VENU #25 FALL 2014 by VENÜ MAGAZINE

Contemporary Culture

Fall_2014

$7.99

Blastoff, Oil on Canvas, 60" x 36"

JULIE LEFF FLORALS

www.julieleff.com

ABSTRACTS

203.434.8655

PORTRAITS

julie@julieleff.com

32 Contemporary Culture

Fall_2014

Spotlight

Small Fine Arts College + Large University = Success Lyme Academy College of Fine Arts and the University of New Haven Promises Major Benefits to Both Institutions

A Celebration of Bespoke Luxury

Style

Curator and Author Wendy Jeffers is Guest Lecturer for Library’s Annual Stoddart Art Lecture

Events + Gatherings

JEWELRY: History and Culture Live in the Fine Jewelry Designs of Pinar Oner

Travel + Leisure

Appetite

Parties, Art Exhibitions & Activities

ARCHITECTURE: Grand Central Terminal (Part 1)

Come Up – Slow Down, In Gstaad; A crazed skier learns to linger in the Swiss Alps

Back 40 Kitchen: Kings of The Farm Put on A Royal Feast

CITY DIRT: New York Hotels Get Their Green Scene On

FEATURE

Grounded, The inside dirt on Stone Barns Center

A Heroic Tribute 70 Years In The Making. Venu Magazine travels to the beaches of Normandy to honor a very special World War II vet

ON THE COVER: Je T’Aime, 2014 by Raphael Mazzucco 25.5” x 37.5”, Archival Paper, Resin, Mixed, Media & Acrylic Paint

CONTEMPORARY CULTURE//MAGAZINE

Contemporary Culture

Fall_2014

COVER STORY

The Making of Today’s Breakout Artists

INDULGE

MOTORING: Wings, Speed, Drama, Adventure

YACHTING: Experience the gateway to unparalleled luxury – Fleet Miami is expanding the yachting lifestyle to an elite clientele

GALLERY + MUSEUM GUIDE

ON THE BLOCK: Year In Review

Gallery and Museum listings in Connecticut and New York

ART + OBJECTS

PULSE

Venü Magazine’s marketplace for furniture, lighting, textiles, jewelry, art, antiques and accessories

ART: The Legacy Lives On, Jessica and Joey Goldman

ART: Anne Chernow’s Femme Fatales

MUSIC: Rock’s Next Big Thig – Explosions In The Sky

THEATER: Medical Drama – Sharpening the skills of medical students

The Contemporary Jewelry Design Group is an association of professional jewelry designers. Since 1988 its mission has been to promote American designer jewelry to the jewelry industry, retailers and consumers. (See what they have to offer starting on page 59)

FILM + ENTERTAINMENT

Copolla & Koch – Francis Ford Coppola and Hawk Koch at the Producer’s Guild of America Conference,

SOCIETY

The Daisy Column: Miami society, The powerful, The chic, The unique 8

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President, Executive Director Tracey Thomas Senior Editor Cindy Clarke Film & Entertainment Editor Peter J. Fox Decorative Arts Editor Matthew Sturtevant Florida Content Editor Daisy Olivera Copy Editors Susan Sullivan, Marc J. Miller Publisher Venü Media Company CREATIVE DIRECTION, Design & Production J. Michael & Company Contributing Writers Susana Baker, Jeff Blumenfeld, Rebecca Cahilly, Cindy Clarke, Phillip James Dodd, Laura G. Einstein, Peter Fox, Marianne Brunson Frisch, Linda Kavanagh, Olwen Logan, Janet Langsem, Daisy Olivera, William Squier, Patricia Syvrud, Matthew Sturtevant Business Development Shelly Harvey/Connecticut, Liz Marks/New York Advertising Sales Gregory Finke, National Accounts Manager 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 203.259.2075 Advertising Inquiries advertising@venumagazine.com Editorial Contribution editorial@venumagazine.com Subscriptions 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 creative’s) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions.

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SPOTLIGHT: LYME ACADEMY

Jeremy Horseman, class of 2012, works on his oversize senior project painting.

Small Fine Arts College + Large University = Success Affiliation Between Lyme Academy College of Fine Arts and the University of New Haven Promises Major Benefits to Both Institutions

by Olwen Logan

yme Academy College of Fine Arts in Old Lyme, CT, has recently announced an exciting, new affiliation with the University of New Haven (UNH) located some 35 miles to the southwest in West Haven, CT. The agreement, which was announced in April of this year, transforms Lyme Academy College of Fine Arts into the sixth college of UNH. A delighted Robert W. Pratt, Jr., Chairman of the College’s Board of Trustees, comments, “After 20 years as an academy and almost another 20 as a fully accredited, independent college, this affiliation represents a wonderful op-

Exhibition opening at the University of New Haven gallery

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portunity for Lyme Academy College to take the next step in its evolution as it becomes part of a much larger university, while retaining all the attributes of a small institution,” The University of New Haven is a private, top-tier comprehensive institution recognized as a national leader in experiential education. Founded in 1920, the university enrolls approximately 1,800 graduate students and more than 4,600 undergraduates pursuing some 80 degree programs at the bachelor’s, master’s and doctoral levels. Apart from its main campus in West Haven, the University has campuses in Orange, CT, New London, CT, and Italy, with others soon to launch in the San Francisco area and Qatar. In contrast, Lyme Academy College of Fine Arts is the smallest independent fine arts school in the country with approximately 80 undergraduate students. The school was founded in 1976 as an academy by the acclaimed sculptor Elisabeth Gordon Chandler. She believed that the ongoing drift to modernism prevalent at that time would ultimately result in the loss of the classical, figurative traditions, which had produced the great masters. Gordon Chandler set about creating a school that offered a program rooted in the time-honored traditions of figura-

tive and representational art with an emphasis on working from direct observation. Over the ensuing 20 years, the program rapidly became highly respected culminating in the accreditation of the academy as a college in 1996, when the first Bachelor of Fine Arts (BFA) degrees were awarded. Lyme Academy College offers four majors drawing, illustration, painting and sculpture - and study can either be full- or part-time. Significantly, despite the structured approach of the first two years when subjects such as perspective and anatomy are taught, the BFA degree encourages creative freedom in the final two years of study, especially in the senior year, during which students produce an original and independent body of work in their individual studios at the College. In recent years, as the challenges of operating a small college heightened, the Board of Trustees became increasingly convinced that an alliance with a larger educational institution was the most promising path toward a viable, sustainable future. The Board began to explore a variety of options and ultimately responded positively to an overture from UNH. Steven H. Kaplan, UNH president, notes, “We saw in the College an extraordinary gem, widely admired throughout the art school community, and believed that enhancing its brand and its future would enhance our own. We wanted a first-rate fine arts college to complement our arts and sciences division and be an integral part of our rapidly growing national and international campus.” The affiliation presents many advantages to both institutions. Lyme Academy College will benefit from the operational breadth and depth of UNH, gaining access to an expanded range of liberal arts courses and complementary UNH art programs, such as design and digital media. Lyme Academy College students will also be able to study abroad at the UNH campus in Tuscany, Italy. >>

SPOTLIGHT: LYME ACADEMY

Left, Continuing education class with model summer 2010. Above, Stillman Gallery in the Chandler building, numerous exhibitions are held here throughout the year featuring the work of students, faculty, alumni and guest.

Kaplan comments, “The affiliation of these two outstanding institutions is an exciting and historic event. It will raise the stature of fine arts education in the Northeast and expand the benefits, services and opportunities that the university and Lyme Academy College provide to students, faculty, alumni and all Connecticut residents.” He adds, “We will work closely with the College to support and enhance what already is a top-tier fine arts education program.” Asked how the student experience will change at Lyme Academy College, former Director of UNH’s Department of Art and Design, and now the Transition Director at the College Todd Jokl, responds simply, “Very little.” He goes on to explain, “We will retain the acclaimed essence of the College – the small size of our classes, the hands-on experiences and the opportunity to become immersed in representational art. But we will gain access to an expanded reservoir of courses, technologies and academic initiatives that will strengthen the educational experience.” Kaplan adds, “We are determined to protect and preserve the mission of Lyme Academy College, retaining the unique qualities that appeal to students seeking an arts degree in an idyllic, rural setting that nurtures creativity.”

Jokl is especially enthusiastic about the opportunity that the affiliation creates for Lyme Academy College students to study abroad in Italy. He notes, “The Prato campus nestled in the heart of Tuscany, just 20 minutes outside Florence, is such a perfect place for fine arts students to spend time learning their craft. Not only is it a beautiful and culturally rich location, but the area is also the historic home of some of the finest representational and figurative artists of all time.” While the College is expanding opportunities for its students in numerous ways, UNH will add Lyme Academy College’s high-quality BFA pro-

gram to its curriculum, making it possible for UNH students to study painting, sculpting, drawing and illustration. The university does not currently offer a BFA degree. The University of New Haven has committed to invest in the College in areas where it will have the greatest impact. These include enrollment; studio enhancements; the liberal arts curriculum; campus maintenance and capital expansion; academic technologies; continuing education programs for the community; and new administrative and fiscal innovations. The University is determined to make the necessary investments to enable the College to flourish and undertake some of the innovative initiatives that were previously out of its reach. In conclusion, Kaplan notes, “Going forward, there will be a series of improvements at Lyme Academy College that the public will notice and others that won’t be as obvious.” He stresses, “We intend to stand alongside all the students, faculty, staff, alumni, donors and friends of the College to secure the future of this gem of a fine arts school in the midst of a cultural mecca.”

About University of New Haven: The University of New Haven is a private, top-tier comprehensive institution recognized as a national leader in experiential education. Founded in 1920 on the campus of Yale University in cooperation with Northeastern University, the University of New Haven moved to its current West Haven campus in 1960. The University operates a satellite campus in Tuscany, Italy, and offers programs at several locations throughout Connecticut and in New Mexico. The University of New Haven is fully accredited by the New England Association of Schools and Colleges (NEASC). www.newhaven.edu. About Lyme Academy College of Fine Arts: Lyme Academy College of Fine Arts continues the academic tradition of figurative and representational fine art while preparing students for a lifetime of contemporary creative practice. The College offers Bachelor of Fine Arts (BFA) degrees in Drawing, Illustration, Painting, and Sculpture (full- and part-time study); Certificates in Painting and Sculpture, a Post-Baccalaureate program; Continuing Education for adults; and a Pre-College Program for students aged 15-18. The College is accredited by the New England Association of Schools and Colleges, the National Association of the Schools of Art and Design, and the Connecticut Department of Higher Education. The College is located at 84 Lyme Street, Old Lyme CT 06371. For more information about the College, call 860-434-5232 or visit www.lymeacademy.edu. About the Author: Olwen Logan is Director of Marketing and Public Relations at Lyme Academy College of Fine Arts of the University of New Haven

CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: BESPOKE

From A Little Slice of Heaven™ Pillows by WOWHAUS, hand-antiqued “rattlesnaked” leather and Tibetan lamb fur accent pillow

Silk faille custom designed gown by Kati Fong

Sew NYC

A Celebration of Bespoke Luxury September 10, 2014 At the Dior Suite at the St. Regis Hotel

his fall marks the launch of a new event, A Celebration of Bespoke Luxury. Organized by Katie Fong, an emerging women’s designer, A Celebration of Bespoke Luxury will showcase the thriving business of bespoke fashion and integrated lifestyle. The invitation-only event will take place on the afternoon and evening of Wednesday, September 10 at the Dior Suite at The St. Regis Hotel, which was designed to evoke Christian Dior’s Avenue Montaigne headquarters in Paris. Following on the heels of a long-standing and recent resurgence of the atelier tradition in Europe,

CONTEMPORARY CULTURE//MAGAZINE

within established couture houses and otherwise, there is a quieter but growing interest in bespoke fashion and lifestyle in New York City and other locations. This customization allows customers to fit clothes, shoes, accessories and other lifestyle elements to their own requirements and tastes and often reflects a more exacting and higher standard of materials and artisan craftsmanship. A Celebration of Bespoke Luxury, hosted by Katie Fong and Krug, will feature approximately ten companies, including Hayden Lasher, Sew NYC, Vogel Boots, Wowhaus, which will be demonstrating and selling their products and services.

Elene Belgian Bag, by Hayden Lasher

SPOTLIGHT: WENDY JEFFERS

TAKE NOTE

SAKS Fifth Avenue Announces the Appointment of Greenwich General Manager, Jeff O’Geary

Curator and Author Wendy Jeffers is Guest Lecturer for Library’s Annual Stoddard Art Lecture “Dorothy C. Miller and the Advent of Modernism” by Laura G. Einstein

ew Canaan Library is pleased to announce that Wendy Jeffers will be guest lecturer for the Library’s 4th annual Stoddard Art Lecture. Ms. Jeffers will be speaking about Dorothy C. Miller, one of the most influential professionals in art to promote the first generation of American modernism. This year’s Stoddard Art Lecture will be held on Sunday, October 26, 2014 at 5:00 p.m. in the Library’s Adrian Lamb Room. Following the lecture, a reception will be held in the H. Pelham Curtis Gallery. Dorothy Canning Miller (February 6, 1904 – July 11, 2003) was the first professionally trained curator of contemporary art at the Museum of Modern Art (MoMA). She was a pioneer in the field, being one of the very few women of her time to hold a museum position of such stature. Dorothy Miller was of the same generation as the artists who came to be known as Abstract Expressionists – born early 20th Century – and as such cultivated lasting friendships with the artists, which allowed her to track their development. Wendy Jeffers is a curator, independent scholar and author of many published articles on art and collectors and she is at work on a biography of Dorothy Miller with the working title, “Clairvoyant Curator.” Ms. Jeffers’s specialty is early twentieth century American Modernism. She holds a MFA in fine art and art history, and has studied at the Institute of Fine Arts, New York University,

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Columbia University, Art Students League, Tyler School of Art, American University, New School for Social Research, Massachusetts College of Art, Corcoran Museum School, New York Academy of Art and the National Academy of Design. The Stoddard Art Lecture series was established in the fall of 2011 with the intention of enriching and broadening the community’s understanding and enjoyment of the visual arts. It was made possible through a patron’s generous gift in honor of Pat and Hud Stoddard and their many contributions to the Library and the community. The Stoddard series is unique in that it is endowed; once the fund reaches a certain point from contributions the series will operate in perpetuity. It is indeed a lasting gift, honoring lifelong learners, benefiting others and improving the Library. Registration to attend this program is required online at newcanaanlibrary.org. A $10 donation to support library programming is suggested. For additional information on the event or the Stoddard Lecture Series, including how to contribute, please contact Susan LaPerla at (203) 594-5007 or slaperla@newcanaanlibrary.org.

New Canaan Library’s mission is to enrich the town’s intellectual and cultural life by providing free and convenient access to information, fostering lifelong learning and encouraging the exchange of ideas.

Saks Fifth Avenue Greenwich is proud to welcome Jeff O’Geary to our store as the new General Manager. Jeff began his retail career at Thalhimers Department Store in Richmond, Virginia. He then joined The May Department Stores Company, where he held numerous roles of increasing responsibility over an 18-year period. After The May Department Store Company was merged into Macy’s, Jeff was promoted to the Regional Sales Manager for MMG Private Brands. Jeff joined Saks Fifth Avenue in 2011 as the Assistant General Manager of Merchandise for the Greenwich store. In 2013, he was appointment to Assistant General Manager of Merchandise for Designer Apparel at the New York store. Jeff is a graduate of East Carolina State University and is a resident of New Haven. Please join Saks Fifth Avenue in welcoming Jeff to Greenwich and wishing him much success in this role.

FCBuzz

events + gatherings

Making a “There” in Norwalk Maybe Gertude Stein coined the phrase, “There’s no THERE there,” in 1933 about Oakland, but the phrase has been uttered a million times about cities and towns around the world. This is certainly an observation that has proved to be timeless. And the effort to make a “there” has been lighting up cities in Connecticut for the past few years. In Norwalk, a new model of social entrepreneurship leads the way in the form of a tiny organization called Norwalk 2.0.

The idea behind this innovative organization speaks to the backgrounds of the founders, Maribeth Becker and Jackie Lightfield. Their careers in marketing, design and the startup tech scene collided with ideas on how to engage residents, business and community organizations to create a flourishing city through the arts. Building on a city with a vibrant culture and solid history, Norwalk 2.0 was launched. The name of the organization alone provides a clue about how a simple goal of revitalizing a city can be conveyed. Long a standard in the tech world, the numbering of iterations and evolutions of ideas and concepts fit the world that Norwalk 2.0 envisions — making Norwalk cool & innovative by creating fun engaging stuff that brings people together in public places. Norwalk 2.0 piloted the concept of a pop-up arts/retail incubator during the summer of 2013 in a vacant storefront on Wall Street, in a space donated by Fischel Properties. The program, called FACES of Norwalk, brought

together artists and non-profit organizations to bring workshops, exhibits, concerts and installations to a downtown awaiting revitalization in the form of new development. Today, an historic theater is being restored, new businesses have opened, and the businesses that have been there all along have a new sense of community and spirit. This past summer, Norwalk 2.0 built a village. In a small park, created as a result of a

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.

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devastating flood in 1955, Norwalk 2.0 brought 4 shipping containers that artists and entrepreneurs transformed into an Artist Village, called the Freese Park Artist Village. The many tall stacks of empty containers that surround seaports have become a source of inspiration for creative people who have used them to create buildings and structures like the Seaport coffee stand in New York City or temporary markets in vacant lots in San Diego. While the Norwalk 2.0 installation was temporary, this communitybuilding effort left a lasting impression. Part performance, part interactive, part visual — the Freese Park Artist Village represented a playful way to invite people to take another look at the downtown Norwalk area, and become inspired again. The idea of making a there, there, has indeed taken root. The transformation of making Norwalk a great American city is well underway. In SoNo, the restaurant row of Washington Street is known for world class dining and an energetic nightlife of clubs and bars. The downtown of Norwalk

along the Norwalk River presents a more eclectic ambience attracting green, organic and holistic health related businesses. These examples of smaller regional growth show that the seeds of economic sustainability can be fostered by supporting unique, hand-crafted, artisanal boutique concepts that thrive in economic ecosystems of like stores and restaurants. Norwalk 2.0 has taken a leading role in showing the way to approach economic challenges through a thoughtful mix of leveraging technology, arts, culture and history to tell the story of how to make a downtown relevant again. Norwalk 2.0 is committed to harnessing the inspiration of the past and advocating preservation of historic areas, all while addressing the economic sustainability of the present. Their work can be seen at norwalk2.org and discovernorwalk.com.

Photographs: SANDRO DE CARVALHO

Couture Press Preview Flashback!

uly 30, 2014, marked the third annual Couture Press Preview and the energy in the room and the steady stream of editors and retailers who attended were proof that this event just keeps getting better! Held in a gorgeous, sun drenched loft with a sprawling wrap around roof deck, the atmosphere at Press Preview is nothing short of serene. The combination of the relaxed environment and the amazing jewelry on display was just the thing needed to encourage the press not only to attend the event, but to take their time meeting with and getting to know the designers. “I was so happy to be able to meet with so many important consumer magazines at the Couture Press Event,” enthused one of the participating designers, Pinar Oner. “The Couture show can be very busy, so I appreciated the chance to show my finely crafted jewelry to editors in a relaxed setting. And we got great press just by being there!” In addition to editorial placements being made on-site, social media was exploding with placements, and several of the participating designers reported a huge increase in followers on their accounts! Another highlight of the day is seeing the editors mingling with one another. Publishing may be a competitive field, but it’s apparent that these editors all look at one another as friends and colleagues, freely expressing their shared joy in the beautiful jewelry and, even having cocktails together in the gorgeous outdoor space. What’s also incredible is watching the designers interact with one another throughout the day; the feeling of camaraderie in the room is something that’s hard to articulate, but is one of the key elements that makes the day so special. This year’s designers were Anthony Lent, Buddha Mama, Clara Williams Company, Pamela Huizenga, Pinar Oner and Yoko London. There were over 60 editors in attendance, along with a handful of very influential buyers.

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

By Janet Langsam CEO, ArtsWestchester

Historic Sites Frame New Perspective on Sculpture & Sound

Caramoor – In the Garden of Sonic Delights - Pianohouse by Trimpin. Photo by Gabe Palacio

wo fall exhibitions in Westchester are a bold counterpoint to one another. In Caramoor’s “In the Garden of Sonic Delights” on view through November 2, 15 artists broaden the definition of sculpture by creating works using sound and space. In contrast, at ArtsWestchester, two dimensional drawings by sculptors reveal the process of ideas becoming three dimensional. ArtsWestchester’s gallery opens its exhibition season with the outstanding collection of works on paper by sculptors from the collection of BNY Mellon. These include works by Sarah Sze, Louise Bourgeois, William Kentridge, and Robert Smithson, blue chip artists whose commanding drawings are showcased in “Drawing Line into Form,” opening to the public on October 3rd and on view until December 6, 2014. Earlier this year, Caramoor opened “In the Garden of Sonic Delights,” an innovative and imaginative reinterpretation of the Rosen House and Gardens as a center for music and the arts. The exhibition brings together composers and sound artists whose site specific works open our ears (and eyes) to the sounds that surround us.

