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Monticello Park Publishing
380-H Knollwood St. • Suite 191 Winston-Salem • NC • 27103 www.wsartsmag.com PUBLISHEr Ed Hanes
ed@wsartsmag.com
EXECUTIVE EDITOR Chad Nance
chad@wsartsmag.com
VP-Business Development & Advertising director David A. Johnson dave@wsartsmag.com
ASSOCIATE EDITOR Sherry Johnson
sherry@wsartsmag.com
art director Katie Linn STAFF PHOTOGRAPHER Shannon Murphy
8 GET IN “THE LOOP”! - BECOME A FAN OF WS ARTS MAGAZINE
Please “LIKE” us on
facebook.com/wsartsmag PAGE 4
Contributors: Ed Bumgardner, Samuel Brickhouse, Benjamin Williams
WS Arts Magazine is published monthly by Monitcello Park Publishing. Any reproduction or duplication of any part thereof must be done with the written permission of the Publisher. All information included herein is correct to the best of our knowledge as of the publication date. Corrections should be forwarded to the Publisher at the address above. Disclaimer: The paid advertisements contained within WS Arts Magazine are not endorsed or recommended by the Publisher. Therefore, neither party may be held liable for the business practices of these companies.
WS ARTS MAGAZINE
CONTENTS 6 | Publisher’s Letter
The Birth of WS Arts Magazine
8 | Cover Story
Carmen: Mezzo-Soprano Mabel Ledo
12 | Setting the Bar High:
Katherine Reynolds, Charles Barton Keene, and the creation of Reynolda House
14 | Radio the Artist
First Solo Show Opening - Ma’ati Spa
16 | Cigars & Spirits
Padron 1926 Serie No. 6
18 | Featured Artist
The Devil and Les Caison
20 | Cigars & Spirits
Nectar of the Gods – Booker’s 7 Year-Old Batch Numbered
22 | Restaurant Review
Spring House Restaurant, Kitchen and Bar: The Realization of a Dream Come True
26 | Creating Art in Your Backyard 30 | This is the Last Page of the Magazine
18
WSARTSMAG.COM
PAGE 5
A Profile of the Publisher: The Birth of WS Arts Magazine
question Founder and CEO of Monticello Park
“I
of local arts organizations led him to a strange conclusion:
Publishing, Ed Hanes Jr., asked at many doors
many people who love the arts still prefer print media
within the Winston-Salem arts community. He
in addition to the internet. “Our audiences are trending
was met with the same response: a shrug of the shoulders.
younger but the rate is very measured,” noted Hanes. “Our
“There have been other attempts, some really competent
Arts focused boards within the city have all done studies
periodicals,” noted Hanes as he thumbed through his folder
and/or worked with national consultants on this issue. The
of samples, “but they didn’t seem to be consistently reaching
conclusions are consistent: While we must have a robust
the right audience, in the right space, at the right time. We’re
and genuine internet presence our outreach (and that still
going to change that.”
preferred by many advertisers as well) must include paper.
n the City of Arts and Innovation, where is the dedicated publication that gives artists a place to share and be heard”? That was the
The answer: WS Arts, a multi-media collaboration between
The artists and those who love the arts still want to touch
Hanes
the actors...to see the texture of the next great work. This
believes that the web media and monthly publication will
experience cannot be underestimated. So far Kindle and
capture arts focused readership by keeping the focus of the
Apple simply haven’t achieved that “touch” experience the
news“hyper local”. “This is not an original idea” notes Hanes.
arts community craves in their internet experience news.”
“There is movement in some arts focused operations to take
Slyly smiling, Hanes added “but they are closing fast and
the median to a regional level rather than local. That’s not
we'll be there with them”.
Hanes and local media publisher David Johnson.
bad strategy if you aren’t based in a city with the rich artistic traditions of Winston-Salem."
The gap between “touch” and bridging the chiasm between young and seasoned arts lovers moved Hanes to
Hanes continued, "You don’t have to dig too deeply in
action. His first stop was at the home of publishers Dave
our city to touch someone or something connected to the
and Sherri Johnson. With over 20 years of experience in the
arts. This multi-media approach is going to tell those stories
community magazine publishing business, they presented a
and provide exposure for established and aspiring artists
reality check for Hanes. “I wanted to start with a 12,000 copy
and organizations. It will feature treasures known and newly
print production. They helped me see the value to readers,
discovered. We will provide a platform for our readers to
artists, and advertisers in going with a business model that
investigate and enjoy the arts at their leisure.”
focused on an ultra-targeted multi-media approach instead.
