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A Lifestyle Magazine
The Impressionists’ Champion Julian Lennon’s Photography Art in Marfa
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A Lifestyle Magazine
Summer 2015
TABLE OF CONTENTS Impressionism in Philadelphia 20
The Arts Issue
On the Cover: José Basso, Dia de Primavera, 2014 CK Contemporary, San Francisco / ckcontemporary.com
Showcase 14
Photography by Julian Lennon 24
Art in Marfa: A Love Story 28
The Art of Airports 22
America Seen: 5 Artists 34
Sculpture by Guy Dill 37
Discover Honfleur 38
Summer Fashion Trends 42
Jewelry by Andrea Li 46 8
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THE IMPRESSIONISTS’ CHAMPION The contribution of art dealer Paul Durand-Ruel to the rise of Impressionism is explored in a landmark exhibition of masterpieces at the Philadelphia Museum of Art groups of paintings that he exhibited, ranging from Monet’s renowned series of Poplars to Renoir’s celebrated Dances. The range and quality of the paintings presented in this exhibition are a testament to the dealer’s deep personal relationships with his artists, his unwavering belief in contemporary painting, and his keen business acumen. Paul Durand-Ruel’s eventful encounter with Impressionism began in London in 1871 when he was introduced to Monet and Pissarro. Durand-Ruel exhibited and acquired some of their works at that time and soon started buying other Impressionist works on an unprecedented scale. This exhibition revisits the excitement of that time by displaying several of these early purchases. The exhibition also re-enacts the dramatic moment when, in 1872, DuHilaire-Germain-Edgar Degas, The Dance Foyer at the Opera on the rue Le Peletier, 1872, rand-Ruel purchased more than twenMusée d’Orsay, Paris: Bequest of Count Isaac de Camondo, 1911 ty-six paintings by Édouard Manet, a visionary acquisition that marked a turning point for the artist. Reunited are several major works from Manet’s studio at the time, including Moonhis summer, the Philadelphia Museum of Art presents a light on Boulogne Harbor, The Battle of the U.S.S. “Kearsarge” groundbreaking exhibition examining the early struggles and the C.S.S. “Alabama”, The Salmon, and Boy with Sword, all of and ultimate triumph of the artists who created the style which come from different museums’ collections. known as Impressionism. It also explores the role that the great Key paintings from a second major Impressionism exhibiParisian art dealer Paul Durand-Ruel played in their success. tion, this one in 1876, are reassembled to reveal how this show adDiscovering the Impressionists: Paul Durand-Ruel and the New vanced the careers of the dealer’s artists and brought Durand-RuPainting includes numerous masterpieces by leading figures of el into close contact with others, including Berthe Morisot. Some this movement, including Édouard Manet, Claude Monet, Edof these pivotal works were noted in the press: Renoir’s Study. gar Degas, Pierre-Auguste Renoir, Camille Pissarro, and Mary Torso, Effect of Sunlight derided for its vision of “putrefying flesh”; Cassatt. It brings together key paintings that were shown in the Morisot’s Hanging the Laundry Out to Dry compared favorably to earliest exhibitions of the work of these artists, many of which Manet but accused of being unfinished; and Sisley’s The Watering were organized by Durand-Ruel, who was an early champion of Place at Marly-le-Roi, embraced by critics as one of “the good the Impressionists and worked tirelessly over the course of nearones.” Held at Durand-Ruel’s gallery, the exhibition indelibly ly a half-century to create a robust market for Impressionism in linked the dealer to these artists at a vitally important moment in France, Germany, England, and the United States. He was there their careers. from the first critical moments in the 1870s when the paintings Discovering the Impressionists also focuses on the imporof Manet, Monet, Renoir, and others were greeted with ridicule tance of solo exhibitions, a novel concept that Durand-Ruel pioall the way through the early 20th century when their artistic neered for his artists, most notably with Monet in 1883 and 1892. genius was fully recognized. “He believed in and sustained the Demonstrating the impact of the 1883 exhibition are La Pointe careers of many artists and, in the process, essentially created the de la Hève, Sainte-Adresse to Train in the Snow, Les Galettes, and modern art market,” says museum director Timothy Rub. others. Of the 15 paintings of poplars that Monet famously ex The exhibition explores key moments in the history of the hibited in 1892, six major works are reassembled from collecDurand-Ruel Gallery and, particularly of note, reassembles
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(above) Claude Monet, Railroad Bridge, Argenteuil, 1874, John G. Johnson Collection, 1917; (right) Édouard Manet, Boy with a Sword, 1861, lent by The Metropolitan Museum of Art: Gift of Erwin Davis, 1889
tions around the world to examine in depth the artist’s serial approach to this subject. Another highlight is a selection of works that were shown at a landmark 1905 exhibition at the Grafton Galleries in London. That show included more than 300 works by Renoir, Monet, Pissarro, and others, and remains the largest Impressionist exhibition ever. Among the works reassembled from this exhibition are Manet’s Music in the Tuileries Garden, Monet’s Coal-Dockers, Pissarro’s Pont Boieldieu, and Degas’ Miss La La at the Cirque Fernado. The paintings are supplemented by period photographs that convey the exhibition’s unrivaled scale and ambition, a triumphant moment for the movement. The exhibition demonstrates the pivotal role Durand-Ruel’s played in the formation of collections. Nearly all of the works that are on view were once part of his gallery stock. His contribution to building a market for Impressionism in the United States can be seen in Degas’ The Ballet Class, which was among many shown in the U.S. to great acclaim in 1886. As exhibition curator Jennifer Thomson says, “Art dealer Paul Durand-Ruel and the history of Impressionism are to a large degree inseparable.” SUMMER 2015 21
AVIATION AS ART by Anna Leigh Clem
PHOTOGRAPHER JEFFREY MILSTEIN SHOWS AIRPORTS FROM A DIFFERENT PERSPECTIVE
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Airports are cool to look at, especially from way up in the sky where you can see the megalithic structures in their awesome entirety.