Curator and Artistic Director Stephan Moore focused on building good relationships between the artists and their chosen sites. These good relationships have lead to a collection of 15 sound works that inspire a new way of looking and experiencing the historic home and its gardens. Visitors should be prepared for a diverse and bountiful sonic experience. Bubbling noises, sonar bloops, the creak of a ship, fragmented dialog, joyous piano music, and ghostly whispers are among the many sounds you’ll encounter as you tour the grounds and experience the works. While sound is on display the historic Caramoor property, ArtsWestchester’s historic, neo-classical revival bank building becomes the showcase for “Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon.” ArtsWestchester is proud to have this rare opportunity to exhibit a collection of such importance and magnitude. Sculptors transform line into a tangible, physical thing. Often drawings are a rough draft, a preliminary but integral step in the process of creating a three-dimensional object. In “Drawing

Line into Form,” the two-dimensional artworks are both expressions of ideas in development and stand alone, finished artworks in their own right. Indeed, the works represent a range of styles and ideas. From six-foot long graphite and gouache tableaus to abstracted vibrant watercolor color fields, from charcoal preparatory drawings to rough pencil sketches, these works by significant artists are as captivating as they are diverse. “Assembling this collection has been a journey of discovery,” says BNY Mellon Collection Curator Brian J. Lang. “Each work of art offers a new perspective and opens a new window into the mind of its creator.” Fall is Westchester’s golden season. With the changing leaves and cooling temperatures, area visitors and residents of the region have an excuse to explore the many historic homes and buildings that dot our landscape. Caramoor’s “In the Garden of Sonic Delights” and ArtsWestchester’s “Drawing Line into Form,” enliven their historic landmark venues and delight visitors with new viewpoints and fresh visions. For more information on “In the Garden of Sonic Delights” at Caramoor Center for Music and the Arts, visit gardenofsonicdelights.org. For more information on ArtsWestchester’s exhibit “Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon,” visit artswestchester.org or call 914.428.4220.

For more of Janet Langsam’s cultural musings, be sure to visit her blog at www.ThisandThatbyJL.com. For a full calendar of arts events visit: www.artsw.org. CONTEMPORARY CULTURE//MAGAZINE 24 On display José Feliciano, “cuarto” guitar used to record his classic, “Feliz Navidad”

“Chip” Daniani of The Remains, who opened for the Beatles US Tour

Sophie DeCrombrugghe, Mary Kate Gardiner

events + gatherings

IMAGES 2014 at the Fairfield Museum and History Center was a fantastic evening of fun, food and photography!

From the left, Finley Shaw, Michael Jehle, Tom and Dawn Kreitler

lose to 200 guests attended the IMAGES 2014 Gala, a benefit that supports the Museum’s educational programs. This year’s featured photographer was world-renowned artist David LaChapelle, who grew up in Fairfield. The winners of the 6th Annual Juried IMAGES 2014 photography exhibition were also honored during the event and Armature/ Professional and Student grand prize winners were named . The night included festive food was prepared by CINCH, an open bar and signature cocktail by Broken Shed Vodka and fabulous desserts by SoNo Baking Company as well as a photo booth where guests created their own images.

Tracey Thomas, Tiffany Dahlen

Michael Woodside, Jenna Piccirillo Bobbie Sue Russell, Meighan Dutt

From the left, Cathy Walsh, Chris Frantz, Tom Walsh

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Celie Campbell, Tim Sturtevant

Claudia Vargish, Thomas DelSpina

Media Sponsor: Venü Magazine

Jordan Schaps, Lisa Larson-Walker, Philip Trager

Photographs: ChiChi Ubiña

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events + gatherings

ArtsBall Patron Mary Dangremond sits with University of New Haven President, Dr. Steven H. Kaplan Guests enjoyed a delicious dinner by Jonathan Rapp’s ‘River Tavern’ under tents lavishly decorated by Louis Raymond of Renaissance Gardening

Artist Melissa Barbieri dances with her husband Michael Hannifan

Lyme Academy College Hosts a Fabulous, Floral ArtsBall 2014

n June 7, over 340 guests enjoyed a memorable evening of dining and dancing under lavishly decorated tents set behind the College. Guests exploded the theme of “A Night in the Garden of Art” with exotic floral attire and creative accessories. Bidding on both the live and silent auctions was enthusiastic. The night turned into a record-breaking success with 100 percent of net proceeds benefiting student scholarships. Chairs of the event were Dini Mallory and Alison McCall, while the décor was created by Louis Raymond and the extensive auction by Diane Kaslow. Corporate sponsors for the event included Outthink; Venü Magazine; Essex Savings Bank and Essex Financial Services; Middlesex Hospital/Shoreline Medical Center; Sennheiser Electronic Corporation; Essex Meadows Lifecare Retirement Community; Ironwood Capital; Mohegan Sun; Patricia Spratt for the Home; Seaside Wine & Spirits; and Smith Insurance, Inc.

Artwork from ‘A Community Paints’ complements the beautiful table settings

ArtsBall sponsor and Sennheiser President Greg Beebe shares a smile with his wife Sourin

Sam Quigley (center), Director of the Lyman Allyn Art Museum in New London, dances with his wife, Margarita

Left to right, Lyme Academy College Vice President of Development Fritz Jellinghaus with Venü Magazine Creative Director Michael Woodside, and Phillip Eliasoph, Art Professor at Fairfield University

Lyme Academy College Trustee Alex Richardson (left) and UNH President Dr. Steven H. Kaplan

hair Diane Kaslow and Viola Tagliatela, wife of the owner of the Saybrook Point Inn Stephen Tagliatela, share a smile

Auction Chair Diane Kaslow and Viola Tagliatela, wife of the owner of the Saybrook Point Inn, Stephen Tagliatela, share a smile

Lyme Academy College Trustee John Visgilio and his wife Wendy

ArtsBall Co-Chairs Alison McCall (left) and Dini Mallory (right) address the crowd at the start of the festivities

Left to right, Sam Quigley, Director of the Lyman Allyn Art Museum in New London, Auction Chair Diane Kaslow and ArtsBall Patron David Dangremond

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Patricia Spratt (left), organizer of ‘A Community Paints’ and owner of ‘Patricia Spratt for the Home,’ accompanied by her daughters

Left to right, Alan and Bettie Proctor, Andy Eder, husband of Lyme Academy College Trustee Eileen Eder, UNH President Dr. Steven H. Kaplan, with Lyme Academy College Board Chairman Dr. Robert W. Pratt, Jr., and his wife Ann

Left to right, Lyme Academy College Trustees Laura Lee Milller, Alex Richardson and John Gallant with his wife Lynn

Left to right, Jim McCoy, UNH Vice President for Enrollment Management, Carol Koziatek, UNH Vice President of Human Resources and UNH Board of Governors Chair, Philip Bartels and his wife Susan

Photographs: Olwen Logan & Howard Margules

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Travel + Leisure: GSTAAD Destination NorwaY

Gstaad Palace perched on a hilltop above town.

COme Up– Slow Down, In GSTAAD A Crazed Skier Learns To Linger In The Swiss Alps

by Jeff Blumenfeld

ince the age of five, there has not been a single year of my life when I’ve missed a ski season. Growing up in the Catskills, there was a municipal ski hill, just seven miles from the house. In later years I would go on to promote ski equipment companies, skiwear manufacturers, and resorts throughout New England and the Rockies. Pilots have log books, divers track every dive, and since 1974 I’ve counted every day on skis – over 800 in the 40 years since. Yes, guilty as charged: I’m a crazed skier, up early, skiing through lunch, last chair to the summit at day’s end. I wear an altitude watch that tracks cumulative descent and every ski run. My goal is usually 25,000 vertical feet in a day; I’m disappointed with anything less. This “ski or die” attitude all came to a crashing halt when the opportunity arose last season to ski in Gstaad, located in the Bernese Oberland region of the Swiss Alps, one of the most luxurious travel destinations in Switzerland. Here, instead of skiing from first tracks to last lift, the sport in Gstaad (pronounced “shtahd”) takes on another, calmer dimension. In fact, local tourism officials promote this Shangri-La for the rich and chic as a place to “Come Up – Slow Down.” You don’t ski Gstaad as much as you experience it. First Stop Zurich This was my first trip to Switzerland, a country I only knew from the Swiss Pavilion at the 1964-65 New York World’s Fair where my favorite staple was bread and Swiss cheese. My palate has matured since then, and good thing too. While traditional Swiss dishes are often plain and made from simple ingredients, such as potatoes and cheese, food there is influenced by French, German and Italian cuisine. Swiss cheeses and Rösti, a popular potato dish, are common

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everywhere in the country. Chocolate, such as Swiss Toblerone and Lindt, is worth the extra baggage fees to transport home for friends and family. From Zurich Airport I take the train to the city’s Main Railway Station, arriving just as locals by the dozens are loading onto mountain-bound trains with their boots, poles and skis in hand. One woman in a black North Face parka is walking down the sidewalk in her ski boots. “They’re too heavy to carry,” she explains in heavily-accented English. Somehow her logic makes sense to me as I drag my tired, old wheeled duffel bag across the cobblestones. Little do I realize the bag would cause me great embarrassment later. My host for breakfast this morning is hotelier Werner Stoller, son of the founder of Hotel Mercure Stoller Zurich, an 80-room boutique hotel best known for its homemade ice cream called Stoller Glace – five scoops of ice cream with a wafer on top. They sell hundreds per day in the summer, as far back as the late 1930s. I take in the sights of this compact city for a day before heading into the mountains. There’s Old Town with dozens of sidewalk cafes, many offering warm blankets to encourage dining outdoors regardless of the cold. No altitude watch today, just a FitBit recording each step as I walk miles through quaint neighborhoods and visit the Kunsthaus Zurich Art Museum to view its Edvard Munch collection and a self-portrait of Van Gogh, calmly smoking a pipe while his right ear is swathed in bandages. I window shop on the exclusive Bahnhofstrasse, the main shopping street, lined with the world’s most iconic luxury brands, but avoid buying anything because of the brutal exchange rate that hammers the American dollar. The snowcapped Alps rim picturesque Lake Zurich as vendors sell chestnuts in big copper kettles, fresh crepes are offered from sidewalk stands, and

Photographs courtesy of Gstaad Saanenland Tourismus

La Fromagerie, one of Gstaad’s most popular restaurants

locals and visitors alike eat dinner-plate sized pretzels called brezelbrots – sprinkled with aromatic sesame, poppy, and sunflower seeds they put New York City pretzels sold by dirty water hot dog vendors to shame. Departing for Gstaad the next morning by train, I see entire families traveling to the mountains with traditional wooden runner sleds, ready to enjoy the sledding parks that cater to non-skiers. The ride to Gstaad takes three hours and three transfers. The third leg of the trip is in a Panoramic train car with large windows reaching to the ceiling, through which I enjoy the sight of spectacular knife-edge peaks in the distance as we race by the jaw-dropping scenery populated by herds of black and white cows which until recently, outnumbered people. Sitting across from me is a Swiss gentleman in his mid-40s dressed so well, I instantly form a secret man crush. Here I am in ripstop nylon and Gore-Tex with garish outdoor company logos looking like a schlubby college kid on a university ski club outing. Across the aisle is this impeccably dressed Cary Grant

Two hours later, it’s time for lunch. Not a quick grab and go sandwich and overpriced Gatorade. No chili in a bread bowl. In Gstaad at one of its famed mountainside restaurants, you’re expected to actually sit down, wait for a waitress to take your order, drink some wine, then have a three-course lunch. look-alike in his crisp French-cuffed cotton striped shirt, beneath a cashmere v-neck sweater, itself layered beneath a thin black down vest and wool sport coat with a perfect silk pocket square over wide wale corduroy pants. I surreptitiously email myself a note to up my game the minute I return to Connecticut. My stay the next three days is in the luxurious Gstaad Palace perched on a hilltop above town. The hotel and its 104 rooms and suites are fully booked during the Christmas and New Year’s holidays, with a 12-night minimum and a long waiting list. One reason for the repeat business is the hotel’s exceptional level of customer service, with 1-1/2 employees available per guest. The average length of employment is 15 years. The maitre d’hotel, Ermenegildo “Gildo” Bocchini, has been there for 45 years, the headwaiter just as long, they tell me

proudly. If he’s in a good mood, Gildo, who was honored when the hotel named a restaurant after him, will sing opera. Want to move the furniture around to your liking? No problem. They’ll keep a photo of the room layout for your next visit. The hotel is luxury personified. Chopard hosted a pop-up watch store during my stay in early 2014, the better to showcase six-figure tourbillons. Panaeri displayed its 8,400 Swiss Francs ($9,408 at $1.12 per CHF) Radiomir Black Seal watch in an elevator display case. Twice a day – once in the morning, once at night – I found myself jonesing for its shiny black case. The main lobby area is called Gstaad’s living room, scene of the 1975 Peter Sellers movie, The Return of the Pink Panther. Here guests sit in comfy chairs and sofas, glancing up ever so slightly when you walk in to see if you’re someone famous or not. From the hotel’s picturesque vantage point, I view the town’s main shopping promenade, with the ultra rich sipping gluhwein as they glide by in wheeled sleighs pulled by draft horses in diapers – lest they soil the expensive furry après ski boots on most every woman over childbearing age. Dinner is in the La Fromagerie, one of Gstaad’s most popular restaurants, located in the hotel’s former vault where the Swiss National Bank hid its gold from the German Army. The most popular dish is the champagne and truffle cheese fondue for 42 CHF, an artery-clogger if there ever was, but it’s so good, I convince myself it’s a once a year treat that won’t kill me. We sit on red-checked table clothes dipping both bread and boiled potatoes into the gooey mass. When the waiter arrives and offers to scoop out the last remaining crust of fried cheese, called Grossmutter (“grandmother),” well, that’s when I cry “uncle.” Afterwards, we visit GreenGo, the hotel disco trapped in a 1970s Euro Funk time warp. The night club has the same hanging wafer lamps, the same suspended dance floor it had when actor Roger Moore prowled the bar and Louis Armstrong performed. Travolta was engaged there, Madonna is said to visit often and Playboy still hosts parties. Admission is a stiff 50 CHF, plus drinks, but the crowd of pretty young things doesn’t seem to mind. “Danke Schoen” for Buckling My Boots The next morning I’m spoiled further when the multilingual hotel ski shop assistant hands me the boots I brought from home, warmed overnight in a heated drying rack. He kneels before me and begins to buckle my boots. Self conscious at first, I begin to enjoy the experience, silently humming singer Wayne Newton’s signature song. But when they offer to sell me a pair of Zai skis for a cool 10,000 CHF, that’s where I draw the line. We arrive at the base of the slopes at 9:30 and purchase tickets for a modest 62 CHF ($69 as compared to Vail’s $129) which includes a train pass

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Travel + Leisure: GSTAAD Destination NorwaY

if you happen to ski three towns over and want to take a break and travel by train back to Gstaad from Zweisimmen, a town of 3,000 that dates back to the Middle Ages. The Wispile gondola, one of 53 lifts, takes us to the modest 6,270-ft. summit where we start our first run at 10 a.m. – late by eastern U.S. skiing standards. Gstaad offers 137 miles of skiing and powder snow lasts longer here because the predominantly novice and intermediate skiers prefer the packed runs to the powder, which I don’t mind one little bit. I never did need to see my boots beneath me when I skied. Nor see my knees for that matter. We enjoy most of the mountain to ourselves because only one-third of Gstaad visitors actually ski; most are there for the ambiance. Under clear blue skies, we ski past farmhouses permeated with the sweet, pungent smell of cow manure. Skiing Gstaad is more about traveling horizontally than vertically. In three places the trail crosses snow-covered roads as cars wait for us to pass. At the top of one lift is Igloo Dorf, a mountainside village built from natural and machine-made snow and featuring 12 snow-lined rooms, many with working indoor toilets. For a minimum of 159 CHF visitors are served dinner, huddle for the night in polar sleeping bags, enjoy breakfast and experience a snowshoe trek before skiing down or descending by ski lift. Linger Over Lunch Two hours later, it’s time for lunch. Not a quick grab and go sandwich and overpriced Gatorade. No chili in a bread bowl. In Gstaad at one of its famed mountainside restaurants, you’re expected to actually sit down, wait for a waitress to take your order, drink some wine, then have a three-course lunch. I’m so eager to get back on the slopes, my leg is going up and down like a lawn mower piston. But then it happens. The waitress at the Saanewald Lodge serves me a Zame Pot – a 16 CHF beef bowl with tomatoes, celery, tomatoes, leek and rocket. It’s so good, and I’m so hungry, I break into a sweat eating it. But it calms me down and I begin to linger. Time elapsed: two hours. My vertical for the day is taking a serious hit, but it doesn’t much matter to me any longer. Especially after the Zame Pot and

especially after two glasses of wine. My whole perspective shifts, like when The Wizard of Oz goes from black and white to glorious Technicolor. The relaxed schedule harkens back to the classic days of skiing – with wooden skis, screw-in edges and leather lace-up boots. I’m reminded of times in the Catskills when my friends and I would also drink wine during lunch – but from bota bags that would occasionally leak over our Dale of Norway sweaters. Gstaad reminds me of skiing in the days before helmets became the norm, before skiers adopted an anonymous bubble-headed appearance. In fact, I develop another crush on a couple who appear to be out of a 1960s Life magazine spread. Both hatless, both in stretch pants and sunglasses, I expect to see them in vintage Head Standard metal skis, but of course, this being Gstaad, they’re in top of the line equipment, she in a four-figure Moncler hooded parka. I ski hard for three days, uh, except for those two-hour lunches. When it came time to pack for home, one wheel on my duffel bag breaks and I have to ask the concierge for duct tape to help my luggage survive the trip to New York, then ultimately to the local dump at home. I’m mortified, fearful that this top luxury resort will ask me to leave as soon as possible. But this is Gstaad, and these are the hospitable Swiss in the warm and welcoming Alps. I can do no wrong.

Trip Tips: • GreenGo night club – greengo.ch • Gstaad Palace – palace.ch • Gstaad Tourist Office – gstaad.ch • Mercure Hotel Stoller Zürich – accorhotels.com/5488 • SWISS Airline – swiss.com • Switzerland Tourism – myswitzerland.com

About the Author: Jeff Blumenfeld, a frequent contributor to these pages, is editor of ExpeditionNews.com, and author of an adventure sponsorship book titled, Get Sponsored: A Funding Guide for Explorers, Adventurers, and Would-Be World Travelers (Skyhorse Publishing, 2014).

CONTEMPORARY CULTURE//MAGAZINE

STYLE: JEWELRY

Intricate and historical Byzantine wall and ceiling designs are the inspiration for Pinar Oner’s fabulous creations.

Photo: Patricia Syvrud

SOFT GOLD, PRECIOUS GEMS History and Culture Live in the Fine Jewelry Designs of Pinar Oner

he muse for fine jewelry design can take many shapes and forms. For many designers, it is the ebb and flow of the material itself that inspires the jeweler to act as a sculptor and artist who transforms glowing lumps of soft gold and precious gems into sparkling jewels. For others, it is the world around them that begs to be reinterpreted into wearable manifestations of lives deeply touched by history and culture. Fine jewelry designer Pinar Oner of Pinar Oner Design Atelier, is one of the latter. A young Turk new to the world of luxury jewelry design, Pinar is blessed with an uncanny ability to transPhoto: Pinar Oner Design Atelier

BY PatRICIA Syvrud form iconic motifs from the Byzantine, Ottoman and Seljuk eras of Turkish history into rich, colorful jewels with a fresh, contemporary look and feel. Created in the heart of old Istanbul, Pinar’s jewelry is meticulously hand-crafted using centuries old goldsmithing techniques, many pieces accented with hot enamel applied in the same manner as fine French master enameling. Pinar’s newest additions to her 2014 Collection were inspired by the ceiling of the world famous Chora Church in Istanbul. Literally translated to countryside, the Chora church was originally built in the early 5th century outside the walls of what was then called Constantinople. The church underwent a number of transformations, and it was only after the third phase of building between the years 1315 – 1321 that the building was endowed with the colorful frescos and mosaics that you see today. Covered with plaster when it was converted to a mosque in the 16th century, the frescos and mosaics were uncovered starting in 1948, and today the Chora church is considered one of the best and most beautiful examples of a Byzantine church anywhere in the world.

1. The Chora Ring is a large floral blossom with undulating walls of pave diamonds meticulously set in blackened 18K yellow gold. Hot, vitreous enamel accents in rich blue, green, yellow and touches of red create a one-of-a-kind wearable work of art. 2. Gezi Pendant in 18K yellow gold, diamonds and hot enamel. The red and yellow of the vitreous enamel nicely offsets the customalloyed gold creating a rich statement piece for a strong woman who wants to stand out from the crowd. 3. Gezi Earring in 18K yellow gold, diamonds and hot enamel. These long earrings on shepherds hook wires catch and reflect the light creating a warm glow for the wearer. 4. Holy Funky pendant from the Ottoman Designs Collection in 18K yellow gold, diamonds and hot enamel, this lovely motif is an original creation inspired by wall and ceiling motifs typical in Ottoman architectural design.

Pinar Oner at the bench in her studio.

Pinar Oner’s beautiful jewels are available at the Gurhan Atelier, 160 Franklin St, New York, NY or by contacting info@joiaconsulting.com or 760-525-9393. www.pinaronerdesign.com

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STYLE: ARCHITECTURE

Photographs by: Jonathan Wallen

Left, A glimpse into the main concourse, from the ramp leading to the lower level and the famous Oyster Bar. Right, The main concourse: The sparse treatment of the imitation Caen stone on the walls is almost Art Deco in style. Whereas the richly embellished ceiling is the hallmark of the Beaux-Arts. Both successfully combine to create the most monumental and beautiful of public spaces.

