VENU #20 Sept/Oct 2013

Contemporary Culture

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September/October_CT-NY-FL Edition $5.99

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Contemporary Culture

September/October

Spotlight 16 Attracting Students From Across

The U.S. ... And Beyond

Events + Gatherings 20 Parties, Art Exhibitions & Activities

Travel + Leisure 30 The Gift of Sight - Traveling to Nepal

With a Clear Vision

Style 34 Jewelry:

Pinar Oner Design Atelier 36 Architecture:

The Art of Classic Details - Theory,

Design and Craftsmanship

Wine + Spirits 39 Ferrari Metodo Clasico: Italian

Art of Living

Appetite 40 Redding Road House - A genuine

dining & gathering destination

Features 42 Projection Mapping - When all the

world is a canvas 47 NOW, Is The Time To Envision a New

Penn Station and The Next Madison

Square Garden 52 COVER STORY:

Protect What Is Precious

COVER: Susan Rockefeller, award-winning filmmaker, author, philanthropist, conservationist, jewelry designer, businesswoman, is a tour de force and a force of nature. She takes her cues from the rhythms of the Earth and sea, preferring to let life unfold naturally, staying the course in an unhurried but always steadfast pace.

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Sweet Peas, Oil On Canvas, 36" x 60"

JULIE LEFF FLORALS . ABSTRACTS . PORTRAITS

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Contemporary Culture

September/October

Indulge 59 Motoring:

BMW Pininfarina Gran Lusso Coupé 62 Yachting:

Newly Enhanced Mochi Craft,

Dolphin 54', The Reference Point

For Lobster Boats 65 Decorative Arts:

Beyond exceptional. Little things

bring big prices. Bonham’s Goodwood Festival strikes again

Art + Objects 67 Venü Magazine’s marketplace for

fine furniture, textiles, jewelry, art,

antiques and accessories

Gallery + Museum Guide 72 Gallery and Museum listings in

Connecticut and New York

Pulse 76 Music: International Superstar

José Feliciano 78 ART:

Mark Making - The collaborations of Alanna Fagan and Nomi Silverman 82 Film + Entertainment:

Fox on Film - Peter Fox reviews

the film Blue Jasmine, written and

directed by Woody Allen

Plus...

84 FLICK - A gala celebration of Film,

and New Jersey Filmmakers at the

Count Basie Theatre 86 On Stage:

Broadway On The Spectrum, The Theatre Development Fund’s Autism Theater Initiative

Society 88 The Daisy Column: Miami society, The powerful, The chic, The unique

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CONTEMPORARY CULTURE

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Showcasing local Arts, Culture, and Style without any contrived formality.

VENÜ is published six times a year as a fresh yet discerning guide to art, culture and style throughout Connecticut and beyond. Not too artsy or too fussy, we’re thoughtfully written for the curious, the acquisitive, and those devoted to the one-of-a-kind and hard-to-find.

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

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September/Octobert_CT-NY-FL Edition

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Publisher: Venü Media Company Art, Design & Production: Venü Media Company Contributing Writers: Jeff Blumenfeld, Frederic Chiu, Cindy Clarke, Phillip James Dodd, Jeanine Espositio, Peter Fox, Michael Horyczun, Linda Kavanagh, Ryan Odinak, Daisy Olivera, Lisa Seidenberg, William Squier, Matthew Sturtevant Business Development: Shelly Harvey/Connecticut, Liz Marks/New York Advertising Sales: Michele Reid, 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 +1.203.333.7300 Tel +1.203.333.7301 Fax venumagazine.com Advertising Inquiries: advertising@venumagazine.com Editorial Contribution: editorial@venumagazine.com Subscriptions: Call 203.333.7300 subscribe@venumagazine.com

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The small print: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent upon the artwork and material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material as presented. All prices and specifications to advertise are subject to change without notice. The opinions in this publication are not necessarily those of the publisher. Copyright VENÜ MAGAZINE. All rights reserved. The name VENÜ MAGAZINE is copyright protected. No part of this publication may be reproduced or transmitted without written consent from the publisher. VENÜ MAGAZINE does not accept responsibility for unsolicited material. This is a bimonthly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creatives) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions.

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SPOTLIGHT: LYME ACADEMY

Attracting Students From Across The U.S. ... And Beyond New Housing Takes School To New Level

L

yme Academy College of Fine Arts is entering a new and exciting chapter in its history this fall with the opening of the first student housing ever offered at the College.

Two units of brand new town houses now stand opposite the College in Old Lyme, CT., awaiting their inaugural residents, who will come primarily from the Class of 2017. Set back from historic Lyme Street - the main thoroughfare in this quintessential New England town – the town houses have been sensitively designed to retain the rural charm of this small, art-focused community.

Housing will change the whole pattern of enrollment for the College says Michael Hayes, Director of Admissions, who notes, “Although we have no housing presently, our current student body includes students from California, Texas and Florida and even one directly from China. All of these students had to find their own housing, which often means renting at the beach in fairly cramped conditions.” He continues, “These students came here regardless of the absence of housing simply because of the incredible quality of our teaching. We do know, however, that there have been plenty of students

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all across the country who haven’t considered the College simply because we didn’t have any housing.” Hayes says enthusiastically, “With on-campus, well-appointed, affordable housing, our job in Admissions is going to be so much easier. We already have the right product – now we finally have the collateral to market it.”

It’s almost 40 years since the College opened its doors in 1976 as an Academy thus fulfilling the dream of its founder Elisabeth Gordon Chandler to create a place where the fundamentals of a fine arts education were still paramount. She believed passionately that the ongoing drift to modernism would ultimately result in the complete loss of the classical, figurative traditions that had produced the great masters. A determined lady, Chandler therefore set about, almost single-handedly, creating a place where those skills could be passed on to subsequent generations of emerging artists.

Between 1976 and 1996, the Academy offered what rapidly became a highly respected program rooted in the time-honored traditions of figurative and representational art with an emphasis on working from direct observation. In 1996, the Academy became a nationally accred-

ited four-year College and this brought about a significant change in the program, but not in the area of traditional skills. These are still taught for roughly the first two years of study, but in the final two years, greater self-exploration and visual problem-solving are encouraged -- or as Hayes puts it neatly, “… creating whatever they imagine.” This combination of a sound foundation program -- which still includes mandatory anatomy and perspective classes -- followed by a transition into unconstrained artistic exploration is a rare one, only found in one or two other art schools across the country. It is summed up perfectly by the College’s tag-line, “Foundation first, then freedom.”

S

ituated in rural southeastern Connecticut, but only two hours from both Boston and New York City, the College is part of a long-standing tradition in the arts in the town. The early American Impressionists, who formed the Lyme Art Colony, were drawn to this area to paint in the remarkable, natural light.

The remarkable Florence Griswold Museum, where many members of the Colony chose to stay when it was a boarding house at the turn of the century, is just steps away from the College.

