By Alice Meyering, Program Coordinator of Community & Contract Education

(Photos by Garet Field-Sells and Gary Heck)

A Moret-Art Basel

SMC Community Ed attracts many students with extraordinary accomplishments. Case in point: A. Moret, who took Greg Van Zuyen’s Photoshop & Illustrator class last fall. Moret is the co-founder and editor-in-chief of Santa Monica-based Installation Media & Magazine, the first all-digital contemporary art magazine designed for the iPad, iPhone and online.

The venture has wed her two passions – art and writing, which she studied as an undergraduate at USC, majoring in Art History and Mass Communication Theory, and later pursued as a career.

Before founding Installation Magazine, she worked for three years as an editorial assistant for Los Angeles Times Magazine, writing articles on art, fashion, music, travel and lifestyle. As a freelancer, she has been a contributing writer for leading national publications, including Huffington Post, Flaunt, ARTINFO, Art Scene, Art Ltd. and more.

“She’s brilliant and well read and one of my favorite people,” Van Zuyen said.

Installation Mag

You founded Installation Magazine in 2010. Why? Tell us briefly what the magazine is about.

Installation Magazine was realized after a creative collaboration between myself and Garet Field-Sells, a photographer and creative director. In 2009 we developed a concept that we called One Mile Radius, an exploration of the role that the environment plays in defining an artist’s practice. We selected 10 editorial features that I had written and published and then traveled the city on the weekends, photographing within one mile of the artist’s studio. We made the decision not to include any of the artist’s artwork, rather let Garet’s original photography of the surrounding neighborhood and my words illuminate the work and inspire readers to learn more about the artists.

After the completion of the project we realized the power of our creative efforts and co-founded Installation Magazine, a publication committed to the curiosity that lives within the artist’s studio, and the stories that a collection can tell. We created our debut issue while I was still working for the Los Angeles Times and then one year later we had our own office in the Barker Hangar at Santa Monica Airport.

A Moret 1

When did you take Photoshop and Illustrator at Community Ed? Why? Tell us about your experience with the class and instructor Greg Van Zuyen.

As an Editor-in-Chief I am always connecting words with images, graphics and video elements. While I have done my best to grasp Photoshop and Illustrator it remained a language that I wasn’t fluent in and thus kept me from effectively communicating design ideas to my colleagues, web designers and artists.

I enrolled in Greg Van Zuyen’s course last fall in the hopes of gaining a greater insight into the possibilities of the programs. For Greg, Photoshop and Illustrator are native languages that he can communicate through effortlessly. His depth of knowledge always amazed me, and his insight and experience were inspiring. With Greg’s background working with editors and writers, he demonstrated a respect for images in the same way that I regard words.

Throughout the six weeks I did my best to absorb as much information as I could, and in the end Greg’s enthusiasm and knowledge truly helped me in my approach to developing creative concepts regarding layout, graphic design and user experience.

What’s the best thing and what’s the worst thing about being an art journalist?

My calendar changes one week to the next and I never know who I may meet. There is a magic in unpredictability, and meeting curators, gallerists, writers, artists and collectors inspires me to return to my art history text books from college and continue to expand my art collection. The only downside to conducting an interview is that it needs to be transcribed and no matter how many years of practice I have, it always feels like a daunting task.

A Moret 2

Tell us something that most people don’t know about you.

When I was eight years old I started playing guitar and turned my room into a shrine to the Beatles. At the time my dad was the senior entertainment correspondent for CNN and I went with him to work one day for an interview celebrating the re-release of “A Hard Day’s Night.”

An older man walked into the makeup room before the interview and introduced himself as Walter Shenson. I pointed at him and said, “I know who you are… your name is on my Beatles poster.” Mr. Shenson produced “A Hard Day’s Night” and “Help!” Both posters were in my room and I studied them everyday.

He was utterly surprised that an 8-year-old knew who he was. A week later I received an autograph from him and it was just as cool as meeting a Beatle.

What turns you on most about art?

Art in whatever form transcends time and space, triggers memories and connects us to the past while actively challenging our ideas about the present.

What are you hoping to do in the future, either professionally, personally or both?

I hope to propel Installation Magazine into a new space, curating large-scale installations around the world. There is currently a new app in development and I look forward to developing fresh content and forming new relationships with luminaries in Los Angeles and beyond.

 

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