Hanes’ experiences as a Board member with a number PAGE 6
I wanted to know that we were bringing supreme value to WS ARTS MAGAZINE
those partners necessary to the success of any publication. It all made sense to me, especially after I saw what a palate of 12,000 magazines looked like.” After a few more meetings a business relationship and the name of the magazine were born. “I wanted to keep it simple and straight to the point. Everyone in the Triad knows that Winston-Salem is the City of the Arts. I wanted to represent that in a clear way that left no doubt as to the focus and placement of the enterprise,” says Hanes. “WSArts fit that profile of simplicity while not boxing us out of smaller communities in the Triad (Clemmons/Lewisville,
Available at Salem Kitchen 50 Miller St. Winston Salem 336.722.1155
Kernersville, Advance, Asheboro, and Trinity) that recognize the excellence of our arts commitment in Winston-Salem.” “WS Arts is a place for artists to share their work and be heard by a diverse readership. We envision a platform
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welcoming to community experts crossing the arts pantheon. The opportunities in a vibrant arts community like Winston-Salem are endless.” Johnson was intrigued by the concept even though his work in the arts is limited. “Ed has established a name for himself in the Winston-Salem community. His work in the arts and education over the last few years has only added to his ability to reach out in an impactful way. I liked his ability to communicate and thought we had a great opportunity.” Monticello Park Publishing, the parent company of WS Arts, is following a path toward success that Johnson has implemented in previous magazine projects: launch online,
salemkitchen.com
Mon. - Fri. 8:30 - 7:00 • Saturday 8:30 - 5:00
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establish a multimedia web presence, and then support it with a hard copy. “We’ll maintain both platforms. Launching online first allows our potential advertisers and readers to see the quality of content right away”, said Johnson. “It also gives us a way to advertise to those who are still connected to the arts community in Winston but live elsewhere. We want to make sure we’re reaching those potential readers and supporters as well.” “Hyper local doesn’t mean we won’t have any touch outside of Winston-Salem”, Hanes noted. “We recognize that our target audience has global lifestyle interests that span the spectrum, from travel to literature. We want to bring those opportunities that are within easy reach directly to our readers fingertips while keeping them hyper aware of the gifts within the arts community they have in their own backyard.” Current. Culture. Community. WS Arts! n WSARTSMAG.COM
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PAGE 7
By Chad Nance Photos Courtesy Piedmont Opera
O
pening night is October 26th, 2012 when mezzo-soprano Mabel Lado will take the stage as Bizet's seductive gypsy maiden in the Piedmont Opera's production of Carmen. Ledo has sung Carmen before in a 2008 production with New Jersey's Metro Lyric Opera. NJ.com reviewer Anthony Venutola wrote of Ledo's performance presented by the Metro Lyric Opera at the refurbished Paramount Theater in Asbury Park.: “Delicious indeed was an apt description of mezzo-soprano Mabel Ledo, who pouted and frowned and vamped her way through the title role of "Carmen". WS Arts caught up with Ms. Ledo at Winston-Salem's 20th Annual Hispanic Fiesta after a brief performance for the crowd in attendance. WSARTS: Is this your first performance with the Piedmont Opera? LEDO: Yes, absolutely its my first and hopefully not my last. WSARTS: So where did you study music? LEDO: I went to school at a community college called MiamiDade College, then I went to the New World School of the Arts which a conservatory in Miami. Then I went to the Academy of vocal arts in Pennsylvania. WSARTS: So you know the part of Carmen well? LEDO: Absolutely. She [Carmen] is so multi-layered, this woman. She's passionate. She's fiesty. She's sassy. She's all these things, like in a burrito...all wrapped into one. She is an incredible character. She's complex. I believe that the more you perform this role you find different aspects of her and she really grows on you. She is a likable character, at times, but sometimes she is cynical like when she laughs at him [Jose] when the other character, Micaëla, comes to tell him that his mom is dying. WSARTS: Scholars and critics have often identified Jose as being more of the lead due to the fact that he has a more traditional “character arch” in the piece than Carmen does. PAGE 8
Carmen:
Mezzo-Soprano Mabel Ledo Do you think that audiences sometimes identify more with Jose than with Carmen? LEDO: I think that his character is definitely more likeable. As singers when we are getting ready to do a particular role you have to, well, if there aren't enough details you have to give yourself a little back story. Where does this character come from and what has her life been like? That has to be portrayed through your emotions. In the case of Don Jose I think its a little more melodramatic. I mean, in the libretto he lives down in the village, his mother is dying, he's a corporal- so we have a little bit more history about him. For her its just that she's a free-spirit who wanders the earth, so to speak. WSARTS: Is there any specific emotion with the role of Carmen that you grab onto as a performer? LEDO: I just try to find the emotion in each scene individually. Also it is a different story when you are working with a conductor as opposed to working with a cast. You feed from them and from the energy and chemistry. Of course you have to bring your own emotions to it. Your state-of-mind about the character and the music is part of that. A lot of things come into play. It is a piece that you have to really connect with because otherwise it could come across, well, dull. WSARTS: What appeals to you more? Bizet's strong, dramatic pieces or the quieter parts of the opera? LEDO: The elements I am most attracted to about the piece are the places when I can just (she growls) break out of that shell- like the last duet. She is already so, I don't want to say disgusted, but she doesn't want to have anything to do with him, like: “My heart doesn't belong to you anymore. Leave me alone. If you have to kill me just kill me now.” It is just raw emotion and I love that freedom of just being able to [roar] like the Incredible Hulk.
Tickets are available for the Piedmont Opera's rendition of Bizet's Carmen at the Steven's Center Box Office and at the Piedmont Opera. WS ARTS MAGAZINE
n e m
Spend a night with
r a C
12 CSA 0 N 2 U 30, of the & , 28 Center 6 2 er vens b o t Oc Ste e h at T
Call 336.725.7101 or www.piedmontopera.org
Setting the Bar High:
Katherine Reynolds, Charles Barton Keene, and the creation of Reynolda House By Chad Nance Photos Courtesy Reynolda House
PAGE 10
WS ARTS MAGAZINE
Many in Winston-Salem have little idea just how much Charles Barton KeenE continues to influence the public spaces, buildings, and architecture of our City long after his death in 1931. It was KeenE's artistic partnership with the Reynolds family (Katherine Reynolds in particular) that set the tone for what residential and public architecture could be in our city. Their legacy lives on at Hanes Park, Wiley Middle School, RJ Reynolds High School, Spring House Restaurant, and most famously Reynolda House itself.
