An appointment with a lawyer is not usually an outing on par with a trip to an art gallery. Yet within the legal offices of The Law Offices of David Michael Cantor in downtown Phoenix, prepare to leave behind your preconceptions about stuffy law offices decorated with mundane posters or black and white photographs.
When you exit the elevator and walk through the firm’s glass doors on the 18th floor of CityScape, you are confronted with an 8’ x 12’ foot mural painting of Arizona Sheriff Joe Arpaio entitled When Pigs Can Fly, which Attorney David Cantor commissioned from then local artist Robert Anderson in 1997. The brightly-colored painting, known throughout the office simply as Tent City, depicts the Tent City jail in downtown Phoenix. It has become such an established focal point to the office that its image is emblazoned on the complimentary water bottles given to guests.
For Cantor, the bold conversation piece is integral to the spirit of his practice and Cantor is clearly proud to have When Pigs Fly displayed so prominently. The Cheshire Cat peering down from the top of the painting at the ruckus below reminds Cantor of the cat he owned at the time, and he notes that “the nose [on Arpaio] is very distinctive, and Robert [Anderson] told me he did that on purpose.”
While approximately 60 of the more than 100 paintings, drawings and prints in this avid collector’s possession are on display throughout the offices, this is not a corporate art collection. Cantor acquired each piece over the past 25 years personally, and many have transitioned back and forth between his office and home.
Cantor estimates that 90 percent of the collection is comprised of local Arizona artists. With the exception of one or two, all works in the collection were created by living artists.
Cantor buys a piece because he likes it. “It’s personal, it’s not value driven.” Working without an art advisor, and a casual, but not close relationship with many of the gallerists and artists, allows Cantor full control over his collection, which includes a number of provocative political works.
Somewhat counter intuitively, the more outlandish pieces are on display at work, while the less salacious works stay in his private residence. “I’m a criminal defense lawyer,” Cantor says by way of explanation. The paintings are not merely decorative pieces to fill conference room walls, but pieces rife with social commentary. “It’s personal, but we display a lot that’s relevant.”
Asked if any artwork has offended a client, Cantor dismisses this notion.
However, one painting, Colin Chillag’s It is a Fearful Thing to Love What Death Can Touch (of “The Girls Next Door,” an E! reality TV show about the Playboy Mansion), was deemed unsuitable for the average visitor, and now resides back by the IT desk.
Other paintings, like Eric Cox’s Sheriff Joezo and The Wicked Witch of the Southwest, both purchased from R. Pela Contemporary Art‘s “The Joe and Jan Show,” or a yarn portrait of Governor Jan Brewer, Brewer? I Don’t Even Know Her…, by Todd Daniel Grossman, are scattered throughout the office.
Brian Boner’s Theft Balloon and Disappearance, both from 2004 and displayed as a diptych, depict a less overt political message. Both were purchased during a First Friday art outing. “Boner’s garage was open and he was working on this piece and I said I’ll take ‘em.”
Cantor’s life as an art collector began in law school in 1987 with a print by Olivia De Berardinis, inscribed to him by the artist, “To David, Good Luck in Law School.” He bought a second piece right after that, by Patrick Nagel, and a collector was born.
While he does not have a formal art education, he relies on magazines like Art in America and ARTnews to keep him informed, as well as visits to local museums when he travels. He frequents downtown galleries like Modified/Arts, Eye Lounge and R. Pela Contemporary Art, whose recent show, “Banned at the Herberger,” Cantor cites as a recent favorite.
His collection is united with color and figuration. “That’s the theme. A lot of these either have faces of a human or an animal, or it’s color. Fauvist. Almost everything has color. Even the so-called muted colors aren’t really that muted.”
The literal translation of fauve is “wild beast” and refers to the early 20th century art movement of brash, bold colors and apparent brushstrokes. It is the focus on brightly pigmented colors that shows the Fauvist influence in Cantor’s collection. A reinterpretation of “wild,” which includes socially progressive subject matter and outlandish presentation of some of the central figures is central to his collection as well.
The collection, as well as the office space, is constantly growing. Every office has at least one framed work on its wall, all curated by Cantor. Office inhabitants rarely get a say as to the art on their walls. Throughout the hallways, paintings reach towards the ceiling and the rare blank wall is merely a space that has yet to be filled.
Behind the reception desk—and directly facing Tent City—is another rare commissioned piece, this one a copper fountain by Gary Slater. It provides a sense of tranquility with undulating earth tones setting a serene scene. The juxtaposition of this subdued piece with the brashness of the Arpaio mural enables Cantor’s duality, as a lawyer and art collector, to shine through. This collection of bold work by talented local artists’ uniquely embodies his personal aesthetic sensibilities, as well as the rich scope and quality of contemporary art being produced in Phoenix today.
