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Letter from the Editor We are spoiled to be surrounded by a spectacle of art in Louisville. The arts and cultural scene in our city is never more dynamic and explosive than this time of year when the performing arts organizations launch their new seasons captivating us with provocative new work, comforting us with familiar favorites and even granting us the opportunity to witness a few world premieres. The arts leaders in Louisville are among the most innovative risk takers and have established a hub of creativity that puts the Derby City on par with major metropolitan cities. It is a gift we must not take for granted. Fall seems to be the ideal time to focus our attention on the visual arts community as well. It is the season, after all, when we play host to some of the greatest artists in the country as they travel to display every imaginable type of art at some of the fastest growing and most legendary art fairs. There is a great demand for art in this city because there is an exceptional thirst for it among our curious and creative population. In this issue, we lift the curtain on some of the newest and most exciting endeavors in the visual arts community. You will meet new gallery owners, John Brooks of Quappi Projects in the quickly blossoming art district of the Portland neighborhood, and Madison Ewing of M.A.D.S. Gallery, a multifunctional haven for all-media art in The Highlands. Through very different styles, Brooks and Ewing are creating a great deal of artistic energy in our city. I’ve long vowed that if I ever amassed any kind of fortune, I’d make a hobby of collecting art. My appreciation of art is autodidactic, so I’ve always had a bit of insecurity about my choices. I like the approach shared by Kevin Grangier as he walks us through his art collection, unapologetic about his choices or the cohesion among them, but all with a personal and meaningful story. An object of beauty or intrigue should indeed be considered an object of value. In which case, we are all experts of our own priceless collections and should surround ourselves with the images that bring us joy. Similarly, Karen Casi demonstrates how art and design have helped her establish unity and harmony in her home and in her life. We close this issue by paying tribute to the legendary Julius Friedman, who died in July after battling leukemia. The Louisville Ballet will honor Friedman in November by dedicating their season opening performance of “Stravinsky!” to him. Besides being perhaps Louisville’s most celebrated visual artist, Friedman was also one of the most faithful patrons of our local arts organizations. For that, and so much more, his legacy is eternal.

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FALL 2017

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LAURA SNYDER PUBLISHER

EDITORIAL TONYA ABELN EDITOR IN CHIEF

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WRITERS

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The Voice-Tribune (ISSN 1076-7398) is published weekly by Red Pin Media, 607 W. Main St., Louisville, KY 40202. Periodicals postage paid at Louisville, Ky., and additional mailing offices. Subscription rate: $39/year. Call 502.897.8900 to subscribe. POSTMASTER: Send address changes to: Red Pin Media, 607 W. Main, St., Louisville, KY 40202.

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FEATURES 18 ART

OF LOUISVILLE IN THE HEART OF LOUISVILLE

AUTHENTIC ARTISTRY

LOUISVILLE BESPOKE

AN ART COLLECTION SPANNING FIVE DECADES TEXTILE TECHNIQUE

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72 MEET

THE CAST OF “ANGELS IN AMERICA”

94 INSPIRED

CHEFS CREATE EDIBLE ART

102 MA

MAISON DE RÊVE

110 CELEBRATING 124 ARTISTRY 126

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OF GRACE

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ART of Louisville in the Heart of Louisville By Tonya Abeln Photos by Clay Cook Event Photos by Kathryn Harrington

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or Madison Ewing, the inspiration for M.A.D.S. Gallery evolved directly from the space it occupied. Located in the heart of The Highlands, she saw a titanic opportunity to create something that was as inviting, quirky, thought-provoking and fun as the block on which it stood. “I was leaving dinner at Uptown Café after a few espresso martinis, and I looked into this space and it just spoke to me,” Ewing recalls of the fateful night she wandered through The Highlands with her boyfriend, Jason Schmidt, to discover a vacant storefront at 1608 Bardstown Road. She leased the space in March of this year, but not without a fight. “This space is highly desired,” Ewing acknowledges, “and there were bids that were definitely higher than ours, but John and Allyson Mokhtarei, the owners of Alcott & Bentley shared a passion for my vision and luckily chose us as stewards for the location.” It was four months after Ewing signed the lease that they discovered through a photo that Allyson had actually been a bridesmaid in her mother’s wedding. Ewing notes, “It was an affirming coincidence that I had made the right choice.” A lover of fashion with a keen and unique sense of individual style, Ewing originally envisioned that the space would function as a clothing boutique with a highly original and artistic mission. She began to renovate the space in partnership with Schmidt and started to pursue relationships with local artists to fill the 80 by 14 foot walls of white. “I knew I wanted to fill the walls with local art regardless of the final concept, and then start to fill the interior space with textile art,” Ewing describes of her initial vision. “After meeting with so many local artists, and hearing about the passion for their work, I decided to pump the breaks on the fashion element. There are already so many great boutique options on this block, but despite the artistic surroundings in this area of town, there wasn’t a contemporary art gallery. I admittedly can’t create art, but after meeting these artists, I had a strong desire to help give them an avenue to share theirs with the world through my business background. There is a huge gap between desire and success and trying to rationalize that with a business plan is difficult, but that became my goal.” That goal and business plan continued to grow before the doors even opened as Ewing let the space reveal its possibilities to her. With all energy focused on renovating, Valentine’s Day snuck up on Schmidt with no plans. He placed a table in the middle of the newly acquired gallery, ordered food and serenaded her with guitar by candlelight. Of the romantic gesture, Schmidt recalls, “I told her, ‘I’m sorry we don’t have reservations to a fancy restaurant, but we are building a future together right here.’” As they looked around the room that night, and as the endless foot traffic peered inside the storefront, they began to realize that what they had was a shell covered in beautiful local art, and that the shell could hold anything inside,

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Basil Hayden’s Artfully Aged Dinner hosted by M.A.D.S. Gallery and produced by J. Wagner Group.

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even an intimate event with live music. “We started to feel like we were sitting in the middle of our living room on Bardstown Road, and we wanted to start inviting people inside,” Ewing says. “We wanted it to feel universally welcoming for everyone, a haven for art of all mediums. We could host literature or poetry readings, have dance and live music night, house paintings or sculpture. I want it to feel like an open door policy.” To create their vision of a cultural hub, the couple looked to their favorite pastime – travel. With the start of a new business and multiple existing businesses for Schmidt, their time on the road was certain to dwindle. “One of our favorite things to do when we experience a new city,” Schmidt describes, “is to get lost and end up in places that only the locals know about. When I am in those places is when I am at my most relaxed. This space, in the heart of The Highlands’ historic district, represents that place to us. I realized that some of the culture I was seeking to find could be created here locally.” Together, they saw M.A.D.S. Gallery as an amalgamation of all of their favorite places and passions – the New Orleans underground jazz scene mixed with New York

M.A.D.S. Gallery hosts live music one Saturday of each month.

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swank, but with the laid back vibe of the West Coast. Though Ewing studied accounting at Bellarmine and obtained a master’s in business administration, she had found her true professional passion through event planning. After doing public accounting with Strothman and Company, she started doing the books for a local restaurant and eventually parlayed that into planning their events. Her innovation and enthusiasm for details and client service resulted in a perfect fit, but the confines of a restaurant didn’t allow her to execute special events to the level consistent with her desire and imagination. With M.A.D.S. Gallery, the possibilities were endless. “The gallery is a unique backdrop for any event,” Ewing describes. “We have transformed the space to accommodate something different every weekend. When you go to a restaurant, a ball room or a country club, the room feels the same no matter who fills it. Here, we have rotating artists on the wall and you are able to experience the work of your fellow Louisvillians.” Ewing also stresses that you are also on display for anyone walking or driving down Bardstown Road, and she vows to plan events worthy of the view. Having worked previously with Joey Wagner of J. Wagner Group and Box Car PR, she says she has planned anything from private corporate events and dining experiences to large holiday and Kentucky Derby parties. “I’m not an artist,” she offers, “but event planning is my art – the art of taking care of everything for my clients.” Between live music nights and interactive art classes, not every event has been completely within her element, but the risks have been full of rewards. Partnering with Bourbon Tango for Salsa Nights has resulted in an increasingly popular atmosphere. “I love how completely inviting and nonjudgmental the dancers are,” Ewing says of the instructional group led by Cherie Lanier and Clay Marshall. What they teach is described as a highly adaptable social tango fusion dance. “I was not prepared for how dressed up people get to participate. We had men in three piece suits and top hats. Then people started literally putting on their dancing shoes – they change shoes to dance!” The partnership has resulted in unforgettable evenings with 50 people twirling away until the morning hours, creating a sense that M.A.D.S. Gallery can transport you to another place and time before you step out to Bardstown Road where more fun awaits, even in those breathless hours just before dawn. The Highlands is the neighborhood in Louisville that doesn’t sleep. “The Highlands is what gives this space its soul,” Schmidt explains. “M.A.D.S. Gallery is a formation of Louisville’s history coming right down Bardstown Road and stopping in for a drink. You have within a hundred paces the heart and the soul of the city.”

