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NON-PROFITS

ECOART

VINYL EXPRESSION

Terrie Temkin on Starting a Private Foundation

Buddha Green Roots The art of Luis Valenzuela

The Art of the Album Cover Alex Steinweiss & Mati Klarwein

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Review of

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Bob Dylan

Highway 61 Revisited....................... 9 The ECOART Bodhisattva............ 13

my Revolutions

by Hari Kunzru................................ 17 Review of

Editors Choice -

. ................................................. 18

Terrie on Non-Profits

Starting a Private Foundation.......... 20

The Ferrofluid Sculptures of Sachiko Kodama................... 22 The Art of

Album Covers............ 24

Black Market Art ................. 37 Redefining the Nature

of “Art Making”.................. 41 The Flavor of Visual Pleasure

Sake’s Paraphernalia...................... 46

G is for Gallery............................... 51

M is for Museum............................ 56 T is for Theatre.............................. 60 Northern Indian Cuisine. .................. 62

Publisher

Troy Publishing Inc. Editor-in-chief

Jennifer Jolly Managing Editor

David DeRusso Copy Editor

Sean Lablanche Office Manager

Kerry Laking Office Assistant

Salina Delano Production & GRAPHIC DESIGN

Roch Nakajima & Felipe Osorio ROCK Group LLC

Advertising, Visual Branding & Communication

www.myrockgroup.com

Contributing Writers

Bob Goldwater, Emily Watson, Mack Derouac, Terrie Temkin, PhD, David DeRusso, Huey De Haute Rive, Robin Oppenheimer, Francoise Donoyer, Dr. Alan Orniah, MD Media Consultants

Jeff Malin, Jennifer Jolly, Chris Chambers and Jeremy Abel For advertising rates and other information please call (954) 309-0975 Advisory Board

Keith Jolly, Jim Simpson, Steve Weil, Diana Mooney, Robyn Pearlman, Ken Henson, Jeff Malin and Stuart Macnamara Ph.D. Subscription Information

Domestic subscriptions to Symposium Magazine can be purchased for $75 annually. To receive a subscription to Symposium Magazine please send checks or money orders payable to Troy Publishing Inc/Symposium Magazine, PO Box 370685, Miami, FL 33137-0685, USA Disclaimer

Symposium Magazine assumes no responsibility for the care and/or return of unsolicited materials. Return postage must accompany any material to be returned.

In no event shall unsolicited materials subject this publication to any claim for a holding fee or similar charges. The views and opinions of columnists and letters to the editor do not necessarily reflect those of the publisher and staff of Symposium Magazine.

Symposium Magazine reserves the right to edit copy for clarity and space. The entire contents of Symposium Magazine are Copyright 2008 by Troy Publishing, Inc. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the express written permission of the publisher.

Symposium Magazine is published twelve times a year

by Troy Publishing, Inc. All Rights Reserved.

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Editor’s Letter

The time has come to be taken over by a succession of repetitive beats. Miami’s Winter Music Conference is underway. Founded in 1985 as a convention for the “dance” music industry, the Winter Music Conference is the music world’s version of Miami Art Basel, an annual week-long party thinly disguised as a venue for networking amongst professionals in the field. Symposium Magazine is taking this opportunity to explore the connection between music and the visual arts.

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In our cover story, “The Art of the Album Cover,” we pay homage to Alex Steinweiss, the original creator of album cover art, and Mati Klarwein, perhaps the most influential artist of the genre. In an article on ferrofluid sculpture, we look at an enigmatic art form that utilizes digital music metadata to control the synchronization of dynamic sculptures composed out of fluid materials. We have once again included two book reviews. In one of them, we appraise Legendary Sessions: Bob Dylan Highway 61 Revisited by Colin Irwin, a journalistic account of the creative process that led to Bob Dylan’s first non-acoustic album. Also, in this issue, you will see that we have added museum and theater lists, a detailed directory of all of South Florida’s best cultural venues and events.

It’s another journey through the world of arts and culture in South Florida. Symposium Magazine will be your guide. Thank you for joining us.

Jennifer T. Jolly

Editor-in-Chief

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Review of

Bob Dylan

By Bob Goldwater

Highway 61 Revisited In the summer of 1965, a shifting group of session musicians were assembled at Columbia’s Studio A in New York to put together Bob Dylan’s sixth studio album, Highway 61 Revisited.

It was a momentous musical achievement, the initiation of Dylan’s tumultuous ascent to pop stardom and the shedding of Dylan’s folk music roots. These unique recording sessions were an experimental approach to American Blues that had an unprecedented influence over succeeding musical genres. In Legendary Sessions: Bob Dylan Highway 61 Revisited, author Colin Irwin enlists eyewitness accounts and contemporary commentary to examine the album’s creative process and cultural impact.

Earlier that year, the release of Dylan’s fifth album, Bringing it All Back Home, had been widely criticized by his peers in the folk music establishment. From his humble beatnik beginnings in the coffee houses of Greenwhich Village, sociopolitical lyrics, an acoustic sound and a gritty voice had characterized Dylan’s emblematic contribution to the American folk music revival taking place at the time. His inexplicable decision to experiment with an electric rock band elicited a combination of concern and contentious criticism from those who felt he had abandoned folk music’s source of soulful insight.

Dylan premiered his “plugged-in” performance at the Newport Folk Festival in July 1965 – one month after he had begun recording Highway 61 Revisited in New York.

The night before he was scheduled to perform, Dylan, without warning or hesitation, decided he wasn’t going to play in his traditional acoustic style. Accompanied by the Paul Butterfield Blues Band, Dylan took the stage on Sunday night – the last performer to take the stage and by far the most highly anticipated. But before the band had completed half of the first song (“Maggie’s Farm”) sporadic sounds of booing could be heard coming from the crowd. Their short set included “It Takes a Lot to Laugh, It Takes a Train to Cry” and “Like a Rolling Stone”

(both released on Highway 61 Revisited) but after only a few songs Dylan and the band walked off the stage. Dylan did not return to the Newport Festival again until 2002.

In the midst of the backlash following his electric performance at the 1965 Newport Folk Festival, Dylan put on a pair of dark sunglasses and a solemn suit, returned to Columbia’s New York studio, sat down before a piano and set out to create the epoch symbol of defiance that was Highway 61 Revisited. He was rebelling against the rebels, defying the deifiers and laughing in the face of anyone who asked him why. On August 4, 1965, the final recording session for Highway 61 Revisited took place at Studio A and music history had been made.

Colin Irwin’s Legendary Sessions: Bob Dylan Highway 61 Revisited is a stunning journalistic relation of the events leading up to the recording sessions and the influence they had on Dylan’s music. With 25 years of experience writing about music, Irwin embodies an uncanny capacity for capturing the excitement of artistic invention. His comprehensive illustration of the creative process provides the reader with a window into world-changing times. The reader not only relives the Dylan experience, but relives a reflection of society in a time gone by. The details of the sessions, the musicians involved, the developments of the songs and the controversy surrounding Dylan’s new sound are revisited in vivid detail. 03

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The EcoART

By Emily Watson

Bodhisattva At Luis Valenzuela’s Independent Visual Art Gallery in Miami 12 of the 33 paintings that comprise his latest collection, Buddha GREEN Roots, hang from the blank white walls amid a calm, tranquil setting. A member of the Ecological Art Movement, Valenzuela’s work uses bio-remedial techniques to highlight environmental issues. In his latest exhibition, he communicates the spirit of the eco-art movement with portrayals of Buddhism founder SiddhArtha Gautama (Buddha). “The meaning of the exhibition is the balance between humans and nature,” says Valenzuela. “For me, Buddha is the main figure to talk about that.”

Buddha was notoriously reluctant to have his likeness portrayed as an iconography. For centuries after his death, the practitioners of Buddhism continued to use symbols like the Wheel of Life and the Bodhi Tree to relate spiritual principles. But during the First Century of the Common Era, images of Buddha began to emerge in northern India.

Originally created as a means of spreading Buddha’s message, the images were largely an illustration of Buddhist teachings and not necessarily an accurate representation of Buddha’s physical characteristics.

The crowned and bejeweled depiction of Buddha utilized by Valenzuela represents a deviation from the traditional interpretation in which the Buddha, in human form, was invariably without any ornaments and jewelry. But the version employed by Valenzuela has greater thematic thrust and is more expressive. The unique composure of a calm oval face combines with an anthropomorphic embellishment of the figure’s physical features to remind viewers that there is more to these paintings than the portrait of any one individual. It’s a reflection of the “ecological movement,” says

Valenzuela, in which “many great artists are working to save the planet.”

Within the black and white aesthetic of Valenzuela’s design is an unexplained collection of marks and lettering. Some of the paintings, such as “Number 2,” contain prominent red symbols, combined to form the basic message of a rudimentary dialect.

Others incorporate a mysterious, ancientlooking writing. According to Valenzuela, it has no meaning. Its presence merely references the concept of an archaic etymology. “Some people connect something with the image and the writing,” says Valenzuela. “They feel that it is something old.”

Valenzuela produced his first painting at the age of three, having always maintained a commitment to organic techniques. “It’s always been a big part of my life,” says Valenzuela. “In Latin America – I’m from Venezuela – we use everything organic. The way I work with the canvas is totally green.

I don’t use any chemicals. Everything is from organic and ecological material.” For the past three years, the Independent Visual Art Gallery has housed works inspired by Valenzuela’s idealistic aspirations. “I have

witnessed the many changes within humanity and our planet. It was through my spiritual evolution and love of all natural things, that the Green Art Boutique was born.”

According to Valenzuela, the Green Art Boutique – a source for recycled accessories located in the back of the gallery – is the first of its kind in Miami. Valenzuela explains the process of assembling the shoes and the jewelry from recycled material, points out the t-shirts that contain the likeness of Buddha and identifies the stationary samples lining the back wall. None of it gives the impression of being poorly constructed or threadbare.

Much of it could just as easily be on display in the Midtown Miami marketplace half a mile down the road.

“I have devoted my entire life to creating art,” says Valenzuela. “Through my contemporary creations, one can appreciate the work of lights and shadows and the chromatic value of my images – two aspects that blend to create a very serene, spiritual atmosphere.”

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M REVIEW OF

My Revolutions

By Hari Kunzru

By Mack Derouac

Michael Frame is a quiet, unexceptional family man in suburban England. He works in an antiquarian bookstore and plays with his cat during the lengthy interludes between customers. He lives with Miranda Martin, a “thrusting entrepreneur of the type celebrated in the glossy magazines,” with whom he has raised an adopted daughter, Sam. There is truly nothing remarkable about Michael Frame, except that he is not really Michael Frame. It’s a life that did not exist until the early 1970s when militant radical Chris Carver took the name off a tombstone. For nearly twenty years, he has been in hiding. But when the ghosts of his past begin to emerge he is forced to remember the person he once was and face the person he now is.

British writer Hari Kunzru’s third novel, “My Revolutions,” begins in 1998 during a holiday in the South of France. Michael Frame and Miranda Martin are having refreshments in a village. He sees Anna Addison, a former lover and comradein-arms who was supposedly killed thirty years ago while taking over the West German Embassy in Copenhagen. She is walking up a nearby hill and suddenly vanishes. After the couple returns to England the past continues to intrude on the counterfeit life of Michael Frame. Miles Bridgeman, a mysterious figure he met in a jail cell back in the sixties, appears on a street corner and wants a favor in exchange for keeping the whereabouts of Chris Carver concealed. Michael Frame’s identity is now crumbling from inside and out as the story of his past is told through carefully woven flashbacks.

This group of utopians makes the transition to terrorists when they decide to mount a spectacle of bombings, driven by the suspicion that “nothing takes place…unless it’s electronically witnessed.”

After a series of increasingly unnoticed bombings, several radicals, including Anna, form an alliance with a Marxist-Leninist Palestinian organization.

Anna disappears into the terrorist underground, surfacing for the last time in the attack on the West German Embassy. Chris disappears into the anonymity of being Michael Frame, convinced that liberation may not be found in the political realm. “You can’t hate the world’s imperfection so fiercely, so absolutely, without getting drawn toward death,” Chris tells Anna. “We’re damaged people,” Anna tells Chris. “There would be no place for us in the world we’re trying to build.”

In the sixties, Chris Carver encounters Anna Addison while rallying against “atomized workers.”

The couple forms a romantic bond of revolutionary sternness. Carver joins Anna’s loose collective of radicals squatting in a poor London neighborhood.

They steal food from the supermarket and deliver it to the community, occupy and empty flats on behalf of the poor and argue over rhetoric, unsure of whether they are protesting for the people or the peers. When the new world does not arrive they feel as if they are “shouting into a vacuum.”

In this portrayal of a failed sixties radical the inward struggle between idealism and pragmatism is personified by the dueling personas of Michael Frame and Chris Carver. Kunzru, born in 1969, gives an amazingly convincing account of a period he never witnessed. He explores the merits of misguided radicalism with a sympathetic appreciation for the ways in which people become consumed by their own belief systems. In this novel, the optimism of activism inevitably deteriorates into a dogma of intolerant determination. 03

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Editor’s Choice

THE FACES OF

SABHAN ADAM

A self-proclaimed “prophet”, Sabhan Adam took to art and poetry at a young age. Claiming to have been born with the gift of second sight, Adams’ uses his art to relay some deeper purpose, one that has nothing to do with the art it’s self. He is a difficult, reclusive and often just bizarre man. Don’t get me wrong the insane ramblings of a self centered, egomaniacal artist usually well exceeds the threshold that is my patience. In the case of Sabhan Adam however, I don’t think its ego, I think he really believes it.