There is no standard age, gender or character profile for students who thrive at the College, says Hayes, other than, “They are all serious artists, who share a passion for the pursuit of artistic excellence in an environment free from the distractions of urban life.” Class sizes are extremely small with an average student to faculty ratio of four to one and consequently,

HARRY HOLTZMAN and American Abstraction October 4 – January 26 A close friend and colleague of Piet Mondrian, Harry Holtzman (1912–1987) is best known for shaping Abstract art in America from the 1920s to the 1980s. This exhibition of over 60 paintings, sculptures, and drawings highlights his role as stalwart of the New York avant garde.

Harry Holtzman and American Abstraction is the first retrospective of this painter, teacher, writer, and resident of Lyme, Connecticut. Drawing from the holdings of the Holtzman Trust, public collections, and private lenders, the exhibition brings new attention to Holtzman's dedication to the Abstract movement.

Harry Holtzman, Vertical Volume with Yellow and Blue (#858), 1944. Oil on gessoed wood, 7ž x 17.

Holtzman/Mondrian Trust

Generously sponsored by Media Sponsorship by

96 Lyme Street, Exit 70 off of I-95 &LORENCE'RISWOLD-USEUM ORG s

Contemporary Fine Art Gallery Framing | Installation

3310 Post Road Southport, CT 06890 (203) 255-1555 www.troyfineart.com Monday - Friday 9:30 to 5, Thursday til 8 Pickwick Lake by Gregory Gustafson Oil on Canvas 36� x 48�

CONTEMPORARY CULTURE//MAGAZINE

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SPOTLIGHT: LYME ACADEMY faculty members regularly work one-on-one with students. Ethan Brewerton, a member of the Class of 2011, recalls, “I had a very close relationship with my instructors, I was able to go to them about anything related to my work, pretty much whenever.”

The Bachelor of Fine Arts (BFA) degree at the College offers four majors – Drawing, Illustration, Painting and Sculpture – and includes a robust liberal arts program. Seniors in the BFA program receive studio space and spend their final year generating an independent body of work, which makes up a significant portion of their final grade. Offering a strong figurative focus, each program is rigorously structured in order to build technical proficiency and confidence, while simultaneously developing conceptual tools and encouraging personal voice. The Illustration program, in particular, teaches traditional skills alongside the latest digital technologies.

T

he program is without question demanding, but teaches skills students cannot find elsewhere. Mike Reeves, who graduated with the Class of 2011, speaks for many alumni when he says, “The bar is set so high and everyone’s work ethic is so strong that it makes you want to work that hard also. Faculty expect more of you. They really prepare you to work on a more competitive level with professional artists.” Emily Bedard, who is now working full-time as a professional sculptor after graduating in 2009, adds, “The first time I visited Lyme Academy College, I was amazed by the remarkable discipline in the student work. I knew that if I wanted a challenge, this was the place to be.”

The question, “What are you going to do with an art degree?” is one that the College is used to answering, especially by parents of 18-year-olds aspiring to attend art school. Ann de Selding, Director of Alumni Relations at the College, has plenty of interesting examples to share with these concerned parents. Apart from Bedard one of whose commissions was to restore a life-sized, white marble statue of a emale, “Liberty,” for the historic Soldiers and Sailors Monument at Seaside Park in Bridgeport, CT., she notes enthusiastically, “Another of our alums, Tim Allen Lawson, designed the White House Christmas card in 2008, which is now part of the permanent collection of the White House. He is also widely recognized for his landscape paintings of Wyoming and Maine subjects.” De Selding continues, “in contrast, Ronnie Rysz, who graduated with a BFA in Painting in 2006, is a prosthetic artist for Alternative Prosthetic Services and, in this capacity, he travels across the continental US creating custom prosthetics for civilians and soldiers alike.”

Another graduate of Lyme is Lynn Jadamec Grayson (BFA, Painting, 2000), who is currently working on a project that involves painting

tectonic fault lines around the world. The multitalented artist lives in Los Angeles and de Selding explains that Grayson also, “Designs storyboards for commercials and feature films in Hollywood and, on top of that, in 2012, she launched her

“The first time I visited Lyme Academy College, I was amazed by the remarkable discipline in the student work. I knew that if I wanted a challenge, this was the place to be.” own line of home goods, which is now being sold around the globe.”

The College’s prime role is obviously to educate students but it also has another broader mission in the community. Vice President of Development Fritz Jellinghaus explains, “We aspire to be a relevant source of ideas, thinking and enjoyment in the visual arts and to be a

destination for interesting community programming around the art and artists of our time.” The College has two galleries, which host several exhibitions of student work each year and additional exhibitions variously by faculty, alumni and a selection of visiting artists. The internationally acclaimed illustrator, Tim O’Brien, who has frequently designed covers for ‘Time’ magazine, is presenting an exhibition titled, “A Retrospective”, which opens on Friday, October 11, with a reception from 6 to 8 p.m. O’Brien’s exhibition runs through January 11, 2014. The public is always welcome to drop into the galleries Mondays through Saturdays from 10 a.m. to 4 p.m. and admission is free.

Jellinghaus points out that the College also hosts a significant number of events throughout the year ranging from artist’s talks and a film program all the way up to the glittering ArtsBall held annually on the first Saturday in June. He says, “The College is very much an involved member of the community. We are a partner in the Town of Old Lyme’s very popular Midsummer Festival and participate whenever possible in all local non-profit events.” He continues, “Many of our donors are from the local area and we are always looking for ways to give back to the community by hosting events in which they are interested, holding classes that are meaningful and inviting people inside our doors to see what’s happening here.”

President Dr. Scott Colley is eagerly waiting to see how the next phase of the College’s life unfolds. Standing in his office looking out over the new student housing, he smiles broadly and says, “Next year, this campus will be humming with all our new students attracted in part by that wonderful accommodation. But it will still remain a small, very special college and the quality of our teaching is so exceptional that when the right students find us -- or we find them – it’s a perfect fit.”

The College is accredited by the New England Association of Schools and Colleges (NEASC), the National Association of Schools of Art and Design (NASAD) and the Connecticut Department of Higher Education. It offers four-year Bachelor of Fine Arts (BFA) degrees, three-year Certificates in Sculpture or Painting and also a 30-credit Post-Baccalaureate Certificate. An extensive rage of Continuing Education and Pre-College courses are also held throughout the year. The College is located at 84 Lyme Street, Old Lyme CT 06371.

For further information about the College or to arrange a visit, call 860.434.5232, email admissions@lymeacademy.edu or visit www.lymeacademy.edu.

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Pablo McClure & Soledad Leonicio On View: Sept. 7th - Nov. 3rd, 2013

The Lionheart Gallery 27 Westchester Ave, Pound Ridge, NY ^^^ [OLSPVUOLHY[NHSSLY` JVT ‹ ‹ Wed-Sat: 11-5, Sun: 12-5 & by chance

CONTEMPORARY CULTURE//MAGAZINE

19

events + gatherings

By Ryan Odinak

FCBuzz

Executive Director, Cultural Alliance of Fairfield County

Goes to the Symphony!

