Ink Magazine - January 2017

January 2017 A guide to finer living in Connecticut & abroad.

publications®

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Vol 13 Issue 133 2017

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Features

www.inkct.com JANUARY January 1, 2017 2006

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Columns, Reviews, Events

ISSUE CONTENTS

The Cheesemonger Hot, Hot, Hot! Luna Vinyasa Yoga heats up Middletown

pg. 8

Soft-Ripening Cheeses and the New D’Affinois Triple Crème pg. 74

On the Vine Healthful Benefits of Moderate Wine Consumption

pg. 78

January Events Events throughout Connecticut

pg. 80

Business of the Year!

Fitzgerald Painting

pg. 18

Thinking in 3D

The Design Artistry of Mark Yurkiw pg. 30

Written In Stages

Playwright Michael Bradford pg. 42

INK staff Contributors:

Advertising:

Jeffery Lilly- publisher/design/founder

Contact us to receive our media kit complete with detailed advertising information including ad rates, demographics, and distribution in your area.

Connecticut Dances:

Stephanie Sittnick- publisher/sales/design

AVisual History

Carolyn Battisa - editorial Laurencia Ciprus - editorial

pg. 52

Caryn B. Davis- editorial/photography Charmagne Eckert - editorial

Please direct your advertising inquiries and questions to:

Stephanie Sittnick - Director of Advertising advertising@ink-pub.com 860-227-8199

Gina King - Design in Mind Sharma Piersall Howard - editorial Nancy LaMar-Rodgers - editorial Barbara Malinsky- editorial

Rona Mann - Clinton - Rhode Island six07co@att.net 401-539-7762

Eric Kupper:

Rona Mann - editorial

Bringing the House Home

Paul Partica, The Cheesemonger

pg. 64

Cheryl Powell - Greater Connecticut cheryl@ink-pub.com 860-608-5749

A. Vincent Scarano - photography

Every issue is printed using 100% Soy based ink.

We encourage the public to submit stories, poems, photography, essays, and all things creative. If you know of a person or place of interest, please submit your ideas to: submissions@ink-pub.com We will do our best to put your ideas in INK.

All content of INK Publications including but not limited to text, photos, graphics and layout are copyrighted by INK Publishing, LLC. Reproductions without the permission of the publisher is prohibited. Ink Publishing, LLC is not responsible for images or graphics submitted by advertisers which are not copyrighted or released for use in this publication.

INK PUBLISHING, LLC 107 Hemlock Valley Rd., East Haddam, CT email: info@ink-pub.com www.inkct.com

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Mihae Lee, Artistic Director

2017 Tickets Now On Sale

40th Anniverrsar a y Cele lebration Everything that has made EWS so successful over the years packed into one celebralebratory concert!

Classical, jazz, and more, with man nyy of your ffaavorite perfo formers as w as Emerging Artists. Do s our anniversary party! Va Vallleeeyy Regional High School

FEB

D Levinsson’s Roof Gar Dan Ga den Jas J s Band

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Stu Inge

Concert

At thee of Rec of

Band A nial Ce Jazz Valley Regional High School Jazz

MARCH

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Gaarris ison Keill e llor “S ories in , Poe by

by H Heeart” Old Saybrook High School

A l l c o n c e r t s a re S u n d a ys a t 3 : 0 0 p m .

P O B o x 3 8 3 , E s s e x , C T 0 6 4 26 ( 8 6 0 ) 27 2- 4 5 7 2

APRIL

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a

Chhanticleer An orchestra of voices “

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eart”

Old Saybrook High School

e s s ex w i n t e r s e r i e s .c o m fa ce b o o k .co m /essex .w i n te r. se r i es

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VALEN T I N E H . Z AH N C O M M U N I T Y

G A L L E R Y

T H E G A L L E R Y AT M I D D L E S E X H O S P I TA L S H O R E L I N E M E D I C A L C E N T E R

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Jan.. 12 - Marr.. 17 7 Opening Reception • Thursdaayy, Jan.. 19 • 6 - 8 p.m.

Sandy Patten, Ladies of Leisure, Dominica, watercolor (detail)

Experience the Community Gallery at Middlesex ex Hosp spital al Shore reline Medi dical Ceent nter Featuring selected s works by the

Marshhview Artists Members of the Estuaryy Council of Seniors, Old Saybroook

Gallery open during uring regular business hours Sponsored byy

250 Flat Rock Place, P Westbrook, W estbrook, CT 06498 860-358-6200 • info@m midhosp.org • middlesexhospital.orgg

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Photo by Jeffery Lilly

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Hot, Hot, Hot! Luna Vinyasa Yoga heats up Middletown

By Charmagne Eckert

Y

oga. The word might evoke images of tranquil figures, moving gently through graceful sequences. Or, by contrast, visions of sinewy bodies pretzeled into positions so contorted that just looking at them triggers a sympathetic ache. Yet, literally translated from the Sanskrit root "yuj," "to unite" – the word Yoga means simply, “union.” Hence, in the physical ––(hatha) yoga disciplines, the body is placed into a sequence of poses, (“asanas” in Sanskrit), through which a fuller experience

of balance and of the natural harmony of life Connecticut. It is that integration of mind, might be achieved. Add the concept of body, and spirit concentrated through rigorous Vinyasa – transition between poses – and the physical activity that makes hot Vinyasa unique result is a continuous, unified flow of motion and utterly compelling to its practitioners. leading from one asana to another. When the asanas It was a love of physical are done in quick succesengagement that first drew sion, linked by motion, Maroney to Vinyasa yoga. heat is generated in the And so it followed that in body resulting in a practice the fall of 2016 she opened that is both illuminating the Luna Vinyasa studio and physically challenging specifically to provide a – hot Vinyasa. venue for practitioners of “You will sweat. More Vinyasa style hot yoga than you imagine. And it and to support her own will probably be more passion for the discipline. physically demanding than “After my first class of you think. But the feeling Vinyasa hot I was comyou get from a hot yoga pletely hooked. I had class is like nothing else practiced other types of Owner Kathleen Maroney you’ll experience. It is just yoga; and truthfully, they absolutely incredible,” says Kathleen were a little boring to me. I was an athlete Maroney, yoga teacher and owner of Luna growing up, so I needed the physical part.

Vinyasa Hot Yoga Studio in Middletown, With Vinyasa you get a complete workout,

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Photos by Jeffery Lilly

you’re completely detoxed, and there is an amazing mind-body connection that happens.”

A big part of achieving synchronicity is through breath, which Maroney explains, while important to the practice of any form of yoga, is absolutely critical in performing hot Vinyasa. “The reason that the hot is so awesome, is because you have the hot room, the sweat, and it [forces] you to breathe. If you don’t breathe, you are going to suffer. I always tell my students, ‘suffering is optional.’

You have the choice to suffer or not; and becoming present in the moment and breathing will eliminate the suffering.”

