Misconception that references the female body was covered up after guests complained.

On the Verge of an Image makes visible the weirdness of one of the main environments in which we shape ourselves, home. The works selected transform the space and are indeed transformed by it; the lighting shifts with the time of day and the docent’s flashlight. Yet rather than avoiding these changes, destabilization is embraced, calling for further exploration of and experimentation with that which we interact with everyday.

land-2016-10-11_027Alika Cooper, New Suit Attempt (2016) and Vanessa Beecroft, vb.dw.039.13 (2013)*

land-2016-10-11_008Shiva Aliabadi, Imprints (version 11) (2013)*

*All asterisked photos: On the Verge of an Image: Considering Marjorie Keller. A LAND (Los Angeles Nomadic Division) exhibition, the Gamble House, Pasadena, CA, October 8 – December 11, 2016. Photos courtesy of Jeff McLane.

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bg_3looksSome of our favorite looks

“Beach Goth” was first used by Orange County-based The Growlers to describe their mash up of hauntingly beachy tunes and death-themed lyrics. It is a phrase that feels unabashedly Southern Californian, where the sun shines over all, whether or not one is draped in black (and even those who are would be hard pressed to fully extract all influences of beach culture from their lives). It is also the name of a two-day party-cum-festival hosted by the band that has taken place at The Observatory in Santa Ana every year, right before Halloween, since 2012. It has grown from sixteen local bands playing a couple of stages to eighty musicians and entertainers, locally and nationally known, playing four stages located both inside and outside the venue. We arrived on the second day of Beach Goth’s fifth and most expansive iteration to an immediate mix of excitement and confusion, two emotional states that would rule the rest of the day.


A visual history of the growth of Beach Goth

While we used this opportunity to live our (admittedly watered down) goth fantasy of wearing black lipstick in public for the first time, upon walking up to the entrance, we realized that we were definitely on the boring end of the audience attire spectrum. From Dia de los Muertos calaberas to Elliott from E.T. to life-like zombies to a hodgepodge of accessories the wearer had laying around at home, at least half of those in attendance came prepared for exactly what Beach Goth is, one of the weirdest, most epic Halloween parties ever. And it is just that distinction, that it’s maybe a better party than a festival, that made for a day with high highs and low lows.

bg_swrDespite the rain starting to pour, She Wants Revenge was packed.

bg_coupleThey found love in a rainy place.

There’s already been a lot of coverage about the lows. It rained, or rather, poured. A stage flooded and performances were moved without any real way of telling the festival-goers. Grimes had to cancel her set due to said rain damaging her equipment. At one point, we were in a crowd so large and intent on getting out of the rain and into the Observatory that we lost control of our own, individual ability to move and rode what felt like a wave inside. By the time we were able to catch up with some attendees whose costumes we wanted to document, they were soaked. We were soaked. Everyone and everything was soaked. These were all huge bummers, especially considering the ticket cost, which rose 30% from the year before. Honestly, as a festival, it sort of sucked. But as a party, an event one attends for both the entertainment and the crowd, something that can pop up anywhere – like, say, an Orange County business park – as long as there are a few decorations thrown up to thinly disguise where we all know we are, it ruled.

bg_faceinhole bg_horns

All decorations were perfect for either selfies or group photos. Beach Goth was nothing if not a Millenial dream.

Affectionately known as “Los Growlers,” a sign they’re as Southern Californian as Los Dodgers(/Doyers), the Growlers became known in Orange County for both their music and their parties. Their presence used to fill up warehouses decorated with props similar to what adorned the Observatory Grounds – a fifteen foot skeleton hand shaped into devil’s horns, a giant, neon monster that looks to have arisen from the slime left over after a Nickelodeon Kids’ Choice Awards and is wearing a bikini. The basic rule of organizing Beach Goth seems to be that if it sounds rad, it should happen.