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“REAL JAZZ” TAKES CENTERSTAGE AT FREE CONCERT AT CITYSCAPE
Event is one of many International Jazz Day events taking place worldwide on April 30
COME CELEBRATE “REAL JAZZ” AT THIS FREE OUTDOOR CONCERT
Downtown Phoenix is joining the line-up of more than 150 cities around the globe that will be participating in International Jazz Day on April 30, an annual event that is officially designated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) to celebrate jazz and the role it plays in uniting people in all corners of the world. The FREE “Real Jazz” outdoor concert at CityScape features world-renowned jazz saxophonist Azar Lawrence, along with an all-star lineup of local, national and international jazz artists. Often compared to John Coltrane for his sound and harmonic approach, Lawrence has performed with McCoy Tyner, Miles Davis, Freddie Hubbard and Woody Shaw.
• Azar Lawrence – world-renowned jazz saxophonist plays tribute to the iconic John Coltrane and provides sneak preview of his new CD, The Seeker.
• Papa John DeFrancesco –soul-jazz music artist, father and mentor to world renowned organist and trumpeter Joey DeFrancesco.
• Carlos Rivas – International Latino jazz artist and founder and director of Mex-Sal, one of Arizona’s most prestigious Latin groups, has performed throughout the world.
• Kerry Campbell – Jazz saxophonist and former member of The Dramatics and famed band War has also performed with jazz greats Herbie Hancock, George Duke and Joe Sample among others.
• Nayo Jones – Mentored by her father Doc Jones, jazz vocalist Nayo is a rising star who has opened for jazz greats such as Chris Botti, Otis and The Temptations, The Whispers and Lakeside.
• Phoenix Country Day School Varsity Jazz Band – under the direction of David Rowe.
• William “Doc” Jones – Jazz saxophonist, keyboard artist, music educator and founder of the NextStudent Academy, has performed with Aretha Franklin and The Temptations among others.
WHEN / WHERE:
Wednesday, April 30, 4 p.m. to 9 p.m.
CityScape at 1 East Washington Street, Phoenix, AZ 85004
“Real Jazz” is FREE to the public. VIP event seating is available at Copper Blues for the first 100 people who make a $100 donation to support the NextStudent Academy, a local 501(c)(3) organization that works with schools and after school programs to make jazz music education available and accessible to students from kindergarten through college. For more information about the event visit nextstudentmusic.com. For donations and VIP seating at “Real Jazz,” call (602) 708-0810 or make your donation online at nextstudentmusic.com.
DPJ’s Wire series delivers news and information straight from the source without translation.
MUSEUM TOUR GUIDE AT MEETING INTRODUCING HEARD MUSEUM’S ‘LAS GUIAS’ (‘THE GUIDES’)
Guides, or docents, describe galleries, exhibits to museum visitors
Learn how to become a qualified member of the Heard Museum’s docents, called Las Guias (or, “The Guides”), at an introductory meeting at 1:30 p.m. Wednesday, April 23, in the museum’s Dorrance Education Center Conference Room, 2301 N. Central Ave., Phoenix.
To know what is needed to tour the museum, the docents, all members of the Heard’s valued corps of volunteers, the Heard Museum Guild, undergo seven months of weekly training sessions. During them, they are taught about the museum’s exhibits, American Indian culture, history and art, and hone their skills at describing the art works on display.
Current Las Guias members will explain the training process, which starts in early October 2014, culminating in an early May 2015 graduation session. The instructor will be Jaclyn Roessel (Navajo), the Heard’s director of education and public programs. The newly trained docents will begin giving tours in mid-2015.
Attendance at the meeting is free, but an RSVP is requested. To RSVP or for more information, please contact Lucille Shanahan, email@example.com or 623.556-1430.
Here at DPJ, we’re all about sharing what we love. Beyond the stories that make us love downtown, we often come across things that catch our eye, tingle our senses or have us dancing in delight. “We Like…” turns a brief spotlight on the little treasures that make our day, with helpful links so you can share in the fun.
I love stumbling on secret delights in cities – the odd alleyway, a hidden bench behind a bushy shrub, or a work of art where you least suspect it. My early years in Phoenix were marked by dismay that I couldn’t get out and wander about as a pedestrian. I got a dog and walked my residential neighborhood, but I specifically craved city streets and their eccentricities.
There was, however, one thing about Phoenix that gave me hope for the great city it would become – its world class public art. Even 21 years ago when I first arrived, Phoenix was way ahead of the game in making art an integral part of its bones, especially given the irony that, at that time, the city was exploding with gruesome suburban sprawl.
But the public art was a revelation and, over the years, innovative public art throughout Phoenix has continued to shape the way our beautiful city feels. One of my favorite tucked-away examples in the heart of downtown is The Hohokam Camshaft Gates.
This wonderful, but easy-to-miss piece is a perfect combination of art and infrastructure. In 1994, Phoenix artists Bob Adams and Michael Maglich were commissioned to collaborate on the design and fabrication of gates for the loading area of the Phoenix Convention Center. They hit the nail on the head with a concept and execution that always makes me smile.