It is also important for people to realize that the capabilities of students at Luna Vinyasa range from first timers to life long devotees.

The hot classes offered at Maroney’s studio are accessible to everyone, notwithstanding the physical rigor of the technique.

Although there are a number of professional athletes who frequent the studio, Maroney emphasizes that truly anyone can practice;

and she encourages people to put aside preconceptions about what is necessary to engage in yoga. “Most people’s biggest fear is that they are not bendy enough to do yoga,

but the reality is that everyone is exactly where they need to be. There’s a modification for every pose, so even a beginner can be in a class with advanced students. Our classes are geared to be available to all levels.”

It might seem counter intuitive when engaging in such an intensive activity, but the atmosphere at Luna Vinyasa discourages competitiveness – with others or with one’s self. “It doesn’t matter where someone is relative to anyone else – we have students of all levels. In fact it is often the most experienced practitioners, teachers, who will be the ones who spend the most time in “balasana,” - child’s pose. You learn that you have to let go of expectations and just surrender to the reality of the moment. And that translates to life as well.” The result is a rigorous, but tranquil environment where students are encouraged to feel comfortable with finding their own pace within the form.

Maroney has been practicing Vinyasa style yoga for over sixteen years; and once her teacher training was completed under Baron Baptiste, she began to actively consider opening her own yoga facility.

After a long search for the right situation, a space in the lower level of the old Woolworth’s Building on Middletown’s Main

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15 Street became available.

To transform the area into what she required for a work space, Maroney renovated what was probably the employee lunchroom of the original five-and-dime into a cork floored, reclaimed wood accented, steam-heat controlled studio. The effect is simultaneously enchanting and technically ideal for the work of hot yoga.

Because Maroney is particular about the temperature and humidity levels, she had custom-made radiant heat panels installed along with a steam valve to maintain proper moisture. She was able to salvage the vintage bathroom stalls and 1930’s sinks in the changing area and a series of paintings of Ganesh (done by Maroney) add color and grace.

At the Luna Vinyasa studio in Middletown, classes are offered seven days a week throughout the day. There are over sixteen teachers who facilitate, all contributing a wealth of personal experience to their particular teaching methods. “Our instructors are remarkable. We have attracted a great diversity of teachers, and people are raving about what a wonderful variety of talent we have,” Maroney says. As with any yoga form, students at Luna Vinyasa have the opportunity to explore different instructors to find compatibility, as well as to add variety and challenge to their practice.

Though students are delighted with the intimate setting, Maroney recognized from the beginning that she would soon outgrow the modest parameters. Hence, she waited to open her business until the architectural plans for expansion onto the roof were approved by the City of Middletown. Maroney is already beginning to conceptualize the anticipated structure that will be erected on top of the building. “The [new] studio will be able to hold fifty [participants], the changing area will accommodate three showers; there will be two elevators leading up, and a more generous lounge/reception area. And there are plans for a restaurant that will overlook the Connecticut River,” Maroney explains.

While the restaurant will be a separate enterprise, there will undoubtedly be synergy, perhaps with the offering of a healthy

yoga menu; and Maroney hopes to be able to do outdoor yoga on the deck. She envisions a holistic venue where she will have the opportunity to share her love of art and yoga with others. The giant sculpture of the moon (from which the Luna Vinyasa logo is inspired) will receive a prominent position in the new rooftop setting where it can fulfill her intentions that people actively engage with it.

The planned expansion will offer greater opportunity for yoga related experiences, but in the meantime, those ready to sample the experience of Hot Vinyasa yoga are welcomed to visit Maroney’s studio. Aside from the very real cardio, balance, and flexibility that are the results of hot Vinyasa, the greatest appeal is, “You simply feel so cleansed and amazing after a class, that you just keep coming back.

People are really happy. Students walk out with this amazing glow. And that is so tremendously rewarding for me. ” For further information visit: http://www.lunavinyasa.com (917) 543-6389 e-mail: lunavinyasa@gmail.com, 9 Melilli Plaza, Middletown

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“Brushstrokes” Business of the Year: Fitzgerald Painting

by RONA MANN / Images courtesy Fitzgerald Painting

T

his is a story about a very successful painting company, yet you won’t see the words “brush,” “latex,” “stain,” “drop cloth,” or “enamel” anywhere in these pages. But what you will see are words like “learning,” Chuck “belief,” “betterment,” “success,” “communication,” “honesty,” and “accountability.”

Because this is a story about “the business of painting,” according to Chuck Fitzgerald, President of Fitzgerald Painting in Old Saybrook; and to Chuck, his business and his story have always been about the people before the paint.

“I meet so many interesting people,” Fitzgerald effuses, fairly lifting himself off the chair as he speaks. That’s something you recognize early on when meeting Chuck Fitzgerald...he’s the real deal, albeit a bit unusual in this day of blase` and indifferent attitudes. Chuck Fitzgerald doesn’t ever do anything halfway...he is constantly reinventing himself and his business and is not afraid to shout his enthusiasm from the rooftops...literally!

Chuck grew up in Old Saybrook, “just one mile away from my business.” Growing up on the water which he loved with a passion, “I was always more in the moment. I had a very adventurous childhood crabbing, boating, going up the river by myself at age 12.

The Fitzgerald Painting Team

Fortunately I did not have helicopter parents, so I had lots of independence and relished it.”

Fitzgerald’s parents were real estate brokers.

His father’s clipboard, photos, and signage from that now defunct business adorn the walls of the office at Fitzgerald Painting. In addition to buying and selling real estate, Chuck’s father managed and maintained rental properties; and that’s where his son’s love of painting began.“At age four I picked up my first brush and started working on my Dad’s homes. We’d paint for awhile, then go to

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Johnny Ad’s for lunch, then come back and work some more on the homes. I loved it. I still love the smell of fresh cut wood.”

After attending Southern New Hampshire University and painting during the summers, Fitzgerald started in the business in earnest, working for another contractor for some 10 years. He then opened Fitzgerald Painting in January of 1987 and just celebrated his 30th business anniversary. “When I started out, it was just me. There were years when we had as many as 28 part time seasonal employees. Our crew is smaller now, but it’s the best crew we ever had...they love their jobs!”

Get used to it. Chuck Fitzgerald speaks in

exclamation points. If he is guilty of anything, it is that he suffers from terminal enthusiasm, and that’s a very small crime indeed. “I get very excited about change, about the process of continually getting to know yourself because then you can be yourself. It’s the best gift of all. I believe in what I do every day. My favorite time of the week is Sunday night. My wife, Jane will tell you. So will our twins, Meghan and Carey. They’ll tell you I can hardly wait to get to sleep Sunday night, so that I can get up and go to work on Monday.”

