Category Archives: Art

We Recycle


One of the more inspired photo series presented by Hovercraftdoggy. Look closely.

These objects have found a new life from weapons of terror to instruments of beauty.

Originally posted on hovercraftdoggy:


Mexico City based artist Pedro Reyes fabricates 50 functional music instruments from destroyed drug war weapons. He acquired some 6,700 weapons that were scheduled to be buried (as is customary in mass weapon disposals) and instead collaborated with six musicians to create 50 working instruments as part of a statement regarding increased gun violence in Mexico. The numerous firearms were cut down, welded and formed into a variety of string, wind, and percussion instruments over a period of two weeks last month. Via his blog Reyes says:

It’s difficult to explain but the transformation was more than physical. It’s important to consider that many lives were taken with these weapons; as if a sort of exorcism was taking place the music expelled the demons they held, as well as being a requiem for lives lost. […] This is also a call to action, since we cannot stop the violence only…

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Leaving Home at the Ruskin Group Theatre Co.

by Tracey Paleo, Gia On The Move

LastovicLandryMulkeyMcMullensm .
It was shocking to watch Jacob Mercer (Chris Mulkey) take off his belt and violently whip his eldest son in the final moments of Leaving Home.  I daresay that is what has kept me from commenting on this play for such a long time until now.  It had less to do with this show being an otherwise mostly low key performance or that it was a good show with good direction, populated and performed by really great actors or that I found anything particularly wrong with the production. It was my loathing as a human being at witnessing the family dysfunction that was presented here. It struck a heavy cord.

Leaving Home, set in the 1970s, written by Canadian playwright David French and listed as one of the 1000 essential plays in the Oxford Dictionary, is according to director Barbara Tarbuck, a love story, an immigrant-generated struggle.  And I suppose seen in its full 5 play cycle it does showcase a much more intensified view of that.  However, seen as a single play, it had a slightly different effect. Whether or not Mr. French intended to spotlight the subject within his text, the issue of child ownership comes directly into play.

It’s a theme that resonates as much in Leaving Home as it does in classics like Shakespeare’s Romeo and Juliet or A Midsummer Night’s Dream; parents forcing their children to be adults – into making adult choices and decisions that will steer the course of their entire lives, and yet controlling every aspect as to who, when, what, why, and how they will do it, deciding for them, conditionally, regardless of the intention. There is so much blame, emotional recklessness and revenge-taking in the first installment of this episodic, that it’s difficult to see how anyone is going to be able to rise above any of the issues and break free.  Jacob’s eldest son Ben (Kayde McMullen) tries.

With Jacob raising his sons to be men, it’s more than just proud father parenting.  Sure there is love.  I’m not saying Jacob is a heartless man or even that he is simply a man of his generation.  But for all of his good qualities, he is weak. And when he rips up his son’s high school diploma, threatens to cut him off financially, prevents him from taking his books, empties his suitcase of clothing, then finally forces him down onto the kitchen table for a brutal dose of, “you’re not a man”, it’s not about love or discipline or a punishment for ungratefulness or disobedience, it’s intentional hurt, anger, jealousy and resentment for not being included in both his boys’ lives and the petty household secrets they keep with their mother Mary (Karen Landry). The surface argument here is the issue of Ben  moving out of the house to live with his soon-to-be-married younger brother Bill (James Lastovic).  Ben actually wants to respect his father by becoming the man Jacob desires him to be.  He just wants to do it on his own terms.  Part of Jacob’s fear though is that his son might actually succeed and that Ben’s independence will make him irrelevant as a man and a father.  It’s a horrible emasculating moment for both of them.

In fact, the very behavior Jacob displays is exactly the kind foisted upon him by his own father in a past life only regarding the issue of religion, which is the cause of the strife surrounding the impending marriage of his son and pregnant daughter-in-law to be (Sierra Barter).

It’s ugly and it’s difficult to watch; which is the very reason to see this play in the first place. If you don’t feel confronted by the family dynamics and the subject matter in some way, then maybe you’ve had a blessed life free from turmoil.  I think most of us however, are going to find something deeply resonant within this play, immigrant status aside.

LEAVING HOME runs through MARCH 14, 2015 

Fridays and Saturdays at 8pm, Sundays at 2pm

Now playing at the Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405.

Directed by Barbara Tarbuck
Produced by John Ruskin and Mike Myers

Starring Chris Mulkey, Karen Landry, Kayde McMullen, James Lastovic, Sierra Barter, and Mary Carrig

Show Run Time: 1 ½ hours

Follow the Ruskin Group Theatre on Twitter @RuskinGroupThtr, and like them on

Tickets are $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling (310) 397-3244 or online at

Free parking is available at the theater.