GRAND CENTRAL TERMINAL (Part 1)

BY PHILLIP JAMES DODD

OVELIST TOM WOLFE ONCE WROTE, “Every big city had a railroad station, with grand classical architecture that dazzled and intimidated. But the grandest, most glorious of them all, by far, was Grand Central Station.” In fact for a brief period of 50 years it can be argued that New York boasted the two grandest stations of them all – Grand Central Terminal and Pennsylvania Station. Their stories and fates are inextricably linked to one another, and to the history of the city that they served. The American Renaissance was a period of sweeping economic expansion, and rapid population growth for the United States, and in particular New York which served as the principal port of entry. At the epicenter of the nation’s thriving economy were the railroads (which accounted for nearly 40 percent of the shares listed on the New York Stock Exchange), and one person in particular – Cornelius Vanderbilt. In an era of titans and robber barons synonymous with the history of America, Vanderbilt would become the first of these great tycoons, creating a powerful family dynasty that would shape New York for generations

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to come. Vanderbilt was no stranger to the transportation industry. At age 16 he had launched a ferryboat service to Staten Island which he then swiftly transformed into a vast shipping empire – which included daily steamships from New York to San Francisco during the California Gold Rush. During the 1860’s the shipping magnate, affectionately referred to as The Commodore, shifted his attention to the fledgling railroads and purchased a controlling stock in four competing companies - The Hudson River, New York Central, New York & Harlem, and New York & New Haven – amalgamating them into the New York Central Railroad, or as we now know it - Metro-North. Although New York stood at the heart of the nation’s thriving economy, it lacked a fitting gateway, or entrance, into the City. Indeed travelers from the west would be forced to disembark in Jersey City, and enter Manhattan via a ferry crossing the Hudson River. Travelers from the north faired marginally better entering the architecturally insignificant railroad station then known as Grand Central Depot. This was hardly the way to enter a City that aimed to rival the great cultural capitals of London, Paris and Rome. What New York

desperately needed was a majestic landmark, a monumental gateway, designed to project an image of power, prosperity and cultural importance. They got two. First to act was Alexander Cassatt, president of the Pennsylvania Railroad, who conceived of tunneling under both the Hudson and East River’s, to enable his trains to enter Manhattan from the east and west. He then hired architect Charles McKim – the senior partner of Mckim, Mead & White – with instructions to “design the grandest station in the world”. Not one to disappoint Mckim designed a vast building, modelled after the ancient Roman Baths of Caracalla, combining Beaux-Arts classical architecture with the latest in steel frame technology. In what would become one the greatest building and engineering projects of the early twentieth century, Pennsylvania Station opened in 1910 (a year after the death of McKim), and was indeed described by all as the greatest railway station in the world. But in an era of one-upmanship, this was a title it would hold for a mere 3 years. The man behind Grand Central Terminal, as we now know it, was the chief engineer, and later president, of the New York Central Railroad - William J.

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STYLE: ARCHITECTURE Wilgus. By 1900 it had become apparent that not only could the existing station not keep up with rapidly expanding rail traffic, but that it also no longer reflected the grandiose architectural aspirations of the day. With an eye on the ongoing construction of Pennsylvania Station, Wilgus invited four of the nation’s leading architects to submit designs for a new Grand Central Terminal - Daniel Burnham, the designer of New York’s first skyscraper The Flat Iron Building; Samuel Huckel, who had previously expanded the existing building; the infamous Stanford White of McKim Mead & White (although it was always unlikely that the commission would have been awarded to the same firm designing their rivals station); and Reed & Stem, a firm from St. Paul Minnesota that had forged a reputation for designing railroad stations across the Country. The latter won the competition - a decision made easier as its senior partner Charles Reed was married to Wilgus’ sister. To suggest that this was the only reason that Reed & Stem would win the competition would be somewhat of an injustice - although it surely played a part. In truth what separated their winning proposal from the others were two unique design features - the use of ramps inside the station, rather than staircases, to speed the flow of pedestrian traffic (an idea borrowed from Stanford White’s original Madison Square Garden); and relieving gridlock in the neighborhood, by incorporating an elevated roadway that would wrap around

Photographs by: Jonathan Wallen

On February 2nd 1913 the doors to Grand Central Terminal officially opened to the public after 10 years of construction and at a cost of more than $2 billion in today’s dollars.

Left, The nickel and gold-plated chandeliers were designed to convey a sense of grand luxury, with the bare bulbs (still a relatively new technology at the time) only adding to feeling of opulence. Right, Ornate stone carvings combined with green-grey ironwork are a hallmark of Beaux-Arts architecture, which aimed to combine old materials with new technologies.

the building, and connect the northern and southern halves of Park Avenue. Yet despite these innovations Reed & Stem would soon find out that they were not the only architects with a family connection – and this time the connection would be significantly higher up the social ladder. After the selection of Reed & Stem was announced, Whitney Warren and Charles Wetmore - who already had one of the City’s most successful architectural practices – bypassed Wilgus, and delivered an alternative design straight into the hands of Cornelius Vanderbilt II – The Commodore’s Grandson who was now president of the railroad. As architects of the recently completed New York Yacht Club on 44th Street, Warren & Wetmore were well-known as a leading

proponent of Beaux Arts architecture (indeed Whitney Warren had spent 10 years studying at the Ecole des Beaux-Arts in Paris). More importantly, the firm boasted unparalleled social connections - as several prominent members of the New York Yacht Club (including J.P. Morgan and John D. Rockefeller) also served on the board of the New York Central Railroad. It also didn’t hurt that Whitney Warren was Vanderbilt’s cousin, and had already designed several hotels for him. And so it was announced that both firms - Reed & Stem and Warren & Wetmore- would be Associated Architects of the new Grand Central Terminal. From the onset their shot-gun marriage was a source of controversy, and created a relationship fraught with dissention, design changes and acrimony. Yet in the end the final design combined a synthesis of Reed & Stem’s planning and organizational skills, and Warren & Wetmore’s artistic composition. At its peak, a workforce of 10,000 worked around the clock on the construction. The exterior features a limestone façade, with triple arches designed to emulate the triumphal gateways of ancient Rome. Greengrey ironwork and exposed steel was also incorporated into the design to recall the train sheds of latter years - combining the practical and artistic properties of steel, just as the two architectural firms combined their practical and artistic talents. Inside Tennessee marble was used on the floors, Botticino marble for the wall trim,

and imitation Caen stone (a mixture of crushed limestone, Portland cement, lime, and plaster that created the appearance of actual limestone) for the walls. Parisian artists were commissioned to carve symbols of the Vanderbilt family into the design - including ornamental inscriptions, decorative flourishes, and sculpted oak leaves with acorns – as well as plaster reliefs of winged locomotive wheels, and caduceus – a short staff entwined with serpents and surrounded by wings – which was typically carried by heralds. The cavernous main concourse – measuring 275 feet long by 120 feet wide by 125 feet tall – dominates the interior of the building. At its center is the information booth, perhaps the most recognizable icon of Grand Central. Adorned with a four-faced brass clock designed by Henry Edward Bedford, and cast in Waterbury Connecticut, the booth is modelled after a pagoda, and includes a spiral staircase that connects it to a similar booth on the lower level. Looking up is the barrel-vaulted ceiling, painted in a striking cerulean blue, glimmering with gold-leaf constellations and stars illuminated by tiny electric lights. Depicted is a view of the heavens from the Aquarius of Cancer in an October sky – and yet the ceiling is astronomically inaccurate, with some, but not all of the constellations reversed. One possible explanation is that the overall ceiling design might have been based on the medieval custom of depicting the sky as it would appear to God looking down on Earth– but that doesn’t explain why the whole ceiling is not reversed. Today this remains a puzzle unanswered. One year after the Terminal opened, the final element was added –the imposing sculpture titled Transportation which overlooks Park Avenue and 42nd Street. Even in the Beaux-Arts era sculpture of this scope and size was rare. Designed by French artist Jules Coutan, and carved locally in Long Island City, the limestone composition of Hercules, Minerva and Mercury surrounding a Tiffany glass clock, measures 48 feet high and weighs 1,500 tons. When Coutan was asked to travel to New York to oversee its installation, he responded “I have no such desire. I fear that the sight of some of your architecture would distress me.” On February 2nd 1913 the doors to Grand Central Terminal officially opened to the public after 10 years of construction and at a cost of more than $2 billion in today’s dollars. Over a century has passed and this Beaux-Arts masterpiece remains the largest train station in world, with 67 tracks serving 44 platforms dispersed over two levels both below ground. Visited annually by 21.6 million people it is one of New York’s most beloved landmarks – but it didn’t always used to be that way…

Phillip James Dodd is a well regarded expert on classical architecture and interiors, whose designs can be found in Manhattan, Greenwich and Palm Beach. He is also the author of the highly acclaimed The Art of Classical Details.

CONTEMPORARY CULTURE//MAGAZINE

APPETITE: BACK 40 KITCHEN

Back 40 Kitchen

Kings of the Farm Put on A Royal Feast Written by Cindy Clarke “Cultivators of the earth are the most valuable citizens. They are the most vigorous, the most independent, the most virtuous, and they are tied to their country and wedded to its liberty and interests by the most lasting bands.” Thomas Jefferson wrote those words in 1785 presumably extolling the virtues of farming in the state of Virginia, a land of plantations aplenty back in the day when agriculture was a great measure of a man’s worth. Busy as he was running a newly united America, he took real pleasure in gardening, often joining two of his gardeners to toil in the soil in late afternoon until the sun went down, declaring agriculture as “the most tranquil, healthy and independent occupation.” When he retired from the presidency and pressing affairs of the state, he said he found himself infinitely happier in his new mode of life, adding “I have often thought that if heaven had given me choice of my position and calling, it should have been on a rich spot of earth, well watered, and near a good market for the productions of the garden.” The farm it seems has been calling a good number of men and women, high achievers all, back down to earth to find their fame and fortune in a growth industry that is all the rage today. And it’s not just a passing phase for these newly minted farmers. It’s a way of life that sustains their hopes for the future of their children and the world around us.

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Venü Magazine went to Old Greenwich, Connecticut, recently to celebrate the opening of the Back 40 Mercantile – co-owned by Old Greenwich residents Bill and Lesley King and Lesley’s brother Jeff Bischoff and his wife Katrina who is the store manager – a general store of sorts that harkens back to the mid to late 19th century when these stores were the gathering places for townspeople and farmers. The General Store was typically stocked with items of all kinds, from food to fabrics and goods handmade and homemade, much like you’ll find at Back 40 Mercantile. In the old days, you’d find folks visiting and catching up on the latest news inside, playing checkers atop pickle barrels, full to bursting with farm-raised, familyrecipe tastes, and making those person-to-person connections that somehow have eluded us in technology-focused 2014. You’ll also find a lot of that inside Back 40 Mercantile too. That lack of interpersonal connection, to one another and to the Earth, that is so prevalent today is what motivated Bill and Lesley King, both financial executives and the parents of four children, to put their money where their mouths were, literally, and buy some 80 acres of land in Litchfield County and repurpose it back to its original landscape as a working farm. “We wanted our children to get in touch with what really matters in life while they were still young enough to enjoy it,” said Bill who fondly remembers his own childhood on his family’s

land in Haddam, Connecticut, where family and community were all important. He cited the good old-fashioned fun he had, raising goats, learning about gardening, planting and harvesting vegetables that he had a hand in. He and Lesley hoped to instill all those memories, along with the sense of pride and accomplishment that comes with a hands-on, priceless and practical skill like farming, in their own growing family. It’s been six years since they first put their hearts into their hoes and the result is a feast of organically harvested seasonal vegetables, herbs, flowers, fresh-from-the-hen eggs and herbal teas that are making their way to palates and plates from Washington Depot to Greenwich. To learn all he could about sustainable farming, Bill looked to the Stone Barns Center for Food and Agriculture. The farm was accepted as an apprentice farm under Stone Barns Private Lands Project, part of their Growing Famers Initiative, in 2011. And Bill had the good fortune to learn the lay of the land under the tutelage of Farm Director Jack Algiere (see our feature story on Stone Barns in this issue). As Bill’s garden grew, so too did his need for more help. It came through two Stone Barns’ apprentices Michael Krug and Nichole Norby, now Farm Manager for the Back 40 Farm, who have helped turn Lesley and Bill’s dreams of greener pastures into reality.

Photo: Julien Jarry Photography

Farming is all about community and engagement and everyone is invested in the work they do. Bountiful harvests are just part of the goals of a successful operation like the Back 40 Farm Group, who donate almost as much of their home-grown fare as they sell at market and in their restaurant.

That reality includes not only their Back 40 Farm, but it’s also behind the birth of the Old Greenwich Farmer’s Market that they co-founded with like-minded friends, the Back 40 Mercantile that further supports the efforts of all the locally sourced, back-to-the-farm artisans they showcase in their store, and the Back 40 Kitchen, where they bring the farm to the table in some of the most inventively delicious organic fare we’ve ever had the pleasure to dine on. We sat down with the king of the farm himself and his marketing director Dana during a recent dinner at Back 40 Kitchen, undergoing a name- and game-changing evolution from its predecessor restaurant, the Organic Planet, in its second-story dining venue on Greenwich Avenue in the heart of Greenwich, Connecticut. We had sampled some of their organic and artisan culinary specialties at the opening party for Back 40 Mercantile so we already knew that their food was not simply garden-variety fare. The conversation at the table followed suit as it took on a shared passion for health and nutrition, the growth of the green movement, the focus on conservation and environmental issues that stimulated the development of the organic market, the people behind the movement, and, naturally, the freshness of the food that graced our plates. We talked about the need for diversity in farming as Chef Gerry Herrfurth brought out dish after dish created from the ground up… a hum-

mus platter that introduced the stars of the Back 40’s summer garden in baby tender carrots and cucumbers, and added in gluten-free falafel chips for an extra crunch; a chilled carrot and fennel soup, dressed with hints of curry and dill; a mélange of salads boasting just picked cucumbers, harvest tomatoes, and basil, fragrant and flavorful; a mix of micro-greens, sweetened with watermelons and teasing with Kalamata olives; a bed of chopped seasonal lettuces, green apple, red cabbage, chick peas, cucumbers and roasted peppers, dressed with a mustard vinaigrette, sunflower seeds and Sungolds, a celebrity of this summer’s harvest; plus quinoa and tempeh temptations… all parading out as nature intended as an appetizing prelude to the main event. As we dug our forks into the bounty before us, Bill gave us the dirt about the day-to-operations of his growing business, commenting that everyone who works at Back 40 Farm Group has a hand in the products they produce. Field trips to the farm are part of job description at Back 40 Kitchen, where wait staff and chefs alike can hand-select fresh ingredients for the restaurant – think daily specials that change with what’s picked at the farm that morning – and give their customers personal insights on the food featured on the menu. Their passion for locally sourced, farm-to-table food is contagious, their knowledge impressive, and their commitment to changing lives with sustainable farming practices inspiring. We learned more with every bite. Farming is all about community and engagement and everyone is invested in the work they do. Bountiful harvests are just part of the goals of a successful operation like the Back 40 Farm Group, who donate almost as much of their home-grown fare as they sell at market and in their restaurant.

The rewards of creating a sustainable lifestyle and food that is naturally healthy are not only good for your body, but good for your soul as well. The plates kept on coming. Chef Herrfurth’s inventive Pasta Bolognese, judiciously made from brown rice pasta – vegan and gluten-free – and topped with a roll call of garden delights, including summer squash, zucchini, carrots, tomatoes, a trio of nutrient-rich mushrooms, fennel, green beans, garlic, onions, scallions, basil, parsley and more, redefined the way we’d order pasta in the future. And his glazed organic salmon, bathed in a glimmer of teriyaki sauce and served with freshly picked stir fry vegetables and more of those I’ll-never-buy-prepackaged-lettuce-anymore salad greens that promise heaven directly from the earth, was perfectly prepared and plated with finesse. I was hooked. Between appreciative mouthfuls, our conversation circled the Earth, giving us more food for thought. In addition to driving the tractor for his three interconnected farming ventures, Bill works his magic in the financial field, sits on boards like Stone Barns Center, supports apprentice farms and farmers like themselves and reads, voraciously. He recommended life-changing books like Mountains Beyond Mountains, The Quest of Dr. Paul Farmer, a Man Who Would Cure the World, about a doctor whose beliefs in humanity mirror that of the Kings. Among other notable achievements, Dr. Farmer was instrumental in founding the nonprofit organization Partners in Health (PIH), where Lesley King serves as an active board member – 10% of the profits from the Back 40 Mercantile and Kitchen are earmarked for the PIH. And he said we must read The Town That Food Saved: How One Community Found Vitality in Local Food. I couldn’t help but notice the obvious links between the messages of the books and the King’s own farming initiatives and the life changes they were championing for so many. Having reaped the rewards of their farm feast, we sat at the table happy and full, not wanting the evening to end. And it didn’t, not yet anyway, because out of the Back 40 Kitchen came another sweet revelation of this down to earth culinary crowd, homemade cashew ice cream, cookies melt in your mouth decadent and flourless chocolate cake that rendered me speechless. Bill called his pastry chef, Joyan Stroh a “savant with dessert” but I was so engrossed in the sweets that were placed before us, I interpreted it as “save room for dessert.” They’re both right, either way.

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APPETITE: CITY DIRT

THE LCL Bar & Kitchen Chef Brian Wieler

City Dirt

New York Hotels Get Their Green Scene On Written by Linda Kavanagh If you think Manhattan is just comprised of steamy asphalt, concrete sidewalks and brick and mortar, you haven’t experienced their rooftop gardens and Central Park Tours. The city’s most traditional, as well as progressive hotels are offering tourists and locals a sneak peek into the greener side of Manhattan. High atop the 41st floor overlooking the rambunctious goings-on of the city, The Westin New York Grand Central on East 42nd Street is one of the few New York City hotels to cultivate a rooftop vegetable garden. The 1,344 square foot organic garden is not only providing the hotel and THE LCL: Bar & Kitchen restaurant with vibrant produce and fragrant herbs, it is allowing Executive Chef Brian Wieler to exercise his green thumb and pursue his passion for groundup, from-scratch cuisine. “It’s nice to escape the confines of the kitchen and come up here, “Chef says as he pinches a

mint leaf from a large potted herb garden, “You feel inspired by the ingredients and energized by the fresh air.” The rooftop garden contains eleven planted beds and several barrels planted in succession throughout the summer in order to prolong the vegetable harvest throughout the fall. Arugula, mesclun lettuces, heirloom tomatoes, yellow squash, zucchini, peppers and fall squashes share the city skyline with basil, mint, thyme, oregano and cilantro. The garden utilizes only organic plants, soil, fertilizer and insect deterrents, including eco-friendly ladybugs. The Westin gave tours of the garden throughout the spring and now guests can enjoy its bounty throughout the summer and early fall months. On the menu these freshly picked vegetables and flavorful herbs are paired with organic chicken, grass fed beef, market fresh fish, and local dairy and artisan products. Some of our

favorite seasonal dishes included; heirloom tomato and mozzarella with garden fresh basil and 25 year old balsamic vinaigrette; scallop and shrimp ceviche with citrus and cilantro; gazpacho with cucumber, celery, onion, lime, cilantro and corn tortilla strips; organic farro “risotto” with asparagus, sweet peas and sugar snap peas; and a decadent griddled turkey reuben with housebrined-smoked turkey pastrami, Swiss cheese, crunchy cabbage cole slaw, and Russian dressing, served with house made potato chips – a truly “organic” deli experience. Craft cocktails follow suit, using some of today’s widely available botanical spirits. True standouts include; Primaverna - Botanist gin, Averna Italian liqueur and lime, shaken with an egg white. Frothy and light with a dry fruit finish; Trouble Maker - Belvedere vodka, French Bonal, muddled strawberry, cucumber and a splash of soda; and the Spicy Paloma with Casamigos Blanco Tequila, Thai Chile Aperol, fresh squeezed grapefruit juice and soda. The LCL may look like a chic NYC bar and restaurant with its large high-top oak wood communal tables, sharp looking staff and spoton service, but its sustainable and organic food culture is equally sexy. www.westinnewyorkgrandcentral.com www.thelclnyc.com Ink48, a hotel for the ages, developed by the trendsetting Kimpton Group, has brought a touch of retro class to midtown. Located at West 48th Street in mid-town’s Hell’s Kitchen neighborhood, this hip boutique hotel is home to PRINT, farm-to-table dining and the Press Lounge rooftop bar. Executive Chef Charles Rodriguez and

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Farm-to-table dining room at PRINT

tains and monuments to be seen with many found on the famous “Literary Walk”? And the original Central Park designer Calvert Vaux designed all the bridges and archways in the park, which total 36, and intentionally made them all different. Over the years, many fell into disrepair but the Central Park Conservancy has restored them all. And, the original design did not call for an animal sanctuary. About two years after the park opened in 1857 it began receiving exotic animals as gifts and a small sanctuary was created in the park at Fifth Avenue. In 1864 it received a charter from New York’s assembly and officially became a zoo. Lobby lounge at the Loew’s Regncy Hotel