The spindles for the gates represent diesel truck camshafts, a nice nod to the importance of the trucking industry in the operation of the Convention Center. The masks that top the gates pay homage to the Hohokam people, the first Phoenix urban dwellers. The masks were sculpted by C. Matt Thomas and are enlarged reproductions from prehistoric Hohokam figurines. Kudos to everyone on this project!
The end result is a functional, but beautiful gate on the backside of the convention center, where visitors aren’t as likely to be wandering. It comes as a happy surprise for those who do stumble upon it. And when you stop and take it in, it tells an authentic story about this particular spot and the role it plays in our city. I love it because it isn’t grand, but it is integral. Stroll by and check it out. (A side note: when the Convention Center was renovated and expanded in the mid-2000s, half of the gate was moved to the Shemer Center.)
If You Go
What: The Hohokam Camshaft Gates
Where: Loading Dock Area – backside (east) of Phoenix Convention Center, on 5th Street between Jefferson and Washington Streets
Artists: Bob Adams, Michael Maglich
Want to share your love? Send a note to firstname.lastname@example.org and tell us what YOU like.
Central Park. Hyde Park. Griffith Park. Millennium Park. All famous spots that have become integral to the cities they exist within. So what’s the defining park of Phoenix?
If you’re still searching for an answer, you’re not alone. But thanks to the efforts of what started as a small group of downtown citizens and has bloomed into the Hance Park Conservancy, the answer to that question may very soon be Margaret T. Hance Park.
The City of Phoenix Parks and Recreation Department, in collaboration with the Hance Park Conservancy, put out a call to professional design teams to submit their best ideas for a completely remodeled downtown park.
On Thursday, March 27, the master plans were revealed to an excited crowd at the park, just south of Burton Barr Central Library. Playing on a city that is large, sprawling, and interspersed into the natural geography, the proposed master plan for Hance Park will answer the vastness of Phoenix with its own buttes, ridges, and sprawling valleys.
Not to mention a beer garden, dog park, zip line, dedicated performance pavilion, a skate park, and a built-in irrigation system to support vegetation, among other new amenities. The proposed plan should reach completion in 10 years, at a budget of $118 million.
The selected team is comprised of locals and outsiders, with Lead Designer and Master Planner Jerry Van Eyck from !Melk, Prime Consultant Phil Weddle of Weddle Gilmore, and Landscape Architect Kris Floor of Floor Associates.
In order to keep the excitement and momentum set forth by the unveiling of the park’s plans, Weddle stressed the need to focus on the first set of changes coming to the space.
“We really need to focus on that catalytic first phase,” he said. “We believe that the most significant thing we can do is focus the early money on creating a signature gateway into the park at Central Avenue. That’s creating a vibrant urban plaza and the cloud that becomes the signature marker for this park.”
The cloud referred to is a collection of structures to be installed over Central Avenue marking the entrance to the park, and most resemble a small fleet of miniature alien space crafts, slowly descending upon the city.
Somewhat surprisingly, that $118 million price tag is reasonable when compared with parks of similar prominence throughout the United States. The cost breaks down to $3.7 million per acre, comparable to the Brooklyn Bridge Park in New York, which came in at $3.2 million per acre. Even Phoenix’s Civic Space Park, although smaller, came in slightly higher at $5.2 million per acre.
As Weddle described, the master plan is a long-term vision that will be funded through mixed initiatives.
“We are proposing to fund it through a public-private partnership. It’s really the model that shows the community is invested in the park as much as the public entity is. It’s a smart investment; it creates economic benefits for our community.”
Kimber Lanning, founder and executive director of Local First Arizona, reminded attendees of the unveiling event that the price tag is not as intimidating as it seems.
“We have invested between $4 and $5 billion dollars in this downtown, and we need to have this park finished,” she said.
“You know, Chicago didn’t just wake up one day as a great city; it was built by the people just like you who lived in Chicago. I’m not saying this is going to be easy. There’s going to be people who tell us we can’t afford this. I argue we can’t afford not to do this.”
According to Weddle, the next areas of focus will be working with the city and Hance Park Conservancy to expand programming within the park as it is today, because, as he says, “I think it’s really important to try and build the vibrancy as quickly as possible and not necessarily wait for construction.”
Building the vibrancy would include both larger events, such as concerts and festivals, and smaller, day to day activities, such as yoga in the park.
The team is also working to map out funding strategies going forward, as there is no dedicated funding for construction at the moment, according to Weddle.
“For the public funding to be allocated it’s going to need to continue to be a priority for the community, and continue to be a priority for the city council leadership,” he said, adding that the team also has plans to begin exploration for a private capital campaign to match the public funds.
In addition to the first phase renovations to the plaza and clouds over Central Ave, the team is planning on making improvements to the performance pavilion a top priority, as it allows for new programming and partnerships with art and cultural organizations downtown.
Rendering images from the Hance Park Master Plan Report, courtesy of City of Phoenix.