Recent project, Griswold Inn Store. Essex

Sound too good to be true? It is true. You don’t find men like Chuck Fitzgerald very often. His genuineness and contagious spirit have not only shaped his business, but propelled it into one of the most successful and enduring companies in southeastern Connecticut. Perhaps that’s why just weeks ago the Old Saybrook Chamber of Commerce named Fitzgerald Painting “Business of the Year,” an honor he takes to heart. “We do whatever it takes to be successful and keep customers happy at all costs all the time.”

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Facelift “Before”

“After”

25 every customer following the completion of the job. Chuck studies them carefully to see where improvement might be needed and what strong points need to be maintained.

“Always, the customers highlight ‘communication’ on the report card. It’s our strength.

I’m very easy to get hold of. I give them my phone, cell phone, e-mail.

I text.

Customers like our attitude and the way we do business.”

But what about the occasional tough customer?

Fitzgerald eschews the thought. “Customers are only tough when you don’t understand what they want. I always felt it was our job to know, so we always ask before starting any job: What do you want? What’s important to you? When would you like to do it? Is it important to you to have only a few men in your home at any one time, or do you not mind a full crew to get the job done quicker?

Those are our core values, and we don’t ever sacrifice them.”

Apparently it has worked for Fitzgerald Painting and worked well. “No one’s ever taken me to court or not paid me in 30 years.

We put a lot in writing so everyone knows what’s going to happen, how it’s going to happen, and when it’s going to happen. I can always find a solution. It’s all about communication in this business.”

So passionate is Fitzgerald about this that he has designed a “report card,” given to

And if continuing education and being slightly unconventional breeds success, then Chuck Fitzgerald is its head cheerleader. “It’s not for me to be a star, but to create stars among my men So I give them the tools to make them the very best they can be. I bought each of my men a briefcase to carry their tools in.

They each have a clipboard.

Now, how many painters that you know show up on the job carrying a briefcase?” he laughs.

Fitzgerald’s core values are honesty, communication, quality, accountability, service, and efficiency; and that’s what he demands of his men. “If they don’t believe in that and don’t want to have fun, then I tell them to quit. A few years ago a couple did quit, and it was the best thing that ever happened. Now I have guys who truly love their jobs, love coming to work like I do, and love having fun.”

It seems unusual that here is an employer who puts his employees first before the customer, but Fitzgerald has an easy explanation.

Lead paint removal

“If I do that, and my guys are happy and secure, then they can take care of the customer the best way possible.”

Fitzgerald Painting takes care of customers from Stony Brook to Stonington, both residential and commercial jobs, showcasing their painting, carpentry, and window replacement skills. It takes just a glance at the website to see what this business is all about: “Continuous and never-ending improvement” the home page reads.

And Chuck Fitzgerald smiles.

104 Ingham Hill Road, Old Saybrook www.fitzgeraldpainting.com (860) 388-4595

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Thinking in 3D

The Design Artistry of Mark Yurkiw

By Caryn B. Davis / Images Mark Yurkiw

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ark Yurkiw is about as out of the box as one can get. He loves the process of finding solutions to challenging problems and contemplating cause and effect. This way of thinking led him to study astrogeophysics in college. But it was also this same mindset that caused him to abandon science in graduate school to study fine art instead.

“I went from a very disciplined education to what seemed like a bunch of artists throwing paint at each other. It did not jive with what I thought education was about,” says Yurkiw.

“But then I had the chance to work with a man who solved problems by creating sculptures for the advertising industry for use in magazine ads and TV commercials.”

Yurkiw became intrigued by how the visual medium could communicate an idea and impact the viewer. Additionally, he saw this as an opportunity to problem solve, but in a very different way. He soon formed his own Manhattan based company, The Group Y and later renamed it Think 3D. He was highly successful and employed an international staff of twelve. They worked

worldwide for museums, magazines, Fortune 500 corporations, medical firms, and with sports figures and celebrities. A short roster of his over 1000 clients included Eddie Murphy, Tom Cruise, Lancôme, Pepsi, Armani, Kodak, Texaco, the United Nations, the White House, and many others. They specialized in “sculptural storytelling” to explain a new product or service by creating three-dimensional marketing solutions

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Model for Erno Laslo Cover

to peruse reference books at the library or consult the Yellow Pages to find something obscure that we need.

But in the 1970s, the only enterprise dabbling in 3D was Hollywood, and even that was in its infancy. This was one reason Yurkiw was so sought after, aside from the fact he was very good at what he did. He earned a reputation for being the go-to guy, which still holds true today.

through exhibitions, print ads, feature films, and television commercials. During the course of his lengthy career, Yurkiw conceptualized, strategized, designed, built, and executed over 2000 projects.

“When you can wrap your hands around something physical, you can wrap your mind around it too,” Yurkiw says.

Nowadays we don’t think much about working in 3D because it’s so commonplace.

New technologies develop so fast, it’s impossible to keep up. There are 3D printers, cameras, scanners, software, optics, etc. And with the advent of the Internet, we no longer have

“When you had to make something back then, you went to the person who specialized in the material. We even invented materials and often had to talk the company into producing a new product we could use,” says Yurkiw.

One project Yurkiw did 15 years ago that is still ongoing was a coat drive for the homeless through an organization called New York Cares. They needed a striking ad to compel people to bring their used winter coats to Grand Central Station. Yurkiw fashioned a life sized sculpture of the Statue of Liberty crouched on a curb shivering, with snow falling around her. The campaign continues to be so successful, one million coats have been donated to date.

Another client, Vanity Fair, approached Yurkiw to do a photo spread featuring the worlds most famous living architects. The challenge was to capture their distinctive personalities and achievements in a single image. Yurkiw gleaned inspiration from a 1938 costume ball where attending architects came dressed as Continued on page 39

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Michael Graves - Humana Building - Louisville KY

Cesar Pelli - Carnegie Hall Tower

Philippe Stark - Nani Nani Building -Tokyo Japan

IM Pei - Louvre Pyramid

Philip Johnson - PPG Place - Pittsburgh, Pa.

Sir Norman Foster - Bank of Hong Kong_

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complete with a solar powered 3D printer, a 3Doodler and an Occipital Structure Sensor; so whatever Jacob could conceive of in his imagination, he could create in the physical world.

Yurkiw enlisted the help of college students because he envisions this project continuing, where the students can build these one-room structures for course credit and learn about innovation and business in real time. In turn, they can teach these skills to the younger generation, while the younger kids help them remain abreast of new technologies.

a national competition to see what they could come up with. Yurkiw won. Since the Center was right on the water, he refashioned the tower into a solar powered lighthouse illuminated by giant abstract fireflies that planes and ships entering New York Harbor at night would see.

“This was to inspire the one million children who go to that museum to do creative things with renewable energy,” says Yurkiw.