Oasis table at the Press Lounge rooftop bar

Dining at PRINT is a multi-sensory experience and it begins with a truly comfortable and easy on the eyes dining room wrapped in dark earthy tones, slatted wood paneling, subdued lighting, and wood and wicker furnishings. Executive Pastry Chef Emily Wallendjack take their culinary cues from the region’s farmers and artisans. Major kudos to a restaurant that believes whole heartedly in a robust sustainable culinary program, they have employed in-house forager Meghan Boledovich as part of their culinary team to research, quality-check and liaise with their many farms, local winemakers, craft breweries and green markets. This year Meghan took things a step further, or rather, a step up, creating a rooftop garden, utilizing both vertical wall planting methods and classic wood containers. The current crop season is flourishing with a mix of native grasses, wild bergamot, and shade loving colius plants on the vertical wall. Vegetables include heirloom tomato varieties, sun chokes, cardoon plants, sugar snap peas, and an alpine strawberry patch.In addition, the smell of sumac, wormwood, sage, wild marjoram, 8 different types of basil, lemonverbena, lovage, lemon balm, mint, chives, anise hyssop and even centennial hop plants fill the 17th story air. Dining at PRINT is a multi-sensory experience and it begins with a truly comfortable and easy on the eyes dining room wrapped in dark earthy tones, slatted wood paneling, subdued lighting, and wood and wicker furnishings. They have the hospitality thing down too, bright and friendly and the entire team is extremely well versed menu and cocktail wise. Did someone say

cocktails? Sip on the “La Opinion”, shaken with vodka, prosecco, combier, passion fruit puree and lemon juice, or “The Gazette” mad with rye whiskey, seasonal mixed berries, topped with ginger beer. Chef Rodriguez may use simple ingredients, but he is not a conservative chef, and I love that about his food. The dishes are bold and contrasting, while being respectful of the ingredients. Standout dishes included: Lacinato kale salad with peaches, fried pumpkin seeds, shaved parmesan, lemon and olive oil; Lioni burrata with cherry tomatoes, basil, sea salt, olive oil and grilled bread; grilled quail stuffed with prosciutto served with sweet corn flan, green and yellow beans and mushroom truffle sauce; cauliflower steak with sautéed quinoa, summer vegetables, young onions, roasted carrots, pine nuts, currants and brown butter (and I’m not even a vegetarian!); and braised pork belly with cranberry beans, amaranth, roasted romatoes (Roma tomatoes) and fenn-orange salad. The fun continued with chocolate peanut butter frozen candy bars; so good, I took them with me to the theatre and finished them during intermission. Food this good, you must savor every bite. www.ink48.com www.printrestaurant.com www.thepresslounge.com Loews Regency Hotel, in partnership with Central Park Conservancy, is now offers walking tours of Central Park. A Park Avenue hotel landmark since 1963 and one of the country’s most visited (30 million visitors a year) 843-acre masterpiece of landscape architecture, have teamed up to create the quintessential New York City experience. In January 2014 the hotel completed an extensive revitalization, which included a stunning colorful and contemporary design and added amenities, but one thing that will never change is the hotel’s very own backyard, Central Park. The one-hour private walking tour of Central Park highlights the most interesting hidden gems and little-known facts about the park. Did you know there are nearly 50 sculptures, foun-

Central Park

In addition to a luxurious stay in the hotel, oodles of information from the tour and gifts from the Central Park Conservancy including an autographed copy of Central Park, An American Masterpiece, the authoritative account of the nation’s first public park written by Sara Cedar Miller, guests are invited for cocktails at The Regency Bar & Grill, the new culinary concept managed by restaurateurs Gherardo Guarducci and Dimitri Pauli of the Sant Ambroeus Hospitality Group, and helmed by culinary heavyhitter Executive Chef Dan Silverman. This New York experience is offered now through November 30, 2014. Autumn tours will be absolutely breathtaking! Park to Park information can be found here: www.loewshotels.com/regency-hotel.

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FEATURE

Photo: Nicole Franzen

GROUNDED

The inside dirt on Stone Barns Center By Cindy Clarke

f there’s one thing that strikes me about the Rockefellers, it’s how grounded they are. Scions of one of the most powerful families in American history, they have been entrusted with enormous wealth and resources that literally put them up in the stratosphere of privilege where they don’t have to do anything else but keep their heads in the clouds far way from daily toils of life on Earth, if that’s what they so choose. But it is the earth, literally, that keeps their interest and fuels their passion, whether it is the thousands of acres of wilderness they donated to our national parks or the 80-acre farm in Pocantico Hills, New York, where they created the Stone Barns Center for Food and Agriculture in honor of the late Peggy Rockefeller. A hands-on agricultural teaching center that offers aspiring farmers of all ages, 3 and up, the opportunity to connect the foods we eat with the products they raise, Stone Barns is also a bona fide working farm with produce that has a purpose, a place in the natural food chain and profit potential. “Everything we do at Stone Barns is part of a plan to promote sustainability and stewardship in natural farming practices, from the ground up,” we were told as we spent the day down on the farm with a staff of life changers whose passion for their work grew more palpable with every step of our tour. Visitors to the farm can see, feel, smell, hear and taste the bounty of the earth here, not uncommonly stepping on to the land as ordinary consumers, but leaving profoundly enriched by their new roles as food citizens… or backyard farmers with dreams of raising chickens, vegetables, bees or even bunnies on urban-sited, small plots of land. Our first stop was the vegetable fields, where rows of gardens yielded their seasonal bounty in thoughtfully tended rotational shifts carefully planned and planted by Four Season Farm Director Jack Algiere. Jack hails from Rhode Island where he studied turf management and horticulture at the University of Rhode Island and met his wife Shannon (they actually met in high school in Rhode Island), who now serves as the farm’s Flower and Herb Manager. Natural green thumb gardeners, their love of the land has taken them out to the vineyards

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of California to the lush rainforests and jungles of Costa Rica and back home again, each time nurturing new seeds of knowledge that today have taken root at Stone Barns. Pardon the play on words here but there’s something inherently magical cropping up at the farm that brings out the word linking lingo, naturally. Which is also part of the underlying mission of this not-for-profit educational center… to build a collaborative community of interconnected disciplines – livestock, plants, vegetables, insects, education, dining, marketing, and economics – that work together seamlessly in support of a shared goal. It was also a dream propagated by Peggy Rockefeller, a lifelong supporter of farmland conservation, who took her family’s tradition in responsible stewardship of the land to heart in everything she did. A founding board member of the American Farmland Trust and other philanthropic organizations, she was particularly concerned with agricultural issues and the environment, devoting much of her time to causes that were more worthy than fashionable. Built in the 1930s as a Norman-styled dairy farm to provide the Rockefeller family with cow-fresh milk, the Stone Barns property languished for decades until Peggy Rockefeller brought new life to the stone barns with her Simmental cattle operation in the 1970s. Her efforts attracted cattle buyers from around the world to this repurposed farmland and laid the groundwork for the agricultural center established in her honor. You won’t find dairy cows or cattle on the property today but you

will find all the elements of a productive four-season farm, along with an instruction manual of sorts, mentors like Jack Algiere included, for beginning farmers who embrace the attainable reality of sustainable agriculture and healthy eating. Jack’s work comes alive in some 200 varieties of produce, grown year round on the 6+ acres of fields and gardens and in the 22,000-square-foot greenhouse, minimally heated with a retractable roof that opens to welcome in the rain and sun. As we walked beside him on our farm tour, he pointed out fennel almost harvest ready, greens salad fresh, peas pod tender, beets and beans with carrots, eggplants and peppers thriving nearby. He spoke of the need for a consistent 7-year crop rotation to replenish, restore and revitalize the soil, the use of insectaries, where good bugs partner with natural organisms to banish plant-eating pests from voraciously munching on the vegetables, fruits and herbs, and of seed trials and plant diversity to reinvent the way we grow and consume food. He aspires to make it one that is healthy, harmonious and respectful of the land, water and wildlife. He shared his excitement about using humbler, uncelebrated crops to add variety to the foods we eat, substituting legumes and grains for wheat and rice, for example, and utilizing the shoots and leaves of select crops to add new tastes to salads. If you’ve ever tried those delectable spring pea tendrils, you’ll know how great the rewards of food experimentation can be! The soil, he emphasized, was the critical unifying element in the success of the farm and efforts to keep it nutrient rich were key. Farmers of old instinctively knew how long to plant what and where, relying on lunar cycles and solstices to get the most out of their land. Jack takes his cue from history and then improves it with his forward-thinking soil management initiatives. As we listened to his commentary, impressed by his scientific expertise, his economic insights, his innovative research, and his focused, hands-on commitment to helping the Earth feed and heal itself for the sake of future generations, it occurred to us that he was the new rock star of a growing movement to sustain America with farm-raised, naturally nutritious food. We were duly smitten with his revelations. Like the beginning farmers who are awarded one of the 12 coveted spots in Stone Barns Center’s farm apprenticeship program, we would follow him anywhere. Next, he directed us to the root vegetables, like parsnips, tucked in for their long winter’s nap underground in a neighboring bed as he explained that they would be harvested from their dirt dens when it is bone-chilling outside only to be served up oven fresh and soul-warming at Photo: jordanstudio.com the Center’s award-winning partner Blue Hill restaurant in the dead of winter. We could see the restaurant from where we stood out in the field, windows facing the pastoral grounds where there food is harvested year round. In fact an impressive percentage of the vegetables grown under Jack’s watchful eye is destined to grace the plates of diners who come here for some of the best farm-to-table cuisine anywhere, thanks to chef Dan Barber who has partnered with the folks on the farm.

Chef Barber is a major force behind the food revolution in play here and supports the efforts of the staff to work from the ground up to reshape America’s diets and landscapes. I made a note to buy a copy of his new book, The Third Plate: Field Notes on the Future of Food, so I could learn even more after we left the farm. We left Jack in the fields as our walk continued through wooded paths and pastures to the apiary, a bee town of hives and honey that’s all the buzz around here, (sorry) not just because of the honey they produce, but also because they pollinate the plantings all over the farm, giving promise to new growth in the seasons to come. Wannabe keepers can take classes and workshops at Stone Barns to keep the buzz going. Moving on, we saw hogs, happily rooting in wooded campsites that serve as their homes as they rotate around to different spots on the farm. Stone Barns raises Berkshire pigs for Blue Hill and for the onsite farm market, much like the sheep and lambs we saw being herded on fenced-in grassy knolls out in the pasture. Multi-species rotational grazing, we learned, can result in more productivity

The humane treatment of animals is a non-issue at this farm. Happiness is a way of life here and some say unequivocally that’s one of the reasons why meals prepared with pasture raised livestock taste so much better than their mass-marketed counterparts.

Photo: Nicole Franzen

from the soil and grasses in keeping with the productive farming practices of the center, so the animals are moved to fresh forage on pastures in tightly controlled patterns. Geese, turkeys and chickens, many representing heritage breeds, are similarly relocated as an important part of pasture rotation and field clean up. Not only do they make short work on any harmful insects left behind in the fields, they scratch animal manure into the ground to help fertilize the soil, naturally. The farm raises both broiler chickens – Freedom Rangers and Cornish cross – and Rhode Island Reds (egg-laying hens), moving them about every other day in mobile coops called egg mobiles. Fresh eggs are collected every day. More than 6,000 eggs a week make their way to Blue Hill, to the farmers market and to the shop, tantalizing consumers with brightly yoked eggs that are lower in cholesterol than commercially produced ones. The humane treatment of animals is a non-issue at this farm. Happiness is a way of life here and some say unequivocally that’s one of the reasons why meals prepared with pasture raised livestock taste so much better than their mass-marketed counterparts. As proof, just try getting your hands on one of their Thanksgiving turkeys, sold out to savvy members on a first-come, firstserved basis every year. Or their geese, part of a long-term experiment to make foie gras naturally, without force-feeding and in accordance with their own individual appetites. Great taste also comes with great soil so composting plays an important part as an essential ingredient in powering everything that’s grown on the farm. The best natural fertilizer there is comes from recycled crop residue, including dry leaves, haw and straw, livestock manure and food scraps that are collected on the farm and put into a compost bin. As we passed the farm’s large composting center we learned that the heat it generates while making naturally nutrient rich fertilizer also nurtures sprouts and micro-greens used by Chef Barber at Blue Hill, along with fueling heat needed for on-going seed experimentation. Which brings us back full circle to the sense of community and resilience that energizes and links together the entire Westchester County farming operation with the lives of the food citizens it hopes to attract across the nation. And it’s working, In the weeks since our day on the farm, we have run into a growing number of people who are into growing their own futures literally. My college roommate, who lives in a quintessential stone manor house on an idyllic Pennsylvania farm guarded by one intrepid ram, Max, has rediscovered the bounty of her own land with a vegetable garden that is bursting with fresh produce that she shares with food pantries and neighboring families. New York friends, enamored with the farmers markets that green up their weekends in the city, are toying with the idea of having chickens roost on their rooftop gardens. And new businesses, farmcentered, are sprouting up everywhere. We recently celebrated the opening of a new mercantile in Old Greenwich, Connecticut, owned and operated by Bill and Lesley King, former Wall Street warriors whose Litchfield County Back 40 farm is managed by a young farmer who trained at Stone Barns Center. Look for more on their farm and food in this issue’s Appetite where we had a chance to “eat the change” the folks at Stone Barns wish to see in the world. And boy was it ever good!

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FEATURE

A HEROIC TRIBUTE 70 YEARS IN THE MAKING Venü Magazine Travels to the Beaches of Normandy to Honor a Very Special World War II Vet

By Tracey Thomas

ots of us consider our Dads to be heroes. After all, they shouldered us through our first steps, encouraged us to take off those training wheels, caught us when we fell, watched us get on the school bus and off, wiped away our tears after our defeats as well as our victories, and bailed us out of any number of mishaps, financial, and otherwise. Growing up, it often felt that their heroics were meant for us alone. They were our personal saviors and we didn’t even fathom that they may have laid their lives on the line for others, usually because they never talked about it. Heroes, it seems, remain humble to a fault and I firmly believe that their selflessness – a concern for other people in need, a concern to defend a moral cause knowing there is a personal risk, no expectations of rewards – is part of their DNA. Which leads me to a shared once-in-a-lifetime fatherdaughter moment this past June that took my breath away. My Dad is about to celebrate his 89th birthday, a milestone in anyone’s life. He is a quiet, unassuming man with a twinkle in his eyes and a kind word for everyone. He doesn’t get around quite as easily as he used to. His balance is unsteady, his breath is often labored, naps have become the norm, but it doesn’t stop him from enjoying time with family and friends. He never liked being in the spotlight, and always preferred applauding someone else’s accomplishments. But this past spring he received an invitation from someone he had never met to go someplace he went only once before, 70 years ago, to personally receive an honor an entire nation thought he was due.

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Like so many of his contemporaries, my father was just 18 years old when he was drafted along with many of his classmates to enlist in the U.S. Army to help liberate our European allies from their oppressors in World War II. He had never been far from his home in Bridgeport, Connecticut, but his sense of patriotism and spirit for adventure changed all that the day he became a soldier. Both of his brothers were already in the service as well, sending all three Thomas boys into the throes of a war on foreign soil. Trained as a bazooka man, he was soon cruising across the ocean onboard the Queen Elizabeth with thousands of fellow soldiers en route to Glasgow, Scotland, where he boarded a train to South Hampton, England. From there he traveled aboard a freighter with other troops bound for the little seaport town of La Havre, France. It was January 1945, in the dead of winter, and the entire town had been burned and totally destroyed by enemy combatants. That was his first close-up look at the destruction that was ravaging Europe. Talk to him today, and he’ll describe what he saw in such vivid detail that you can almost smell the acrid fumes of charred metal and smoldering wood that burned their way into his memory. From there, Private Robert E. Thomas, was sent with his division in the 87th Infantry, 347th Regiment, to Belgium to await marching orders. They came from one General George Patton who called upon them to recapture the Ardennes Region and go on to the Siegfried Line. And they had to do it on foot. Their route took them straight into the path of the Germans who initiated a surprise offensive that caught the Allied forces completely off guard.

Photographs by Dominique Potier About 610,000 American forces took part in the battle, which was later known as the Battle of the Bulge. Of the conflict’s 89,000 casualties, 19,000 were killed. It would go down in history as the largest and bloodiest battle fought by the United States in World War II. I know all this now because my Dad, upon receiving an invitation to return to France to take part in the 70th Anniversary ceremonies of D-Day, began to open up about his wartime experiences, recalling names, serial numbers, weather conditions, feelings and even sights, some horrific, all heartrending and long buried, that he revealed with incredible clarity and emotion. His time in Europe took him from Belgium to the Ardennes, across Germany to Czechoslovakia and Central Europe where he crossed the Moselle and Rhine Rivers in dangerous conditions, braving unrelenting enemy fire and subzero temperatures that added to the perils of war. Through it all he remained steadfast to the cause, dedicated to his battalion and selfless in his actions of courage and valor that included saving the life of one of his fellow soldiers in battle. I asked him about the man he saved and he shrugged it off like it was no big deal. After all, these young men became a band of brothers. There was nothing they wouldn’t do for one another, including facing snipers to rescue and carry a fallen comrade. I sensed that he wished he could have saved more soldiers when he told me about a camp he and his men came upon in the middle of an iceencrusted wooded site. Everything in that forest graveyard, men included, was

Clockwise from top left, Annette Thomas, Matthew Sturtevant, Tracey Thomas and Bob Thomas at the Utah Beach, D-Day Ceremony where Bob received his presigious Legion of Honor Award. Bob Thomas and Valerie Cardin at the Utah Beach, D-Day Ceremony. Ceremony at the Memorial of Airborne and US Air Force, in Picauville, France. WW II Veterans with students at the Normandy American Cemetery in Collevillesur-Mer, France. Legion of Honor Awards for the Utah Beach, D-Day Ceremony - Bob Thomas was a recipient!

frozen in place; most, if not all, had died from bullets and shrapnel that hit them where they stood. They had no place to hide. Warfare and the winter weather were merciless he said. As he talked, he told me how cold it was then, how frozen feet impeded their progress as they walked through the battle-scarred landscapes on their arduous mission. But he made it across the rivers, the hills, the forests and farmyards, pressing on farther and farther into enemy territory until the Allied Forces drove the Germans from their posts. In the two years my father served, he was awarded the Army of Occupation Medal, the Eame Campaign Medal, a Good Conduct Medal, a World War II Victory Medal and an American Campaign Medal, as well as earning three Battle Stars in Central Europe, the Rhineland and the Ardennes. Now he was going back again with his wife Annette as an honored guest of a group of Europeans who remain ever grateful for the American GIs who sacrificed so much for their freedom. Before making their way to Normandy, France, they attended Memorial Day ceremonies in the Netherlands, including stopping at the World War II Netherlands American Cemetery and Memorial in the village of Margraten with their Dutch hosts, Ralph Peeters and his parents. Once in Normandy, they were escorted to D-Day ceremonies in St. Mere Eglise, home of the Airborne Museum dedicated to American paratroopers of 82nd and 101st Airborne Division engaged in Normandy in the context of Operation Overlord in June 1944; in the village of Ravenoville where a WWII memorial was unveiled in commemoration of D-Day in June, 2014; and other hallowed places by a team of angel emissaries. The lovely Normandy resident Valerie Cardin made the entire dream trip possible, orchestrating my Dad’s entire itinerary, opening her home to my family, and, enlisting friends to make sure all of my Dad’s needs were met. They included Ralph Peeters and his parents, their quintessential hosts from Brunssum, Holland; Dominique Potier from Liege, Belgium, who literally served as my father’s personal attaché during his entire trip along with David Clare from New York – a true collaboration of “allies” who embodied the shared commitment of Europeans 70 years ago and today to make the world a better place for everyone. A highlight of his 2014 “tour of duty” was assisting Walter Benjamin of the Brittany American Ceremony to lower and fold the flag. That flag was presented to my father and now holds a place of honor in his Connecticut home. Unlike his initial introduction to the Europe 70 years ago, the weather, like the people he engaged with the second time around, was warm and welcoming. Everywhere he went, my Dad was treated like a rock star. How cool is that! My father did not know that I had arranged to be present at the Utah Beach ceremony where he and his fellow World War II veterans were to be honored for their role in the French liberation. But moments like these come around only once in a lifetime and I was not about to miss it. There are no words to describe the pride we shared and the love we felt when my Dad saw my husband and me walk into the house where he was staying. You could virtually see the years and infirmities of age melt away as he was transported back in time to the days when he stood strong and brave and whole in Europe, undeterred on his mission to save those who needed his help. His transformation to hero American GI continued to inspire all of us who witnessed him receiving the prestigious Legion of Honor Award Medal in Normandy, France at Utah Beach on the 70th Anniversary of D-Day celebrations. He’s a bonafide WWII hero, but he’s always been that and more to me. Thank you Dad. 70 years ago, on June 6, 1944, some 160,000 Allied troops landed along a 50-mile stretch of beaches in Normandy, France, where they turned the tide of history. More than 5,000 ships and 13,000 aircraft supported the D-Day invasion, and, by day’s end, the Allies gained a foothold in Normandy. More than 9,000 Allied soldiers were killed or wounded on D-Day, but more than 100,000 soldiers, my father, Robert E. Thomas among them, began the march across Europe to defeat Hitler and pave the way for an Allied victory.