E
veryone has heard of Reynolda House. We have toured the grounds as students and have even spent considerable time looking at the wonderful collection that is curated and displayed there. How many, however, have taken the opportunity to truly look at Winston-Salem's own architectural masterpiece as the work of art that is all by itself: the thoughtful beauty of its design considered function, lifestyle, and aesthetics while also being on the cutting edge of the technology of its time? Katherine Reynolds was, in her own way, a futurist. This forward looking perspective on life can be seen throughout her work with Mr. Keene on what has become the signature home/museum in Winston-Salem. When Reynolda house was being crafted in 1912 Mrs. Reynolds had her eyes set well beyond the design of her day. Unlike other Gilded Age industrial barons her husband, RJ Reynolds, was a progressive man of the 20th Century. Reynolds pushed for a State income tax, championed philanthropy, and believed that the quality of life enjoyed by his employees was linked to his own. With that in mind the planning of Reynolda House and Reynolda Village was approached holistically with every aspect of life considered in full. Katherine Reynolds was considerably younger than R.J. In planning for the construction of their “country home” she rejected the notion of a traditional, Plantation style southern manse favored by many of his contemporaries. She, instead, requested that Mr. Keene design Reynolda House in the Bungalow style. Popular at the time the Bungalow is, like Jazz, comic books, and western films, a uniquely American art form. The roots of the Bungalow dip back into India under the
WSARTSMAG.COM
British Raj. The style first emerged state-side around 1879 in Cape Cod with a home designed by renowned architect William G. Preston (who also designed the Roger's Building which houses the architecture department of MIT). California Architects, the brothers Charles Sumner Greene and Henry Mather Greene, further developed the style with projects such as the legendary Gamble House (pre-dating Reynolda House by 8 years) in Pasadena California which was built in a style that has been termed Craftsman, and sometimes, “Ultimate Bungalow”. Keene's design of Reynolda House, however, eschewed the Ultimate Bungalow/Craftsman staples of wood building materials and intricately designed and inlaid surfaces. He and Katherine favored marbles, plaster moldings, and European style details similar to those often utilized by Ultimate Bungalow pioneers Berndard Maybeck and Julia Morgan (the first female architect to graduate from l'École nationale supérieure des Beaux-Arts in Paris and the first woman to be a licensed in California). Morgan's later work on the William Randolph Hearst Castle in California utilized some of the same materials Keene would bring to the Reynolda house project as did some of the Gothic details of Maybeck's work on First Church of Christ Scientist in Berkeley California. Unlike many Craftsman/Ultimate Bungalow homes still in existence in America, Reynolda House was constructed using steel and concrete creating an internal (yet mostly invisible) infrastructure far more reminiscent of Keene's public and commercial buildings than a traditional home. While never considered part of the Arts & Crafts movement in American Architecture (Keene, for instance, did not design the furniture and fixtures for Reynolda House) the influence of that movement can clearly be PAGE 11
seen at Reynolda. The furniture and decorations on display now are indicative of both the Bungalow's style and history as well as the Arts & Crafts movement. Like Maybeck's work, the furniture has a heavy Asian influence reinforced by two, massive vases that flank the doors into the main hall. Upon approach the first “Bungalow” features of Reynolda House that guide the eye, however, are the large recessed porches. Unlike the exterior “porch” styles Katherine Reynolds grew up around in Mount Airy, the porches at Reynolda House pull inward (into the home) rather than projecting outward, flanked by the traditional Greco-Roman columns of traditional plantation homes. The two expansive porches on the ground floor of Reynolda House were designed for entertaining. They also provided the Reynolds family and guests an opportunity to enjoy the PAGE 12
pleasures of the outdoors without having to necessarily deal with the weather. The porches on the second level are also recessed. Called the “sleeping porches”, they were actually used for sleeping almost year-round by the residents of the house. The main Greeting Hall is where the Bungalow style can be seen in full flower. Distinctive Keene touches make it unique from the work of other architects of the time. One hallmark feature of the Ultimate Bungalow is large, common areas in the middle of the home. Other rooms including dining, entertaining, and living spaces radiate from this main common area. Few or no hallways are also part of the style. The Greeting Hall at Reynolda House is just such a space. For decades after the construction of Reynolda House the Hall was not only the place where the most exclusive social gatherings in Winston-Salem
took place, it was also the space in which the Reynolds family gathered for family entertainment. Katherine Reynolds and Keene teamed to create what may be one of the most expensive and technologically cutting edge entertainment home sound systems of the early 20th Century. The organ (still installed and functional) that sits in the corner of the Hall remains a technological wonder even in the 21st Century. While the cabinet itself is a work of art, it is the workings and pipes that extend into the walls and up into the attic that help make this organ unique. When played, the music emanates from behind tapestries on the 2nd floor balcony. The entire Hall was designed with acoustics in mind from the beginning. It is said that during Reynolda House's heyday in Winston-Salem's society, one could stand on the balconies and listen to even whispered conversations WS ARTS MAGAZINE
in the Hall below. Hidden and technologically innovative features of the Hall also include the dual flues that service the grand fireplace (adorned with Gothic details that delight on close inspection). The flues remain secreted and out of the way to make space for the dual stairways that lead up to the balcony. This innovation by Keene allowed for the construction of a massive, marble fireplace. Though the hearth would make Charles Foster Kane blush it still kept with the open, clean space of the Bungalow style. The organ and dual flues are just two examples of Keene's approach to keeping the home's infrastructure hidden and maintaining an air of simple living. This was accomplished in spite of the complex engineering methods required for life on the scale that Katherine Reynolds and the Reynolds family required. The beauty of Reynolda House remains apparent to anyone who takes the time to visit. It is important to recognize how significant the home is to the architecture and design of Winston-Salem as a whole, and how important it remains to American architecture at large. Far from simply being the “summer home� of Southern aristocrats of a by-gone era, Reynolda House and Village was the very cutting edge of design, technology, and social experimentation (including an integrated school) of its time. Pride can be taken not only in Reynolda House's aesthetic pleasures, but also in its place in the development of architecture, construction, and lifestyle in Winston-Salem, North Carolina, and the Nation as a whole. n
WSARTSMAG.COM
PAGE 13
By Benjamin Williams
Radio the Artist First Solo Show Opening - Ma'ati Spa
Johnny Collins, who does visual art under the handle Radio the Artist, had the first solo showing of his work at the Ma'ati Spa in Winston-Salem. Located just a few blocks away from the main Gallery Hop at 707 N. Main Street, the show was a success for Radio and for those who got to meet this dynamic young man and see the work he is creating here in Winston-Salem.
