VENU Magazine #16 Nov/Dec 2012 by VENÜ MAGAZINE

Contemporary Culture

November/December_CT-NY-FL Edition $5.99

FERRETTI 881 RPH

PERSHING 108

PERSHING 74

RIVA 86 DOMINO

RIVA 75 VENERE SUPER

w w w.ferret tigroupamerica.com

FT. LAUDERDALE, FL 954.760.6530

MIAMI, FL 305.638.8495

NAPLES, FL 239.262.5063

NEWPORT, RI 401.619.5863

SAG HARBOR, NY 866.926.3375

STUART, FL 772.600.4922

NEWPORT BEACH, CA 949.236.4994

Bentley Continental GT

EXHILARATION AND ELEGANCE Bentley Greenwich a division of

MILLER MOTORCARS

275 WEST PUTNAM AVENUE l GREENWICH, CT 06830 203.661.3100 l 

Sales and Service of Distinctive Motorcars Since 1976

GREENWICH, CT | 203 861 2920 WHITE PLAINS, NY | 914 428 1424

NEW YORK

PARIS

TOKYO

SHANGHAI

HONG KONG

LONDON

DUBAI

MILAN

EXPLORE TUMI.COM

At Infinity Harbor Point, youâ&#x20AC;&#x2122;ll experience the tallest residential building on the Stamford waterfront with breathtaking views outside your window. Our luxury rental residences offer open living and dining areas, floor-to-ceiling windows, and spacious balconies providing our residents with an elevated 4

lifestyle above and beyond expectations. CONTEMPORARY CULTURE//MAGAZINE

877.603.8668

| INFINITYHARBORPOINT.COM

Furnished models open daily. Get in on the ground floor with grAND OPENING INCENTIVES. CONTEMPORARY CULTURE//MAGAZINE

Content

16 November/December_CT-NY-FL Edition

38 21

Leisure

38 Golf Resorts: Punta Cana, A Golfer’s Paradise

42 Travel: Mediterranean Islands

21 Entrepreneur: Fly Guy, Louis Liebert

Spotlight

47 Travel: Lake Tahoe

Appetite

50 Sweet Addition, The Chocolate Lab

24 Shop Talk: Atelier360, Fashioning A Beautiful World

On The Cover: A painting by artist George Condo, We Are Who You Think We Are, 2010, Oil on Canvas, 70 x 60 inches, Image courtesy of Skarstedt Gallery, © George Condo 2012 CONTEMPORARY CULTURE

People + Ideas

November/December_CT-NY-FL Edition $5.99

28 Artist: Linda Naili, Luminescence en l’ Art

Insight

29 Intellectual Property: What can be protected by Copyright

Events + Gatherings

30 Parties, Exhibitions and Activities

CONTEMPORARY CULTURE//MAGAZINE

NOW LEASING PREMIER LUXURY RESIDENCES

HIGHLY ANTICIPATED Highgrove is Stamfordâ&#x20AC;&#x2122;s exclusive all-inclusive luxury apartment residence.

Estate-sized floor plans, gourmet kitchens, private balconies, five-star amenities and hospitality services included with every home. When you must have more, you must have Highgrove.

Call or visit HighroveStamford.com 70 Forest Street | Stamford, CT 06901 203.425.1485

Content

16 November/December_CT-NY-FL Edition

83 70

Indulge

69 Decorative Arts: On The Block 70 Motoring: The New Porsche Boxster S

Features

52 Cover Story: A conversation with George Condo, I Hear What Your Saying 60 {Be} Come The Healing Power of Rwandan Art

72 Yachting: Loretta Anne, A Damsel of The Sea

Pulse

76 Music: Tora Fisher, An Artist on The Brink 79 Art: The New Lionheart Gallery 83 Film + Entertainment: Fox on Film 85 On Stage: Betty Buckley Mans Up 88 Comic Relief: Rain Pryor, The Child Whoâ&#x20AC;&#x2122;s Got Her Own

Style

64 Timepieces: The Aspiring Watch Collector

66 Decor: Star-Studded Spaces, Miami Style

Real Estate

68 Premium Properties: News and Previews

CONTEMPORARY CULTURE//MAGAZINE

GREENWICH, 205 GREENWICH AVE. CALL 203.862.5300, VISIT SAKS.COM/GREENWICH, DOWNLOAD THE SAKS APP OR FIND US ON FACEBOOK, TWITTER AND SAKSPOV.COM.

VALENTINO

I NEED A HANDBAG FOR

MORNING MEETINGS

FESTIVE EVENINGS

STUDDED ELEGANCE FROM VALENTINO

GREENWICH

CONTEMPORARY CULTURE

ü-list

Showcasing local Arts, Culture, and Style without any contrived formality. VENÜ is published six times a year as a fresh yet discerning guide to art, culture and style throughout Connecticut and beyond. Not too artsy or too fussy, we’re thoughtfully written for the curious, the acquisitive, and those devoted to the one-of-a-kind and hard-to-find.

YOUR V.I.P. SOURCE TO...

...CONTEMPORARY CULTURE: art, travel, food & drink, music, film, stage, style, architecture & design, health, sport, motoring, yachting

VENÜ Magazine wants you on our ü-list Sign up to receive exclusive information and invitations to signature events, private parties, secret sales and promotions. Scan the QR code below or go to venumagazine.com

special offer: Join the ü-list and save 25% when you subscribe to VENÜ Magazine. Only $29.95! (reg. $39.95) generated at BeQRious.com

WANT IN?

Get Featured in Venü If you’re an artist with some work to exhibit, an entertainment coordinator with an event coming up, or a business with some exciting news or a new product launch get in touch. We’re eager to feature interesting content that’s sure to entertain our readers. editorial@venumagazine.com

Advertise in Venü It’s a dirty word to some folks, but it’s what ensures that every issue of Venü remains available to our loyal readers. If you understand the value of effectively marketing and promoting your business, contact us for a media kit. 1.203.333.7300 advertising@venumagazine.com

We Want You!

Contributors Wanted At its core, VENÜ Magazine is about giving Ü insight to all that’s original and inspirational.

venumagazine.com 14

CONTEMPORARY CULTURE//MAGAZINE CONTEMPORARY CULTURE//MAGAZINE

Artists, designers, photographers, writers, illustrators, etc., if you’ve got it, flaunt it! We’re interested in hearing from all of you that have some great things to share...

...Get in touch!

0.0000000024 HP.

This is all the energy needed to power the completely newly developed Manufacture movement, CFB A1001, from Carl F. Bucherer. It features the first reliably functioning peripherally positioned rotor and associates perfect aesthetics and progressive technology. It was designed on the basis of the holistic “Evolution Technology” Manufacture Concept, by which Carl F. Bucherer goes its own way with the development of movements and mechanisms, challenging the existing and striving for more intelligent solutions. A mechanical microcosm which is housed in a perfect environment, thanks to the unmistakably distinctive design of the Patravi EvoTec DayDate. www.carl-f-bucherer.com

14-16 Spencer Place Scarsdale · New York · 10583

914.723.4500 CONTEMPORARY CULTURE//MAGAZINE

CONTEMPORARY CULTURE//MAGAZINE

November/December_CT-NY-FL Edition

President, Creative Director: J. Michael Woodside Vice President, Executive Director: Tracey Thomas Copy Editors: Cindy Clarke, Michael Foley, Brian Solomon Senior Arts Editor: Philip Eliasoph Film & Entertainment Editor: Peter J. Fox Decorative Arts Editor: Matthew Sturtevant Publisher: Venü Media Company Art, Design & Production: Venü Media Company Contributing Writers: Jeff Blumenfeld, Emily Brooke, Cindy Clarke, Cheryl Dixon Carolina Fernandez, Patrick Fox, Peter Fox, Claire Hunter Nancy Helle, Lorenz Josef, Linda Kavanagh, Janet Lansem Ryan Odinak, Bruce Pollock, Bari Alyse Rudin, Lisa Seidenberg William Squier, Matthew Sturtevant, Monica Suleski, Laura Wade, Olivia Wolfe Business Development: Shelly Harvey/Connecticut, Liz Marks/New York Legal Counsel: Alan Neigher, Sheryle Levine (Byelas & Neigher, Westport, CT) Distribution: Thomas Cossuto, Man In Motion, LLC Office: 840 Reef Road, 2nd Floor, Fairfield, CT 06824 +1.203.333.7300 Tel +1.203.333.7301 Fax venumagazine.com Advertising Sales: advertising@venumagazine.com Editorial Contribution: editorial@venumagazine.com Subscriptions: Call 203.333.7300 subscribe@venumagazine.com The small print: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent upon the artwork and material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material as presented. All prices and specifications to advertise are subject to change without notice. The opinions in this publication are not necessarily those of the publisher. Copyright VENÜ MAGAZINE. All rights reserved. The name VENÜ MAGAZINE is copyright protected. No part of this publication may be reproduced or transmitted without written consent from the publisher. VENÜ MAGAZINE does not accept responsibility for unsolicited material. This is a bimonthly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creatives) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions. 18

CONTEMPORARY CULTURE//MAGAZINE

PEOPLE + IDEAS

ENTREPRENEUR

Fly Guy

When Lewis Liebert was seven years old, he asked a family friend to borrow money to purchase a lawn mower so he could start his own company... by Emily Brooke ... By all accounts, this was the first indication of Liebert’s business acumen; that or he had an early fascination with freshly cut grass. Since that time, the serial entrepreneur has launched a string of successful ventures, including a computer software company which later sold to Microsoft, an industry-leading hockey magazine and trade show, a second technology company focused on web-based application development, and a photography studio, not to mention 10 years in the position of Chief Operating Officer at Mary Ann

Liebert, Inc, a company founded by his mother, which has pioneered several areas of medical publishing and biotechnology. After a decade in the family business, Liebert accepted a job as General Manager of Television USA where he shepherded the Forbes Enterprise Awards. Still, Liebert couldn’t ignore his entrepreneurial roots, and—in 2007—despite his own fear of flying, he started Performance Flight, now hailed as one of the top Aviation Solutions Providers in the world, offering flight training, jet charter, and aircraft management out of

Westchester County Airport in New York. Over the last five years, Performance Flight’s fleet has grown from one plane to 25, and Liebert is now an instrument-rated pilot with a fierce dedication to his craft—both personally and professionally. He never did get the seed money for his lawn mowing business, but Liebert seems to be doing just fine on his own. Emily Brooke: You used to be afraid of flying. How did you conquer this fear and parlay it into a successful company? Louis Liebert: I signed up for an experience flight at a local flight school, because I wanted to try flying despite my phobias. When we took off, with me at the controls, we hit a small bump of turbulence. I immediately looked at the wings, which were fine. Then I turned to my instructor who didn’t even seem to notice anything. Once I realized, still with the controls in my hands, that everything was fine my fears disappeared. When we landed, I learned a bit more about how planes fly and what makes them so incredibly safe. While this was a great experience, I was not impressed with the local school. Immediately I recognized a niche market within a

CONTEMPORARY CULTURE//MAGAZINE

PEOPLE + IDEAS

ENTREPRENEUR saturated industry. My model was simple: build a company that I’d want to be a customer of—one that used Cirrus planes to train on, fully loaded with all the latest safety and navigation technology, and employed instructors with significant experience. My goal was to provide a high-end solution to those who wanted the best.

Photo courtesy of Cirrus Aircraft

What do you tell people who are interested in learning to fly? That it will change their lives! The freedom afforded to pilots is amazing. Suddenly getting to the Hamptons drops from a five-hour trip to 28 minutes. If you want to head to Mont Tremblant to ski for a few hours or to North Carolina for a round of golf in January, it’s a cinch. Having access to fast, reliable, and comfortable planes truly allows someone to change how they live. Why is airplane charter becoming such a popular way to travel? Flying privately is simply amazing. For many it’s as simple as the ability to use smaller airports that are more conveniently located or to be able to fly non-stop almost anywhere in the world. Many business travellers are enabled to take a two-or-three day trip and complete it in less than one. A short flight from New York to Chicago flown commercially, for example, would take more than five hours combining flight time and time spent at the airport clearing security and boarding—and this assumes no delays. A private charter flight cuts this in half, so going out and back in a day is easy. And in many cases, with a small group of executives who are likely to fly first class, the cost may be similar. Of course there are other benefits. You leave when you want, so don’t worry if you’re running late or want to head home early. And the combination of luxury, comfort, and personal attention makes the experience fun. Passengers actually enjoy the journey and look forward to their next flight. It’s also pretty cool to fly at 45,000’ (where most private jets are found, almost 10,000’ above commercial airliners). From that altitude the views are spectacular and you can begin to see the curvature of the earth. Also, higher altitudes are almost always smoother and faster. Is hard for someone to learn to fly, what does it take? I was impressed to find that it’s easier than most people expect. Our programs are tailored to each client and are taught one-on-one so the timeline varies for each person. On average, it takes a candidate 60-70 flight hours to earn a license, which usually is completed in three or

CONTEMPORARY CULTURE//MAGAZINE

My model was simple: build a company that I’d want to be a customer of—one that used Cirrus planes to train on, fully loaded with all the latest safety and navigation technology, and employed instructors with significant experience. My goal was to provide a high-end solution to those who wanted the best. four months. You start by learning basic aircraft control, flying straight and level and then moving into turns, climbs, and descents. We also have a unique flight simulator that’s specific for the Cirrus planes we fly and this device enables us to do some specialized training that can’t be completed in the real aircraft. All it takes is a phone call to get started. We don’t use packages or force people to commit, so it’s something you can try without signing up for anything more. We have something called an Experience Flight, for $299, where you can go with one of our professional pilots and fly the plane. You’ll get a great sense of what learning to fly is like, and you’ll also get a great sense of confidence in our operation. If I wanted to buy an airplane, but didn’t want to handle all the details that come with it, could Performance Flight take care of it for me? Definitely. We have a management division that can offer a menu of services. Performance

Flight offers brokerage and buyer acquisition services, executive pilot programs, and turnkey aircraft management. So we can help anyone looking to get into aviation at all levels. Where are your favorite travel spots? And what’s the best way to get there? Flying out of Westchester County Airport, I always love going to Block Island for lunch. It’s only 40 minutes away and once there it truly feels like you’ve gone someplace far away. And you don’t even need to leave the airport, there’s a great little lunch spot right there, Bethany’s. I usually add a little extra time for a bit of sightseeing around the island and along the shoreline—the houses are amazing from above. Last year I took my wife there for lunch and it was late; Bethany’s had already closed. So we hoped back in the plane and eight minutes later landed at Montauk where we walked across the street to Rick’s Crabby Cowboy Café. That was pretty cool. One of my hobbies is racing cars and having a plane helps me get to some remote locations. Whether I’m racing at Watkins Glen, where I can fly to Elmira, NY in an hour, or my home track, Monticello Motor Club, where I can be within 25 minutes, flying makes it easy as well as fun. It’s cool that I can combine my love of racing with my passion for flying. As a serial entrepreneur, you’ve launched a number of very different businesses. Are you sticking with aviation or is there something new on the horizon? I’m having a great time growing Performance Flight, and there’s a lot more to do. So I’ve got nothing else on the horizon to mention and am fully committed to developing this company into something bigger and better.

CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: Shop Talk/Atelier360

“Atelier360 was founded with the intention of sharing something beautiful from one part of the world with another while doing some good – a way for people to speak to each other without words.” -Veronique Lee

Fashioning a Beautiful World

With an eye for beautiful design and impeccable quality, Atelier360 founders, Veronique Lee and Liz Logie, curate and edit the artisan and sustainable fashion marketplace. by Claire Hunter

Akan Dress Three looks in one! Color blocked and reversible. 100% natural and biodegradable fiber. Made in the USA, designed by Loomstate 321.

CONTEMPORARY CULTURE//MAGAZINE

Designer: Perez Sanz

Service - Class - Dependability Pristine Limousine Services, Inc. has been providing exceptional personal service in the transportation business in Miami-Dade County, Fisher Island, La Gorce Island and many more exclusive locations for over 15 years. We operate a fleet of fine, immaculate prepared cars that meet every need, from simple transportation to or from the airport, or an important event. Our services are by the hour, by the day, or by the trip. We welcome corporate and individual accounts. We are your concierge on wheels. LIMOS - SEDANS - SUVS - VANS - MINI BUSES - NATIONWIDE RESERVATIONS

Pristine

LIMOUSINE SERVICES

THE LIMOUSINE SERVICE

YOU EXPECT T. 305.273.5454 F. 304-260-0953

E. Pierre@PristinelimosMiami.com P.O. Box 431031, Miami, FL 33143

Liscense # 60396 CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: Shop Talk/Atelier360

Designer: Eric Raisina

Atelier360 offers luxury clothing,

accessories and lifestyle products in its flagship store located at 113 Greenwich Ave. in Greenwich, Connecticut with the mission of “Fashioning a Beautiful World.” The designs are developed in the ateliers and fashion workshops across the globe and inspire a comprehensive 360 degree view of both the world of fashion and fashion’s impact on the world. With an eye for beautiful design and impeccable quality, Atelier360 founders, Veronique Lee and Liz Logie, curate and edit the artisan and sustainable fashion marketplace in search of sophisticated product lines that also incorporate aspects of traditional artistry, sustainable resourcing and ethical manufacturing. The artisan and sustainable qualities are highlighted on the product tag including: “Handmade by Artisans;” “Organic;” “Repurposed;” and “Made in the USA.” In addition, many of the products and designers featured in the store are “Exclusive” for the area and to Atelier360. Atelier360 clients will enjoy a unique shopping experience. The traditional retail setting is enhanced with a lounge area

with materials featuring the individual designers’ stories and the cultural and creative process behind the products. The artistic ambiance within the store inspires creative dressing, which includes styling advice on ways to wear the Atelier360 products as well as how to in-corporate artisan and sustainable fashion and accessories into clients’ existing wardrobes. Atelier360 is rooted in a strong desire to support the culture of artisanship and to advance sustainability in fashion – fashion created with consideration of its social, economic and environmental impact. Providing a path to market for these designers and sharing their passion with clients will contribute to the development of skilled labor, the preservation of artistry and tradition and the creation of solutions to emerging environmental problems through innovation. Rather than focus on the single bottom line of profit, Atelier360 promotes the triple bottom line: People, Planet and Profit. Doors officially open: November 1, 2012

Designer: Filip & Inna

Photo: Stéphane Tourné

Designer: Anna Sammarone

“I believe passionately in our mission to create a path to market for designers committed to beautiful design and positive values and to introducing our customers to luxury goods they can feel good about.” -Liz Logie

CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: Artist/Linda Naili

luminescence en l’ art Text By Olivia Wolfe

Green In Paradise, 2012 Acrylic on canvas, 36 x 36 cm

CONTEMPORARY CULTURE//MAGAZINE

Her background is a rich mix of exotic Mediterranean-influenced cultures, Indian and Persian on her father’s side, Italian on her mother’s. So it comes as no surprise that artist Linda Naili paints with a passion that emanates from deep within, capturing the essence of her inspired childhood in her paintings.