s a child growing up in Los Angeles, photographer Jeffrey Milstein enjoyed watching planes come in to land at Los Angeles International Airport. "In those days it was DC-3s and DC-6s. There were no jets yet," Milstein recalls. "I loved standing right under them as they flew over my head.” Eventually this passion for planes earned him his pilot’s license at age seventeen. “When I was in high school, I had an 8mm movie camera and I would shoot movies while flying a rented Cessna 150 over the LA basin,” says Milstein. “I loved that whole viewpoint, the flying viewpoint.” Milstein headed to Berkeley, where he studied architecture. His first career was designing what he called “small, do-it-yourself dwellings.” He later started a graphic-design company, which grew to employ twenty people before he sold it in 2000. Afterward, Milstein decided to focus on photography and has revisited his childhood passion with a new lens. He began taking pictures of jets landing at Los Angeles
International Airport, his original source of inspiration. Those images were published in the book AirCraft: The Jet as Art, by Abrams Books in 2007, and were exhibited in a year-long solo show at the National Air and Space Museum in 2012 followed by an extended stint at National Airport. Now he has once again switched perspectives, returning to the sky to shoot. “Part of my fascination with flying is how things look from above, the patterns you see.” Using medium format digital cameras, Milstein photographs through open windows and doors of chartered planes and helicopters as they pass over the airports. “It’s kind of like a living organism,” Milstein describes, speaking of an airport's intricately intertwined moving parts. “There are the terminals, and lines of airplanes and then the supply vehicles that have their lanes around the aircraft, and the trains taking people around are moving on another level, so there are all of these things, and it’s interesting how it happens.” Jeffrey Milstein, LAX 04
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(clockwise from top) Jeffrey Milstein: JFK 10b, LAX 08, LAX 02
Capturing all of that motion from the air is a complicated process. Milstein flies with friends and in chartered helicopters with the doors off to get quality images. “Initially I liked the patterns of the runways and planes at sunset, and then we started shooting in the evening and it became a different type of picture.” To compensate for changes in light and perspective, Milstein brings along multiple cameras that alternate between having high sensitivity capabilities for low-light situations and higher resolution when there is more light to work with. Shooting with
a gyro stabilizer to compensate for movement adds weight and complexity. “It’s still really hard to get very sharp shots that can be made into large gallery prints, which is my goal,” Milstein explains. “It’s a little more complicated than your average photographic shoot because you have to hire a plane or helicopter, get permission to be in controlled airspace, time the flight for best lighting, and you are working with a bunch of equipment in a tight space...” Nevertheless, Milstein has captured vivid, detailed vistas of the airplanes’ home ports. SUMMER 2015 23
THE PHOTOGRAPHY OF JULIAN LENNON by Caryn Kunkle
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was invited to interview Julian Lennon in New York at the opening of his recent photography exhibit, Horizon, at Emmanuel Fremin Gallery. Before I started the interview, I asked Lennon to pick a few of the photographs that meant the most to him. I wanted to let Lennon’s choices guide my questions. He picked three. The first image he chose was a group of villagers standing around listening intently with the speaker out of the frame. The second image is of a woman in a doorway with this mesmerizing look on her face, while the third image focuses on a singular young child. The child’s eyes are full of light and happiness, very calm, with one hand casually rest-
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ing on her or his own shoulder. (See these photographs on page 24.) Caryn Kunkle: Why are the photographs of people most meaningful for you? Julian Lennon: The people really speak to me. It's the eyes. These two (the group of villagers and the woman in the doorway) really pull me in. CK: Tell me about the group of villagers. JL: They were gathered here together listening to a man, a white man, speaking another language, and were treating the experience as something almost sacred. They obviously aren't taking in a word he's
saying, but they still are so fixated on his message. The respect is visibly enormous. The gathering in itself had almost a special quality to it, a magic of sorts. It was just this moment of intense listening and it struck me — the variance of sex and age and language, all centered together hanging on one moment. I was fortunate to be at the right place at the right time and just capture the moment. I'm constantly taking images and this was the one that summed it all up, that captured that feeling of the magic of that moment. CK: The sense of specialness of still attention is so clear across the group. You really
(oppoisite page) Julian Lennon, Scorpium, 2014. (below) Julian Lennon, Horizon, 2014. Emmanuel Fremin Gallery, New York
caught it. In our culture we would never stand around to listen to someone in another language. JL: Exactly. There's another kind of wisdom that’s not learned in a classroom that comes with this kind of culture. It's learned through living and having skills passed down through families and villages. There's an innate respect of elders and tradition, and time to listen to new things. I keep coming back to that word sacred: it has that quality and it is shared. CK: The woman in the doorway is almost reminiscent of Migrant Mother by Dorothea Lange, a sort of haunted personal his-
tory happening here behind those eyes. JL: I took this photo the first time we were allowed into one of their huts to see how they lived. I was just amazed; this was just the natural light in the doorway of the house... You could just see the years of the wear and tear of her life, on her face. I was lucky enough to capture that moment. Without question, it is one of my favorites because it tells the story of how hard women have to really work out there. It’s a serious struggle. That’s what, more than anything, really took me aback in Ethiopia. A lot of men sit around drinking coffee all day.