PAGE 14
WS ARTS MAGAZINE
At first glance Radio's work brings to mind the pop/found medium look of Jean-Michel Basquiat with the drafting and style sensibilities of Japanese Manga comics and Anime films.
a
In his first show Radio included works he has completed on typing paper, notebook paper, cardboard shipping boxes, and even 1/4inch Luan plywood. Working with sharpie marker, consumer spray paint, acyclic, ink, and even some pastels Radio's work pulses with an out-front pop aesthetic while inside of the apparent chaos a draftsman's like control of line and lay-out can be seen. Mounting was kept minimal and unadorned, an approach as DIY and un-pretentious as Radio, himself. “I don't put titles on my work.” Radio said, “...you find yourself obligated to the title or to make some statement.” When pressed about technique and planning Radio shuffles the question off with his bright grin and a shrug. “I don't really think about what I do, I just do it. I started in the 6th grade with Show & Jump magazine. It was a Manga magazine and in the part with advice for young artists it said 'Practice every day'. I always loved that and I did it.” Japanese animation and graphic novel art clearly have made an impression on Radio. He cites Spirited Away director Hayao Miyazaki to be a major influence. With pieces featuring imagery like Mario and Mickey Mouse, Radio is clearly also at play with the iconic pop/marketing images of our time in a way that those who like Andy Warhol's work might appreciate.
Progressive
southern
insPired
destination a for Progressive
dining insPired southern
hosPitality destination & for events sPecial
dining
hosPitality & sPecial events
It is the graphic presentation, however, that cuts through the 20th Century, Madison Avenue kiddie imagery before it becomes trite. Radio does this in a way similar to 80's icon Keith Haring by bringing a cohesiveness to lay out and an eye on design and open space that shows thoughtfulness rather
450 North Spring Street, Winston-Salem | (336) 782-2824 | www.| Spring House NC . com 450 North Spring Street, Winston-Salem (336) 782-2824
than imitation or rash scribbling. The artist's sense of lay-out info @ Spring House NC . com and design bodes well for his future work as he goes forward
info @ Spring House NC . com | www. Spring House NC . com
in his career. WSARTSMAG.COM
SHR.11773 Winston-Salem Guide ad 5.5x8.5 R02.indd SHR.11773 Winston-Salem Guide ad 5.5x8.5 R02.indd1
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8/6/12 PAGE 15
11:26 AM
Cigars & Spirits
I
found myself on the back porch of Single Brothers as I often do on Friday afternoons.
Celebrating
the launch of our magazine (with great company) I decided to unearth a delicacy from the bowels of my humidor. I've had this lovely since 2006 and,
Padron 1926 Serie No. 6 By Ed Hanes
somehow, managed to forget it was there. The Padr贸n Serie 1926 No. 6 is no stranger to
those who love the forbidden leaf. A Nicaraguan puro with an individually-numbered double band, this cigar is consistently ranked among the greatest in the world. The puro has rich chocolate colored maduro wrapper. Just short of five inches with a 50 ring gauge cigar, the Padron displayed no defects besides a few veins that pumped with the distinctive flavor only available from the Padron family.
PAGE 16
WS ARTS MAGAZINE
The box-pressed beauty is hard to the touch in its ceder packaging. Once initiated with my preferred stainless steel James Bond style "pen" punch (thank you Montecristo sales rep), the preliminary draw (I like to take a pull before I even light my cigars) was as smooth as a southern afternoon stroll. Nothing fancy as far as the preferred steps and tools of my cigar initiation ceremony goes. I punch my cigar. I use a basic single flame butane torch to foot my cigar. I give it a spin and a gentle kiss of a blow (just to get the embers boiling a bit), and then I take the first gentle pull. Glorious. With this 1926 No. 6, I noticed the aroma of rich roasted coffee with just a hint of your mom's chocolate cake. Complexity is the name of the game for this Padron as the flavor profile changes from beginning to end. And, yet, it remained amazingly consistent in stature throughout. Not too soft. Not too harsh. Coffee....chocolate cake....spicy flavor profiles that neither burned nor bored....just right! This cigar is a celebration of the artisans who create these wonders of earth and imagination. It is also a celebration of Jose O. Padrón’s birth year. Worthy of all of the praise it has received since hitting the shelves in 2002, the Padron family has once again lived up to their substantial reputation for complex and classic cigars. There is more to a cigar than it's taste.
It must have
presence...a substance and demeanor that says "you must take me seriously". The Padron, with it's box pressed, steel backed appearance and feel, means business when it enters any afficiando's humidor. The draw: remarkably smooth. With each pull: mountains of thick, rich smoke. The ash: long and strong, cooling the inferno just enough to relax the taste buds and ease you into the weekend. The minor touch ups with my torch didn't even matter. The Padron 1926 No. 6 was worth the extra effort At about $15 apiece retail, this is not an everyday treat for the average lover of cigars. Birthdays, however, call for only the best. This beauty fits the bill perfectly. For a complexity and superior construction, for demonstrating stature with consistency that makes it worth every dollar, I give the Padrón Serie 1926 No. 6 a rare 5 e.d.s. n WSARTSMAG.COM
WS Arts Magazine has designed and implemented a ratings system where cigars receive an E.D.S (really...I didn't name the rating system after myself) of 1-5. E.D.S stands for Enjoyable.Delicious.Structure. The "E" represents the overall experience. The "D" reflects the taste of the cigar (at the end of the day, I think we all want something that tastes good). The "S" emphasis, in my eye, a key element to the afficiando experience: the structure of the cigar. Is the cigar covered in veins? Is it firm to the touch? Does the ash stay stout for a good portion of the experience? Is the smoke emitted rich in texture? Each review explains, in easy to understand terms, why we chose that particular rating for a given cigar. Our ratings system is described as follows: 1 E.D.S - These are cigars of last resort. They are questionable even if only mowing the yard or planting a garden. 2 E.D.S - These cigars make tolerable companions while you wash your car. They aren't looking for attention, nor should they! 3 E.D.S - These are pretty respectable cigars but may still fall short. We recommend them for the golf course, the back porch with one of your uninitiated friends, or for the after wedding party (for the husband of your best girlfriend who thinks he knows everything about cigars). 4 E.D.S - Now we’re talking. Enjoy these fine cigars after a delicious meal or with your favorite cocktail. Again, I prefer Friday's at Single Brothers (or my Cigar Room). Join me! 5 E.D.S - Respect your elders! These complex treats are true works of art. They deserve Coltrane, good friends, and your favorite adult tasty treat. Only the best!