“My name is Sabhan Adam, I come from Hassakeh, close to Iraq and turkey, and I love my neighbor”. “My Childhood memories are obscure to me; that time of my life looks like me. During the first five years of my life. It was weird. You have to rack your brains to understand language, relationships between men and women, old and young people. Black and night ruled my childhood”. (Excerpt from the transcribed conversation between Sabhan Adam and Diala Jumail for his monogram, self published as a gift to returning collectors)

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Adam’s work was first recognized - and sold - when he was 17. He shot to prominence with his crude, archaic-like artworks and five years later had his first major exhibition at the Goethe Institute in Damascus. Subsequent showings were at various exhibitions in Beirut, Dijon, Amman, Dubai, Nice, Barcelona, New York and Paris.

Adam’s paintings are almost humanized by figures with hideous, deformed, grotesque forms, giving a morbidly jarring impression. ‘My subjects are born out of imagination but they have a basis in reality,’ he points out. That basis, he says, springs from Adam and Eve and their fall from grace after eating the apple. “Adam and Eve fell from their state of purity and innocence and acquired dark emotions and longings. Since then, humanity’s tale has been filled with mistakes, and my paintings are the expression of this dark side of human beings.”

On a lighter note, he keeps speaking of the images in his mind: “I remember my parent’s house; I have this image of an ant pushing soft soil up. I was watching cartoons, playing the dices. A child knows how to play with his own spirit.”

He stops for a while, looks at the sea and tells me: “When I was eight or nine, I had to go to school, I followed the others. I wanted to be a dustman: what was the point of learning? I understood the only thing that mattered for me was the Arabic language. It was the opening of my understanding of the world”.

To bring out his themes, Adam predominantly uses red and black, the colors of passion and anger, and metallic gold and silver, the colors and textures of warmth, prosperity, and human contradictions; his subjects are universal and so is his style.

Sabhan Adam’s paintings are haunting contemporary commentaries on the universal insecurities of mankind. Like TS Elliot’s The Wasteland or Joseph Conrad’s Heart of Darkness, Adam wrestles with the fear and isolation that limits man’s capacity for compassion and connectivity. In October 2007 several of his paintings reached the auction houses in Europe and the Middle East.

Such venues as Artcurial Paris, Sotheby’s London, and Christie’s Dubai, sold his pieces well beyond their estimated values. Though not my first choice for the “newby” collector; Adam’s expressive characters clearly resonate with the experienced ones. 03

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Terrie on Nonprofits

Starting a Private

Foundation

Special Issue for Symposium Magazine Q: Life has been good to me and I would like to give something back. My wealth managers have suggested I start a foundation. They have said that they can put it together for me. But, I’ve gotten to where I am in life by striving to understand whatever I go into before I go into it. Can you share the basics?

A: It seems like everyone but everyone is starting a foundation. For some it proves an excellent choice while for others, a burden. To help you determine if this is the right step for you I will share some of the pros and cons, some of your options and some of the steps you will have to take if you decide to move forward.

Most people start a private foundation for one of two reasons. They see a means of saving some of the their hard-earned dollars by utilizing a proven and legal way to eliminate capital gains tax on donated property and get a charitable deduction.

Or, they wish to make a meaningful impact in an arena that holds deep personal significance.

Michael Milken’s Prostate Foundation is a good example of the latter. Milken, told he had a terminal case of prostate cancer, decided to use his fortune to mobilize some of the world’s best medical and scientific minds to find answers to this rampant and potentially deadly disease.

Clearly, the psychic benefits of knowing that you are helping to change the world and the tax benefits are two strong pros. There are others.

In today’s world of venture philanthropy, the ability to control how one’s money is spent in tackling an issue of personal importance is attractive. The ability to reasonably compensate one’s self or family members for the time and effort put into managing one’s giving is nice. So is the community recognition that often comes with a private foundation. For many, the most important benefit is having a vehicle to teach the next generation the value of philanthropy.

There are some negatives to consider however.

There are costs to setting up a private foundation.

These include the time and energy to comply with all the reporting requirements and the money if you should miss them. The government tells you how much you must distribute annually

(a minimum of 5% of net investment assets), it charges you an excise tax of 1 – 2% on net income each year (dependent on your level of grantmaking), and it limits how much you or anyone else can deduct for making gifts to the foundation to a level significantly below what could be deducted for making the same donation to a public charity. Further, while making grants from the foundation to public charities is simple, making them to other entities or individuals can be very difficult if not impossible. There are prohibitions on all self-dealing other than the reasonable compensation for managing the foundation noted above. There are also prohibitions on certain types of investments, owning significant percentages of businesses through the foundation and on lobbying. For some, the biggest negative is that the foundation’s business is subject to public scrutiny. Its income and administrative costs, including top salaries, must be made available to anyone who asks and is readily available on the Internet.

Therefore, the first step in starting a foundation is to actually do some soul-searching. Is this the best way to achieve your goals? Two other options are to put your money in a donor-advised fund – readily available through Community Foundations, a number of brokerage houses and some organizations like Jewish Community Foundations – or to give it as a restricted gift to one or more bona-fide nonprofits working toward a similar mission, whereby you maintain some control over how the money will be used.

If you decide to move forward with establishing a private foundation, be strategic. Before rushing to file for private foundation status with the IRS, carefully consider your mission, your vision and your organizational values. Pull together a board that has the skills and desire to help you

accomplish these. Avoid the common trap of merely choosing a minimum number of family members or friends for expediency or control sake. The latter is more effective in the short term but will hold you back in the long run.

Your state will dictate the minimum number of board members required. In most states it is three. While you will probably benefit from more than that, don’t worry about building a full contingent immediately. Focus on finding the right people.

Rely on your new board members to help you write the bylaws that must accompany your filing for foundation status. Don’t let anyone convince you to accept a set of off-the-shelf corporate bylaws. Your bylaws dictate how the foundation is to be run and most corporate bylaws are irrelevant or restrictive in ways that could thwart what you want to accomplish.

See if the board can look at several examples of bylaws from other foundations and use those as the basis for its own thinking.

Reserve your corporate name and file for corporate status within the state of your choice, which is usually your state of residence, but may not be for one reason or another. This will require submitting Articles of Incorporation. The Articles identify your purpose or mission, name your original directors, specify any membership provisions, and indicate the exempt purposes to which the organization’s assets will be dedicated.

Once your corporate status comes through, you can file for your tax identification number.

You must also complete IRS Form 1023, requesting designation as a 501c3 or nonprofit organization. The form gets sent to the IRS with a packet of required documentation, including your purpose statement, your Articles of Incorporation, your bylaws, your board list,

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and the filing fee. You can complete and submit Form 1023 on your own, though it is long and complex. An excellent book that takes you through the process is Anthony Mancuso’s How to Form a Nonprofit Corporation in All 50 States, which is updated regularly. But, you probably will find it worth the expense to get help from an attorney, CPA or consulting firm that has a successful track-record of leading nonprofit startups through the filing process.

Once you have received your determination letter from the IRS you can register with the state as a bona-fide nonprofit and apply for state sales tax exemptions where they apply. In some states such as Florida, the paperwork is minimal and the process fairly automatic once you have been granted the coveted 501c3 status.

and following up with grantees to ensure that they are accountable and meeting your expectations.

If you will be accepting gifts from other sources besides your own pocket you will need to set gift acceptance policies to protect the foundation and ensure consistency in gift acceptance, particularly of non-cash gifts. You will need to develop financial procedures that will allow you to track the money coming into the foundation and going back out, as well as put together record keeping systems that meet the foundation’s needs as well as the government’s requirements. Finally, you’ll need to establish compliance systems whereby you never miss filing a 990PF – the foundation’s tax return – payroll taxes and so on. The penalties for doing so are stiff.

Unless you have a lot of experience in each of these areas, you may want to get competent outside help here, too, to lead you through the process.

At this point the real work begins. You need to determine the criteria you’ll use for granting funds

Starting a foundation – at least a foundation that is designed to make a difference – is not for the faint

of heart. But, it is something that pays off in ways that little else does or can. Bravo for your desire to consider doing the job and doing it right.

Terrie Temkin, Ph.D. has been answering questions about the nonprofit sector for 13 years, first as a columnist in the Miami Herald and now for Community Foundation publications, nonprofit professionals and philanthropists around the world.

She is a founding principal of CoreStrategies for Nonprofits, Inc., an international boutique consulting firm that integrates board development, governance, all aspects of fund development, public relations, marketing and public policy in order to build the capacity of family foundations and nonprofits. She may be reached at 888-458-4351 Ext. 3 or TerrieTemkin@CoreStrategies4Nonprofits. com. 03

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The Ferrofluid Sculptures

of

Sachiko

By Emily Watson

Kodama The term liquid architecture is used often in interactive architecture, based on the ideas of how architecture becomes animated by adding the fourth dimension of time. Sachiko Kodama has taken this

idea of liquid architecture more literally with these stunning sculptures made from ferrofluid, which

changes its state by the introduction of electro-magnetic waves into the fluid, turning it solid.

Kodama’s “Morpho Towers – Two Standing Spirals” is an installation that consists of two ferrofluid sculptures that moves synthetically to music. The two spiral towers stand on a large plate that holds ferrofluid. When the music starts, the magnetic field around the tower is strengthened. Spikes of ferrofluid are born from the bottom plate and move up, trembling and rotating around the edge of the iron spiral.

The body of the tower was made by a new technique called “ferrofluid sculpture” that enables artists to create dynamic sculptures with fluid materials. This technique uses one electromagnet, and its iron core is extended and sculpted. The ferrofluid covers the sculpted surface of a three-dimensional iron shape that was made on an electronic NC lathe. The movement of the spikes in the fluid is controlled dynamically on the surface by adjusting the power of the electromagnet.

The shape of the iron body is designed as helical so that the fluid can move to the top of the helical tower when the magnetic field is strong enough.

The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears to be a simple spiral shape. But when the magnetic field around the tower is strengthened, spikes of ferrofluid are born; at the same time, the tower’s surface dynamically morphs into a variety of textures ranging from soft fluid to minute moss, or to spiky shark’s teeth, or again to a hard iron surface. The ferrofluid, with its smooth, black surface that seems to draw people in, reaches the top of the tower, spreading like a fractal, defying gravity.

The spikes of ferrofluid are made to rotate around the edge of the spiral cone, becoming large or small depending on the strength of the magnetic field. “In this work, we are trying to activate analogue physical phenomena precisely by utilizing digital music metadata,” says Kodama. “To control the synchronization of the ferrofluid with the music playback in real time, time series metadata are added to the music beforehand. The metadata consist of musical information, such as beat position, chord

progression, and melody block information, and ferrofluid control information such as DC bias voltage and AC pattern. Each data record has a time stamp that indicates the timing of presentation.”

As there are two towers in the installation, complicated expressions of surfaces become possible. Each tower’s surface pulsates, like one creature calling to the other. Fluid moves synthetically with the music, as if it breathes, and the condition of the fluid’s surface emerges as autonomous and complex. “In this art we want to harmonize several opposing properties,” says Kodama. “This work emerges as an autonomous transformation of the material itself: sometimes it seems like a horn, sometimes a fir tree, and sometimes even like the Tower of Babel.” 03

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V O

by David De Russo

Album cover art combines visual aesthetics with acoustic themes in an innovative renegotiation of the art object. The ongoing evolution of audio technologies – from the LP to the CD to the mp3 – has nearly eliminated this approach to creative expression. But the demand for original vinyl productions continues, generating a popular phenomenon that has propelled album cover art to a distinguished state of cultural significance.

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Columbia Records art director Alex Steinweiss and painter Abdul Mati Klarwein epitomize a genre that transcends the auditory to the visionary. The concept originated with Steinweiss in the 1930s – a tentative era in recorded sound prior to the long-playing (LP) record. It then evolved to become a necessary product of the music industry and consequently lost some of its artistic elements. But, in the 1960s, artists like Klarwein revived the genre with vividly surreal designs that reflected the era’s spirit of sociopolitical rebellion. Steinweiss represents the industrial innovation of album cover art, its ability to enlist illustration within the marketplace. Klarwein represents its capacity to act as its own art form – an art form of interpretation, distinguished by its intermingled association with the medium of music.

Steinweiss became the king of the album cover art genre in the thirties and forties by creating iconic imagery for musical luminaries like Louis Armstrong, Duke Ellington, Igor Stravinsky, Benny Goodman and Bing Crosby.

“It’s amazing to discover this one man, who is virtually unknown in the mainstream art world, is responsible for creating the album cover as well as a vast body of work,” says Greg Escalante, curator of Juxtapoz and co-founder of Copro-Nason Gallery. “He has had such a huge impact on our culture and his importance cannot be over estimated.

Steinweiss should be a household name.”

In 1939, Robert Lincoln Leslie – an entrepreneurial innovator of the graphic arts who inspired generations of designers – recommended the 23-year-old Steinweiss, who had previously spent three years working as an assistant to Viennese poster maker Joseph Binder, for the position of art director at Columbia Records. But his responsibilities revolved around designing Columbia’s advertising materials.

The 78 rpm shellac records being sold at the time were packaged in thick, colorless paste-board and displayed on the shelves of General Electric appliance stores with only the artist’s name and the record title stamped on the front and spine.