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COVER STORY

Written By Cindy Clarke ARTWORK BY RAPHAEL MAZZUCCO

The making of today’s breakout artists

Pourqoui Pas, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

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COVER STORY

Laissez Faire, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

If ever a name

Ocean, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

suggested a life-long legacy, then Guggenheim says art hands down. After all, it was a Guggenheim who radically changed the face of 20th century art. Today Philippe-Artus J. Hoerle, related to the late doyenne of the art world on the French side of the family, is shaking up the art world by introducing a new way to look at and value art. And from all appearances and artistic successes he is on track to do just that. Born to French and German parents and educated in England, Philippe grew up in Europe, where the world’s most famous art museums were his playgrounds. His dollies were “Dalis.” His finger paintings were hung alongside some of the most creative modern day artists of our time, including colorful works by Gustav Klimt. He was equally at home in the bucolic landscapes of France’s châteaux country in the Loire Valley as he was in German’s grand cities, the royal haunts of London and Paris… and the electrified canyons of Manhattan where he lives today. His upbringing gave him privileged access to glamour and galas that speak volumes about lifestyles enriched with finery and art. It is also what inspires him to give back through his philanthropic associations on the benefit committee of the Bowery Mission, as an Executive Board member of Elevate NY, and an Ambassador of PAL (Protecting African Lions). No matter where his world wanderings take him, he keeps his eyes open for any open doors that might lead him to the next new discovery for his ongoing world-class collection of undiscovered, and perhaps under appreciated art, and their creators. He is blessed with the unstoppable energy of an entrepreneur, the financial acumen of a Wall Street whiz, the sensitivity of an artist, the insight of a visionary, and the charisma of a celebrity – and he is applying them all in his new venture to recalibrate the art world. After Venü Magazine initially connected with him in Miami during Art Basel 2013 last December aboard a magnificent M/Y named Bad Girl, managed by Burgess, where he was hosting an exhibition for friend and breakout artist David Foox, (Venü Magazine’s cover feature artist for our

Purity, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

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COVER STORY

Je T’Aime, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

Amazon, 2014 by Raphael Mazzucco 25.5” x 37.5” Archival Paper, Resin, Mixed Media & Acrylic Paint

November/December 2013 issue), we met up with him again in one of New York’s City’s newest and hippest boutique hotels, Andaz, created by Hyatt to “ignite creative minds and bring eclectic souls together.” The vibe here was fresh and stimulating, infused with a global character that was culturally rich and inspiring. Looking around, it didn’t surprise us to learn that Philippe had a hand in its creation, when he worked with the general partner of the hotel chain, for art in all its bold forms of expression is what drives Philippe today to share it with the world. Art expertise aside, Philippe began his career on Wall Street, matching strategies and fattening wallets with the best financial minds in the industry. But it wasn’t the thrill of the big kill that drew Philippe to his first job. It was more his desire to learn the ins and outs of wise investing, skills he wanted to hone and leverage for his future aspirations as a leader in the art world. “Ultimately I want to create a NASDAQ for the art world,” he told us during our informal interview. “I want to give collectors a central trading resource that sets the benchmark for the purchase and valuation of art work, one that records and tracks financial growth over time to give collectors a proven, well researched base for their art investment.” The market, a $60 billion global industry and one of the oldest trades in the world, is rife with guesswork that manipulates the pricing and value of art, he explained, adding that collectors can’t really be sure of the investment potential of the works they acquire. He noted that this was especially true with regard to pop culture and emerging artists like the ones he champions through Symbolic London, where he serves as Vice President of Strategic Relationships. “In its simplest form, it’s all about supply and demand. We strive to provide our artists with the best possible price for their art and we want to back up collectors’ investments by keeping the market competitive with limited availability of the artists’ works.” It’s a balancing act that calls for careful consideration on both sides of the gavel so it is a win-win for everyone involved. It’s a strategy that Philippe understands well.

Maintaining showrooms in London and New York, Symbolic London collects and trades rare collectibles and investment quality 20th-century artworks. The Collection’s galleries feature a range of exhibitions from contemporary artists like Peter Beard, Ronnie Wood, Bob Dylan and Raphael Mazzucco to luminaries like Picasso, Andy Warhol and others. So dynamic is their presence and their ability to source head-turning art that Symbolic London is actively looking to expand their gallery space up and down the East Coast. “We work with both established artists and emerging talents, giving them guidance and helping them market their works to collectors interested in making their portfolios more interesting with investment-quality pieces as well as liquidating works over time,” Philippe told us. His job takes him to art fairs, auctions and other important exhibitions around the world to research current pricing – and artists. That the folks at Symbolic London have an eye for prize art is undeniable. Just look at the track record of auctionable items represented by the company in recent months, including Bob Dylan’s handwritten draft of one of the most popular songs of all time, Like a Rolling Stone, which sold for $2 million, a world record for a popular music manuscript, or their ongoing acquisition of Rolling Stones Ronnie Wood’s artwork and related works by artists who are inspired by the iconic band that rock the art world wherever they are exhibited. He hinted at celebrity treasures he holds that are not yet in the public eye, like more Dylan manuscripts and Mick Jagger’s love letters, rare collectibles he will release only when the time – and value – are right. Among Symbolic London’s 4,000+ piece collection are coveted works by American photographer Peter Beard, commercially known for his captivating photographs of African wildlife as well as Mick Jagger, David Bowie and other stars, and Canadian fashion, art and music photographer Raphael Mazzucco, who recently sold one his entire exhibitions to British art collector Damien Hirst on the spot at Art Basel for $750,000. Mazzucco, whose work has seduced readers of Vogue, Marie Claire, Playboy, Vanity Fair, and the Sports Illustrated Swimsuit Edition to name a few, and powered the sales of retail giants like Victoria’s Secret, Guess Jeans, L’Oreal, and Ralph Lauren thanks to his attention getting images of ladies barely clad, is acclaimed as one of the world’s most influential and talented fashion photographers. Now he’s being feted as the newest breakout mixed-media artist under Symbolic London’s masterful counsel. In answer to one of my many questions about how he knows which artists are the ones to watch – and invest in – Philippe explained that Raphael is the perfect example of an artist whose star power is on the rise. His proven talent as a photographer of life’s arts transcends the ordinary as he seamlessly combines traditional mediums into a collage of film, paint and textures to offer viewers and savvy collectors a new perspective of subjects that excite the naked eye. The fact that so many of his models are naked is beside the point here. His portraits are at once sensuous and perhaps a bit naughty, but they are also sensitive, graceful, endlessly beautiful, easy on the eye and, well, nice. Raphael’s work speaks to viewers on an emotional, often physical, level. He takes both sexes on a journey through his art, introducing us to a world we want to honor and be a part of, said Philippe, who clearly knows how charismatic both the artist and his art are. Artists like Raphael love what they are doing. They are passionate about their craft and it shows. Once you showcase their work in exclusive VIP exhibitions like the ones Philippe presents in established galleries or pop-up venues from Montauk and the Hamptons to Soho and Miami, across the pond to London and across the globe to Hong Kong and Singapore, they start to generate a buzz among influence makers. And in the way of all things Guggenheim, the interest builds into a crescendo rarely equaled anywhere else in the modern art world.

Philippe, a modern-day original himself, is a Pro at keeping the buzz – and the sales – going. We can’t wait to see who he uncovers next.

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INDULGE: Motoring

Photo: Todd Brown

A picnic and Porsche make for a lovely day.

Wings, Speed, Drama, Adventure! Contemporary automobile wayfarers, aka “car guys,” continue to embark upon voyages of discovery behind the wheel, exhilarated by wafting whiffs of fuel and leather and wide-eyed with wonder By Marianne Brunson Frisch

“L

ife! It’s Wonderful Here!” proclaimed Buick ads in 1942, fanning America’s passion for exploration. Pioneers by nature, Americans have long been drawn to the open road and to the freedom and independence it affords. The promise of the horizon symbolizes the pursuit of democracy, liberty and individuality, tenets inherent to the American psyche. The automobile provides drivers the means to wander along country lanes and cruise down highways, anticipating the destination while savoring the journey. “The motorcar…is the magic carpet that makes us master of the world’s domains; it is wings, it is speed, it is drama, it is adventure,” reflected historian Charlton Ogburn, Jr. In the spirit of Lewis and Clark and the nineteenth-century geological survey expeditions, early motoring men, women and canine alike ventured forth over roadless terrain without the guidance of maps or directional signs. In 1903, Dr. Horatio Nelson Jackson braved the first cross-country drive, traveling from San Francisco to New York City in 63 days on a $50 bet in a two-seater, 20-horsepower Winton; mechanic Sewall Crocker and bulldog Bud accompanied him. Alice Ramsey and her three female

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passengers were also emboldened by the challenge, making a 59-day transcontinental crossing in 1909 in a 30-horsepower Maxwell DA tourer of the same year. Novelist Edith Wharton’s “imagination [was] so tantalized by the mystery of beyond the next blue hills” that she returned home from her New England outings in her 1904 Pope-Hartford “laden with a new harvest of beauty.” Contemporary automobile wayfarers, aka “car guys,” continue to embark upon voyages of discovery behind the wheel, exhilarated by wafting whiffs of fuel and leather and wideeyed with wonder at the passing landscape. We share Toad’s thrill of being “Lord of the lone trail,” echoing the plaintive plea of Kenneth Grahame’s misadventuring motorist in The Wind in the Willows to ride in the front seat where, if “I could get the fresh air full in my face, I should be all right again.” Little excuse is cause for gathering for camaraderie, tire-kicking and refreshments. Zumbach’s Gourmet Coffee is a favorite spot any day for a chat with owner Doug; monthly “in-season” Sunday mornings draw spectacular cars, car lovers and families to Caffeine & Carburetors centered at his 77 Pine Street, New Canaan, Connecticut, shop (caffeinean-

dcarburetors.com). A recent C&C run to Lime Rock Park rewarded attendees with a dazzling array of wheels and the vaunted 109 Cheese & Wine Ultimate Grilled Cheese, which is just that; Monica and Todd Brown of 109 in Ridgefield, Connecticut, “Will Drive 4 Food,” and they sustain us with their delectable offerings (109cheeseandwine.com). We auto fanatics are a gregarious—and hungry—lot, celebrating with equal import “what goes around the table as what is on it” as expressed by Adam Gopnik, The New Yorker essayist and author in his book The Table Comes First. The autonomy of a trip coupled with the community of a meal evoke nostalgia for America’s more innocent and less complicated past. Car clubs eagerly meet at local restaurants for a formal dinner and casual car show. Horseless carriages, steam-powered cars, behemoth classic beauties and sleek vintage and modern sports cars dot lawns and fields at idyllic picnics; we share our compatriot Toad’s delight in unpacking the “luncheon basket,” reliving his joy as he “shook out the tablecloth and spread it, took out all the mysterious packets one by one and arranged their contents in due order, still gasping, ‘Oh my! Oh

my!’ at each revelation.” Impromptu jaunts for ice cream can easily be rallied to the pleasure of gallivanting foodies as well as waving passersby along the way. Matt deGarmo Classic Motorcars invites clients to exercise their classic and vintage cars on scenic country roads with the reward of a lavish picnic catered by 109 Cheese & Wine. Luncheons of the finest selections of cheese, charcuterie and wine create America’s dean of cooking James Beard’s ultimate picnic experience: “a feast for the senses and the emotions as well as for the palate.” Aston-Martin, Austin-Healey, BMW, Ferrari and Porsche are

Photo: Matt deGarmo

Photo: Todd Brown

Clockwise From Bottom Left; The Red Lion Inn, Stockbridge, MA, is home base for Ed Hyman’s Vintage Sports Car Club annual ralley; Picnickers enjoy a casual gathering at a car club event; Spectacular cars make up Matt deGarmo’s tour queue; A gracious meal by 109 Cheese & Wine awaits Matt deGarmo’s tourers; Caffeine & Carburetors draws cars and car guys, including this Dyson; Vintage Rallies gathered their Mountain Mille group at The Homestead, Hot Springs, VA.

Photo: Richard Frisch

among the distinguished marques that grace his caravans (degarmoltd.com). Ed Hyman’s Vintage Sports Car Club annual Vintage Rallye will lead car and food enthusiasts around Berkshire County, Massachusetts, this Fall. Club members and new friends will enjoy the hospitality and local, farm-totable cuisine of The Red Lion Inn, Stockbridge, Massachusetts, antique hunts, rallye contests and car collector garage and restoration shop visits during this highly anticipated weekend (vscca.org/2014VSCCASCHEDULE3-28.pdf). Vintage Rallies nourishes the soul, combining the highest quality in luxury accommodations, gourmet food and exotic sports cars on their elegant tours. Rich Taylor’s and Jean Constantine’s five-day, 1,000-mile excursions traverse America’s most beautiful and least-traveled roads; sumptuous meals created by some of the Country’s most renowned chefs top off each day’s ride. Annual events include the New England 1000, Northwest or Southwest Passage, Mountain Mille and Texas 1000. Vintage Rallies has raised $1,700,000 to benefit local and national charities since their 1993 inception (vintagerallies.com). Let’s meander the countryside, friends, answering Franklin Delano Roosevelt’s 1939

Photo: Jean Constantine

call to “take a second-hand car, put on a flannel shirt, drive out to the Coast by the northern route and come back by the southern route. Don’t talk to your banking friends, or your chamber of commerce friends, but specialize on the gasoline station men, the small restaurant keeper, and farmers you meet by the wayside, and your fellow automobile travelers.” Enjoy the views and honk a cheerful greeting as you pass by!

CONTEMPORARY CULTURE//MAGAZINE Photo: Ed Hyman

INDULGE: YACHTING

MIAMI: VIP Yachting Experience the gateway to unparalleled luxury – Fleet Miami is expanding the yachting lifestyle to An elite clientele. By Redecca Cahilly

ursting with culture, fashion, and history, Miami not only attracts, but also inspires the rich and famous. With endless adventures on land and water, it is the perfect playground for the elite. Miami provides it all, from the very best in designer boutiques and high-end shopping to world-class cuisine, and first class hotels and spas. Miami may be best known for its vibrant cultural diversity, nightlife and fabulous beaches, but that only begins to explore the delights offered by the city. There is another fascinating world that exists just beyond its shores—a world only discovered by private yacht. Once limited to the super wealthy, yacht charter and yacht ownership have but been a distant dream for many, and for most, only a once-in-a-lifetime experience. Now, however, a new opportunity for experiencing the world of luxury yachting has arose, via the Fleet Miami Membership Club. Avid yachtsman and experienced superyacht owner Michael Saylor had a vision for sharing the yachting experience with others.

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After years of chartering and owning yachts himself, Michael founded Fleet Miami, a concept whereby a fleet of yachts in a variety of length and styles would be available to club members at sought-after locations around the around the world all year long. For Michael - a true “out-of-the-box” thinker, who holds dual degrees in Aeronautics and Astronautics (spaceship design) and Science, Technology and Society from MIT - being released from the confines of a shoreside hotel and given the freedom to explore that is afforded by a private yacht was an experience that he wanted Fleet Miami to emulate. Imagine: After a busy day browsing the boutiques or indulging in the colorful Miami art scene, you are whisked away to the marina where you board your private yacht to be greeted by a smiling stewardess serving your favorite cocktail. As the sun sets and the Miami skyline lights up along the shore, you arrive as a VIP at the hottest waterfront restaurant in town. This is but a taste of the Fleet Miami experience.

Unlike other companies, Fleet Miami offers its experience in cities other than Miami. Cruise amidst a backdrop of monuments along the Potomac in Washington, DC this weekend or arrive in style at the annual Hamptons bash next summer. Fleet Miami offers nine (9) private yachts ranging in size and style from 36 – 154 feet in coastal cities along the eastern seaboard of the United States, the Med, Caribbean and Bahamas. Fleet Miami also continues its commitment to luxury and service on the land. Fleet Miami offers an exceptional concierge service that goes above and beyond for members. From the hottest clubs to the best restaurants, sold-out concerts, private villas, behind-thescenes access to fashion week - even shopping after hours are but a few of the services the Fleet Miami concierge can arrange. This is not just any VIP experience - Fleet Miami treats its members like Fleet Owners. A Fleet Miami membership provides members the opportunity to utilize a fleet of yachts

Arts and the American Airlines Arena, home to the Miami Heat. Marlins Park is a short drive away, and well worth the visit during baseball season. A variety of restaurants and shops make up the Bayside Marina, which is also a great jumping point to visit some of Miami’s great family attraction such as the Children’s Museum, Seaquarium, Zoo Miami, and Jungle Island. Art-related exhibitions and events occur year-round in Miami, but in December, incorporating the world-famous Art Basel exhibition into plans is a must.

Fleet Miami is constantly adding to the fleet – below is the current fleet without the cost of ownership and with more flexibility than offered with traditional charter. Members can cancel as needed, use rain dates, and change plans without the hassle of complicated contracts. Fleet Miami is focused on getting their members back to the joy of yachting.

The Fleet Miami Experience Overnight trips near Miami: Back to Nature Known as the site of the impressive Fort Jefferson National Monument, this 100-squaremile park is comprised of seven small islands that are only accessible by boat or seaplane. After a visit to the Monument, spend the day fishing, kayaking the mangroves, exploring the barrier reef system, or discovering the varied species of birds that inhabit this magical place. Private Island LUXURY On this trip you’ll experience a slice of paradise known as Little Palm Island. Only accessible by boat or seaplane, Little Palm Island is five and a half acres of pristine beaches and solitary tranquility. Dock at the marina and take advantage of all this tropical oasis has to offer, from spa services at the resort to pure relaxation on the secluded beaches

Crystal Clear Water, White Sand Beaches and Fishing Bimini Bahamas is home to world-class fishing, both the deep sea and shallow variety. Pursue bonefish in the flats or head over to the west side to catch wahoo, marlin, or sailfish. With amazing diving and snorkeling, there are plenty of ways to spend a daytrip. Or if you would rather relax, enjoy the miles of pristine beaches. Ernest Hemingway spent time in Bimini fishing and writing for a good reason. Delight in the simple joy of visiting this warmweather island just 50 miles east of Miami. Sample Miami Day trips: Beaches Galore Key Biscayne is a great place to tie up alongside other yachts and spend the day relaxing and chatting with new friends. Further on, Crandon Park Beach or Bill Baggs Cape Florida State Park offer quieter spots to swim and snorkel, the latter carrying the distinction of having been named one of the top 15 beaches in the United States. Boca Chita Key in Biscayne National Park boasts a coral reef perfect for all kinds of underwater exploration, including diving and snorkeling. Miami Culture Don’t forget the Miami culture. The Miami marina at Bayside allows easy access to both the Adrienne Arsht Center for the Performing

Miami, Florida 87’ Warren M/Y Mystique 54’ Eastbay M/Y Shredder 36’ Custom Water Shuttle Julia Washington, DC 87’ Warren M/Y Moksha 68’ Azimut M/Y Firefly Stamford, Connecticut 87’ Warren M/Y Andiamo Megayachts: New England / Miami / Bahamas 154’ Delta M/Y Usher with her chase boat 68’ Hampton M/Y Splinter Mediterranean / Caribbean 147’ Feadship M/Y Harle Fleet Miami Membership Memberships start at $250,000. For a limited time, Fleet Miami trials are available at the standard half-day charter rate. Take a threehour cruise on one of the Fleet Miami sports yachts offered. Just mention you heard about Fleet Miami in Venü Magazine! Fleet Miami www.fleetmiami.com Info@fleetmiami.com 1-305-615-3190

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by Matthew Sturtevant

INDULGE: Decorative ARts

On The Block: Year in Review Little Houses Get Prices Too. Chicken Cup. Rock, Paper No Scissors.

Little Houses Get Prices Too In March The Potomack Company headed by Elizabeth Wainstein sell a rare Andy Warhol impression of Marilyn Monroe for $80,000. The iconic image is so often seen at sale but few with such vivid color. Also adding to the value was the fact that it is in the original Kulicke frame signed in graphite on verso and signed in ball point on the front. The 26th of a printing of 250 AP signed and lettered A-Z with the original Kulicke frame label. Sometimes there is as much information on the back of the work of art as there is on the front. Chicken Cup In Early April a Ming Dynasty wine cup broke the world auction record for Chinese porcelain in Hong Kong on Tuesday, after it was bought for $36.05 million (HK$281.24 million) by Shanghai tycoon Liu Yiqian, Sotheby’s said. The tiny white porcelain cup,

decorated with a colour painting of a rooster and a hen tending to their chicks, was made during the reign of the Chenghua Emperor between 1465 and 1487. The sale set a record for Chinese porcelain, according to the auction house, beating the HK$252.66 million ($32.58 million) paid for a gourd-shaped vase from the Qianlong period in 2010. It also far exceeded the previous world record for Ming Dynasty porcelain, which was set by a blue and white vase that fetched HK$168.66 million in 2011. Created in the Chenghua reign (1465-87), when quality was at its peak, “chicken cups” are outstanding in their tactile material, their range of colours, and their charming, unmannered painting style. First seen on porcelain in the Chenghua

period, the subject matter of a cock and a hen with chicks in a garden was a well-known topic of Song dynasty (960-1279) painting and the Chenghua Emperor inscribed a poetic colophon about the subject on a Song hanging scroll of a hen and chicks. Praised and desired by Ming (13681644) and Qing (1644-1911) emperors and other discerning literati collectors, “chicken cups” have over the centuries acquired a legendary aura as a testimony to Chinese ceramic connoisseurship, that goes well beyond their immediate art-historical importance. A Rare Occurrence Chenghua “Chicken cups” were produced in extremely small quantities. Apart from the present example, only three others are preserved in private hands and no more than a few of the world’s most prestigious museums can boast an example among their collections, including The National Palace Museum, Taipei; the British Museum, London; the Victoria & Albert Museum, London; the Fitzwilliam Museum, Cambridge; the Metropolitan Museum of Art, New York; and the Collections Baur, Geneva. Even fragmentary “chicken cups” appear to be rare among the excavations at the Ming imperial kiln site in Jingdezhen. In the auction market, Chenghua “chicken cups” were only ever offered for sale at Sotheby’s, setting record prices for Chinese art in 1980 and 1999.