Some say that Fairfield County has too many orchestras, yet audiences continue to show up year-after-year to indulge their passion for classical music. Musicians from the region and beyond find musical homes with top notch orchestras that create musical communities. Their educational programs provide rich experiences that go beyond the concert halls.

Since 1965, the Stamford Symphony has built a reputation for providing audiences with diverse artistic and educational programs with a sole mission in mind—to build a lifelong appreciation and enjoyment of classical music among all populations of Fairfield County.

It fulfills this mission through professional performances of the highest caliber, diverse

The Stamford Symphony on stage at the Stamford Center for the Arts’ Palace Theatre.

and innovative programming, and inspiring educational initiatives. Under the direction of the innovative Maestro Eckart Preu, the Stamford Symphony’s 2013-14 season brings serious fun to Fairfield County with the music of Beethoven, Bach, Shostakovich, Mozart, Schumann, Ravel, Rimsky-Korsakov and more!

Their educational programs including Exploring the Orchestra and MusiKids are helping to assure audiences in generations to come.

The Ridgefield Symphony Orchestra will open their 49th season with violinist, Jennifer Frautschi, performing the Prokofiev Violin Concerto No. 2 and continue with two chamber concerts at Western Connecticut State University. They will provide holiday cheer with “A Very Holiday Pops” featuring vocalist, Jessica Medoff. The new year will bring Tchaikowsky’s Pathetique Symphony and the Tomasi Trombone Concerto with soloist Bradley Ward as well as a concert with the Western Connecticut Youth Orchestra.

Wagner’s Ride of the Valkyries and Berlioz’

tries. A Family Concert, “Side-by- Side” with the Norwalk Youth Symphony will feature a performance of Saint-Saens Carnival of the Animals and the winner of the NSO’s second annual concerto competition. “Carmen” in concert, will feature a performance by the Fairfield County Children’s Choir.

The Ridgefield Symphony Orchestra in performance

Symphonie Fantastique will be performed in the spring and the season closes with an allGershwin program featuring a performance of “Rhapsody in Blue” and the vocal stylings of Debbie Gravitte.

The Greater Bridgeport Symphony is about to begin its 68th season of performances, titled “Conducting The Future . . .” Five young conductors will each lead the orchestra for what they feel will be an extraordinary season of delights, beginning with performances by the amazing young pianist, Alexander Beyer, followed by cellist Allison Eldredge, pianist Andrew Armstrong, violinist Alexander Markov and piano and violin double threat, Anita Chen, all winners of their own Carlson Horn Young Instrumentalist Competitions. The audience will be asked to rate each conductor to help in hiring a new conductor for the 69th season.

The Norwalk Symphony’s 74th season is called “The Drive to Seventy-Five Season.”

As they approach their 75th anniversary, the programming will reflect their goal to become “meaningfully integrated into the lives of the communities they serve.” The season will offer collaborations with many local performing groups including “Mahler One” with guest performances by the New Canaan High School band and a Messiah SingAlong and Holiday Extravaganza with The Norwalk Symphony is guest performances celebrating their 75th anniversary with “The Drive by the Gospel Choir to Seventy-Five Season” of the Pivot Minis-

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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CONTEMPORARY CULTURE//MAGAZINE

The Greenwich Symphony, currently in its 53rd season, is a fully professional orchestra of 85 musicians. Each season it presents five classical music concerts, each featuring an exciting guest soloist. It also provides three free Young People’s concerts during each school year, which are attended by 6,000 students in grades 2-7 in Greenwich public and independent schools.

The musical offerings of the New Haven Symphony Orchestra’s 2013-2014 Season are rich in diversity, combining the familiar with the unfamiliar alongside the new. THE NHSO Classic series highlights Tchaikovsky

Jerry Steichen, Conductor with the New Haven Symphony Orchestra.

Triumphant, at Norwalk Concert Hall, featuring songs by The Fairfield County Chorale and Tchaikovsky’s Symphony No.5. Their performances at Shelton Intermediate include, The Great American Songbook, featuring Conductor Todd Ellison and Debbie Gravitte, vocalist; Holiday Extravaganza-A Mensch’s Christmas; and The Emerald Isle, celebrating St. Patrick’s Day. Go to FCBuzz.org to find great music…and anything else 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!

Photographs: Regina Madwed, www.capitolphotointeractive.com

Dr. Nabil Atweh (left) and Auxiliary Board President Ulla Atweh.

BH Foundation President Stephen Jakab, UI William Murphy, BH President and CEO Bill Jennings, UI Raymond Dube, Anthony J. Vallillo and John Prete.

Bridgeport Hospital Auxiliary Spring Honors United Illuminating Company For Leadership Support

Board Members Amparo Castillo, Nicole Chiravuri and Marlene Fischer with Dr. Nancy Amberson and Dr. Amy Weinrib.

Bridgeport Hospital Auxiliary Spring honored the United Illuminating Company for its leadership supporting burn and critical care at The Connecticut Burn Center at Bridgeport Hospital.

T

he Center is the only burn unit in Connecticut and one of only 54 verified Burn Centers in the U.S. It treats approximately 1000 inpatients and outpatients annually.

This elegant evening at Birchwood Country Club in Westport, Connecticut benefited the all volunteer Auxiliary’s renovation of the ambulatory surgery unit at Bridgeport Hospital, SurgEase. Highlights of the project include two Pediatrics Areas: an interactive area as well as an area that is sensory sensitive and specifically designed for the over 1000 special needs children that visit SurgEase annually.

Gala proceeds will fund this important project as well as other Auxiliary programs and initiatives like pediatric obesity prevention, assisted technology for geriatrics, the Dr. Tom Kennedy Toy Chest and nursing scholarships. You can learn more about the Auxiliary at www.bhaux.com.

MaryEllen Kosturko and Dr. Mary Pronovost.

Karen and Collin Baron.

Lyn Salsgiver, Dr. Harry Sauer LynJennifer Salsgiver, Dr. Harry and Wilcox Sauer and Jennifer Wilcox.

Dr. Nabil Atweh, Dr. Jairo Castillo and Amparo Castillo.

Left to right: Dr. Anke Ott-Young, Dr. Lisa Caramico, Samantha Regina, Child Life Specialist for Surgease.

Venü Magazine’s Matthew Sturtevant and Gala Thomas Co-Chairs Robert Marlene Tracey with Ileneand Feldman andFischer Dr. and Dr. Harold and Kathleen Sauer.

Harvey Bluestein.

Venü Magazine’s Matthew Sturtevant and Tracey Thomas Venü Magazine’s Sturtevant and Tracey Thomas with Ilene Feldman Matthew and Dr. Harvey Bluestein. with Ilene Feldman and Dr. Harvey Bluestein.