The more education related projects Yurkiw did, the more he wanted to leave advertising behind to do work that was meaningful and not about selling something. After 911, he reevaluated his life and profession and decided to close his studio and relocate to Connecticut. Since then, he has only taken projects that promote and foster education and the arts, which he believes are vital to our society’s future. their buildings. Working with photographer Josef Astor, they photographed Cesar Pelli donning his Carnegie Hall Tower; IM Pei wearing a coolie hat mirroring his Louvre Pyramid; Philippe Starck decked out in his Tokyo Fish Restaurant; and Connecticut’s Philip Johnson outfitted in his building at One PPG Place in Pittsburgh.

When the Liberty Science Center in New Jersey renovated their building, they added a tower with a glass pyramid at the top, which they wanted to utilize as part of the exhibition space. They reached out to architects, lighting technicians, artists, and designers by hosting

“Education needs a complete about face. It’s not about teaching the standards I grew up with, but rather teaching children how to problem solve. We also need to change how we think about the arts. The ideas that come out of art are what the world needs. It teaches us about ourselves and evolves to places traditional education doesn’t take us to,” Yurkiw says.

One of Yurkiw’s recent undertakings was for a little boy named Jacob, whom Yurkiw met through the Make-A-Wish foundation.

Yurkiw fulfilled Jacob’s wish by designing him a one room school house for the 21st Century,

“We created what I believe is a model for this paradigm shift that the digital world is bringing to every one of us, starting in preschool. The ten year olds and the twenty year olds have left us behind. We need to see how the world has changed and help them move it all forward. If I create what is possible, then perhaps the kids will tell me what’s possible, says Yurkiw.

Since designing his One Room School House / Think3DLab, Yurkiw has been asked to take his idea to its next incarnation by creating a “Castle in the Sky” for the Maria Fareri’s Children's Hospital at Westchester Medical Center in Valhalla, New York.

The “Castle in the Sky” is a roof top castle with a drawbridge made from colorful bricks that will give children some enjoyment during their hospital stay. An IPad connected to the Internet and a 3D printer will allow them to design and print even from their beds. At the castle they can invent anything and everything from a remote controlled car, to robots, to a doorbell, using LEGO® and littleBits, which are electronic blocks that snap together in millions of possible combinations to power whatever has been crafted.

“With the digital revolution as our renaissance, there are no more parameters. Whatever we can imagine can be, if we put in the effort to make it happen and find the path we need to go down. Throughout history we have used our imagination to make life more comfortable, safe, interesting, and pleasurable. Our ability to imagine is what makes humans uniquely different from every other life form,” says Yurkiw.

For more information log onto www. think3-d.com.

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A few of the magazine cover designs produced by Mark Yurkiw

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Written In Stages Playwright Michael Bradford

By Nancy LaMar-Rodgers / Photos by A. Vincent Scarano

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Pl a y w r i g h t ,

Bradford Michael meets me in the lobby of the Garde Art Theater in New London. His voice is gentle, his manner, poised and gentlemanly.

As we grab a spot on the stage to sit and talk, I am taken with Bradford’s modesty in acknowledging his own success. He seems to be more comfortable giving others the kudos for some of his major accomplishments.

Having just been appointed Artistic Director of the Connecticut Repertory Theater, Bradford has earned the praise and recognition; however, he brushes that off with the notion that his career has been a series of serendipitous events.

Born and raised in rural Arkansas City, Kansas, Bradford spent most of his young years learning what was important in life from his grandparents.

“My grandparents were pretty old school and strict; and I often found myself on ‘punishment’, which meant that you could have all the books you wanted, but you were staying in the house...you were not going out to play.”

For Bradford, while he may not have known it then, his grandparents’ punishment was perhaps the beginning of his education in all things having to do with his future as a writer.

“Neither one of my grandparents had a great deal of education; but they knew, or at least thought, like most African Americans at that time, that school was the ticket. So they were adamant that I did well in school and got the best education that I could. They insisted that I be well read, spoke the King’s English, and there was no slang in our house. They were very strict about that.”

When it was time for Michael to attend high school, his grandparents thought it best that he should go to Colorado and attend school there, where he would live with his father for the first time. Bradford didn’t know his father; and it is this relationship, or lack thereof, that would painfully manifest itself in Michael’s play, Fathers and Sons.

to college and the reality was more that you found work and you fended for yourself. “We don’t feed grown men in this house.” Michael chuckles, sharing his grandmother’s words. “It was true; they didn’t feed grown men, and so it was my job to find my way in the world.”

Although he knew he loved reading and writing, Bradford wasn’t sure what he would do after high school. It was not a given that you went

“I sold encyclopedias door to door, I threw tires off the back of railroad trucks in LA, I did the gas station and the fast food places, I did just about every job.” All the while he was

Michael Bradford discusses past and future plans at the Garde Art Center, New London.

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A recent performance at the Hygienic Art Park, New London.

When Bradford went to pick up a last paycheck from a job, he found himself at the bus station as well as in front of the Navy Recruiting office.“This guy came out and told me I was late for my appointment.

I told him I didn’t have one, and you know what? Three weeks later I found myself on a flight to San Diego!”

reading voraciously the works of African American female poets whose voices he found incredibly rhythmic and inspiring; and of course he was writing, looking to find his own voice.

“I wanted to write about African American life and relationships and the larger things about life. When you are that age, 19 or 20, 21, you really think you have some understanding.”

Bradford adds, “let’s just say there was a great deal of bad writing in those days.”

Bradford doesn’t regret what some might consider a deceptive move on the recruiter’s part. This may have been the first serendipitous incident that would eventually get Bradford’s work out there for a larger audience. “I was stationed in Washington, started dating a young lady in Seattle, and she introduced me to theater. We had a date one night.

I wanted to go see the jazz quartet, but she had tickets to theater.”

Grudgingly, Bradford went to the theater that night, primarily because he did not want to miss out on the young lady’s company. It would be a night that would change the course of his life.

“The play was August Wilson’s, Ma Rainey’s Black Bottom. I thought to myself, I don’t know who wrote that, but that’s what I want to do,” Bradford recollects.

That night was the catalyst for Bradford. He was consumed by the idea of turning his short stories into drama that could be performed by

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a cast of actors. Luckily the military provided him with the stages and the people who would eventually bring his early work to life. “Every military base in the world has a theater.

Officers and enlisted men and women get together, and nobody knows anything about theater. They just get together and do shows.

So I walked into the one in Washington and

said, ‘I’m a playwright,’ and they said, ‘great, write us a play.’”

the idea that he could do this for a living ... bring his stories to life on the stage.

Bradford would continue this endeavor no matter where he was stationed; and before he knew it, he was turning his stories into plays, and his work was being performed all over the country. He was beginning to finally believe in

He continued in the service, his last station being at the Groton Sub Base. It was during this time that the military was offering an early release for personnel. “They were offering a chunk of money if you agreed to get out early,

47

but the reality was you couldn’t come back, couldn’t reenlist.”

Although it was a risky endeavor, Bradford decided to take the money and join civilian life.

He did a stint with Electric Boat, and then decided to go to school ending up at UConn’s Avery Point campus. His intent was to get a Bachelors in General Studies with the intent that he would teach English and continue to write during the summers.