Rock, Paper no Scissors In June a handwritten song lyrics from legendary American singer Bob Dylan sold for $2 million at auction in New York on Tuesday, the most treasured possession in a trove of rock

memorabilia up for sale. The handwritten copy of Dylan’s original lyrics for the 1965 epic “Like A Rolling Stone,” which transformed him from a folk musician into a rock icon, had been valued at $1-2 million by Sotheby’s before the auction. Named by Rolling Stone Magazine as the greatest of 500

greatest songs of all time, Sotheby’s went so far as to say the lyrics transformed the course of pop music in the 20th century. “The Holy Grail of rock lyrics has taken its rightful place as the most expensive popular music manuscript sold at auction,” said Richard Austin, head of Tuesday’s sale at Sotheby’s. “I am thrilled to see so many collectors recognizing these lyrics’ importance as a work of 20th century cultural history.” Austin told AFP “Like A Rolling Stone” was the first six-minute single ever released, allowing people to go beyond short format, and it marked one of the first cases of viral marketing.

Photographs: Courtesy of Christie’s Images Ltd, 2013

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Rika Jewelry Design A Collaboration rika Design specializes in singular commissioned jewelry as well as limited edition designs. Individual pieces made by hand to exacting standards, incorporating some of the world’s finest gemstones, in 18 karat gold, palladium, platinum, sterling silver.

Sapphire Ring

Award winning designers and goldsmiths, Richard Kimball and Kathleen Brennan. Discretely building extraordinary jewelry for an international clientele since 1972. Studio gallery located at 408 Downing Street, Denver, CO 80218.

Richard Kimball and Kathleen Brennan 18 karat white gold, 18 karat yellow gold, 20 + carat unheated blue sapphire, diamonds, tourmalines. One of a kind, special order. Available at rikaJewelryDesign.com (303) 388-6624

Created by:

By appointment.

Wedding Rings Richard Kimball and Kathleen Brennan 18 karat yellow gold, palladium, Mali garnets, diamonds. One of a kind, special order. Available at rikaJewelryDesign.com (303) 388-6624

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Solid Gold Leaf Necklace

Blue Moon Earrings

River Pebbles Cuff Bracelet

Aaron Henry Designs 18k rose and green gold, 19k yellow gold. Removable Diamond Leaf paved in 18k white gold. Length: 16” $13,500 - $30,950 Available at AaronHenry.com info@aaronhenry.com

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Belle Brooke Barer Polished 18 karat yellow gold with diamonds and Paraiba tourmaline cabochons and white diamonds 1.6” x 0.7” with post and nut backing. $7,560 Available at FRENCHONMAIN.com (877) 280-0542

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Cuff Bracelet Alishan Halebian 18 Karat yellow gold and textured oxidized sterling silver with colorless diamonds and red Zircon. Available at AlishanOnline.com (949) 756-1140

Created by:

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www.AlishanOnline.com (949) 756-1140

Rona Fisher Textured and oxidized sterling with solid 18k gold pebbles motif. Width: 0.5” Inner Circumference: 6.5” $2,225 Available at RONAFISHER.com (215) 627-3848

Rings Alishan Halebian 18 Karat yellow gold and oxidized sterling silver rings all hand textured with diamonds and gemstones. Available at AlishanOnline.com (949) 756-1140

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Night Sky Pendant

Diamond Weave

Gold Seahorse Ring

Diana Widman From the Metropolitan Collection. 18KT gold, oxidized silver, 1.0 carat, F color diamonds. 1.75” in diameter. Made to Order. Includes customized chain. $5750 Available at WIDMANDesign.com (312) 346-2363

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Pascal Lacroix New handmade hinged bracelet from the Weave Collection. 18k with 22 diamonds 1.1ct tw. $7,459 Available at PASCALLACROIX.COM

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Alexis Barbeau Elegant Seaside Gems in 14K and 18k gold and Sterling Silver. 14k Gold Seahorse Ring with Blue Tourmaline and Diamonds. $3,950 Available at alexisbarbeaudesigns.com (954) 422-9559

www.sydneylynch.com (402) 435-2920 Cuff Bracelet

Brooch/Pendant

Sydney Lynch Rose cut and faceted emeralds, 18k and 22k gold, oxidized silver. 1 1/2” wide. $3,150 Available at SYDNEYLYNCH.com (402) 435-2920

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Sydney Lynch Boulder opal, emerald, sapphires, 18k and 22k gold, oxidized silver. 2 1.2” diameter. $4,070 Available at SYDNEYLYNCH.com (402) 435-2920

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Pointilla Ring

One-of-a-kind Ring

Cyclone Rings with Grey Diamonds

Belle Brooke Barer Polished sterling silver ring with white diamonds and blue chalcedony cabochon 0.9”x1.25” top (shank dimensions vary depending on ring size). $1950 Available at GALLERYOFJEWELS.COM (415) 285-0626

TAP by Todd Pownell 18k yellow rustic hammered shank with a 2.02ct. oval natural fancy diamond. Accented with 5 inverted diamonds set in 14k darkened bezels. $9,195 Available at TAPbyToddPownell.com (216) 773-8277

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Elizabeth Garvin Oxidized sterling, 18k and a beautiful array of natural diamonds starting at $1650 Available at EGFNY.COM (212) 420-9470

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Coronaria Flower brooch/pendant

Candy Collection Rings

Triangle Stud Earrings

Alex Soldier Handmade in NYC by Alex Soldier. $1900 Available at alexsoldier.com (212) 354-4244

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Deb Schecter of Dyanne Belle Jewelry Black Rhodium Sterling Silver Rainbow Colored Rings in Precious and Semi Precious Stones. Available in all sizes. $350 - $600 Available at dyannebelle.com (646) 208-9755

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Belle Brooke Barer Matte oxidized sterling silver earrings with Orange Chalcedony and white diamond accents 1.25”x 0.5”, polished post and nut backing. $980 Available at GALLERYOFJEWELS.COM (415) 285-0626

CREVOSHAY Some great artists show a flash of genius and are gone, some show us a new vision and spend the rest of their careers repeating themselves and a few, the very greatest, continue to explore and reinvent themselves year after year taking their work and their audience to ever greater heights, enriching the broader culture in the process. Paula Crevoshay is widely recognized to be among the very few in the latter group.

In the Still of the Night Paula Crevoshay This scintillating orchid is composed of blackened gold, blue moonstone, fuchsia sapphire, and diamond. FOR A DEALER NEAR YOU CONTACT: info@crevoshay.com Created by:

Gold Diamond and Gemstone Daisy Chain Necklace Janet Deleuse 18k white, yellow and rose gold paved with sapphires. 18k white gold paved with diamonds. Available at Deleuse.com (415) 435-2484

Created by:

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From the very beginning Crevoshay has applied Fine Art Principles to jewelry design. In addition to Fine Art, Crevoshay studied Anthropology, especially symbolism, and you will note in her very modern expression of artistic archetypes echoes of cultures past, which makes her work accessible to people everywhere. Today Crevoshay enjoys the patronage of museums, art connoisseurs and avid jewelry collectors the world over.

Cheryl Paula Crevoshay Regal raspberry tourmaline, spessartine & diamond is a perfect right hand ring for the elegant woman. FOR A DEALER NEAR YOU CONTACT: info@crevoshay.com Created by:

Courting Wren Ring

Feather Wrap Cuff Bracelet

Manya & Roumen Available at: ManyaandROUMEN.com OpenConceptGallery.com (845) 260- 0141

Created by:

Alexandra Hart Hammer formed 18k gold with 0.10ct tw bezel set diamonds, tapered to 1.5 inches wide. $5600 Available at ALEXANDRAHART.com (619) 286-9278

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Nancy McTague-Stock Paintings, Unique Prints, New Media www.nancymctaguestock.com 203.856.3528 Nmsstudio1@aol.com

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PARTICIPATING ARTISTS: BRIT T BAIR FARNOSH OLMAI BIRCH ERIN DOL AN

PLORATIONS

OPEN STUDIOS WEEKEND EVENT: November 7 - 9th View and purchase new work, meet the artists and engage in discussion with other collectors.

New directions and explorations by fourteen WALA artists. Introducing four new artists.

Exhibition Opening Reception

FRIDAY, NOVEMBER

SCHEDULE : OPENING RECEPTION: FRIDAY, 6 - 9 PM OPEN STUDIOS: SATURDAY, 11- 4 PM SUNDAY, 11- 4 PM

LORI GL AVIN HANNEKE GOEDKOOP DANA GOODFELLOW RUTH IPE JULIE JANSEN PAM LINDBERG STEPHEN MEROL A NANCY MCTAGUE-STOCK SHAUNA PICKERING VICKI FRENCH SMITH DIANE WEEKS

6-9pm

WALA, 225 WILSON AVENUE, SECOND FLOOR LOFTS, SOUTH NORWALK, CT. [ ENTRY VIA PARKING LOT OFF ELY AVENUE ]

Please refer to the website, www.wilsonavenueloftartists.com, for directions and further information.

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FINE ANTIQUES AND DECORATIONS FROM THE 16TH CENTURY TO THE PRESENT

A Chinese Coromandel Lacquer Four Panel Screen, Late 19th century 72 1/4” H 64 3/4” W. A Pair of Restoration Gilt Bronze Candelabra, Circa 1825 28” H. One of a Pair of Louis XV Style Walnut Fauteuils, Stamped JANSEN, Circa 1940. A Louis XVI Gilt Bronze Mounted Mahogany Boulliotte Table, Circa 1780 29 1/2” H 32 1/4” dia.

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Gallery + Museum GUIDE

CT Bridgeport

City Lights Gallery 37 Markle Court, Bridgeport Tel: 203.334.7748 Web: citylightsgallery.org Hours: Wed - Fri 11:30am-5pm; Sat 12- 4pm, or by appointment City Lights Gallery presents local, regional and emerging artists to Bridgeport and its visitors. The gallery hosts various community-based exhibits and events such as: Artists’ Receptions, Arts/crafts classes, Open Studio Workshop, Lunch Time Art Demonstrations, Movie Night Series, Concerts and Music, Private and Corporate Rentals. _______________________________________

DARien Geary Gallery 576 Boston Post Road, Darien Tel: 203.655.6633 Web: gearygallery.com Hours: Wed - Sat 9:30-5:00pm A preeminent Fairfield County gallery for representational art. We are friends to artists, spotting talent and market appeal, and nurturing careers, with a art exhibits that rotate approximately every five weeks.

ESSEX Gallery 19 19A Main Street, Essex Tel: 860.581.8735 Web: gallery19essex.com Hours: Wed - Sun 11-5pm Modern art by Helen Cantrell and Judy Friday. Will Holub: Frabric and Mixed Media Works, through Sept. 21

Schelfhaudt Gallery University of Bridgeport 84 Iranistan Avenue, Bridgeport 203-576-4696 The Schelfhaudt Gallery at the University of Bridgeport produces a varied and eclectic number of shows each academic year. Exhibits include works from students, alumni, local, regional and nationally known artists and associations such as the New York Type Directors. The Schelfhaudt Gallery is also host to the Innovators Entrepreneurs events, film screenings and multiple symposiums.

Rock Your Baby, by Will Holub. Raw and dyed cotton fabric on linen, 20”x20”

Fairfield Fairfield University 1073 N. Benson Road Tel: (203) 254-4046 Bellarmine Museum of Art Rick Shaefer: Rendering Nature (September 18 – December 19, 2014) Hours: Monday-Friday, 9:30-4:30 Web: fairfield.edu/museum Thomas J. Walsh Art Gallery (Quick Center) Not Ready to Make Nice: The Guerrilla Girls in the Artworld and Beyond (September 4 – November 14, 2014) Hours: Tuesday-Saturday, 11:00-5:00 Web: fairfield.edu/walshgallery _______________________________________ The Fairfield Museum + History Center Explore the Past, Imagine the Future 370 Beach Road, Fairfield Tel: 203.259.1598 Fax: 203.255.2716 Web: fairfieldhistory.org Hours: Open daily 10 am - 4 pm Believing in the power of history to inspire the imagination, stimulate thought and transform society. Accused: Fairfield’s Witchcraft Trails on view Sept. 25 – Jan. 5 Graphic novel depiction of events and characters reimagined through storylines and pen and ink drawings. _______________________________________

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Presenting a selection of enduring American Masters and Contemporary artists, we invite new clients and seasoned connoisseurs to explore the values of fine art collecting. _______________________________________ Troy Fine Art 3310 Post Road, Southport (Fairfield) Tel: 203.255 .1555 Web: troyfineart.com Hours: Mon - Fri 9:30 am-5 pm, or by appointment in your home or office at your convenience. Fine Art Gallery, Exceptional Design, Conservation Framing, Perfect Installation.

Greenwich Abby M. Taylor Fine Art 43 Greenwich Avenue Tel: 203.622.0906 Web: amtfineart.com Abby M Taylor Fine Art LLC is a dealer in investment quality American and European paintings, sculpture, works on paper and photography from the 19th century to the present. Most of the inventory is owned by the gallery and we stand behind anything represented at the gallery as being exceptional or of a particular merit. _______________________________________

Housatonic Museum of Art 900 Lafayette Blvd., Bridgeport Tel: 203.332.5052 Web: hctc.commnet.edu/artmuseum Hours: June/July/August, Monday through Friday 8:30am-5:30pm; Thursday evening until 7pm The Museum has one of the most significant collections of any two-year college in the country and includes works by master artists such as Rodin, Picasso, Matisse, Miro and Chagall. Both art enthusiasts and casual observers have the rare opportunity to engage daily with original works of art and artifacts on continuous display throughout the College and campus grounds. The Museum also presents lectures, programs and changing exhibitions in the Burt Chernow Galleries for our students and the community at large, serving as a rich cultural resource for the Greater Bridgeport area. _______________________________________

Southport Galleries 330 Pequot Avenue Tel: 203.292.6124 Web: southportgalleries.com

Bruce Museum 1 Museum Drive, Greenwich Tel: 203.869.0376 Web: brucemuseum.org Hours: Tue-Sat 10-5’ Sun 1-5, Closed on Mondays and major holidays A regionally based, world-class institution highlighting art, science and natural history in more than a dozen changing exhibitions annually. The permanent galleries feature the natural sciences that encompass regional to global perspectives. _______________________________________ Samuel Owen Gallery 382 Greenwich Avenue, Greenwich Tel: 203.422.6500 Web: samuelowengallery.com Hours: Mon-Sat 10:30-6:00; Sun 11-3; Likened to, “a little bit Chelsea on lower Greenwich Avenue”, Samuel Owen Gallery specializes in paintings, photography and prints by American and European midcareer and contemporary artists. Regularly scheduled artist receptions fill the gallery to capacity with a colorful crowd. _______________________________________

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Gallery + Museum GUIDE

Greenwich

New Haven

Weber Fine Art 24 West Putnam Avenue Tel: 203.422.5375 Web: weberfineart.com Hours: Tue-Fri 11am-5pm, Sat 11am-5pm, Mon by appointment only

Fred Giampietro 315 Peck Street New Haven, CT 06513 Tel: 203.777.7760 Web: giampietrogallery.com Hours:Tue-Fri 10-4pm, Sat 11-4pm

An important source for 20th Century Modern Masters and Contemporary American Art, Weber Fine Art’s inventory consists of paintings, drawings, sculpture, and prints by artists such as Wolf Kahn, Hans Hofmann, Lynn Davis, Helen Frankenthaler, Esteban Vicente, Jim Dine, Milton Avery, Sam Francis, Robert Motherwell, Frank Stella, and artists represented, James Meyer, Shawn Dulaney, Joseph McDonnell, Alexandra Eldridge, Shirine Gill.

91 Orange Street New Haven, CT 06511 Tel: 203.777.7707 Hours: Wed – Sat 11-6

New Canaan

The Gallery is free and open to the public. _ ______________________________________

Handwright Gallery & Framing 93 Main Street, New Canaan Tel: 203.966.7660 Fax: 203.966.7663 Web: handwrightgallery.com Hours: Mon-Sat 10-5:30pm Handwright Gallery & Framing provides a full range of framing and installation services for the Fairfield County area. The gallery offers original paintings including watercolors, oils, and pastels along with sculpture from traditional to contemporary. Our gallery represents emerging and award-winning regional artists. _______________________________________ Silvermine Arts Center 037 Silvermine Road New Canaan, CT 06840 Tel: 203.966.9700 Web: silvermineart.org Gallery Hours: Wed-Sat 2pm-5pm; Sun 1pm-5pm Through September 14: Guild Group Show - Curated by Deana Haggag, Director of The Contemporary of Baltimore; Contemporary Baltimore, Curated by Ginevra Shay, Program Manager of The Contemporary of Baltimore September 19 - November 2: The Mischievous Art of Jim Flora; Kristina Küster-Witt: Face to Face; Leslie Giuliani: Undomesticated Opening Reception: Friday, September 19th - 6-8pm And of special note: 4th Annual ArtsFest September 20th 2-4pm. At 2:00 we will feature an artist talk with Irwin Chusid, noted James Flora scholar. November 9 - December 23: J. Henry Fair: The Hand of Man; June Ahrens: What’s Left; Carlos Davila: Neo-archaism Plus: Selections from the Gabor Peterdi International Print Collection and the Extended Gift Shop/ Holiday Fair. _______________________________________

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_______________________________________ Yale Center for British Art 1080 Chapel Street Tel: 203-432-2800 Web: britishart.yale.edu Hours: Tue-Sat 10am-5pm Sun noon-5pm

Yale University Art Gallery 1111 Chapel Street (at York Street) Tel: 203-432-0600 Web: artgallery.yale.edu Hours: Tue-Fri 10am–5pm Thu (Sept–June) 10am–8:00pm Sat–Sun 11am–5pm The Gallery is free and open to the public.

Norwalk Artists’ Market 163 Main Street, Norwalk Tel: 203.846.2550 Fax: 203.846.2660 Web: artistsmarket.com Hours: Mon-Sat 9-5pm; Thu 9-8pm; Sun 12-4pm Artists’ Market is an oasis of art, an exciting blend of a gallery, a museum, and a busy framing workshop. Here you’ll find artistic creations in a variety of media: classic contemporary handmade American crafts, exquisite fine art and photography as well as custom framing for those who want to show off something special or preserve heirlooms for future generations. _______________________________________ Center for Contemporary Printmaking Mathews Park 299 West Avenue Norwalk, CT 06850 Tel: 203.899.7999 Web: contemprints.org Hours: Mon-Sat 9am-5pm; Sun 12- 5pm | Admission Free Dedicated to the art of the original print, the Center annually hosts 4 major exhibitions, a members’ exhibition, artist talks, over 75 printmaking workshops, and programs for schools and colleges. Print studio rental is available for private and corporate functions and to members who work independently. There are some non-paying volunteer/internship positions. The MONOTHON fundraiser, an annual marathon of printmaking and a gala art auction, takes place in the fall. _______________________________________

Leclerc Contemporary At Fairfield Co. Antique and Design Ctr. 19 Willard Road, Norwalk, CT 06851 Tel: 203.826.8575 Web: leclerccontemporary.com Hours: Monday-Saturday 10-6, Sun 11-5 and by appointment. Brand new upscale contemporary art gallery located just off Westport Avenue. Featuring new art exhibits every 6 weeks. _______________________________________ Lockwood-Mathews Mansion Museum 295 West Avenue, Norwalk Tel: 203-838-9799 ext 4 Web: lockwoodmathewsmansion.com A new exhibit of watercolors by artist Mimi Adams Findlay opened on June 18, 2014, 12-4 p.m. at the Lockwood-Mathews Mansion Museum at 295 West Avenue, Norwalk, CT. The exhibit will run through October 31.

Stamford Fernando Luis Alvarez Gallery 96 Bedford Street, Stamford, CT Tel: 888-861-6791 Web: flalvarezgallery.com Hours: Mon by appt. Tue-Sat 10am-6pm Sun closed The Fernando Luis Alvarez Gallery was founded by contemporary artist Fernando Luis Alvarez with the goal of providing other artists with what he always yearned for from a gallery, yet which he never received.

Old Lyme Chauncey Stillman Gallery Lyme Academy College of Fine Arts 84 Lyme Street, Old Lyme Tel: 860.434.5232 Fax: 860.434.8725 Web: lymeacademy.edu Hours: Mon-Sat 10-4pm Exhibitions, free and open to the public, include a broad spectrum of professional, student and alumni artwork throughout the year. _______________________________________ The Cooley Gallery 25 Lyme Street Old Lyme, CT Tel: 860-434-8807 Web: cooleygallery.com Hours: Tue-Sat 10am-5pm _______________________________________ Diane Birdsall Gallery 16 Lyme Street, Old Lyme 860 434 3209 Web: dianebirdsallgallery.com Hours: Wed-Sat: 12-6 pm Sun: 1-4 pm _______________________________________ Florence Griswold Museum 96 Lyme Street, Old Lyme Tel: 860.434.5542 For hours, admission, special events visit: FlorenceGriswoldMuseum.org “Home of American Impressionism.” Historic boardinghouse of the Lyme Art Colony, modern gallery with changing exhibitions. Gardens and grounds to enjoy.