CONTEMPORARY CULTURE//MAGAZINE Benjamin Levine and Tucker Gauvain

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events + gatherings

Florence Griswold Museum Presents Retropective On Pivotal Figure In American Abstract Art October 4, 2013–January 26, 2014

Harry Holtzman and American Abstraction T

he Florence Griswold Museum in Old Lyme, Connecticut, presents Harry Holtzman and American Abstraction, the first retrospective of abstract painter, teacher, and writer Harry Holtzman (1912–1987) from October 4, 2013 through January 26, 2014. Drawing from the holdings of the Holtzman Trust, public collections, and private lenders, the exhibition brings new attention to the role Holtzman played in shaping abstract art in America from the 1920s to the 1980s. A close friend and colleague of Piet Mondrian, Holtzman is best known for helping to bring the originator of Neoplasticism to America. This exhibition of roughly 60 paintings, sculptures, and drawings features many works not exhibited since Holtzman’s death and highlights the different facets of his role as perennial stalwart of the New York avant garde.

Harry Holtzman and American Abstraction examines Holtzman’s career from the 1920s to the 1980s, charting three distinct periods of abstraction in his work. The first section of the exhibition, Early Abstractions: 1928-1934, examines the years when Holtzman was a prolific young artist attempting to find his artistic voice. Born and raised in Brooklyn, Holtzman enrolled in the Art Students League in New York in 1928. There, he began experimenting with a variety of styles – making copies after Cézanne, invoking Regionalist figures in scenes from a Harlem speakeasy, referencing Cubist collage in ink drawings over existing text – while

reading the freshest ideas of the day. Thriving under the tutelage of the German abstract painter Hans Hofmann from 1932-1935, Holtzman developed a commitment to expressiveness and color while beginning to search for a new direction in his art. He found one in 1934 when he encountered Piet Mondrian’s work. Fascinated by those paintings he began tentative experiments with gridded, geometric abstraction.

Holtzman was dedicated to the cause of the Abstract movement, which before the 1930s was seen as an exclusively European art movement. He was a founding member of American Abstract Artists, a group determined to promote abstraction to a reluctant American audience, was involved with the Eighth Street Artists Club in the 1950s, which served as an incubator for Abstract Expressionism, and taught for three decades at Brooklyn College alongside an impressive roster of abstract and conceptual artists. At every stage of his career, Harry Holtzman pursued new ideas and philosophies through the language of abstraction. Where traditional histories of American Modernism treated Neoplastic painting as a passing fad, Holtzman’s work stands testament to its lasting importance to a dedicated circle of artists who advanced the embrace of Modernism in this country. In this, it is possible to discern the larger story of abstraction in America.

The Florence Griswold Museum is located at 96 Lyme Street, Old Lyme, CT, exit 70 off I-95 and is open Tuesday through Saturday from 10am to 5pm and Sunday 1 to 5pm.

Admission is $10 for adults, $9 for seniors, $8 students, and free to children 12 and under. For more information, visit www.FlorenceGriswoldMuseum.org or call 860-434-5542 x 111.

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Dr Judith Rodin, MAS honoree and president of The Rockefeller Foundation and David Rockefeller, Jr., Chair of The Rockefeller Foundation and The Municipal Art Society honoree.

Photographs: Angela Jimenez Photography

First Deputy Mayor of New York City, Patricia E. Harris, David Rockefeller, Jr., Chair of The Rockefeller Foundation and The Municipal Art Society honoree; Eugenie Birch, Municipal Art Society Chair and Vin Cipolla, President of The Municipal Art Society.

The Municipal Art Society of New York Hosts Annual 2013 Jacqueline Kennedy Onassis Medal Gala Dr. Judith Rudin, President, and David Rockefeller, Jr., Board Chair, The Rockefeller Foundation Receive MAS’s Highest Honor

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Enid Beal, Regan Gammon, and Celine McDonald.

undreds of members of New York City’s philanthropic, business and preservation communities gathered in Vanderbilt Hall at Grand Central Terminal, on the occasion of its centennial year, for The 2013 Jacqueline Kennedy Onassis Medal Gala hosted by of The Municipal Art Society of New York (MAS). Emceed by Vin Cipolla, president of the Municipal Art Society, the event raised over $1,100,000 to support the organization in its mission to advocate for urban planning, preservation and design that makes New York more livable and resilient. President Bill Clinton served as the evening’s Honorary Chair and Caroline Kennedy served as the Honorary Co-Chair.

Frank Sanchis, Michelle Peterson and Julio Peterson, Municipal Art Society Board member.

Shaun Donovan, United States Secretary of Housing and Urban Development and Eugenie Birch, The Municipal Art Society Board Chair.

Shaun Donovan, United States Secretary of Housing and Urban Development and Dr. Judith Rodin, MAS honoree and president of The Rockefeller Foundation.

Celine McDonald, Julio Peterson, Municipal Art Society Board member, Michelle Peterson and Vin Cipolla, president of MAS.

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events + gatherings

Beechwood Arts Culinary + Arts 2.0 Show: “Summer Memory”. There’s a buzz about Culinary+Art at Blue Lemon in Westport –the creative power of a high-end art gallery combined with the culinary delight of a top restaurant. Events are packed with artists and arts appreciators! Best of all, artwork is selling, changing perceptions about high-end art and restaurants as separate experiences.The Blue Lemon was packed for the opening of the second show, drawing artists and arts appreciators from all over Fairfield County. Featured Artists: Frank Foster Post, Sharon Cavagnolo, Mary Elizabeth Peterson, Sandy Garnett, Nancy Moore, Heidi Lewis Coleman, Carla Wales, Elisa Keogh, Gordon Skinner, Joan Wheeler, Brad Cronk, Betty Ball, Stephanie Joyce, Karen Sorensen.

Artist Nancy Moore gives an engaging talk at Blue-Lemon

Meet-the-Artist Lunches: Patrons love hearing behind the scenes tidbits from artists and seeing new work and work in progress and having the opportunity to ask questions – all while savoring a gourmet brunch from Blue Lemon master chef Bryan Malcarney.

Blue Lemon entices with a special Prix Fixe menu of $19.95 that includes a mimosa, appetizer and entrée.

• July 14 featured talks by Gordon Skinner, Mary Elizabeth Peterson & Nancy Moore.

• August 10 featured talks by Frank Foster Post & Heidi Lewis-Coleman

Facebook: Beechwood Arts Website: www.BeechwoodArts.org

BEECHWOOD ARTS

Intimate. Innovative. Immersive.

Welcome to our page! Beechwood Arts is a non-profit art and innovation organization whose mission is to expand the idea of how the arts are created and experienced. Our events and programs involve collaboration across all artistic genres and generations, pushing the boundaries of what the arts experience can be.

Our “Arts Immersion Salons” create the intimacy of the salons of old, combined with cutting edge elements for an immersive, multi-sensory yet intimate community experience around a different theme for each salon. Artists, designers, musicians, performers, culinary artists, filmmakers, arts appreciators and supporters all work in collaboration toward innovative, experimental, new ways to create and experience the arts.

Our “Salons Around the World” share this vibrant intimacy and interaction real-time with other “satellite salons” happening simultaneously around the world, using cutting edge technology. Our “Innovation Labs & Workshops” find new ways to approach learning, performing, creating, visioning and collaborating. Our “Culinary+Arts” pairs gallery quality art with high level culinary experiences, by stimulating multiple senses at one time.