2 Live Crew was amazing, but their dancers were b-e-y-o-n-d.

The same holds true for the music. Initially most excited to see 2 Live Crew and Grimes, we also caught Reel Big Fish’s closing numbers (never thought we’d type that out loud), discovered Kali Uchis, and were reminded of our love for She Wants Revenge. The sonic and temporal diversity of the acts was reflected in the audiences they drew in. What stood out to us wasn’t just the costumes, though many were epic, but how natural this mix of seemingly disparate types of people felt. Everyone was just doing them, and while in another context, a pale girl in all black and glasses might look out of place dancing and singing along to Me So Horny, that’s exactly what this festival is about. It’s a celebration of Southern California, a region home to people from literally all over the world, with every taste imaginable, over whom, despite their differences, the sun still shines. Well, most of the time, at least.


Oh kids these days, with their Simpsons and Metallica and floral print rompers.


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Can you tell us a little about yourself?

I am a Southern California girl through and through, born in Los Angeles and raised in Orange County. Prior to doing my crystal healing work, I was a wardrobe stylist for commercials. I love learning, my husband, and our menagerie of critters (1 dog, 3 cats, 7 fish, 12 chickens, and two hives of bees!) I really love being in water.

For those who are not familiar with crystal healing and readings, can you please give a brief description?

Crystal healing is an inner journey instigated by the vibrations of the crystals. I place a unique series of crystals on and around your body which causes images, symbols, and memories to come forth to your mind and I help you to explore and understand the significance of what you are seeing. People variously describe the sessions as lucid dreaming, psychedelic, deep therapy, mini-vacation, and fun. The aim of a crystal healing session is to discover the root of what is causing unhappiness or discomfort in your life and bring deep clarity on what you can do about it to become happier and more fulfilled in your life.

For crystal readings, either people tell me what area in their life they want a crystal to help them with or, I just read a person’s energy and tell them what I see is the biggest energetic issue in their life now. In both cases, I recommend a specific metaphysical crystal for them to use to assist them with that particular situation. I also tell people how they can work with their specific crystal to maximize the energetic benefits of working with the stone. For phone sessions, answers to your personal crystal questions and metaphysical life coaching is also involved!

What got you started/interested in crystals?

Because I wasn’t finding anything that was to my taste or quality I preferred, I decided to design my own metaphysical fine jewelry. I then realized I wanted to make metaphysical jewelry pieces to support others too. I didn’t just want to read from some book what the metaphysical properties of a stone were; I wanted to know for myself if I had any connection with the crystals. So I begin studying crystal healing and found I understood the crystals more deeply than I could have imagined. It was then in my first crystal workshop I found my life’s calling to help people understand in heal with the power of crystals.

Can you tell us about some of the benefits of crystals?

If you were a painter you could use a certain color to brighten the palette another color to add some more depth. You basically use the colors to enrich and define your painting. In the same way, instead of colors on a painting, one can use the vibration of crystals to enrich the “painting” of your life. So crystalline energy can be applied to any part of your life. My personal intention is to use crystals to help bring more happiness and fulfillment for myself and the world.

Do you have a favorite crystal?

Yes, I resonate very deeply with phenakite. It’s a very-high vibration stone of the crown chakra and helps me be in tune to high level spiritual information to use in my work. I have a ring with a phenakite gem I wear for crystal healing sessions to help me with just that.

What’s your process like when you’re doing healings/readings?

For crystal healing sessions, I have no idea where you will go in your experiences and visions. My job is to just help you figure out why you are encountering different memories, symbols, and experiences while helping “fine tune” your vibrations with the vibrations of the crystals. The experience for me is much like being on a sound board (“needs more bass here,” “needs more treble here,” “all around less reverb”). I’m also helping you to figure out what energies you no longer need hanging on to, so it’s very much like being an energetic closet reorganizer asking you if you’re really ever going to wear that sweater you’ve had stuck in the back of the closet again. In both the crystal healings and the intuitive readings, I am sensing which chakras are locked up or out of balance and use crystals that would be most helpful in opening or balancing those energies. 

Any advice for any first timers who want to try it out? 

Let go of any preconceived notions of what your session will be like. People find it’s incredibly difficult to describe the experience unless you’ve been through it yourself. It’s also different for each person and even different for each session for the same person. The most important thing is to just be open. You’re going down your own rabbit hole and it’s an adventure on the other side.


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Can you tell us a little about yourself?