If All The Sky Were Paper – 2 Shows Only at the Kirk Douglas Theatre


in association with Chapman University present


A Play That Brings Battle and Home Front Letters to Life

By Andrew Carroll

Directed by John Benitz



SATURDAY, MARCH 14 at 7:30 pm &
SUNDAY, MARCH 15 at 2:30 pm

9820 Washington Blvd
Culver City, CA 90232

Featuring Annette Bening, Gary Cole and More!


or call 1-213-972-4488

Lexikat Artists, in association with Chapman University, is proud to present the return of IF ALL THE SKY WERE PAPER on Saturday, March 14 at 7:30 pm and Sunday, March 15 at 2:30 pm at The Kirk Douglas Theatre, 9820 Washington Blvd. in Culver City. The play is a moving, dramatic reading of real wartime letters by soldiers, Marines, sailors, and airmen, as well as their family members at home.

Four-time Academy Award-nominee Annette Bening will be reading letters in the performance on 3/15 at 2:30. Gary Cole (“Veep”) will be reading letters in both performances, with more actors soon to be announced. More Celebrity Guest Artists to be announced – check website for updates at: and their Facebook page.

Based upon Carroll’s bestselling books WAR LETTERS and BEHIND THE LINES.

In 1998, Carroll launched a national initiative to honor U.S. troops, veterans, and their families by preserving their wartime letters. Since that time Carroll has traveled to 40 countries, including Iraq and Afghanistan, and has collected more than 100,000 previously unpublished letters (and now emails) from every conflict in American history.

IF ALL THE SKY WERE PAPER features the best of the letters that Carroll found and also tells the story of his harrowing but inspiring journey to seek out what he calls “the world’s great undiscovered literature.” The actors portray the real-life military men and women and their loved ones at home, acting out the full spectrum of emotions experienced in times of war. From the incredible ferocity of battle to the pathos and humor of everyday life, these letters and the story of Carroll’s search will deeply move and inspire audiences.   

“These letters are intimate, deeply personal portraits of the courage, sacrifice, and sense of duty that made this country.” - Tom Brokaw (on WAR LETTERS)

“From the American Revolution to Iraq, everything is here: the terror and exhilaration of…combat, love letters, funny letters, letters from civilians caught in the middle of war…”Joseph L. Galloway, co-author of We Were Soldiers Once…and Young (on BEHIND THE LINES)

Ticket Prices range from $20 – $30.00. Running time is 80 minutes.

images* A portion of ticket proceeds will support United States Veterans Artist’s Alliance (USVAA), The Soldiers Project and the Wounded Warrior Project.

**Performance will be followed by a reception with the director, writer and actors.

 Located in downtown Culver City, just a few blocks south of the I-10 Freeway and across the street from Sony Entertainment Studios. Culver City Hall, behind the theatre on Culver Blvd, provides FREE covered parking. Dozens of restaurants and generous street parking are available in the surrounding area.

DOMA Theatre Company Rocks in Jesus Christ Superstar

by Tracey Paleo, Gia On The Move



DOMA Theatre Company’s new rendition of Andrew Lloyd Weber and Tim Rice’s 1970’s ground-breaking rock opera, Jesus Christ Superstar is simply a hit.  Slightly modernized to the concept: “What would it be like if Jesus walked around now in a world of Twitter, Facebook & Selfies,” it’s many parts, Goth, glitter and new wave bohemia including girl groupies, band-aides, army greens and skin cabaret moments amped up the flair and entertainment factor for the audience. It’s an exciting, thoroughly accessible take on a classic for Los Angeles small theater and thank you DOMA for that!

Of course, it would be pretty hard to screw it up.  Radical for its debut in 1970 as a concept album which topped the American pop charts and ignited controversy by questioning the divine nature of Christ, then produced on Broadway in 1971 starring Ben Vareen as Judas, and then transformed into a feature film in 1973, it still, even after 40 years, remains a global phenomenon.



DOMA lived up to every moment starting with its powerful lead singing cast, which included downright show-stopping performances chiefly by a beatifically stylized, self-sacrificing, totally hot millennial Jesus (Nate Parker), Judas Iscariot (Jeremy Saje), Simon (Graham Kurtz), Mary Magdalene (Renee Cohen), Pontius Pilate (Kelly Brighton), and Peter (Blair Grotbeck), who belted their hearts out reaching the stars with their incredible range. And the songs that older audiences will remember hearing in and out of the theatre are still as gorgeous as they were the first time they were heard anywhere.

What DOMA also did was really step up the choreography factor this time.  Truly boy follies fabulous in every way, I was only disappointed by the lack of space that some of the exceptional dancers in the chorus absolutely could have used.  I got the feeling that if they actually had more room to move or if the nearly 23 member ensemble had been allowed to appear in waves and groups rather than all at once all the time, they would have been able to take the dancing to an even higher level.  Never-the-less, there were really no disappointments here.  Overall, every step, every note every moment, served the production well.