Guests under the Copper Beech

(Tom Berntsen’s) spiral pathway under the old Copper Beech and create a miniature version of “home” from clay to be placed with the 2,000 installed under the tree by artist (Denise Minnerly).

Bob Keating’s majestic, organic steel and quartz sculptures inspired exploration and created an air of both excitement and introspection. nside, the artwork flowed with the theme, Bob Keating’s organic ranging from Cambosteel and quartz sculpture dian images (Brad “Quartz Destination” Cronk), symbolic, ancient-inspired paintings (Marjorie Guyon), connections between health and plants (Nash Hyon), heart and mind (Joan Wheeler), family connections and identity (Sandy Garnett) & detailed, excavation-like ink paintings (Sharon Cavagnolo) – along with the exquisite work of master painter Alberta Cifolelli that draws one

Font: Carnegie

– Jeanine Esposito & Frederic Chiu

• September 14 featured talks by Elisa Keogh, Stephanie Joyce & Carla Wales Production still from Lani Asuncion and Lisa Seidenberg’s contemporary film.

Closing Party TBD week of Sept 29 – check the website www.BeechwoodArts.org for details.

“Vibrations – Body/Mind/Heart” A walk-through of a History-making Arts Immersion Salon. As with all our Salons, it took the collaboration of over 30 people to produce this immersive experience including 8 artists, 5 sculptors, 2 musicians, 3 filmmakers, 2 chefs, a nutritionist, a tea-maker, a piano company, a streaming videographer, a photographer, 2 experts in bio feedback and neuro feedback and even an expert in bioelectrography! Why history making? The whole salon was streamed live to satellite salons around the globe – Morocco, New Jersey and Paris and, even more ground-breaking, guests from remote salons were able to meet and interact via Skype and mounted iPads!In addition, neuro and biofeedback experts from Cincinnati (Tom Collura and Kathleen Riley) measured a collective audience “Heart and Mind” response to the music by projecting brain

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Audience wired for Heart and Mind.

waves and heart rates of audience members in real-time during the performance – a first with a live audience!

For the “Body”, bioelectrographer Hugo Higuera measured bioelectric auras of audience members before and after the performance – also one for the history books.

A walk-through of an Arts Immersion Salon Outside, guests were greeted by stunning raku sentries (Rosalind Shaffer), invited to walk

in with color and movement. In the screening room, we screened exciting, contemporary films by Lani Asuncion and Lisa Seidenberg.

Guests heard a most unusual concert: Frederic Chiu playing pieces from his new recording “Hymns and Dervishes”, music by Gurdjieff/de Hartmann. Each piece required a special tuning based on Middle Eastern traditions – done live using a special hybrid piano: Yamaha’s AvantGrand N3Throughout the concert, the collective audience “Heart and Mind” response to the music was projected over the piano and a panel discussion followed.

The reception offered a collaborative menu representing Power Foods for either “Body”, “Mind” or “Heart” by chefs Raul Restrepo and Daniel Lanzilotta, and clinical nutritionist Geri Zlatcoff. Three delicious teas for Body, Mind and Heart were offered by Arogyo Teas of Westport.

Jared Hardell and Amy Gallo.

Photographs by Howard Margules, Steve Podeszwa and Olwen Logan From left to right, Chris Arnold, David Graybill, Lauren Kilian Graybill, and Amy Arnold.

Left to right, John Johnson, husband of College Board of Trustees Chairman, Diana Atwood Johnson, shares a smile with College Board of Trustees member Tracey Jacey and her husband Paul.

Mundy Hepburn’s dramatic light sculptures added an exotic air to the tent

All smiles on the dance floor.

Jan Cummings Good (left), principal in the Chesterbased graphic design firm Cummings & Good, and Patrice Nelson enjoying the evening.

Lyme Academy College Captures The Style and Spice of Miami On Saturday, June 1, Lyme Academy College of Fine Arts hosted almost 400 guests from throughout the region for a memorable evening at the College’s annual gala for student scholarships, this year titled, ArtsBall Miami: Art & Attitude.

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his sensational celebration, inspired by the spicy culture and glamorous style of Miami, was held under a series of lavishly decorated tents where guests enjoyed cocktails, dinner, dancing, and a silent auction offering a diverse array of art and non-art items. Major sponsors of the event were Essex Savings Bank and Essex Financial Services, Inc., Outthink, Venü Magazine, The Herb Chambers Companies, Essex Meadows Lifecare Retirement Community, The Gallery at Firehouse Square, Sennheiser Electronic Corporation and Shepherd, Finkelman, Miller & Shah LLP.

Jeff Cooley, owner of The Cooley Gallery in Old Lyme, strikes a pose with his wife Betsey.

Erica Tannen (center), owner and publisher of The-e-List, stands with Sara Qua (left) and Kitty Stalsburg, both from High Hopes Therapeutic Riding in Old Lyme.

ArtsBall Miami Chair, Patricia Spratt, who is President and owner of Patricia Spratt for the Home.

Jim Fitzpatrick, owner of the Cuckoo’s Nest in Old Saybrook, and his wife, realtor Lucretia Bingham, are ready for the sun.

From left to right, College alumna Brenda Baker, College President Dr. Scott Colley with his wife Christine Colley, and Vice President of Development Fritz Jellinghaus.

College alumnus and sculptor Bruce Wallace and his wife Joyce evoked the Miami color theme.

From left to right, Jan Ayer, owner of the Freash Ayer Gallery in Old Lyme joins Linda Improte, and Lisa Rhoades.

From left to right, Jan Ayer, owner of the Fresh Ayer Gallery in Old Lyme, joins Linda Improte and Lisa Rhoades.

CONTEMPORARY CULTURE//MAGAZINE The foyer of the College’s Chandler Center was transformed to a Miami scene.

Dancers from the Fred Astaire Studio in Old Saybrook gave a show-stopping salsa dancing performance.