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Madison Ewing and Jason Schmidt.

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The surrounding businesses have been paramount to their success over the past months and, Ewing says, feel like a large part of what makes the location so special. “Danielle Greeson-Bramblett at LouVino has been so supportive and is always asking what we have going on so they can inform their diners who may have a wait time. Philip Camino with Stout Burgers and Beers has been the same, constantly promoting what we are doing. We have tourists that just stop in because their driver told them they had to experience this block of The Highlands to really understand Louisville’s charm.” Music is also a quintessential part of that particular quadrant of The Highlands with Doo Wop Shop and Guitar Emporium located within a few feet. With that in mind, Schmidt says incorporating a functional musical space was imperative. “I’ve played music for 20 years, and I missed that youthful way of relieving stress. Initially, moving instruments into the space was just as much for me as it was for any other reason,” he confesses with a laugh. “I knew I could hop on the piano or guitar on a Saturday night and no one could kick me out. But over time, we have had local musicians converge here to play together and it has housed some spontaneous and epic unrehearsed jam sessions.”

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Jam sessions, dance nights, poetry readings – they are all a dream realized for Madison Ewing who shares, “Art is a passion of mine and I don’t care what the medium is. Hosting a collaboration between art, music, dance and fashion creates this peaceful harmony for me. I have poured my entire life savings into this, which is a huge financial risk, but I asked myself: If you were an artist, and you could paint your life’s picture, isn’t this exactly what you would want it to look like?” Besides an abbreviation of her name, M.A.D.S. represents Modern Artwork Design and Style. While the gallery space encompasses all of those terms already, Ewing assures that she is close to finally incorporating the last letter in a more permanent and definitive way by carrying some of her favorite one-of-a-kind designers from across the country – think hand-painted ball gowns and track fashion with classic silhouettes. “Whatever we welcome into the walls of M.A.D.S. Gallery, art will always be at the heart of our mission,” Ewing assures. In the meantime, the doors to her “living room on Bardstown Road” are open and she invites everyone from the discerning art collector to the aspiring musician, to come in and get comfortable.

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AUTHENTIC

rtistry

JOHN BROOKS Brings Quappi Projects to Louisville

By Remy Sisk

Photo of John Brooks in his studio by Clay Cook

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T Photo by Tim Valentino

he opening of Quappi Projects at 1520B Lytle St. on the evening of August 18 was not so much the culmination of John Brooks’ life’s work but rather another milestone from which the renowned artist will only continue to develop. The new art gallery’s first exhibition featured the work of Adam Chuck, and the opening event saw a crowd of art enthusiasts venture into the Portland art workspace building – which is currently nameless – to climb to the second floor where Quappi is located and see in what ways this new space will enrich the cultural fabric of Louisville. Though Brooks is the director of the gallery, he’s also a professional artist himself, and the opening of Quappi is only the latest in a long string of accomplishments indicative of both his ceaseless determination to better himself and his craft, as well as his unequivocally authentic artistry.

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Brooks knew from an early age that he was interested in the visual arts. His grandfather had a career as a draftsman and sign painter – Brooks in fact sees his current work as a sort of extension of what his grandfather never got to realize – but growing up in Frankfort, Kentucky, he didn’t know any professional artists. Consequently, he was somewhat devoid of the culture that often cultivates the creativity of young people interested in the field. In addition to his fascination with art, Brooks was an exceptional golfer and attended the College of Charleston on a partial golf scholarship. However, his inclination toward the arts was still fervent, yet with golf and art being his two interests, his parents encouraged a broader approach to his future. “My parents, who were very supportive of everything I did, kind of coaxed me into dropping one of those dreams and maybe picking something that was more bankable in a way,” he recounts. “So I studied art in college but ended up with a degree in political science and a minor in English thinking that I would go to law school or work in politics in some way if being a professional golfer didn’t work out.” His golfing career, alas, did not entirely pan out, though he did play in the 2003 U.S. Public Links. He also played in the 2004 and 2005 U.S. Mid-Amateur Championships as well as the 2005 Links Trophy at St. Andrews, Scotland. In early 2006, Brooks’ partner Erik Eaker’s job took the couple to London, where Brooks’ dreams of being an artist would not only resurface but at last have the chance to more thoroughly develop. “It wasn’t until then that I revisited the idea of being an artist,” he maintains. “Moving to London and not working, I was able to reinvent myself really and revisit some deep desires and dreams that I had put away. London is a city that is so full and so rich in every sense, and it became very clear to me that this is what I wanted to do and that I could do it. So I started doing it.” Brooks regularly visited museums and immersed himself in the culture of London, where a career in art was not only more tolerated than perhaps it is here, but also more robustly exalted. “I felt like every time I left the flat, I was going to learn something – whether I meant to or not – and that’s really powerful,” he says of his time there. “We were living in this tiny flat in South Kensington – it basically had one big room, and everything was just packed with paintings and drawings. It was feverish, but it was great.” After submitting work to an exhibition and being accepted, Brooks met some up-and-coming gallery owners who represented him, and his career only blossomed from there. He took classes at Central St. Martins College of Art & Design and Hampstead School of Art and continued to explore the art-dense culture of where he was living, developing a more definite knowledge of what he wanted his work to be – and not be.

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“If someone says to me, ‘I find that painting interesting but I don’t think I could live with it because it makes me uncomfortable,’ I consider that to be a successful piece of art because really, there’s nothing there,” he relates. “It’s pigment on a flat surface, but yet, it says something to someone. I’m not really interested in making work that’s confrontational just to be confrontational or controversial just to be controversial – that’s too explicit for me. I think it’s much better if something is at first pleasant or appealing because of the colors or the shapes or whatever, then the longer you look at it, the more uncomfortable you are. You can’t quite tell what the figure is feeling or saying – I love that. A piece of art that you understand is not interesting to me – I want something that changes depending on how you feel.” Brooks and Eaker came back to Louisville in 2009 before moving to Chicago and then back to Louisville in 2013. Brooks had a studio at his home, but when the couple sold their house in 2015, he was without a studio. To continue his work and augment his constantly swelling wealth of knowledge, he applied to a summer course in Berlin, Germany, which was being taught by Norbert Bisky, an artist Brooks had long admired. He was accepted and subsequently spent two months in Berlin, not only studying art but also further enriching and feeding his deep love for German culture and history. “I find it so fascinating how in the aftermath of World War II, Germany dealt with and came to terms – imperfectly, of course – with all of that guilt, all of those sins, and became a modern, functioning liberal society,” he affirms. “I think there’s a lot to mine there, and it’s all so present in the culture – in film, literature, architecture and, of course, it is present in the art. Artists like Baselitz and Kiefer and Bisky and Lüpertz and Fetting, and so many more. How could the artists working in the second half of the 20th century or even today not address that history? To do so would be dishonest, or blind. That doesn’t mean that every piece has to be about that, but it ought to be present somewhere in the work. It’s not exactly the same, but I think the German experience parallels with our own American history of colonization, slavery, manifest destiny and empire.” The work of German artists and their cognizance for elements beyond the pure aesthetic has undeniably been influential on Brooks’ work as he himself finds higher interest in the representation – or perhaps, the evocation – of a sort of heaviness, which can also be found in the work of Spanish painters. “When I go to a museum, I will look at the Spanish art and the German art,” he says. “Those are my first two choices. And there’s a rawness and a darkness that is present in both of those cultures – Goya, Velázquez, Zurbarán – there’s a heaviness in the work that

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“A pi ec e of art that you und erstand is not interesting to me – I want something that chang es d ep ending on how you feel.”

Photo of John Brooks at Quappi Projects Gallery by Clay Cook

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Artwork by John Brooks; “Quappi in Pink” center.