There are 12 more opportunities to experience this performance. Don’t miss it!

Music composed by Andrew Lloyd Webber
Lyrics by Tim Rice
Directed by Marco Gomez
Musical direction by Chris Raymond
Choreography by Angela Todaro
Starring Nate Parker as Jesus Christ, Jeremy Saje as Judas, Renee Cohen as Mary Magdelene, Kelly Brighton as Pontius Pilate, Andrew Diego as Caiaphas, Michelle Holmes as Annas; Blair Grotbeck as Peter,Graham Kurtz as Simon the Zealot and Venny Carranza as King Herod. Also featuring Alex Allen, Jackee Bianchi, Charlie Bostick, Tym Brown, Sandra Diana Cantu, Kevin Corsini, Kaitlyn Fajilan, Kendra M. Hill,Allison Jakubowski, Wesley Moran, Ashlie Paige, Dekontee Tucrkile, Lauren Tyni and Anthony D. Willis

Produced by Marco Gomez and Dolf Ramos
Presented by DOMA Theatre Company

JCS_Graphic_medaNow playing until March 22

Fridays at 8 p.m.: Feb. 27 (CANCELLED); March 6, 13, 20

Saturdays at 8 p.m.: Feb.  28; March 7, 14, 21

Sundays at 3 p.m.: March 1, 8, 15, 22


The MET Theatre
1089 N. Oxford Ave.
Los Angeles CA 90029


• Call 323-802-9181 or go to
• Visit DOMA facebook:
• Follow DOMA on twitter: @domatheatre
• Follow DOMA on instagram: @domatheatre

• General Admission: $30
• VIP: $34.99 (includes reserved seating and a complimentary snack and beverage)
• Seniors and students with ID: $20

Parking: $6 at 5250 Santa Monica Blvd (2 blocks east of the theater)

#WhatsHotNow: The Art & Fashion of Warby Parker Glasses


In the realm of “cool”, Warby Parker’s newest collection, The Basso Collection, is inspired by low-relief sculptures or basso-relievo if you speak Italian.  We know how visual you all are so we looked it up and found some beautiful examples of what actual basso art is (you already know how in love with art we are here at Gia On The Move!) Here’s a photo we found on Florentine Magazine to give you an idea:

Bassorilievo Nascita di Venere 01

For all of you technical geeks, you’ll love knowing that this collection features an elevated “step” design. Laminating two layers of acetate to create this overlaid look together, then very precisely paring away the top layer to reveal a layer of contrast acetate below.

The result is a gorgeous pair of frames with added depth and a slightly weightier, more substantial feel and classic style for both men and women.  Check out the product page for more images and of course to shop! They’ve added this to three of their favorite frames – Duckworth, Percy and Winston, boasting four custom color combo’s from a palette of oceanic hues that have been artfully constructed.



What we love about Warby Parker:

Did you know that glasses can increase one’s income by 20%?



For every pair sold, a pair is distributed to someone in need. Donating money is a kind hearted gesture but it doesn’t always “stick.”  What Warby Parker does instead to create a more lasting solution is partner with non-profits and train entrepreneurs to sell affordable glasses. Read more on their page - it’s awesome!!!






Follow them: Facebook, Twitter, Instagram
Explore the Warby Parker Year In Review (then make your own!)

Learning Diversity From “The Church of Why Not” in NYC

Reviewed by Midge Guerrera, She’s one hot Italian Mamma!”

The Church of Why Not


As we got to NYC, winter storm Pandora was racing across the Northeast.  We parked in a snowdrift on 86th street and promptly hit a coffee house.  We sat next to two women who were talking about The Church of St. Paul & St. Andrew.  Since I was headed there to see Theatre 167’s production of “The Church of Why Not” – which is based on the various congregations of that church – I shamelessly eavesdropped.  The women belonged to the Jewish congregation B’nai Jeshrun.  Yup, a Jewish congregation shares space with Christians, Muslims, activists and addicts. The women spoke of diversity and openness and sadly noted the rest of the world is not the Upper West Side.

Well, the rest of the world needs to see and learn from “The Church of Why Not” written by Camilo Almonacid, Jenny Lyn Bader, and J. Stephen Brantley.  Conceived and directed by Ari Laura Kreith, the venue specific play brings the work of The Church of St. Paul & St. Andrew to audiences.  After the show, driving frustratingly slowly during the height of Pandora, this audience member prattled on about inclusion and diversity issues.  As my saintly spouse will attest, this production is absolutely a catalyst for conversation and if seen by enough people and congregations could also be a catalyst for change.  I’d love to see some “righter than right” folks in the audience – it might give them a kick in their intolerant butts.