Linda grew up enamored with an appreciation for the daily pleasures of life, animals that co-exist in harmony with nature, landscapes idyllic in their simplicity and color, night skies that glow in star-studded vignettes. In fact, it is her delight with “la douceur de vie,” the sweetness of life that truly is the embodiment of the quintessential landscapes and lifestyles in the south of France, that she captures so expressively on canvas. Making their debut during ART WEEK 2012 in Miami, Florida, Linda’s latest series of paintings were created to serve as a “haven of peaceful meditation,” inviting viewers “to let their eyes gaze in peace and soothe the soul.” In them she combined her interest in the universe of astronomy and aero physics,

explaining, “the planets, stars at the end of life and the colors that appear when a star dies fascinate me. I have read many books on quantum physics and the materials that are found in the universe. The colors of my paintings evoke the mixture of these elements, the matching of Helium, Hydrogen and Methane. Tracks made by asteroids and shooting stars that disappear into the ocean and their adventures in the Milky Way excite and inspire me.” It is this same kind of instantaneous movement that also captivated Impressionist artists like Monet, who strived to capture passing moments or “impressions” through painting. Naili’s series of paintings pay homage to the impressionist styling of the Monet. They have been well received throughout the United States and Europe and are destined to grace the showrooms of several well known galleries after they are unveiled in Miami. She says that she gets her creative ideas in art by “abstract contemplation of pastoral landscapes and her exotic holidays.” She also paints on leather material using Swarovski crystal as well as golden and silver leaves. Among her collection of new limited edition paintings is an acrylic painted on large-scale fine Italian leather that has been valued at a starting price of $40,000. But to those who see her work in person, where talent and beauty flows from the brush with such magnificent outcomes, her art is priceless.

Insight

Intellectual property

WHAT CAN BE PROTECTED BY COPYRIGHT? Written by Alan Neigher & Sheryle S. Levine

What, exactly, is copyrightable? The Copyright Act itself provides protection for “original works of authorship fixed in any tangible meeting of expression.” “Original works” means that the work must have originated with the author, and not be copied from another source. The level of original creative expression to be deemed protectable is rather low. The accepted principle is that “original” means only that the work was independently created by the author, as opposed to having been copied from other works — in short, the work must have “some minimal degree of creativity.” Even works in the public domain may be the subject of some copyrightable act, so long as originality extends to some “distinguishable” variation in the preexisting work. Examples of this minimal level of originality appear in music (where a three-note sequence was sufficiently original to obtain copyright protection); in art, where a combination of elements of public-domain designs created a new design of sufficient “creativity” to merit copyright protection; and in print, where recipes in a cookbook which contained more than “mechanical listing of ingredients and cooking directions” qualified for copyright protection. A survey arranging 13 employment questions was copyrightable! While the standard for “originality” is low, it has its limits. In a leading case, the alphabetized contents of a telephone directory was held to fall substantially short of this minimal standard. The Supreme Court held: “there is nothing remotely creative about arranging names alphabetically in a white pages directory.” Similarly, automatically computer-

generated page and volume numbers used to report judicial opinions were held not copyrightable. Musical ideas (mood, feeling) are not protectable. A column labeled Frequently Asked Questions, in its words and phrases, were held not copyrightable because the format is “a common idea in our society.” Copying data (names, addresses, telephone numbers) from a classified business directory into a computer data base involves “no original element of selection, coordination or arrangement.” In sum, copyright law does not protect the mere listing of facts. As the Supreme Court has held: A factual compilation is eligible for copyright if it features an original selection and arrangement of facts, but the copyright is limited to the particular selection or arrangement. In no event may copyright extend to the facts themselves. “Sweat of the brow,” or hard work, does not lead to copyright protection where the critical element of minimal creativity is absent. Legislation has been pending in Congress to protect data bases — or at least prohibit the selling or distribution of data bases that would commercially compete with those of the creator. To this date, however, no legislation has been enacted to protect data bases. In sum, authors, scholars, researchers and compilers of data must understand that purely factual compilations are not protectable under the Copyright Act without a “minimal degree of creativity.” The difficulties inherent in establishing that “minimal degree” in multimedia applications — literary works, musical works, sound recordings, audio visual works — will be the subject of a future column.

Fine Art Gallery | Framing | Installation

www.troyfineart.com

Troy Fine Art Services, Inc. 3310 Post Road, Southport, CT 06890 (203) 255-1555 The River!s Edge by Richard Bruce Acrylic on birch 48 x 48"

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

By Ryan Odinak

FCBuzz

Executive Director, Cultural Alliance of Fairfield County

The Arts Offers Great Ways to Celebrate the Season!

Tis’ the Season to celebrate, and the arts offers ways that go well beyond opening presents. Arts events, from concerts to special exhibits and performances, provide a way to spend quality time with family and friends when things slowdown around the holidays. Purchasing art as a gift can make shopping a rewarding experience for both the recipient and the giver. There are lots of artisan gift shows in the area including the Holiday Gift Show at the Rowayton Arts Center kicking off the season on November 17th. It features unique holiday gifts, decorations and collectibles by some of Fairfield County’s finest artists and craftspeople and runs through December 24th. In New Canaan, the Silvermine School of Art Holiday Fundraiser provides a great shopping weekend on December 1st-2nd. Gifts are available in a variety of media created by the talented students and faculty of the School of Art. Greenwich Arts Society’s annual “Artful Giving”, December 3-21st, is a unique oneprice and one-size fits all exhibit of over one hundred original works of art on canvas, each 8"x10" and priced at $100. Proceeds benefit a local charity. Seasonal concerts are often part of holiday traditions. The Stamford Symphony brings back a musical tradition with the Sounds of the Season on December 1st and 2nd. The concert features two of Broadway’s favorites, Doug LeBrecque and Anne

Runolfssson. On Dec 14th, The New Haven Symphony Orchestra will present Holiday Extravaganza!—a full orchestra concert packed with yuletide cheer—at the Regina A. Quick Center for the Arts. Also at the Quick Center, the renowned jazz patriarch Ellis Marsalis and his quartet will present A Very New Orleans Christmas on December 7th. Marsalis is regarded by many as New Orleans’s premiere modern jazz pianist. Children are always in mind around the holidays and they can be seen singing and dancing throughout the region. The Fairfield County Children’s Choir presents Angels Sing at the Klein Auditorium in Bridgeport on December 2nd. Three hundred angelic voices will take the stage for a winter concert featuring a variety of holiday classics, both sacred and secular—a great way to lift your spirits in the dark of winter. Children abound in scores of Nutcracker productions. Join Marie as she dreams of sugar plum fairies, dancing snowflakes and a battle between the evil mouse queen and her beloved Nutcracker prince, in a performance by The Ridgefield Conservatory of Dance at

Looking for something different to do? FCBuzz.org is the place to find out what’s happening in Fairfield County any day of the week—featuring theater, exhibits, music, history, science, family fun, classes and local artists. Click on FCBuzz.org. Pick a great event to attend. Then Go—bring your family, meet your friends or fly solo. FCBuzz.org™ is presented by the Cultural Alliance of Fairfield County. For more information contact the Cultural Alliance of Fairfield County by emailing info@CulturalAllianceFC.org, calling 203-256-2329, or visiting the Web site at www.CulturalAllianceFC.org.

CONTEMPORARY CULTURE//MAGAZINE

the Ridgefield Playhouse on December 8th. If ballerinas are not your thing, check out the Holiday Express Train Show opening on November 30th at the Fairfield Museum right after the tree lighting in front of town hall. If soaking up holiday ambiance is what you are looking for go to The Westport Historical Society’s 26th Annual Holiday House Tour on December 2nd. It is one of the town’s most celebrated community events, as well as a showcase for design lovers. It is immediately followed by a Twilight Soiree, with wine, hor d’oevres, live music and silent auction, at another fabulous private home. Remember to make the arts part of your holiday tradition this year. Find out how on FCBuzz.org! Top left: Ellis Marsalis and his quartet will present A Very New Orleans Christmas on December 7th. Top right: Westport Downtown Merchants Association presents a community holiday party. Bottom Right: The Stamford Symphony brings back a musical tradition with the Sounds of the Season on December 1st and 2nd.

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

Illuminating the Proportion of Man & His Relationship to His Environment:

Sculptor Babette Bloch Weds Art and Science A monumental sculpture translating one of the world’s most famous drawings – Leonardo da Vinci’s Renaissance masterpiece, Vitruvian Man – into stainless steel was permanently sited this August in Enterprise Corporate Park in Shelton, Connecticut. Sculptor Babette Bloch of Redding frees Leonardo’s image from its original ink drawing into a 21st century monument. Leonardo’s iconic drawing has been beautifully interpreted, translated into a five thousand pound, 16’ high monument that evokes Leonardo’s renaissance humanism, elevating modern man to a place at the center of the universe. Like Bloch’s e sun and seasons, and by virtue of its negative spaces engages the surrounding landscape, in this case the award winning architecture of Enterprise Corporate Park. The subject of the sculpture reflects the interest of developer Robert Scinto, who has had a lifelong fascination with Leonardo. “Art is my passion,” Scinto noted, “and Babette has ingeniously transformed Leonardo’s idealized

man into a powerful three-dimensional monument. We believe in artistic patronage, and feel confident of this unique quality en-hances the daily lives of themen and women who work and visit our corporate campus.” Addressing a audience of hundreds on site for the sculpture’s dedication, Dr. Philip Eliasoph, Professor of Art History at Fairfield University and VENÜ’s Senior Arts Editor, energized the crowd contextualizing Scinto’s patronage and Bloch’s artistic achievements. “I feel confident that if Steve Jobs were alive today he would appreciate why and how Leonardo’s ‘Vitruvian Man’ is perfectly revived at Scinto’s campus with Bloch’s sculpture,” Eliasoph noted. “After all, who else understood the perfect marriage of art and science than the founder of Apple? And who could wildly imagine that 500 years after the Florentine genius invented the concept of aircraft, that the Sikorsky Helicopter Support Group’s office space would be here in Shelton!”

Bloch’s Vitruvian Man joins other works in her Reflecting History series, including her four monumental Lowcountry Trail sculptures sited at America’s oldest sculpture park, Brookgreen Gardens in South Carolina, and her two heroic figures, The Pioneers, sited at an historic Centennial Farm on the outskirts of Fennville, Michigan. The artist’s work is widely collected in both America and Europe.

Antiquorum Auctioneers Hosts Opening Receptions for “CRASH: Back on the Block” New works and a hand-painted Patek Philippe dome clock by artist John CRASH Matos

rt enthusiasts and watch aficionados gathered at Antiquorum for the opening receptions of “CRASH: Back on the Block,” an exhibition of new works by celebrated graffiti artist, John CRASH Matos and a pop-up shop of fine watches for sale by Antiquorum. The show ran from September 13th to October 6th at Antiquorum’s Gallery located in The Fuller Building on Madison Avenue in New York. Attendees at two opening events had the opportunity to preview the outstanding collection of new works by CRASH as well as a handpainted Patek Philippe dome clock that will be offered in Antiquorum’s upcoming December 5th auction in New York, with proceeds benefitting the AIDS Community Research Initiative of America (ACRIA). “Creativity and artistry are at the core of our business and it was a wonderful opportunity to experience graffiti art and fine timepieces at the opening of this special exhibit,” said Evan Zimmermann, President & CEO, Antiquorum. We are pleased to continue to offer our clients new and exciting experiences throughout the year in addition to our traditional auctions.” The show’s title, “CRASH: Back on the Block” references the heyday of graffiti art in midtown before it moved to Chelsea. Curated by Michael Friedman and Anna Matos, the exhibition of large-scale works in pop-inspired colors, looks back at the past while showcasing CRASH’s signature style and unique approach to old and new themes. With this show, CRASH’s career comes full circle and he returns to the same block that propelled his career almost 30 years ago. “I liked the idea of coming back to 57th street, because it was where all the key players in the art world used to be. That idea of

CONTEMPORARY CULTURE//MAGAZINE

No Time For War, 2012, spray paint on canvas 66” H x 82” W $25,000

John "Crash" Matos in front of Remains of the Day, 2012, Spray paint on canvas 82"H x 66" W, For price call 646-335-6969 or crashone@aol.com

One of these Nights, 2012, Spray paint on canvas, 96” x 96” For price call 646-335-6969 or crashone@aol.com

coming “back on the block” is in the actual art. Back to large scale. Back to raw colors. Back to iconography that I am both known for and like. It’s about moving forward, but knowing what came before,” said John CRASH Matos. For more information, please call: (212) 750 -1103 or www.antiquorum.com

MONOTHON2012 is Coming! A special opportunity for collectors of the Fine Print

A painting by Wolf Kahn... a photogravure print of Muhammad Ali, from the original photograph by award winning photographer John Shearer… a monoprint by Emily Mason… original prints and publications by Bryan Nash Gill, James Prosek, and Julio Valdez… these are just a taste of the exciting artwork offered by the Center for Contemporary Printmaking, at the MONOTHON2012 gala this year. The Center for Contemporary Printmaking, a nonprofit organization dedicated to the art of the original print, presents the MONOTHON2012 Live Auction and Party on Saturday, November 17, 2012, from 6 to 9 pm. This annual fundraising event, now in its 14th year, includes a

selection of fine art prints by skilled printmaking artists, at Silent Auction, and a curated group of artwork by world-class artists, at Live Auction. Guy Bennett presides over the Live Auc-

tion proceedings with his usual joie de vivre. A bid number, a scrumptious selection of hors d’oeuvre and beverages are all part of the $35.00/person admission. All proceeds from

the auction support CCP programs and activities. Join us for an evening of fun and fabulous art. MONOTHON2012 Live Auction proceedings start promptly at 8 pm. Purchase tickets at the door, or call 203-899-7999 in advance. Auction Preview: Wednesday, November 14 through Saturday, November 17.

The Center for Contemporary Printmaking is located at 299 West Avenue, in Mathews Park, Norwalk, CT 06850. Workshops, gallery, and offices are open Mon.–Sat., 9 am – 5 pm, and Sun. 12 – 5 pm. The gallery and downstairs studios are handicapped accessible. For more information, please call 203-899-7999 or visit us at www.contemprints.org, and on Facebook, Twitter, YouTube, and Flickr. The Center for Contemporary Printmaking is a member of the statewide Connecticut Art Trail, a partnership of 15 prominent museums and historic sites, www.arttrail.org and is a member of the Cultural Alliance of Fairfield County, www.fcbuzz.org.

White on WHITE Churches of Rural New England

The Art of First Lady

Ellen Axson Wilson American Impressionist

Generously supported by Connecticut Humanities, Imagineers LLC,

Generously supported by Connecticut Humanities, Bouvier Champion Insurance,

and People’s United Bank.

and the George A. and Grace L. Long Foundation.

October 5, 2012 – January 27, 2013 Follow us on

Florence Griswold Museum 96 Lyme Street Old Lyme, CT

©Steve Rosenthal, Rocky Hill Meeting House, Amesbury, Massachusetts, 1785, 1996. (detail); Ellen Axson Wilson, Scene Near Old Lyme, Connecticut, c. 1905-1911.

Exit 70, off I-95 860.434.5542 FlorenceGriswoldMuseum.org

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

By Janet Langsam CEO, ArtsWestchester

The Performing Arts are off the Charts in Westchester than 176 shows… but who’s counting? Bob Funking and Bill Stutler, of course. They are the duo who built the theater which became “An Evening Dinner Theater” before its transformation to the Westchester Broadway Theater. And Broadway is what they do best served up with dinner, drinks and dessert. Coming to their stage this year is Kiss Me Kate, Oliver, Guys and Dolls, White Christmas and The Sound of Music. Quite a line-up, and no need to schlep to Manhattan.

Westchester Broadway Theatre

Two new ventures, the Capitol Theatre in Port Chester and the Pepe Infiniti Concert Series at the Westchester County Center, are bringing the stars out in our county. ong thought of as a bedroom community to New York City, Westchester has become increasingly appealing geographically to producers and promoters. In some cases, adding a Westchester leg onto an existing tour has brought some exciting performers to us. In other cases, we are an exclusive stop. We’re thrilled to say that the incomparable Aretha Franklin is making her only New York appearance this fall at the County Center on November 13, for what’s sure to be a much talked about highlight of the Pepe Infiniti series that is produced by Westchester Media. And the Center, with its over 4,000 seats, keeps on busting out with big names when comedienne Whoopi Goldberg takes the stage for a night of laughs on December 7. Not too shabby either, was the recent soldout Bob Dylan concert at the Capitol Theatre, and, I’m told Dylan rehearses there regularly. Now don’t mistake this hyperactivity as an accident or an overnight happening. It’s not. Many have been planting and harvesting the arts in these fields for years. Take the

CONTEMPORARY CULTURE//MAGAZINE

Aretha Franklin

Westchester Broadway Theater which is the longest running professional equity theater in the state of New York. Started in 1974 as the Westchester Premiere Theatre by two Manhattan ad guys, it has produced more

eep in mind that Westchester not-forprofit organizations have also primed the pump for the performing arts in this county. The Performing Arts Center (PAC) at Purchase College with its four theaters has been bringing the notables to Westchester for years. So too has the Tarrytown Music Hall and the Paramount Center for the Arts in Peekskill. This year, on November 17, the Mark Morris dance company (often called the bad boy of contemporary dance) will perform at the PAC. Oscar-nominated songstress Aimee Mann and Grammy winner Ani DiFranco are both hitting up the Tarrytown Music Hall – Mann on November 1, and DiFranco on November 14. And on November 15, Grammy Lifetime Achievement recipient Smokey Robinson will perform for an “Up Close & Personal” concert. And, fans can come together for a night of Beatles music at the Paramount Center, in a show by Classic Albums Live on November 9. Following their re-opening with Bob Dylan, The Capitol Theatre boasts an impressive fall lineup of top-of-the-charts musicians, including country king Lyle Lovett on November 8, folk star Ray Lamontagne on November 20, and English rock band The Moody Blues on November 27 and 28. And speaking of rock ‘n’ roll, the White Plains Performing Arts Center will “Spotlight,” the music and lyrics of The Who’s Tommy, from December 7-8, and 27-30. This tale of a young boy’s journey from pain to triumph features the fan favorite tune “Pinball Wizard”. Priming the pump for performing arts for so many years is paying off now big time for Westchester. A recent study done by ArtsWestchester reports that the not-for-profit arts in Westchester County have a $156 million economic impact. And that ain’t hay!