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events + gatherings

George D’Angelo Owner Stamford Subaru and Kia and had cars on display, Steve Samela, owner Steven J Samela CPA, Robert Schrader, Vice President, Senior Loan Officer First Bank of Greenwich

Limo Marcal (Builder), Tony Goncalves 42 Restaurant & Frank Gaudio

The First Bank of Greenwich B2B Launch at The JHouse, Greenwich was a Huge Success – Over 380 Attendees The event was sponsored by First Bank of Greenwich, JHouse and SERENDIPITY Magazine Jim Savage, First Bank of Greenwich & Glen Vancura owner Dave’s Cycle & Fitness & Guests

B2B is comprised of a unique community of small businesses, birthed with the help of The First Bank of Greenwich Advisory Board. B2B=Where Businesses Go to Grow, hand picks its members whose loyalty to refer, exchange ideas and offer marketing tips within the group is key. Frank Gaudio, SVP at First Bank of Greenwich, the brain-child of B2B along with Julia Chiappetta, Business Development Consultant produced this launch event. The Rock N’ Roll event featured four Bands: The Headrattlers, Time Machine, 3 Car Garage & Norm Dodge. The entire banquet level of the JHouse, was transformed into a stylish, chic, private event, with a tent out to the pool and its VIP Cabanas. The invitation only event featured: Mercedes Benz of Greenwich, Stamford Subaru and Kia parked their luxury vehicles alongside the tent for viewing, Dave’s Cycle & Fitness who displayed high-performance bikes, Mt. Kisco Seafood offered a delicious, popular Sushi & Raw Bar. JHouse presented 4 themed Food Stations and Vollara Alkaline Living Water Units provided all drinking the water , thus eliminating plastics. Exhibitors, all of whom offered free samples were: 12 Per Cent Beer, Brescome Barton Scotch, Chiappetta Olive Oil, Pomodoro Trattoria, Green & Tonic, Greenwich Pharmacy, Michael Skurnik Importers, PATCH, Pacqui Tequila, VENÜ Magazine, Broken Shed Vodka, Pool Vodka, Products on Demand, Sidney Frank Importers of Jaigermeister & American Harvest Vodka, Still the One Vodka, William Gran & Sons Milagro Tequila and Randy’s Wines and Spirits

Frank Gaudio, SVP First Bank of Greenwich, and Julie Fareri

Lee Milazzo, owner Samuel Owen Gallery, and Jeff Pandolfino, owner Green & Tonic

Frank Gaudio, John and Brenda Fareri

Frank Rogers and The Headrattlers Band

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Denise and Peter Rosato, owners of The Relocation Group, John Howland, President First Bank of Greenwich, Griff Harris, Owner Griffith E Harris Insurance, Robert Sisca, Law Offices Robert V Sisca.

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events + gatherings

Greenwich Historical Society Celebrates Centenary of 1913 Armory Show Exhibition Highlights The Critical Role Cos Cob Artists Played In Introducing The Armory Show – Several Accomplished Yet Virtually Unknown Artisits Spotlighted

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auded as one of the most influential events in the history of American art, The International Exhibition of Modern Art in 1913—popularly known as the Armory Show—was the first large exhibition of modern art in the United States, and one that introduced astonished Americans to European ‘avant-garde’ artists such as Pablo Picasso, Henri Matisse and Paul Cézanne. Much has been written about the show, yet no exhibition to date has explored the direct effect that the Armory Show had on artists and their artistic production. But the Greenwich Historical Society is about to change that.

Beginning October 9, the Greenwich Historical Society will present “The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show,” which for the first time shows the direct impact of the Armory Show on the Cos Cob art colony artists.

A perfect complement to larger exhibitions in the metropolitan New York area inspired by the centennial of the Armory Show, this small yet critical exhibition at the Greenwich Historical Society highlights the extensive involvement

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of Cos Cob artists, such as Elmer MacRae and Henry Fitch Taylor, in producing the Armory Show, and brings to public attention several of the accomplished Cos Cob artists whose work has been rarely exhibited until now.

“This is the first exhibition to illustrate the Armory Show’s direct influence on a group of artists, specifically the Cos Cob art colony,” says Valerie Japanese Iris (1914) by Elmer Ann Leeds, curaLivingston MacRae. Collection of the tor of “The New Greenwich Historical Society.

Spirit.” “Viewers will be able to compare artists’ works from before and after the Armory Show and see to what degree they each embraced modernism as the movement became assimilated into

the mainstream of American art.”

The tightly focused exhibition is comprised of 40 works of art by 12 Cos Cob artists, including several works that were shown in the 1913 Armory Show, along with archival material and ephemera from the Greenwich Historical Society and private and museum collections. In addition to MacRae and Taylor, the show features artists D. Putnam Brinley, Childe Hassam, Ernest Lawson, Carolyn C. Mase, Frank A. Nankivell, Allen Tucker, J. Alden Twachtman, and J. Alden Weir. It also includes influential pioneering Impressionist artists, Theodore Robinson and John H. Twachtman, whose work was included in the Armory Show, but who had died years earlier.

The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show, runs from October 9, 2013 through January 12, 2014, at the Greenwich Historical Society’s Bush-Holley House and Museum Gallery. Hours are Wednesday through Sunday, from noon to 4 pm. For further information, please call (203) 869-6899 or visit www.greenwichhistory.org.

The power of place.

On a quiet campus in an extraordinarily beautiful setting, our students can focus on learning the discipline and techniques of representational art that free them to express their own creativity with confidence. Join us and see how powerful the experience can be.

Upcoming free exhibitions, open to the public. Monday – Saturday, 10am – 4pm

Alumni Exhibition 2013 August 26 – September 28 Opening Reception: Friday, September 6 • 6pm – 8pm

Tim O’Brien: A Retrospective by the illustrator of The Hunger Games trilogy October 11 – January 11, 2014 Opening Reception: Friday, October 11 • 6pm – 8pm

Call 860.434.5232 or visit lymeacademy.edu for information on our nationally-accredited college offering Bachelor of Fine Arts degrees as well as three-year and post-baccalaureate certificates, continuing education and pre-college courses, and community programs.

Like us on Facebook | Lyme Academy College of Fine Arts 860.434.5232 | lymeacademy.edu 84 Lyme Street Old Lyme, CT 06371

Follow us on Twitter: @LymeAcademy

Travel + Leisure: Destination NEPAL

Clockwise from photo at right: A $15 cataract operation gave this Nepali villager his sight back; a monk conducts a visual acuity test; team members (l-r) Daniel Byers, photographer, Sanjay Kedhar, M.D., Scott Hamilton, expedition leader, Jeff Blumenfeld (author), communications director, Christopher Teng, M.D., and Travis Jenkins, M.D.; patients wait to be examined by doctors from New York Eye and Ear Infirmary; with the exception of power lines, villages in Lower Mustang remain little changed for hundreds of years.

The Gift of Sight

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Traveling to Nepal With a Clear Vision

by Jeff Blumenfeld

t was one of the scariest moments of my life. During a humanitarian medical mission to Nepal last May, I decide to remain in the Toyota 4WD while our ophthalmologists from the New York Eye and Ear Infirmary cross a footbridge across the raging Kali Gandaki river outside Jomsom in northwestern Nepal. I signed on as communications director of the 2013 Gift of Sight Expedition for sponsors Dooley Intermed Foundation, Operation Restore Vision and Sherpa Adventure Gear.

With cases of ophthalmic equipment under the hatch, I accompany Mim, our driver, to the edge of the river. He joins the driver of another 4WD as they debate the safest point to cross. Up and down the riverbank they walk, throwing rocks to measure depth (which doesn’t work by the way).

The other truck starts first and struggles across. Then it’s our turn.

Quietly, I release my seat belt. I move my iPhone and passport into a waterproof pouch. I roll up the passenger window to stay dry.

Mim speaks about as much English as I speak Nepali. There’s no turning back. He guns the engine and midway across we’re bogged down, water rushing over the hood, covering the windshield wipers.