The show opens with the congregation joyously singing a hymn and then cinematically streams from one character’s journey to another.  The minimal set – sturdy wooden chairs and a set of steps – facilitated the seamless flow from scene to scene.  Guitar music and familiar songs helped reinforce each characters story.  I won’t be a spoiler and tell you how, but when you go look for the clever way time travels and you know that each day of the week has past.

The not-quite-homeless, down and out character of Saul, played by author J. Stephen Brantley, brought home one of the key messages of the show – I may be misquoting a wee bit but the jist is – Where ever we are that’s where God is.  Like Shakespeare’s fools, this guy that many would walk on by as a bum, slyly brought us the wisdom of Buddha and lessons of spirituality.

The beauty of this work is that even though it is about a Church that caters to every group of people from an Ehtiopian Evangelical congregation to a LGBT Bapti-Metho-Costals and everything in between it wasn’t preachy.  The monologues in the second act got a tad “lessony” but not enough to send any atheist running.

I’m glad to have braved the storm named Pandora to see “The Church of Why Not”.  Actually, it is fitting since the play let so many thoughts out of the box.

The Church of Why Not” runs weekends through March 15, 2015 in The West End Theater at The Church of St. Paul & St. Andrew 263 West 86th Street, NYC. 

Fridays at 8pm, Saturdays at 3pm and 8pm and Sundays at 7pm

Theatre 167 Presents a World Premiere Production

The Church of Why Not – At The West End Theater

A New Play Inspired By The 

Believers, Skeptics, Jews, Christians, Muslims, Activists and Addicts Who Pass Through the Doors of One New York City Church


“As Above, So Below” – Realism & Abstraction at the Red Pipe Gallery #DTLA

“I was a stranger in their land and I needed to step outside my world. And the only way to paint them was to combine both worlds with realism and abstraction.”  -Bobbie Moline-Kramer


From February 20 – March 14 Bobbie Moline-Kramer will be showing her new mixed-media works, based on her studies of old world macaques in Japan, at the Red Pipe Gallery, 978 Chung King Road, Los Angeles, CA 90012

Show Opening: February 28, 2015  


“These beings are otherworldly when studied from our human reference.” During repeated treks to and from Monkey Mountain in Japan, Moline-Kramer developed a sense of her subjects that she felt could only be communicated with combined realism and abstraction. And that is the basis of this suite/collection of new art.

She explains that these monkeys’ very expressions seem readable to our intellect, but it only seems that way. They have a society that slips into other dimensions. A society alien to humankind.

It is the relationship between absence and presence. A knowledge of the visible and invisible. This interplay between realism and abstraction gives her latest works a non-dimensional blending. It is a test of not only what we see but how we are willing to see and experience though art.

The artist’s abstracted and highly processed fields of subtle, ghostly images seem transitory through mists. We squint as if peering through a landscape awash in fog and cloud to assign meaning to what might just be unknowable.

Moline-Kramer constructs the works with successive layers of drawing, washes of gesso, new drawings interposed and then additional layers of gesso and underpainting until a rich and complex final product emerges. This select relationship between background and Snow Monkeys brings life to her art.

redpipeSee the show, consider the art, and consider these beings that share the earth with us at this time.

After its exclusive launch at Red Pipe, Moline-Kramer’s exhibit will be traveling through 2016 to galleries and institutions around the country.

About the Music

The sounds accompanying these eight works—several of which are printed directly onto glass and backlit with adjustable LED lighting (with which, of course, visitors are encouraged to interact, and which will make the image lighter or darker but won’t explain it for us)— are conceived by composer, songwriter and producer Geoff Levin. His music can be heard in numerous TV shows, including Chicago Fire, SNL, CSI NY, and Community Service, among others. His group Celestial Navigations was nominated for an Academy Award.  Each work of art has an accompanying original score by Levin, adding auditory experience alongside the visual with which to perceive the pieces.

About the Artist

Born in Fort Madison, Iowa in 1946, Bobbie Moline-Kramer has followed the creative impulse since childhood. She attended San Diego State where she studied with John Baldessari, and the Art Center before receiving her B.A. in illustration from California State University, Long Beach in 1983, under the mentorship of Dick Oden. After completing her studies, Moline-Kramer’s talent continued to flourish and receive recognition. She is a member of the California Art Club, Los Angeles Art Association, the 825 Art Association, and the past President of the Society of Illustrators of Los Angeles.

Moline-Kramer is a premiere realist painter. Drawing inspiration from the Impressionists and the Dutch Masters as well as the abstract impressionists, she paints with technique, skill and a mastery of light and shadow. Her work has continued to evolve as her search for the pure expression of realism has caused her to strip away unnecessary elements, resulting in abstract works whose inspiration lay in realism and exacting authenticity.

Red Pipe Gallery
978 Chung King Road, Los , CA 90012
(424) 226-2485

Paid parking is available