Gallery + Museum GUIDE

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Gallery + Museum GUIDE

Ridgefield The Aldrich Contemporary Art Museum 258 Main Street Tel: 203.438.4519 Web: aldrichart.org Hours: Tue-Sun 12-5pm The Aldrich is dedicated to fostering innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking. The Aldrich, which served an audience of over 37,700 in 2011, is one of the few independent, non-collecting contemporary art museums in the United States, and the only museum in Connecticut devoted to contemporary art. _______________________________________ Ridgefield Guild of Artists 93 Halpin Lane, Ridgefield Tel: 203.438.8863 Web: rgoa.com Email: rgoa@sbcglobal.net Hours: Wed-Sun 12-4pm For a complete calendar of events and offerings, please visit our web site at rgoa.org. _______________________________________ Watershed Gallery 23 Governor Street, Ridgefield Tel: 203.438.44387 Web: watershedgallery.com Hours: Tue-Fri 11-6; Sat 11-5; Sun 1-5 Watershed Gallery represents artists from around the world – and around the corner – in a range of media, from painting, printmaking and works on paper, to photography and sculpture. Rotating shows highlight artists who produce abstract and loosely representational art, and who create an emotional connection with the viewer.

Westport Amy Simon Fine Art 1869 Post Road East, Westport Tel: 203.259.1500 Fax: 203.259.1501 Web: amysimonfineart.com Hours: Tue-Sat 11-5:30 and by appt. Amy Simon Fine Art specializes in work by mid-career and emerging artists, contemporary blue chip editions and Asian contemporary art. The gallery’s inventory and exhibitions reflect its eclectic interests and expertise in these areas. Amy Simon works with collectors worldwide. It is our mission to introduce clients to work that we are passionate about. _______________________________________ Picture This Custom Framing & Fine Art and Nylen Gallery 606 Post Road East, Westport Tel: 203.227.6861 Web: picturethisofwestport.com Hours: Mon-Fri 10am-5:30pm Sat 10am-5pm _______________________________________

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Westport Art Center 51 Riverside Avenue, Westport Tel: 203.222.7070 Fax: 203.222.7999 Web: westportartscenter.org Hours: Mon-Fri 10-4; Sat 10-5; Sun 12-4 _______________________________________ Worrell Smith Gallery 611 Riverside Ave, Westport CT Tel: 203.297.3059 Web: worrellsmithgallery.com Hours: Monday-Saturday 10-6PM Westport’s newest gallery for contemporary and modern. Featuring a rotating exhibition schedule as well as a constant offering of modern sculpture, ceramics, jewelry, and art.

Pound Ridge The Lionheart Gallery 27 Westchester Avenue Pound Ridge, New York Tel. 914-764-8689 Web: Thelionheartgallery.com Hours: Wed-Sat 11 am - 5 pm; Sun. 12- 5 pm The Lionheart Gallery in Pound Ridge, New York is located in Northern Westchester’s Hudson River Valley on the border of Stamford and New Canaan, Connecticut. The Lionheart Galley has beautifully lush landscaped grounds with a pond and a aviary with seasonal art installations. September 12- October 26th Opening Reception September 27th from 4-7 “OTHER WORLDS”: DREAMY NARRATIVES of Three Women Photographers Women Photographers. Art Installation in the Aviary by Marty Kremer, September-November 2014 November 1 4-7 New Works by Claudia Mengel, November 1-December 7th 2014 Don Bracken, December - February 2015

BROOKLYN

A.I.R. Gallery 111 Front Street, #228, Brooklyn, NY Tel: 212-255-6651 Web: airgallery.org Hours: Wed - Sun 11 am - 6 pm

“Wild Woods and Whirligig Girls” Nancy Lasar, Recent Work October 2 – 26, 2014 Opening Reception: Thursday, October 2, 6 – 8pm

Larchmont Kenise Barnes Fine Art 1947 Palmer Avenue Tel: 914.834.8077 Web: kbfa.com Hours: Wed-Sun 12-6pm We are a gallery and consulting firm that represents emerging and mid-career investment-quality artists. Our program includes over thirty artists working in a variety of mediums. The gallery mounts seven exhibitions annually, and participates in art fairs in Miami, Santa Fe and New York.

New Rochelle transFORM Gallery 20 Jones Street Tel: 914.500.1000 Web: transformgallery.com Hours: Mon-Fri 9am-6pm, Sat 10am-4pm Housed in a former industrial factory more than six decades old, the transFORM Gallery boasts high ceilings, original windows that drink the natural light, and a spacious lofty quality. Exhibitions organized by transFORM have encompassed all the visual arts: painting, sculpture, drawing, photography, and, of course, the decorative arts. _______________________________________

Purchase Neuberger Museum of Art 735 Anderson Hill Road, Purchase Tel: 914.251.6100 Web: neuberger.org Hours: Tue-Sun 12-5pm; Closed Mondays and Holidays. Admission: Adults $5, Students $3, Seniors (62+) $3. Westchester County’s premier museum of modern, contemporary, and African art and an integral part of Purchase College. From the mid-century American art and African art that form the core of the collection to the presentation of about ten changing exhibitions each year that range from retrospectives of the work of one artist to thematic surveys of contemporary art to newly-commissioned artist projects, we continue the commitment of founding patron Roy R. Neuberger (1903-2010) by championing the art of our time.

RYE The Rye Arts Center 51 Milton Road, Rye, NY Tel: 914-967-0700 Web: ryeartscenter.org Hours: Mon-Fri 9:30 -7:00pm Sat 9:30-1:00pm _______________________________________

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PULSE

Art The Legacy Lives on Jessica & Joey Goldman By Susana Baker

Tony Goldman came to Miami Beach during a visit in 1985. Looking for an alternative to New York where prices became too high, on a trip to Miami Beach, Tony said “As I turned the corner at Fifth Street and Ocean Drive that was it, I surrendered.” Buying one building per month for the next 18 months, Tony Goldman transformed Ocean Drive from a senior citizen retirement enclave and drug war zone, to a Celebrity playground. Goldman, who died in September 2012 at 68 after a battle with pulmonary disease, recognized his daughter his own passion for going into derelict neighborhoods and turning them around, bringing them back to life. Most important to Goldman was preserving the character of a place, instead of wiping everything out to build anew. In 2006, with Jessica’s brother Joey acting as scout, the family started buying up chunks of Wynwood’s warehouse district. This area was a run down and bordering Overtown, was considered dangerous and gritty. That didn’t stop Tony, he continued purchasing warehouses and inviting artists to use them as canvases. In 2009, Joeys Restaurant opened named after Joey Goldman, Tony’s son. Joey was hands on with his father in purchasing property and developing Wynwood. When Joey’s opened it was the only eatery surrounded by warehouses and factories. Mercedes, Ferrari’, and other luxury brand cars lined up to get into Joey’s. This spawned the development of Wynwood, along with Tony’s grand vision of creating the largest street art museum. Tony brought his daughter Jessica from New York and they worked side by side. They grew the company, developing their next major project in Miami, The Wynwood Walls and Wynwood Kitchen and Bar. It all started when Tony crossed the bridge into the mainland (Miami) in search of warehouses. What he found was a gritty neighborhood, though it wasn’t historic, he saw the potential. Goldman saw that the buildings where one story, most without windows, and immediately the image of a blank canvas came to his mind. This ignited one of the most creative projects for Tony

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by Shepard Fairey, Ron English, Logan Hicks, Nunca, to name of few. Thus, came the birth of the largest street museum in the world, The Wynwood Walls. Jessica and Joey along with their visionary father Tony Goldman helped transform this gritty neighborhood into the hottest spot for Miami’s hipsters, artists and creative types. Wynwood has become and epicenter for Contemporary art, bringing visitors from all over the globe to take a look at the top 10 art collections to seen the world-the Wynwood walls and Doors. The Wynwood Doors were added in 2010, which added more walls to invite more international stars to the canvas. Wynwood is growing everyday with new bars, cafes, shops, art galleries, and workspaces. Along with these developments, it creates more and more foot traffic.

Photo: Manny Hernandez

Goldman, by globally inviting the most famous muralist artist whom all shared the love of spray paint and creativity. Goldman invited each artist to choose a wall and make their magic. Soon the walls were transformed from boring decayed grays and off whites, to amazing street art murals

“It has been a very difficult year. I had been sitting next to my father for 16 years while he piloted this jumbo jet and then one day, the pilot is not there and I have the controls,” she says. “I believed I was ready for the job, but I wasn’t ready to lose my dad.” Jessica Goldman Srebnick is the CEO, and though her father is no longer with her physically, Jessica feels her father’s presence, giving her the strength to continue the Legacy for many generations to come! On a personal note, one of the greatest visionaries I ever met without hesitation would be the great late Tony Goldman. Goldman became a friend and a mentor. I witnessed the great vision of Tony Goldman when I moved here from New York in 1989. Moving down as a young newlywed, my husband at the time had landed a much sought after fellowship at Jackson Memorial hospital in reconstructed surgery with the legendary Dr. Ralph Millard. Moving to Miami meant leaving behind my career in fashion design, working with top fashion designers in New York City, and I knew Miami and Miami Beach in the early 90’s was not the place for fashion. South Beach was known as the purgatory for Seniors whom didn’t Top: Janet Goldman, Joey Goldman, and Jessica Goldman Srebnick. Left: Tony Goldman & Art by Ben Ritter.

invest in their retirement, finding themselves in the government section 8 Adult Living Facilities located up and down the now famous Ocean Drive. Seeking employment I took an advice from a friend that suggested I seek a career in real estate. The same friend suggested for me to go to Deco Realty and speak to Leroy Goldstein, a broker for many years on Miami Beach. As one of the first realtors on Ocean Drive Tony Goldman’s name was the talk of the town, buying art deco hotels on the strip and renovating them. These renovations even included a sandwich and magazine shop called News Café, for an employee he brought with him named Mark Soyka. In 1992, I opened South Beach Realty and had the support and advice of Tony Goldman on my first real estate deals. Every time I reached out to Tony he never hesitated to give his sincere advice followed by a warm Tony smile. Tony transformed the face of this dilapidated, senior populated, drug dealer zone, into the hottest fashion and model zone destination. He also ingeniously asked Eileen Ford of the famous Ford Modeling agency to shoot her next Italian Vogue Swimswear edition on his Beach. At first Eileen rejected the thought of bringing her statuesque beauties to the ghost town of Miami Beach that was ran by Cocaine Cowboys, but, she knew Tony was a visionary and become convinced that it would all go well. Eileen did her famous shoot and those swimwear pictures hit the stand that spring. Everyone in

Left: Jessica Goldman Srebnick. Bottom Left: Collage mural by Shepard Fairey in bar; Christian Awe oversized canvases in dining room @ WKB by Moris Moreno. Bottom: Joey’s Interior.

Photo: Mia Nunez

the fashion world wanted to know where was the location shoot for Ford Agency? The sand was so pristine, the water so aqua... soon to everyone’s surprise they learned Ford had come to Miami, South Beach. Within six months after finding out the where the shoot was held, over ten of the top modeling companies had moved to Ocean Drive. As the saying goes “where there are beautiful women, men with money followed. One more individual picked up that Italian Vogue, Gianni Versace. He too wanted to see this beautiful beach and ocean, so he bought his famous mansion on Ocean Drive and it went from a drug zone senior citizen enclave, to a area for celebrities, models and Tycoon Developers. Tony Goldman ignited the spark that brough Versace down and ironically it was one of my first listings for South Beach Reality. The Revere Hotel was listed for 3.2 million which was sold to Versace, which he later tore down to build his pool and garden. When I went into real estate I began to share Tony’s passion and saw his vision, I knew I was

in the right place at the right time. Tony Goldman built a great district filled with cafes, vibrant colors and started the rebirth of Ocean Drive making it what it is today. Ironically, two decades ago I followed Tony Goldman into real estate, and with much success due to his powerful example. In 1995 I sold South Beach Realty and retired to have my children. By 2008 the economy had hit rock bottom and I lost everything I had except for my home. I searched for employment but to no avail. Then one day I was invited to Artwalk in Wynwood. I couldn’t believe my eyes, there were thousands of people on the streets. Galleries, music, it felt as though I was in New York City, it was vibrant with an explosion of color all around. I even saw Tony Goldman after 16 years of absence. I approached him to say hello and who I was, and he remembered. I still was out of touch and didn’t know he was the developer of this amazing venue I was mesmerized with! That night I ran home, and I knew exactly what I wanted to do. After seeing thousands of locals I knew that the missing ingredient was the tourist. When I returned to timeshares I was working with concierges for timeshare tours for tourist. This brought me the idea of creating a tour to bring those same tourists to see what I had seen in the amazing neighborhood of Wynwood. I soon learned it was Tony Goldman that dreamed this up, it all made sense bumping into him that night was not coincidence, it was destiny. In late 2009 I created The Design District, Midtown and Wynwood Art Experience, bringing locals and tourist to visit these artistic districts of Miami. During 2010 and 2011, I reached out to Tony for support, and as always he gave he was there for me just like he would be towards anyone else. I was truly blessed meeting Tony Goldman and having his words of support in pivotal moments of my life. I am forever grateful to for the inspiration passed on by Tony. When meeting with and speaking to his daughter Jessica, I constantly see Tony. I am so confident that our neighborhood will only flourish and grow, because of Jessica and Joey’s passion for the legacy their father left behind. It leaves no doubt that there’s more to come from the Goldman’s and that the legacy will go on and on...

About The Author: Susana Baker, award-winning Tourator (tour guide curator) received a proclamation for outstanding community outreach and programs in the arts by Miami Dade County Mayor Gimenez; was recently award by Miami Dade College and Hunter College100 top Latino in the nation; Creative Founder of The Art Experience #1 in culture and arts on Tripadvisor and visitflorida.com. For a private curation of Wynwood, Design District, galleries and collections visit www.theartexperiences.com or call 305-767-5000. For art happenings tune in to ART TALK every Tuesday on the Wall Street Network, The MoneyMan, 880 AM or www.880thebiz.com Tuesdays 10:30-11:00 am, bringing you news “From the Canvas to The Red Carpet.”

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PULSE

Art

The Maid Peeks

Ann Chernow’s Femme Fatales

Depicting the machinations of beautiful women as they engage in shrewd acts of deception and manipulation. By Laura G. Einstein

Rendezvous in Black, Lithography 11" x 14"

My lady Dresses seductively. I hand wash Her scarlet, silken Undergarments that scream, “Siren!” Elegant, soft spoken, She slinks, she slides through life Men whisper, “Fox.” She leads them on. But what’s in the top drawer of her night table? Carefully folded lace camisoles and sweet smelling sachets hide silver pillboxes, letters tied with white satin ribbon and a Smith & Wesson 38 Special, loaded, Safety catch off. -Ann Chernow

Love Affair, Oil on canvas 16" x 20"

Artist Ann Chernow is fascinated by the femme fatale, subject matter that she translates into drawing, lithography, and painting. She creates two-dimensional vignettes defined by subtle tones – whether in pencil, ink or oil – and smooth transitions from light to jet black, heightening the dramatic effects of her scenes. Perhaps it was Chernow’s puritanical upbringing that fueled her desire to paint, draw, and etch images depicting the machinations of beautiful women as they engage in shrewd acts of deception and manipulation. Chernow creates suites of poignant vignettes

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where these cunning women, through the smoky veneer of a darkly lit bar, strategize complicated schemes to get what they want. Chernow not only addresses these themes in her art, she has also published poems in ABC, a slim volume of sixteen poems that she co-wrote with her late husband Burt Chernow, published in 1996 by Duck Press in Westport, Connecticut. In Chernow’s poem titled, The Maid Peeks, she writes of the secret life of a lady who has stashed away a gun just in case she might need its help in the middle of the night. The gun is fully loaded.

Chernow began her Film Noir series in 2004, when she created a portfolio consisting of 15 lithographs, 10 etchings, and 10 paintings in a smaller scale, measuring 11”x14”. Chernow captions each piece with pithy commentary joining text and image. In Ida, Sweet as Apple Cider, Chernow adds, Men like to see women cry. It makes them feel superior. Moonlight’s narrative, I can be framed easier than Whistler’s mother. And, See No Evil has accompanying text: I was born when you kissed me. I died when you left me, I lived a few weeks while you loved me. The typewritten

text underneath is in the vernacular of the film noir expanding the themes of rejection, mysterious liaisons, and havoc. Perhaps these women serve as alter egos for Chernow who believes that these women did everything that she wanted to do. It was not only the subject matter of the film noir that captivated Chernow. In the mid-1980s, she met Herbert Lust, the renowned collector of Alberto Giacometti living in Greenwich, Connecticut. This meeting was pivotal in expanding Chernow’s artistic impulses. Chernow developed a love for Giacometti’s style. Alberto Giacometti’s drawings, etchings, and lithographs provide an important foundation for Chernow’s works. It was not only Giacometti’s competence as a draughtsman, but it was also the way that he set up a scene with accompanying text – the boxing of a scene with text underneath. She noted the use of erasures to mold the scene and his use of cross hatching to provide texture and depth to his tableau. Chernow similarly incorporates these techniques in her art. With his lithograph titled, Moving, Mute Objects, dated to 1931, Giacometti drew on lithographic stone, sculptures from his studio with accompanying prose text creating a compelling ensemble. Herbert Lust provides a translation of a Giacometti prose poem: “…Someone is speaking in a room way off: two or three people – of what station? The locomotives which whistle, there is no station near here – one might throw orange peelings from the terrace top into the narrow and deep street, the night the mules bawled desperately, toward morning one slaughtered them, she approaches her head to my pillow.” Both artists are fundamentally draughstmen, creating their figures through the quality of expressive line. For Giacometti, the underlying structure is oftentimes seen through his figural work. For Chernow, the underlying substrate disappears so that all is left are her subjects interacting close up and frontal in cameo-like portraits that are personal and private. For Chernow she incorporates lighting in her scenes that cast a luminous glow on her figures emerging from a smoky, diaphanous veneer. Chernow also admires Giacometti’s work ethic. He was always working – whether researching, looking at art, creating art or reading. Chernow lives her life in the same vein – completely committed to her craft. Most recently, Chernow has been working on large scale drawings measuring 24” x 30”, created with at least twelve layers of pencil marks. She began working in pencil after she developed an allergy to oils when she painted Polka Dot Marilyn, her take on Andy Warhol’s Gold Marilyn of 1962 that is an icon of the Museum of Modern Art’s collection, given to the Museum by Philip Johnson. Polka Dot Marilyn was done in oil measuring 16” x 20”. She began creating pencil drawings and has continued drawing every day. Chernow loves storytelling and creates her work whether in pencil, oil, lithography, or etching daily. She is a master of capturing pathos through charcoal pencil. Chernow is a fine draughtsman and her line captures the best of storytelling in two dimensions. Chernow’s admiration of film noir and love for art and art history was shared by Burt, her late

husband. Ann and Burt met when they were students at New York University but they were not married until five children later; three for Chernow, two for Burt. A little known fact about Burt Chernow is that he was a gambler and a gifted pool player. He transferred these wily talents to collecting works of art. These collections would ultimately go to Housatonic Community College in Bridgeport, Connecticut, and the public school system in Westport, Connecticut. As it turned out, Chernow was the serious artist while Burt, with his shopping list that began with a desire to own a Sandy Calder and a Roy Lichtenstein, in the early 1960s, began to meet artists and collect work. Burt could walk into a bar in Nice, a French gambling center, walk up to the roulette table, and leave with a wad of cash in his pockets. He could walk into a bar in Malaga, Spain, walk up to a pool table and leave with the money in his pockets. This was no novice. Burt could play pool better than any other fellow at the bar on that particular evening. Chernow enjoyed this double life and enjoyed the excitement of Burt by day collecting art and by night working the casinos and pool halls. Ann and Burt donated hundreds of works of art to the Housatonic. These works have been exhibited in the Housatonic Museum of Art and the designated Burt Chernow Gallery as well as throughout the college in the offices and classrooms where the professors work and teach. He was able to build a collection without a budget as he cajoled and charmed first rate artists to donate works of art. This was no ordinary love affair and these were two extraordinary people – Ann, the artist – Burt, the collector. It is clear that Chernow’s fascination with film noir and femme fatales, and the precarious nature of relationships comes through in her works of art. It is her connection to the world of art, collections, and artists as well as her shared zest for the intricacies of life’s situations that have provided a strong foundation for her career as an artist.

Love’s Old, Sweet Song, Pencil, oil ink drawing, 24" x 30"

In ABC, Burt contributed his own poem:

Ordinary Miracles

Moonlight, Lithography 11" x 14"

Life’s big machine of chance pops a soul into the air and mindlessly drops it into a body, a place, a time. We become accustomed to ordinary miracles like no war, like eating well, like living from art, savoring here and now with you. Chernow was told by Herbert Lust when Burt passed away in 1997, “He’s gone but leave him in your memory as you are working. He will always be with you. You will always be with him.” It is clear that this raconteur provided Chernow, the artist, with great stories and a life that provided fuel to her interest and love of the femme fatale.