CK: I just read this statistic that the number of young girls that are educated in the U.K. is the same number of young girls that are not educated in Ethiopia. JL: You also have to consider the fact that these communities and villages are spread over vast areas. Because they’re fighting for their own lives, fighting for food and water; never mind trying to get educated. This is a question of survival for them. And many of them, not all but many, wish to remain in their communities with their families and what they know and love. It’s a different scenario. They have a different education, a cultural education. You stick a child from SUMMER 2015 25
brations that were borderline religiously-orientated. There was a lot of giving thanks and praise with all kinds of gesturing. Again, it’s moving; their way of giving thanks and reverence. CK: To be honest I didn’t know much about your art before this; I had only known you for music. JL: Right! If you’re interested in the arts and you’re guided by that interest, then I think it transfers to whatever medium you’re involved in. It’s really the media and [critics] that try to pigeonhole artistry in every way, shape, and form. As artists, we just get on with being an artist. For me this is personal and organically discovered. I just found another way to express another side of me that, in my mind, wasn’t like the musical side. I’ve had to deal with the comparisons to this, that, and the other. Little did I know I could actually do that. It was only through trial and error, just seeing how far I could go with this. I truly fell in love with the editing process; building the image and the picture, bringing the best of the picture out. [It’s] a process I have fallen in love with. I cannot stop (clockwise from top left) Julian Lennon: Hope; Behind Closed Doors; Reverance; all 2014. Emmanuel Fremin Gallery, NY taking photographs. People mostly are doing technical things on their the U.K. in the middle of nowhere in Ethistrength. You see hope. You see a desire to phones. I’m taking photos every five feet. opia and he or she probably wouldn’t last be strong and move forward, a comfort Maybe it’s my safe-haven distraction from even a few minutes. Whereas it wouldn’t be and ease with it that you can see just in the the rest of the world. true the other way around. way they are holding their hands. It realCK: Tell me about the image of the child in the doorway. JL: Well, I don’t know if it’s a boy or a girl. It was a split second. The people over there are so incredibly, incredibly beautiful. The Ethiopians in particular have quite a [distinct] look. There’s something absolutely stunning and beautiful about this look. This is one of my favorite pictures, if not my favorite, purely because you don’t see any stress in his or her eyes. You see a 26
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ly took me [by surprise]. After sitting in the back of a jeep for six hours over plains and mountaintops, you wouldn’t expect to come to a little village and see this boy or girl looking at you like that. I’m thinking, are you kidding me? CK: Ethiopia has some of the most unique traditions. The legend is the arc of the covenant was spirited away there. JL: I wasn’t aware of that. I did see at certain gatherings that there were great cele-
CK: Do you have other series that are on your mind after this one? Other shoots?
JL: I took about 5,000 shots and I whittled it down to about 125. There’s at least a Horizon 2 coming up. These were just the initial selects for the gallery between Emmanuel and myself. There’s still a hundred pictures that I want to show in the not-too-distant future. This interview was edited for clarity and length.