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Images of being swept downriver create a rush of adrenaline.

He downshifts, guns the engine, and we roar across to the other side, layers of caked dust now gone as if we drove through some ferocious car wash.

Delivering quality eyecare to Third World countries such as Nepal, particularly in remote regions connected by little more than donkey trails, is a true adventure and involves a caravan full of ophthalmic equipment and pharmaceuticals, personal gear, our own cook and assistants.

Stamford resident Scott Hamilton, a director of The Explorers Club, last organized a Gift of Sight Expedition to Nepal in 2011. His medical mission to upper Mustang (pronounced MOO-stang) was featured in the documentary “Visions of Mustang” (Skyship Films).

Tall and lanky, Hamilton, 59, speaks passionately about remote eyecare, gesturing wildly with his hands as he gets worked up. Hamilton has been coming to Nepal for 20 years; this was his 12th visit. He calls the scenery here, “a symphony for the eyes.”

A certified ophthalmic assistant, Hamilton assembled a medical dream team from New York Eye and Ear Infirmary: Sanjay Kedhar,

Photographs by Daniel Byers/SkyshipFilms.com

question marks. That craving for a chef salad will have to wait until I return.

There is no OSHA here mandating safety. If the hotel room phone has a steady ring, don’t answer. It’s likely a power surge somewhere up the line ready to zap.

There are strange wires in the room, phantom switches, and the plug sparks when I charge my phone. There are also lots of sharp edges. Best advice? Take cuts seriously and disinfect immediately.

Finally, Scott advises, “never ever pet a dog in Nepal. Don’t even think about it lest you contract rabies. Don’t go near the monkeys either - they’re mean little buggers. Back away and let them think they’re the boss. It’s not a fair fight; they have rabies, you don’t.”

Spreading the Word

M.D., 39, uveitis and cornea specialist; Christopher Teng, M.D., 37, glaucoma specialist; and Travis Jenkins, M.D., 30, a third year resident.

It’s somewhat comforting traveling with these medical professionals. For my tender western stomach, Nepal offers a quick ride on the Lomotil express. I learn food hereabouts isn’t necessarily praised for being delicious or wholesome – cleanliness is what matters most.

The body is under attack from all sides and the hands are deadly weapons, threatening to transmit pathogens from tables, door handles, sinks to the nearest bodily portal. Don’t bite your nails, don’t touch your face in Nepal. Travel with a king-sized bottle of Purell.

“You want to be careful that what you eat hasn’t been blessed by flies who’ve just danced on yak dung,” Hamilton jokes, except I realize it’s not a joke.

Tap water is liquid death, I’m advised. Shower with the mouth closed, head down, and don’t trust bottled water unless it’s safety sealed and you’ve checked the cap by holding it upside down and squeezing it.

Food has to be piping hot. Toast is fine. A big open bowl of yogurt not so good. A chicken salad sandwich here? It’s like eating a plate of

For months a group of young trilingual Buddhist monks have placed billboards and posters and traveled door to door to let people know about the Dooley Intermed eye camps. They created cartoon posters for adults who can’t read. In one small village, a wizened old man travels up and down the street announcing the clinic - a modern-day town crier.

“Never underestimate monk power,” says Hamilton. “They are a ferocious eyecare marketing machine.”

Our first eye camp was in Tukuche - a small village that looks like a fairy tale mirage. At 8,500 feet it is an oasis of fertility in a sea of verticality. Waiting for us are men and women, most elderly, but youngsters too, with a number of women carrying small children on their backs. One mother is nursing her infant on the grass. They linger outside the concrete brick building squatting in the unique style we witnessed along the countryside during our arduous seven-hour drive to the village, all the while being Maytagged over rough roads.

An assembly line of sorts is formed at this and every stop. First is a visual acuity exam run by the monks, then an eye health exam, followed by refraction if necessary. Since illiteracy is as high as 50 percent in Nepal, reading glasses are instead called “sewing” glasses.

Time and again, I see the eyes of Nepali villagers light up as they can read the bottom line of a hand-held test card. Even a pair of readers can profoundly improve the quality of life. I know how they feel: I’m lost without mine. >

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Travel + Leisure: Destination NEPAL

Over 700 Nepali villagers of all ages were examined by the Gift of Sight team from the Dooley Intermed Foundation and Operation Restore Vision; the eyes of Nepali villagers light up when new glasses allow them to read or sew again; the hardship of life in Lower Mustang is etched on the face of this woman; Travis Jenkins, M.D., conducts an examination – the red line on his forehead is a ceremonial tikka made with red powder.

Final stop is a check of vital signs and basic healthcare advice by a volunteer nurse and UK foundation doctor who joined the project.

Within the first hour in Tukuche, the Operation Restore Vision expeditionary ophthalmologists saw serious conditions that rarely progress this far in the States: mature cataracts in both eyes, severe glaucoma, embedded foreign objects, and preventable blindness.

Even a case of TB was discovered. There is no shortage of suffering.

The most serious were selected for surgery which was performed a few days later, requiring an overnight stay in a community center.

Now on the final day of the mission, surgery patients sit in a semicircle on hard red plastic chairs as ophthalmologists from the Himalayan Eye Hospital and New York Eye and Ear, one by one, remove the bandages, then check each eye with a portable slit lamp.

Middle aged and elderly alike, Nepalis are stoic people. They look stunned as if realizing for the first time what just happened. They’ve been through much these past 24 hours.

Soon they begin to loosen up. Smiles break out as they look around and blink for a now clear view of the stark, pink-walled assembly hall and fields of barley and apple trees outside.

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Through a translator, a 50-year-old Buddhist nun named Dhawa Sanymo Gurung explains that her life at Muktinah, the nearby World Heritage site, was difficult with only one good eye. Her other eye was clouded by a mature cataract, reducing vision to just six meters.

She came to the Dooley Intermed eye camp by public bus, then on the back of a motorcycle the last 30 minutes from Jomsom, driven by her younger brother.

When asked how she’s faring, I get a thumbs up and a hearty “ramro cha,” which a Tibetan monks translates as “it’s very good.”

Her smile reaches from here to India.

Eye drops and sunglasses are dispensed, and soup is served in steel bowls - a ground wheat, flour and salt mix that our own Gift of Sight cooks have served us.

The visual acuity tests and refraction continue for additional villagers. One man, who is illiterate, walks in and is asked to read a card with symbols, not letters – a circle, a square, an apple. More grins all around as a simple $1.50 pair of readers will now allow him to do close-up work.

Photographs by Daniel Byers/SkyshipFilms.com

Learn more at: www.dooleyintermed.org, www.sherpaadventuregear. com, www.ismission.org/operation-restore-vision

He walks away wearing them. A monk runs after him to explain the “magic glasses” are only for near vision, not far.

While eyecare is our main mission, we’re doing what we can for other ailments while here. Just arriving is a 44-year-old Tibetan refugee from the nearby Tserog camp. James Conole, 28, our foundation doctor and oncologist from Leeds, UK, learns the man was told he needed abdominal surgery but can’t afford the 30,000 rupees (about $345) for the operation.