CONTEMPORARY CULTURE//MAGAZINE

PULSE

Music Rock’s Next Big Thing Explosions In The Sky By Peter Fox

Photo: Courtesy Explosions In The Sky

Rating:

fter 1999, the post-grunge era gave way to a rush of YouTube inspired artists, who experimented with easily accessible images and sounds. The beginning of the new millennium was a heady time for new artists: Another stage in the evolution of rock and roll was underway. A surge of what came to be known as postrock bands, (More on that ill-conceived term, later.) came to the fore. Mogwai, from Scotland, Sigur Ros from Iceland, and Godspeed You Black Emperor from Canada emerged onto computer screens, Ipods and other new gadgets with music that was driven less by messages than by atmosphere. These aforementioned bands produced music which, (in contrast with music produced by just about every band in existence during the age of MTV, right up until the death of grunge), experimented with compositions and song structures which are rooted in classical music, and not rock and roll.

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Enter Explosions In The Sky. Their most critically acclaimed album, The Earth Is Not A Cold Dead Place, took fans of so called post-rock music by storm. Its signature piece, The Only Moment We Were Alone, is representative of the band’s unique sound. Each of the band’s compositions averages between seven or eight minutes in length, and seduces the listener with skillfully executed shifts in tone and mood which can only be described as mesmerizing-This, despite the fact that their music contains no lyrics. Every one of their compositions is instrumental. In more and more examples of rock criticism, the term post- rock is used to describe rock and roll bands that use the traditional tools of the trade, (electric guitars, bass, and a drum-kit) to produce non-traditional sounds. Whether or not you chose to listen to Explosions In The Sky may depend on what your definition might be of how

rock and roll should actually sound. The Austin, Texas based band, comprised of Chris Hrasky on drums, Michael James on guitar and bass, Munaf Rayani on guitar, Mark Smith on guitar, (when touring, they are joined by Carlos Torres on bass) bristle at the suggestion that they are anything but a rock and roll band. Rayani says, “We don’t consider ourselves post-rock at all. We consider ourselves a rock band.” New music which falls outside of the mainstream, regardless of genre, is, at times, difficult to access. Increasingly, new music is supported and survives only through its association with a visual platform (insert your favorite one here). Oftentimes, no matter what the nature of the tie-in and/or visual support from social media, music oftentimes becomes the passive element of the two conjoined forms of sound and vision. Take away the pictures, and the music falls away or becomes irrelevant. But this is exactly where the genius of Explosions In The Sky can be found. By contrast, Explosions In The Sky’s music is unmistakably visual; their compositions actually inspire the mind’s eye. With their slow, dramatic builds of three electric guitars and bass, supported by Hrasky’s hard-driving drums, or intricately

Photo: Courtesy Explosions In The Sky

woven crescendos and diminuendos, the bandâ&#x20AC;&#x2122;s orchestral sounds lend themselves, naturally, to cinema. To date, their music has been used in nine films,(Sleepwalking and Friday Night Lights most notable amongst them), dozens of television shows, and several video games. By creating songs which have slowly, but steadily, worked their way into mainstream television and film scores, Explosions In The Sky have made an indelible place for themselves among

the elite artists of rock and roll from any era. Mainstream criticism has yet to acknowledge the full scope of the bandâ&#x20AC;&#x2122;s influence. However, with several major film scores in the pipeline, a growing international fan base, a new album and a world tour in the making, the band is poised at the brink of superstardom. Without fanfare or pretense, the band continues to crank out music which is soulful, honest, and inspiring. Just as readily as their sounds inspire filmmakers to include their music in movie Photo: Courtesy Explosions In The Sky

scores, one can just as easily look out the window of a car, bus or train with their music playing, and experience the commute in the same way that one would experience a montage sequence during a film. Where Explosions In The Sky achieve greatness is in how they produce music that is rich in atmosphere, emotion and texture without lyrics. Quietly, the band, which has been together for nearly ten years, has quickly gained global popularity and has recently played sold out shows to audiences in Bangkok, Beijing, Shanghai, Tokyo, Osaka, and Seoul. Their shows can only be described as enchanting. The bandâ&#x20AC;&#x2122;s visual onstage personality connotes their humility, sincerity and seriousness as artists. During their shows, they do not engage the audience in mindless rock starspeak. Their artfully presented live presentation of orchestral rock and roll compositions, juxtaposed with simple lighting and minimal effects, forces, by default, all non-musical elements to the backseat. The resulting experience is a tour-de-force of live musicianship; the songs delivered in earnest. The passion and focus of these post-modern classical musicians seems to improve with each new effort. Without the use of lyrics, they manage to create atmosphere and emotions in a way that, literally, cannot be described with words.

PULSE

Theater Medical Drama

Sharpening the skills of medical students By William Squier

Standardized or Simulated Patient Programs use actors to portray patients and their family members to allow medical students to their practice clinical skills

t won’t surprise anyone that a professional actor like Tony Republicano has to work, from time to time, at side jobs to pay the rent. But, what is surprising is how many of them draw on his performing skills. “I do a lot of teaching of comedy and acting,” Republicano says. “I do educational theater in schools about bullying and STD prevention. I’ve done things like dress up as Batman for a charity baseball game, Christopher Columbus for one of the elementary schools and Uncle Sam in the Stamford Macy’s Parade.” A little over a year ago, however, Republicano landed a gig that not only requires his acting chops and keeps his bank balance healthy,

Tony Republicano

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Dr. Anna Reisman

but might also be helping to save lives. That’s when he began participating in the Yale School of Medicine’s Standardized Patient Programs. Standardized or Simulated Patient Programs use actors to portray patients and their family members to allow medical students to their practice clinical skills like history taking and physical examination. The actors are trained to simulate specific symptoms and are often given very detailed backgrounds to test the student’s ability to draw out the information that they will need to make a complete diagnosis. Medical schools have found that the programs also sharpen their future physicians’ communication skills and reinforce the importance of using empathy in dealing with patients. These types of training programs date back to the early 1960s when the University of Southern California employed artist’s models to sharpen the skills of third-year students. Over the years since, the practice has spread and it’s now a part of the curriculum at top schools like Johns

Hopkins, Harvard, Stanford, Cornell and, of course, Yale. The National Board of Medical Examiners even uses standardized patients to certify the competency of students in their licensing exams. The program was begun at Yale in 1994 by Dr. Frederick Haeseler, who passed the reigns to Dr. Anna Reisman in 2012. Today, Dr. Reisman estimates that 17 actors lend their talents to the program on a regular basis. During the four years of medical school there are a number of opportunities for the actors to help the students to practice what they’re learning. In addition to polishing basic interviewing skills, they tackle touchy subjects like counseling patients on reproductive health issues, motivating a change in their behavior and breaking bad news. The students begin interacting with standardized patients within the first few weeks of their training. “At that early stage in their medical careers, it’s less about focusing on their burgeoning medical knowledge than encouraging them to see and be interested in the emotion underlying a patient’s words,” Dr. Reisman explains. So, the students are encouraged to be professional, but also sensitive and a good listeners. The students also encounter standardized patients in classroom lectures. An instructor may, for example, use an actor to illustrate how to talk with a patient in a way that will yield the most fruitful results. This was one of Tony Republicano’s first experiences at Yale. “It was a lecture for a hundred second year medical students,” he recalls. “The doctor and I pretended no one else was there. He asked me questions to demonstrate the right way to do it and the wrong way. If he didn’t show empathy, wasn’t friendly or made me feel uncomfortable, I was coached to give him one-word answers. If I trusted him, I’d open up more and he’d ask some very sensitive questions.” Republicano remembers being impressed with the fact that his role-playing with the doctor proved to be a very effective teaching tool. And it didn’t hurt that the students’ showed their appreciation for his performance. “That class gave me a standing ovation!” he says, with a laugh. More often than not, however, the students work with standardized patients in small groups that allow for a lot of one-on-one interaction. The interviews are performed in front of their fellow students and faculty, who offer guidance and answer questions. “When they do things incor-

His character’s coup de theatre comes when Republicano participates in a training session for psychiatric nurses. “I go in as John but I’m crazed,” he begins, warming to the scenario that unfolds. “I’m just coming down off a weekend bender. I went out for milk at 1:00 am, didn’t come back until 4:00 am and I’m cracked out. My wife says, ‘If you don’t go and check yourself in, I’ll leave you.’ So, I’m alone in this hospital conference room and very agitated. The first time I did it I thought I was laying it on a little thick, but the instructor was like, ‘You can amp it up! Really be Breaking Bad.”

A Standardized Patient (actor) and a medical student.

rectly or miss an emotional cue that we’ve asked the standardized patient to portray, it’s an opportunity for teaching” Dr. Reisman says. “Then we can say, ‘Try it again. And try incorporating a question about the expression on that patient’s face.” She notes that at some other medical schools the actors are encouraged to add their feedback by filling out a checklist with aspects of the medical history or symptoms that should have been explored. The actors involved in Yale’s program are usually drawn from the local area. The hope is that once they’re trained that the participants will stick with it for a while to cut down on the need to recruit new actors for the program. Most have community theater credits or are simply people that are interested in helping the school out. A few, however, like Repulicano, come with professional resumes. In fact, when Reublicano first heard about the program from a fellow actor who’d been a past participant, he approached applying for the job as he would an audition. “I sent a letter of interest with my headshot, professional and theatrical resumes,” he recalls. “Anna called me in for an interview. She ran a few scenarios by me and I worked them with her. It was kind of an audition / interview. I think my experience in improv played a big role.” Republicano believes that “typecasting” also contributed to his getting hired. “When I do background work (aka extra work) in movies or on

television I always get cast as blue collar: a policeman or security guard,” he explains. “I think they wanted a cross section of the population. They had a young woman who plays a teenager, a few older gentlemen and ladies – I’m the blue collar guy.” The next step was for Dr. Reisman to create a character for Republicano to inhabit. Both a practicing physician and a published writer, the doctors says that she enjoys combining those two worlds in the social histories that she concocts. The actors are provided with several paragraphs that detail a specific standardized patient’s background – where they grew up, went to school, who they live with, etc… Then, for each of the teaching exercises that they take part in, Dr. Reisman indicates the kind of emotion that she would like them to express, along with any symptoms they’re supposed to simulate. The final step in their preparation is collaborative: when the actors are encouraged to take the information that they’ve been given and flesh out their characters by drawing on their own backgrounds. “That’s the most fun part,” says Dr. Reisman. “It comes alive when I rehearse with them. It’s a process that takes advantage of what the actors bring to it: their own experience.” For Tony Repulicano, Dr. Reisman invented the character of John – a working stiff on a downward spiral that would make the star of a daytime drama envious. “When you first see John he’s a salesman who’s married, has two boys and comes from a very religious family,” Repulicano

notes. “He and his wife aren’t getting along, but nothing bad has happened yet. Back in college he had a homosexual experience. But, because of his religious background he pushed those feelings aside and wound up getting married. Later on when we meet John for another program, he’s started meeting men online while he’s away on business trips. At another point he’s doing drugs and gets hooked on crystal meth.” His character’s coup de theatre comes when Republicano participates in a training session for psychiatric nurses. “I go in as John but I’m crazed,” he begins, warming to the scenario that unfolds. “I’m just coming down off a weekend bender. I went out for milk at 1:00 am, didn’t come back until 4:00 am and I’m cracked out. My wife says, ‘If you don’t go and check yourself in, I’ll leave you.’ So, I’m alone in this hospital conference room and very agitated. The first time I did it I thought I was laying it on a little thick, but the instructor was like, ‘You can amp it up! Really be Breaking Bad.” “So, the second time I took dry erase markers and wrote on the white board ‘I don’t belong here! WTF,” Republicano continues. “I had every single chairs in the conference room spinning. I’m pinching my skin, the mood swings are up and down and I’m paranoid. These poor nurses came in and were trying to get a history from me and I’m pretending I see my wife down the hall, getting into their faces yelling, ‘She sent me here!’ I had a lot of fun with it!” Republican points out, however, that his efforts at chewing the scenery are often undercut by the expertise of Yale’s students. One example was an exercise in which he was a patient who had to be told that he’d taken a turn for the worse while under the care of the hospital. “As actors we like drama,” he emphasizes. “So, I went in there with all guns blazing! But, they disarmed me and I ended up saying thank you to them for handling it so well!” “The actors really like the difficult news sessions because they get to express extremes of emotion,” Dr. Reisman says. “Last year I created a couple of scripts for residents, rather than medical students, that focused on care of HIV patients. I wrote these really difficult, complicated patients. The two actors loved them being able to flex their acting muscles.” So, in the end it’s not just the paycheck that keeps Tony Republicano coming back to work with the students at the Yale School of Medicine. “I enjoy doing it because I really get a chance to act,” he says. “When I improvise, it’s usually comedy. So, it’s nice to have a heavier role – one that I feel like I helped to create. And it’s helpful to the doctors. It’s helpful to patients. And it’s nice to be able to sink you teeth into a character like John. He’s certainly got his highs and lows!”

CONTEMPORARY CULTURE//MAGAZINE

Film + Entertainment

Fox on Film by PETER FOX: about.me/foxonfilm

COPOLLA & KOCH Francis Ford Coppola and Hawk Koch at the Producer’s Guild of America Conference, Warner Brothers, Los Angeles

n the storied Warner Brothers lot, I sat on the steps of an old courthouse movie set and waited to be admitted with other media members to the most anticipated event of this year’s Producer Guild of America conference- a conversation between two living legends of Hollywood; Francis Ford Coppola and Hawk Koch. As I waited, the two men that I’d been waiting to see walked right in front of me,

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surrounded by big burly studios security types. They were instantly swarmed by photographers as if they were, well, living legends. The discussion between them was a gem, and its focus was the career of Mr. Coppola. I certainly would not have been disappointed had the focus been on Mr. Koch. In his career, Howard “Hawk” Koch has worked as a Producer, Director, First Assistant Director, and various other

capacities on such monumental films as The Way We Were, Chinatown, Marathon Man, Heaven Can Wait, Gorky Park, The Pope of Greenwich Village, Frequency and Collateral Damage. His body of work is at least as extensive, if not as monumental, of that of Mr. Coppola. So, it was with eager anticipation that the packed house sat to hear these two titans discuss the present-day state of Hollywood and the

scope of Mr. Coppola’s career. Here are some of the key moments of their discussion. Koch: So Francis, how would you describe what it is that a producer does? Coppola: Of all the questions that people ask me, shy of, “What is a gaffer?” the question that I get most often is “What does a producer do?” If you are building a house, the producer is like a contractor. And the writer and the director are like the architects, whereas the architect is responsible for the vision of the film, the producer is responsible to gather all the resources together and efficiently be able to make it happen. Like directors, the first thing that the architects do is try to convince you of what architect they like to work

The writer and the director of the film really have to feel that moment of trust with the producer. I would say, looking back, I would learn better ways to do less with my movies, you know, to curb that instinct, when I’m scared, to put out more characters and make it bigger and more complicated, and ultimately, so much of it is wasteful from a producer’s standpoint.

with because they know that if they can work with a contractor who has already been through it with them, they know that it won’t become a three way power struggle. But ultimately, the producer is always someone who you are going to have to work with in a really intimate way, to really work out what is essential or non-essential. That’s sort of like the relationship between the architect and the contractor. I haven’t really answered your question! (The audience laughs.) Koch: So, let’s just say you do all three of those functions. How do you navigate

between them? You wake up in the morning and there’s a problem with the actor. And the director is thinking-“How do I get the actor to do this performance?” But meanwhile, the producer in you is thinking something else, and then Dustin Hoffman comes up to you and says, “I can’t do this scene today…” Coppola: In the old days, there was the producer, there was the production manager, and then there was something called the unit manager, and then something called the production supervisor. In truth, what used to be the production manager was really the person who was down in the trenches with the unions, the trades, and so on. Nowadays, that person is called the line producer. So, when I was a producer, there was always a very able person who was called a production manager who would handle such logistics. But in the case of the producer, I was really there to make the big decisions. You know, a lot of times the information doesn’t get to the director as to the decisions that could really be a useful decision. I can think of an instance, I was once directing a picture and there was a cyclone fence. And they asked me, do you want the car on this side of the cyclone fence, or inside of the cyclone fence? And I said, well, I’ll have it on the inside. Back in those days, I had a trailer and I went to the trailer, and I began working on the script and making phone calls and the things that you do. Suddenly I realized that about an hour and a half had gone by, I wondered what’s going on out there? So I go out, and there just putting the cyclone fence back (instead of just moving the car). I told them: “I didn’t say you had to take the fence down to put the car in!” So that’s what happens in this deal of doing anything that the director wants. Absurd, time consuming things. So as a producer, you’re anxious to make intelligent decisions, and as all of you know, sometimes the problem that you’re

facing as a producer needs a very intimate relationship with the director. Because, of course, you can throw money at the problem. That will always solve any problem. But if you don’t have the money to throw at it, it means that it has to be a creative decision. And very often the decision that doesn’t involve throwing money at the problem is better. The writer and the director of the film really have to feel that moment of trust with the producer. I would say, looking back, I would learn better ways to do less with my movies, you know, to curb that instinct, when I’m scared, to put out more characters and make it bigger and more complicated, and ultimately, so much of it is wasteful from a producer’s standpoint. You cut that stuff down, if you’re wise enough to do that. But if I got the opportunity, in my particular case, (to make another film) I would try to do less. I would be more confident in my ability to do less with more Koch: If we do another movie I’m going to remind you of that. Coppola: It’s cheaper! Koch: So, you launched Zoetrope in sixty-nine, seventy. What are your thoughts of the overall state of the indepen-

dent film industry today as opposed to when you started Zoetrope? Coppola: Well, thank God for the independent films because if it weren’t for that, all we would have are industrial (sic) films. In other words, when you look at the cinema today, not that big, one hundred fifty million dollar films today can’t be good. But for the most part, they’re less imaginative and less beautiful and they tend to do the route that they’re on. Just as we have these, in my opinion, dead on arrival big industry films, because of the nature of the big money involved and all that’s at stake. At the same time, beautifully, there are these wonderful independent films. And all these independent films coming from, not only young directors, David O. Russell, Wes Andersen, and Woody Allen (the audience laughs), It’s such a rich and abundantly talented group. When I go to a film I like to say I’ve never seen anything like that before, rather than, didn’t I just see something like that? The cinema is too important and too unstoppable that mere industry realities regarding high finances will stop it. Beautiful films are going to continue to come from this array of young independent filmmakers.

CONTEMPORARY CULTURE//MAGAZINE

Photo: Zoltan@Luxhunters.com

Top Left , Athina Klioumi Marturet, Maestro Eduardo Marturet, Mayi de la Vega from ONE Sothebys International Realty, George Mato, Ritz-Carlton Residences. Top Right, Nadine Curmi Borgomanero, Daisy Olivera. Bottom, Photographer Iran Issa-Khan, architect Zaha Hadid.

Hats On for Miami Symphony Orchestra!

Photo: Zoltan@Luxhunters.com

The gasp-inducing view from high atop Juvia restaurant in the heart of South Beach, was the backdrop for the Miami Symphony Orchestra’s (MISO) annual fundraiser. This year though, the advisory board -- Criselda Breene, Iran Issa-Khan and Sam Robin -- decreed, no black tie. So a jazzy, blues brunch was held at the award-winning 1111 Lincoln building, with a live quartet playing all afternoon. Suggested attire was hats and bow ties and the elite society crowd of local and international VIPs happily complied with their splashiest finery. MISO conductor Maestro Eduardo Marturet, renowned for his musical prowess and his glamorous wife, actress Athina Klioumi Marturet, hosted the event. Sponsors included designers Silvia Tcherrasi, Angel Sanchez and Ritz-Carlton Residences. www.themiso.org

Little Dreams Foundation Comes to South Florida Orianne Collins Mejjati hosted a fundraising brunch for over 200 guests at the landmark Joe’s Stone Crabs restaurant for the charitable organization she cofounded with former husband, musician Phil Collins in 2000. The Little Dreams Foundation’s mission is to fulfill the dreams of young aspiring artists who don’t have the financial means to achieve their goals in music, art and sports. This year’s gala is December 6. For tickets www.ldf.cc.

From Left; NBC6 N ews anchor Jackie Nespral, AFK Chairman Pedro Capo, former Miss Universe Alicia Machado, AFK Co-Founder Jorge Plasencia, actress Gaby Espino, AFK Pres.,CEO Rosa Maria Plasencia, WSVN’s Deco Drive host Louis Aguirre

Voya Miami Celebrity Domino Night Raises $400,000 Photo: Zoltan@Luxhunters.com

From left; Artist Romero Britto, Little Dreams co-founder Orianne Collins Mejjati, Charles Mejjati

In over a decade, “Voya Miami Celebrity Domino Night presented by Bacardí USA,” which benefits “Amigos for Kids” (AFK) has become a favorite of the society crowd and unofficially celebrates the end of our society season. There was delish cuisine by Miami’s top eateries and late night munchies (my fave Cuban pastries) by the iconic Versailles restaurant. There was mucho dancing to live performances by Grammy winner, Salsa music legend Willy Chirino and world-renowned Miami Heat deejay, DJ Irie. More than 1,800 supporters attended the event at Jungle Island, raising over $400,000 for numerous programs benefiting underprivileged children and families in South Florida. www.amigosforkids.org

Follow Daisy on Twitter @DaisySociety, for more on Miami society TheDaisyColumn.com

CONTEMPORARY CULTURE//MAGAZINE Photo: Zoltan@Luxhunters.com

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