“They were so drab, so unattractive. I convinced the executives to let me design a few,” says Steinweiss. Inspired by the typography, drawing and calligraphy of European poster designs, Steinweiss envisioned a cover capable of exemplifying the music inside. “I tried to get into the subject either through the music, or the life and times of the composer,” says Steinweiss. “Just plain design didn’t mean a damn thing. You had to know music. I had to find a way to bring out the beauty of the music and the story.”

Columbia’s collection of Rodgers & Hart was Steinweiss’s first album cover, on which he featured a theater marquee with the title appearing in lights. It was simple but it was unique. It was the beginning of something remarkable and unprecedented. Steinweiss designed a cover for Beethoven’s “Eroica” symphony and Newsweek reported that sales of the symphony “increased 895% with its new Steinweiss cover.”

Eventually the curlicue “Steinweiss scrawl” replaced the black block lettering font in a symbolically subversive reaction to the artist’s radical reinterpretation of music and art. For nearly a decade, he designed all the covers for

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Columbia, establishing what would become the graphic “language” of album design. And after Steinweiss was no longer the sole designer for Columbia, he began designing for other companies like Remington, Decca and London Records.

The Robert Berman Gallery in Southern California recently exhibited Steinweiss’s album covers, paintings and collages in a tribute to forty years of artwork that spawned an entire new field of illustration and design.

One hundred of his original cover designs were arranged along the bare white walls in orderly rows of ten by four, each distinguished by its own graphic imagery.

“To me he is an American graphic design hero. This is the man who created the way we view music packaging – it began a whole new art form that is still appreciated today,” says three time Grammy award winning art director and curator of the exhibit Kevin Reagan.

The decade of the 1950s gave birth to Rock and Roll.

Recorded music could be heard in every living room across America as never before and album cover art became less of an artistic elucidation and more of a commercial strategy. Photography replaced drawing as the preferred artistic method. It was cheaper, faster and it allowed record labels to rely more heavily on an artist’s image and less on their musical abilities. “In the ‘50s, it was father knows best, the kids scrubbed clean and lots of black artists substituted by white teenagers because of racial policies,” says vinyl aficionado Gary Freidberg of San Luis Obispo, co-founder of rockartpictureshow. com.

Bubblegum rock lost its flavor in the 1960s, however.

The U.S. invaded Vietnam, the Beatles invaded America and slick-haired crooners were replaced by artists who appreciated the market value of their music. Approval clauses began to appear in recording contracts, transferring authority over album cover designs from record executives to musicians. Peter Blake and Jann Hawarth designed the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band, Martin Sharp collaged colorfully botanical forms on the cover of Cream’s Disraeli Gears and cartoonist Robert Crumb illustrated Cheap Thrills for Big Brother and the Holding Company. “Artists were pushing the envelope creatively and relating directly to people’s lives,” says Freidberg.

In the 1960s, a style of art began to come out that reflected the era’s psychedelic social elements, earning it the name “psychedelic art.” “It was more the spirit of the times,” says Mati Klarwein. “I think it all goes together.

I painted psychedelically before I took psychedelics.

When Tim Leary first saw my work he said, ‘You don’t need psychedelics.’ And that was before I took them.”

Abdul Mati Klarwein was the quintessential artist of the 1960s – eccentric, nomadic, and exceedingly brilliant.

Friend and writer Glenn O’Brien describes him as “the Jewish Muslim Sufi Christian who was as close to Buddha as anyone I’ve ever met.”

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From the time he was two – the age his parents fled Nazi Germany to seek refuge in Israel (then Palestine) – Klarwein traveled from one far-off corner of the world to another. “I grew up in three different cultures, the Jewish, Islamic and the Christian,” says Klarwein. “These circumstances and my family’s stern resistance against being part of any kind of orthodoxy have made me the outsider I am today and always have been. That is also why I took the name Abdul. If everybody in the MiddleEast would call themselves Abdul, it would ensure a reconciliation that would end the antagonism and the wars in that part of the world.”

In the early sixties, Klarwein was painting in Paris, where his studio on Place Dauphine became the place for allnight jam sessions with Ornette Coleman and Ravi Shankar. In the summer of 1961, he was painting his diptych, Landscape Perceived, Landscape Described, on the Spanish island of Majorca in the Mediterranean Sea. He came to New York City for the first time shortly afterwards, where his artistic genius and entertaining persona earned him admiration from the era’s quintessential cast of pop-culture characters.

“What a time that turned out to be,” says Klarwein apprentice Robert Venosa. “That loft was the energy center in New York, and I reveled in it.” Klarwein was himself a musician and music played a role in inspiring his painting.

“I don’t know how but it does,” says Klarwein. “I mean, I can’t live without it. I listen to music all the time while I paint.” Musicians like Jimi Hendrix and Miles Davis were often seen hanging around Klarwein’s place on 17th street and much of Klarwein’s album cover art came about as a result of these social interactions. “I hooked up with Miles the way I hooked up with everything else in life: through the women I’ve known, be they friends or lovers, they are all mothers with excellent taste.”

Three of Klarwein’s paintings were eventually used for Miles Davis’s album covers. The first, and perhaps most notorious, is Bitches Brew. Recorded over the course of three days in August 1969 and released in 1970, Bitches Brew abandoned traditional jazz rhythms in favor of long, largely-improvised tracks. It was an album some hailed and others condemned. It became, in the words of one critic, “a line in the sand that some jazz fans have never crossed.” And Klarwein’s cover art creation was an emblematic representation of this concept – a daring depiction of something unseen and perhaps never imagined. Davis and Klarwein both contributed something they had never witnessed but wanted to.

Shortly after the release of Bitches Brew, Miles Davis began working on its successor, Live-Evil, for which Klarwein’s work was once again used. Rolling Stone called the album, “what Miles had in mind when he first got into electric music and freer structures and rock rhythms.”

For the cover art, Klarwein contributed a powerful image of life and vitality – a pregnant black woman, adorned in red African garments, standing in a posture of pride amid a vigorous environment of animated elements.

This image – like the cover art for Bitches Brew – was Klarwein’s own conception, but for the back cover Miles wanted something special. “I was doing the picture of the pregnant woman for the cover and the day I finished,

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Miles called me up and said, ‘I want a picture of life on one side and evil on the other,’ And all he mentioned was a toad.

Then next to me was a copy of Time Magazine which had J. Edgar Hoover on the cover, and he just looked like a toad. I told Miles I found the toad.”

The last time Klarwein collaborated with Davis on an album cover was Zonked, a vocal album by Miles’s then-wife Betty Davis. But after Miles discovered Betty was sleeping with Jimi Hendrix the album’s release was cancelled. The cover art – a brilliantly surreal design typifying Klarwein’s “astro-black chic” – remained unused for twenty years until it was featured on the cover of a spoken word album by The Last Poets.

“Speaking of Jimi Hendrix,” says Klarwein, “we used to share the same tailor, and we would spend afternoons dropping acid and trying out new sets of clothes together. I actually was working on a painting for a record cover to an album that was never finished, where Jimi and Gil Evans were collaborating.

Unfortunately Jimi died during the recordings and it was never released. I finished the painting though and it has been touring around the world on that mobile Jimi Hendrix exhibition.”

Klarwein painted The Annunciation on his first trip to New York but this incandescent manifestation of biblically symbolic surrealism was not seen on the cover of Santana’s Abraxus album until several years later. “Annunciation is the first painting I painted after my initial New York awakening,” says Klarwein.

“I was 28 years old and at the peak of my molecular bio-energy.

You can feel the sudden burst of the big Apple’s electric zap in the composition after all the early years of adolescent brooding over potatoes and eggs and the romantic nostalgia of the preceding Flight to Egypt.”

Klarwein was reportedly hanging out in Tangier with Timothy Leary when Carlos Santana visited his studio in 1970. Formed in San Francisco in 1966, the band Santana put out their selftitled album after performing at the Woodstock Festival in 1969 then took some time with the follow-up. Their second album, Abraxas, was scheduled to be released in September 1970. It was a unique blend of salsa, blues, rock and roll and jazz that would define their early sound. They needed an album cover to match this kind of stylistic versatility. One particular painting caught Santana’s eye, The Annunciation. “It was the congas between the angel’s legs and the colors,” says Santana.

“I’d just discovered that music and color are food for the soul.

When we looked at the painting, we said, ‘Man, this is a great feast! Who did this?’”

“It did me a world of good,” says Klarwein. “I saw the album pinned to the wall in a shaman’s mud hut in Niger and inside a Rastafarian’s ganja hauling truck in Jamaica. I was in good global company, muchissimas gracias, Carlito!”

Sometimes called the great “commercial artist” and sometimes referred to as “the most famous unknown artist,” Abdul Mati Klarwein died of cancer in 2002 while living on the island of Majorca. He designed approximately 36 album covers in his lifetime, a relatively small amount when compared to the sizeable number of paintings that formed his body of work.

Klarwein created so many paintings that many of them are now lost, including the original painting for Bitches Brew. In May 2004 the album reached one million sales and the Klarwein family received a platinum record but the whereabouts of the original painting are unknown.

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Mati Klarwein’s eclectic capacity for creation led to a diverse collection of works that included album cover art.

Unfortunately, as a painter who contributed to this graphic design genre, Klarwein may have inadvertently hindered his success in the fine art world. “My coming across as a painter in that fashion is probably the reason why I don’t belong to the history of art today,” says Klarwein. “Neither have I ever worked conventionally with galleries or any other forum within well-defined boundaries of the world of art.”

In 2005, the Tate Liverpool exhibition of psychedelic art showcased the works of Mati Klarwein among many other artists of the sixties and seventies. In the words of one reviewer, “If the Tate show is the first step towards dispelling the ‘deep-seated suspicion,’ and allowing psychedelic art, with its grubby pop culture associations, to enter the sacred palace of art (a palace guarded zealously by curators, art historians and academics), then the art world should be aware that it is admitting another even less desirable alien: graphic design.”

Tate Liverpool director Christoph Grunenberg argues that there is such a thing as “pure” psychedelic art – paintings, films and light-based installations that are fundamentally dissimilar from the trivial abstract designs of posters and album covers. “Yet much of the psychedelic ‘art’ Grunenberg champions is barely recognizable as ‘psychedelic,’” says the reviewer. “When placed alongside the poster, the album covers, the clothes and the light shows, it is abundantly clear that psychedelic art has its most pure and recognizable expression in graphic design – a fact that may delay the moment when psychedelic visual expression can claim full ‘institutionally sanctioned’ art-world acceptance.’” 03

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BLACK MARKET

ART

by Huey De Haute Rive

The international art market is a playground of prosperity producing a public image of high society affluence. But beneath this genteel façade is a dark underbelly of criminal activity with annual profits of $2-6 billion, a multinational black market in company with weapons and drugs.

Three men wearing ski masks entered the museum housing the E.G. Bührle Collection in Zurich wearing ski masks a half hour before the 5 p.m. closing time on Sunday, February 10th. One of them pulled a handgun and ordered everyone down on the floor, while the other two pulled four 19th Century masterpieces – a van Gogh, Monet, Cézanne and Degas – off the wall.

Minutes later they sped away through the quiet residential neighborhood while the paintings hung out of the back of their white van. It was one of the largest and most audacious art robberies of all time and it was the second multimillion-dollar art heist in Switzerland in less than a week.

Law enforcement officials view the theft of items like the masterpieces stolen on February 10th as

a futile crime. “The thieves have difficulty finding someone to take them,” Karl-Heinz Kind, team leader of the works of art unit at Interpol, told The New York Times.

“They are obliged to multiply their contacts and proposals – that increases the chances for police.” But, according to Christopher Marinello of the international database Art Loss Register, most stolen artworks are never recovered because they go “underground.”

Only about one out of 10 are ever returned to the legal owner.

After a mailroom clerk at the Guggenheim Museum in New York City stole a Marc Chagall watercolor entitled The Cattle Dealer in the mid-1960s, museum officials failed to notify galleries or law enforcement officials about the theft. Sometime later Jules and Rachel Lubell bought the painting from a New York gallery and displayed it in their home for two decades before being made aware of the painting’s origins. Museum officials demanded its return, the Lubells refused and years of litigation ensued.

“There are two types of lost art. There are art thefts that occur every day as part of other thefts. And then there is art that is itself the target of theft,” says David Shillingford, director of North American operations for the Art Loss Register. “What we see most is thefts from households that occur every day and we have 120,000 items – stolen items – on our database.”

Disputes over the ownership of artworks and cultural property are complex and subject to a number of conflicting perspectives.

Law enforcement agencies like Interpol, the FBI, and London’s Metropolitan Police investigate thefts and recover stolen artworks on behalf of art trade associations and the insurance industry. But many argue that the illicit trade in stolen antiquities continues to flourish under a veil of jurisdictional complexities. Colin Renfrew, (Lord Renfrew of Kaimsthorn), Emeritus Disney Professor of Archaeology at the University of Cambridge, claims that the Association of Art Museum Directors (AAMD) “appears to be in denial of the international developments currently underway to prevent the looting of antiquities and the consequent destruction of the world’s archaeological heritage.”

After it was determined that Great Britain was guilty of generating millions of dollars in the trade of illicit antiquities, Renfrew spoke at a press conference and claimed, “The government is in the pocket of the art market, which wants to keep the flow of antiquities. It’s a scandal.”