For Bradford, wonderful things started happening. The American Place Theater wanted to produce one of his plays, and The Manhattan Theater Club was offering a fellowship. Bradford was ecstatic. His work was

“I figured I would be perfectly happy with this arrangement,” he explains. But the stars had something else in mind for Bradford. He met a woman named Kay Janney and enrolled in her History of Drama class.

Afterwards, Bradford presented Janney with one of his plays. She thought it good enough to perform at Avery Point.

Bradford was eventually accepted into Brooklyn College to complete an MFA. For a young man who had never thought college was even an option, the idea that he was taken into the professional arena of theater was a dream come true.

Bradford smiles and laughs, “For a guy who doesn’t send out his work, that’s pretty good.”

Since 2001 Bradford has been a professor of Dramatic Arts at the University of Connecticut and was recently named as the Artistic Director for the Connecticut Repertory Theater.

With this new appointment, Bradford feels that he is truly blessed and has in many ways come full circle. I ask him about that night in Seattle when he reluctantly attended the theater with that young lady.

“I contacted her when the whole Facebook thing came about. She is still there in Seattle. I told her that she has no idea how that night changed my life; that it is because of her insistence that we go to the play that my life has turned out as remarkably as it has.”

being read and produced. Yet Bradford still considers himself lucky in that he has never been one for self-promotion, and somehow his plays were getting into the right hands. “In the past 15 years my plays have been produced professionally at least once or twice a year.”

Bradford leans back, caught up in a frozen memory.

For a schedule of the Connecticut Repertory Theater Productions, check out: http://crt.uconn.edu

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The Dancers and the Dance, Connecticut Concert Ballet, Manchester High School's Bailey Auditorium, 2014 Photographer: Exclusive Image

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Connecticut Dances:

A Visual History

By Barbara Malinsky, Curatorial Advisor

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ance is ephemeral. It exists for a moment in time and then evanesces. The remains of the dance are personal impressions and memories, professional critiques, memoirs, biographies, historical essays, photographs, systems of notation, and most recently film and video.

In an unprecedented crowd-sourced Dance History Project, the Connecticut Dance Alliance has documented the many facets of the history of dance in Connecticut by utilizing an on-line gallery of over two thousand photographs submitted by members of the dance community to curate a photographic exhibition, Connecticut Dances - A Visual History. This exhibit will travel throughout the state and is accompanied by a compendium of articles, scholarly essays, memoirs, and associated photographs.

Unlike the visual arts, which are tangible and can be seen in any given museum, capturing the fleeting nature of dance can be a challenge. In reaching out to the statewide dance community of individuals, companies, scholars, schools, presenters and other sources, the Dance History Project has provided an innovative model for developing and sharing a communal dance history.

Connecticut can reach as far back to its Native American tribes for whom dance was an integral part of their culture. The Pequot/Mashantucket, Narragansett, and others, in spite of early government efforts to eradicate their culture, have retained their dances and celebrate their music, dance, and culture every year at a powwow at the Pequot Museum in Mashantucket, Connecticut. As recently as the 1960s, the United States government forbade Native Americans from performing ceremonial dances on their own reservations. It was feared that the dances might unleash a host of emotions leading to insurgency.

Religious dances, which are an integral part of native culture, were almost lost forever.

Fortunately, some were secretly preserved by a younger generation of tribal members.

When Europeans came to the continent, they differed on their views of dance. Early settlers like Quakers and Puritans forbade dancing and, in fact, many religious groups in the

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Carmel-Mary Angelo Ballet School, 68 Tremont Street, Hartford. September 4, 1943 Photographer: Katherine Lee Enders

permitted solemn Puritans danced following the ‘plaine and easy rules’ of John Playford’s English Dancing Master, which were approved by the elders who allowed country dances that were not “mixt”.

Eventually, the laws of Connecticut became relaxed and permitted citizens to dance without partners prior to the Revolution.

Eventually, when Europeans arrived to embrace this new country they brought their dancing talents with them. There were Balls, Assembly Dances, and Ordination Balls in South Windsor, Norwich, New London, New Haven, and Hartford private events.

Mary and Carmel Angelo Sisters, Hartford, 1937 Photographer: Katherine Lee Enders

United States still censor it. The Puritan influences of Boston and the Quaker powers of Philadelphia were both successful in banning dance in their respective cities’ earlier histories. However, in Connecticut the

Shakers who had a settlement in Enfield embraced it as part of their worship service.

In spite of these restrictions, even in austere New England, people danced. When time

After the war, dancing continued to play an integral role in the lives of colonial New Englanders who began to develop their own styles of dance. What might be America’s first dancing expert, John Griffith published his Collection of the Newest and Most Fashionable Country Dances and Cotillions

55 (1788), expressing an independence from European dance masters.

By the 1840s, theatrical dance was gaining popularity with the citizens of Connecticut.

In 1868, the White Fawn Ballet appeared in Hartford at Allyn Hall. The Hartford Courant commented that it was “terpsichorean displays interlaced with singing.” By the late 19th century, there was a rise of culture clubs introducing America’s upper-middle class to

different forms of artistic expression such as literature, poetry, pottery, and dance through lectures and demonstrations. Connecticut mothers, convinced that dance was valuable to their children’s well being, began enrolling them in dance or ballet classes. By the turn of the century, there were new ballet schools growing by leaps and bounds as Europeans arrived on our shores. However, it would take some time for Connecticut to develop a grass roots cache of professional dancers and dance companies, become a center of dance, and make its own contributions to the field.

By the early 20th century, citizens had the opportunity to see Anna Pavlova perform at the Parsons Theater in 1911 and 1913. In 1916, during the years of the Russian Revolution, the Ballets Russes toured extensively in the United States and also performed at the Parsons Theater. This exposure to ballet prompted the opening of many ballet schools.

Carmina Burana, Judith Gosnell, Hartford Ballet, Artistic Director-Michael Uthoff, 1978

Symphony for Strings, Choreographer-José Limón, Dancers: José Limón, Lucas Hoving, Pauline Koner, 1955 Photographer: Matthew Wysocki

A prestigious collection of Ballets Russes materials was acquired in 1933 for the Wadsworth Atheneum through the foresight of the Atheneum’s young museum director Everett “Chick” Austin who purchased over 150 works from the Julien Levy Gallery in New York City. The collection comprised set and costume designs and costumes from the Ballets Russes inherited by Serge Lifar from his mentor Serge Diaghiev, the great creative force behind the worldrenowned company.

Austin’s passion for art in all its manifestations – visual, music, theater, and ballet – prompted the acquisition. In that one inspired coup, he would secure a prominent place in the history of dance for Connecticut.

He also revealed his passion for dance by supporting Truda Kaschmann and her protégé Alwin Nikolai in their avant-garde dance pursuits.