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RULE IN MARFA:
A LOVE STORY by Rachel Beitz and Valerie Santerli
Photgraphy by Rachel Beitz, Hilary Morris, and Valerie Santerli
Soft, morning light bathing the Marfa landscape
Robin Rule, Founder of RULE Gallery, stands in front of a painting by Margaret Neumann in 2011
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any stories about Marfa involve love at first sight. With an area of only 1.6 square miles, it’s a wonder that people from all over the world who come to see the art immediately decide that they want to live there. But after a day basking in that lingering, soft Far West Texas light and living life at a rare easy pace, they don’t care about its remoteness or small size. These people, from large cities and foreign locales, visit for the first time and know right away that they have discovered a new home. This is just such a story. The History of RULE RULE Gallery has been a vital cultural force in Denver for over 20 years. The founder, Robin Rule, has been widely recognized as being an essential contributor to the development of the contemporary art scene in the area. Robin had a knack for identifying many of the best artists; recognizing young talent like Jason DeMarte, Joseph Coniff, Jillian Kay FitzMaurice and Zach
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Reini; and including them alongside such masters as Clark Richert, Margaret Neumann, and Kim Dickey. She also brought significant artists to Denver, including Carl Andre, Mary Obering, Melissa Kretschmer, and Sandy Skoglund, bringing international recognition to her gallery and the town. Robin was drawn to the hardedged, geometric, minimalism that sculptor Donald Judd was famous for and which he brought to Marfa in the 1970s. It informed her own aesthetic and gave her a deep affinity for the area, which culminated in a RULE Gallery pop-up exhibition in the heart of Marfa. During her first visit in 1999, Robin fell in love with the unique town and realized that many of the RULE artists would fit right in. A year later, in October of 2000, she and her staff packed up the work of New York artist Mary Obering, rented a truck, arranged for an exhibition space at the Marfa Hotel. She put on one of the first pop-up shows in the region. Robin always remembered this as one of her favorite experiences and never lost her love for the place. In the years following, the demands of her Denver gallery kept Robin from returning to Marfa, but she never stopped talking about it, always dreaming of a return. In early 2013 Robin’s health forced her to close her storefront gallery for the final time. She Chinati Irwin Site: Fort D.A. Russell former hospital site, future site of Robert Irwin installation
Gonzalo Lebrija,History of Suspended Time: A Monument for the Impossible, 2010 outside Marfa Contemporary Gallery
moved the office into her home, but never quit working online and over the phone, still determined to pursue her life’s work and advance her artists’ careers. Later that year, after two successful pop-up exhibitions in Denver, she passed away. Her death shocked the Denver art community and devastated those closest to her. Most assumed RULE Gallery would end with her passing. But after a few months of dedicated hard work and heavy encouragement from Robin’s family, her artists and the
community, a trio of Robin’s devoted staff reopened RULE with a permanent space in RiNo – one of the hottest areas of Denver. Two of those staff members, recalling Robin’s adoration of Marfa, decided that a pilgrimage was the best way to honor her memory. Valerie Santerli, now the gallery’s new director, regretted never taking the Marfa trip with Robin, while Rachel Beitz, the newest of the “RULE Girls” wanted to understand more about a woman she knew for far too short a time. SUMMER 2015 31
About Marfa Marfa, population 2121 (according to the Marfa welcome sign), is nestled deep within the stark beauty of West Texas, three hours removed from the nearest big city. There is only one traffic light in town, blinking red to alert drivers of a stop sign. It is home to generations of ranchers and farmers and a sector headquarters for the U.S. Border Patrol. The century-old mystery of the Marfa Lights has brought in a group of seekers of the unexplained. Seeking some-
RULE Marfa, outside and inside
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where away from the bustle of NYC where he could create and place large permanent sculptures, artist Donald Judd moved there in 1971. He began buying property in and around the town and in 1989, with the help of the DIA Foundation, bought a former Army base, Fort D. A. Russell, and created the Chinati Foundation. Since then, artists, curators, collectors and scholars from all over the world have journeyed to see the art. For many, it was love at first sight; and stories began to appear in media outlets about the town of Marfa and the people who stayed. Before this latest migration, Marfa had been the home to historic hotels like the Paisano and Thunderbird, and great eateries like Carmen’s; but since then it has added 5 star restaurants and some of the best food trucks in the world, including the famous Food Shark and the sassy Boyz 2 Men Tacos. It also has a small but significant group of non-profit and for-profit galleries showing artists normally seen only in NY, LA, Paris, and London. In addition, Marfa features amenities not usually seen in small towns. Marfa Book Co. has a top-notch art section and hosts world famous author readings. The Get Go is a sophisticated grocery that can satisfy the most discerning of shoppers looking for organics, good wine, or exotic tinctures. El Cosmico is a uniquely Marfa campground, providing retrofitted airstreams, teepees, and yurts that are always booked out weeks in advance. Now in Marfa, celebrities and retirees mix with hipsters and hippies, artists and paranormalists. It is an odd mix of new and old, a contemporary mecca and a cowboy oasis.