PAGE 17
The
Devil
By Chad Nance
&
Les Caison
L
es Caison III is an internationally collected,
home-grown
North
Carolina visual artist. Although a native of Greensboro (Smith High School),
Les is becoming known on the Winston-Salem arts landscape. Of recent particular interest is an upcoming October group exhibition with Winston’s new Delurk Gallery focusing on the misconceptions of the Devil. Yes . . . ‘ol red, pointy horned Satan.
PAGE 18
WS ARTS MAGAZINE
”What if the devil is a misrepresented icon? What if he’s
talents and academic pursuits. We were there to explore,
just ‘tryin’ to make it’? He completes everyday tasks just like
have some summer fun, and further our knowledge. It was
the rest of us. What if he has social issues, like an inability to
a significant educational experience that cannot exist in the
express himself? This body of work explores these notions
typical school environment.”
and more, with an ‘average joe’on the street who just happens to have a devilish streak.”
Les connects with the public in a variety of creative manners. He often provides artwork to support not-for-
All of Les’ work is not adorned with the fruits of what
profit organizations including the annual Mountain Housing
some would see as controversial subject matter. He has
Opportunities "Doors Of Asheville" fund raiser. He has taught art
participated in over 70 exhibitions including 20 solo shows
classes, juried numerous exhibitions, and presented lectures
across North Carolina. Recent exhibitions include the 31st
for civic organizations and school groups. He has painted
Annual Competitive Exhibition at the Kinston Council for the
several murals including the 2008 South Elm Street piece
Arts, REACT at the Center for Visual Artists in Greensboro,
in downtown Greensboro while an Elsewhere Collaborative
1000 under 100 at the Lee Hansley Gallery in Raleigh, and
Artist-In-Residence. He was recently commissioned to design
the 2011 Halbert Biennial at the Turchin Center for the Visual
a limited edition wood block print for the Four Saints Brewing
Arts in Boone.
Company, a new nanobrewery in Asheboro, NC (Opens
He is particularly proud of Blurring Racial Barriers, a show
2013). His work knows no boundaries.
he participated in at the Southeastern Center for Contemporary
A graduate of Appalachian State University’s Bachelor of
Art in 2006 with Winston-Salem artist Trena McNabb. Blurring
Fine Arts (Studio Art) program in 1998, Les remains committed
Racial Barriers was a cross-multicultural art exhibition idea
to student mentorship. Earlier this year he led a studio critique
housed in four galleries/museums across Winston-Salem.
for upper level painting students at A & T State University. “I
The Crossing 52 Initiative and the Winston-Salem Foundation’s
love crits. They can be a great exchange of ideas – and we
ECHO Grant Program funded the event. “It was an awesome
didn’t hold back. Some of the students needed encouraging,
opportunity,” noted Caison. “The public, the organizers, and
others needed outside opinions. They shared with me what
the artists gained a new understanding of the diverse make-up
was on their minds and what was on their canvases – that is
of Winston-Salem. The language we all shared was visual art.”
the very nature of the visual language.”
Caison believes that Winston-Salem and its institutions
Les recently won 1st Prize in the Mixed Media Category
have been vitally important to his development as an artist.
of the Arts Council of Moore County's 32nd Annual Fine Arts
“I was represented by Solo Art Gallery. I exhibited numerous
Festival. The winning artwork is titled "A Lovely Brick Wall". It
times at the Sawtooth Center – the first time earning 3rd prize
depicts several loosely graphite rendered images of people
overall for a collegiate competition. Even before all that, I was
surrounded by colorful layers of oil painted brick walls. The
blessed with an opportunity to study the Arts at the North
piece explores the notion of when perception and emotion
Carolina Governor’s School, an institution born right in this
are blocked out. “A blue ribbon is a feather in the cap. It’s all
city.” Les credits the Governor’s School program with lighting
a matter of opinion, but it’s a great validation when someone
the fire that led to his life-long love of the arts “I was part of
‘gets’ your work and publicly acknowledges your efforts. It
the instrumental music program and studied saxophone at
provides me with additional energy to keep on painting.”
Governor’s School. That was a game changer. It gave me and every other student there an opportunity to focus on our WSARTSMAG.COM
You can see Les Caison III’s work at www.lesiii.com and at the Delurk Gallery on 6th Street in October.
n PAGE 19
Cigars & Spirits
Nectar of the Gods – Booker's 7 Year-Old Batch Numbered by Samuel Brickhouse
Kentucky Straight Bourbon Whiskey is the spirit's true name. Many world-wide drink it bastardized with colas and other mixers. Outside of the Mint Julep there is no proper use for bourbon beyond drinking it neat (or, perhaps, with one rock). All other methods are just kid's stuff.
