Domenique Mora Interior Architectural Design

LA is a city of contrasts—the famous and unknown, blinding light and impenetrable shadow, wealth and poverty, massive success and bitter failure. The promise of fame, fortune, sun, and beauty have lured millions to its beaches, hills, and valleys crammed with low slung buildings and palm-tree-lined boulevards. But beneath this thin veneer of perfection, Los Angeles is a city where the dueling public narratives of glamour and cynicism have inspired the sun-kissed perfection of Aaron Spelling along with the sun-bleached paranoia of David Lynch, the placid malaise of Sofia Coppola and the pulpy violence of Quentin Tarantino, the easy ascension of Pretty Woman and the wrenching sorrow and pain of a fall from grace as depicted in the classic Sunset Boulevard. Nicholas Alan Cope's photographs evoke a unique vision of Los Angeles and its contrasts as seen exclusively through its everyday architecture. Searching for the sublime core of the city's true nature, Cope strips away the

Helmut Newton, a feckless, un-scholarly boy grew up to transform fashion photography.  Probably the most imitated and controversial fashion photographer of his time, Newton earned the nickname King of Kink as well as a fortune. “If a photographer says he is not a voyeur, he is an idiot,”  Newton once said.  His erotic and dream like images were like a peep through a key hole, spied moments of a heightened reality. As a person, Newton was unsurprisingly complex. A bohemian and yet very pragmatic, he insisted that he was not an intellectual and did not stand for much. His sardonic humor, delight in mischief, and nonchalant sense of irony are obvious in his work. He considered America weird, exotic, and outrageous.  Though a slave to his own imagination, Newton claimed that his photographs were entirely based in reality.  He  was inspired by Film Noir, Expressionist Cinema, S & M and Surrealism. His many obsessions were rooted in his childhood, in the decadent, avant-garde capita

The Last Stand Timing is everything in Marc Wilson’s photographs. “You maybe get ten minutes,” he says, “before the sun has come up above the horizon but you have some light, a very soft grey and blue.” The landscapes he shoots are similarly precarious. Wilson’s series The Last Stand documents the remains of coastal fortifications that lined Northern Europe during the Second World War bunkers swallowed by the sea, pillboxes barely clinging to land, buildings ripped from their foundations and wrecked on the rocks from Allied positions on England’s east coast and the far tip of the Northern Isles, to the once German-occupied archipelago of the Channel Islands and the remains of the Atlantic wall, the colossal Nazi defense network which stretched from Norway to Spain. The series draws attention to places that were once vital to world affairs and have since been left to ruin, their histories obscured or forcibly erased. One photograph, taken in Wissant, France, depicts a bunker th