The RULE Girl Pilgrimage We rode into Marfa late on a Friday night and drove straight to El Cosmico to hear an obscure but talented new age pop group from Canada called Doomsquad. After the show we found our rental on a dark street at the edge of town and settled in without realizing that we were directly across from the Chinati Foundation and surrounded by the remains of a hospital slated to become a major installation piece by Robert Irwin as an extension to the foundation. The next day was a revelation. Here was a tiny town with the friendliest people on earth. Here was a place of stunning natural beauty. Here was a populace with an inexhaustible sense of creative energy dedicated to both the permanent and ephemeral nature of art. It was as if Taos had been thrown into a blender with Mayberry and Burning Man, with a twist of Northern Exposure tossed in for good measure. The next three days were overwhelming. Tours of the Chinati Foundation and Judd properties held some of the most beautiful and challenging work we had ever seen. Innovative chefs at every eating establishment continually surprised and delighted our taste buds. Everyone we met was friendly and fascinating in equal measures. We saw stunning installations of concrete and aluminum by Donald Judd that will last hundreds of years and delicately beautiful florescent light sculptures by Dan Flavin that will last only as long as there is a maintenance team to keep them going. We found an abandoned icehouse that had been converted into a massive camera obscura by artist Zoe Leonard. In the prototypical Texas bar, Padres, we saw a psychedelic light show and hippy band. Incredible experiences just kept coming. On the third morning, having breakfast tacos outside within a circle of airstream trailers, we looked at each other and said in unison “Should we buy a place here?” Our answer could only be “Yes!” That last day was spent studying the local real estate circular, calling realtors, and looking at any type of available space. We even came close to making an offer; but when the owner of the house we wanted was faced with the prospect of losing his tie to Marfa, he immediately took the listing off the market. At that point we had to leave; our gallery in Denver needed us back. But we vowed not to give up the search. Eight months later, we were back in town with Hilary Morris, the third RULE Girl. It was her first trip and she was as smitten as we had been, dazed by the totality of the experience. While we
were there, the perfect location came up for sale. It was a cute old house right on the main street between the new inde/jacobs gallery and the longstanding Marfa Ballroom. We had found our new home, gallery included. A Gallery in Marfa RULE Marfa opened in May 2015 with a group show for the summer. It will be followed in the fall by a solo exhibition of new work by Joseph Coniff. Having this location in Marfa is the realization of a dream 16 years in the making and a tribute to Robin Rule and her dedication to the artists she championed for so long. It will bridge Denver, Marfa, and the world as a place for art and artists, curators and collectors. The gallery space will allow us to exhibit the best of contemporary Colorado art to a completely new audience. The living space will allow our artists, collectors, and friends to stay in a renowned center of minimalist art, soaking up the culture. Like Marfa, our small space will be home to big ideas, where artists can create and community can be built. The isolation and creative atmosphere in Marfa are the perfect counterpoint to the crass commercialism of the mega art fairs and auctions that seem to define the art world these days. Visitors to RULE Marfa will have time to contemplate and enjoy art in a way that is nearly impossible elsewhere. And in the end that is what we value most: the chance to stand in front of a piece of art and consider Robin’s favorite question, “What does it make you feel?” In this case, of course, the answer would be “Love at first sight.”
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AMERICA SEEN For forty years, I have been inspired by artists who have focused on the regional American landscape in a variety of styles. Some capture a sense of place through evocative atmospheric effects and brushwork, while others convey the specific topography of identifiable locales with amazing detail. Some artists are closely identified with favorite places they returned to time and again, while others prefer the new scenery and fresh experiences that comes with intermittent travel. These five outstanding artists whom I have the opportunity of working with in American Seen provide a strong introduction to American contemporary realism.
GLEN HANSEN paints cities, combining the elements of man and nature with the skilled hand of a surgeon creating the sublime from the mundane. Hansen’s highly detailed renderings of New York, Dallas, and Kansas City capture the powerful dynamic interplay of each city’s magnificent architectural elements and the quality of light particular to each season and time of day. His paintings are dramatic juxtapositions of important iconic landmarks with Hansen’s uniquely contemporary and resolutely direct observation. Glen Hansen is the son and grandson of master bricklayers from Long Island. The sea urchins and shells that his grandfather cemented into a walkway at Jones Beach over 60 years ago are still there today. Hansen’s maternal family was filled with carpenters and architectural craftsmen who were dedicated to these trades. “Being brought up surrounded by tools and family that was always building influenced me greatly,” says Hansen. “Working with my dad and uncle, I learned the trade. Knowing this from the inside out is important with the subject matter I paint. As I tell my students, paint what you know and what speaks to you. Building is in my blood and it’s something I know.”
Lawrence DiCarlo can be contacted at info@fischbachgallery.com and for additional information about the artists and the gallery, please visit: www.fischbachgallery.com
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by Lawrence DiCarlo
(clockwise from top left) Glen Hansen: Woolworth, 2001; Nomad, 2013; Pegasus, 2009. FIschbach Gallery
JEFF VAUGHN ’s paintings are derived from his photographs, which are source material for capturing a specific light and time of day. Compositionally, there is typically no focal point in the paintings, but rather an overall emphasis of shape and pattern based on the natural growth patterns found in trees, branches, and plants. These patterns are often lively and have curving and twisted forms, as well as vertically straight trees that take on a painted life of their own. According to Vaughn, “Quality of light is a key ingredient. I appreciate the play of natural light in dramatic fashion. I spend time in state and national parks when making many of these photographs, and these experiences carry over into the studio. In the studio, the work develops slowly with an under painting and layering of paint… I like to work with a heightened color palette, yet still remain faithful to the natural world. The play of light becomes clearer as color and contrast define the image. Through these more abstract concerns of light, color, and composition, I hope that these paintings allude to an experience of the order and quiet beauty of nature.”