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

37TH Annual Hampton Classic Horse Show August 26 - September 2, Bridgehampton, NY Olympians and Celebrities Meet at 37th Annual Hampton Classic Kent Farrington took top honors in the $250,000 FTI Grand Prix and FEI World Cupâ&#x201E;˘ Qualifier, the grand finale of the 37th Annual Hampton Classic Horse Show. As always, the show featured international show jumpers, elegant show hunters, celebrities and more. The Hampton Classic would not be complete without celebrity sightings throughout the week. Those attending this year included Mayor Michael Bloomberg and Diana Taylor, Julianne Moore, Kelly Ripa, Jerry Seinfeld, Lorne Michaels, Aida Turturro, Rosanna Scotto, Jill Rappaport, Ramona Singer, Sonja Morgan, Jill Zarin, James Lipton, David Yurman, R. Scot Evans, Steven Klein, Waynescot Lukas and Gene Cornish of the sixties rock group, The Rascals.

Photos By: Victor Cangro, Kristin L. Gray Photography, Nancy Moon 36

CONTEMPORARY CULTURE//MAGAZINE

LEISURE: GOLF RESORTS

Corales 8th Hole

Punta Cana A Golfer's Paradise

Whether you’re vacationing to visit a land rich in beauty and culture, relax and unwind on the beach or spa, or more importantly play on some of the best golf courses in the Caribbean, Punta Cana in the Dominican Republic is a top notch destination to engage in all of the above. by LAURA WADE

Punta Cana has 45 holes of golf perfection from beautiful water holes to spectacular inland layouts. The property has 3 golf courses 18 holes at La Cana, 9 at the recently opened Hacienda designed by PB Dye and the G Magazine Editors Choice the Corales Golf Course. Punta Cana Resort & Club is home to two incredible courses La Cana and

CONTEMPORARY CULTURE//MAGAZINE

Hacienda. La Cana which opened in 2001 made the Dominican Republic a true golf destination. La Cana world renowned as one of the most beautiful courses in the Caribbean boasts 14 ocean view holes with 4 close enough for you to take a quick swim. After your round make sure you enjoy a delicious poolside lunch at the La Cana Golf and

Beach Clubhouse designed by Oscar de la Renta. The recently opened 9 holes of the Hacienda Course, which is inland is perfect to combine with one of the more ocean view nine holes to give you a great combination of rich beauty and seaside views. Corales is one of the newest golf courses on the island and a must-see and if you’re lucky a must

Boudoir PM, Oil On Canvas, 20" x 24"

JULIE LEFF FLORALS . ABSTRACTS . PORTRAITS

www.julieleff.com

203.434.8655

julie@julieleff.com

LEISURE: GOLF RESORTS

Hacienda

Tortuga Bay Beach Villas play there is talk of Corales going private. The Tom Fazio designed course integrates 6 seaside holes and challenging inland layout. The fairways are wide and the greens are generous but still challenging for both low and high handicappers. “The golf course at Corales is an adventure taking you through many environments,” wrote Fazio of the

CONTEMPORARY CULTURE//MAGAZINE

Photo: Evan Schiller

design and setting. “From inland holes bordered by lush trees and vegetation to holes playing beside crystal-blue lakes and ultimately along oceanfront cliffs and crashing waves.” Tom Fazio and his associate Tom Marzolf designed the golf course, but the setting – the palette of plant materials and its juxtaposition of turf against rocky shoreline – was the

Punta Cana has been a top tourist destination since the 1970s; listed number 79 on the top 100 places to visit before you die. Having been founded in 1969, Punta Cana has become a luxurious oasis of tourism, relaxation, and celebrity yacht parties. La Cana, 18th Hole

Photo: Evan Schiller

deliberate choice of the principals of the 15,000-acre Punta Cana Resort. That includes fashion designer Oscar de la Renta, singer Julio Iglesias, pioneering Dominican land planner Frank Rainieri and former labor attorney Theodore Kheel.” “Corales is a one of a kind golf course a must see for any high-roller. Just minutes from the airport

(including a private entrance from the Puntacana development), you can feasibly be on the golf course in minutes upon arrival.” states Bobby Harris Executive Editor G Magazine ‘for the modern golfer’ Punta Cana has been a top tourist destination since the 1970s; listed number 79 on the top 100 places to visit before you die (conducted by UCLA). Having been founded in 1969, Punta Cana has become a luxurious oasis of tourism, relaxation, and celebrity yacht parties. The area is home to over 35 resorts stretched along 25 miles of white sandy beaches. but the overall winner of best resort is Tortuga Bay. Tortuga Bay is keen on providing VIP service throughout your entire vacation. From checking in through customs at the airport, you’ll notice the staff has an exquisite level of service, unsurpassed even. The oceanfront resort has beautiful, ocean front grounds and the beach side villas designed by world-renowned designer, Oscar de la Renta. Accommodations at Tortuga Bay are arranged to the last detail. Once your private escort hastily expedites you through the airport, your private concierge expertly handles all of your check in details and provides you with your

own golf cart for the duration of your stay, for carefree travel around the grounds. Once you arrive safely at your villa, you’ll have access to wireless Internet and a beautiful ocean view. Your concierge stays in contact with you via mobile phone (provided by the resort, of course), and you have access to a golf cart, resort bicycles and kayaks, private beaches, pools, and spas, access to the exclusive Bamboo Restaurant, and daily activities planned as a portal for fun or relaxation. The Six Sense Spa, just down the beach from your Tortuga Bay Villa is a world-renowned spa experience. Famous for ‘The Six Senses Signature Package,’ guests are pampered for 7 hours and treated to deliciously fresh spa cuisine for lunch. The treatments include a floral foot ritual and serenity bath, a Six Senses Signature Body Glow and Cocoon, a Volcanic Hot Stone Massage, a Six Senses Signature Facial, Deep Cleansing Hand and Foot Treatment, and Six Senses Signature Tea, Champagne and Chocolate. This is truly a day designed to melt away your stress and revive your senses in the privacy of the tranquil and serene paradise beach spa pavilion. Real Estate within Punta Cana, Dominican Republic is luxurious. Whether you’re looking for something on the water or nearby, there are fantastic options to suit everyone’s needs. Considered ‘the hidden gem of the Caribbean,’ real estate investors within Punta Cana are seeing high returns on their investments. While you’re visiting the fabulous Punta Cana Resort & Club, keep your eyes peeled for celebrity sightings. The likes of Hillary & Bill Clinton are on the island in the winter time, often invited to stay in Oscar de la Renta’s private villa within Tortuga Bay. With that being said, famous fashion designer Oscar de la Renta spends time on the property, as well as sightings of Catherine Zeta Jones and husband Michael Douglas, and Angelina Jolie and Brad Pitt during the filming of the movie Santo Domingo in early 2010. Escape to Punta Cana, Dominican republic and bask in the luxurious tropical sun amongst high end resorts, golf courses and latin culture. Run into some of your favorite celebrities on vacation, leisurely search for your next destination vacation home, or relax in the spa and truly enjoy the splendor of the hidden gem of the Caribbean at Punta Cana Resort & Club, one of the most beautiful, catering and prestigious resorts in Dominican Republic.

CONTEMPORARY CULTURE//MAGAZINE

Travel: Mediterranean Islands

Words of Amore

Treasures of the Mediterranean, intimately revealed by Cindy Clarke

dysseus was irresistibly drawn to them. Napoleon left his mark on them. Phoenicians, Romans, Greeks and Moors took turns conquering them. Knights ruled from them. Yet in spite of the endless influx of invaders, modern-day travelers like me included who sailed into their intimate harbors aboard a 30-cabin yacht, the islands of the Mediterranean remain culturally, resolutely, uniquely, gratefully, their own. Consider Elba. It’s claim to fame as a pleasure boat stop is indelibly linked to the last days of Emperor Napoleon’s power trip, when both his time and his fortune were running out in his quest to rule the world. He spent nine months exiled in a modest hilltop villa that overlooked the harbor and any passing ships with telescopic precision. His sister purchased it for his stay, and had it decorated by a talented trompe l’oeil artist who painted Napoleon’s fondness for bees into gilded rooms on walls, furnishings, and ceilings. Visiting his house some 200 years after he last walked upon these same floors I reverently stepped on now was a big deal. After all, Napoleon garners awe 42

CONTEMPORARY CULTURE//MAGAZINE

in conversations with the French, many of who seem to consider him a living hero. I had heard stories of his conquests and brilliance as a military strategist, but what really drew me to him was his undying love for Josephine, a union sadly ended because of her inability to give him children. As I made my way into his personal bedroom and stared at his tiny, almost child-size, mahogany sleigh bed, I came to my own conclusions about why they were doomed to be a childless couple during their marriage. I decided that the views and setting in this quietly picturesque retreat must have soothed his soul and presumably his passions for a time, before he escaped off the island to return to his plundering crusade. I soothed my soul with my very first taste of gelato in the idyllic seaside town of Porto Azzurro, where I spied a scantily-clad balcony Romeo sending kisses and words of amore over my head to a dark-haired beauty across and up the narrow street as she sipped café from her wrought-iron perch. Happily my chocolate-laced Stracciatella made me reprioritize my earthly desires, before reigniting my passion sipping and savoring island grown wines at a lush private

CONTEMPORARY CULTURE//MAGAZINE

Travel: Mediterranean Islands

vineyard kissed by the sun and surf. That my tasting was made even more delectable with a banquet of olives, cheese and thinly sliced parma and by an Italian chanteuse who sang beautiful ballads about the sweet life made me wonder why Napoleon ever wanted to leave Elba in the first place, when the pleasures of a sensory Mediterranean island were literally at his beck and call. Napoleon was born on French-owned Corsica, the next stop on my own yachting adventure through these islands. We sailed into a narrow harbor tucked between soaring chalk-white limestone cliffs that have stood as watchful sentries for centuries as hordes of marauding pillagers tried in vain to conquer the proud fortified town of Bonifacio. Thankfully, the cannons that protected the walled ramparts were long gone as I scaled the steep passageways with my merry band of traveling comrades. The great gates remain, as do the legendary hand-carved stone stairs on the other side of the town that ultimately proved deadly for another doomed conqueror who wanted to make Bonifacio his own. I learned that as far back as the 9th century, no one has ever succeeded in completely overtaking this independently minded place. Its medieval residents, used to being attacked, had defended their ground with an arsenal of deadly armaments and a warren of upstairs houses impenetrable thanks to their ingeniously devised ladders which they could pull up safely out of anyone’s reach at a moment’s notice. Handcrafted Corsican knives are the weapon of choice today. Shops display them along with the island’s distinctive cork and olivewood crafts, red coral jewelry and slabs of locally cured prosciutto that gamely hang on high to tempt passers-by. We couldn’t pass them by. One shopkeeper, hospitable – and handsome – invited us inside to sample tasty treats of 44

CONTEMPORARY CULTURE//MAGAZINE

homemade bread, ham and fig jam, delectable specialties of the house. It turns out he would be the pilot who escorted our boat out of the harbor; I looked forward to sending him kisses of thanks as we cruised away. Outside of town, the gems of Corsica lie in landscapes scented by fields of maquis and in cove-like beaches that invite abundant watersport activities. Judging by the size of the expensive mega yachts that were anchored here, I wasn’t alone in my appreciation of its natural treasures. What was up with Napoleon anyway? Here was another island paradise that he voluntarily vacated, where I was immediately feeling right at home. I left my musings about Napoleon on the island of his birth and turned my imagination to Odysseus who was somehow getting easier for me to relate to. After all it took him over 20 years to sail away from the islands where I was now headed, so difficult was it for him to return home after he first laid eyes on them. Take Ponza for example. Odysseus blamed his reluctance to leave this island on Circe, the enchantress who lured him seductively to its shores. Pastel colored houses, dressed in pink, yellow, lavender and green, parade on the waterfront. Familyrun sidewalk cafés welcome with pastas, pastries and cappuccino – the best I would ever taste promised the longtime owner of la Kambusa. I had to agree. Fishing boats, equally colorful and gently weathered, ply the brilliant blue waters, ferrying visitors to hidden Roman grottos visible only from the sea and bringing home the day’s catch with much

ado and congenial boasting. For good reason as I found out later when lunch was a freshly caught swordfish, seasoned and grilled onboard by our chef to mouth-watering perfection. I could most certainly spend some more time in this sleepy place, especially when I found out that many lucky residents had their own little backyard vineyards and lemon orchards and few ever found good reason to go off island! Back onboard, the ship’s congenial cruise staff waxed poetic about the exploits of Odysseus in an ongoing narrative dramatically played out by pretty Melissa Weiler, who with her husband Steve sails these waters for a living. She spoke of Odysseus’ attempts to return to his one true love who had been waiting for him back in Greece. She told us about his interaction with Aeolus, the god of wind, as our yacht Le Ponant raised its sails to catch the breeze on our way to Lipari in

the southern Tyrrhenian Sea. That’s when she brought out the expressive clay heads, miniature Greek theater masks of the cast of characters who immortalized this part of the seafaring world, crafted by a Liparian gent who still makes them by hand in his shop along the Corso Vittoria. I was fascinated by one of Aeolus, cheeks forever puffed to blow us towards his island domain – and yes, I now have one of my own on my kitchen wall to remind me of my visit to this volcanic isle. Off the radar to most visitors, Lipari covers 13 square miles, producing capers, sleek black obsidian jewelry, pumice – great for removing hair-like prickles

CONTEMPORARY CULTURE//MAGAZINE

Travel: Mediterranean Islands

from unsuspecting, cactus-fruit-picking hands – and sweet Malvasia wine as economic mainstays. Odysseus’ adventures really enlivened our anticipation of visiting Sicily, first upon picturing Scylla, a terrifying six-headed monster, and a treacherous whirlpool that made passage through the Strait of Messina, which we had to navigate, challenging to say the least. Odysseus and his companions were not successful when they tried to sail through this narrow passage and were cast ashore at Taormina, where his men indiscriminately slaughtered some sacred oxen before they, and their ship, were destroyed by an angry god. We sailed calmly and safely through the Strait under the cover darkness in the wee hours of a new day, shores brilliantly lit on both sides. We rose with the sun as we sipped a morning latte on the deck and cruised into Giardini-Naxos for a visit to Taormina,

CONTEMPORARY CULTURE//MAGAZINE

clinging to the cliffs high above the sea. We climbed up to the Roman theater where the views staggered the imagination and whet our appetite for a taste of daily life. We ate pizza smothered in local flavor and olive oil and drank some pretty amazing red wine at an outdoor trattoria during our brief stay, thoughts far from the dismal fate that befell Odysseus and his men when they were here. Enamored with our visit, we later learned that Odysseus became enamored with one pretty erotic nymph on an island beach not far from where we were disembarking our ship in Malta. She kept him sexually satisfied and ultimately exhausted; we were aroused by the gilded interiors of palatial homes hidden behind the plainly dressed fortifications we encountered here. Malta is like a living museum that chronicles a 7,000year multicultural legacy of all its various occupiers, making sightseeing a true trip back in time. We rode a horse and carriage, a karrozin to the drivers, up to Mdina, a walled hilltop city dating from the 12th century. Noble Maltese families lived here then and still do, residing in privileged mansions with austere facades that belie incredible unseen treasures within. We did get to go inside one of these impressive private palaces, my eyes still blinking at the wealth of antiquities we saw there and in St. John’s Co-Cathedral in Valetta, a mind-blowing church, unadorned on the outside, and literally drenched in gold and silver and priceless art – the only known signed Caravaggio in the world is housed here – behind its closed doors. This heavenly sanctuary was built by the Knights of St. John who clearly enjoyed the rewards of their kingdom on Earth. We stopped to catch our breath with a cappuccino and a honey ring, a local pastry. I could only wonder what else was hidden behind the unassuming sandstone walls that lined the streets of Malta or what other riches I might have missed on these surprising islands of the Mediterranean. I intend to find out… soon, when I embark on yet another amazing travel odyssey.