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S Arts will begin its journey into fine Kentucky Straight Bourbon Whiskey with the top of the line, Booker's 7-Year Old Batch Numbered... Except no substitutes! Frederick Booker Noe II (Jim Beam's grandson), was the Master Distiller at the Jim Beam Distillery for more than 40 years, working closely with Master Distiller Jerry Dalton until his death in 2004. In 1988, Booker Noe introduced his own signature bourbon, Booker's True Barrel Bourbon also known as Booker's 7-Year Old Batch Numbered
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or, simply, Bookers. Inspired by a 200-year-old tradition, Booker's is the only bourbon bottled straight- from-thebarrel, uncut and unfiltered. First created as a holiday gift for his special friends, Booker's whiskey was so well-received that he decided to make it available to bourbon lovers worldwide. This would be the first, and still the greatest of Beam's “small batch” bourbons. Unlike many art forms there are laws on the books governing aspects of the distillation of Kentucky Straight Bourbon Whiskey like Booker’s 7. Those include regulations on the grains used in the recipe, called a “mash bill”. This mash must contain at least 51 percent “Indian Corn”. Aging must only be done in new oak barrels. This is what gives bourbon itss oaky flavor and golden color. There are even regulations on how much alcohol the finished product may contain since the content will also effect color, balance, and taste. True bourbon can only be between 80 and 160 proof. Booker's bourbon is bottled at its natural proof that ranges between 121 and 127, and aged between six and eight years. It is the only uncut, unfiltered, straight-from-the-barrel, connoisseur's sipping bourbon on the market today. Booker Noe, until his death, hand selected each barrel. That task now falls to Fredrick Booker Noe III. Each barrel chosen to become Booker's bourbon is aged in the very center of the Jim Beam rack-house where the temperature and humidity combines create the perfect proportion for the finest bourbon. So how do you properly “taste” and enjoy this treat of nature? Kentucky Straight Bourbon Whiskey is meant to be sipped and savored. A small glass of bourbon is best served “neat” or with an ice cube and a separate glass of water, a sip of which will extend the flavor and finish off the bourbon in a way that truly reminds one of why they call them “spirits”. Smelling bourbon should be done by breathing in through a wideopen mouth and not the nose as is done
with wine. The power of the alcohol in bourbon can actually damage the sinuses or, at the very least, overwhelm your ability to assess the aromas and bouquet of the bourbon (as well as effect the taste). The aroma of Booker's should be taken in slow in order to enjoy the vanilla, oak, and charcoal flavor left over from its time in the rack-house. When held up to sunlight Booker's has a deep, smoky, amber color that almost seems to glow on its own. Amazing care has been taken in creating Booker's and any less care taken in enjoying it would be a sin of the highest order. The taste is rich with deep tannins that are quickly followed by a lighter, fruity taste. Specifically enjoyed by this humble writer is the faintest hint of curing tobacco which reminds one of downtown Winston-Salem in days gone by. Booker's has a finish, if enjoyed properly, that is long with an intense spirit that remains in the nose and on the pallet like the ghost of a long lost friend. The price for Booker's begins at $60.00 and can rise from there depending on the individually numbered batch you come across or chose to purchase. Make no mistake...this is Kentucky Straight Bourbon Whiskey for grown-ups. Search and pay for the best and your effort will be rewarded with flavor pleasures among the finest in the Western world. n PAGE 21
Restaurant Review
Spring House Restaurant, Kitchen and Bar: The Realization of a Dream Come True
By Ed Bumgardner Photography By Shannon Murphy
M
aybe it’s the heart, lungs and brain craving the oxygen now suddenly gathered in gasps and gulps. Maybe it’s the giddy
narcotic rush of endorphins being freed to sprint into the blood stream. It might even be some meditative sense of clarity that accompanies the relative solitude of the loping, labored task at hand.
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Whatever the cause, the effect is that Lynette Matthews-Murphy does some of her best work while surviving her daily routine of running a few miles to keep body, mind and soul sharp - something that she has done for most of her adult life. When she runs, without fail, the high-watt, energy-efficient light bulb in her head snaps to full cost-efficient illumination. “It sounds sort of cheesy, but when I go out and run, I do think and I do create,” Matthews-Murphy said, smiling and looking a bit sheepish. “Things just pop into my head. I think about ways to better my life. I think about my job and my family. Ideas flood in.” She laughed. “Now, they aren’t always good ideas, but that time ....” She is referring to the day in 2010 in which a germ of an idea that popped into her head led her, two years later, to be the proud founder of and partner in the Spring House Restaurant, Kitchen and Bar, a casually artful and creatively Southern culinary showplace that opened in April at 450 Spring Street in downtown Winston-Salem. A vivacious mover and shaker, Matthews-Murphy has spent the lioness share of her career in Winston-Salem working to promote and develop the city and its businesses, artists and musicians - whether working as an independent fundraiser, an events planner or as an executive board member of the Downtown Winston-Salem Partnership, Inc. “It’s a cool little city with a wonderful, rich history,” Matthews-Murphy said. “It really does have so much to offer.” One of the many things she has long loved about Winston-Salem is the former home of Agnew Bahnson, a local resident who in 1915 developed, manufactured and distributed a cooling and humidifier system widely implemented by the textile and tobacco industries. The Bahnson family home, a grand two-story stuccoed building in the English Country House style, was designed in 1919 and built in 1920, a splendorous example of the English Arts and Crafts architectural movement. It was a welcome addition to the massive architectural grandeur that then defined Fifth Street, locally known as “Millionaire’s Row” for its monied residents. “The Bahnson house is built on the grounds that held the garden and tennis courts of R.J. Reynolds estate, WSARTSMAG.COM