I find really, really interesting, and it’s reflective of the human experience, the full view of the human experience.” When Brooks returned to Louisville, he found a new studio home at his current location of 1520B Lytle St. in Portland, which he shared with Theo Edmonds of IDEAS xLab. However, 2016 proved to be a difficult year for the artist, as a blood clot and bike wreck rendered him unable to work for half the year. Edmonds moved out in July 2017 to devote more attention to IDEAS xLab’s national arts and health demonstration pilot, Project HEAL. Suddenly, Brooks was faced with a prospect more exciting than he could have anticipated. “I decided I didn’t need the whole space to work – I was satisfied with my section that I had – and it occurred to me that this was my chance to open a gallery, which is something I’ve wanted to do for a long time but it never really seemed feasible, economically responsible or even possible,” he explains. “But there were two things I took back from my time in Berlin. One was Norbert’s advice that you have to just do your own thing. If you can’t find a place to show your work or can’t find a community or a network, just start your own. And I think that’s great advice. And then two, just how open and free and really expansive the city is and how many different things are going on – there’s all of this potential, and all of these efforts are being made to share and express and it isn’t all what we think of as the traditional gallery or museum space. And I feel like Louisville definitely has those things but we could have more. So when my studiomate left, it really became clear to me that this was my opportunity to do this and if I didn’t do it now then it wouldn’t happen.” Thus the plan for what would eventually become Quappi Projects began to form. The name Quappi is actually taken from Brooks’ study of German art and appreciation for its place both on a national and

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international cultural landscape. Max Beckmann was a 20th-century German painter who was forced out of work as well as the country as Hitler rose to power. Throughout his struggles, his wife Quappi was who in many ways kept his creativity alive: “He painted her a lot and credited her with keeping him going and keeping him inspired, and I’m very interested in that time period and those artists and what they went through,” Brooks describes. “I think their experiences are relevant today, and I wanted to reference that but also honor her spirit and their experience.” Moreover, Brooks in fact credits Beckmann himself with an aspect of the philosophy of his work as a painter: “My own work has been focused on emotional resonance and what Max Beckmann referred to as ‘the deepest feeling about the mystery of Being.’ And that sounds really heavy and I don’t mean it to be super heavy, but we don’t know anything. Everything is a mystery, and that’s OK. We’re exploring that – we’re all just trying.” Quappi now stands as a bright 850-square-foot gallery that is open to the public on each exhibition’s opening night and then by appointment only. As Brooks has brought it to fruition in less than two months, the intention of the space has always been clear in his mind: “My focus of the gallery is to show work reflective of the zeitgeist. I’m interested in work that is complicated, work that is challenging. That doesn’t mean that it has to be confrontational.” Brooks already has the first two years of exhibitions in the gallery planned, alternating between local and nonlocal artists. Despite different origins, all of the artists have a thread that links them together under the mission of Quappi, which makes them all the right “fits” for the space, but certainly not limited to any preexisting expectations. “I’ve chosen artists who I feel have something to say about our culture and about the zeitgeist, but I’ve also been very clear to them that this an artist-focused gallery so I want

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John Brooksâ&#x20AC;&#x2122; studio. Photos by Tim Valentino.

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Adam Chuck’s “Instant Gratification” exhibit opening at Quappi Projects. Second from top: John Brooks and Adam Chuck. Photos by Tim Valentino

them to show what they want to show,” he says. “I’ve chosen them for a reason, but I’m not dictating what they can show. Obviously, I hope to sell things but that’s not the primary goal; the primary goal is to share and to express and to give a platform for artists to show their work.” As far as Brooks’ own work, there’s a chance you may see it on display at Quappi someday, but that’s not a definite plan; the purpose of the gallery extends far beyond Brooks himself, who, in addition to his painting, is a published writer continuously looking for more outlets in which to publish his poetry. “Everyone assumes when I tell them that I’m opening this gallery that I’m showing my own work, and I’m not completely opposed to that idea but that isn’t why I’m doing this,” he asserts. On the August 18 opening, it was clear that Louisville is ready for what Quappi is and what it intends to offer the city. Guests observed Adam Chuck’s striking oil on mylar collection as Brooks and Chuck mingled and observed the launch of something truly special – something that not only brings Lousiville a wonderfully new cultural offering but also concretely illustrates the spectrum of knowledge and influence Brooks has picked up as an artist over the years. The gallery is indeed untraditional, but it is a deliberate, unique and superiorly interesting space. In the next two years, and beyond, Quappi will be exhibiting not only work that is reflective of the zeitgeist but also work that sparks conversation, that elicits a feeling that is ultimately transformative. “I know from my own life that art has the power to transform and to really affect, and it’s profound,” Brooks emphasizes. “That’s what I’m interested in, and I want to share work that does that.”

QUAPPI PROJECTS 1520B Lytle St. • 502.295.7118 quappiprojects.com • info@quappiprojects.com Other than opening nights, Quappi is open by appointment only Adam Chuck / Instant Gratification Through September 29 Vian Sora November 10 - January 5 Whit Forrester January 16 - February 16 Michael James Moran March 9 - April 20 34

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LOUISVILLE BESPOKE A New Play er in the World of Fashion By Nancy Miller

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imply stated, the word “bespoke” means made-to-order. Louisville Bespoke, one of the city’s most innovative new ventures, is not so easily defined. Yamilca Rodriguez should know. She is its founder. “This is a concept that, quite frankly, isn’t easy to understand because it’s entering unexplored territory and is multifaceted. Thinking about it keeps me up at night and putting it into action keeps me busy every day. Exhilarating and mind boggling are descriptive words that immediately come to mind,” she says. The idea for Louisville Bespoke blossomed as she was struggling to design a line of clothing but realized she didn’t have the support or resources for a thriving business. Rodriguez, a former industrial designer who worked in Innovation and Branding for 13 years at Procter & Gamble, created Louisville Bespoke as an incubator where local fashion designers and related entrepreneurs could share ideas, resources and a support system. The Louisville Bespoke brand identity is evolving as a sort of journey that interweaves imagination, mirrors a diversity of cultures and speaks to life-shaping experiences. “Fashion is a reflection of the complexities of what’s going on in our lives. Fashion is an influencer just as much as it is influenced by the environment, politics, food, technology, you name it. The environment is, literally, a beautiful example. A designer may be walking around and see a huge tree or a lake. He or she can take that image, abstract it and make a scarf or a skirt or a blouse,” says Rodriguez.

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Photo of Yamilca Rodriguez by Clay Cook

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Brand values she incorporates into Louisville Bespoke are artistry, adventure, glamour and transformation. To her, they are almost impossible to separate because they play off one another. “Someone may not think deeply about what they wear but clothing and accessories say so much about who we are. Sometimes they, more than language, can express what we love and what we find interesting. But I don’t think that means fashion speaks for us. It helps us put forth our inner self, or maybe the inner self we would like to get to know better,” she says. Louisville Bespoke, headquartered at Hope Mills, a 19th-century building in Germantown that was once a center of the worsted, woolen and cotton fabric industry, is a co-workspace that has sewing machines, work tables, a gravity iron, a dress form and a photography studio set-up. Perhaps more important than what the physical space offers is the environment that encourages and nurtures collaboration among designers. “It’s fun and experiential although I have learned that not everyone enjoys collaborating,” she admits. Although Rodriguez is expanding into a Hope Mills area that she will share with milliner Sarah Havens, she is retaining her original space as an atelier and office. “We’re still trying to decide exactly who and what we are and where we’re going. We work very fluidly but there’s a method to our madness. And there’s no right or wrong way to do what we’re doing. That’s what makes all of this so fun. And challenging. And at times, scary,” she says. On the walls of Louisville Bespoke are dozens of photographs of designs from Chanel, Hermès and Valentino. Sticky notes with single words of inspiration are posted next to hand written stream-ofthought sentences that are waiting to be modified and completed as she formulates ideas into concrete plans. The Louisville Bespoke space also has been and will be the milieu for makers classes that are open to the public. You can learn to make a fascinator, 40

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Photos by Clay Cook

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Photos from the Louisville Bespoke fashion shows at the Design Terminal in Portland (2016) and the Speed Art Museum (2017), by Tim Valentino.

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design a necklace or enroll in Sewing 101. Rodriguez will teach some classes and will invite professionals in their fields to take over other classes. She adamantly believes that Louisville has an edge on fashion design because of its heritage of horses, bourbon, food and baseball – elements that set the city apart from more traditional fashion hubs. “Many designers are using a part of our culture in their designs. They want their fashions to be recognizable as having Kentucky inspiration. That’s great because we have so much here that should make us proud. Those differences can be intriguing and distinctive. Aren’t those at the heart of fashion?” she asks. Rodriguez hopes Louisville will discard the impression that it’s a couple of years behind East and West Coast trends, of being a follower, not a leader. “Through Louisville Bespoke, our city can take its place on the landscape of fashion. We have remarkable talent here. Some of our designers have begun to be recognized nationally while others are just now stepping onto the scene,” she continues. Twenty of those designers were the stars of the first Louisville Bespoke fashion show held in the fall of 2016 at the Design Terminal in Portland. The response was so enthusiastic that she believed it promised a viable business model. She next produced a fashion extravaganza that attracted more than 400 guests to the Speed Museum last March. On the runway were 120 pieces – couture, ready-to-wear, hats, handbags, bathing suits, scarves, ponchos, jewelry and bow ties – from 15 designers.