Art remains a popular item for thefts because a large value can be contained in little volume, and the stolen items can usually be transported through customs by claiming a valuable painting is merely an inexpensive copy. Maybe these highly expensive artworks are being used as collateral in other criminal enterprises, such as drug deals or money laundering schemes, or perhaps there are a few private collectors out there keeping a Picasso or a Monet hidden somewhere for their own private enjoyment.

In the end, these masterpieces will either be recovered, destroyed or they will reemerge somewhere only to be fought over in a series of neverending legal battles.

The art industry in the United States, like the market in Great Britain, is a principal importer of cultural property from around

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Edgar Degas “Ludovic Lepic and his Daughter” stolen on February 11, 2008 from the Foundation E.G. Bührle in Zürich, Switzerland.

Vincent van Gogh “View of the Sea at Scheveningen” stolen Dec. 7, 2002, from the Vincent van Gogh Museum in Amsterdam

the world and some say the government’s preference for noninterference has bolstered the success of the U.S. art market. Few laws are enacted to govern the international transportation and trade in cultural antiquities and the illicit proliferation of stolen artifacts has thrived as a result. The 1970 UNESCO Convention applies in the U.S. through the Cultural Property Implementation Act of 1983 (CPIA), but the import restrictions on archaeological and ethnological materials pertain only to states with whom the U.S. has signed bilateral or multilateral trade agreements. Of the 88 nations that have ratified the 1970 UNESCO Convention, only five have bilateral agreements with the U.S. under the CPIA. The FBI’s Art Crime Team – a division of the Art Theft Program composed of twelve Special Agents, each responsible for addressing art and cultural property crime cases in an assigned geographic region – was established in 2004 as a response to the abundance of illegal artifacts in the United States. However, the timing of its formation suggests that this was more than likely a political response to the looting of Iraq’s National Museum

Edvard Munch’s “The Scream” stolen in 1994 from the National Gallery in Oslo, Norway. A different version was stolen in 2004.

Pablo Picasso’s “Portrait of Suzanne Bloch” stollen on December 20, 2007 from the São Paulo Museum of Art.

Rembrandt’s “The Storm on the Sea of Galilee” stolen in 1990 from the Gardner Museum, Boston, MA.

7,000 to 10,000 artifacts stolen from Iraq between March and April 2003

shortly after the U.S. invasion in April 2003.

Many items from the Iraqi National Museum are still missing and tightening the system of sales in the U.S. has made the government appear more proactive.

Since its inception, the Art Crime Team has recovered over 850 items of cultural property with a value exceeding $65 million. Approximately 700 of these were pre-Columbian artifacts – relics that predate the exploration of the Americas by Christopher Columbus – recovered in Miami.

South Florida has always been a popular location for illegal smuggling operations of one form or another, and now it seems that the criminal art network has found a home on its sunny shores.

“Miami is such a crossroads that a lot of things come through here – from high-tech supercomputers to munitions to missile deals,” says U.S. Customs spokesman Michael Sheehan. “There’s a lot of money in South Florida, some of it dirty. A lot of people involved in art crimes are looking to sell the stolen property to anyone, at a good price. It’s easy to sell a painting here; they know the people

will keep it quiet because their money is dirty just like the art is hot.”

The bilateral agreement with Peru, signed in 1997, was designed to protect Peruvian artifacts by limiting their importation into the United States. In June 2007, a joint investigation between Immigration and Customs Enforcement (ICE) and the Broward Sheriff’s Office (BSO) uncovered 412 pre-Columbian artifacts that had been illegally smuggled into the U.S. by a 66year-old Italian named Ugo Bagnato, resulting in one of the largest cultural repatriation efforts since the 1970s.

“We are an international city and as a result we are a transit point for individuals seeking to import illegal artifacts,” says Miami U.S. Attorney R. Alexander Acosta. “Historical artifacts are a delicate treasure that must be preserved. No one should seek to profit from antiquities that are part of our world’s history and can never be replaced.”

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3 SYMPOSIUM | 41

Redefining the nature OF

“ART-MAKING”

by Robin Oppenheimer

Video installations, with their multiple historic roots, are unique hybrid art forms that represent the dominant direction art-making has taken in the twentieth century toward interdisciplinary boundary-crossing collaborations that connect artists to new ideas and practices, while integrating media technologies and systems into the art world. How can we begin to define these ephemeral, protean art forms that have become increasingly dominant artistic modes of expression?

The history of early video installations is imbedded in the larger histories of video as an art form. According to Michael Nash, “It was said a decade ago (by Bill Viola) that video art may have been the only art form to have a history before it had a history, and now its history is ‘history’ before we had a chance to mourn its passing.” As an artistic genre, video has become increasingly visible and more predominant in the hyper-mediated world of the early twenty-first century. Since video’s emergence as a distinct technology and art form in the mid-1960s, artists-painters, sculptors, and poets--quickly found in it an expressive medium. Video is now an inexpensive, accessible image-making tool for artists, and many of today’s artists working in the plastic and performing arts incorporate video into their dances, theatrical productions, musical performances, sculptural pieces, and multimedia installations.

From its beginnings, video technology used by artists represented a complex, multidimensional set of processes, interrogations, and oppositional practices that extended video beyond the traditional art world due to the ephemeral and technological nature of the final “product” of videotape and live transmission. Early video artists tackled a number of larger political, socioeconomic, and telecommunications issues that were just beginning to be recognized by the general public in the late 1960s.

There is no one “official” version of video art’s history because of its international and heterogeneous nature as part of a larger set of

histories. A primary set of histories that began to define video art took place in the 1960s when the technology was first introduced. John Hanhardt, one of the first media arts curators in the United States, witnessed much of the early history and have written about it extensively. In 1988, he described how some of the major midtwentieth century art movements contributed to the initial emergence of video art: The potential of artists’ video was first apparent in the late 1950s And early 1960s, when the art object and its sources were being Re-evaluated in the diverse movements of Pop, Fluxus, Happenings, Minimalism, avant-garde film and the intertextual. Also, quite often Multi-media programs of performance and dance. All these movements Rejected the notion of the heroic, existential artist-self portrayed in Abstract Expressionism. The metaphysics of the Action Painter’s Canvas was replaced by the matter-of-fact and every day.... One of The inescapable facts of daily life was the omnipresence of Television. From the initial questioning in the early 1960s of the Power myth and of television to the expansion of technology’s Potentials in the 1980s, artists have sought to question assumptions of art and art-making.

As Hanhardt explained, video art helped reshape and redefine the nature of art and art-making in the last century through its conceptual links to larger cultural and technological histories, especially television, which had already begun to change people’s perceptions of the world.

This blending of aesthetic and technological

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forces emphasizes video art’s unique legacy.

Video art also emerged out of a turbulent era defined by a larger set of radical social and political issues in the late 1960s. Just as Sony was marketing the Portapak video recorder in the mid-1960s, the political landscape in the U.S. was exploding with antiwar protests, counterculture be-ins, civil rights actions, and new theories of media introduced in the popular press from the writings of Marshall McLuhan and others. As a result of these larger converging cultural, technological, and social forces, video is not only an art world phenomenon. As Marita Sturken explains. “This is a medium whose development embodies many dichotomies of Western culture, whose position at the axis of art, electronic technology, and telecommunications offers a problematic subject for historical interpretation that has no direct antecedents.” (3) If video art is a problematic art form to define, video installations are even more ambiguous in terms of their historical roots and unique characteristics. At their most basic, video installations are spatial and temporal art forms that can include the elements of audio and video/moving images, sculptural forms, and other visual static or moving elements situated and aesthetically constructed in a three-dimensional space. They also lend themselves to larger cultural and socioeconomic explorations. As Margaret Morse suggests in Illuminating Video: An Essential Guide to Video Art : ... Exploring the materialization of the conceptual through all the Various modes available to our heavily mediated society is at the Heart of the cultural function of video installation. In that sense, The “video” in video installation stands for contemporary Image-culture per se. Then, each installation is an experiment in The redesign of the apparatus that represents our culture to Itself:

a new disposition of machines that project the imagination Onto the world and that store, recirculation, and display images; and, a fresh orientation of the body in space create a reformulation of Visual and kinesthetic experience.

Chrissie Iles, Whitney Museum of American Art’s Anne & Joel Ehrenkranz Curator, elaborates on “a fresh orientation of the body in space” when she describes an installation as “a hybrid work of art which demands a critical distance (and) the physical presence of the viewer to complete the work ....” (5) Critical distance enables the viewer to move between immersion and contemplation so that he/she can both experience and analyze the work’s intentions and contents. The viewer’s physical presence is crucial because the elements of video installations are arranged by the artist as part of a larger gestalt in a complex cybernetic loop of technology and mind/ body that form a conversational communication system of sender (artist) and receiver (audience).

Video installations encapsulate three approaches to art-making--representational, presentational, and perceptual--which help to define their protean form and content. Hanhardt described what he called the “expanded forms” of video installations as both the visual (representational) and performance (presentational) art forms of “collage” and “de-collage” that create an “intertextual” language, including critiques of media’s language. As he explains :

The spectacular history of the expanded forms of video installation can be seen as an extension of the representational techniques of Collage into the temporal and spatial dimensions provided by video monitors placed in an intertextual dialogue with other materials .... The technique of de-collage in video installation also extends performance and multimedia into a critique of the social and Ideological by deconstructing existing constructions of Communication technologies and industries.

The presentational aspects of video installations also foreground their connection to the larger cultural rebellion against the art establishment during the late 1950s and early 1960s. When video first became accessible to artists, it represented a way they could defiantly work outside the traditional art world to explore video’s distinctive non-art world features of time-based processes including recording and altering real time; recording and transforming the flow of broadcast television; and creating a spatial or conceptual critical distance from the usual television and cinematic viewing experience.

Both the representational and presentational aspects of video installations are grounded in the art world. The third aspect, perceptual, revolves around the “live” quality of video and links it to the counterculture movement that embraced Eastern and Native American religions, cybernetic systems theory, environmental awareness, and psychedelic explorations using mind-altering drugs for expanding consciousness. Video’s unique phenomenon of “aliveness,” manifested in the ability to record and playback real time, came close to simulating some of those subjective and technology-based processes.

“Aliveness” enabled artists to explore psychological states of mind, levels of consciousness, interior vs. exterior realities, communication processes, and the body’s multi-sensory relationship to both the technologically based media and natural environments.

These perceptual explorations also link to the technological history of cinema and the media of film and television. Hanhardt wrote about this connection: Video works exploring the artist’s relationship to the world around Him/her have proliferated since process and site-specific land art of the 1960s and 1970s dematerialized the art object.

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Part of this response to a landscape/place derives from a unique property of the video medium--the property that allows an artist to see immediately The image that is recorded on videotape. This is unlike film celluloid--which must be processed before the image can be screened. The power of this essential, indeed central, capacity of video was To have a subtle and profound impact on how the medium itself was employed. Even prerecorded video carries an immediacy born from its electronic nature and the almost mythological connotations of video As a “live” medium. This mystique of “live” television, which began in the commercial sector during television’s “golden age” of live telecast, continues today in the use of the home video camera recorder and player ....

Three historical works by first-generation artists exemplify many of the unique characteristics just described. In 1969 Howard Wise, a wealthy New York City art dealer who was interested in art that incorporated “new” technologies such as kinetic and light sculptures, organized the exhibition “TV as a Creative Medium” in his gallery. Presenting the works of twelve artists, this seminal event in the history of video art explored a wide set of issues both within and outside the traditional art world. It was the first group exhibition in the U.S. to identify and reify video as a new art form and art-making tool. (Soon after the exhibition, Wise closed his gallery in order to fully support the emerging art form of video. In 1971, he established the nonprofit organization Electronic Arts Intermix, which has grown into one of the major video art distributors in the world.)

All the artists in “TV as a Creative Medium” explored the larger issues around the then-new concept of a “media environment,” and especially the phenomenon of television. They presented ideas of how society consciously and unconsciously is shaped by the pervasive landscape of a manmade communications ecology where radio, telephones, and television are ubiquitous technologies in the home and workplace. The exhibition also expressed a utopian, McLuhanesque vision of a “global village” of instant communication and expression through the electronic medium of video/television that anticipated today’s wireless world. These were revolutionary ideas signaling a new technological force in art-making practices that would change the very meaning of art.

Sturken, in her 1984 article in Afterimage about Wise, describes this landmark show: [It] effectively pointed to the diverse potential of a new art form and social tool.

Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video.... Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or a cultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about The future of communications, these artists used video as an information tool and as

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a means of gaining understanding and control Of television, not solely as an art form.

Thus, this show signaled artists’ connections to larger ideas and issues found outside the art world such as the counterculture movement.

One of the key works in the show was “Wipe Cycle” (1969), created by Ira Schneider, a filmmaker, and Frank Gillette, a painter. Gillette was able to gain access to a Portapak video recorder through Paul Ryan, McLuhan’s research assistant at his Center for Media Understanding at Fordham University in the Bronx. “Wipe Cycle” is often mentioned in the historical writings about “TV as a Creative Medium” as the most successful and intriguing work in the show. It represented the artists’ view of video as “a cultural machine to be deconstructed” and was one of the earliest uses of video surveillance in an artwork to incorporate the viewer directly into the real-time imagery of the piece. It was also one of the first video installations to directly address the larger issues around communications media and their pervasiveness in a larger “media ecology” that blurred the boundaries between the body and the phenomenon of recorded (time past) and real time (time present) displayed on a TV screen.