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which was right next door,” Matthews- Murphy noted. “It is one of the last of the homes from Millionaire’s Row still standing.” In 1965, the Bahnson family donated the family home, now relegated to Spring Street, to the Forsyth County Public Library, which was located next door on Fifth Street where the Reynolds estate once stood. The house was used as a library annex until 2005, when the building, now in a state of disrepair and facing demolition, was put up for sale for $350,000. That is when the light bulb went off in Matthews-Murphy’s head during her morning run. “I loved that house and its history, and I felt very strongly that it should be saved,” she said. “It is on the National Registry of Historic Places, but unfortunately, that does nothing to legally protect it. “My husband (Lynn Murphy) and I went to look at it, and it needed a lot of work,” she said, laughing. “But my mind was made up, and when I believe in something, nobody can talk me out of it. So we bought the property as something that would allow me to use all my creativity and indulge all my loves - local history, art, music and food.” Matthews-Murphy enlisted local architect Kevin Owen and Davie Construction and began the painstaking process of turning the neglected old house into the comfortably elegant Spring House restaurant. “Yes, there were, um, challenges,” Matthews-Murphy said, smiling. “We wanted to leave the original building as intact as we could, which gets tricky when you have to bring old architecture up to the various health and building codes that accompany turning an old home into a restaurant. “There were plenty of sleepless nights worrying about how to run new support beams and duct work, how to put in bathrooms and create a kitchen without damaging the exterior, things like that. But we managed to keep all the original wood floors, all the French doors, all the windows. “I couldn’t be more thrilled with how it turned out.” Walking into the restaurant, a visitor is immediately struck by the ambience, which balances the warm and welcoming atmosphere of a bed-and- breakfast with the romantic grace and charm of a grand Southern home. Sunlight streams into every room from myriad windows and French doors, amplifying the sense of spaciousness. A welcoming bar area, filled with vivacious paintings of musicians by local artists, is part library - a nice, subtle nod to the building’s library past - and part comfortable anteroom. The various intimate dining rooms find individuality through subtle decorations, from the vibrant green walls of the sunroom dining area to the gorgeous coffered ceilings, fireplace, chandelier and Southern cane chairs of the main dining area. Framed shards of local newspaper from 1924 found in the walls during restoration shore the sense of local history, as do artfully re-created city maps and period-friendly street signs. The upper story where four bedrooms once were is now a multipurpose area. There is a large, state-of-art conference area suitable for corporate events, as well as several more small dining areas. Walls boast history of the Bahnson family and old photographs from Winston-Salem. A careful sense of reinvention, that of a vision rendered with love and purpose, helps create a convivial air of hospitality. Simply, it feels like home, purposeful and elegant without being PAGE 24
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presumptuous or pretentious - a place where everybody is family. “From the start, our intent was to offer a place where people would feel like they belonged, where they would feel engaged and involved in something special,” Matthews-Murphy said. “We want a visit to Spring House to be memorable on a number of levels - a feast for all the senses.” The architectural mix of art, elegance and comfort is embellished upon by an inventive and wildly flavorful menu created by Chef Timothy Grandinetti, who, with his wife Heidi, are Matthews-Murphy’s partners at Spring House. MatthewsMurphy first met her future chef when they collaborated on a wine festival during Grandinetti’s tenure as a regional executive chef for the Marriott Hotel in Winston-Salem (2004-2009). He was working at an upscale bed-and-breakfast in St. Louis when Matthews-Murphy approached him in November 2010 about joining her venture. “I was immediately in,” he said. “I loved the area, and the time felt right. I was ready for this. I love collaborations, where everybody works together like a family, and that is wonderfully the case here.” Grandinetti said that the Spring House dining experience is the combined result of 14 diverse years working as a professional chef (he has worked in St. Louis, Italy and Japan) and the year of specific hands-on planning, preparation and analysis that went into creating the restaurant’s evolving menu - described as “a living, breathing document.” The overall approach to the menu is New American cuisine with a strong nod to the restaurant’s 2655 Forest Drive • Winston-Salem • NC • 27104 Southern roots. There are certainly European, even Asian, 336.306.9055 • iconcustombuilders.com touches, and the flavorful creativity he brings to all appetizers and entrees would not be out of place in high-end restaurant. “That’s true, but we really aren’t a high-end restaurant; there is a rustic edge to what we offer,” Grandinetti said. “That said, we are really, REALLY good.” He laughed, something he does easily and often. “We are not pretentious, and we certainly do not ever want to create a menu that is intimidating. Still, there is always something that is a shocker, something Custom designed that will appeal to foodies. “Our food is meant to stimulate, to by Deborah Wishon be fun. It is made with prime, fresh ingredients, much of which Custom designed by Deborah Wishon is locally produced. So as we progress, we will continue to offer food that has more flavor, more soul, more variety, all of it cooked with love and commitment. “This is a full-immersion experience.” Custom designed 49 Miller Street next to Whole Foods Deborah Wishon Five months out, Grandinetti and Matthews-Murphyby could Winston-Salem 723.4022 49 Miller Street next to Whole Foods not be happier. The restaurant is doing brisk business in a Monday-Friday 10-6 Saturday 10-5 Winston-Salem 723.4022 difficult economy. Public response to the menu has been www.devajewelry.com Monday-Friday 10-6 Saturday 10-5 www.devajewelry.com overwhelmingly positive. Virtually everyone who walks in the Custom designed door has been charmed by the restaurant’s creative intimacy by Deborah Wishon 49 Miller Street next to Whole Foods and sense of place and purpose. Winston-Salem 723.4022 Now, when Matthews-Murphy runs, there is Monday-Friday newfound10-6 Saturday 10-5 www.devajewelry.com feeling of confidence in her ideas for the future. “People have asked me why I would open a restaurant, which is a proven risky venture,” she said. “I was aware of that, but I believed that Winston-Salem needed a place such as this. Everything 49 Miller Street next to Whole Foods Winston-Salem 723.4022 felt right. It is a reflection of who Tim and I are and of what we Monday-Friday 10-6 Saturday 10-5 believe. I hope Spring House continues to be as positive for the www.devajewelry.com people who come to eat and visit as it has been for me.” WSARTSMAG.COM
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Creating Art In Your Backyard
By Benjamin Williams Photos by Shannon Murphy
D
r.
Gene Adcock and his wife, Carol Ann, take their
afternoons
in the expansive, enclosed
back
porch of their home.