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“The show was a lot of work and a struggle I did practically all by myself, but it was worth everything. People kept saying they felt as if they were at a New York fashion show. The energy was incredible. The question everyone was asking was when were we going to do another show. “I have received great show feedback from people for whom Louisville Bespoke was an unknown entity. They love the rawness and drama of seeing the new designers. It’s engaging and unexpected,” says Rodriguez. April 6, 2018, is the date for the next Louisville Bespoke Fashion Show at the Speed Museum. She’s considering having a charitable component to the show and is planning several levels of sponsorship as well as an auction. Area fashionistas won’t need to wait until spring to meet some A-List designers and see their latest work. Louisville Bespoke is partnering with Barry Wooley Designs for the Designer Experience Fashion Show, a one-of-a-kind event, to be held Thursday, September 21 at Barry Wooley Designs, 835 E. Main. Featured designers will include Ian Schuler, SLW Atelier; Lisa Kahl-Hillerich, Roxy Nell; Christine Robey, Barenaked Leather; Sarah Havens, Sarah Havens Millinery; Victoria Lea, Victoria Kazue; Matt Multerer, Finespun Clothing; Elizabeth Peak, Handmade by Peak; and Colleen and Maggie Clines, the Anchal Project. Rodriguez and Louisville Bespoke are also joining F5 Enterprises and Ann-DeEvelyn Clothing Company for a November fashion event that will be held in conjunction with the Women Empowering Women Breakfast Series. “In the beginning, Louisville Bespoke was about fashion designers, but it has quickly expanded to include others who have a relationship with fashion, such as make-up artists, stylists, photographers and an array of artists. And we are broadening our reach to include people who may not be in the industry but are interested in some aspect of fashion. We’re a real community of creative individuals who are expressing themselves in different ways,” says Rodriguez. Those individuals as well as editors, bloggers and anyone who is fashion-minded are invited to the Louisville Bespoke Open House on September 12 from 6 to 8 p.m. at Hope Mills, 1000 Swan Street. On Louisville Bespoke’s wall of ideas are plans for a holiday pop-up shop and even a travel experience. The Marrakech Adventure will be a women-only trip to Morocco. Fashion won’t be ignored but may take a back seat to a broader agenda of personal and professional exploration. “I’m creating it to be an experience that will encourage women to understand how they want the world to look at them, and that means more than what they wear,” says Rodriguez.

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Photo of Yamilca Rodriguez by Clay Cook

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A Small Painting without Provenance Spurs an Art Collection Spanning Five Centuries By Nancy Miller Photos by Clay Cook

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t wasn’t an Old Master or a contemporary art luminary who roused Kevin Grangier’s love of art and precipitated his extensive collection of paintings, lithographs, pen and ink drawings and photographs. A small landscape painting in a twig frame, found in his great grandmother’s attic in Morgantown, Kentucky, established the powerful bond between the man and his art. “I doubt there was anything special about the painting because my family was very poor and would not have had art that would have been considered of any consequence. I was eight or nine years old and it was the first oil painting I was ever close to and could touch. I don’t know if that served as an inspiration to learn more or if it simply uncovered my passion for art,” says Grangier. Throughout high school and college, he took advantage of every opportunity to learn about art. “Rather than being interested in any one medium, I was fascinated by how artists could influence emotions and impact society and history. What an incredible gift artists possess,” he says. Grangier’s early days of collecting led him to estate sales, antique stores and auctions,

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wherever old pieces could be found. Some of the art he has in his home today he bought when he was 25 years old. While they may not be considered his most prominent pieces, they represent an important time in his life. “My master plan for collecting is defined by how much wall space I have or what I can acquire in the remainder of my time here on earth. I have so many pieces in storage that I never see or display. For that reason, I currently limit my buying to art that is truly impactful,” he says. Although ninety percent of his art is European 18th century, or earlier, portraits or landscapes, Grangier regards his collection as somewhat eclectic. Every piece has a story, a story that continues to unfold. While living and working in Los Angeles, he became close friends with Billie Milam Weisman, who curated the magnificent contemporary collection of her husband, Frederick R. Weisman. Grangier and Ms. Weisman visited museums and galleries, attended private art gatherings and conversed with some of the world’s most illustrious figures in contemporary art. Grangier credits Ms. Weisman with exposing him to the genre and to introducing him to many of its most acclaimed artists. Guests at a

particularly memorable dinner, hosted by collectors Eli and Edythe Broad, included Gerhard Richter, Cindy Sherman, Damien Hirst, Jeff Koons, Ed Ruscha and Robert Rauschenberg. For Grangier, founder of Belle Noble Entertainment Group, the parent company of The Village Anchor, Le Moo, The Sea Hag Pub, Kevin’s PICNIC, PICNIC Office Catering and the recently announced Grassa Gramma, prices don’t necessarily determine value. If he likes a piece, he buys it. The prices of the works of which he is most fond range from $100 to more than $100,000. He has never bought a piece because it was created by a particular artist or because it held a certain value, nor does he purchase art with any lofty expectations of appreciation. Art has taught him that he’s not judgmental. He’s open to hearing, watching and accepting different situations, people and things. “I have found that, when looking at a painting or other piece of art, if you don’t really like it at first but spend enough time studying it and begin to value the complexities of what it took to bring it to life, you can’t help but like it. Art is about the brilliant mind that put an idea on a flat piece of paper that makes you cry,” he says.

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Many times, when I lived in Palm Springs I visited the gallery where this painting, “Blond Baby,” by Ivan Anderson, hung. I could never bring myself to buy a pastel painting of a baby. On one visit, the gallery owner told me he was closing the gallery and said he would send the remaining paintings to an auction. I couldn’t let the painting go somewhere I couldn’t see it again, so I bought it. I have never been a dad. I think it represents a part of me that has never happened.”

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Grangier views art in much the same way he gets to know people. “You can’t know what you’re getting with art until you spend time with it. Every time you look at a painting, you try to better understand the artist’s intent, and each time you spend with an individual, you try to better understand what he or she is saying or meaning,” he says. Learning about an artist and how circumstances may have contributed to what’s represented on the canvas is intriguing to Grangier. What a specific piece of art says to him is relevant, but trying to understand the artist’s perspective and the environment in which it was created gives him another dimension to the reality of the art. Thinking of his collection as “messages,” as opposed to paintings, reflects how he feels about his art. “I see something different in each painting every time I look at it. I’m guessing that my situation at the time, including my mood, relates to the message I receive. I would say that it’s more likely that my mood changes based on the painting. I have a colorful rooster piece by Pablo Picasso that makes me smile every time I walk past it. It reminds me of the different FALL 2017

varieties and colors of roosters I used to have,” he says. Dating back to the 1700s, his favorite painting hanging in his home is of a monk. “When you look at it your mind wants to go dark because the monk’s face is pale. Most people see the painting as very intimidating but my eyes go first to his eyes, which I see as very friendly. I feel his warmth and compassion.” Grangier finds it especially gratifying to be able to locate and communicate with an artist. However, he works with dealers when he’s in search of older or more esteemed art. This is how he discovered the Renoir bronzes that are now in his library and the Clyde Aspevig piece above one of the fireplaces at Bellewood, his historic home in Anchorage. Within his 10,000 square foot main house and the spaces in the adjacent cottage, there seems to be a perfect place for every painting or other work, so Grangier isn’t a collector who typically groups his art in any discernable manner. An exception to that is a section of the house where about forty 17th, 18th and 19th century pieces are hung. Among those are paintings by T.C. Steele and Ada Schulz that are grouped

together because both Steele and Schulz are late 19th century artists from Indiana. In the art world, much is said about “significant” works. It may be a subjective term to some, but to Grangier it isn’t overly complicated. He partially defines as significant the things he would take in his arms if his house were on fire. First would be his cats. Second would be his grandparents’ marriage license. Third would be the painting of Big Sur that hangs in his cottage. “I dragged my nieces and nephews to museums and galleries in Los Angeles, San Francisco, New York and New Orleans with the hope of expanding their appreciation of art. I’m sure some of my art will be passed on to them. But, to be honest, I haven’t thought a lot about on whom the next chapter of these pieces will fall. I’ll endeavor to give every one of them to someone to whom it says something special, probably younger people who have a hunger or a fire to learn the same things in the same fashion as I did,” says Grangier. “I’d be hard-pressed to find someone who loves my art as much as I do. I know no one is going to love the monk as much as I love him. That may be the painting I take to my grave.”