The installation consisted of a 3- x 3-foot wall of nine color TV monitors. Intercut with broadcast images, live images, captured from a camera hidden amid the monitors, were fed to the center screen, shifting to outer monitors in eight- and sixteen-second intervals.

The work situated the viewer in a space where he/ she felt firsthand the simultaneity of time present

and time past as a visceral response to being “inside” the immaterial media space of network television, which itself is a blend of multiple, simultaneous time periods. Video art curator Kathy Rae Huffman has recently described video artists’ explorations of real and virtual spaces in installations that demonstrate their early colonization of cyberspace: In the earliest actual practice, video was used in the same way as surveillance devices are today: it was employed to keep watch over And to observe reality.... It was ... a valuable experience that facilitated artists’ understanding of electronic space, memory and video’s ability to document experience in real time.... This act--creating electronic territory and involving the viewer in it as a physical entity--is a direct predecessor to contemporary, interactive multimedia art and immersive technology. Installation artists introduced strong concepts of both psychological and physiological territory, and advanced an awareness of extended boundaries, as well as an electronic ability to define space, time, and energy.

Another work in the Wise show, “Participation TV” (1969), was created by Nam June Paik, a key figure in video art history. Paik was one of the first artists to take on the phenomenon of broadcast television as both a sculptural icon and a powerful communications medium. Hanhardt wrote about Paik in his essay for The Luminous Image video installation catalog : The transformation of television into a postmodern art form came about through Paik’s understanding of the social presence and meaning

of television. To Paik the popular perception of television as only a mass commodity of entertainment, or as simply a radio with pictures, was shortsighted and he set out as an artist to both demystify and change it. As he expressed ... television represented a new communications technology of enormous potential and signaled the beginning of a post-industrial age where manufacturing, the organization of society, and the making of art would be transformed.

In “Participation TV,” Paik worked with engineers to distort the live signals from several television cameras that were displayed on multiple monitors.

The name “Participation TV” is an ironic comment on the actual one-way, non-participatory nature of broadcast television. Paik’s revolutionary views about television and its relationship to the artist and society came out of his training as a musician and his active participation in the New York-based Fluxus movement, which Hanhardt describes as “anti-high art ... that resulted in events which highlighted the materiality of consumer culture.”

Out of this fertile environment of new ideas and technologically based art-making processes, Paik began to develop a new way of thinking about television and its role in society. Paik’s “Participation TV” was one of many early approaches to making video/TV artworks that included the “TV Bra for Living Sculpture” (1969) series with cellist Charlotte Moorman, also seen for the first time at the Wise exhibit. Television’s sculptural element is represented by the single TV monitor on a stand, with several video cameras focused to capture both

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a wide shot and the viewer’s face as a close-up image on the screen. It is similar to “Wipe Cycle” because it uses a closed-circuit video surveillance system that posits the viewer as an active performer inside a live electronic image/playback loop where He/ she performs as both viewer and actor in real time.

new ways of perceiving, experiencing, and making meaning with all our senses, while others such as Gillette, Paik, and Schneider explored the increasingly permeable membrane that separates what is now called “cyberspace.” Video installation artists embraced change and fluidity, dialogue and communication systems, and subjective explorations of consciousness and reality as central to their artistic practices. These artists also tackled scientific concepts of time and space and intuitively recognized how technology transforms people into information by inserting them into the global flow of electronic impulses through the use of video cameras and screens capturing their images in real time.

This almost visceral connection linking the physical human body in actual space to a real-time virtual representation on a video screen has become a defining characteristic of video installations. New media critic Holly Willis elaborates in her recent book about digital cinema: Video installation’s focus on the body is not insignificant. The relationship between the body and technology has grown increasingly complex over the last decade such that to speak of one is to speak of the other. Body and machine become co-extensive, and yet the predominant trope for understanding the relationship between the two tends to presuppose a desire to be rid of the body altogether, or to view technology as a prosthesis.

These two video installations are also distinctive because they represent the mutability of time in all its simultaneous past, present, and future tenses.

Morse also distinguishes between two types of video installations that present Time, the first type describing both “Wipe Cycle” and “Participation TV,” which, she states: Explore the fit between images and the built environment.... Two types of video installation art can be differentiated by tense. Closed-circuit video plays with “presence”.... Shifting back and forth between two and three dimensions, closedcircuit installations explore the fit between images and the built environment and the process of mediating identity and power. Secondly, the Recorded-video art installation can be compared to the spectator wandering about on a stage....

That is, the technique for raising A referent world to consciousness is not mimesis, but simulation.

Morse’s second type describes installations many years ago, that attempted to create immersive architectural environments through the use of largescreen cinematic video projection. They expanded the earlier-articulated cybernetic communication cycle of viewer and media technology beyond the single surveillance mode into more complex loops that included narratives and simulations of altered states of consciousness. They also situated the viewer inside the work as an active participant, connecting the body to a range of media-based phenomena that were potentially (and intentionally) transformative.

“Room for St. John of the Cross” by Viola, first shown in 1983, indicates how video installations quickly expanded into separate, controllable spaces intended to be dramatic, immersive environments through the artful combination of sound, lighting, and the use of multiple monitors and projected video images on walls or screens. Viola’s installations are designed to remove the audience from the usual gallery experience of viewing multiple static visual artworks in a large space. They give the viewer a more intense, theatrical experience of entering a private space much like

In Installation Art in the New Millenium: The Empire of the Senses (2004), Nicolas De Oliveira defines the current state of installations that embrace video installations as part of larger, fluid forms that self-consciously push on their own boundaries as they connect artists to their audiences:

that of a movie or live theater. The darkened space is charged with narrative, multisensory elements that situate the viewer as an active participant inside an environment. As Viola has said, there is no “outside” to the piece. Once viewers enter the dark space of the large room, they are enveloped by the work, which negates distancing or objectivity.

Media art historian Deirdre Boyle wrote a detailed description of the piece: Within a large room is a smaller room--a low hut that invokes the cell in which the sixteenthcentury Spanish mystic, who was imprisoned by the Catholic church and tortured, composed his most profound mystical poetry. By enclosing his room within the larger room of the installation itself, Viola creates dialectic between interior and exterior space. And through the metaphysics implicit in the geometry of opposites--inside and outside, being and Non-being--Viola confers spatiality upon thought. The larger room is dark, except for one wall where a video projection screen emits a dim light as a camera dizzily scans the bleak horizon of jagged insurmountable mountain tops. A roaring wind resounds in the space, and the viewer feels buffeted and menaced by all that is hostile .... But in the very center of this stormy negative space a warm light inside the small hut glows through a window.... The dialectical opposition between interior and exterior space reflects the psychological reality of St. John’s mystical experience...

This installation is exemplary of video artists’ early use of projected video to create immersive, even transformative viewer experiences.

This close reading of three early video installations reveals approaches to making art that are more about systems and process, interaction with the viewer, and subjective explorations and transformations than they are about art as object, image, or genre.

Artists such as Viola were interested in exploring

Earlier attempts to define Installation art by medium alone failed because it is in the nature of the practice itself to challenge its own boundaries. This questioning process constitutes a discourse which investigates the relationships between the artist and the audience. Installation is therefore defined by this process, something that has led artists to work with materials and methodologies not traditionally associated with the visual arts.... Marshall McLuhan was one of the key theorists writing in the early 1960s to address the impact that information technology would have on global culture. This formula predicts the shift from objective critique, towards a new subjectivity which emphasizes uncertainty that brings artist and viewer together in a discursive environment.

As early forms of installation art, video installations define a unique set of characteristics and issues in contemporary art practice and discourse that are centered on the cybernetic processes of the body’s real-time interactions with technology, the media environment, and alternative realities. Video installations can now be defined as hybrid art forms that were the first to introduce media technologies as legitimate art-making tools into the cloistered, privileged spaces of museums and art galleries. They also explore a wide range of phenomena outside the art world that connect human consciousness to new techniques involving video surveillance systems and the body located in simultaneous times and spaces. Finally, video installations introduce a critical awareness of technology and the media environment as a pervasive landscape into art world discourse and demonstrate how media technologies continue to change the process of art-making and the very nature of art. 03

46 | SYMPOSIUM 3

S

The Flavor of Visual Pleasure –

Sake’s

by Francoise Donoyer

paraphernalia With Japanese food, the tableware on which the food is served is intrinsic to the overall experience. The colors of the ceramics (white, blue, red, green, black, brown, and any number of combinations and textures) complement the visual pleasure and flavors of the meal. The same is true for tokkuri, the thin-necked flasks in which the liquid is served, and sake cups. Each comes in a variety of shapes and sizes and can be acquired for the equivalent of a few dollars, or hundreds, sometimes thousands of dollars. Both top-flight artists and artisans turn out designs. Craftspeople working in ceramics, lacquer ware, bamboo, glass and wood release works that are eagerly consumed by a discriminating public.

Sake cups are called guinomi, sakazuki, or choko (this last is commonly used in the honorific form, o-choko). Choko and sakazuki refer to small cups, guinomi to larger chugging cups. Very tiny cups seem impractical unless you realize they are part of the congenial ritual of o-shaku - pouring for one’s drinking companion.

They are small precisely so that you get to pour more often.

The small size of many sake cups means that there is little head space to swirl the liquid in wine-tasters’ fashion. If you want to swirl, a tulip-shaped glass will emphasize the fragrance of that fruity ginjo you bought. For earthier styles, a flatter, oval-shaped glass is better. Specialist wine glasses designed to enhance the characteristics of specific grape varieties can have a startling effect on the quieter sake aromatics. However,

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Tokkuri are the little thin-necked decanters used to hold, heat, and pour sake - the thin neck is designed to retain heat. Most hold one or two go, one-tenth or two-tenths of a large bottle of sake, respectively. Each go is 6 fluid ounces (180 milliliters). Ceramic and pewter decanters are used when warming sake, and often come in sets with matching choko. A wide, open-mouthed receptacle called a katakuchi is sometimes used to serve sake cold or at room temperature, and these may be made of ceramic or glass.

Wooden tokkuri impart a light scent of wood to the sake.

Katakuchi: These open-mouthed decanters come in a wide range of shapes, and are a lovely, elegant way to serve sake. Also excellent for giving sake some air, or gently warming up sake that is over chilled.

should you switch to wine glasses, remember that most sake is more potent than wine. Don’t fall into the trap of drinking the same amount as you would were you drinking wine, just because you are drinking from a wine glass, or you could end up with more than you bargained for.

You may come across wooden choko or guinomi, for which the most commonly used wood is Japanese cedar.

Ceramics

The history of Japanese ceramics goes back over twelve thousand years. The many schools of Japanese pottery arose as expressions of geology (the clay of a particular region) and local culture from the poignant simplicity of pots from Tanba, which were originally everyday receptacles made by the area’s farmers, to the refinement of Raku ware, inextricably bound to the high culture of tea ceremony. The sorcerous metamorphosis of the raw materials into expressions as various as shell-like porcelain and the earthy, ashy wonders of the wood-fired Bizen or Shigaraki ceramic ware is an intriguing parallel to the range of transformations that Japan’s brewers conjure with rice. The nursery that resulted in such glorious variety in ceramics is the same that nurtured sake, so that drinking sake from Japanese ceramics has a reinforcing effect, amplifying the pleasure of the experience.

There are few activities as pleasant as deciding which sake to drink; choosing the cup is one of them. I find that a crystalline dai ginjo calls out for a delicate cup, and earthy, rice sake is best sipped from a guinomi with plenty of what potters call tsuchi-aji, or an earthy feel. A thick, round-lipped cup delivers the liquid to your palate in a way that is different from that of a wafer-thin edge, and the difference affects the way sake tastes.

Lacquer

When visitors from the West discovered the elegant, lustrous products of the perilous craft of coating wood with multiple coats of the poisonous sap of the urushi (lacquer) tree, they called it japanning. You may have seen victorious sumo wrestlers drinking from enormous sake cups, closer in dimension to washbasins than toothbrush mugs. These great lacquer receptacles, holding from a measly five go (30 fluid ounces/900 milliliters) to three sho (5.7 quarts/5.4 liters), became popular in the Kamakura period (11851333). The warrior elite of the time passed these around at drinking parties dignified with the grand name of sakazukigoto. However, since to pass a pottery cup of this size around a group of increasingly inebriated warlords would be asking for trouble because of the cup’s weight, featherlight, lacquer-ware cups were chosen, although they are delicate in their own way and require careful storage.

Glass and Metal

Pewter tankards and pottery steins aside, it is fairly unusual in the West to drink alcohol from anything but glass. Yet, in Japan, glass vessels for drinking are a newfangled idea, having made their appearance in the nineteenth century, and having gained real popularity still more recently.

Although wine glasses are sometimes used, it is more fun to use glass choko, which come in all shapes and sizes. Cold sake is great in glass cups.

Wood

The humble masu, a square box made of sugi (Japanese cedar), is one of the most familiar of sake-related images. Sake commonly used to be served in a masu, but its use nowadays is restricted mainly to high days and holidays - festivals and weddings in particular. The masu used at such events are new, and the powerful scent of the wood may overshadow that of the sake itself.

Drink from the corner to avoid embarrassing dribbles.

Many izakaya drinking establishments serve sake in glasses placed inside masu. This catches any spills, and allows the owner to please favored regular customers by overfilling the glass so that the extra sake is caught in the masu.