Travel: LAKE TAHOE

by Jeff Blumenfeld

Lake Tahoe A Winter Vacation That Requires Mastering The Jaw Drop

CONTEMPORARY CULTURE//MAGAZINE Photo: Rod Hanna â&#x20AC;&#x201C; Lake Tahoe, Moon Over South Shore

Travel: Lake Tahoe Photo: Tim Thompson – Snowmobiling Lake Tahoe

’m walking across five lane State Highway 50 wearing a ski helmet, ski boots, and carrying skis across my shoulders. The brochures say Harveys Casino on the south shore of Lake Tahoe is an easy walk to the gondola and I believe them. Once across, I clomp through a casino that’s going full bore, no windows, no clocks. Just the grayhaired set and their dangling Marlboros inserting Total Rewards cards into coinless slot machines that are more like video games than one-armed bandits. The slot machines are all electronic now, themed by TV shows, movies, and even Hollywood cowboys. Dressed for skiing, I elicit barely a glance as I trudge through, physically spent by the kind of exhaustion skiers or riders know after an epic day. But not epic in terms of knee-deep powder. You don’t go to Lake Tahoe for champagne powder. That’s what Utah and Colorado are for. The resorts in this part of the U.S., being so close to the Pacific Ocean, are better known for a wet snow called “Sierra cement.” Here in the coastal Sierra Nevada it could be 50 degrees one day and 10 degrees the next. Sort of like what I’m used to on the east, only much higher. You go to Tahoe South for the full experience of skiing or riding amidst jaw-dropping scenery, the greatest concentration of ski areas, cross country centers, snowmobiling and snowtubing in one U.S. location, and highoctane, cocktail-fueled nightlife, including the aforementioned opportunity to leave with a lot less money than when you arrived. You also go for the lake. Ah, Lake Tahoe. This big jewel, straddling the CaliforniaNevada stateline at 6,000 feet, reflects the clear blue Sierra skies on over 300 days of sunshine each year. It is the largest and most popular

CONTEMPORARY CULTURE//MAGAZINE

alpine lake in North America, voted “Best Lake in America” in July 2012 by readers of USA Today. With clear, deep blue water plunging to 1,600 feet, Tahoe is the third deepest lake in North America and thus never freezes. Fed by 63 streams, clarity is an issue of constant concern, but one can still clearly see objects 70 feet down. Later we’re pleased to hear from Nevada Lt. Governor Brian K. Krolicki that Lake Tahoe is “one of the most regulated and protected places on the planet.” This week-long visit to Lake Tahoe’s South Shore – South Lake Tahoe on the California side and neighboring Stateline, Nevada – came at the suggestion of my ski buddy Steve, owner of a company that certifies ski shops in the meticulous art of fitting ski boots so they feel less like, well, less like c-clamps. Driving in the area introduced an entirely new subculture to this southern Connecticut flatlander. Lurking along Donner pass on I-80 are so-called “chain monkeys”— experts at installing tire chains on the cars of desperate motorists crazed about reaching the slopes before the latest storm is skied off. When the state of California says conditions are R2, it means chains are required on all vehicles except four-wheel drives with snow tires. You don’t even want to know what R3 means other than it’s what chain monkeys dream about at night when they punch out. Rather than ruin that new $950 Bogner outfit and $175 pair of Uggs down on hands and knees in the mush, drivers can pay $30 for a member of this jumpsuit-clad chain gang to bestow some temporary traction. And with 12 million people within a half-day drive and plenty of winter storms slamming through, they say an enterprising chain monkey can install five to six chains per hour. You do the math.

Photo: Courtesy of Sierra Resort – Huckleberry Canyon

We Came for Skiing and enjoyed three local areas in a matter of five days, each with its own personality. Kirkwood Mountain Resort is nestled in the Sierra about an hour’s drive from South Lake Tahoe, a mountain that’s well-respected among die-hard skiers in part because it averages more snow than any of the other Lake Tahoe resorts. Kirkwood was where we met ski patrolman Quince Buckley, 50, a 10th generation Californian who has worked at the mountain for 30 years. These days he uses hand charges, recoilless rifles, and specially trained “avy” dogs to keep skiers and riders safe from avalanches. I don’t ski out of bounds, but in-bound slides sometimes strike Kirkwood. Thus it’s comforting to know professionals like Buckley are there with probes and transceivers and dogs to keep skiers and riders safe. Later that week we witnessed an astounding demonstration of how these amazing animals can save lives after a snow slide. Coomba, a golden retriever avy dog named for the late extreme skier Doug Coombs, raced down a slope and sniffed out a patrolman buried over his head. Trainer Colton Terry explains, “This is all fun for Coomba. There’s no sense of life or death to the dog.” If the victim isn’t wearing a transceiver broadcasting a position, a trained dog is the best way to go, he explains, as I make a mental note to try not to get myself buried.

Photo: Tom Zikas - Camp Richardson Resort

Photo: Courtesy of Heavenly Mountain Resort

Families will appreciate Sierra-at-Tahoe where the resort has partnered with Burton Snow-boards to create Yoda’s Riglet Park, a mini Star Trek-themed park to introduce kids as young as three years old to the sport of snowboarding. Our most memorable day was at Heavenly Mountain Resort, the largest resort at Lake Tahoe, where almost every run has a view of the lake and its spectacular natural beauty. The Ridge Run, our favorite, features an iconic photo opportunity— it’s here that you can photograph a skier or rider who can only be in one place in the world—this place. On Ridge Run, skiers or riders are seemingly about to slide directly into the sapphire-blue waters of the lake, it looks that close, especially on the bluebird day of our visit. Our instructor was Catherine “Corky” Woodcock, so named because as a youngster she used to pop out of bed in the morning like a cork. She and her husband own a catering business. During the winter season Corky is out there trying to get old-timers like myself to ski with legs apart. You see, 50 years ago, when just a lad, I learned to ski with a narrow stance which called for legs locked together. Once shaped-skis came along and wider stances were required, I’ve struggled mightily. Now I’m following in the tracks of a 29-year-old instructor like some youngster in Learn to Ski class, consciously willing my legs apart with just a small degree of success. Later, I would award myself with a Bloody Mary in the mid-mountain Tamarack Lodge, complete with a celery stalk the size of a giant redwood. Somehow it soothes my brain here at 9,100 feet.

Dodging Rocks During the Day, Rocking Out at Night. A visit to South Lake Tahoe is as much about the après ski (or après riding, as the case may be) as it is the sliding on snow. From the time the lifts close to when you drag your sorry self to bed at night, there’s no shortage of evening activities. At Harvey’s you can see rock memorabilia including Rick Nelson’s sportcoat worn on Ozzie & Harriet, a coat worn by John Lennon, one worn by Jerry Lee Lewis, and a karate training uniform worn by the thin Elvis when he achieved an 8th degree black belt. There’s also The Improv at Harveys where a portly comedian performing during our visit uttered one of our favorite lines, “Nevada is where Californians come to smoke.” One night we enjoyed a 90-minute evening cruise on a replica 1880s Mississippi-style paddlewheeler called the Tahoe Queen, where we gorged ourselves on a standard fare buffet. It wasn’t particularly gourmet, but at least there was plenty of it. Once halfway across the lake, beyond the glare of the casinos, the Milky Way, the planets, and a billion stars shone like we were inside a giant planetarium. It was a reminder that despite all the creature comforts – the toilet paper in the room folded into cute little triangles by the housekeepers, ski rental butlers who travel to your room, and so on – Lake Tahoe is still very much a wild place at its core. You come to be fully immersed in the wonder of this natural world, participating in a winter sport you love. You come to South Tahoe to experience the exhilaration of feeling alive in winter.

About the Author: Jeff Blumenfeld, a frequent contributor to Venü Magazine, is editor of ExpeditionNews.com, and author of the adventure sponsorship book, You Want to Go Where? How to Get Someone to Pay for the Trip of Your Dreams (Skyhorse Publishing, 2009).

Photo: Terren Gomez - Pyramid Peak

Skiers and riders measure the steepness of a winter resort according to its vertical drop: the distance between the summit and base of a mountain. I’m thinking a new form of measurement is required in Lake Tahoe – let’s call it the jaw drop. It’s what happens after enjoying a week of skiing and riding amidst the unparalleled beauty of this emerald basin ringed by a tiara of snow-capped peaks.

Trip Tips •

Access South Lake Tahoe through either the Reno-Tahoe International Airport (renoairport.com) or the Sacramento International Airport (smf.aero)

• SkiHeavenly.com • Learn more about Harveys Lake Tahoe at harveytahoe.com • Kirkwood.com • Sierraattahoe.com • TahoeSouth.com • Book a trip on the Tahoe Queen at laketahoecruises.com •

SkiButlers Ski Rentals (Skibutlers.com) will come to your hotel or condo with the skis, boots and poles you need for your vacation, all perfectly adjusted according to your size and skiing availability. Prices are about $65, not much more than what it costs in rental ski shops and a lot more convenient.

• Masterfitenterprises.com – Zaps micro wavable custom insoles for all sports

CONTEMPORARY CULTURE//MAGAZINE

APPETITE: The Chocolate Lab

Sweet Addition New boutique hotel and dining destination introduces The Chocolate Lab The Brenwood Hospitality Group recently introduced the J House and eleven14 Kitchen, a multifaceted contemporary hotel respite and dining destination located in Greenwich, Connecticut. Since opening its doors in mid-May and announcing the official opening on Sunday September 23, the hotel and restaurant have been earning rave reviews as a premiere luxury hospitality destination in Fairfield County Connecticut. In addition to the early enjoyment of the property’s stunning outdoor dining room, bar and lounge areas, as well as the ultrasleek indoor main dining room and bar, the J House recently introduced Executive Chef Francois Kwaku-Dongo’s Chocolate Lab, a unique chocolate shop and café located in the J House hotel. Chef Kwaku-Dongo’s pure, rich cocoa creations feature handmade

CONTEMPORARY CULTURE//MAGAZINE

truffles and filled chocolates, all handsomely packaged, as well as pastries, confections, espresso and coffee drinks, and an assortment of premium coffee and loose leaf teas. Hours: 6:30 am-10:30 pm Pastry Chef Didier Berlioz, formerly of La Panetière in Rye, New York, brings his signature nous in the art of balancing texture with sweetness and structure in all of his desserts and confections as tasted with the giant chocolate chips cookies, seasonal fruit tarts, flourless chocolate cake, and the Chocolate Lab’s signature “Chocolate Waterfall” with fresh fruit and sweet accompaniments. A flavorful variety of gelato and

sorbet is prepared fresh daily using all natural ingredients. Chef Kwaku-Dongo is a master of the art of chocolate making and serves as the Director of Culinary Services for The Omanhene Cocoa Bean Company, a fair trade company and chocolate manufacturer that has pioneered the export of gourmet quality chocolate, manufactured from bean to bar , entirely in Ghana, West Africa. Chef Kwaku-Dongo oversees the culinary operations, new product development, and strategic partnerships within the hospitality and multi-media industries on behalf of Omanhene and its founder Steve Wallace. The Chocolate Lab highlights the “forastero” variety of cocoa bean grown in Ghana, West Africa. The Omanhene for-profit, value chain business model has been showcased by the United Nations Global Compact as a model of economic sustainability; it requires skilled labor and provides Ghanaian cocoa farmers with a domestic buyer that pays prices far more consistent than the highly

For more information on the cocoa bean process and the methods used by Omanhene and the Chocolate Lab: http://omanhene.com/how-to-eat-chocolate/how-we-make-chocolate

Written by Linda Kavanagh

Photographs by Thomas McGovern Photography

Likened to the art and process of producing quality cocoa beans, the Chocolate Lab is just as passionate and thoughtful about the coffee they offer. volatile world commodity price of cocoa. Omanhene is credited with inventing a new chocolate category, dark milk chocolate, their flagship 48% cocoa content recipe which is a mainstay in all Chocolate Lab creations. Likened to the art and process of producing quality cocoa beans, the Chocolate Lab is just as passionate and thoughtful about the coffee they offer. The finest beans from Brazil, Guatemala, and Costa Rica are used in all of the Chocolate Lab’s espresso drinks and daily coffee selections, as well as sold in whole bean form by the pound. The J House and eleven14 Kitchen has fast become the social gathering destination

in lower Fairfield County, as well as a posh and comfortable hotel choice for business and pleasure travel. Contemporary furnishings and eclectic pieces of art are fixtures throughout the property. The bi-level, 86-room hotel combines high-tech with modern, plush comforts and amenities. The hotel also features meeting

and event rooms, private dining, and is unlike anything that exists in the region with a design that brings the indoors outside. The open-air dining and bar areas are protected from the weather by a clever system of trellises and heating units that allow the outdoor spaces to be used for much of the year. The property is adorned with lush gardens and an outdoor fireplace and cascading water feature, that all combined, provides the space with a unique energy - day and night. Chef Kwaku-Dongo comes to the J House by way of Wolfgang Puck’s Spago in West Hollywood and Chicago. The Seasonal New American menu incorporates the Chef’s many global influences, locally sourced ingredients whenever possible, and a nod to sustainable practices. Pure theatre is combined with open-flame cooking in full view, where seasonal flatbreads, roasted vegetables, market fresh fish, and free-range poultry and grassfed beef preparations take on the wonderful smokiness of the wood-fired hearth. Vibrant salads, comforting pasta dishes, and artisan foods, such as a revolving cheese selection, round out the innovative menu.

CONTEMPORARY CULTURE//MAGAZINE

FEATURE: GeorgE CondO

I See What You’re Saying:

George Condo It was a very different time. There were three thousand of us and everyone knew each other. Such was ‘Downtown Society’ from1977-1987 – from the blackout until the death of Andy Warhol.

by PATRICK FOX

Rents were inexpensive and opportunity was everywhere. It was

an environment of hope, and camaraderie, where artists and musicians, dealers and managers, writers and actors, fashion models and photographers all collided; all worked together towards a greater enlightenment and defined glamour anew on our own terms. Our young friends were still alive. It was a very different time. George Condo and I were introduced in July 1983 through the artist Donald Baechler. I was visiting studios putting together the inaugural exhibition for my first venture, The Anderson Theater Gallery. Baechler said, “you should go downstairs and meet George Condo, he’s seriously great.” I’d heard it before, from other friends. It made me skeptical. I knew there were Neo-Surrealists out there, I could feel it, it was in the air. There had just been a major exhibition of Max Ernst. I was hoping to put a school of artists together, some identifiable stable of artists, but even a cohesive group exhibition was beyond my expectations at that time, so nothing could have prepared me for what I was about to experi-

CONTEMPORARY CULTURE//MAGAZINE

ence. Instantly I was drawn in. I knew I was looking at paintings that were going to be around for a very long time. They had “famous painting” written all over them, as if they existed before, but I’d never seen anything like them—Salvador Disney, meets Walt Dali. We selected a group of eight small paintings on artist board. I flew down Second Avenue barely able to breath. It was a different time. I was fortunate, having worked for Tony Shafrazi, when he opened on Mercer Street. I knew and worked with his crew, including Keith Haring whose first shows I’d installed. I’d known Keith from his first exhibitions at Club 57 and the shows he curated at The Mudd Club. My first sale from that show was to Jack Boulton of Chase Manhattan, (back then banks were the good guys - man, it was a different time). My second sale occurred a few days afterward when Keith Haring brought Andy Warhol to my gallery to see what was happening. They were excited by and purchased several of George’s paintings straight off. That night I ran into poet/critic Rene Ricard to expose him to my gallery

Life was just an excuse for making art.”

Portrait of George Condo, © Sophie Caby 2011

FEATURE: GeorgE CondO

The Clown Maker, 1984, Oil on canvas, 74 x 48 inches, Image courtesy of Skarstedt Gallery, © George Condo 2012

CONTEMPORARY CULTURE//MAGAZINE

I think in a vacuum. I think time exists in a vacuum, and that what has come before us actually came after us. In other words we don’t even know about the renaissance until after we’re born, so how could it have come before us?”

and introduced him to George’s paintings, (about the experience in American Vogue, a few years later, he recalled how he’d been shown George Condo’s paintings by candlelight by an East Village gallerist - I still hear his excitement in the dark as he exclaimed “these paintings don’t need light, they give light!”). Such a different time. I visited George twice in Paris in 1985 and again in ‘86. During the second visit I picked up some flowers for the studio on Rue Condé. In a Left Bank flower shop, an unremarkable, but pretty blonde woman seemed to be making a display of affection for my benefit, rubbing noses with her young daughter but keeping her eye on me. They didn’t look particularly similar but their familial relationship was clear. The mother’s features arrived in my cornea separately, individually presented for examination. The perfection of each feature was breathtaking, but I was confused: why didn’t they meld? What kept them discordant? Was it because she was rubbing noses with the girl but focused on me? Was it that ‘display’ of affection? Suddenly her features merged. I was confined in a small claustrophobic-inducing Parisian florist with Catherine Deneuve and her daughter, Chiara. God she was beautiful! I arrived at George’s studio exhilarated, and boom! His paintings broke it down and put it together for me simultaneously, his painting defined what I just experienced. Condo’s compartmentalization of features into separate labile emotions instantaneously converged to become a complex being. He exposed a character’s contrasting emotions and motives, which explained my Deneuve experience. Effect Deneuve! I still see similar themes and content in the duality of his work - the sexuality, the comedy, the violence and pathos. Picasso gave us the ability to view a subject from different perspectives, Condo sees through and depicts what a person wants to project while simultaneously painting who that person is at their core, occasionally through a series of paintings of a single subject, each illustrating incongruous or inconsistent character traits, as he did with his series of commissioned portraits of Queen Elizabeth 2nd, for the Tate Modern, London. People relate to Condo’s use of re-occurring and evolving characters and his sophisticated use of symbols. His followers have watched

the growth of his characters and the development of his painting. His Mid-Career Retrospective at the New Museum was a major event on many levels. He is now in the collections of the Metropolitan Museum of Art and in the permanent collection of The Museum of Modern Art. Patrick Fox: I want to pick up on a conversation we began in 1985 at the Hotel Place Vendome, Paris when you eloquently broke down the mathematical similarities between Claude Debussy and Philip Glass. Flying home to New York City the next day I continued thinking of how information was transmitted between artists of different times, different historical settings, to the future and back again. But it seems everyone knows that successful artists can only thrive as is, like their work, they’re also products of an age. I remember wondering if Hoagie Carmichael had whispered to Lou Reed. How could Braque influence El Greco? I began to see your influence on a wide range of painters, from la Tour to van Dyke, and to Bruegles, and deKooning even a photographer like Ryan McGinley. Did some art deity want to see if other artists along the time continuum of linear art history would reflect upon that fractured information? Could a Renaissance artist see through a cubist’s filter? Do you see yourself influencing art of the Renaissance? George Condo: I think in a vacuum. I think time exists in a vacuum, and that what has come before us actually came after us. In other words we don’t even know about the renaissance until after we’re born, so how could it have come before us? Ideas are like that as well, they come and find you wherever you are... there’s this laser beam or something like it that projects them into your mind, and then if you have the technical skills to materialize those ideas and they fit within your concept of “self” they can be used. Patrick Fox: It was great to talk to you on the phone again George, to hear your voice. I’m struck by the familiarity of your intelligence, the

CONTEMPORARY CULTURE//MAGAZINE

FEATURE: GeorgE CondO

Diaries of Milan, 1984, Oil on canvas, 74 x 80 inches, Collection of Museum of Modern Art, Image courtesy of Skarstedt Gallery, © George Condo 2012

same I heard on 2nd Avenue in 1983 when I first encountered your painting voice. I’m thinking about how long we’ve both been around, discussions of discovery in the Tin Room of my gallery on Bleecker Street which was an artists salon. We were confronting our future, confronting paintings, confronting our auto-aversions. The lessons I learned from you were important for me, they were quite specific. One involved likes and dislikes, how to embrace that which made me uncomfortable. I remember telling you I didn’t care for the color palette of a Sam Francis I had at the gallery (Imagine!) You disappeared into the office and in a few minutes you emerged with a small painting of an old woman in the exact

CONTEMPORARY CULTURE//MAGAZINE

colors we were discussing. It was an important lesson for me. I refer to her frequently. I cherish that little old woman and the daily lesson of wisdom she still imparts, every time I see her. George Condo: Back in the east village I remember hanging out with artists like David Bowes and Dan Asher, quite different characters but each one had something inspiring to offer. Dan... the idea of survival, how to live on two dollars per day. Whether it was borrowed from a friend or made by simply bumming it off the street. Bowes taught another lesson with his refined intelligence and superior taste that life and

Rush Hour, 2010, Acrylic, charcoal & pastel on linen, 80 x 70 inches, Collection of Metropolitan Museum of Art, Image courtesy of Skarstedt Gallery, © George Condo 2012

existence were as fragile as venetian glass... transparent and dreamy... but all along must be handled with great care to preserve its beauty. So I think between those two concepts of life my struggle was one of how do I borrow time... survival time. How do I smash everything in sight and rebuild it, how do I take all that means the most to me in the world and all that I cherish and set it on fire? How do I live with myself when I know that I’m playing such a dangerous game... like a race car driver, hit a bump and you explode into flames... but without the team to pull you out of the front window... but either way it was the only way for me to live, to be excited every day to want to wake up and risk it all.