I was born in Mystic, Connecticut, but I grew up all over the Tri-state area. I went to Blair Academy, and then at 18 I went to the school of hard knocks, aka modeling during the heroine chic days, which was my first real playground in the fashion / art worlds where I was surrounded by creatives of all types who mentored me and allowed me to realize opinions about aesthetics… Besides an 8 year stint in LA, I’ve been in NY since I was 18. I live on the Bowery now, right above one of those old school lighting shops, and next to a tattoo parlor. 

For those who are not familiar with the line can you describe your aesthetic?

A little gritty, a little wrong, but still very elevated and sleek. Think Robert Downey Jr. in the 1987 hit Less Than Zero.  

What is your design process?

The process happens organically and is honestly different every time. For example, I use this herringbone pattern throughout the collection. That started because I was raised in a traditional sort of family but was more of a black sheep… I took the traditional herringbone pattern and tweaked it into more of a graffiti. I painted swatches of canvas with it, my sheets with it. It’s now the signature on each piece.

More often than not, it’s the environment that a utilitarian object exists in that gets me going. I love the transition from a useable, necessary object into a luxury good. Like a horse bit – its a utilitarian thing, which when it’s being used is covered in slime and dirt, but it’s become such a symbol of luxury. I love the irony of that.

For example, the carabiners started because I kept seeing these hot guys and girls on their bikes whizzing around the city. They keep their keys on these carabiners that would ever so slightly tug down their pants. It’s sexy – and I thought, why not make that everyday thing into something super luxe, and even sexier? 

Where did you learn how to design and produce your objects?

Its just happened over time – I decide to make something, and then I find a producer here in New York so we can work together easily. I love being able to be involved at every stage – and also always learning ! That’s one of the big benefits of making everything locally. 

How do you decide what to produce, you stock a very eclectic mix of things? 

It’s really about the story of each thing – the irony or humor in a piece, something that catches my eye really. I think of JvdF as a lifestyle brand, so I want every piece to fill a corner of that lifestyle. I love the idea of a guy being out and whipping out a silver toothpick for his date, or carrying floss in a JvdF case that also matches the toothpick…. and his one hitter 😉

Can you tell us a random fact about yourself?

I had a perm once. I was 17, she said it would be body wave… next thing I knew I was a poodle. It was absolutely not a body wave.

Any advice for young artists?

Everyone is calling themselves an artist today…. Step outside the box if you can








California closet dreamin’.

California designer Shaina Mote’s Spring/Summer line is touching down in Texas this weekend a la TenOverSix. The designer is known for her neutral, seasonless pieces—which makes them ideal for Texas’ fashionable set since it seems to be eternally summer here. Stop by Saturday, June 25 from 2 p.m. to 6 p.m. to check it out for yourself.


Spring/Summer 2016 takes inspiration from the place in between.  We focused on lucid and fluid shapes and materials with a palette inspired by colors in the sky when day becomes night.


I believe in creating season-less designs that can be worn from year to year.  I think trend-based designs offer a momentary satisfaction but that more subtle, neutral colors can offer lasting relevance and wearability.


Loud prints or colors.


I believe in supporting the local economy and helping local and family run businesses to grow.


Strong, independent, adventurous.  I think her style may vary a bit from city to city, but at the heart of the matter, her ideals and viewpoint are the defining, connecting factor.


I am admittedly quite timid when it comes to color, but I have always been a fan of a pop of red.  Whether that be a lipstick shade or a leather ankle boot, I feel that this color brings excitement into a look.

If you’re in the Dallas area, don’t forget to stop by TENOVERSIX at the Joule Hotel!


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Series showing June 12th, 2016-August 15, 2016  at TenOverSix Dallas

We are proud to present Alika Cooper’s “Unknown” series which explores feminism in art in a male privileged world.  In this series, Cooper focuses on the back of models’ heads obscuring  their identities by not showing their faces.  The contours of their bodies are filled in with painted fabric.  She paints the fabric beforehand with various effects and collages the layers with a matte medium on wood panels.  She describes the process as similar to textile design that is intended for quilting.  “This is a comment on the way the quilters have a way of embracing a lack of authorship for their work.  The way the culture of quilting embraces the unseen labor, unclaimed authorship is uncanny.”