Sake cups made of metal (mainly pewter) do exist, but are rather rare. 03

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3 SYMPOSIUM | 51

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3 SYMPOSIUM | 55

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RODIN INTERNATIONAL GALLERY

THE HAITIAN ART FACTORY

5111 Alhambra Cir. Coral Gables, Fl. 33146 305-666-7488

201 Bird Rd. Coral Gables, Fl. 33146 305-529-1115

835 NE 79th ST. Miami, Fl. 33138 305-646-7200 / 305-758-6939 www.haitianartfactory.com

9700 Collins Ave. Bal Harbour, Fl. 33154 305-868-3337 www.operagallery.com

ROSSIL GALLERY

THE WIRTZ GALLERY

OPERA GALLERY

6909 W Flagler ST. Miami, Fl. 33144 305-266-3789

165 Aragon Ave. Coral Gables, Fl. 33134 305-442-1445

5750 Sunset Dr. South Miami, Fl. 33143 305-662-5414

TORNA & PRADO FINE ART COLLECTION 10833 SW 142nd Ct. Miami, Fl. 33186 305-382-0430

TOP ART GALLERY PAINTING APPRAISELS & SALES 19201 Collins Ave. Sunny Isles Beach, Fl. 33160 305-937-3751

TRESART

550 Biltmore Way Coral Gables, Fl. 33134 305-648-3007 / 305-529-1115

UNDERCURRENT ARTS 2545 N Miami Ave. Miami, Fl. 33127 305-571-9574

UNZUETA GALLERY

Features original works by artist Ramon Unzueta 1607 SW 8th ST. Miami, Fl. 33135 305-541-0012 www.ramonunzueta.com

URIBE BROWN FINE ART 2600 NW 87th Ave. Suite 21 Doral, Fl. 33172 561-414-1575

VON MORGEN LC 1629 NE 1st Ave. Miami, Fl. 33132 305-533-1299

VONHARTZ ALEJANDRA FINE ARTS

2630 NW 2nd Ave. Miami, Fl. 33127 305-438-0220

WALLFLOWER GALLERY

10 NE 3rd ST. Miami, Fl. 33132 305-579-0069 http://www.wallflowergallery. com

WENTWORTH GALLERIES 1118 NW 159TH Dr. Miami, Fl. 33169 305-624-0715

ZU GALERIA FINE ARTS

2248 SW 8th ST. Miami, Fl. 33135 305-643-0059

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AFRICAN-AMERICAN RESEARCH LIBRARY & CULTURAL CENTER

2650 Sistrunk Blvd.

Fort Lauderdale, Fl. 33311 954-625-2800 www.broward.org/library/ aarlcc.htm

AH TAH THI KI MUSEUM

Big Cypress Reserve Clewiston, Fl. 33440 863-902-1113 www.ahtahthikimuseum.com

AH TAH THI KI MUSEUM AT OKALEE

Hard Rock Casino & Hotel Hollywood, Fl. 33019 954-965-9664 The Ah-Tah-Thi-Ki Museum at Okalee Village houses two permanant exhibits covering the Seminole reservations and an archaeology exhibit. We also have a contemporary art gallery, and we feature special traveling exhibits. www.ahtahthikimuseum.com

ANN NORTON SCULPTURE GARDENS 253 Barcelona Rd. West Palm Beach, Fl. 33401 561-832-5328 www.ansg.org

ANTIQUE CAR MUSEUM

BOCA RATON HISTORICAL SOCIETY 71 N Federal Highway Boca Raton, Fl. 33432 561-395-6766 www.bocahistory.org

BOCA RATON MUSEUM OF ART 501 Plaza Real Boca Raton, Fl. 33432 561-392-2500 www.bocamuseum.org

BONNET HOUSE

900 North Birch Rd. Fort Lauderdale, Fl. 33304 954-563-5393 www.bonnethouse.org

BOYNTON BEACH CHILDREN'S SCHOOLHOUSE MUSEUM

129 E Ocean Ave. Boynton Beach, Fl. 33435 561-742-6780 www.schoolhousemuseum.org

BROWARD COUNTY LIBRARY & CULTURAL INFORMATION CENTER

100 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-357-7444 www.broward.org/library

BURT REYNOLDS MUSEUM

100 N US Highway 1 Jupiter, Fl. 33477 561-743-9955 Preserving the history of the cultural contributions of Burt Reynolds www.burtreynoldsmuseum.org

CASON COTTAGE HOUSE MUSEUM

5 NE 1st St. Delray Beach, Fl. 33444 561-243-2577 Restored Historic House 1915-1935 delraybeachhistoricalsociety. org

CENTRO CULTURAL ESPANOL DE COOPERACION IBER AMERICANA 800 Douglas Rd. Suite #170 Coral Gables, Fl. 33134 305-448-9677 www.ccemiami.org

CHILDREN'S SCIENCE EXPLORIUM

300 S Military Trail Boca Raton, Fl. 33486 561-347-3912 Children’s Science Explorium provides a hands-on exploration and challenges school age children and enhance their understanding of how physical science impacts everyday living. www.scienceexplorium.org

1527 SW 1st Ave. Fort Lauderdale, Fl. 33315 954-779-7300 All the museum’s vehicles are maintained in running condition by the inhouse workshop, located within the museum premises. www.antiquecarmuseum.org

BASS MUSEUM OF ART

2121 Park Ave. Miami Beach, Fl. 33139 305-673-7530 History The Bass Museum of Art was established by agreement in 1963 when the City of Miami Beach accepted the gift of the art collection of John and Johanna Bass upon condition that it would maintain the collection in perpetuity, provide for the exhibition of the collections, and keep it open and available to the public. www.bassmuseum.org

CITYPLACE

222 Lakeview Ave. West Palm Beach, Fl. 33401 561-366-1000

CORAL SPRINGS MUSEUM OF ART

2855 Coral Springs Dr. Coral Springs, Fl. 33065 954-340-5000 Since its opening in early 1997, the Coral Springs Museum of Art has has focused on displaying innovative and ethnically diverse Florida artists and providing eclectic and challenging classes for both children and adults. In addition, we’ve hosted three “blockbuster” exhibitions with well-known artists such as Alexandra Nichita, Wolf Kahn, Duane Hansen, Clyde Butcher, Jose Bedia, Yuroz, and Dale Chihuly.

We have also displayed art on loan from other area museums, such as the Boca Raton Museum of Art, the Fort Lauderdale Museum of Art and the Morikami Museum and Japanese Gardens. www.csmart.org

CUBAN HISTORICAL MUSEUM 3131 Coral Way Coral Gables, Fl. 33145 305-567-3131

CUBAN MUSEUM INC.

ARMORY ART CENTER

1700 Parker Ave. West Palm Beach, Fl. 33401 561-832-1776 www.armoryart.org

MIAMI CHILDREN’S MUSEUM on Watson Island W: www.miamichildrensmuseum.org Hours: Daily 10am-6pm Adm: $10

214 Giralda Ave. Coral Gables, Fl. 33134 305-529-5400 www.cubanmuseum.org BOCA RATON MUSEUM OF ART In Mizner Park

The Boca Raton Museum of Art presents changing exhibitions of national and international importance, and a wide range of educational programs, lectures, gallery tours, and studio art classes. The Museum’s permanent collection includes a superb assembly of modern masters including works

by Degas, Matisse, Modigliani and Picasso; important American and European modern and contermporary words by artists ranging from Louise Nevelson to Andy Warhol; an outstanding photography collection; and important collections of Pre-Columbian and African art.

CURRENT EXHIBIT: 01/25 - 04/27 Degas in Bronze: The Complete Sculptures 01/25 - 04/27 Tiffany Studios: The Holtzman Collection T: 561.392.2500 F: 561.391.6410 W: www.bocamuseum.org Hours: Sun, Mon 12pm-5pm Tues, Thur, Sat 10am-5pm Wed & Fri 10am-9pm Closed Holidays

DEERFIELD BEACH HISTORICAL SOCIETYBUTLER HOUSE

380 E Hillsboro Blvd.

Deerfield Beach, Fl. 33442 954-429-0378 www.deerfield-history.org

DEKELBOUM SCIENCE CENTER

700 S Dixie Highway West Palm Beach, Fl. 33401 561-832-7918

Current Exhibit: Oh Seuss! Off to Great Places

DELRAY BEACH HISTORICAL SOCIETY ARCHIVES & GALLERY 51 N Swinton Ave. Delray Beach, Fl. 33444 561-274-9578 delraybeachhistoricalsociety. org

FLAGLER MUSEUM

1 Whitehall Way Palm Beach, Fl. 33480 561-655-2833 www.flaglermuseum.us

FENG SHUI CULTURAL CENTER

86 Miracle Mile Coral Gables, Fl. 33134 305-446-9315 www.fengshuiculturalcenter. com

FORT LAUDERDALE HISTORICAL SOCIETY

219 SW 2nd Ave. Fort Lauderdale, Fl. 33301 954-463-4431 www.oldfortlauderdale.org

GOLD COAST RAILROAD MUSEUM

12450 SW 152nd St. Miami, Fl. 33177 305-253-4675 www.goldcoast-railroad.org

HAITIAN HERITAGE MUSEUM

600 Brickell Ave. Miami, Fl. 33131 305-371-5988 www.haitianheritagemuseum. org

HIBEL MUSEUM OF ART 5353 Parkside Dr. Jupiter, Fl. 33458 561-622-5560 www.hibel.com

HISTORICAL MUSEUM OF SOUTHERN FLORIDA 101 W Flagler St. Miami, Fl. 33130 305-375-1492 www.hmsf.org

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HISTORIC STRANAHAN HOUSE MUSEUM

335 SE 6th Ave. Fort Lauderdale, Fl. 33301 954-524-4736 A guided tour of Fort Lauderdale’s historic Stranahan House is like a journey through time... a link to a time when Seminole Indians made friends with a young Ohioan who settled in the frontier town now known as Fort Lauderdale. A must-see! www.stranahanhouse.org

HOLOCAUST MEMORIAL OF MIAMI BEACH 1933 Meridian Ave. Miami Beach, Fl. 33139 305-538-1663 www.holocaustmmb.org

IGBO CULTURAL ASSOCIATION INC.

LIGHTHOUSE CENTER FOR THE ARTS 373 Tequesta Dr. Tequesta, Fl. 33469 561-746-3101 www.lighthousearts.org

LOWE ART MUSEUM

1301 Stanford Dr. Coral Gables, Fl. 33146 305-284-3535 www6.miami.edu/lowe

MARGULIES PHOTOGRAPHY COLLECTION

301 Washington Ave. Miami Beach, Fl. 33139 305-672-5044 www.jewishmuseum.com

JUPITER INLET LIGHTHOUSE & MUSEUM 500 Captain Armours Way Jupiter, Fl. 33469 561-747-8380 www.jupiterlighthouse.org

KOUBEK MANSION AND GARDENS

2705 SW 3rd St. Miami, Fl. 33135 305-284-6001 The University of Miami’s Koubek Mansion and Gardens is situated in the soul of Miami, contributing to the rich cultural traditions found in “Little Havana.” A historic site, it has been home to numerous weddings and cultural events. www.koubekmansion.com

LATIN QUARTER CULTURAL CENTER OF MIAMI 1501 SW 8th St., 2nd Floor Miami, Fl. 33135 305-631-0588

MUSEUM OF CONTEMPORARY ART/MOCA

MUSEUM OF DISCOVERY AND SCIENCE

MIAMI ART MUSEUM

JEWISH MUSEUM OF FLORIDA

1 East. Las Olas Blvd.

Fort Lauderdale, Fl. 33301 954-525-5500 www.moafl.org

MIAMI CHILDRENS MUSEUM

MIAMIA ART CENTRAL

IGFA FISHING HALL OF FAME AND MUSEUM

1 Hall of Fame Dr. Fort Lauderdale, Fl. 33316 954-462-6536 www.ishof.org

MUSEUM OF ART/FORT LAUDERDALE

101 W Flagler St. Miami, Fl. 33130 305-375-1705 www.miamiartcentral.org

591 NW 27th St. Miami, Fl. 33127 305-576-1051 www.margulieswarehouse. com

1799 NE 164th St. North Miami Beach, Fl. 33162 786-871-4006

INTERNATIONAL SWIMMING HALL OF FAME MUSEUM

700 Park Ave. West Palm Beach, Fl. 33401 561-296-1806

770 NE 125th St. North Miami, Fl. 33161 305-893-6211 The Museum of Contemporary Art established its Permanent Collection in 1994. MOCA’s Permanent Collection now numbers more than 400 works.