Patrick Fox: I was visiting Rene Ricard at his East Village apartment directly across the hall from Allen Ginsberg’s, when I first saw your painting, The Cloud Maker. Now my observations seem obvious to me. I remember saying you were painting from a god perspective, pulling the curtain back on god, exposing that he’s no different than the Great Oz, and that he has to go to work every day too, that you were actually exposing how the clouds were made. Rene waxed on about your painting’s significance as a breakthrough for you as a painter of time allegory. He matter of factly schooled me, breaking down the hows’ and whys’ this painting reaffirmed your importance as an

CONTEMPORARY CULTURE//MAGAZINE

FEATURE: GeorgE CondO

Compression IV, 2011, Acrylic, charcoal, pastel on linen, 72 x 74 inches, Image courtesy of Skarstedt Gallery, © George Condo 2012

artist. He championed the freshness of your paint and the paintings surface. Clearly, that painting mapped you as a touchstone artist of your generation, because of your unique approach into the pantheon of art history, your presence in the arena with your contemporaries like Jean Michel Basquiat and Keith Haring is unassailable. Does this make sense to you now, so many years later? Do you think it’s possible for a single painting to do that, or are we talking about an inevitability? We knew those artists whose importance was inevitable. Was this knowledge the result of our close-knit, emotionally invested involvement; was friendly discourse participation in the

CONTEMPORARY CULTURE//MAGAZINE

development of varied painting styles of a generation, during those earliest years? The passion of those times now seems desperate, like art itself could end at any moment and, because of this, we witnessed our friends’ careers blow up fast. It was as if last year or even yesterday was already too late. George Condo: I befriended Jean Michel in 1980 when I first arrived in the city and met Keith in 1983 after he bought a few pieces in your gallery. All three of us lived on that same edge... every single day something had to burn, something had to be made even at the expense

We Are Who You Think We Are, 2010, Oil on canvas, 70 x 60 inches, Image courtesy of Skarstedt Gallery, © George Condo 2012

of our own lives. Life was just an excuse for making art. They’re gone now, but the art lives on... so, I guess it’s true. I’ve known George Condo for nearly three decades, his work still moves me and holds me captive. His assured ability to take on the art greats consistently reminds me I’m in the presence of a Master. George Condo is one of the great artists of my generation. Considered by many to be the greatest living artist of my generation. Whether Condo disappears into a luxury hotel in a world culture capital, a New York City townhouse, or behind a privet hedge in the British countryside, you know that he

doesn’t stop working. He’s always busy creating monumental art no matter what scale he chooses. George’s art is a painted record of the times; he records our culture and interprets society as it truly exists. In Condo’s universe we’re seen as flawed protectors, and contributors, whores and vultures all worthy to be painted for prosperity by the Goya of our age (warts of the soul and all). George takes on the task and delivers. The annals of late 20th and early 21st century art must contend with George Condo because he’s grabbed the brush of art history and uses it as a baton; he’s handily taken on the responsibility of standard bearer and the interpreter of current history. Time is on his side.

CONTEMPORARY CULTURE//MAGAZINE

FEATURE: Rwandan Art

City Scene, by Innocent Churchhill Nkurunziza

{BE } come

The Healing Power of Rwandan Art

CONTEMPORARY CULTURE//MAGAZINE

IT all started with a statue.

by Carolina Fernandez

While moving our daughter into her new dorm at the start of her sophomore year at Babson College, I noticed a bust erected by Babson College Founder, Roger Babson, in honor of his ancestor, Reverend John Rogers, who was burned at the stake in 1555 as a martyr for the Christian faith. Babson is widely known as the top-ranked school nationally and internationally for entrepreneurship; that it was founded on faith is not quotidian rhetoric.

CONTEMPORARY CULTURE//MAGAZINE

FEATURE: Rwandan Art

ast forward. When the college asked us for our next annual gift, we stressed that we would like it to have more impact. Specifically, we wanted to honor its faith roots. Unbeknownst to us, Babson was sending ten gals from its Women’s Leadership Program to Rwanda in June, where they would live at the convent run by the Benebikira Sisters, the country’s oldest order, and teach entrepreneurship to the high school students who studied and boarded there. Babson wondered if helping sponsor this trip might fit our requirement. And later, would I like to see faith in action? I’ll confess it right now. I had never had a heart for Africa. I had never felt drawn there. Everyone knows someone who just has to make a pilgrimage to Africa, the obsession with a land and her people so powerful that it pulls them like an umbilical cord. I was never one of those people. For while I believe that I do have a heart for all people facing disenfranchisement of any kind, regardless of locale or the nature of the disenfranchisement, the people of Africa, specifically, was never a group whom I envisioned meeting or serving. So I surprised even myself when I accepted an invitation from Babson’s Dean to travel there. Honestly, I had no idea where Rwanda was, precisely. East Africa? (yes, actually.) Sub-Saharan? (yes, that too.) It is a smallish country roughly the size of my home state of Connecticut. And yet suddenly, even with memories of Hotel Rwanda, the relatively recent genocide, and the concerns of my husband and four children for me traveling there alone uppermost in my mind, I now, for some powerful yet very strange reason, felt a deep and strong desire to go there. I found myself, suddenly and unexpectedly, developing a heart for Africa. I had no agenda. My desire was simply to meet a land and her people, and to see if, perhaps, I might add some value wherever I went. I have a passion for the arts, and even though I work on Wall Street, where I love designing investment portfolios as well as my clients, my heart beats fastest for the arts. And I thought that perhaps I might meet some of the country’s top artists, and offer business acumen that I sensed might be in greater demand than was its current supply. My journey there began calmly enough. Three legs got me to Rwanda: New York to Montreal, Montreal to Brussels, and Brussels to Kigali. Uneventful, I was rested and percolating with excitement by the time I got picked up at the Kigali airport. My three-nights and two-plus-days visit there, settled in to a guest house across the street from the Rwanda Development Board, and nestled amongst high-rises in this shockingly cosmopolitan city, resonated hope. Businesses were thriving, green shoots were everywhere, and the vibe of the city was highly energetic. I was, indeed, able to meet with the country’s top artists while there, with back-to-back appointments scheduled for me in advance by the BabsonRwanda Entrepreneurship Center, which is headquartered there. But spending time with their top artists, getting to know them, seeing what they do day in and day out, with whom they interact, and the challenges they endure all caught me completely by surprise. My heart had been pricked. For when you examine, firsthand, the plight of those working so fervently at the fringes of civilization, fighting for anything that matters most to you becomes a matter of the heart. It was the softening of my heart, the all-too-frequent lump in my throat, and the tears which formed frequently, that caught me most off-guard during this, my first trip to Rwanda. I had traveled to the third world before, where I had witnessed extreme poverty firsthand. But I had different expectations of this land and her people. I expected them to be mostly disheartened. To be saddened, almost beyond repair, by their history of unfathomable loss. By separation. Instead, I was totally disarmed by the grateful, uncomplaining spirits of this gentle, soft-spoken and humble people. In short, I was surprised

CONTEMPORARY CULTURE//MAGAZINE

Clockwise from the top: Life Is A Flower, by Innocent Churchhill Nkurunziza; Sweet Melody, by Emmanuel Nkuranga; Thanksgiving Day, by Emmanuel Nkuranga

Carolina Fernandez is an author, artist, advisor and activist. She represented the Ivuka artists at the Arader Gallery in New York City and at Babson College in Boston during their visit in October. Contact: carolina@carolinafernandez.com

by joy. I was surprised by the fact that, regardless of their circumstances, regardless of their obstacles, they were happy anyway. I had a distinct sense that taking a solo trip to Rwanda would somehow move me to who I am supposed to become Desiring most to watch artists at work, seeking them and their work out became my mission while in Kigali. What I found is that the arts industry in Rwanda is essentially nascent; there is virtually no public art in Kigali, its capital, and virtually none in the countryside, either. Furthermore, art education is not a priority; post-genocide, Rwanda is re-building with instruction in science, math and technology. Therefore, most artists are self-taught, and work without the network of support that is enjoyed elsewhere in Africa. I also learned that African culture teaches its members to place community before the individual. So individual artists find professional movement in Rwanda challenging; they have been acculturated to work not as much toward individual pursuit of excellence, but rather, to move as a community. Yet aspirations for forward movement of Community is admirable, and in Kigali, it means that working artists desire to give back to their community more than they desire to become the branded, celebrity artists that we love, or loathe, here. Meet Emmanuel Nkuranga. He moved with his family to Uganda during the first ten years of his life in order to escape the Genocide. Entirely self-taught, this charismatic painter, with movie-star good looks and a million-watt smile, has risen to become one of these top artists. He has turned his gifts and talents to the orphans of Kigali. A painter at Ivuka, he is also Founder of Art with a Mission, dedicated to teaching art to the orphans in his own community. He believes that arts’ healing powers can quite literally infuse people with energy and with new life. After meeting Emmanuel and seeing his work, my heart became enlarged, and I shall never be the same. Emmanuel’s abstract paintings, bursting with color, light and energy, magnetically drew me in, closer to this land and her people.

While there, I met his brother, Innocent Churchhill Nkuranga. Embraced by several small children, all of whom wrapped his legs with their tiny, outstretched arms, he, too, exuded a warm and gentle spirit that grabbed me from the start. An incredibly talented self-taught painter, he was working on a new abstract work that I was able to see in-progress as I meandered through the narrow hallways of the studio. Outside, roosters cackled in tune to the drum beat of Rwamakondera, a traditional dance troupe composed of disadvantaged children, all part of Ivuka’s mission to heal, educate and give others a sense of hope for the future. I met Ivuka’s Founding Director, Collin Sekajugo, later that night. Bright eyes match his warm smile and big-hearted persona. He told me about Ivuka, which he formed in 2007 following artistic tours to over fifteen countries, to “use art to change lives.” I would soon tour a small gallery inside the restaurant where we met, which showcased the work of these three talented painters; even later I would see exhibits curated by Collin at the National Gallery. Ivuka stands tall as one of the real success stories of Rwanda’s recovery. Simple in structure, located several miles from the heart of the city, down a clay road studded with boulders and lined by modest homes, it remains dedicated to building community through the arts. Ivuka has fueled its students with renewed vision for a country filled with energy and dynamism, where art is recognized as a necessary ingredient for healing. I didn’t travel to Rwanda to fight physical poverty. Nor to stamp out illiteracy. Nor to combat disease. I simply went to meet a land and her people. I left, eleven days after I began, heartened that I had found a little corner of the world, in East Africa, in the Sub-Sahara, where a gentle, softspoken and humble people are, regardless of circumstance, happy anyway. And my heart, which had become enlarged in the wait, left even fuller in the process. I plan to return, next year, to teach alongside the artists at Ivuka, and to re-join a land and her people which, even now, are pulling me closer, with a heart that has, at last, been developed for them. CONTEMPORARY CULTURE//MAGAZINE

Style: Timepieces

The Aspiring Watch Collector By Cheryl Dixon

PATEK PHILIPPE (REF. 3974) Minute-Repeating Perpetual Calendar, Platinum, Set a new world record when it sold for 902,500 USD in Antiquorum’s New York Auction on April 25, 2012

The art of watch collecting can be filled with a sense of discovery and enjoyment as aficionados grow their knowledge, refine their preferences and uncover rare and unique timepieces. Aspiring collectors will often wonder where to start to begin their collection – according to experts at Antiquorum Auctioneers in New York, Patek Philippe and Vacheron Constantin, Audemars Piguet, A. Lange & Sohne and Rolex watches are among the classic fine Swiss brands that are always collectible. Watches from Jaeger-LeCoultre, Cartier and relatively new names like Roger Dubuis and Richard Mille have seen strong results in auctions the last few years. However, watch collecting is very personal and

CONTEMPORARY CULTURE//MAGAZINE

subjective – with many options available at different price points. Other factors to consider before making a purchase are the size and shape of the watch as well as the intended use. Above all, collectors should buy what they love and will enjoy wearing. Volatile economies and waning confidence in traditional markets have inspired investors to consider collecting, and the watch market has seen a steady increase in participants since 2008 with a growing number of casual and novice collectors. Many fine examples have inspired competitive bidding at auctions around the globe and exceptional pieces continue to fetch prices that set new

world records, like an Omega owned by Elvis Presley, a Patek Philippe Ref. 3974 in platinum with a minuterepeating perpetual calendar, a Patek Philippe Ref. 5004P, a platinum wristwatch with split-second chronograph, perpetual calendar and custom-ordered platinum bracelet and a Rolex Submariner Ref. 5512, with pointed crown guards that belonged to former Mossad Director Isser Harel. Whether collecting for investment or enjoyment, it is important to note that many factors contribute to the value of a timepiece; most importantly are the brand, complications, rarity and condition. Other coveted items are exceptional and

AUDEMARS PIGUET Royal Oak Jumbo “A SERIES”

rare timepieces with provenance, vintage timepiece that are in mint condition and those that are accompanied with original paperwork, documentation or presentation boxes. Determining the value of a timepiece is best done by an horological expert, who will carefully examine the condition of a watch’s dial, case and movement to assess originality. Valuations may be done for an insurance appraisal, in which an expert will determine how much it would cost to replace the timepiece. If a collector is interested in selling a timepiece, estimates of fair market value of what a watch

OMEGA Black Dial,Constellation Calendar, Previously owned by Elvis Presley, Sold by Antiquorum in New York on June 12, 2012

PATEK PHILIPPE (REF.5004P-035) Set a world record when it sold for 3,260,000 HKD at Antiquorum’s auction in Hong Kong on June 23, 2012

Following these guidelines, watches will be better protected and able to be enjoyed for future generations of collectors.

might fetch at auction are performed free of charge. Another vital aspect of watch collecting is caring for your timepieces. Maintenance and proper storage will help preserve fine

watches. Primary considerations include the proper storage of watches in a dark, dry place to prevent damage from humidity and sunlight, which can be very damaging. Attention to routine maintenance, such as winding the watch on a regular

basis if required and only using watches in the contexts or which they were designed will also help preserve a watch. It is recommended to service and appraise watches every five to seven years.

Cheryl Dixon is Vice President of Marketing and Communications for Antiquorum Auctioneers. Established in Geneva in 1974, Antiquorum has carved its own unparalleled niche in the auction world through its focused expertise in horology and by cultivating a thriving collector’s market for timepieces worldwide. Look for more articles to come from Antiquorum’s global experts in future issues of Venü Magazine. For more information: visit antiquorum.com, or email valuation@antiquorum.com

ROLEX (REF. 5512) Submariner, Pointed crown guards, Meter first gifted to Isser Harel, Director of The Mossad from 1952-1963, Sold by Antiquorum Auctioneers in Geneva on May 13, 2012

CONTEMPORARY CULTURE//MAGAZINE

STYLE: DEcor

{Insider tips to help you live like a celebrity in your own home}

Star-Studded Spaces, Miami Style Monica SUleski Images by Blue Ocean Photography

Written by

Totally hot – and haute, Miami is a magnet for the rich, the famous and the beautiful. At its core is its status as the center of a star-studded cultural, fashion and music mecca. Its oceanfront address on those eternally sun-kissed powder-sand beaches adds to the allure, enticing vacationers and homebuyers alike with promise of year-round warm weather fun. Miami glitters like new. It wasn’t all that long ago, the early 1990s in fact, that two high-profile celebrities – Madonna and Sylvester Stallone – first launched Miami as the trendy place to live, buying lavish homes that doubled as their own private beach resorts. And who could blame them? With an itinerary of ocean blue beaches, “it” restaurants, fashionable shopping, stunning people and seductive evenings, Miami

CONTEMPORARY CULTURE//MAGAZINE

definitely has all the ingredients for a celeb-worthy home. It is said that Miami keeps you young – all you have to do is look around and you’ll have to agree that these celebrities have discovered the fountain of youth! With full concierge services right at your fingertips, everyone comes to Miami to live and vacation like a star. Many come here because of its reputation as one of the hottest go-to cities in the States and end up falling in the love with the lifestyle. But because it’s a film-friendly city with movies and reality TV shows being shot year round, there has been a shortage of fabulous designer-done Luxury Waterfront Estates for rent – the kind of places where celebrities like to make themselves at home. That’s where my services come in at Eclectic Elements. We have acquired some pretty amazing proper-

ties to serve this market, transforming them into turnkey homes where many celebrities have resided. The photographs on these pages showcase some of the residences that Miami’s film-star residents have called home during the filming of their shows and movies. Ever since the famous Miami Vice show, the all-glass, flashy-white, modern bling-bling mansions have been the rage. They are ideally what people envision Miami’s style to be. When mansion rentals are not available, you can find celebrities residing in the newest luxury high rises like Apogee, St. Regis, 900 Biscayne, Ten Museum, Icon, Jade and Epic just to mention a few. There are many well-known athletes and artists who have relocated to the 3-0-5 that keeps these fabulous designer-done estates in high

demand. Many stars live on North Bay Road and the islands of South Beach: La Gorce, Sunsets, Star, Palm, Hibiscus and Fisher Island just to name a few. They enjoy the wide bay views, luxurious living, peaceful neighborhoods and ironclad security. Behind the doors of some of the most lavishly designed houses, you’ll find the work of talented designers who help these celebrities turn their dreams into living paradises. Adhering to impeccably high standards, these celebrity homes look fabulous and great because they use only the best top-quality materials and products inside and out. While you might not be able to afford to give your home the star treatment, there are several ways to decorate like a star without spending a fortune. and a Tangerine Tango throw might be great picks this year, but maybe not next year. • Create a sense of balance with colors, textures and furniture. • Try mixing things that you wouldn’t necessarily think would go together. They can add an interesting element of unpredictability. Sometimes you need to throw in new colors or patterns to keep the room vibrant and exciting.

a few key design tips on how you can turn your home into a perfect celebrity utopia: • Keep each project fresh and unique. It’s really important that each project represents the person who lives there. • The first thing you have to remember is not to discount the details. If you can’t afford some of the changes you want, think about what else you love

and make do the best that you can. Wait until you can afford what you really want and then go for it. Many people make the mistake of filling a room with random accessories just to feel as if it has been professionally decorated, but just like an outfit, it’s better to buy quality over quantity.