Serena Plasikowski, early Connecticut ballerina, toured with Anna Pavlova, 1920

About fifteen years later, Connecticut again secured a unique place in the history of dance.

Connecticut College was the home of the American Dance Festival (ADF) from 1948 to 1977. During that period, the college provided a nurturing atmosphere for many well-known American artists to create their work, giving birth to the development of “modern” dance in America.

Throughout that time, the ADF premiered some of the greatest 20th century American Continued on page 58

Balancing Acts, Mary Barnett, Educational Center for the Arts, New Haven, 2002 photographer: Arthur Simoes

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Miss Porterâ&#x20AC;&#x2122;s School Students, Farmington, circa 1920

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Don't Let Them Tame You, Greater Hartford Academy of the Arts Choreographers’ Showcase, 2013 Photographer-Rich Davis

artists’ works including those by Martha Graham, Doris Humphrey, Eric Hawkins, Sophie Maslow, Jose Limòn, Alwin Nikolais, Merce Cunningham, Helen Tamaris, Paul Taylor, Alvin Ailey, Yvonee Rainer, Bella Lewitsky, Twyla Tharp, Laura Dean, Trisha Brown, Pilobolus, and others. It presented a total of one hundred-seventy three dances. This was the impetus for Martha Myers’ founding the dance department in 1971. She led it until 1992 and continued as dean of the (ADF) in North Carolina. That time was considered to be “magic” by dancers from all over the world who would sit on the lawn to watch the avant-garde taking place. This inspired the establishment of more dance companies throughout the state.

Theater, Connecticut Ballet, Eastern Connecticut Ballet, New Haven Ballet, and the Albano Ballet. There are also contemporary dance companies such as Full Force Dance

There are ballet and dance schools throughout the state that are too numerous to mention. Connecticut dancers and companies also participate in venues beyond the studio such as Judy Dworin’s work at Niantic Prison, the International Festival of Arts and Ideas, and the Ted Hershey Dance and Music Marathon.

In reaching back to Connecticut’s social and cultural dance history, the exhibition comprises a series of portraits of the art of dance that represents the state’s significant dance heritage, including the pioneering work of individual dancers, choreographers, companies, and the impact of schools and teachers.

The exhibition brings to life the valuable contributions that dance has brought to the cultural vitality of Connecticut.

The CT Humanities, The Edward C. and Ann T. To date, dance can boast a presence in Roberts Foundation, the NewAlliance Foundation university programs such as Wesleyan dancEnlight, Lorelei Chang, Artistic director-Lorelei Chang, and the Greater Hartford Arts Council funded the University, Trinity College, Co-director-Mai Nakanishi Photographer: Ron Compton project. Exhibition dates are January 19 through Connecticut College, Yale University, the Hartford Conservatory, Hartford College Theatre and Judy Dworin Performance Project March 4, 2017 at the Connecticut Historical Society, for Women, the Hartt School of the University and is home to modern dance companies One Elizabeth Street, Hartford, CT 06105, 860.236.5621. Thereafter it will tour the state. of Hartford, and others. Connecticut offers Pilobolus and Momix. ballet companies like Connecticut Ballet

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Dance Intimacy, Elm City Dance Collective, New Haven, 2015 Photographer: Rich Davis

Adam Miller Dance Project, circa 2005 Photographer: Ron Compton

EQuilibrium, Connecticut Dance Alliance Martin Luther King Dance of Dance 2012 Showcase Photographer: Rich Davis

Mountain Dance, Asian Performing Ensemble, choreography by Stephanie Sum, Riverfront Recapture August 2015 Photographer: Andy Hart

Christian Hopkins, Narragansett, the Mashantucket Pequot Tribal Nationâ&#x20AC;&#x2122;s Powwow, circa 2008 Photographer: Bob Halloren

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Weston, CT

Eric Kupper: Bringing the House Home

By Tony Mastroianni Images courtesy Eric Kupper I first got to know Eric Kupper during a car ride through Naples, Italy. He was the DJ, I was the interpreter. "Yes You Do" was the song Lunare Project was putting out with Kupper and its release party, their reason for flying in one of the biggest figures in house music history.

After a carousel of phone calls, I was waiting in the Hotel Palazzo Caracciolo parking lot, then in a lobby so abundant in mirrors, Bruce Lee would have fallen cast to dizzy spells.

Enter the DJ. What sauntered out was clearly more than just a serious chunk of house music history. Though the name doesn't proceed the man, Eric Kupper's thirty-odd years of

Photo by G.K.

work in all facets of the music industry has resulted in over 2,000 records. 2,000 and constantly counting. On top of a boiled down figure of an album a week, his array of credits in the studio span from Aretha Franklin, to Depeche Mode, to RuPaul.

A sort of musical Everyman.

It was 3:30 in the afternoon when Kupper came down, clad in black. Standing behind him, he would have looked like a Magritte paintingâ&#x20AC;&#x201D;his black blazer and pork pie hat contrasting a Neapolitan afternoonâ&#x20AC;&#x201D;however the amount of mirrors in the lobby made it impossible to only see a figure. There was even more left unsaid. His charisma wasn't that of Muhammad Ali. His charm wasn't Gregory Peck's, but there was something all together paradoxical and charismatic about Kupper. The all-black suit. The mustache reminiscent of a Barnum & Bailey strong man. A type of charisma that was neatly wrapped up into a simple, "Nice to meet you. I'm Eric."

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Between anecdotes about Neapolitan traffic—head of Lunare Project, Roberto Barone explained that when seat belt laws were introduced in Italy, Neapolitans took to mass producing t-shirts with safety belts printed across the chest—we found numerous points and places we had in common.

Conversation migrated across the 41st parallel to New York and up to Fairfield County, subsequently forcing rough translations about hot dog stands in Bridgeport, Connecticut.

Eric Kupper was born in the Bronx. As a young child, his parents gifted him with a keyboard, leading him to his lifelong career in music. Like his colleague Moby, Kupper's years as a fledgling New York musician were centered around the tail end of an already fading punk scene. The early eighties were a transition period in the city's underground music movements, and New York City's playground was wide open.

When the novelty of NYC’s music club, CBGB

began to teeter on irrelevance as the East Coast punk scene was packing its bags for Washington DC, Kupper was left staring into the proverbial horizon for whatever was coming next. What arrived was house music.

By the mid-eighties, Kupper had already established himself as a studio musician...as an artist. He kept busy producing and laying down keyboard tracks for the bigger names in

the genre. It was in 1989 that he first collaborated with "The Godfather of House" Frankie Knuckles. It would be a partnership and friendship that would last until 2014 when Knuckles was taken by Type II diabetes. What started as studio collaboration for a Def Mix song, led to some of the genre's most definitive works, from "Hercules” to a remix of Donna Summer's "Hot Stuff.” In 2009, Kupper and Knuckles formed a duo called Director's Cut. Despite Knuckles' face being synonymous with house, Director's Cut was made of two equal parts, recording and working long distance on what would later be recognized as some of the most brilliant pieces coming out of the genre.