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Clothing available at Dillard’s Sadie (Left): Antonio Melani, Oxblood Leather Dress; Antonio Melani, Khaki Trench Coat; Natasha, Spiral Gold Earrings; Michael Kors, Green Print Bag/Kate Spade, Rose Bag; Steve Madden, Suede Thigh High Boots Lilly (Right): Free People, Ivory Lace Turtleneck; Chelsea & Violet, Embroidered Faux Leather Jacket; Lucy Paris, Embroidered Floral Miniskirt; Badgley Mischka, Stone Drop Earrings; Steve Madden, Black Suede Pearl Pumps

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Clothing available at Rodeo Drive (Below) Lafayette 148, Desra Blouse with Button Cuff; Lafayette 148, Tweed Priscilla Skirt; Gold Tassel Earrings; High Fashion Handbags, Black Patch Oversized Clutch with Jewel Pom Guitar Strap

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Clothing available at VonÂ Maur Sadie (Left): WAYF, Black Checker Top; WAYF, Satin Orange Midi Skirt; STONY, White Tassel Earrings; ADA, Gold Floral Belt Lilly (Right): Miss Selfridge, Foil Miniskirt; Dex, Grey Plush Sweater; Baublebar, Triad Shimmer Ball Earrings

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Clothing available at Rodeo Drive Sadie: Lafayette 148, Brayden Blouse; Lafayette 148, Harvest Leather Jacket; Nicole Miller, Evil Eye Leather Miniskirt; Lila, Gold Hoop Earrings; Zac Posen, Yellow Suede Bag; Stuart Weitzman, Pearl Pumps Lilly (Right):Â Lafayette 148, Desra Blouse with Button Cuff; Lafayette 148, Tweed Priscilla Skirt; Gold Tassel Earrings; High Fashion Handbags, Black Patch Oversized Clutch with Jewel Pom Guitar Strap; Stuart Weitzman, Velvet Boots

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Clothing available at Tunie’s Lilly (Left): Dear John, Khaki Dress with Rolled Sleeves; Canoe, Leather Purse with Gold Chain Strap Sadie (Right): Mystree, Black Dress with Embroidered Neckline; Turquoise Drop Earrings

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Clothing available at Liv Boutique Lilly (Left): Jill Jill Stuart, Purple Color Block Gown; Hammered Gold Necklace Sadie (Right): LYSSE, Plum Suede Dress; Summer Eliason, Tassel Earrings; Summer Eliason, Gold Cuff; Beaded Clutch Bag

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University. His undergraduate degree is from the University of East Anglia in the U. K. There, he majored in film studies with a minor in Italian language. Marcus switched careers when the Osbornes moved to Louisville from New York City in 2003. In New York Marcus was a freelance production coordinator on films, commercials and television shows. His most rewarding work experiences in this field were the educational series he did for PBS and Hallmark Entertainment so his change of profession to teaching has proved to be a natural fit. Marcus also spent time teaching TEFL (Teaching English as a Foreign Language) in Grenada, Spain. MANAGER, LEAD TEACHER, TRAINER KATIE MORGAN has been the manager of The Academy Tutoring and Day Program for almost a decade. She knows every aspect of the business and works with Jenny and Marcus tirelessly to provide quality and effective lessons for your child. Katie has created much of the content of The Academyâ&#x20AC;&#x2122;s innovative services. She also has a psychology background which has been crucial to our constant quest in helping students academically through a holistic lens and with a celebratory tone to strengthen their self-worth for the kind of risk-taking needed to have academic successes.

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MEET THE CAST OF

â&#x20AC;&#x2DC;Angels in 72

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By Minda Honey Photos by Clay Cook

A rare opportunity awaits as “Angels in America” lands at Actors Theatre. Set in the midst of the AIDS crisis, this

provocative production has moved and inspired audiences for nearly two decades. Both parts of the play will premiere at Actors this fall with a stellar cast and production team prepared to tackle its many difficult components. We had the good fortune of meeting the ensemble cast to learn about their roles, their backgrounds and their impressions of the Derby City.

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Rami Margron (Emily/Ella Chapter/The Woman in the South Bronx/The Angel)

ami Margron is originally from the Bay Area, but like much of the cast, currently resides in New York City. The actress is playing five different characters in “Angels in America,” but surprisingly this is not the greatest number of roles she’s juggled at once. “Multiple characters is one of my specialties,” says Margron, “and physical comedy. So, I would say more than half of the shows I do are multiple characters.” Margron says she’s also a regular at roles that require “some sort of weird physical feat,” so she’s well-prepared for the challenge of flying – and crashing – as The Angel. She describes the play as “iconic” and “perfect theater.” As far as her impression of Louisville goes, “It’s the biggest city around, so it’s where things happen. But it’s also a small town, so it’s warm and personal. I love saying ‘Hi!’ to everyone on the street. It’s very different from New York and I appreciate that.”

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Barbara Walsh (Rabbi Chemelwitz/Henry/ Hannah Pitt/Ethel Rosenberg)

arbara Walsh last performed at Actors Theatre in 1988 in “Tom Foolery.” From her last stint in Louisville she remembers enjoying drinks at the Seelbach Hotel and that she performed on the main stage because the other two stages didn’t exist yet. Unlike Margron, Walsh has never played this many roles in one play, “Much less three men and two women.” Walsh believes Tony Kushner has written “a masterpiece on the human condition.” She describes the characters that populate Kushner’s “Angels in America” as all being lost. Walsh’s favorite of her roles is Hannah Pitt, a Mormon mother navigating her relationship with her gay son. “What happens on her journey is she becomes illuminated,” Walsh explains. “Hannah talks about how Joseph Smith, the Mormon prophet, had a great need of understanding. And that line sticks out for me. We all want to understand. And if we can understand each other, it’s a huge step in the right direction.” Walsh highly recommends seeing the play on one of the two days both parts will be performed back-toback, “I can’t imagine them apart now that I know both because part one ends in a cliffhanger. I kind of wish we were doing both of them for all of the performances!”

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Meredith McDonough (Actors Theatre’s Associate Artistic Director)

“I

’ve had a 25-year relationship with ‘Angels in America,’” says Meredith McDonough. “I saw it like six times when I was 16 years old and living in New York.” Reflecting on that time, McDonough explains, “It’s amazing to me that I was 16 years old when there was a plague that many of my friends died in, and that part of gay history, I think, sometimes gets a little lost. It feels distant, but it was in my lifetime. This play is as much a celebration as it is a memorial.” McDonough, who re-reads the play at least twice a year, says, “It’s an amazing thing to get to work on it because it feels like the text is a friend in the room. And many of these actors I’ve worked with and known for quite some time, so it’s like the very best of people from different parts of my life working on this thing that we all know so well.” McDonough has been pushing to do “Angels in America” for years, but says after the November election, Les Waters, Actors Theatre Artistic Director, agreed the time was right, “This is it and we should do both. One is a show, it’s a good play. Two? Two is an event. It makes a statement that says it’s really worth the whole story.” McDonough believes the second part delivers the true message of the play: “We won’t stop moving and we won’t stop intermingling. The world only spins forward and change is positive. I feel like that message is so important to hear and remind ourselves of, especially in Kentucky.” She’s excited to be doing this production at Actors, sharing, “Our audience is one of the most adventurous audiences I’ve ever worked with. Because they’ve had the Humana Festival for 40 plus years, they’re accustomed to work that comes in tons of different forms. So, I feel like this show is a real gift for our audience.” McDonough is confident the Actors Theatre audience will appreciate the writing, comedy and the play’s bold and ambitious commitment.

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Therese Barbato (Harper Pitt/Martin Heller)

herese Barbato is from Chicago, but moved to New York to attend graduate school at Julliard, and she has lived in the city ever since. On playing Harper, Barbato says, “She’s the love of my life. If my soul could speak it would sound like Harper.” She relates to Harper’s desperate search for the truth. But the role isn’t an easy one. “It feels like the largest challenge as an actor, but also the most fulfilling one,” Barbato shares. “Sometimes plays are like fast food. You eat it, and you’re like ‘Mmm,’ but then you’re like ‘ugh,’ because you realize it doesn’t give anything back to you. Playing Harper is like eating the most nutritious macro bowl, and you want to be eating it because it’s nourishing you.” As far as finding nourishing meals in Louisville goes, Barbato is all about the bagel egg sandwich at Please & Thank You and also enjoys dining at Game and the Mayan Café.

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Brian Slaten (Joe Pitt)

hen he’s not in rehearsals at Actors Theatre, Brian Slaten has been exploring on his mountain bike all over Seneca and Cherokee Parks. Before performing in “Angels in America” when he was an undergraduate, Slaten had primarily been exposed to high school musicals, so he says that he didn’t know “a play could be so truthful to the human experience and so generous of soul.” Slaten explains that he “went to the University of Wyoming when Matthew Shepard was killed. So, the Laramie Project happened and Moisés Kaufman was there at the time.” While in graduate school at the Univeristy of California, San Diego, he was directed by Actors Theatre’s Associate Artistic Director, Meredith McDonough, in the same role he is currently playing. Slaten says he has grown both as an actor and a person since his first time in the role of Joe Pitt, “I’ve made life mistakes now. I am a married person now and learning how to live in a relationship was not something I had experience with when I was 24. Those are things that I think are necessary for this role because something Joe is dealing with is the marriage that he’s in.” Slaten says while he was working as a carpenter in Los Angeles, building sets for the Center Theatre Group, he was told the theater was in possession of the Bethesda Angel from the original production. That Angel, which came with its own instructions for how to open it, has made its way to Louisville to be used in the Actors Theatre production.