The museum has acquired works through donations or purchased with funds donated specifically for acquiring art, including the Janet and Robert Liebowitz acquisition endowment and the Gucci Young Artist Acquisition Fund. The permanent collection reflects significant artistic developments in contemporary art by emerging and established artists from the U.S. and abroad. www.mocanomi.org

5960 SW 57th Ave. Miami, Fl. 33143 305-455-3337 www.miamiartcentral.org

300 Gulf Stream Way Dania, Fl. 33004 954-927-2628 www.igfa.org

MOS' ART CENTER

980 Macarthur Cswy.

Miami, Fl. 33132 305-373-5437 Come play, learn, imagine and create at Miami Children’s Museum with hundreds of interactive and bilingual exhibits and daily programs for the whole family and so much more. www.miamichildrensmuseum. org

MIAMI-DADE KENDALL CAMPUS ART 11011 SW 104th St. Miami, Fl. 33176 305-237-2322 www.mdc.edu

MIAMI MUSEUM OF SCIENCE & PLANETARIUM 3280 S Miami Ave. Miami, Fl. 33129 305-646-4200-34 www.miamisci.org

MOCA AT GOLDMAN WAREHOUSE 404 NW 26th St. Miami, Fl. 33127 305-573-5441 www.mocanomi.org

MORIKAMI MUSEUM & JAPANESE GARDENS 4000 Morikami Park Rd. Delray Beach, Fl. 33446 561-495-0233 www.morikami.org

401 SW 2nd St. Fort Lauderdale, Fl. 33312 954-467-6637 www.mods.org

MUSEUM OF LAKE WORTH 414 Lake Ave. Lake Worth, Fl. 33460 561-586-1700 www.lakeworth.org

MUSEUM OF LIFESTYLE & FASHION HISTORY

322 NE 2nd Ave. Delray Beach, Fl. 33444 561-243-2662 The Museum of Lifestyle & Fashion History is a non-profit 501(c) 3 history museum that was established in 1999. The inspiration for the Museum of Lifestyle & Fashion History of Delray Beach was the phenomenally successful popular culture & retrospective exhibit “40 Years of the Barbie® Doll” in celebration of Women’s History Month which was on display from March 1999 thru September 2000 in Delray Beach , Florida . More than 19,000 visitors from around the world attended this exhibit which made it the #1 attended exhibit in the history of Delray Beach and one of the most memorable Museum exhibits in all of Palm Beach County . www.mlfjmuseum.org

MUSEUM OF POLO & HALL OF FAME 9011 Lake Worth Rd. Lake Worth, Fl. 33467 561-969-3210 www.polomuseum.com

MUSEUM OF THE AMERICAS 2500 NW 79th Ave., Suite 104 Doral, Fl. 33122 305-599-8088 www.museumamericas.org

PATRONS OF THE VATICAN MUSEUM 7525 NW 2nd Ave. Miami, Fl. 33150 305-759-2733

MUSIC ART PRODUCTIONS OF FLORIDA

SCHACKNOW MUSEUM OF FINE ARTS SMOFA

NAVAL AIR STATION FORT LAUDERDALE HISTORICAL ASSOCIATION

SOCIETY OF THE FOUR ARTS

2218 NW 82nd Ave. Doral, Fl. 33122 305-593-0740

4000 W Perimeter Rd. Fort Lauderdale, Fl. 33315 954-359-4400

NORTON MUSEUM OF ART 1451 S Olive Ave. West Palm Beach,Fl. 33401 561-832-5196 www.norton.org

OLD DILLARD MUSEUM 1009 NW 4th St. Fort Lauderdale, Fl. 33311 754-322-8828 www.broward.k12.fl.us/ olddillardmuseum

PALM BEACH INSTITUTE OF CONTEMPORARY ART 601 Lake Ave. Lake Worth, Fl. 33460 561-582-0006 www.kmoser.com/pbica/

PALM BEACH MARITIME MUSEUM

7719 S Dixie Highway West Palm Beach, Fl. 33405 561-547-3775 The opening of the Palm Beach Maritime Museum in 1999, after 6 years of preliminary work, is a major event for South Florida. Following a lengthy restoration and construction program, we now have four facilities: 1. the former U.S.Coast Guard Station, Boathouse and President John F. Kennedy command post and bomb shelter on Peanut Island; 2. the marine science field office and dock on the Intracoastal Waterway; 3. an educational center, preview building and ferry dock at Currie Park in West Palm Beach (Museum tours leave from this site for Peanut Island and the Kennedy Bunker at the Coast Guard Station and 4. the new location for our Palm Beach Maritime Academy K-8 Charter School at 7719 S. Dixie Hwy. in West Palm Beach. www.pbmm.org

PALM BEACH MARITIME MUSEUM CURRIE PARK 2400 N Flagler Dr. West Palm Beach, Fl. 33407 561-832-7428 www.pbmm.org

7080 NW 4th St. Plantation, Fl. 33317 954-583-5551 www.smofa.com

2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7226 www.fourarts.org

SOUTH FlORIDA RAILROAD MUSEUM 1300 W Hillsboro Blvd.

Deerfield Beach, Fl. 33442 954-698-6620 www.sfrm.org

SOUTH FLORIDA SCIENCE MUSEUM 4801 Dreher Trail N West Palm Beach, Fl. 33405 561-832-1988 www.sfsm.org

SIDNEY SAMOLE CHESS MUSEUM 13755 SW 119th Ave. Miami, Fl. 33186 786-242-4255 www.chessmuseum.org

SPADY CULTURAL HERITAGE MUSEUM 170 NW 5th Ave. Delray Beach, Fl. 33444 561-279-8487 www.spadymuseum.org

THE HOLLYWOOD HISTORICAL SOCIETY

1520 Polk St. Hollywood, Fl. 33020 954-923-5590 Our mission is to collect, preserve and disseminate information about the history of Hollywood, Florida. To preserve Hollywood’s historical resources and landmarks. To educate and encourage public awareness of Hollywood’s heritage. To pass on an enduring community to succeeding generations. In 1920, the developer Joseph W.Young, Jr. purchased the first square mile to begin the Florida city he would call Hollywood-by-theSea. His city was planned from the start with wide boulevards, parks, vistas, and harmonious architecture derived from styles then popular in southern California where he had lived, from bungalows to mission, Moorish, and Spanish-eclectic, styles still evident in buildings throughout Hollywood. www. hollywoodhistoricalsociety.org

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THE MIAMI SPRINGS HISTORICAL MUSEUM 26 Westward Dr. Miami Springs, Fl. 33166 305-884-4406

THE SOCIETY OF FOUR ARTS 2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7227 www.fourarts.org

UM JAMES L KNIGHT INTERNATIONAL CENTER 400 SE 2nd Ave., Suite 402 Miami, Fl. 33131 305-284-5137 www6.miami.edu

UNIVERSITY OF MIAMI CONVOCATION/BANK UNITED CENTER 1245 Dauer Drive Coral Gables, Fl. 33146 305-284-8244 www.bankunitedcenter.com

WEST PALM BEACH MUSEUM OF CONTEMPORARY ARTS 5301 S Dixie Highway West Palm Beach, Fl. 33405 561-588-1965

WILLIAM T KIRBY NATURE CENTER 10900 Jack Nicklaus Dr. North Palm Beach, Fl. 33408 561-624-6952 www.macarthurbeach.org

WINGS OVER MIAMI MUSEUM 14710 SW 128th St. Miami, Fl. 33196 305-233-5197 www.wingsovermiami.com

WOLFSONIAN MUSEUM 1001 Washington Ave. Miami Beach Fl. 33139 305-531-1001 www.wolfsonian.org

WORLD EROTIC ART MUSEUM

1205 Washington Ave. Miami, Fl. 33139 305-532-9336 The collection includes art, sculptures, tapestries, and artifacts from many of the world’s most influential cultures, past and present, exquisite ancient to contemporary classics. www.weam.com

YESTERYEAR VILLAGE S FLA FAIRGROUNDS 9067 Southern Blvd.

West Palm Beach, Fl. 33411 561-793-0333 www.southfloridafair.com

YOUNG AT ART CHILDREN'S MUSEUM 11584 W State Road 84 Davie, Fl. 33325 954-424-0085 www.youngatartmuseum.org

My name is Heidi Klum and I’m an American Red Cross volunteer.

Will you join me?

We all have to look out for each other.

When you help the American Red Cross, you help America.

Through her involvement with the American Red Cross, Heidi Klum helps to save lives every day.

To learn how Heidi Klum is helping, or to find out what you can do to help, visit redcross.org.

H20234 July 2006

T

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is for THEATRE

ACTORS' PLAYHOUSE AT THE MIRACLE 280 Miracle Mile Miami, Fl. 33134 305-444-9293 www.actorsplayhouse.org

ADRIENNE ARSHT CENTER FOR THE PERFORMING ART

1300 Biscayne Blvd.

Miami, Fl. 33132 786-468-2000 A full-season lineup that will include many more presentations, including jazz from around the world; theater works both intimate and spectacular; shows for children and their families; the latest in contemporary dance; experimental multimedia shows and beloved classics; popular entertainment spanning top-selling recording stars, acclaimed cabaret artists, favorite comedians, and much more. www.carnivalcenter.org www.arshtcenter.org

ATLANTIC THEATRE

6743 W Indiantown Rd. Jupiter, Fl. 33458 561-575-3271 www.theatlantictheatre.com

BROADWAY IN

Pompano Beach, FL 33062 954-764-0700 Miami: 1-800-939-8587 Palm Beach: 1-800-520-2324 www.broadwayacrossamerica. com

BROADWAY IN FORT LAUDERDALE

P.O. Box 4603 Ft. Lauderdale, Fl. 33312 1800-764-0700 www.broadwayacrossamerica. com

BROWARD CENTER FOR THE PERFORMING ARTS

201 SW 5th Ave. Ft. Lauderdale, Fl. 33312 954-522-5334 Box Office 954-462-0222 The Broward Center for the Performing Arts invites you to discover something new to love about the arts. Try theater, from tragedy to farce. Dance, from ballet to modern. Music, from classical to opera to pop. With performances year-round, there’s something for everyone to enjoy! www.browardcenter.org

BROWARD COUNTY FILM SOCIETY 503 SE 6th St. Fort Lauderdale, Fl. 33301 954-525-3456 www.fliff.com

BYRON CARLYLE

8440 Hawthorne Ave. Miami Beach, Fl. 33141 305-993-2000 www.byroncarlyle.com

CALDWELL THEATRE COMPANY

7901 N Federal Highway Boca Raton, Fl. 33487 561-241-7432 Known for its outstanding acting ensembles and attention to production details, Caldwell has delivered awardwinning productions. www.caldwelltheatre.com

CENTRE FOR THE ARTS

590 Plaza Real Boca Raton, Fl. 33432 561-750-5002 www.centre4artsboca.com

CUILLO CENTRE FOR THE PERFORMING ARTS

201 Clematis St. West Palm Beach, Fl. 33401 561-835-9226 Our intimate, 377-thrust Mainstage theatre has been home to several new plays and musicals on their way either to or from Broadway. Our new 45 seat Second Story Theatre provides a perfect setting for private meetings and cabaret-style concerts. www.cuillocentre.com

CULTURAL TRUST OF PALM BEACHES 2175 Wellington Green Dr. Wellington, Fl. 33414 561-333-4948 www.culturaltrustpb.org

CURTAIN CALL PLAYHOUSE

503 SE 6th St. Fort Lauderdale, Fl. 33301 www.fliff.com

2500 SE 3rd St. Pompano Beach, Fl. 33062 954-784-0768 www.curtaincallplayhouse. com

CITY THEATRE

DELRAY BEACH PLAYHOUSE

CINEMA PARADISO

444 Brickell Ave. Miami, Fl. 33131 305-755-9401 www.citytheatre.com

COMMUNITY PERFORMING ARTS CENTER

4430 Seagrape Dr. Lauderdale By The Sea, Fl. 33308 954-202-2666

CONCERT ASSOCIATION OF FLORIDA

1470 Biscayne Blvd.

Miami, Fl. 33132 1-877-433-3200 A not-for-profit organization, introduces its forty-first season as the largest and most high profile presenter of classical music orchestras, soloists, opera stars and ballet and dance companies in the Southeastern US. www.concertfla.org

CREATIVE CHILDREN’S THEATRE 12320 W Dixie Highway North Miami, Fl. 33161 305-895-8955

CREATIVE CHILDREN’S THEATRE 12343 W Dixie Highway North Miami, Fl. 33161 305-895-0335

CRUZAN AMPHITHEATRE

601-7 Sansbury Way West Palm Beach, Fl. 33411 Hotline: 561-793-0445 www.livenation.com/venue

950 NW 9th Street Delray Beach, Fl. 33444 561-272-1281 The Delray Beach Playhouse is a modern fully equipped 238 seat theater situated in an attractive park setting overlooking scenic Lake Ida in Delray Beach, Florida. Its productions provide unique acting opportunities for talented and motivated performers. The Playhouse is a non-profit organization, which strives to expand its commitment to serving the community at large through several outreach programs. www.delraybeachplayhouse. com

DREAM THEATRE PRODUCTIONS INC.