Apart from the tasteful numbered prints, volumes of Civil War history, and custom paint job that decorates the ceiling in bright, blue sky, there is the sound.
From below the soft gurgling of their small, back-yard water feature fills the room with the relaxing sound of a moving stream.
Installed by Winston-Salem's Gordan MacKinna,
the small water fall and fish pond melds with the natural landscape of their back yard and provides a peaceful place for reflection and relaxation.
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Back yard before waterscape was added. PAGE 27
The current pond is the third (and according to Mrs. Adcock-final) iteration of a process that began in the early 90's. “The technology has changed. They are using vastly different methods now,” Dr. Adcock said while raising a small, faux stone panel. The reveal: a 21st Century filtration system that includes a UV light over which all of the recirculated water passes in order to kill algae and other contaminants. At the top of a small, tumbling water fall is a 150 gallon storage tank. From there the water passes over several small stone falls into a pond at the bottom. Three 20-Watt halogens are hidden beneath the water disguised by stones. Coy fish swim languidly around in the water while sunlight ripples across the surface. Water Lilies bob on the surface while the Tabor Azalea's and other flora provide a warm, soft background. When the Adcocks bought their Winston-Salem home in 1989, Dr. Adcock was preparing to begin teaching at Bowman Gray Medical School. The backyard was a typical, suburban expanse of green with a few bushes and a tree. Two previous versions of the pond were installed over the years. Dr. Adcock was initially hesitant to make the current changes. “They are using different methods now so we thought that perhaps improvements could be made. It made the pond more inviting.” “Collaboration
with
the Adcocks
basically
involved creating a better bottom portion of the pond,” stated McKinna”. As the owner of McKinna's Water Garden Service, he knows the difficulty in helping customers achieve their vision. “Not every customer has the ability to see what could materialize with the re-building of their pond. The Adcocks did. Customer collaboration is essential in every step of the creative process.” “Gene and I love to entertain.” said Mrs. Adcock. “It's [the pond/porch] an open space. We often have a group over for a glass of wine and they always want to see the pond.” Mrs. Adcock had to be talked into the floodlights, though. “I thought they might look tacky,” PAGE 28
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she said, but acknowledges now that McKinna did a great job. Gordon McKinna has been helping create backyard ponds since 1997 when he got out of the swimming pool building business. “I have had a long interest in nature's beauty so I started doing ponds. Pools got boring, and I'm not really a fan of concrete.” The ponds that McKinna and his partner, Travers Blohenstiel, install can range from $5,000.00 to $30,000.00 depending on how far elaborate the home-owner chooses to get and what fish are chosen, if any, for the finished pond. McKinna acknowledges that there is an art, as well as a tremendous amount of craft, in what he does. “Anyone with some assembly skills could put together a pond. The art is in positioning of the rocks, and the placement of the liner to maintain a natural look.” The Adcocks are so pleased with their back-yard and porch lay out that their daughter was married standing next to the windows of their porch. “We bought a Bose surround sound system for this room, but it was a waste of time. Mr. Adcock said. “We just sit here with no media, no TV, no computers...just sit here and relax listening to the water.” n
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THIS IS
BY CHAD NANCE
THE LAST PAGE OF THE
L
MAGAZINE
ights dim. Somewhere in the brand-new darkness small, electric motors whine to life pulling the red curtains into that recognizable wide-screen configuration. The theater chain logo reel beings to run with dancing soda pop and Goobers that do the Electric Slide. Behind you a young girl gets in a last whispered word before the trailers start, punctuated by a nervous giggle. A straw hits the rock bottom of a five-dollar Coke then gurgles insistently as the bright green ratings information card comes up. Slowly the world outside is receding, giving way to that perfect moment of artistic communion that you have come here for. The opportunity to share a dream with filmmakers a world away along with the folks sitting there beside of you in the darkness. Church is in session, y'all, and there “To be or not to be. That's not really a has never been an experience like it in the question.” - Jean-Luc Godard history of mankind. On July 20th 2012 in Aurora, Colorado a first-class mutant stepped out of the darkness to turn that shared dream into a collective nightmare. We've seen this sick tale before... all too often. There are thousands of little reasons human beings jump off of the rails and go medieval on one another. Books have been written, songs sung, and no doubt the air-waves and internets will be filled from now to September with the “what ifs”, the “whys”, and the “who's to blame”. It's all part of the 21st Century media game. Instant politicization until the signal to noise ratio grows so skewed that no one even remembers exactly what happened. What happened was some of our fellow human beings were slaughtered. To make it worse they were murdered, very much like the school “Well, I hope you come and see me in the massacres, in a place where we all feel safe. Movie theaters have been houses of refuge for movie then I’ll know that you will plainly see myself and many of my best friends. The place the biggest fool that ever hit the big time and where a kid could always go to escape the grim all I have to do is act naturally” and not so grim realities of life for just a little while. - Buck Owens We emerge later blinking hard to force our eyes to adjust once more to the light and still half dozing in that almost perfect fugue state between a day dream and full REM. It is within that modern womb/chapel that James Holmes chose to brutally remind the dreamers that there is evil in the world that can't be reasoned with, can't be predicted, and will never cease to be with us. We could all do the usual. We can allow ourselves to get into same old facebook back and forths, the eye rolls, the endless navel gazing and hue and cry over why... or we could actually DO something. Rather than searching for blame we could gather the kids together, pile in the car, and defeat the darkness if only for a little while. Rather than turning on one another, drawing political lines, and pointing fingers we could all just stow the nonsense and go to the movies. We could come together as a people and reclaim our dreams- reclaim that transcendent moment that the screen goes from pitch black to blazing color as the soundtrack kicks in and we are snatched for a time from the ugly realities of the 21st Century. Instead of allowing this mutant to turn us against one another we can show him and the others like him that they cannot hijack our dreams. They belong to us. So take it easy... have some popcorn... and I'll see y'all at the picture show. n PAGE 30
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