• No matter what the trend is, move ahead with a light hand. Always keep your big, major pieces more classic, and accessorize with trends. If you are going for a trend, do it with something you don’t mind getting rid of later like accessories, pillows or candles. Decorative pillows, metallic tabletop pieces

For more design tips, visit www.eemiami.com or call me, Monica Suleski, at 305-773-7467.

• Focus on clean-cut, timeless and classic lines while decorating. Use minimal but exquisite and unique art work like paintings or sculptures, deep, lush, soft carpets, and fresh flowers in beautiful vases. This will give an uncluttered look of serenity and elegance to the room. Lighting also plays an important role in enhancing the glamour and dramatizing the decorative pieces. • Think about the celebrities who make headlining news with a new head-turning fashion statement just by introducing an unexpected accessory to their outfit. That’s the essence of Miami style.

CONTEMPORARY CULTURE//MAGAZINE

NewsAndPreviews

CONNECTICUT

Introducing The Highgrove Lifestyle To Stamford Proud to call Stamford, Connecticut home, Highgrove sets-the-bar in luxury living with its one-of-a-kind lifestyle located within easy commuting distance of Manhattan.

Setting the Standard The 18-story luxury building was designed by legendary architect Robert A.M. Stern and has already redefined what the market offers for executive renters. Featuring two-, three- and four-bedroom homes that range from 1,200 to 3,900 sq. ft., these unique residences showcase the finest features and provide a truly luxurious lifestyle. All units are lavishly appointed, featuring SubZero refrigerators, Asko dishwashers. Wolf ranges, custom

Beaubois cabinets and vanities, hardwood floors, marble baths and up to 11-foot ceilings. The Highgrove lifestyle extends to the exclusive amenities that include a retractable-roof pool, yoga and fitness centers with saunas and steam rooms, concierge and valet service and views of the Long Island Sound and the New York City skyline. The Full ServiceConcierge building also features above-ground garage valet parking, elevators with private-entry foyers, and 100-bottle wine cellars for each residence. “Highgrove has set the standard for luxury living within Stamford and Fairfield County,” said James Schumaker, VP-Marketing at ST Residential. “ST Residential is proud and excited to bring a new level of service and quality to the area.” Under new ownership by ST Residential, the highly anticipated Highgrove has been repositioned as a luxury rental property with an ever-growing Interest List as seen at a launch event held in October. Prospective residents can enroll in the Interest List and learn more about the property by visiting www.highgrovestamford.com. ST Residential, a consortium of investors, which includes Starwood Capital, TPG, Perry Capital and WLR LeFrak and boasts a nationwide portfolio of luxurious, design-driven homes, took over and stabilized the project, bringing new investment and expertise. ST is teaming with Lincoln Property Company, an acclaimed manager of luxury buildings, to offer renters a lifestyle worthy of the building’s sterling pedigree.

CONTEMPORARY CULTURE//MAGAZINE

Photos: Gotham Photo Company

REAL ESTATE: premium Properties

NEW YORK

The Right Choice Prudential Douglas Elliman is the largest New York real estate services company, with over 3,500 professionals throughout New York City, Long Island and Westchester. Featuring one of the largest inventories of New York real estate, our website can help you quickly find New York homes for sale, New York rentals, New York apartments, New York condos, and general information about the New York real estate market. Use our comprehensive tools to find New York City real estate statistics, Manhattan real estate prices, Long Island real estate listings, Hamptons real estate market trends and Westchester homes for sale. Once you have surveyed the New York real estate market and identified your future home, contact PDE’s experienced New York real estate agents. With over 60 offices in Manhattan, Brooklyn, Queens, Long Island,

SKYLOFTS, 145 Hudson Street Penthouse, TriBeCa Price: $48,000,000 Listing Agent: Heather McDonough Office: 212-321-7164

and Westchester, PDE can help you make smart real estate decisions, whether you are interested in New York City real estate, Manhattan real estate, Long Island real estate, Hamptons real estate or Westchester real estate. For more information: Visit our website, www.elliman.com or call us at 800.ELLIMAN

Florida

On The Ocean. South of Fifth.

Open the door to your Ocean House and enter a space unlike anything you’ve ever seen in South Beach. It’s the newest oceanfront residence South of Fifth, boasting sweeping residences, breathtaking views and uncompromising attention to detail in furnishings and amenities. A mere 18 Grand Residences guarantee that only a select few will ever call Ocean House home. Oceanfront Grand Residences from 3,500 sq. ft. to 6,200 sq. ft. From $5 Million to $10 Million. For sales and general inquiries: 125 Ocean Drive, Miami Beach FL, 33139 305.763.8171 or info@oceanhouse.com. Website: oceanhousesouthbeach.com

On The Block:

INDULGE: Decorative ARts

School has started, and the results are starting to come in as well as a taste of what the fall auction season will hold. by Matthew Sturtevant Already the signs of a healthy market are revealing themselves. On Sunday, September 9th at Freeman’s of Philadelphia in the first of the auctions of important Asia Week Sales they managed to outperform expectations exceeding the overall estimate with outstanding performance by top lots, including $1,314,500 for a painting by modern Chinese master Lee Man Fong. This is Freeman’s fourth consecutive Asian Arts auction to command million dollar prices for top items. Again proving that buyers will seek out the items and bid aggressively no matter where the items turn up as long as they are properly catalogued and advertised well. In an interesting turn there is something that rings of success about bringing items to the right market. Such was the case when property belonging to the late Donald L. Taffner, the iconic American independent television producer and his wife Eleanor B. Taffner, offered the largest single private collection of furniture and paintings by Charles Rene

MacKintosh at Lyon and Turnbull in Edinburgh Scotland, September 7th 2012 fetching as much as $2,100,000. The quintessential American success story, Donald and his wife Eleanor, were responsible for bringing television shows to the American public such as, “Threes Company, “Too Close for Comfort” and “The Benny Hill Show” — all the while they collected their cultural heritage. Two of the highlights were “Bouleternére”, painted around 1925-27 in the South

of France hammered down at $105,000 and “Yellow Tulips” painted around 1919 fetched $210,000. Again across the seas, Bonhams will make a mark in Pop culture by offering a leather jacket belonging to George Harrison worn on stage numerous times during the 1960’s which will highlight their Entertainment and Memorabilia sale on December 9th 2012 in Knightsbridge, London estimated to fetch $145,000 - 195,000. This jacket was acquired by George during the Beatles residency in Hamburg, Germany, in 1960-61 and was a favored outfit, which featured, in much of the early publicity to promote the band, particularly in photographs taken by Astrid Kirchherr and Jürgen Vollmer. It was only after signing Brian Epstein as manager in 1962 that the band adopted a more modern sophisticated style wearing matching suits. The jacket will have company at the sale as well. Also, included in the sale is a pair of George’s “Beatle”

boots Circa 1964 and a bright orange western style shirt worn during his famous charity event, The Concert for Bangladesh, 1971. Rock on!

Top: Lee Fong Wang, ComPoon, 20th century, signed and stamped with artists seal - $1,314,500. Left: Charles Rene Mackintosh, Yellow Tulips, dated to 1919 - $210,000. Right: George Harrison Leather Jacket Circa 1960/1961, estimate $145,000 - $195,000.

CONTEMPORARY CULTURE//MAGAZINE

INDULGE: Motoring

Written by: Lorenz Josef

“I couldn’t find the sports car of my dreams, so I built it myself.” - Ferdinand Porsche

The New Porsche A

few weeks ago a car nut buddy of mine said that Porsche had just released an all-new Boxster model. Based on my initial impression of the Boxster when it was introduced 15 years ago, I was not really interested in checking out the new car. Boy was I ever wrong. You have to understand that when I think of Porsche, I think of their rich racing history on race tracks all around the world since the company began car production in 1948. In fact, while everyone automatically thinks of Ferrari’s dominance in motorsports, Porsche has racked up the most victories in the prestigious trifecta of sports car racing: the 24 Hours of Le Mans, the 24 Hours of Daytona and the 12 Hours of Sebring races. Porsche’s dominance is no surprise when one looks at its founder, Ferdinand Porsche and what he accomplished before he started his own car company. Born in 1875, he developed the first gas/electric hybrid in 1901. During the first half of the 20th century, Porsche engineered street cars for Mercedes Benz, Grand Prix race cars for Auto Union (Audi) and developed the

CONTEMPORARY CULTURE//MAGAZINE

iconic Volkswagen Beetle. When he wasn’t busy with car projects, he also designed Tanks and consulted on Aircraft design. His experience with Volkswagen proved to be very valuable as it formed the basis of the first Porsche automobiles. In fact, the fundamental VW layout, i.e. trunk in the front and engine all the way in the back, is still used today in Porsche’s long running flagship model, the 911! The early Porsche chassis, suspension and

even the flat design, four cylinder, small displacement motor were nearly identical to VW. Until recently, the 911 also used air cooling, just like the VW Beetle. Unfortunately, Porsche did not live long enough to see the success of his eponymous company. However, his son Ferry forged ahead and really put the company on the map by the mid-1950s. Around that time he decided that racing would be an

important marketing tool and developed an iconic race car, the 550 Spyder. Yes, the very same car in which rising Hollywood star, James Dean, met his untimely death. The 550 proved to be the little car which could beat the giants of motorsports. Besides being very light and having a state-of-the-art racing engine which was developed in house, Porsche relocated the engine to behind the seats. This move proved to be extremely beneficial to the handling of the Spyder. Fast forward to 1997, Porsche decides to introduce a new convertible model called the Boxster which became the first of their street cars to also have the engine located in the middle of the chassis, rather than out back like the 911. This all new car was priced around the high $30,000 range and was meant to be more or less, an entry level Porsche. With its 204 horsepower engine and muddy styling, I was not impressed by its performance nor its looks when I had a turn behind the wheel

Boxster S 15 years ago. So, you can see why I was not really interested in checking out the new version. With that as background, I reluctantly called a local Porsche dealer to get the inside scoop. He confirmed that the new Boxster had been released and was very different than its predecessor. He then invited me to stop by and check it out for myself. When I got to the dealership, the dealership’s senior sales representitive walked me around the new car and began my education of the Boxster S. Instantly I could see that this was an exciting new design. The Boxster reminded me of Porsche’s Supercar, the Carrera GT, which I always liked very much. The front bumper, headlights and general shape were clearly reminiscent of the GT. The deep, dramatic and very large air intake terminating at the end of the doors is clearly GT like. However, I was really blown away when I saw the back of the Boxster. It has a very thin horizontal spoiler which starts in one tail light and runs like a knife edge all the way across to the opposite side. Porsche actually fashioned the LED tail lights as an integral part of this aerodynamic aid. Then I was told that the center section of the spoiler automatically goes up at 75 miles per hour, but can be raised manually by the driver with the push of a button. The aggressive look is finished off with a mean looking, double barreled

A little more than 60 years have gone by since Ferdinand Porsche passed away, but this new car is definitely in keeping with his dream!

exhaust, which is unique to the higher performance “S” model. The convertible top is super-fast, dropping into its neat storage space behind the seats in an incredible 9 seconds. I asked my host if I could look at the engine, but was told that due to its location behind the seats and below the stored top, it was all sealed up. Nevertheless, I was able to see the substantial luggage space which the Boxster offers. There is slightly more than 5 cubic feet of available space (it looked like more to my eye) in the front of the car and almost that much at the rear. Plenty for a long getaway for two! I also learned that this new model is much more rigid thanks to the judicious use of aluminum and steel in just the right places. This along with its all new suspension is what allows the Boxster to deliver its superb handling. Despite the focus on handling and occupant safety, the new car comes in at less weight than its predecessor and tips the scale at an incredible sub-3000 pounds. Incidentally, even in the stiffest suspension setting the ride quality is very good. Now it was time to hit the road. As I entered the Boxster I was very impressed at the sumptuous interior. This was no bare bones 550 Spyder race car! The dashboard and console are filled with a myriad of buttons and controls. Every conceivable creature comfort is provided. I was particularly impressed by the second Navigation

display which pops up in the right side of the instrument cluster. No need to take your eyes off the road to look at the larger display in the center of the dash when you are motoring along. Once on the road it was obvious that this was a well-mannered and very competent road car as we accelerated into I-95. In the optional “Sport Plus” mode and at full throttle, the upshifts of the optional 7 speed PDK transmission were laser like, banging into each successive gear relentlessly. Although the shifts can be controlled by the driver through either the stick shift or the paddles behind the wheel, I felt that there was no need to do so as the automatic upshifts were so aggressive and were right at the redline of the tachometer. Speaking about the acceleration, I was told that the “S” version receives a larger (3.4 Liter vs. 2.7 Liter) engine versus the base model. This also comes with 315 horsepower which is 50 more than the smaller engine and the performance speaks for itself. Top speed is over 170 mph and the 0-60 miles an hour sprint is completed in as little as 4.5 seconds! In our drive I got a little sample of that acceleration, but not the top speed (we obeyed the local laws!) and needless to say I was very impressed by the all new Boxster S. A little more than 60 years have gone by since Ferdinand Porsche passed away, but this new car is definitely in keeping with his dream!

CONTEMPORARY CULTURE//MAGAZINE

INDULGE: YACHTING

CONTEMPORARY CULTURE//MAGAZINE

A damsel of the sea Images: Chris Lewis & Brendan O' Hagan Photographers

Loretta Anne is the 12th motoryacht to be built by Alloy Yachts, Their largest to dateâ&#x20AC;&#x201D;47 meters long. She is designed by Dubois Naval Architects, and an interior from the studio of Don Starkey.

CONTEMPORARY CULTURE//MAGAZINE

INDULGE: YACHTING

Loretta Anne is the third Alloy Yacht delivered for this Canadian customer. At 47 meters, she is 5.86 meters longer than Alloy’s previous biggest motoryacht, the 41.14 meter Como, but is still well under the 500gt mark at 444gt. One of the requirements of the new yacht was that it have a very shallow draft to allow access to the Bahamas and Belize, which will be her main cruising grounds. This has been accomplished with a draft of 2.2 meters, which will allow the yacht access to many of the shallower anchorages. On the exterior, the new yacht features a raised pilot house with vertical windows, Sharing a similarity with Alloy’s Mondango and Kokomo, the 47m’s flybridge can be closed in (with the exception of the stern end) using glass screens, at the touch of a

CONTEMPORARY CULTURE//MAGAZINE

button. This, together with the pneumatic flybridge forward companionway sliding hatch and aft stair butterfly hatch, is a custom built Alloy component. The added 7 meters of length allowed the galley to be moved to the main deck. Although the intention is for her to remain a private yacht, she has been built in compliance to LY2, and is Lloyds classed. Powered by Caterpillar engines, she cruises at 14knots, with a max of 17knots and a range of 3,500nat cruising speed. Cocktail bars are located on the flybridge

deck and inside and out on the main deck. A huge table, for card games and dining, is in situ on the flybridge deck, together with a spa pool and barbeque. Outdoor and communal spaces have been maximized. A tender garage aft, which also provides access to a very spacious engine room and engineers controlroom will double up as a watersports area. Twin tenders, built by Lloyd Stevenson, are lifted out through large lazarette doors by custom Alloy Yachts cranes, leaving behind a huge space with a work area, a

refrigerator and ice machine, and spectacular views when the tender doors are open. An additional Novurania tender and jetski will sit on the foredeck, launched from a Nautical Structures crane. Inside, Loretta Anne has a capacity for eight guests plus the owner, across five cabins, including the owner’s cabin. The full beam owner’s cabin, with adjoining office, walk in wardrobe and his and her bathrooms, is located on the main deck Alongside the three VIP guest cabins, a fourth cabin serves as a guest and crew gym, with a generous shower and head. Larger windows in the guest cabins, located on the lower deck, will offer guests natural light and wide views of their surroundings. Thoughtful touches across the guest accommodation, located on the lower deck, include a guest cabin with a bathtub, rather than shower, because the owner has young grandchildren. Starkey’s interior is based around a ‘Bahamas beach house’ theme, with underthe-sea elements seen throughout the vessel. The floor paneling on the main deck is reminiscent of the hewn bleached planks of a beach house floor. Cream cushions with turtles furnish the top deck. In the guest accommodation the carpet features pebbles on a shoreline. Guest cabin lockers

paneling incorporates sea grass marquetry, which complements the coral detailed bedspreads. Guest cabins all feature stunning shell mosaics, including native paua (abalone) shell from New Zealand, in the bathroom spaces. The stairwell between the main and lower deck features a mural by artist Vaclav

Vaca, a Czech based in Toronto. This latest Loretta Anne is the pinnacle of years of ownership and experience. In Loretta Anne, Alloy have once again achieved what they are so known for: a custom yacht to the exact specifications of an owner, a formula which sees owners return to them time and time again.