515 Valencia Ave., #7 Coral Gables, Fl. 33134 305-446-9175

FANTASY THEATRE FACTORY

7069 SW 47th St. Miami, Fl. 33155 305-284-8800 As a touring theatre, we are uniquely different from housed theatres in that our audiences do not come to our theatre space; we take theatre to our audience. We perform in rural and inner city schools, theatres, parks, hospitals, community centers, practically everywhere. www.ftfshows.com

BROWARD CENTER FOR THE PERFORMING ARTS 201 SW Fifth Ave Ft. Lauderdale, FL 33312 T: (954) 462-0222

877-311-7469(SHOW) W: www.browardcenter.org

WICKED

3/12 -4/6 JANE MONHEIT

3/27 DIN DIN AVIV

3/24

FLORIDA GRAND OPERA

HOLLYWOOD PLAYHOUSE

FLORIDA STAGE

IMAX BLOCKBUSTER 3D THEATER

221 SW 3rd Ave. Ft. Lauderdale, Fl. 33312 954-728-9700 www.fgo.org 262 S Ocean Blvd.

Lantana, Fl. 33462 561-585-3404 www.floridastage.org

FOLLIE'S ADULT THEATRE 2550 S Military Trail West Palm Beach, Fl. 33415 561-433-9272

TheatreFORT LAUDERDALE CHILDREN'S THEATRE 520 N Andrews Ave. Fort Lauderdale, Fl. 33301 954-769-9977 www.flct.org

FORT LAUDERDALE CHILDREN'S THEATRE TICKETS AND REGISTRATION 640 N Andrews Ave. Fort Lauderdale, Fl. 33311 954-763-6882 www.flct.org

GABLESTAGE BOX OFFICE 1200 Anastasia Ave. Coral Gables, Fl. 33134 305-445-1119 EXECUTIVE OFFICE 305-4461116 www.gablestage.org

GOLD COAST THEATRE COMPANY

345 W 37th St. Miami Beach, Fl. 33140 305-538-5500 Gold Coast Theatre Company was established in 1982 to bring professional theatre experiences to people from all walks of life. The company specializes in mime and physical theatre and delights Florida audiences with original, culturally diverse theatrical shows influenced by artists from all over the world. The theatre is one of Florida’s busiest arts organizations, performing to over 100,000 people annually in about 200 engagements in South Florida and overseas. www.britishpanto.org

2640 Washington St. Hollywood, Fl. 33020 954-922-0404 www.hollywoodplayhouse.com

401 Sw 2nd St. Fort Lauderdale, Fl. 33312 954-463-4629 954-467-6637 www.mods.org

INSIDE OUT THEATRE

One East Los Olas Blvd.

Ft. Lauderdale, Fl. 33301 954-385-3060 www.insideouttheatre.org

JACKIE GLEASON THEATRE OF THE PERFORMING ARTS 1700 Washington Ave. Miami Beach, Fl. 33139 305-673-7300 www.gleasontheater.com

JAMES L KNIGHT CENTER MIAMI CONVENTION CENTER

400 SE 2nd Ave. Miami, Fl. 33131 305-372-4634 612 guest rooms on-site, Hyatt Regency Miami www.umknight.com

KRAVIS CENTER FOR THE PERFORMING ARTS 701 Okeechobee Blvd.

West Palm Beach, Fl. 33401 561-833-7952 www.kravis.org

LAFFING MATTERZ

219 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-763-5236 www.laffingmatterz.com

LAKE WORTH PLAYHOUSE

713 Lake Ave. Lake Worth, Fl. 33460 561-586-3549 www.lakeworthplayhouse.com

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LAUGHING GAS COMEDY IMPROV THEATRE

4129 Laguna St. Coral Gables, Fl. 33146 305-461-1161 The Laughing Gas Comedy Improv Theatre Company is the longestrunning professional improvisational theatre troupe in South Florida. We present a 90-minute, interactive show combining music, sketches, and improvised comedy based on your suggestions from the audience. And we’ve been doing it since 1992! Laughing Gas performs every Friday and Saturday nights at The Main Street Playhouse, located at 6766 Main Street in Miami Lakes. Curtain time is 11:00 PM (box office opens at 10:45 PM). www.laughinggasimprov.com

MALTZ JUPITER THEATRE

1001 E Indiantown Rd. Jupiter, Fl. 33477 561-743-0107 The Maltz Jupiter Theatre is a professional nonprofit regional theatre dedicated to the performing arts whose mission is to entertain, educate and inspire our community. www.jupitertheatre.org

MANUEL ARTIME THEATER 900 SW 1st St. Miami, Fl. 33130 305-575-5057 www.manuelartimetheater. com

MIAMI BEACH CINEMATHEQUE & GALLERY 512 Espanola Way Miami Beach, Fl. 33139 305-673-4567 www.mbcinema.com

MIAMI CHILDREN'S THEATER

11155 SW 112th Ave. Miami, Fl. 33176 305-274-3596 www.miamichildrenstheater. com

MIAMI CITY BALLET

2200 Liberty Ave. Miami Beach, Fl. 33139 305-929-7000 www.miamicityballet.org

MIAMI LIGHT PROJECT

3000 Biscayne Blvd.

Miami, Fl. 33137 305-576-6480 Founded in 1989, Miami Light Project is a not-for-profit cultural organization which presents live performances by innovative dance, music and theater artists from around the world; supports the development of new York by South Florida-based artists; and offers educational programs for students of every age. www.miamilightproject.com

MIAMI WORLD THEATER

Miami Beach, Fl. 33139 305-535-9930 www.miamiworldtheater.com

POET PRODUCTIONS LLC

MOSAIC THEATRE

1382 W Mcnab Rd. Fort Lauderdale, Fl. 33309 954-956-7681 Exciting aerial performers, gymnasts, acrobats and contortionists from all over the world make up our awardwinning cirque-style theatrical productions. www.poetproductions.com

NEW THEATRE INC.

RISING ACTION THEATRE INC

12200 W Broward Blvd. #3121 Plaintation, Fl. 33325 954-577-8243 www.mosaictheatre.com 4120 Laguna St. Coral Gables, Fl. 33146 305-443-5909 www.new-theatre.org

NEW WORLD SYMPHONY LINCOLN THEATRE

541 Lincoln Rd. Miami Beach, Fl. 33139 305-673-3331 The New World Symphony presents a full season of concerts from October to May at the Lincoln Theatre, located in the heart of Miami Beach’s Art Deco district. www.nws.org

NORTH MIAMI BEACH JULIUS LITTMAN PERFORMING ARTS THEATER

17011 NE 19th. Ave. North Miami Beach, Fl. 33162 305-787-6005 Hialeah, Fl. 33010 305-948-2957

PALM BEACH DRAMAWORKS

322 Banyan Blvd.

West Palm Beach, Fl. 33401 561-514-4042 www.palmbeachdramaworks. org

PALM BEACH SHAKESPEARE FESTIVAL 103 US Highway 1 Suite F-5 Jupiter, Fl. 33458 561-575-7336 www.pbshakespeare.org

PARKER PLAYHOUSE

707 NE 8th St. Ft. Lauderdale, Fl. 33304 954-462-0222 954-763-2444 The Parker Playhouse curtain rose for the first time on February 6, 1967.

One of Fort Lauderdale’s first venues, the neo-classical Playhouse, was built

by Dr. Louis Parker and is managed now by the Broward Center for the Performing Arts. This 1,167-seat fully equipped theater plays an important role in the community by serving as a vibrant part of the area. Parker Playhouse helps fuel economic development while also bringing the community together with performances, activities and educational programming. www.parkerplayhouse.com

840 E Oakland Park Blvd.

Oakland Park, Fl. 33334 954-561-2225 Box Office: 1-800-595-4849 www.risingactiontheatre.com

ROYAL POINCIANA PLAYHOUSE

70 Royal Poinciana Plaza Palm Beach, Fl. 33480 561-833-9148

ROYAL POINCIANA PLAYHOUSE

701 Okeechobee Blvd.

West Palm Beach, Fl. 33401 561-659-7141

SILVER SCREEN CINEMA CAFÉ & COMEDY CLUB 12795 Forest Hill Blvd.

Wellington, Fl. 33411 561-793-6657

SOL CHILDRENS THEATRE TROUPE

3333 N Federal Highway Boca Raton, Fl. 33431 561-447-8829 www.solchildrentheatretroupe. org

STAGE DOOR 26TH STREET THEATRE 1444 NE 26th St. Ft. Lauderdale, Fl. 33305 954-344-7765 www.stagedoortheatre.com

STAGE DOOR THEATRE 8036 W Sample Rd. Margate, Fl. 33065 954-344-7765 stagedoortheatre.com

The PlayGround Theatre 9806 NE 2nd Avenue Miami Shores, Florida 33138 T: 305-751-9550 ext. 223 W: theplaygroundtheatre.com

TAMARAC THEATRE OF PERFORMING ARTS

7143 NW 88th Ave. Tamarac, Fl. 33321 954-726-7898 For 26 years we have endeavored to present to you, our audience, shows that satisfy, entertain, and enlighten. www.tamaractheatreof performingarts.org

TEATRO AVANTE

744 SW 8th St. Miami, Fl. 33130 305-858-2446 www.teatroavante.com

TEATRO DE BELLAS ARTES 1273 SW 8th St. Miami, Fl. 33135 305-325-0515

THE NEW VISTA THEATRE CO. 12811 Glades Rd. Boca Raton, Fl. 33428 561-470-1266 Box Office: 1-888-284-4633 www.newvistatheatre.com

THE PERFORMANCE PROJECT

8745 SW 57th St Cooper City, Fl. 33328 954-680-9887 www.theperformanceproject. info

THE PLAYGROUND THEATRE FOR YOUNG AUDIENCES

New World Symphony at LINCOLN THEATRE 541 Lincoln Road Miami Beach, FL 33139 T: (305) 673-3331

(800) 597-3331 W: www.nws.edu

9806 NE 2nd Ave. Miami Shores, Fl. 33138 305-751-9550 This coming season will be even busier with over 124 performances and the introduction of 2 new productions, Alice in Wonderland and The Clean House. www.theplaygroundtheatre. com

ALICE’S ADVENTURES IN WONDERLAND Playing through April 20th

THE STUDIO THEATRE OF WELLINGTON 11320 Fortune Circle Wellington, Fl. 33411 561-204-4100

THE THEATRE

854 Conniston Rd. West Palm Beach, Fl. 33405 561-833-7305

TOWNSHIP CENTER FOR PERFORMING ARTS 2452 Lyons Rd. Coconut Creek, Fl. 33063 954-973-7022 Box Office: 954-970-0606 www.thetownship.info

RIVIERA PLAZA LLC 1560 S Dixie Highway Coral Gables, Fl. 33146 305-666-7908

SYMPHONY OF THE AMERICAS

199 N Ocean Blvd., Suite 200 Pompano Beach, Fl. 33062 954-545-0088 The Symphony of the Americas celebrates its 18th Season, bringing the best of classical music to the multicultural population of South Florida. By presenting diverse orchestral repertoire at intimately scaled concerts by our resident orchestra and international guest artists, the Symphony of the Americas takes pride in the contribution it makes to the cultural environment here in South Florida. www.symphonyoftheamericas. com

WAR MEMORIAL AUDITORIUM

800 NE 8th St. Fort Lauderdale, Fl. 33304 954-828-5380 www.fortlauderdale.gov/wma

N 62 | SYMPOSIUM 3

NORTHERN INDIAN

CUISINE

by Dr. Alan Ornish, MD

The meat-heavy sauces and stews from India’s northern region have spread around the world, Moghul dishes originated from Persia.

Moghul cuisine is the legacy left by the nomadic Tartars of Persia who constructed India’s Moghul empire. The Moghul influence (which dominated for the 16th and 17th centuries) can be seen in the architecture (temples, palaces, tombs) and of course, in the food of India.

Ingredients such as rose petals, saffron and pistachios speak of their Persian origins as well as the liberal use of dried fruits, cinnamon, cloves, black/Kashmiri cumin and green cardamom.

The Moghuls are noted for their myriad of lamb dishes. In fact there’s a saying that goes something like this: “A really superb North Indian cook can produce a different lamb dish for every day of the year.”

They also introduced a style of cooking that lives to this day. It’s a method called “dumpukt” which involves placing a chicken or meat into a large pot, jumbled with spices and veggies, and placed over hot coals. The pot is sealed with dough to prevent the flavours from escaping. Additional coals are placed on top of the pot.

CUMIN, CLOVES & CARDAMON

Moghul food – which is Arabic and Muslim in style - includes slow-cooked curries and rich gravies. Naturally, being Muslim, there are no pork dishes here so the lamb and chicken plates (including quail and sparrow) are plentiful. The intense flavours of tandoori and biriyani are indications of Moghul seasonings such as garlic, ginger, paprika and fennel.

The cloves, cumin and cardamom are often fried in hot butter fat (ghee) until their aromas are released, then comes the onion, garlic, ginger and bay leaves. This is all fried and then mixed with yogurt. Additional spices such as fennel and paprika are flung into the mix or even ground poppy and grated almonds and the meat is braised. This type of braising is often referred to as korma.

By the way, in Iran, ghorme is a thick sauce of herbs and vegetables often used in stews.

Common Moghul dishes include zard birinj (saffron rice), rogan josh (lamb braised in a creamy yogurt sauce) and Kabab husaini – minced lamb stuffed with raisins and almonds – as well as samosas, pull-apart kebabs and pilafs.

Again, the Persian roots are obvious here, too.

The Indian word for pilaf – pullao – comes from the Persian word polo. The Persian-style samosas included dried fruit, nuts and minced lamb, by the way. Indians have added their own – stuffing them with peas and potatoes instead.

Let’s not forget the baked breads (chapatis and pooris) as well as paratha (whole wheat bread, layered with fat and baked on a griddle), baqar khani (leavened bread enriched with clarified butter) and shirmal (a sweet baked bun).

Lastly, there are the desserts. Besides stewed fruits and sweetened drinks, there’s frozen kulfi, an ice cream of milk solids, jalebi (deep-fried gram flour sweetened in sugar syrup) and halwa – one ingredient, like carrots or lentils, is cooked with milk solids and clarified butter. 03

915 East Las Olas Boulevard, Fort Lauderdale, FL 33301 954-463-3711 • www.Carrollsjewelry.com