The duo's working relationship continued to function despite the long distance between the two.

Knuckles had been living in Chicago for years and Kupper had since moved from New York.

By 1995, Kupper had started a family and

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Photo by dpaint

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wanted to withdraw from city life. "We had one kid in the city, and we wanted to have a second one. We figured, 'let's get a house,'" says Kupper.

transformed into one of the most productive little corners in the state.

"I have a more proper recording studio across the way, then I have the corner of my living room, which is actually what I use most of the time."

After scouring the Tri-State area, it was settled. The Kuppers fell in love with Weston, Connecticut and the little cottage on two acres of woods where Kupper has since resided. "This area of Connecticut just felt like home," he says. "I live not far from the Saugatuck Reservoir. It's just beautiful.

It's just breathtakingly beautiful. Come fall, you can take some picture postcard style shots there. It's not too far from the city, yet you feel totally removed. I really love it up here."

Being a man who bangs out an album every week, the Woody Allen of House couldn't not bring the music home with him. Hence the birth of his own record label. Named after Kupper's experience in the music business, Hysteria Records was born. The idea was to bring the hysteria of the industry home, but in name only. Though the label puts out artists from

The studio that snuck into his living room turned out to be exactly what allows Kupper to lead his everyday double life. While in New York, Ibiza, Chicago, Naples, he's Eric Kupper the DJ. The producer. The history of house music incarnate. In Weston he can be everything else from dad, to self-proclaimed amateur chef, to just a guy bending an elbow at the local bar.

all over the world, Kupper maintains the fact that Hysteria is completely home-base rooted. In what started as the room his kids, now 20 and 23, used to play in, over time it was

"Most people don't know what I do (although they often assume I am somehow involved in the arts), unless they are into house music. I wouldn't want any special treatment. When I go with my friends to my local bar for a beer, I'm just one of the gang.

Which is how it should be."

Which is how it should be.

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Paul Partica, The Cheese Shop, Centerbrook CT

Soft-Ripening Cheeses and the New D’Affinois Triple Crème ne of the most popular cheeses in our store is Fromage D’Affinois Double Crème (60% butterfat) cheese. Of all the soft-ripening cheeses, it is one of the most consistent in quality, providing a good shelf life without being stabilized like market Brie and Camembert. So what more could you ask for? How about a triple crème (75% butterfat) version?

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snowy mold will begin to turn a reddish-brown color and ammonia, a by-product of bacteria growth, will develop. A cheese in this condition will actually smell of ammonia, often referred to as “ammoniated.” At this point, the cheese has become too strong and offensive to eat.

I just received my first delivery of Triple Crème D’Affinois. It looks just like the double crème version, only a little thicker, with the same snow-like rind surrounding it and a luscious creamy inside. My first shipment is still on the young side so I will need to do a little more in-house ripening.

Unfortunately, proper ripening is only half the issue. Moisture loss can be even more important. A cheese not kept under proper conditions, regardless of its age, can become dry and hard, losing all the creaminess you would expect from a soft-ripening cheese.

This moisture loss is dependent upon maintaining proper humidity levels during refrigeration and, most importantly, proper wrapping.

With the addition of this new triple crème I was inspired to review the soft-ripening family of cheeses. The soft-ripening variety is one of the most popular of all cheese families, and probably the most misunderstood. Often, when describing a certain cheese to a customer as “soft-ripening,” many nod their head in polite agreement but seem to have no idea of what I am talking about.

This is why those of us in the cheese business will most often define a soft-ripening cheese as “Brie-like.” Most people can readily identify with it in those terms.

You also need to consider the thickness of the cheese. Brie-like cheeses with a thickness of an inch or less should be fully ripe when eaten. However, you might find a soft-ripening cheese of about two to three inches in thickness, like Humboldt Fog, too overripe on the outside if you waited for the inside to be fully ripe. You would eat this kind of thick soft-ripening cheese somewhere in-between young and fully ripe.

This type of young cheese starts with an introduction of Penicillium Candidum (or Camberti), which is sprayed on the outside of the cheese to produce a white mold, often referred to as the “bloomy rind.” A young cheese might look like it was just lightly snowed upon. This is done as soon as the cheese is firm enough to keep its shape. At this stage the cheese is somewhat hard and has a chalky texture.

The center of the cheese is referred to as the core. As the snowlike mold does its work, the cheese will begin to ripen from the outside in. The ripened part will soften and change to a supple, creamy texture that can be described as having a delicate “earthy” flavor, with a faint hint of mushrooms. If the cheese were to be cut in half, you would see three layers: a hard, chalky-white center covered by a softer, somewhat thick honey-like top and a bottom layer. When the cheese core fully disappears, the cheese is considered fully ripe.

Much of this action takes place within the first thirty to forty days in the life of a soft-ripening cheese. At this point, the cheese is now ready for shipping. Any soft-ripening cheeses destined to be shipped to the United States must be made from pasteurized milk, according to FDA’s regulations.

When these young cheeses make their way to food stores, they have a short shelf-life of three to four weeks. If left to ripen past that time, unwelcome changes start to take place. The white

One issue to bring to your attention is the matter of Brie and Camembert. Many years ago - fifteen years plus, approximately cheeses were over-stabilized to give certain markets a longer shelf life. You might have noticed that those cheeses never really matured to a soft and runny point? Once upon a time, the definition of Brie was a soft creamy cheese that, when ripe, runs like honey. Thus, I stay away from those types of cheeses. I would also like to clarify that Brie and Camembert are very much the same cheese, both sharing the same recipe. The only true differences between the two are the location they are made from and the size of the cheese. A Camembert is usually eight ounces, while Brie will vary from eight ounces up to six pounds. When buying these cheeses disregard the name; think only of the condition.

To review, when purchasing a great soft-ripening cheese you need to be aware of how ripe the cheese is, what the moisture loss has been and what the current temperature of the cheese is. If you can, try before you buy.

Triple Crème Fromage D’Affinois anyone? You must try it on a pear for a great dessert.

-Paul Partica, The Cheese Shop www.cheeseshopcenterbrook.com

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By Kevin Staehly Operations Manager and Assistant Winemaker, Staehly Farm Winery, East Haddam, CT

Healthful Benefits of Moderate Wine Consumption or many, the beginning of a new year marks a time to reflect on our personal habits and a chance to improve our overall health and wellbeing. An extra glass of wine is a goal that some of us may joke about as a resolution for the new year, but all joking aside for thousands of years wine has been known for its health benefits for those who consume in moderation. Moderate alcohol consumption, generally defined as less than five ounces daily for women and ten for men, has been linked to a number of health benefits because of several key compounds found in grapes and other fruits used to make wine.