(clockwise from top right) Jeff Vaughn, Ice Branches, 2013; Jeff Vaughn, Wildflowers No. 6, 2015; Christpher Evans, Green Branches Over Still Water, 2013. Fischbach Gallery
CHRISTOPHER EVANS ’ paintings primarily focus on the pure and natural California landscapes surrounding him. To Evans, the places he paints are precious. They are close to his home, although not part of his everyday life. They are places driven past and unnoticed in the usual course of events, blending in with the neutral gray of the common trees invisibly growing, clouds drifting by, the river flowing on and on, all without calling attention to itself. For Evans, each of these places holds vibrant secrets of intimacy and grandeur, which when revealed, revives him with life-sustaining energy and a peaceful awareness of being embraced and protected by the whole world. “My work in creating landscape paintings involves the art of balancing compositional elements of water to sky, sky to earth, shadow to light, and original to reflection,” says Evans. “As a painter I seek to strike a balance between the tactility of paint on the surface of the canvas and the illusion of depth and distance. As a member of a complex technological society, I struggle to balance work and play, the conflicting economic forces of art and business, and the range of emotions in personal relationships. The contemplation of pure nature and the activity of artistic expression help me to find and keep my balance.”
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ALICE DALTON BROWN ’s paintings celebrate life with light and its visual reflections. Light is the heart and spirit of Brown’s endeavor, light created in the course of the earth’s rotation and the passing of time. Brown is widely known for her scenes of water framed by a window with translucent curtains, as well as landscapes, architecture, and interiors one might see revealed through a window or door. Her work is an invitation to be free and fluid, an opening into another world, another mood. Brown’s well-crafted paintings are strong compositions with themes of reminiscence, each a metaphor for life. Brown’s rhythmic placements of horizontal and vertical elements combine with crisp and elegant compositions. In a recent interview, when asked “What does light mean to you?” Brown replied, “I love the tensions in the play between darkness and light, which provide a lively dynamic to a picture: high contrast and unexpected configurations. Light can also produce contradictory results. Sometimes it illuminates an object and sometimes it eliminates an object.” Questioned about “darkness,” she replied, “Night is an evocative and mysterious time in the diurnal rhythm, and visually, a whole different spectrum of value and color.” Asked “What water means to her and how her vision comes through,” Alice replied, “Water may have multiple meanings... liberating, a sign of opening up, of hopefulness; it can also represent sadness and loss. For me, it’s an instance where art contains opposites. My painting works when it has an emotional center, a strong composition, and a dream — like reality.”
(above) Alice Dalton Brown, Twilit Lilies, 2003 (below) Jeff Gola, Upper Black Eddy, 2012. Fischbach Gallery
JEFF GOLA is a highly accomplished painter and staunch devotee of the craft of egg tempera, a medium
that predates oil painting and uses a raw egg yolk as a binder. Jeff combines dry pigment, egg yolk, and water to make paint, which is then carefully applied to a panel in multiple layers. Egg tempera is very fast drying, cannot be applied thickly, and is almost impossible to overwork. Gola’s signature is the depth and luminosity shown, a result of his temperament that enables him to be able to keep putting down more layers with precision of effect and clarity of color. Jeff Gola grew up on a farm and believes this is why he is so strongly drawn to landscapes. He has always been interested in the cycle of the seasons but admits to loving the fall and winter best. In speaking of Jeff’s work, I use the term “unspoken beauty.” It is that moment that comes when encountering love, peace, tranquility, simplicity, color, contrast of light, strength, vitality, roughness, age, life and death; it’s a feeling that defies explanation. Nature provides this unspoken beauty that sometimes cannot be explained or defined through words. Beauty is everywhere but one must have the eyes to see it and appreciate it.