CONTEMPORARY CULTURE//MAGAZINE

PULSE: Music

TORA FISHER:

An artist on the brink by Bruce Pollock

he first thing you notice when you look at Tora Fisher’s debut CD, Spilling Over, is the face staring back at you on the cover and on the CD itself. It is a face half obscured and discolored by scars, the damaged face of a survivor. According to Tora, it is the image of her “alternate reality.” When she was thirteen, she walked away as the only survivor of a plane crash that killed her father and step-mother. Now, almost a decade later, she is ready to face the inevitable questions that will arise, again and again, if and when the album gains the kind of traction it deserves on the center stage of the pop arena. “I don’t have anxiety revealing what I’ve gone through,” she said in sang ‘Papa Can You Hear Me’ at her high school graduation and a clear and strong voice. “Somebody told my mother right after the boy that was a tear jerker. It was very emotional but very beautiful. accident that the best thing you can do for her is to just ask her about It’s a very female oriented household. Right now my grandmother’s it, make sure she can talk about it, make sure she feels comfortable staying with me; there’s always strong females around, and we look sharing these things, so she doesn’t get burdened with them. Later to a lot of very strong females in the arts to inspire us. I definitely I figured out that people were being inspired by what I’d gone though, wanted to have that theatrical aspect, that intensely emotional aspect. which was food for the soul, to know that something that’s so dark in That’s something I got from my parents.” It was Fairfield producer Michael Mugrage, who’s had songs your past can be a source of inspiration for somebody else. So I was recorded by artists as varied as Smokey Robinson and Michael excited to be able to put it out there in the music.” Which doesn’t mean she can recall every sordid detail of that Martin Murphy, who most inspired Tora to trust the process of fateful day. “There are certain things where my brain just goes blank. releasing her demons in songs. “I was always writing songs but I never had the confidence to call myself a I’ll be able to see a scene in my head from that With the very first song, songwriter,” said Tora. “People around me day and I’ll try to remember a scene from 30 seconds later and it’ll just be blank or blurry and I we’d go in cold with maybe were saying, ‘I love that song; you can really won’t be able to actually remember what I saw. an idea, but no lyric and write amazing songs for being so young,’ but convinced myself that they weren’t that I know those are the moments I probably saw no music. I’d start playing I’d great. It took me a while to grow into that role. my dad and I think it was just too traumatic and and she’d start singing, Once I said I’m not going to pick myself apart, my brain literally did not want to catalog that.” then I’d take her that’s when the songwriting really started to It would be almost as cruel a fate for a singer and songwriter as gifted and courageous as Tora somewhere else musically take off and I started to think of myself as a Fisher to wind up being defined by that event, because I’m so into song songwriter first.” She’d alread dropped out of Columbia rather than the devastating songs of love and loss that dominate Spilling Over. In that regard, an- structure. I’d be navigating University by then to pursue her career, not even other image from the package really should pre- and she’d continue to sing knowing how many fantastic unwritten songs dominate, this one a photo in the booklet accomand come up with these were about to burst to the surface. “We hit it off right away,” said the veteran panying the CD, in which she bears an uncanny ridiculously good hooks. writer and producer Mugrage, who went on to resemblance to the very early Barbra Steisand, who released one of the greatest debut albums of the 20th Century. describe their unique songwriting collaboration. “With the very first Other influences range from the hard rock of Heart to the Broadway song, we’d go in cold with maybe an idea, but no lyric and no music. I’d start playing and she’d start singing, then I’d take her somewhere soul of Laura Nyro. “We had Barbra Streisand basically on repeat in the house when else musically because I’m so into song structure. I’d be navigating I was growing up,” says Tora, whose parents’ theatrical background and she’d continue to sing and come up with these ridiculously good presented her with the rare opportunity to mingle with show folk and hooks. We always had Garage Band on, recording our work demos. classical musicians when she was growing up. “Actually, my sister Most of the 10 songs I co-wrote with her were written within five 76

CONTEMPORARY CULTURE//MAGAZINE

77 Photo: Mark DeLong

PULSE: Music

minutes. I’d start playing, she’d start singing, I’d push her to a different area, she’d go to a different area, I’d bring her back. She’d be humming or using dummy words. By the time I got back home, she’d have the lyric written.” “In terms of putting my life into the music, I felt absolutely compelled to speak from my heart,” Tora elaborated. “So the lyrics were just a breeze. A lot of these songs I wrote in one sitting either by myself or with Michael. They just came to me like they were already written. I felt less like I was writing them and more like I was a vessel sharing them.” It is no surprise that the album was recorded at Connecticut’s Carriage House studio, which has seen its share of legends, from Sonny Rollins to the Pixies to Beyonce. Connecticut was where Tora found herself in the early days after the crash, attending the Choate School in Wallingford. “That was a very incredible healing time in my life, even though it was also one of the most difficult,” she said. “Being able to get away from New York City right after the accident gave me room to breathe because I wasn’t constantly surrounded by the shadow of what once was and all the memories of growing up with my dad. I built a different version of myself in Connecticut, which was completely separate from the accident. I was suffering from Post Traumatic Stress at the time and even being able to walk outside on the grass and sit beneath the trees and be closer to nature was helping me to sleep at night. Every time I go to Connecticut I feel more relaxed, because I can get away from the hustle and bustle of New York City. Every day you can go without the anxiety and the panic, the healing becomes easier. You grow exponentially from that.” Photo: Mark DeLong While nowhere near as traumatic as what she’s already been through, recording an album is not exactly a stress free endeavor. “Carriage House is amazing because you can put in eight hours in were completely separate from theirs, but it was nice to know they this dark studio, because everyone loves to keep it dark, and you’re related to that. I’m so looking forward to getting a grueling schedule working and working and you feel like your ears are about to bleed where I can see what I can do. Can I handle playing every night and because you can’t go any further,” she said. “And you walk outside being on the road all day? It just kills me to wait so long between and there’s a hammock and the owner has two beautiful little dogs, performances.” Now that she and Michael have created a working process for and I could stretch my legs, take a break, stroll on the grass. You’d be amazed how much that can snap you right back into listening mode. her, Tora finds the songs flowing out. “I don’t think I could really go It enables you to go back in and work to the best of your ability for more than a day without writing songs now,” she said. “I’ve opened up Pandora’s box. I have sort of the opposite problem that most people another eight hours.” With the album just released, Tora has now moved into another assume, where I’m already ten steps ahead of myself. Oh, the album? even more stressful period, the one which defines most creative proj- That’s so a year ago. But that’s tricky. You want to make sure you don’t jump the gun and that you support the album as ects, the waiting. Waiting for reviews, sales, the “I have huge expectations much as you can. It’s kind of a double life almost. gigs to line up around the block. You don’t want to kill the surge if you’re on a run “I have huge expectations for this album,” for this album, but and you’re writing great music. I don’t think any Tora said, “but I try to keep them in check beI try to keep them in in their right mind is going to say, I’m cause everyone always tells me what a process check because everyone songwriter not going to write any songs right now because this is, a long long climb, one foot in front of always tells me what a I’m afraid I’ll write too many hits.” the other. I think all that’s true, but at the same process this is, a long No matter what the fates have in store for time, my theory has always been to shoot for the Spilling Over, it’s an experience Tora will treamoon and land among the stars. So I’ve been long climb, one foot in trying to think that this album at the very least front of the other. I think sure for a lifetime. “I have to give kudos to Michael for supporting me throughout the whole will take me to the next step. Which is to help all that’s true, but at process of being in the studio. He ended up me establish myself as a songwriter and a singer and also allow me to play larger venues, put- the same time, my theory being co-producer. I was just going to hand over ting my voice out there. I hope it’s something has always been to shoot the reins to him and let him be sole producer, but he really encouraged me to jump on that bandwhere people can hear, this girl is going places for the moon and wagon with him. He coached me through what and she’s got a real message.” land among the stars. essentially ended up being my first project as a The next time Tora Fisher plans to put her voice out there will be in November at the Cosmopolitan Hotel in singer and a songwriter and also my first project as a producer. He was Las Vegas, in front of 2,000 people. Previously, her biggest gig was really amazing in helping me fill in the gaps of the things I didn’t know her first, on the deck of the USS Intrepid last Memorial Day. “It and go with my instincts. I really enjoyed the process because I was was a beautiful day, an emotional day,” she recalled. “I played my song wearing so many hats. I was learning so much and I was so proud of ‘Pilot’ to a lot of parents who had children still overseas fighting and the whole project in so many different ways when I finished because they came up to me and told me how they felt the song spoke to them. I really felt like I owned a piece of it in every regard. Which was not That was amazing. I had written about my own experiences, which what I expected going into it.”

CONTEMPORARY CULTURE//MAGAZINE

PULSE: ART/Lionheart Gallery

Top Drawer Contemporary Art in Pound Ridge, New York

The New Lionheart Gallery The newly renovated Lionheart Gallery is an exciting addition to Pound Ridgeâ&#x20AC;&#x2122;s parade of unique and sophisticated shops and restaurants which have made the village a destination for New Yorkers as well as visitors from Westchester and Fairfield County.

Writer Nancy Helle

CONTEMPORARY CULTURE//MAGAZINE

PULSE: ART/Lionheart Gallery

he new kid on the block, the reincarnated Lionheart Gallery recently reopened after being closed for nearly a year of extensive renovations. It has a dramatic new look with soaring ceilings and the aura of a sophisticated gallery in Chelsea, New York, a new focus on “top drawer contemporary art” and a new owner, a European art dealer. Gallery director Susan Grissom, herself a painter, printmaker and documentary photographer, brings a discerning curatorial eye to the artwork selected in collaboration with the gallery’s owner. Visitors will see a diverse array of talents from artists working in conceptual art, expressionism, and contemporary realism in a variety of media. According to Grissom, artists range from the top talents of the region and beyond, to the internationally recognized such as Mihail - whose bronze life-sized elephant sculpture is permanently installed in the plaza of the United Nations – and Vivian Cherry, an extraordinary documentary photographer whose work has been exhibited in the Museum of Modern Art, the Brooklyn Museum, International Center for Photography and the National Portrait Gallery of the Smithsonian Museum. Her photography is published in two books: Helluva Town, street scenes from New York in the l940’s and ‘50’s

CONTEMPORARY CULTURE//MAGAZINE

Gallery director Susan Grissom, herself a painter, printmaker and documentary photographer, brings a discerning curatorial eye to the artwork selected in collaboration with the gallery’s owner. and Vivian Cherry’s New York, images from the 21st century. A variety of works by Mihail and Vivian Cherry’s photos from Helluva Town are on exhibition in the gallery through December. Also featured are paintings and monotypes by Claudia Mengel of Westport. Vivian Cherry’s first passion in life was to become a dancer. She began dancing school at age five. By the 1940’s the classically trained dancer was performing in New York night clubs, a soloist at the Roxy Theater, then on to Broadway. Along the way, she became a photographer literally by accident. When her promising career was interrupted by a serious fall, she supported herself by becoming a darkroom technician for news agencies. This provoked the urge to shoot her own photos, so she joined the Photo League, an organization

of professional photographers formed in the 1930’s, where she received a scholarship from founder/teacher Sid Grossman. Soon she was selling photographs to magazines including LIFE. She returned briefly to dancing in the 1945 revival of Showboat but when the year’s contract ended, she knew photography was her true calling. At a time when few women had careers, she felt she could “make a difference” with her photography. Determined and a patient observer, Cherry developed an intuitive sense of the defining moment, and with her agility as a dancer she could move quickly to capture it. For 60 years, she has been capturing the enormous changes and mood shifts of the streets of New York. Although she says, “I never know what I’m going to shoot,” she knows where to go to

Clockwise from left: Dismantling the “El”, a photograph by Vivian Cherry; Greed (from The Sins of Paris series) a painting by Serge Strosberg; Twombly Blue, a painting by Susan Grissom; The Minotaur, a wooden sculpture by Mihail.

find interesting subjects. A former curator of Photography at the Brooklyn Museum, Barbara Millstein said, “She’s interested in everything… this gifted artist represents the countless photographers who turned us into a nation of observers who still get most of their information from imagery.” Cherry wants to share her photographs “as seen through the faces, the attitudes, behaviors, manners and clothing of the individuals who live and work in the city. I see people with varying shades of skin color, different sizes and shapes bearing the richness of many cultures… I try to capture their uniqueness with my camera.” Today at 92, Cherry is still clicking and recently received the Lifetime Achievement Award in Photography from B & H Photo. Mihail’s diverse talents have led him to work successfully in several mediums. On exhibit are two small bronze elephant sculptures and several large whimsical wire creations. He describes them as “forms made of air, contained in fine steel lace.” Paul Klee’s playful images inspired Mihail’s smaller wire sculptures which are encased in plexiglass. A bright blue wooden Minotaur sculpture reflects his interest in Greek Mythology; he sees the Minotaur as a symbol of man’s dual nature. Another vein of Mihail’s talent is revealed in his colorful Matisse inspired figurative prints. Born in Bulgaria, Mihail graduated from Sofia’s Academy of Fine Arts in l954, specializing in monumental sculpture. He avoided the Communist censorship of art by creating public sculpture for several years, but eventually the regime threatened his artistic independence. He moved to Tunisia in l965, where met Paul Klee and was enchanted by the exuberance of the Mediterranean colors. After moving to New York in l971, Mihail became interested in casting from nature instead of carving from stone. He dreamed of casting a wild bull elephant in Kenya. Eventually a grand vision evolved for establishing a trust fund for “Casting the Sleeping Elephant” to ensure the perpetuity of natural elephant habitats and to change man’s vision about preserving natural resources to protect wildlife. This entailed enlisting international support, including volunteers, diplomats and a skilled veterinarian who could sedate the elephant without harming it. After the elephant was cast in plaster in Kenya, Mihail replicated the cast in bronze, arranging for it to be a gift to the United Nations from the governments of Kenya, Namibia and Nepal. In 1998 the monumental sculpture was received in a special UN ceremony by Secretary General Kofi Annan who said, “As the animal that

CONTEMPORARY CULTURE//MAGAZINE

PULSE: ART/Lionheart Gallery

Clockwise from left: Bronze and wire sculptures, and prints by Mihail; Photographs by Vivian Cherry from Helluva Town; Three Figures, a monotype by Claudia Mengel.

never forgets... may the elephant stand as a daily reminder that we are all in debt to Mother Earth.” Fourteen years later, an 83 year old Mihail is still busy producing art in his home/studio inside an historic textile mill in Pawtucket, Rhode Island. Reflecting upon his multiple mediums, he says, “I move from one thing to another – constant change.” After years of making monumental sculpture, in Tunisia he developed a unique way to make plaster prints. “I wanted to capture the brilliance of the sun and water, but since no printing presses were available then, I started a new technology. As a sculptor, I am very attached to plaster, so I made plaster plates and printed limited editions. Matisse was a strong influence.” He credits Paul Klee for influencing his wire sculpture, recalling, “Back in 1970, I happened to have some wire in front of me. I thought, why not do something with it? I did small things at first, but in 2010 I began making large scale wire sculpture. I still work with wire every day. A little accident can take me in a new direction that lasts for 25 years.” When asked what new directions he would like to explore next, Mihail laughs and with a merry twinkle in his eye, responds, “I’m waiting for another accident.” Expressionistic paintings and figurative prints by Claudia Mengel are also on exhibi-

tion from mid November through mid January. A Silvermine Guild member, Mengel’s inspiration and expressionistic work come from translating her visual and emotional perceptions and experiences. She says, “Each creation is a unique journey, unlike the last. It’s what keeps me coming back.” One of Gallery Director Grissom’s newest discoveries is New York artist Serge Strosberg, whose paintings, oil and egg

tempera on canvas, offer a contemporary adaptation of The Seven Deadly Sins, starring French actress Clemence Verniau. Art critic Lauren Kelly Goldstein said, “Serge Strosberg is Diane Arbus in reverse; instead of offering a glimpse into the world of the marginalized and scorned, most of Strosberg’s subjects are society’s most glorified. They appear to inspire envy, but therein lies their freakishness.” The point, says Strosberg, is that “Even the most enviable seem to have a sad secret.” The Lionheart’s popular Small Works Gallery includes exquisitely rendered etchings of spirited wild horses by Denise Bennett Minnerly of Rowayton and striking small paintings of boats by Celine McDonald of Pound Ridge which evoke the stark realism of Edward Hopper, as well as mixed media collages, Mihail’s small metal sculptures, art books and other art-related gifts. There is also a print rack and numerous flat files with works on paper. The extensive photography collection includes black and white works by British photographer Deborah Parkin and Max Marinucci of Pound Ridge. Also of note are large scale expressionistic paintings by Ashley Chase Andrews of North Salem, innovative mixed media by Gail Lee of Pound Ridge, colorful collages by Barbara Owen of Rhode Island and unique “dirt paintings” by Don Bracken of West Cornwall, Connecticut.