Alika Cooper, a California native, is currently working in Los Angeles and St. Louis.  She has recently had solo exhibits in Los Angeles at the Actual Size gallery and the Night Gallery, Toronto at the MULHERIN gallery and in New York at the Tracy Williams, Ltd gallery.  Her work has also been exhibited at the Richard Telles Fine Art Gallery and LAXART in Los Angeles, the Robert Blumenthal Gallery in New York, and the Western Exhibitions gallery in Chicago.  In 2015, Cooper organized an exhibition, “MOTION PICTURE”, at the Study Room at the St. Louis Art Museum displaying a selection of the works of twenty photographers, plus selected books and ephemera from the library collection.  Most recently, Cooper was a panelist on Cheryl Donegan: Screening and Panel: Marjorie Keller’s “Daughters of Chaos” at the New Museum.  She is the recipient of a grant from the Rema Hort Mann Foundation.

Please call our Dallas location for any inquiries about Alika Cooper’s work at 214-261-4540. 

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Braiding_Tex The Brave Collection is a line of jewelry handmade in Cambodia to support local artisans and fight human trafficking. The Collection creates talismans of strength and spirit with the belief that true Bravery comes from a reverence for the past, connectedness with the present, and commitment to the future. Each piece is handcrafted in Cambodia in a Collection that fuses contemporary design with ancient inspiration to spark dialog. The Signature Bracelet spells “Brave” in Khmer, the Cambodian alphabet.  10% of profits are donated to empower girls against human trafficking. Founder Jessica Hendricks made the 2016 Forbes 30 Under 30 List in the Retail & Ecommerce category, and was invited to the White House to witness President Obama’s speech celebrating “Emerging Global Entrepreneurs”.  #CourageIsContagious Jessica_Text How did the Brave Collection start? I traveled to Cambodia while teaching English in Thailand the summer after my sophomore year at NYU Tisch. I was fascinated by the idea of Angkor Wat – a city of ancient Buddhist and Hindu Temples. I fell in love with this magical, spiritualcountry and was so deeply saddened to learn that in the genocide in the 1970s, 90% of the artisan community was killed. This sparked the idea for Brave – a line of jewelry handmade in Cambodia to support local artisans and celebrate Brave women globally.

Can you tell us a little about your pieces? Our signature Bracelet spells “Brave” in Khmer, the Cambodian alphabet and was carved and woven by hand in Cambodia. We also have a charm that says “Limitless” in Khmer, as well as a motif inspired by the lines of the Buddhist Flag, which represents wisdom and compassion. Our necklace charms are in the shape of a water buffalo tooth, silhouette you often see in the architecture of the Buddhist temples in Cambodia. The shape represents a small piece of a greater whole.

What influenced you? I was so moved by my time in South East Asia and wanted desperately to find a way to share the incredible strength of the women I met. I thought about it for a long time but wasn’t quite sure how to activate this passion. I remember being on vacation with my family – relaxed enough to allow for deeper ideas to formulate –and I was thinking about my mother’s jewelry store, and the connection that her clients had to their jewelry. I realized jewelry could become a catalyst for the conversation I wanted to ignite.

Can you tell us about the community that produces the jewelry? We work with an amazing team of fair trade artisans in Cambodia. Mostly mothers, our team works in a free, fair and dignified work environment and receives far above average wages in addition to benefits like health insurance, stipends for their children’s education and paid maternity leave. The team has an incredible level of skill and craftsmanship, but when I met them, they had little access to a global customer, or design influences outside the sea of souvenirs in their own country. I love working with them because through this partnership we are helping to break the cycle of poverty, working with women who did not receive an education, but making sure their daughters are.

Why Cambodia? Cambodia is a country filled with such an incredible history of art and craftsmanship, and yet in modern day Cambodia, it can be tough to find even a gift for a friend back home that was actually handmade in Cambodia. There is so much potential in the emerging art and fashion space in Cambodia, but it is still very much developing and can greatly benefit from partners on the outside to help this new generation flourish.

What’s your favorite piece and why? My favorite place is our first piece, the True Red Brave Bracelet because it feels like an extension of the red strings the monks tie on your wrists to bless you when you are traveling through Cambodia. I love the idea of gaining strength and groundedness by something as simple as cotton on the wrist.