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Lou Liberatore (Roy Cohn/Prior 2)

ou Liberatore called St. James Court and Louisville’s famed historic Victorian neighborhood a delight, “I have a Victorian in South Jersey – They’re so wonderful!” Not so wonderful? His character Roy Cohn. Liberatore shared some history about the real Cohn, explaining, “In the play, he says one of his proudest moments was that he got Ethel Rosenberg the electric chair… which drew the attention of J. Edgar Hoover, who then introduced him to Joe McCarthy and the McCarthy Hearings where he got his notoriety. You can’t avoid the comparisons to Trump because he was one of Donald Trump’s mentors. He took him and brought him into New York society. And you can see how Trump today holds himself and attacks — all of his tactics are from the Roy Cohn playbook.” Liberatore continued, “I like to say Roy Cohn is alive and well and living in the White House.” Liberatore worked directly with “Angels in America” playwright, Tony Kushner, on a different Kushner project, and says the bit of advice he always carries with him is that “‘These characters in the play are very smart, very literate. They’re never searching for a word, they’re searching for a better word.’ That little note was such a burst of clarity about who Tony is and who these characters are.”

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Richard Gallagher (Louis Ironson)

“I get to work with Meredith McDonough and do one of the best plays of the 20th century? Sure! Yes, please,” says Richard Gallagher about the opportunity to come to Actors Theatre and perform in a production of “Angels in America.” Unlike McDonough, Gallagher has never seen “Angels in America” performed. He has only seen the HBO special, which according to much of the cast, doesn’t have the same sense of theater magic about it and lacks much of the humor of the original script. “These plays have so much humor in them, but that didn’t translate so well in the film for some reason,” he says. “Like there’s one scene that’s almost full on farce, running around doorways and hallways. It’s just funny!” Gallagher also found his first visit to the Highland’s little neighborhood spot Big Bar humorous. He recalls, “We’re walking back like, ‘Let’s go take a look at what the back room is!’ And that’s not a back room, that’s a store room and then the bathroom.” On a more serious note, Gallagher laments, “It’s sad that the play is still as relevant as it is. I mean it deals so much with [HIV/ AIDS] but it also deals with the politics of the disenfranchisement and what it means to be American.” Gallagher explains that his character, Louis Ironson, is a stand in for the playwright and says, “Louis has this belief in the power of politics and this idea of historical progress, that it’s getting better. That it’s always getting better… and Tony is absolutely on record for having believed that and feeling that way, so he puts those words in Louis’ mouth. It’d be interesting to see all these years later, if that still holds true for him because it’s hard to see that.”

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Mark Junek (Prior Walter/Man in the Park)

Mark Junek credits “Angels in America” for getting him into Julliard. He performed a monologue as Prior Walter for his audition. One of the questions he didn’t ask then, but wonders now, is “Who is Prior outside of [AIDS]?” Having gone from his 20s to his 30s, Junek now has a decade of relationship experience to draw on and describes “Angels in America” as a breakup play that shows the struggle of “accepting loss with grace.” Junek believes audiences will identify with the adversity Prior faces. He explains, “Having to push against cultural expectations, that the fight for equality is still going on.” On the play’s intersection of gay history and religion, Junek says AIDS was seen as “an act of God, an act of retribution,” but with time, distance and understanding, it was revealed as none of those things. Junek says that working with Actors Theatre’s Associate Artistic Director Meredith McDonough is “a pleasure” and that he has a deep appreciate for his castmates, “We’re all in tears all the time and in absolute awe of this play, that we’re in the presence of this work. It’s a long play, but it doesn’t feel that long. This play is sacred. It’s a remarkably personal thing for each and every one of us, and I’m so excited to share it.”

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Richard Prioleau (Mr. Lies/Belize)

This is Richard Prioleau’s third stint in Louisville and at Actors Theatre, and he says, “This town feels more like home every time I am here.” It’s the people, he explains, “who give this great theater a lot of amazing support” that keep him coming back to Actors. Prioleau reflects that when he auditioned for “Angels in America” at Belize college, he didn’t get the role he is currently playing, but upon being cast in this production, he says, “I was like, ‘Ohmigawd, I’m going to play this role of this incredibly confident, caring ex-drag queen that when I was 18 years old was terrifying to play.’ So, it’s great to come to it now, having a better sense of self.” At age 22, he first crossed paths with Actors Theatre’s Associate Artistic Director Meredity McDonough, who was at Northwestern teaching “Angels in America” to high school students. “I was her assistant,” Prioleau shares, “so it’s like full circle.” When asked how his character finds the sympathy to care for the villainous Roy Cohn, particularly when there is no reward for this good deed, Prioleau says, “Well, what Tony Kushner does so brilliantly, is he gives me a line that says ‘Well, maybe it’s just peace that you find within that forgiveness.’ And that sense of peace in that time of turmoil when all of your friends are dying is few and far between. And if you’re able to find peace, maybe there’s something to be hopeful about in all of that.” Prioleau elaborates on the importance of his character Belize, saying, “If I can tell one portion or aspect of what it means to be a gay Black man in America during any time period in American history, that is the goal that I’ve had as an artist for a really long time. If that’s something some person can see and identify with here in Louisville, that’s fantastic and maybe I’ve done something that is positive.”

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Who We Are:

Our company philosophy is and always has been to provide our patients excellent care. Our success can be measured in many ways. Our independent practice is9:52:33 owned by women, 2/15/09 PMmanaged by women, employs women and serves women. The care and attention we offer is unique. We still value the individual attention and ability to provide healthcare to each person as a whole - body and mind. In addition to our basic services of Obstetric and Gynecologic health care, we have • The latest technology for providing in-office mammography with 3D imaging • DEXA scans to determine bone density in aging women • Ultrasounds • MonaLisa laser treatments for vaginal atrophy We enjoy giving back to the Louisville Community and are the proud sponsor of the

2nd Annual Pink Woman Fashion Show Presented by Today’s Woman Magazine to be held at Oxmoor Center Mall on October 19 to celebrate Breast Cancer Survivors. All proceeds go to Louisville’s own Twisted Pink For more information go to www.allwomenobgyn.com or www.twistedpink.org All Women logo and tag Blk.pdf

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Inspired C hefs

C R E AT E E D I B L E A RT

By Nancy Miller | Photos by Jolea Brown

hree of Louisville’s most recognizable chefs and celebrated culinary artists toured Speed Art Museum to select works with which they most identified. Like taking paint to a canvas, they went to their “studio” to cook up creative cuisine and delectable dishes inspired by what they saw. Enjoy their feast of esculent art.

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s I walked through the “Southern Accent” exhibit, “Coleman’s Cafe” instantly made me think of the scene in Ratatouille when the food critic gets transformed back to a little boy at his mother’s table. It also reminded me so much of the different cafés and gas stations in Louisiana that sold boudin. My grandfather couldn’t get that in Texas but he loved it when he visited us in Louisiana. This piece reminded me of sitting on his knee eating boudin with crackers and hot sauce. The dish I created, “Snacks with Gramps,” is a big cone of boudin balls sprinkled with crispy pig ears. And I made a charred sun gold hot sauce on the side to dunk as you go, and a little beet-pickled soft egg with crackers. Chef Coby Ming

Chef Coby Ming Wiltshire at The Speed

William Christenberry Coleman’s Cafe 1982 Mixed media, painted wood, and clay soil National Gallery of Art, Washington, District of Columbia Corcoran Collection (Gift of Mr. Robert Lehman) 2014.136.293 ©William Christenberry

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alking through the museum, I felt so spoiled. The plateware, glassware, flatware and serving vessels that were used in the 1700s and 1800s were amazing. But I didn’t feel a connection with what my restaurant is about until I turned the corner and saw these hands. I immediately thought, “handcrafted.” Butchertown Grocery is all about handcrafted, beginning with the farmers who give us phenomenal ingredients and continuing to how the kitchen uses different techniques to incorporate those ingredients into our menu. This handcrafted dish combines gnocchi that we make in-house with local mushrooms, parsley, an aromatic stock and Parmigiano-Reggiano. These three works of art so perfectly reflect the handcrafted philosophy of the restaurant and what we strive to express through our food.

Chef Bobby Benjamin

Chef Bobby Benjamin Butchertown Grocery

Brenda Putnam American, 1890-1975 Hand of Isidor Edmond Philipp, 1942, Bronze Hand of Virginia Brown Bayless (1958-1860), Marble Hand of Hattie Bishop Speed (1858-1942), Plaster Photos of artwork courtesy of Speed Art Museum

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hoosing which piece of art to base my dish on was very difficult. I looked at some abstracts but then thought about what a pretty plate could be made from the idea of stained glass. I saw oil and wine jugs and thought about doing pasta with olive oil and wine. An Italian marble sculpture sent my imagination to our trip to Italy and made me think of a very traditional Italian dish. However, I wanted to work with a painting. These were so vibrant and real they were almost like photographs. The simple dessert I created really focused on two items, just like the paintings. It is a peach and raspberry galette with a nice, flaky pastry crust. The paintings are beautiful and the dessert is delicious.

