You are a breed apart — well-educated, extremely successful, demand discretion, specific about what you want, philanthropic, and appreciate a culturally rich lifestyle. Your home transcends the ordinary and mirrors your personality and aesthetic pursuits. High Art is your milieu. A Ritz-Carlton Residence is your perfect environment.
Live an artful life framing the panoramic landscape of museum-rich Los Angeles in this spectacular 48th-floor, 4,129-sq.-ft. residence being offered at the Ritz-Carlton Residences at Downtown L.A. Live — the city’s newest and most vibrant sports and entertainment district! Built in 2010, the Ritz-Carlton Residences Unit 48G has been newly customized to suit unparalleled 5-star luxury living. This residence features impeccably designed high-tech lighting and a floor plan encompassing three en-suite bedrooms, a guest powder room, a family media room with five TVs, a chef’s kitchen with premium Gaggenau built-in appliances, granite countertops and cabinetry, adjoining pantry, a fully equipped laundry room, and gracious open-concept living spaces with stellar city views of Downtown L.A. all the way to the Pacific Ocean. The master-bedroom appointments include automatic-bypass entry doors, a built-in king-sized bed foundation and nightstands, a makeup vanity pour madame, an armoire unit with charger station for PDAs, a handcrafted TV lift cabinet, separate spacious his/her walk-in wardrobes with LED lighting systems throughout, and electronic blackout window shades. The master bath is lushly finished with a self-cleaning whirlpool tub, designer fixtures and storage amenities, custom shower enclosure, and a gentleman’s urinoir.
A technologically advanced Crestron Control System allows for streamlined management of every facet of the residence’s electronic operation — illumination, gallery-style fine-art lighting, window shades, TVs, AV, and HVAC — from an iPhone or iPad. Finely crafted and darkly stained 5” oak-plank hardwood floors and luxuriant carpeting accentuate each room in which no bespoke detailing have been overlooked. Certainly, high-art living at its finest!
The Love Armada, a collaboration between LA-based Sculptor Cybele Rowe and Australia-based painter Kaye Freeman. As well as the paintings of Kaye Freeman. Rowe and Freeman have been acquainted since 1985. They know each other as artistic peers and friends, first in Australia where Rowe hails from and where Freeman moved to at the age of nineteen.They rekindled their friendship during a visit by Freeman in 2014 to Rowe's California atelier. The Love Armada collaboration began as an experiment – Rowe invited Freeman to paint the surfaces of some of her new work, wondering whether there were ways to push the boundary of the surface finishes on new, large-scale sculptures she had just completed. When Freeman began to cover the surfaces with paint, they both knew – immediately, and with force – that their collaboration was an invitation to a new level of artistic work, and to new ways of being as artists and beyond.
The Love Armada presents Brutal Shields, a new body of work centered around formal transpositions and transformative confrontation. The culmination of 60 years of collective work by both artists, the Brutal Shields function less as purely autonomous art objects in a Western sense than as talismans, imbued with protective and connective force. Shields are historically and aesthetically polarized as instruments of war and conflict, the projection of destructive force. However, Love Armada position the Brutal Shields as an inversion of that trope, invoking both nurturing and protective maternal force against threats to the emotional heart, the seat of compassion and love, to create a channel for a positive force. Much as ritual objects in many cultures create transformational spaces and experiences; Brutal Shields invoke the promise of connectedness to energy outside of limited time. The shields are enormous, most over seven feet tall. Though based on a slab-like central form, each shield has variant contours, with appendages and protrusions of different sizes. Tumescent and sometimes suggestive, they call to mind highly charged fertility sculptures or fetishes. Various accouterments adorn the exterior of each shield – bits of rope, nails, spikes, and common organic materials – and a variety of textures are stamped, scraped, and incised into the surface. The sculptures evoke organic, indigenous cultural objects in their form and coloring. Exuberant hues and patterns envelop each shield in a chromatic mix so rich it is almost audible. Patterns, Motifs, and transitions are intuitive but also guided by narratives and insights drawn from a variety of mythic and folkloric source material. Each shield is produced intuitively and spontaneously, with each artist working separately, without preparatory drawings or notes. Rowe sculpts each form before Freeman ever sees it, and then Freeman paints the shield. Sculpting and painting are done in the round, and the orientation of a shield may not be determined until the painting is finished. Uninfected by irony or sardonic observations, Love Armada’s Brutal Shields present a vigorous, welcoming tumult of color and form, embodied in unapologetic, monumental sculptures.