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THE SCULPTURES OF GUY DILL
(clockwise from bottom left) Guy Dill, Send; Frank Stella, Goind Abroad; Guy Dill: Key Angel; Ranger; Nomad. Meyerovich Gallery, San Francisco
GUY DILL is one of the great contemporary masters of American abstract sculpture. His work is collected and exhibited extensively in the U.S. and internationally; it can be found in museums from Amsterdam to New York to Los Angeles. This summer, Dill’s latest will be featured at Meyerovich Gallery in San Francisco. These sculptures, while not figurative, often suggest the lines, curves, and supple swoop of bodies and movement itself. His bronze sculpture Ranger (above right) is particularly notable example of his signature style. Its push and pull of smooth metal forms arranged together make the piece appear to be dancing, its shape suggestive within its swirls of joy. “Guy Dill is creating sculpture that truly enlivens and humanizes public spaces,” says Dr. Steven A. Nash, Director of the Nasher Sculpture Center. SUMMER 2015 37
DISCOVERING HONFLEUR by Emmanuel Fremin
This charming getaway on the Normandy coast was a cradle of Impressionism
Le Vieux Bassin (the old port) in Honfleur
N
ormandy, the birthplace and homeland to countless renowned artists’ enclaves, several sublime townships, and a particularly picturesque seaport by the name of Honfleur, the origin of numerous navigators, sailors, and captains. Quintessentially positioned along the estuary of Seine, the commune Honfleur offers more than a charming, maritime landscape. Hidden between the crevices of faintly lit cobblestone rues, and the corners of 17th century timberframed cottages and salt granaries, lay preserved traces of a flourishing cultural and artistic heritage. As the cradle for late19th century painters, musicians, writers, and poets, Honfleur
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Photography by Emmanuel Fremin
cultivated one of the most prominent artistic movements of all-time: Impressionism. Inspired by the changing light ascending beyond the channel coast, artists including Gustav Courbet, Eugene Boudin, Claude Monet, and Johan Jongkind captured vibrant colors and movements of verdant pastures and coastline chalk cliffs, stepping away from formalized, classical themes of Realist painters. These artists treasured the Seine estuary, creating ethereal masterpieces known for their evocative nature. With the introduction of their stylistic work and the formation of the École de Honfleur came the appearance of
The Ferme Saint Simeon, Relais et Chateaux
Boulangerie La Maison Tetard
the Impressionist movement. Honfleur is where I grew up. In 1976, the hospital there was destroyed; this was the same year I was born, making my generation the very last true Honfleurais. My father was a sailor, gone for weeks at a time. Today, my younger sibling Cyril still works for a boat company. The main attraction in Honfleur is the harbor, Le Vieux Bassin with its Lieutenance, built in the 17th Century, and the amazing Sainte-Catherine church, with a bell tower separate from the principal building, which is the largest church made out of wood in France. While more and more chain stores are opening, offering candies, caramels,
and Belgium chocolates, the Sunday market remains a real treat with fresh fish from the harbor, farmers cheeses, fresh eggs, as well as paella, Vietnamese cuisine, coffee stands, and artisanal charcuterie. Honfleur’s proximity to Paris, coupled with the burgeoning number of harbor shops, restaurants, markets, museums, and gardens set the tone for an enchanting getaway destination. Unlike other villages in France, Honfleur is a well-known retirement community, harboring many English-speaking residents – especially during its peak seasons. Honfleur’s population doubles in size during the SUMMER 2015 39
(clockwise from top left) charcuterie; bread and pastries; the writer, far right, at lunch at La Ferme Saint Simeon with Mary Nguyen, Cyril Fremin, and Stephanie Vautier; breakfast on Le Vieux Bassin
summer, as many Parisians and foreigners travel to the quaint town for its food, fish markets, festivals, lucrative art galleries, and historical sites. Some of my most cherished memories took place at the Notre-Dame-de-Grace Chapel and the many museums of Honfleur, including the Eugene Boudin
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Museum and Les Maisons Satie. With a floral aesthetic and romantic ambience, Honfleur has managed to escape the ravages of time through the preservation of its maritime culture, exquisite artistry, and rich historical culture. It is a truly magical city.
Navigation II, Star Chart, 2015, 60" x 48"
"Memorial Sculpture" tabletop edition c.1960-2007 48" x 21" x 21" Navigation III, Marshall Islands, 2015, 60" x 48"
Recent work inspired by ancient Polynesian navigational charts. For more work, visit the website. Navigation I, Marshall Islands, 2015, 60" x 48"
HUGO ANDERSON STUDIO 1320 Arizona Ave Santa Monica, CA 90404
310-266-9904 hugoanderson.com hugoanderson@me.com
KRISTI
KOHUT
Colorful World, 2015, mixed media, 48 x 72 inches “Every piece I make is born from a whole lot of joy, peace, sweat, grit, hundreds of hours of trial and error, play, fear, doubt, grace, faith, strength and a relentless love of creating.” – Kristi Kohut
WALKER CONTEMPORARY 4403
main street, waitsfield, vt
617.842.3332
w w w. w a l k e r c o n t e m p o r a r y. c o m
TRANSPARENCY CUSTARD & LUCITE TRENDS by Manon Crespi Nothing says summer like tulips, ice cream cones, and a little bit of skin. Carolina Herrera’s smart yellow dress ushers in the first signs of spring with two of fashion’s spring/summer 2015 trends: transparency cutouts and Pantone’s spring color trend, Custard. Adding a splash of another Pantone spring color trend, Lucite, Belgian born jewelry designer, Patricia Gumuchian, invokes the best of summer’s childhood memories with the Gumuchian Pistachio Ice Cream ring.