Chef Josh Moore Chef Josh Moore Volare

William Mason Brown (American, 1830-1895) Peaches, about 1870 Oil on canvas Gift of Mrs. Hattie Bishop Speed 1927.28

William Mason Brown (American, 1830-1895) Raspberries, about 1870 Oil on canvas Gift of Mrs. Hattie Bishop Speed 1927.29 Photos of artwork courtesy of Speed Art Museum

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By Mariah Kline Photos by Jolea Brown

itting on four beautiful acres in the Woodstone neighborhood, you can find Karen and Paul Casi’s dreamcome-true home. The 7,300 square foot property was built by renowned architect Tim Winters, of whom Karen has long been a fan. With Winters’ breathtaking architecture and Karen’s keen eye for design, this house has the elements of a modern mansion with the warmth and comfort of a woodland paradise. Long before she ever stepped foot inside, Karen had a connection to the house. She watched it being built around 1994 when she and Paul were purchasing their starter home. Karen would look for the house each time she passed by it on her way to her in-laws home in Prospect, marveling at its fantastic structure. A few years later, the couple purchased their second home in the nearby Estates at Hunting Creek, which allowed Karen to continue watching it over the years. In 2007, the Casis began shopping for their “forever” home, and made an offer on a property in Oldham County. Unfortunately, their bid was not accepted and they lost what they believed would have been their dream home. “I remember being so sad and disappointed that we had lost that house,” she explains. “And I remembered this home and wished it would come on the market, and within six weeks it did.” Though she had never been inside the house, Karen quickly discovered it was more perfect than she could have ever imagined. There were many similarities between the Casis and the previous owners, as both families have three sons and put priority on a large kitchen for cooking and entertaining guests. Once they discovered the backyard with a pool and the surrounding woods that provided the perfect view, Karen and Paul fell further in love with the house and knew it was meant to be.

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PRESTIGIOUS PROPERTIES sponsored by:

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“When you watch something for 14 years like I did and then to think we almost bought something else, you pinch yourself and thank your lucky stars that the other one didn’t work out,” she says. “This is so much better than the one we would have purchased.” The home has a total of five bedrooms and seven bathrooms. The kitchen includes a large island, several cabinets made of cedar cypress wood and a work of art on the wall that reveals a hidden television behind it. Karen and Paul have essentially become empty nesters since their sons are grown, but Karen says the house suits them whether the entire family is home or if just the couple and their two dogs are around. The magnificent backyard has a deck that can seat a large number of guests, an expansive pool and pool house and pergolas for added flair. Surrounding the property are countless tall trees, providing a gorgeous view and privacy that allows them to feel as if they are deep in the forest without feeling isolated. The original owners were natives of Louisiana so the home was built in a French country style with a Louisiana twist. Winters incorporated two cascading staircases, one leading from the driveway to the front door and the other from the first floor leading to the second. Though this is not a common feature in Southern architecture, the staircases

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are one of the most interesting components of the house. Karen has dabbled in design and been an avid reader of Architectural Digest and similar publications for her entire adult life. Thus, she chose to decorate the house on her own and call on other designers and experts when she needed a second opinion. When the family moved in ten years ago, earth tones and neutral colors were very much the norm and dark colors weren’t often used in decor or on the walls. However, at the suggestion of her friend Mark Eliason, Karen decided to implement dark blue throughout the first floor to match the exquisite slate flooring. Karen’s style incorporates order and consistency, and, as a result, the home boasts a modern style and feeling. However, it does not have the cold or inhospitable vibe of many large contemporary homes. Despite its size and sophistication, the home feels incredibly warm and inviting. “My design style is really a combination of warmth, harmony and glamour,” she explains. “I also like calm, so when you have harmony you also have symmetry and repetition. Keeping things visually calm and quiet is important to me since my life can be very busy.” As a member of at the Speed Museum Board of Governors, Karen also holds a passion for original art and has become a collector. Moving into a property that’s

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surrounded by greenery has inspired both her soul and her taste in art. “My woods have become very meaningful to me,” she says. “So I’m starting to buy more art that is woodland based. I’ve found being by the pool when the sunlight is dappling through the trees and there’s a light breeze, it just feels so vibrant. I’m an ocean girl but I’ve discovered that having this scenery and being out here is just as relaxing as being at the beach.” While Karen and Paul have found their dream home, their work on the property is not over yet. Just before this year’s Kentucky Derby, they remodeled and updated their sons’ former bedrooms and bathrooms to prepare for guests who visited for the big race. Despite a tight deadline, Karen and the crew she hired pulled off the renovation in just two months. In the near future, the Casis plan to update the library, change the exterior colors of the home and replace its cement driveway and walkways with stone. Designer Christopher Welsh has assisted with the exterior plans, while Winters has assisted with the library upgrade and consulted on the plans for the driveway. Karen and Paul’s fateful acquisition of their home not only makes for a charming story, but also adds to the enchantment of their experience at the house. Between its woodland setting and the interior customization provided by Karen, this prestigious property is an absolutely perfect fit.

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DANCE SINGREVEL your way Into the fall.

Discover everything that’s happening this season at KentuckyCenter.org Here are a few highlights

Brown Forman Midnite Ramble

Glenview Trust Enriching Life Series

Complexions Contemporary Ballet

Jazz at Lincoln Center Orchestra with Wynton Marsalis

PNC Broadway in Louisville

Louisville Orchestra

The Greatest: Muhammad Ali

Finding Neverland October 24-29

October 13

November 4

September 26

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By Tonya Abeln

his fall, Gilda’s Club of Louisville will celebrate 10 years of ensuring that all people impacted by cancer in our community have an opportunity to become empowered by knowledge, strengthened by action and sustained by a supportive community. Over the last decade, that iconic red door has been a haven of comfort for those fighting a cancer battle, either personally or through a family member, and a place, above all, to share their experiences and wisdom for the benefit of others. But in 2004, all that was just a dream among a few committed visionaries. With the help of supportive friendships and some of the city’s most effective philanthropists, that dream began to take shape in the form of an innovative fundraiser known as Gilda’s Night. Annette Grisanti and Lindy Street had a friendship that spanned many years and miles between them. When Lindy moved back to Louisville, she was going through her own cancer journey and wondered how those who do not have the same network of support as she did could possibly do it on their own? She shared with her friend Annette the idea to start Gilda’s Club in the hopes of offering that support to others. She knew the need for it existed and had a strategic plan in place. Along with Susan Moreman, she spent nine months doing extensive research in Louisville to ensure there was no similar organization. Annette assured her that when she was ready to raise money for this cause, she was happy to forge ahead with a fundraiser at a boutique then known as “She.” Raising money for an organization that didn’t yet exist could have proven difficult, but the initial committee employed the clever use of social hosts who were tasked with each inviting 20 people. In its first year, Gilda’s Night was an unforgettable tented affair with over 300 guests and netting over $20,000. Gilda’s Night continues to be one of the most highly anticipated fundraisers of the year, alternating locations between Bittners and Rodes For Him For Her. This year’s event will take place on November 10 at Rodes, where Dean Corbett will prepare a delectable meal from a tented kitchen and over 550 guests will bid on impressive auction items like a trip to Greece and a stunning Orlanda Olsen necklace. Gilda’s Club volunteers and Gilda’s Night committee members gathered at Rodes to commemorate the anniversary year by modeling their style recommendations for what is always one of the most fashionable and charitable nights of fall.

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Photographer: Jacob Roberts Creative Director/Stylist: Alexandra Hepfinger Photography Assistant: Chelsea Marrin Makeup Artist: Bethany Hood Makeup Assistant: Izzy Nolan Hair: MADE Blowdry Boutique, Courtney Sellers and Jade Houchin

LINDY STREET Etro Milano Jacket, Loeffler Randall Sydnee Suede Pumps. Available at Rodes.

STEPHANIE FELLON The Nest Necklace & Silver Bangles (Rodes), Rachel Zoe Dress, Loeffler Randall Shoes (from her personal collection).

ANNETTE GRISANTI Lourdes Chavez Jacket. Available at Rodes.

Gildaâ&#x20AC;&#x2122;s

Celebrating

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TYLER BEAN Ermenegildo Zenga Sport Coat, R Hanauer Pocket Square & Tie. Available at Rodes For Him.

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LOGAN ORMEROD Isaia Capri Sport Jacket, Torini White Shirt, Jack Mason Watch. Available at Rodes For Him.

PATTY JOHNSON Vince Coastal Blue Dress, Loeffler Randall Clogs, Anya Navy Shawl, Orlanda Olsen Key Necklace (exclusive auction item of Gildaâ&#x20AC;&#x2122;s Night). Available at Rodes For Her.

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GERINA WHETHERS Forever21 Dress, Eileen Fisher Booties (from her personal collection).

AMY STREETER Shoshanna Midnight Dress, Clara Williams Co. Necklace. Available at Rodes For Her.

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MADELINE ABRAMSON Shoshanna Lace Dress. Available at Rodes For Her.

SADIQA REYNOLDS Cinq Ã Sept Skyler Jacket, Cindy Borders Earrings. Available at Rodes For Her.

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TRACY VARGA Kobi Halperin Ivory Blouse & Lace Skirt, Loeffler Randall Shoes. Available at Rodes For Her.