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Foremost of the healthful compounds is resveratrol. This naturallyoccurring phenol is still largely under exploration for its restorative properties. But it is largely speculated that resveratrol interacts with the body’s systems to help decrease estrogen levels while increasing testosterone. This change in hormones can prove beneficial for premenopausal women because it lowers the risk of developing breast cancer. Resveratrol is also thought to interact with the body in a way that helps prevent aging. It is even thought that there is a genetic component, with resveratrol having an effect on one of our genes called SIRT 1, causing the anti-aging effects.

Alcohol itself, when consumed in moderation, also acts as a blood thinner. Combined with the effect that resveratrol has on blood platelets (it makes them less ‘sticky’), this thinning effect can be helpful in encouraging good circulation in the blood stream and works to reduce high blood pressure. A reduction in high blood pressure and overall improved circulation can also help to combat heart disease and stroke.

Alcohol can also act as an antiseptic, which means that it can combat bacterial decay in the mouth by degrading the biofilm that occurs as a result of the bacteria.

All of these positive effects can be realized from both white and red wines. Overall, the concentrations of compounds is typically higher in reds than whites, but both being made from a similar fruit, all wines have trace amounts present.

Some fruit wines even have many of the healthful benefits of grape wines, such as the Midnight Blueberry Wine from Staehly Farm Winery in East Haddam. Both blueberries and grapes, as well as cranberries, currants, and other deeplycolored fruits tend to have high concentrations of resveratrol and antioxidants. And Midnight Blueberry, being an off-dry wine, does not have as much residual sugar as some other reds and whites. This helps to keep the caloric content low as well.

The health benefits of wine are still not widely understood in their entirety but two things are for sure: Thousands of years of human experience can’t be wrong and a healthy excuse to have a glass of wine is always welcome!

Staehly Farm Winery is open May through October STAEHlY Farm & Winery 278 Town Street, East Haddam, CT 06423 Monday-Thursday 10am to 5pm, Friday 10am to 6pm, Saturday 9am to 6pm, Sunday 10am to 5pm www.staehlys.com

JANUARY EVENTS

78 January 1 - Mid January Courtyard Gallery, Mystic's Hidden Treasure. "Art for your Heart and Home", the Courtyard's annual winter and holiday show continues through mid January. The Courtyard offers the most diverse collection of original contemporary fine art in the region, something to complement every home and art collection. Art for our Heart and Home" features works of all sizes and price ranges, with many smaller pieces perfect for upcoming holiday gifts. Throughout the month the Courtyard's Sunday Salons continue weekly from 3-6 PM, share wine, refreshments, and your passion for art with artists, friends and collectors, a wonderful way to spend a Sunday afternoon. . 12 Water Street B3 - Mystic, CT 06355 - 860.536.5059 courtyardgallerymystic.com January 4-29 Westerly ACGOW Presents “Evolving”Expression and Experimentation Featuring Nancy Gardner and ACGOW’s 3D Artists And Techniques in Framing: Talk/Demonstration on Jan. 29th. Beneath the frozen earth, a gestating world filled with life slowly prepares for spring’s lush birth. Artists, not unlike our mysterious planet, are constantly finding ways to renew and grow. Continually challenging themselves to leave their comfort zone, they must embrace the uncharted world of risk in order to evolve. In January, the Artists’ Cooperative Gallery of Westerly (ACGOW) will feature works of Nancy Gardner, watercolorist, and its 3D artist members in the show, “Evolving”-Expression and Experimentation. All are invited to attend the opening reception on Friday, January 6, 5-8PM. Also on January 29th at 2 PM, ACGOW will present an afternoon talk on the ins and outs of framing artwork. lido Mochetti of Classic Framers, and ACGOW artist laurie Gavitt, will lead the discussion and demonstration covering the various techniques for framing different types of artwork. Coffee and cookies from Wakin' up Waggin' will be available for all to enjoy. The event is free and open to the public. “Evolving”-Expression and Experimentation runs January 4th to January 29. The Artists’ Cooperative Gallery of Westerly is located at 7 Canal Street in downtown Westerly, RI. The Gallery is open Wednesday through Saturday 11AM to 7PM and Sunday, 1-5PM. Please call 401-596-2221 or visit www.westerlyarts.com or our Face Book page for information about the show, ACGOW and its artists. Artists’ Cooperative Gallery, 7 Canal Street, Westerly, RI 02891 January 5-29 New Haven Kaleidoscope, 2017, City Gallery.

Featuring four artists and four different worlds. New work by Judy Atlas, Meg Bloom, Phyllis Crowley, and Nancy Eisenfeld, featuring painting, photography and sculpture. Opening reception on January 7, from 2 p.m.-5 p.m. (snow date: January 8), Artists Talk on January 29, from 2 p.m.-4 p.m. 994 State St. (203) 782-2489 New Haven, CT 06511 www.city-gallery.org info@city-gallery.org

January 6 - 22 Chester A wine and dessert opening party for an exhibit at Maple and Main Gallery devoted to paintings of Chester will be Friday, Jan. 6 from 6 to 8 p.m. A portion of all the sales will be given to Chester’s Emergency Fuel Fund, which is dependent on donations and which helps cover heating costs for residents who can’t meet their fuel bills. The show, depicting paintings of the downtown as well as creeks, barns, the riverfront and houses, will be in the Stone Gallery through Jan. 22. The opening party on Jan. 6 also celebrates the First Friday of the new year. Galleries, shops and restaurants mark the Frist Friday of each month by staying open until 8 p.m. and offering special events and treats. The Chester Show opens Wednesday, Jan 4 and closes Sunday, Jan. 22. Maple and Main Gallery, at One Maple Street, is open Wednesday and Thursday from noon to 6 p.m., Friday and Saturday, 11 a.m. to 7 p.m. and Sunday, 11 a.m. to 6 p.m. mapleandmaingallery.com; 860-526-6065; visit the gallery on facebook and InJanuary 12 –March 17 “Various Viewpoints” at the Valentine H. Zahn Community Gallery at Middlesex Hospital Shoreline Medical Center. The exhibition features works by members of the Marshview Artists, who paint at the Estuary Council of Seniors in Old Saybrook. Meet the artists at a reception on Thursday, January 19 from 6 – 8 p.m. The Gallery is open during regular business hours and is located at 250 Flat Rock Place, Westbrook, CT. For more information, contact Middlesex Hospital at 860-358-6200 or info@midhosp.org.

January 15 Chester Please join for a special Concert in the garden with with D.B. Rielly an awardwinning singer/songwriter and multi-instrumentalist who, along with his band, performs a wide-ranging collection of Americana music, including Roots, Zydeco, Blues, and Alt-Country. DB will be recording the show live for his new album.

Come be part of recording history! The concert is on Sunday, January 15th from 4pm-6pm at 1 Spring St in Chester Center.. Check out his videos, they are amazing! www.dbrielly.com $20 donation - BYOB - Sorry, no pets allowed. For more information call 860-526-2077 or log onto www.nilssonstudio.com/events/concerts_in_the_garden/index.html