The Lionheart Gallery, at 27 Westchester Avenue in Pound Ridge, New York, is open Wednesday through Saturday from 11 a.m. to 5 p.m. and Sundays from 12 to 4 p.m. Visitors are always welcome, but those traveling a distance are encouraged to call ahead, as the gallery is occasionally closed briefly for appointments with collectors. (914)-764-8689 or www.thelionheartgallery.com

CONTEMPORARY CULTURE//MAGAZINE

PULSE: FILM + Entertainment

Fox on Film

& Entertainment by PETER FOX: about.me/foxonfilm

That's What She Said

Going to the movies to see a comedy these days is a hit or miss proposition. The flood of new comedies seem to rely on bathroom humor, characters who inhabit a universe that is implausible, and jokes that can be seen coming from a mile away. Rating:

fter screening That’s What She Said, (Phase 4 Films) starring Anne Heche (as Dee Dee), Marcia DeBonis (as Bebe), and Alia Shawkat (as Clementine), I caught up with Ms. Heche to discuss the project. When asked what she looks for in a character when selecting a project, she answered: “Do I believe her? Do I believe she exists in the real world?” Indeed, it is the believability of these characters that separates That’s What She Said from the competition of this year’s crop of cinematic comedies. In what is sure to be the sleeper- hit comedy of 2012, That’s What She Said is Sex

and the City on steroids, and charges forward where that show backs off. Set in lower Manhattan, the strength of this movie is that it dares to examine believable people, in an ordinary setting. The need for glitz and gimmicks do not exist because the writer, Kellie Overbey, exhibits a firm command of the comedy genre in her smart, tightly woven screenplay. It begins when Bebe, an affable, overweight fortysomething woman, prepares for what will surely be the biggest romantic date of her life, and has called upon her friend Dee Dee to provide support. When Dee Dee arrives at a coffee shop, three hours late

for their meeting, she finds a stranger, Clementine, a sweet, but troubled twenty-something nymphomaniac chatting away with Bebe at the coffee table. With Bebe nervous about her date, Dee Dee bitter about a recent breakup, and Clementine’s rambling about her insatiable sex drive, the women are kicked out of the coffee shop for their antics, and our three ladies are now “on the road”. Director Carrie Preston, a talented actor in her own right, (True Blood, The Good Wife), does a masterful job of navigating the hi-jinx of the three women; and balances the comedic, with the poignant. In the one of the film’s funniest

moments, Clementine, whose character obsessively uses sex to relieve personal stress, retreats to a coffee shop restroom to do just that with her vibrator. A woman surprises Clementine upon entering. Clementine throws the vibrator at the woman’s head and knocks her out. Without giving away the rest of it – I laughed so hard that my sides actually hurt – the scene’s comedy is derived through action and visuals. The dialogue is used to punch home the smartly directed visual punch-lines, with sharp dialog and riotously funny comedic performances. Unlike most recent comedies, the visual jokes get funnier when the actors speak, instead of falling flat. When the characters discuss the events of their lives, the visual cutaways to those descriptions are expertly delivered with economy, and stay just long enough to make us laugh; not a second longer. The project was born in 2004 when Overbey, a friend and colleague of Preston’s, developed the screenplay from a play that she had written called Girl Talk. It was performed in New York City at The Barrow Group, and was later featured in The Bay Street Theatre’s 2005 Reading Series. With Ms. DeBonis already in place in the role of Bebe, Overbey and Preston conceived the idea to turn the work into a feature film. I asked Ms. Heche about her involvement in the film, and what has been keeping her busy these days. ••••••

PF: How did you first come into contact with “That’s What She Said?” AH: Alec Baldwin called me one day late last summer and in his gruff voice proclaimed, “Heche, you have to do this

CONTEMPORARY CULTURE//MAGAZINE

PULSE: FILM + Entertainment

film I just read. You’re the only actress who can do it.” That’s a very flattering thing to hear, so of course I was intrigued. Kelly Overbey, the writer of the screenplay, is an actress that was on Broadway with Alec and me in The Twentieth Century, a screwball comedy I had the honor of performing for several months. I knew how talented Kelly was on stage, but had no idea of her hidden talent. I read the script on a flight to New York City to do an appearance on Letterman; I was hooked. I called Alec immediately upon landing, chuckling and bemused, “Can a woman really smoke and brush her teeth at the same time?” After you see the film you too will wonder how he ever thought of me!” PF: Could you share with us what drew you toward this character? AH: New York City is a rough place. Some New York City gals are heartbreaking and soulful. They aren’t often portrayed, and if they are, not always with this sense of hopeless humor. Kelly’s script doesn’t relent. My character

starts off the film at the bottom rung on the “hope scale.” What makes her funny and redeemable? You simply have to find out! ••••••

The performances of Ms. DeBonis and Ms. Shawkat cannot be overlooked. Each of them deliver strong, intelligent performances that are, in equal parts, very funny, yet poignant. The supporting leads each prove that they have tremendous depth, and seamlessly navigate the rapidly changing

emotions of the piece without missing a beat. Ms. Heche’s performance in the role of Dee Dee is nothing short of powerhouse and will be noted as, possibly, one of the best of her career. The role of Dee Dee is demanding, and calls for a range of emotions; from the comedic, to heartfelt emotions that are borne of despair. She nails every scene with whatever is called for; and hits each one of them out of the ballpark. In addition to being one of the busiest actors in the business today, Ms. Heche is also a very socially conscious, dedicated mom. Recently, she has partnered in a company that produces a chemical free sunblock for children, Tickle Time Sunblock. ••••••

PF: You are very passionate about Tickle Time. How was the idea born? AH: Tickle Time Sunblock is a solution to help our children put on sunblock every day. Every friend we know struggles to apply greasy creams or sticky sprays to their children each morning. Some even “give up” because it’s “NO FUN! ” and “Too much hassle.” I wanted a sunblock that could be fun, something that was easy and effective. Powdered Minerals are a natural block to the sun. They sit on top of our skin and don’t absorb into our pores. They refract the light of the sun, just

CONTEMPORARY CULTURE//MAGAZINE

like rock. They never have to be reapplied if they aren’t wiped off. A chemical-free solution to helping our children do what they are supposed to do – play outdoors! I called it Tickle Time because it’s fun for kids, and mine ask to do it every day. PF: Can you tell us what makes Tickle Time safer for children to use? AH: Tickle Time is 100% mineral powder sunblock. There are no chemicals, no dyes, no additives. It is ground rock that sits as a protective powdered layer on our children’s’ skin. An all-natural way to protect our kids. Tickle Time Sunblock is available online, please visit us at www.tickletimesunblock.com to see for yourselves. ••••••

That’s What She Said is hysterically funny. From the opening frame, the film is off and running with one belly laugh after another, but with genuine heart. It is a delicious glimpse of real New York women. The film comes in at eighty four minutes, which seems to be just the right length. Director Carrie Preston skillfully directs the talented cast through this hysterically funny joyride set in New York City. Watching That’s What She Said was the most fun I have had watching a movie in years. Go see this one. That’s what I said.

PULSE: On Stage

By William Squier

On the day that Bet ty Buckley arrived in New Yo rk City to pursue a professio nal acting career, she landed an audition for a Broadway sh ow. Tony Award winnin It was the g 1776. And the role she snagg ed was Martha Jefferson, a one-sc ene character whose paean abou t her husband Tom’s passion for “music,” He Plays the Violi n, regularly stopped the show. That small feat in a musi ’s no cal the women are outn where umbered by our Founding Fath ers 2 to 24!

Betty Buckley Mans Up

CONTEMPORARY CULTURE//MAGAZINE

PULSE: On Stage

hen you ask Betty Buckley today if she saw that lucky break as a sign she was doing the right thing by setting her sights on a stage career, there’s a giggle in her voice when she quickly responds, “Yes!” In fact, since her Broadway debut in 1969, the stage has treated her very kindly indeed. 13 years later, Buckley made theater history, and scored a Tony Award, by introducing American audiences to the song Memory in Andrew Lloyd Webber’s now-and-forever hit Cats. Sir Andrew also provided her with plum roles in the Broadway productions of Song and Dance and Sunset Boulevard -- the later show requiring Buckley to take on the daunting task of replacing Patti LuPone in London and following Glenn Close in New York. Even Buckley’s occasional missteps onstage have proved memorable. 1997’s Triumph of Love only played 85 performances on West 45th Street, but it was long enough to earn Buckley a second Tony nomination. And her turn as the mother of the title character in Carrie (the infamous flop musical based on the Stephen King film which had also featured Buckley in a supporting role) inspired New York Times critic Frank Rich to concede that “the fiercely concentrated Ms. Buckley” brought “theatrical heat” to the production. Along with her onstage success, Buckley has done well in film and on television. In addition to Carrie, she co-starred with Robert Duvall in Tender Mercies, worked with directors Woody Allen and Roman Polanski and even contributed an un-credited vocal to the film musical Hair. She spent three years on the small screen as head of the Bradford household in the television drama Eight is Enough and was cast in a continuing role on the HBO series Oz. Recent years have found Buckley headlining in posh nightclubs like Birdland, the Blue Note, the Cafe Carlyle and Feinstein’s. And many of her cabaret stints have been preserved on the 15 solo albums that she’s recorded. When Buckley was in New York last month readying a new show for Feinstein’s, Venü caught up with her to discuss her latest cd release: Ah, Men! The Boys of Broadway. It’s an album of musical theater standards -- written by the likes of Irving Berlin, Leonard Bernstein, Oscar Hammerstein, Jerry Herman, Jerome Kern, Frank Leosser and Alan Jay Lerner -- originally intended to be sung by men. VENÜ: One of your signature roles on Broadway was the title character in The Mystery of Edwin Drood. Did that give you a perspective on performing the songs on your new album? BETTY BUCKLEY: That’s where the idea for the project was born. I was playing a British musical hall male impersonator. And the great man of the theater, George Rose, brought in books about the history of the British music hall. I discovered that male impersonators were a very notorious and brave group of young women with voices quite like mine. They didn’t fit into opera or operetta. So, they thought, ‘Okay, we’ll put on the trousers and play the young men’s parts.” It was quite scandalous. And they became very famous. So, playing a male impersonator made me think, ‘There are all of these great men’s roles. Why shouldn’t we play those, too?’ And I started fantasizing about that. You first assembled the songs that are on Ah, Men! for a cabaret evening at Feinstein’s in New York, correct? Yes. I’ve always loved these songs and wanted to sing them. So, it seemed like a good excuse to finally get to.

CONTEMPORARY CULTURE//MAGAZINE

What motivated you to turn the concert into a studio album? Whenever I put together a collection of songs, I always look forward to the possibility of recording it. I work with such incredible musicians. We’d already been in discussions with Palmetto Records to distribute an album I made with T-Bone Burnett. They came to see the show and said they’d give me a budget to record that as well. We decided to release it first because it’s the concert that I’ve been doing this year. Did the song list change when you put the album together? There were a couple of songs that we recorded as bonus tracks that we’ll be releasing later. Two of the songs are from shows that you appeared in onstage – the Stephen Schwartz musical Pippin and the song cycle Elegies. Did that influence the way you sang them? When I was in Elegies, I listened to the song “Venice” from the wings every night when Michael Rupert would do it. So, I had all that information to begin with. Bill Finn (the composer/lyricist) did an incredible job of telling the story succinctly. It’s so clear

who the characters are. Their whole relationship is so clear. And the reason for singing the song is so heartfelt. I was in Pippin for a very long time and worked with three different Pippins: Dean Pitchford (who went on to write Fame and Carrie), John Rubenstein was my second and I worked with Michael Rupert for years. I really love the song, “Corner of the Sky.” Also sung in the show by Michael Rupert! When you were at Feinstein’s, Stephen Holden, writing in the New York Times, praised the conviction that you brought to serious material like “Venice” and your “Sweeney Todd Suite.” Are songs that are as dramatic as that challenging to perform, particularly when they were written for men to sing? It’s the real reason that I wanted to do them. They’re such incredible story songs. So, they’re the most fun to tackle. I think Sweeney Todd is the most beautiful of all of Sondheim’s scores. The music perfectly describes raw passion. Once you’d figured out how to do the songs onstage, was it tough to take them into the recording studio? There was a level of difficulty because I was singing several very theatrically. That’s really hard to capture authentically on a record. There are things, like compressors, that they put on big voices like mine that don’t always allow the listener to hear it as it is. Fortunately, I worked with recording and mixing engineers, who worked on the T-Bone Burnett record, who happen to be real geniuses. It took a lot of figuring out. I went back and redid my vocals for some of the bigger numbers several times. I found myself humming along as I listened to the cd. Are any of the songs are in the original keys? Oh, no, no! They are very, very different! I think the range of my voice approximates in some ways a young tenor boy’s voice. So, no! Please! Absolutely not! They’re in my keys! If you’d like to hear Betty Buckley perform Ah, Men! The Boys of Broadway live you can catch her at the New Jersey Performing Arts Center (njpac.org) in Newark, NJ, on Saturday, November 10 at 6:00 and 8:30 pm. And she’ll be at the new Smith Center (thesmithcenter.com) in Las Vegas November 15 through 18 and Annenberg Theater (psmuseum.org ) in Palm Springs, December 8. Her cd is available in stores nationwide and online at www.palmetto-records.com.

CONTEMPORARY CULTURE//MAGAZINE

PULSE: Comic Relief

Rain Pryor is an actress, a singer, a director, and an artist who has a lot to say. And yes, she is the daughter of the legendary, iconic, comedian Richard Pryor. In her current Off Broadway show Fried Chicken and Latkes, she takes you through her life impersonating characters she knows best: her mother, her maternal and paternal grandmothers, and clueless Beverly Hills classmates (they had never met a biracial child before in the 1970's where Rain was growing up), her father both at the height of his career doing stand-up, and after he had the accident where he was burned over much of his body. Rain names this chapter of the show Suicide Kinda.

The Child Who's Got Her Own:

Rain Pryor by Bari Alyse Rudin

Rain’s one woman show Fried Chicken and Latkes which Rain stars in and wrote is the culmination of seven years of hard work, writing and re-writing, running and re-running the show, making adjustments along the way. The current result is a beautiful, funny, and poignant portrait of the influences that make Rain who she is today. This show is definitely Rain’s story and not a show about Richard Pryor, her comedic legend father. It’s the story of her earliest and youngest influences, the inner circle of people who she learned from and who shaped her early life. And it’s about discovering yourself as being different than those around you and how to become comfortable with and own that. For Rain, it was being a biracial child in Beverly Hills in the 70’s, but anyone who has felt like an outsider or that they didn’t quite

CONTEMPORARY CULTURE//MAGAZINE

fit in with everyone around them can relate to Rain’s search for whether she fit in more with the Jewish or the African American communities. Whether you’re an only child, a child from a single parent home, gay, or like many people just don’t feel like you look like or act like the people around you, Rain’s story will touch you and resonate with you. Ms. Pryor has had many television roles. She was a regular character on Head of the Class where she played TJ, a regular on the Showtime series Rude Awakening and numerous other TV shows and films, including appearances on The Tonight Show with both Johnny Carson and Jay Leno...but none of that is part of this show and one of the many reasons why I love her. Instead she explores deeply the relationship and the love that existed for her to come

to be, and does a very three dimensional impression of her Jewish, go-go girl, turned activist, turned scientist mother and incredible impressions of her African American great grandmother who ran a brothel. You get the sense that in Rain’s mind these characters are much more interesting than any tales she can tell you about Hollywood or any namedropping, which she could easily do plenty of as she has many celebrity friends. That’s one of the many things that are appealing about Rain Pryor. She is such a real person and so full of heart. She left Hollywood several years ago to make her new life in Baltimore, where she finds things a lot more realistic. She is married to a police officer and has a four year old daughter named Lotus. She is also the Artistic Director of the Strand Theater a woman centric theater company in Baltimore where Rain is directing multiple projects at one time. The running theme through Rain’s Fried Chicken and Latkes is racial identity and finding where she/I/ you fit in. To her point, “We are all of the human race." Because of her physicality, dark olive skin and big, unapologetic, fun curly hair she says “I define myself more as an African American, even though I also define myself as a Jew.” Rain has an energy that is so pure, real and relatable. She and her characters are filled with heart. And you can see the craftsmanship that went into making each character have its own distinct voice. When it’s time for Rain to impersonate her dad, her Richard Pryor impersonation, it's dead on. The stare and look in her eyes bring her face (that already resembles him) right into a position where you for a minute feel like Richard Pryor is speaking through her. You can see and hear him disciplining her and telling her what won’t be tolerated in his house, to which she points out the humor of his house rules for the kids vs. his lifestyle. Unlike many one person shows, she takes the care not to paint her father as either a sainted hero or a villain and bad father. She creates a study of him that best expresses that we are all flawed, trying, and a work in progress. She doesn’t skimp over but explores his drug use and love of women in a way that really makes the audience understand where her dad was coming from and empathize with him. Audiences can also relate to wanting more of a relationship with their father, or parent. One of the most touching moments in the show is when Rain is relating to her father as a young girl and he is reprimanding her. You can see in her eyes that desire we all have to please our parents and gain and keep their love. Rain says she always wanted to be an actor but never a stand-up comedian. In the past several years she did put together a stand-up act and has toured with it around the country and headlined at the Comedy Store in LA, her dad’s old home club. About her stand-up she says “This is not my daddy’s stand-up, so if you’re looking for Richard Pryor, you better go get some records.” Since seeing her show in previews and writing this piece for Venü Magazine, The New York Times reviewed Fried Chicken and Latkes, and it was a Critic Pick. In addition to acting and comedy, Rain is an acclaimed singer who ends the show singing God Bless The Child Who’s Got Her Own. Rain Pryor certainly does.

Walk up the stairs. Turn right. Relax.

When you’re a NetJets ® or Marquis Jet Card ® Owner, private aviation is that easy. You’re always guaranteed a plane with as little as 4-10 hours’ notice*, complete with the highest safety standards, the most experienced pilots and the most sophisticated operations in the business. No matter your type of ownership, you have the confidence of knowing that NetJets is backed by the unmatched resources of Berkshire Hathaway. So, enjoy your flight. We’ve taken care of the rest. SHARE

LEASE

CARD

CHARTER

MANAGEMENT

1.877.JET.8308 | NETJETS.COM A Berkshire Hathaway company

All fractional aircraft offered by NetJets ® in the United States are managed and operated by NetJets Aviation, Inc. Executive Jet® Management, Inc. provides management services for customers with aircraft that are not fractionally owned, and provides charter air transportation services using select aircraft from its managed fleet. Marquis Jet ® Partners, Inc. sells the Marquis Jet Card ®. Marquis Jet Card flights are operated by NetJets Aviation under its 14 CFR Part 135 Air Carrier Certificate. Each of these companies is a wholly owned subsidiary of NetJets Inc. ©2011 NetJets Inc. All rights reserved. NetJets, Executive Jet, Marquis Jet, and Marquis Jet Card are registered service marks. *Advance notice requirement depends on the type of aircraft purchased or leased and on the size of the interest acquired.