Necklace: Ila & I’s 41.16cts emerald necklace made with 14K recycled yellow gold and sterling silver. Suggested retail $16,250, ilaandi.com. Photo: Ila & I
Dress: Carolina Herrera techno fabric dress. Suggested retail $2,490.00, Carolina Herrera New York, 212.249.6552. Photo: Carolina Herrera Ring: Gumuchian’s Green Pistachio Ice Cream ring features 19.74ct cabochon Chrysoprase center stone, accented with 1.00ct Tsavorites set in 18kt yellow gold. Suggested retail $4,800, Frasca Jewelers, Palm Desert CA, 760-568-5848. Photo: Ron Saltiel
Clutch: Prada’s printed Saffiano leather clutch. Suggested retail $2,550, select Prada boutiques, prada.com Photo: Prada
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MODERN FLORAL/MARSALA Exaggerated floral shapes and unexpected uses of color are just a few ways that make this year’s spring floral trend thoroughly modern. Ellie Saab uses warm, earthy tones in his haute couture silk chiffon and organza floral gown, highlighting Pantone’s 2015 color of the year, Marsala. Rahominov’s multicolored diamond earrings and Pasquale Bruni’s’s brown and white diamond butterfly ring, both set in rose gold, add sparkle and whimsy to this enchanted garden party.
Shoes: Monique Lhuillier’s “AVA”rose gold-mirrored leather sandal with coral ombre Lucite heel. Suggested retail $850, moniquelhuillier.com Photo: Monique Lhuill
Ring: Pasquale Bruni’s rose gold Butterfly ring dazzles with brown and white pave diamonds set in 18kt rose gold. Suggested retail $36,320.00, Neiman Marcus stores. Photo: Paquale Bruni
Dress: ELIE SAAB haute couture floral gown. Price is available by request at ELIE SAAB Haute Couture, Paris, France, 0033 1 42 56 77 71. Photo: Elie Saab
Earrings: Rahaminov’s 21.44ct multicolored pear shape diamonds earrings are set in 18kt rose gold and accented with 0.88tw white diamond melee. Suggested retail $14,500.00, rahaminov.com. Photo: Rahaminov
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Handbag: Serpui Marie grey buntal straw miniaudiere. Suggested retail $160, Sara Campbell, Boston MA, 239.331.2953. Photo: Serpui Marie
LAYERED SKIRT Layers abound in dresses and skirts this spring, taking on many interesting forms. The rippling strata of Ralph & Russo’s haute couture, hand-painted silk organza skirt ebbs this otherwise classic silhouette into a sea of drama. Undulations continue in the JYE 18kt white gold and diamond cuff, perfectly accentuated with Yoko London pearl earrings.
Earrings: Yoko London earrings in 18kt white gold, 14-15mm South Sea pearls, and 1.97cts diamonds. Suggested retail $15,400.00, www. yokolondon.com. Photo: Yoko London
Dress: Ralph & Russo haute couture layered dress in cornflower blue, hand painted dégradé silk organza layered dress with silk faille bodice and matching belt. Price is available by request, ralphandrusso.com. Cuff: JYE’s 18kt white gold cuff set with 5.4ct G/VS round diamonds. Suggested retail $48,000, jyescorp.com. Photo: Ronnie Tsai
Handbag: Clara Kasavina’s Diana Puff clutch in pearl white exotic python, Swarovski crystal, and bright silver finish frame. Suggested retail $1015.00, clarakasavina.com. Photo: Clara Kasavina Studio
Shoes: Ralph & Russo’s Lilly Duo Pump in cornflower blue crocodile and white nappa leather. Price is available by request, ralphandrusso.com. Photo: Ralph & Russo
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Photography: Nicole Marcelli Model: (left) Savana Ray (right) Lauren Hogue Jewelry: Andrea Li, andreali.com
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Andrea Li is an artist
who creates wearable sculpture. Her jewelry exhibits the pure intersection of master artisanship, alchemic texturalism, and exotic femininity. Each work is hand-made in her delicate process of stone selection, color theory, expressionistic design, and intricate wirework.
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Fine art should always tell a story.
290 Fillmore Street #3, Denver, CO 80206 www.objectdesignstudio.com 303-377-1701
For the Compass Project, we spent two and half years to create a ring, pendant, and necklace that work together to create a compass, a stargazing chart, and a sundial. These pieces celebrate the twentieth anniversary of a couple who live in the mountains but travel across the ocean in a ship called the Compass Rose. At Object Design Studio, our one-of-a-kind pieces tell stories like this.
Natural Australian Green Diamonds and Brazilian Dendritic Quartz
SUSAN WHEELER DESIGN Artisan Gems & Organic Precious Metals
www.susanwheelerdesign.com | susan@susanwheelerdesign.com 312-968-6643 Belle Cose, 48 East Broadway, Jackson Hole WY
Sabbia, 900 North Michigan Ave, Chicago IL