MOLLIE SMITH Algo of Switzerland Dress. Available at Rodes For Her.

MICHELLE OBERST Tadashi Shoji Dress (from her personal collection).

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TOP SPECIALISTS FROM

When you come to Norton Cancer Institute, you’ll get more than a doctor. You’ll get the top cancer physicians, researchers and counselors in the region, along with specialists in chemotherapy, art therapy, clinical trials and beyond. Plus dedicated patient navigators to guide you, one-on-one, every step of the way. Call (502) 629-HOPE or visit NortonCancerInstitute.com to learn more.

Caring for the body. And the person within. Maggie King, Yoga/Pilates Instructor I Carroll Grossman, Patient

The Brown-Forman 2017/18 Season

VIENNA’S RICHEST MAN IS THROWING A PARTY. AND…

YOU’RE INVITED! Fri. SEPT. 15 8 p.m. Sun. SEPT. 17 2 p.m. W. L. Lyons Brown Theatre

KYOpera.org

| 502-584-4500 Arthur J. and Mary Celeste LERMAN FOUNDATION

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$12 ADVANCE $15 AT THE GATE

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Poster Credits:

Athens Paper, Clark & Riggs Printing, Dean Lavenson Photography. Photo courtesy of Louisville Ballet:

Julius Friedman relaxing in Louisville Ballet studio.

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Artistry Grace OF

Julius Friedman gifted the world with a matchless legacy of art and design. Most iconic, perhaps, is the powerful, graceful and unforgettable visual created in partnership with Louisville Ballet in the 1980s known as “Toe on Egg.” An instant classic, the image was applauded and embraced by audiences far beyond Louisville, and forever united Friedman’s artistry with that of the dance. However, his love affair with ballet spans far beyond a single image, and Friedman would go on to seek inspiration from the Louisville Ballet throughout his career, often visiting the studio to observe rehearsals and developing relationships with the company. Director of Marketing for Louisville Ballet Cherie Perez recalls, “He was a great artist, but he was also a dear friend to us. He was besotted with ballet and was always discussing with us how he could help raise more money or awareness. His passion for it was so evident in his work.” His generosity of spirit was also noted by Louisville Ballet Artistic and Executive Director Robert Curran, who shares, “He was completely selfless about his work. Julius was the most generous and open minded artist I’ve ever known, continually pushing recognition and kudos back to the Ballet.” Upon establishing their opening performance of the 2017-18 Season to be “Stravinsky!” a work that will bring to

FALL 2017

By Tonya Abeln

Louisville Balanchine’s “Rubies” and “Firebird,” it was discovered that “Stravinsky!” was debuted by Louisville Ballet exactly 50 years ago. In early July, while brainstorming ways to promote the upcoming season, Pip Pullen, President of Mightily, had a notion that would involve his friend Julius Friedman and the iconic and beloved “Toe on Egg.” To commemorate the 50 years of “Stravinsky!” they would re-shoot the image using a golden egg to symbolize both the 50th anniversary and the golden egg in the story of the Firebird, and switch out the pink pointe shoe with a red one, to signify Rubies. “With the permission of Louisville Ballet to pursue the idea, I contacted Julius to discuss the project,” Pullen explains. The unforgettable conversation that took place over the phone that day would bring devastating news to the Ballet and the Louisville arts community at large. Though he immediately agreed to be a part of the efforts to recreate “Toe on Egg,” he also shared the confidential news that he had just been diagnosed with leukemia. The upsetting and unexpected news immediately shifted the motivation for the photo. Perez remembers, “With that heartbreaking information, we didn’t know how to move forward or if it was even appropriate to move forward. Julius continued to communicate his enthusiasm for the project, but we could tell through his response that things were not well for him, so we wanted to respect his health and give him space.” Meanwhile, Pullen had managed to engage a team that included Athens Paper and Clark & Riggs Printing along with Dean Lavenson Photography. All had agreed to participate on a pro bono basis. At this point, word had started to spread about Friedman’s diagnosis and condition. Operating with new urgency, the impetus became less about promoting the Ballet and far more about honoring Julius. “We took a lot of care to match this exactly to the original poster, “Pullen describes, “right down to the shadows. It was a very conscious decision not to change the design in any way.”

Ten days after that initial phone conversation, on July 16, 2017, Julius passed away. Everything halted. It was only after having a conversation with Friedman’s sister, Carol Seifer, at his memorial that Robert Curran knew with confidence that the homage to Julius was imperative. Of that moment, Curran recalls, “We talked about his love for the Ballet and how much he meant to the dancers. She gave her blessing to use the image and to honor him in this way.” Seifer also expressed that she had additional works of her brother’s that she intended to gift to Louisville Ballet given his love and commitment to the organization. Curran continues, “It is really a testament to his family that they exude such generosity.” Louisville Ballet will pay tribute to Julius Friedman by dedicating their performance of “Stravinsky!” to the artist whose support was so essential to their success. In addition, the commemorative 50th anniversary “Toe on Egg” poster will be made available in limited release. Perez explains, “Even though Julius was continually preoccupied with ways to raise money for the Ballet, we knew we didn’t want to sell this poster—it needed to be a gift, just as his art was such a gift to us.” Exact distribution details of this remarkable piece of dedicatory art are still being determined, but 1,000 to 1,250 copies will be given away at the Stravinsky Gala at 21c Museum Hotel on November 10 preceding opening night of the show that will be performed in Friedman’s honor. “It’s as thrilling as it is devastating,” ruminates Curran. “We have these memories of working with Julius on something so iconic just before he left us, and Julius and is very closely linked to the art that we produce. The symbolism of this poster is going to last forever. To be able to work with him on that and have the opportunity to reinvent this for a new generation of dancers and audience members is the most special gift and a legacy I know he is proud of.” Behold an image that, just as the genre-defying artist who created it, is brilliant, meaningful and unforgettable.

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gala Fall 2 01 7

CALENDAR Summer may be winding down, but the fun is far from over. Take a look at these can’t-miss fall functions, all of which support worthy causes and are sure to entertain all season long. Venture into the crisp autumn air and enjoy these incredible soireés. Photography by Tim Valentino and Bill Wine

SEPT

Celebration of Education Gala

For: Family Scholar House Where: Louisville Marriott Downtown When: 5:30 p.m. Tariff: Inquire at kbrackett@ familyscholarhouse.org Info: familyscholarhouse.org

SEPT

OCT

Fall into Fabulous

For: Young Women’s Club of Louisville Where: The Henry Clay When: 6:30 p.m. Tariff: VIP-$100; General Admission-$80; Tickets at the door-$90 Info: ywcfashionshow.com

Rivalry Gala

For: American Cancer Society Where: The Seelbach Hilton Hotel When: 5:30 p.m. Tariff: Table of 10-$2,500; Individual Ticket-$250 Info: 502.996.4542 or matthew.schuhmann@cancer.org or rivalrygala.org

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OCT

Bourbon Bash 2017

For: KMAC Where: KMAC Museum When: 8 p.m. Tariff: Tickets-$100; Raffle Tickets-$25 Info: kmacmuseum.org/bourbonbash2017

OCT

Boo La La Halloween Ball

For: Olmsted Park Conservancy Where: The Gillespie When: 6 p.m. Tariff: Ball Tickets-$250; Bash Tickets-$75 Info: olmsteadparks.org/boolala

KentuckyOne Health 102.3 The Max PINK PROM

For: KentuckyOne Cancer Center Where: Mellwood Art Center When: 8 p.m. Tariff: Couple Tickets-$60; Individual Tickets-$35 Info: thepinkprom.com

OCT

The Doctors’ Ball

For: KentuckyOne Health, Jewish Hospital & St. Mary’s Foundation Where: Louisville Marriott Downtown When: 6:30 p.m. Tariff: Table of 10-$3,000; Table of 8-$2,400; Individual Ticket-$300 Info: kentuckyonehealth.org/doctorsball

FALL 2017

Trish and Dave Greene (Above) at The Doctors’ Ball 2016 at Louisville Marriott Downtown (Below).

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CLASSICS S E R I ES

Judge Erica Lee Williams, chef Josh Moore and Jason Williams.

YUJA WANG PLAYS RACHMANINOFF

NOV

Signature Chefs Auction

NOV

Pink Tie Ball

For: March of Dimes Where: Louisville Marriott Downtown When: 6 p.m. Tariff: Sponsorships Available. Presenting-$25,000; Gold-$15,000; Silver-$10,000; Bronze-$5,000 Info: 502.473.6683

SAT 23 SEP 2017 | 8PM KENTUCKY CENTER YUJA WANG, piano TEDDY ABRAMS, conductor Tickets: $85-$27 A romantic and emotionally charged opening night concert with a superstar pianist. RACHMANINOFF: Piano Concerto No. 4 in G Minor, Op. 40 (1941 version) TCHAIKOVSKY: Symphony No. 5 in E Minor, Op. 64