We heard you’re on the Forbes 30 under 30 list, congrats!  Do you have any advice for women out there trying to start their own company? Perseverance is key. It takes a lot longer than I realized to create a brand, a story, a product, and a following from scratch. Recognizing the value of each small step you make and remaining patient is so important!

5 5 copy Stamping Sawing A Brave Bracelet Handmade Process Chiseling 2

Limitless Campaign Image Please join us Thursday, April 28th, 2016 for a Spring shopping event with The Brave Collection & Designer Jessica Hendricks Yee. Join us to celebrate the launch of the Spring line from The Brave Collection, jewelry handmade in Cambodia to support local artisans, fight human trafficking, and champion global female bravery. With words from Founder and 2016 Forbes 30 Under 30 nominee, Jessica Hendricks Yee. Gifts under $100. 57pm.


Ward Roberts is a conceptual artist who creates exquisitely composed photographs illustrating on themes such as loneliness and isolation in the modern world.

The artist’s perspective is fresh and engaging, the sophisticated aesthetic are often contradicted by subtle unscripted moments. A soft drenched color pallet is a common theme. There is an innate energy at the core of his work, one which is harnessed and marshaled into every detail in the composition. Roberts’ work is in many ways a rebuttal of the prevailing trend of urban, gritty style contemporary photography. There is a dichotomy at play in his fine art images which simultaneously recall the mastery of medium and calculated patience of remote academic painters, yet his subjects and presentation feel completely new and contemporary.

Ward is currently based in New York.

“The ‘Courts’ series is a tribute to Robert’s childhood spent in Hong Kong, playing outside with children of varying cultures. It was there he learnt that youth transcends language; that contradictions can be unifying. in his soulful photographs, the pastel hues contradict the hard, concrete composition. The cramped, vertical apartment blocks are pitted against vast, empty spaces. returning to a place with fondness can portend disappointment, and in this instance, the laughing children of Robert’s youth are nowhere to be seen. There is a sense of the lives of the new inhabitants being lived indoors, and memories fading.”





“Obfuscations of authentic selves in favor of labored constructions, ornate, multilayered representations of desired identities and the perceptions of these, serve as illustrative catalysts to ward Roberts’ latest photography excavation, cartography. Authored between 2012 and 2015, eight ethereal portraits, suffused throughout with Roberts’ synonymous pastel palette, examine that duality of visible and obscured selves, tangible and intangible constitutions, and concealed and explicit biographies, all within a deeper exploration of the ever-increasing ephemerality of self, in an aeon of ready digital manipulation, wanted avatars, and vacillating identities. Influenced by the chromatic works of light sculptor, James Turrell, anonymous 19th century photography depictions of ectoplasm, and the baroque chiaroscuros of the Italian renaissance, cartography pursues evolved conceptions and constructions of selves and the narratives enacted by such, all amidst attempting to restore that equilibrium and lucidity surrendered to mythopoeia, narcissism, and self-deception, conscious, and otherwise.”




Ward’s Cartogrophy series will be available at TenOverSix Los Angeles, and the Courts series at TenOverSix Dallas.

All prints are framed and for sale.
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Each season, the Dusen Dusen collection is developed and inspired by fine art, commercial and naive design, and the brain’s reaction to movement, color, and contrast. Come meet designer Ellen Van Dusen and shop her apparel and home goods Saturday, March 3rd from 3-6pm. RSVP with
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LA – Walk on the Wild Side!












Los Angeles is one of the few U.S cities where cougars, pumas & humans cohabitate. NWF & Santa Monica Mountains Fund are trying to raise money to build a Wildlife Crossing bridge for safe passage for wildlife, over the 101 freeway.






















One mountain lion specifically, P-22,  has made his way from Santa Monica Mountains to the Griffith Park Observatory area. He had to cross the 405 and the 101 freeways to get here! He’s not the first mountain lion to attempt this journey, but he’s one of a few that has survived. P-22 is now pretty much isolated by our freeways, with no chance at finding a mate. It’s highly unlikely that a mate could find her way across those same highways. He is currently being tracked by the Park Service biologists.

Making this safe passage would prevent isolations such as P-22’s, and offer a way to preserve the Los Angeles ecosystem.

Get involved and donate!

Just look at this blue eyed cougar cub!










Watch the 60 minute special for more details.

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