Born in Hong Kong, raised in Tokyo, the child of British ex-patriots with eyes beyond the horizon, Kaye Freeman is truly an international artist. Based, at the moment, in the wilds of Victoria, Australia, Freeman’s abstract paintings are simple visual arrangements of vibrant colors, contrasting shapes and bold composition. Her work is described as “...an audacious realization of color, line, form, and philosophy”. Her mother, an architectural artist, brought her small, elfin daughter to countless Buddhist Temples in Tokyo, and the beauty, depth and visual excitement of these places ignited Freeman’s artistic process. Today, Kaye Freeman draws her inspiration from her travels through Japan, Mexico, Hong Kong, Britain, and the US.
Freeman’s abstract drawings in paint are rooted in a lifetime study of natural form, and in a set of technical skills, developed at art school and honed to a keen edge while painting for theater and film. The sheer scale, palpable energy, and sensuality of her recent work challenge and conjures with the line, color, and shape, plumbing the viewer's subconscious for organic forms, making the images ever more familiar, exuberant and affirming. Among Kaye Freeman’s many awards and plaudits is the prestigious SHE award from the Walker St. Gallery of Melbourne. In presenting the award for Freeman’s portrait depicting her mother’s end-of-life struggle, juror Angel Lange stated, “Kaye Freeman has given an incredibly moving and personal work.
The piece stimulates conversation about an often muted but exceedingly important social issue, with dignity and superb quality.” Freeman has exhibited her artwork in many group exhibitions, most notably in The Substation Contemporary Art Forum in Melbourne, and the Buiten collective in Chiba Prefecture Japan. Her artwork lives in many private residences throughout the U.S.A., Japan, Dubai and Australia. She is currently producing “The Joshua Series”, a collection of paintings inspired by recent visits to the Joshua Tree National Park in the southwest United States.
Cybele Rowe is a sculptor, and for thirty five years her days and dreams have been spent evoking that which is abstract into form. After completing her Post Graduate studies in Fine Art and having numerous shows in Australia, she relocated to NYC after traveling the world on an Australian Traveling Art Scholarship. This enabled her to befriend influential art patrons like Joanne and Gifford Phillips, then the director of the MOMA in NYC. They assured her that Manhattan has the structure and depth to develop her desire to be a sculptor.
Rowe moved to Manhattan at the age 24. The city filled her mind, influencing her work whilst she sought to explore the zeitgeist of her contemporary art world.
Establishing her studio first on the Upper East Side. She eventually moved downtown to Wall Street where she would be greeted by the Statue of Liberty every morning from her windows. From her dream loft Rowe was able to create numerous high profile shows. These included paintings and sculptures shown throughout the Bergdorf Goodman Men’s and Women’s Stores, The World Bank with Hillary Clinton presiding over The Woman’s Show, and Kennedy Center in Washington DC. She also had the honor of lecturing on her work for the Australian Embassy in conjunction with the Smithsonian Institute, all before turning thirty.
Rowe relocated in 1998 to the mining town of Silverado, Southern California. The birth of her son inspired her to follow an ideal of Buckminster Fuller that said: “ The greatest gift you can give a child is the gift of nature.” She purchased a one hundred year old dance hall located on a couple of acres and built her studio . Changing her influence of scale from man made monumental to that of Coastal Chaparral, Rowe relaxed into nature's' influence.
Rowe made her mark in the international art scene as a large scale ceramic sculptor. Her ceramic works are larger than life, big enough to stand in and can be found in front of the American Museum of Ceramic Art, USA and the American Ceramic Museum, China.
She found herself building from the inside and climbing out with ladders from these “Human Shells as Temples” always seeking to defy gravity. At that point, she believed she had reached the limits of what clay could achieve for her purposes. Amongst her proudest moments are having her work stand in the homes of of Will and Jada Pinkett Smith and Halle Berry.
Having realized after 25 years in ceramics and building works that reached her pinnacle of scale in China and America, she began to relax away from ceramics. Seeking a medium that would allow her to be released from the restrictions of industry that were necessary in her large scale ceramic work.
Rowe began pushing the boundaries of a variety of mediums that were capable of being true to her ideology of the feminine gaze, which she believed has had little voice in contemporary art. Her opportunity came with the collapse of the global economy which produced a shaky art scene. Rowe decided to pull out of commercial galleries. Dedicating the next five years to developing a new lightweight medium allowing her to seek to build truly in the round.
Exploring prototypes in a variety of mediums and methods, pondering and studying and thinking, the tenants of the Love Armada began to evolve with contemporary artist and peer Kaye Freeman. They eventually joined with a bonding ideology based in the feminine gaze and dialogue which would become the “Love Armada” in 2014.
Currently as Rowe develops work for the “Love Armada” , she is pursuing her PhD. Her imagining of her sculptural development, is in the future materials yet to be created. Regarding the effects of gravity on sculptural mediums Rowe likes to reference Charles Bukowski who said; “You don't need bones in space.” The making of sculpture within the ambit of colonizing “Off World" environments is an intriguing question to Rowe as a maker.
Letting her mind wander and her desire of being a primary builder, Rowe rises to the challenge that the medium does matter as much as the form. She seeks to push those limits within the constraints of her own building capacity.
Rowe remains true to herself by practicing the Buddhist principles of “Mindfulness” and “Positive Groundlessness.” Rowe has found that abstract sculpture has become fully present in her work, leaving behind the human form. Practicing these principles have allowed her emotionally and artistically to build the sculptural form and then release that form to Kaye Freeman to paint the surfaces. In order to achieve 70 years of expertise in one work, both Rowe’s 35 years of sculpting and Freeman’s 35 years of painting, they are making objects rare in both technical and artistic achievement. There is no ego involved in the work for Rowe anymore. Her desire is to transmute that which she experiences into abstract form.
Will Smith calls him “Picasso.” Jerry Bruckheimer, Denzel Washington and Michael Bay vie to have him on their film sets. Arnold Schwarzenegger introduced him to President Bill Clinton by saying, “This is Robert Zuckerman, the best photographer I have ever worked with.”
As a photographer in the motion picture industry, Robert Zuckerman’s images have become the advertising and publicity campaigns for such films as “The Crow,” “I Know What You Did Last Summer,” “Any Given Sunday,” “Training Day,” “Terminator 3,” “Bad Boys 2,” “National Treasure,” “Transformers,” “Pursuit of Happyness” and “The Great Debaters,” among others, as well as television series including “The Shield,” “Rescue Me” and “Nip/Tuck.” He has done recent album cover and movie poster photography for Will Smith and was invited to be the personal photographer for the family of Malcolm X and Dr. Betty Shabazz.
Whether on or off the set, his connection is to emotional content, to the feeling present in the subject and in the moment. Zuckerman has photographed countless weddings, family portraits, and pregnancy pictures – anything where there is spirit and love in the room, from the inner city to the mansions of Malibu.
His book Kindsight (Kindsight Press, LLC) is a collection of photographs and accompanying texts by Zuckerman illuminating the richness of everyday life encounters and experiences. From taxi and bus drivers to waitresses to plumbers to kids at a playground, even to cats, Kindsight shows the extraordinary within the ordinary. James Crump, renowned fine art publisher and curator, says “Zuckerman’s portraits are infused with an uncanny sense of hope and spirit in the post 9/11 era.” The book includes forewords by, among others, Will Smith, Debra Winger, poet Michael Lally and novelist Elaine Kagan. It is currently on the PEN American Center’s “Best Book Read This Year” list.
Since the publication of Kindsight, Robert has spoken to student and youth groups across the country, initiating workshops in which students use photography and writing together – as in the book – to connect with the richness of life around them. He has spoken at Authors at Google, been featured in a PBS story about him, and was a panelist at the Kids Risk Symposium at the Harvard Medical School in Cambridge, speaking on empowering youth through positive media modalities. He is sought as a mentor by aspiring artists worldwide.
Among other credits, Zuckerman has photographed campaigns for United Way and City of Hope. He co-produced the groundbreaking, award winning documentary “Video From Russia: The People Speak” (1984, directed by Dimitri Devyatkin) which ran on ABC TV and then on A&E for three years. He directed and produced the New York City portion of the official “Hands Across America” video in 1986. He is a graduate of UC Berkeley and the American Film Institute.
“For me, photography as much as possible has become an integration of life and craft. Through it I am able to give value to people’s lives and derive value in my own life, beyond making a living.”
The Ritz-Carlton Residences at L.A. Live have dramatically reshaped the city's world-famous downtown skyline. The Residences, starting on the 27th floor and rising up to the 52nd floor, stand boldly as an icon above the bright lights of Los Angeles while offering legendary Ritz Carlton service and amenities including catered in-residence dining options, housekeeping services, valet parking, and concierge assistance. Complementing this exceptional lifestyle are a rooftop swimming pool and cabanas, fully equipped fitness center, 8,000-sq.-ft. full-service spa and salon, executive boardroom, multimedia screening room and residents’ lounge.
Downtown Los Angeles offers world class attractions, incredible restaurants, a thriving nightlife and walkable streets. The spectacular L.A. LIVE entertainment complex includes popular attractions such as the Microsoft Theater, the GRAMMY Museum, Lucky Strike Lanes, Regal Cinemas. L.A. LIVE is host to a wide variety of restaurants and popular bars. The STAPLES Center is home to the Lakers, Clippers, Kings and Sparks, and also hosts major concerts. The stunning Walt Disney Concert Hall anchors the Music Center, Dorothy Chandler Pavilion, Ahmanson Theatre and Mark Taper Forum. Both the new Broad Museum and the Museum of Contemporary Art house an acclaimed permanent collection and rotating exhibits. The Historic Exposition Park is home to the California Science Center, the California African American Museum, the LA Memorial Coliseum and Sports Arena, and the Natural History Museum.