Hamilton and others take up a pool and offer to pay if the monks working with us from the Pema Ts’al Sakya Monastery in Pokhara can transport the refugee to the nearest hospital. (Two months later the patient has colon surgery and is reported to be pain free).

Later in the day the Gift of Sight team was honored at a community celebration presided by village elders. Ceremonial white silk scarves “katas” - were presented to the doctors and monks. They wished us all long life, good health and prosperity.

The remote eye camps may have closed, but this adventure in expeditonary medicine continues with the first leg of our journey back to Kathmandu.

Conveniently, the Marco Polo Lodge is located across the street from the Jomsom airport. In fact, the entire town lines the runway.

There are solitary cows and donkeys walking down the street, two dogs are sleeping on the side of the road, and a group of devout Buddhists are celebrating the birth, enlightenment, and death of Buddha.

Burning juniper clouds the air, as prayer flags flutter in the cool breeze, each flag “activated” by a Buddhist priest chanting prayers.

Really Flying

Our 19-passenger Twin Otter appears from out of the wind, makes an impossibly sharp left banking turn and roars onto the tarmac.

We’re thrilled to see the plane arrive because it means we’ll now get our day back and not have to endure seven hours in a Toyota being jossled over the boulder-strewn road to Pokhara.

Scott Hamilton and I are belted into a bench seat in the second row taking photos out the window of both Annapurna and Dhaulagiri as we fly well below their peaks through a mountain pass.

We enjoy a ringside seat just behind the open cockpit, pleased to see they have a GPS, altimeter, and other modern avionics. The co-pilot is even wearing driving gloves, which I take as a good sign.

I smile when a Nepali member of our team taps the pilot on the shoulder and asks to take a scenic photo over his shoulder. You have to love flying in Nepal. Try that on the Delta Shuttle and you get hauled away.

This is flying as it used to be, just a step above barnstorming.

As the pilot and co-pilot make banking turns and steeply dive into Pokhara Airport as if on a giant slide, I’m thinking how much these guys are really flying. Apparently, in the Himalayas, an autopilot is for wimps.

From Pokhara, the itinerary calls for a quick flight to Kathmandu, 4-1/2 hours to Doha, Qatar, then 13 hours to JFK.

We touched the lives of hundreds of Nepalis through the Gift of Sight project. The critical need to provide quality eyecare in this part of the Third World isn’t hard to see.

About the Author: Jeff Blumenfeld, a frequent contributor to these pages, is editor of ExpeditionNews.com, and author of the adventure sponsorship book,“You Want to Go Where?

How to Get Someone to Pay for the Trip of Your Dreams” (Skyhorse Publishing, 2009).

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STYLE: JEWELRY

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STYLE: ARHITECTURE

THE ART OF CLASSICAL DETAILS Theory, Design, and Craftsmanship

BY PHILLIP JAMES DODD

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rowing up in America, our home sweet home image, is one that is a clear reference to the past – the way we lived and the houses we built within the landscape of American mid 19th Century.

The influence of the Beaux Arts movement, and the implementation of the Classical orders had a profound impact on Architecture in America, and the houses we built”, writes New York City decorator David Easton, in the foreword to my new book The Art of Classical Details (published by Images, $70).

But how often have we heard “but you just can’t do that nowadays because there aren’t the people with those sorts of skills anymore.”

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Anyone could be forgiven for thinking that the crafts in the early twenty first century are in a state of terminal decline, writes Hugh Petter, just one of the many acclaimed and influential architects, scholars and craftsmen that has contributed towards the book, and helped me to addresses this urban myth.

You see, for almost twenty years now, classical architecture has been quietly experiencing a resurgence due to interest and demand from discerning homeowners and architects who wish to enhance the beauty of their homes and designs, and serve as modern-day patrons of high-end craft and the decorative arts. In an age of prefabrication and shortcuts, there still exists an every

growing number of craftsmen and artisans dedicated to maintaining the decorative art tradition.

“Architectural ornament is my passion”, notes Foster Reeve, whose Brooklyn based company pursues the craft of traditional plasterwork.

“Working with architects and designers to create beautiful works of art that adorn buildings is a challenge that is as rewarding as it is demanding. The process of developing the correct ornamentation for a given house or room is very subtle and complex. The team will often consist of the architect, designer and home owner, with one taking the principal role of communicating with the artist – whether the commission be a single moulding or an entire ceiling.” >

Page left: Author Phillip James Dodd. This page: The entrance hall of this Palm Beach Italianate style home includes intricate carved stone and a bronze and glass door - Smith Architectural Group.

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STYLE: ARHITECTURE

a successful building requires three components – a patron, an architect, and a team of gifted craftsmen – because, despite what they may want you to believe, architects do not construct their designs themselves.

Clockwise from above: Craftsmen under-cutting the egg-and-dart molding on a ornate plaster crown, that includes acanthus brackets and rosettes set within the coffers - Foster Reeve & Associates; a bespoke wood fireplace that includes Ionic columns, and chinoiserie-inspired motifs that complement the 18th-century Chinese wallpaper - Allan Greenberg Architect; a newly constructed English Baroque Manor House located in the Virginia Countryside - Franck & Lohsen Architects.

The great American historian, and champion for all things Classical, Henry Hope Reed, once told me that a successful building requires three components – a patron, an architect, and a team of gifted craftsmen – because, despite what they may want you to believe, architects do not construct their designs themselves. Straddling this line between the theoretical and the practical, architecture is unique amongst the arts as it requires not only knowledge of theory and practice, but also an understanding and appreciation of the craft of building.

The Art of Classical Details recognizes these differing components, as it takes a close-up look at some of the finest examples of contemporary classically designed homes, from both sides of the Atlantic, focussing on their use of fine materials, intricate detailing and exquisite craftsmanship. The book consists of two chapters – The Essays, each one written by one of today’s most

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sought after architects, scholars and craftsmen - and The Projects, which showcases 25 classically designed homes by some of the most recognizable and celebrated architects in the United States and Great Britain. Starting with the foreword, David Easton again sets the tone, writing that “the architects and craftsmen that Phillip has featured in this wonderful book, all have a love for classical detail, and it is proudly displayed in their work. The art is alive and well as can be attested to these pages. I know anyone who has a love of architecture, will see in these pages the finesse that is applied to make all of these houses special. All the architects had to grapple with various problems, to fit our 21st Century requirements into a program, and in the same instance, use classical detailing to make it all work within a framework of a project. In that, lies the beauty of all their work”.

In the first of the essays English historian

Jeremy Musson continues, “the well judged employment of Classical detail in a new home has an additional significance that cannot be underestimated. It is an expression of an informed personal choice and an aesthetic statement of faith in civilised values and an evocation of the delight in the human senses – light and touch, the sensation of the warmth of the sun falling on stone. This is true of all the houses featured in this book. The hand crafted capital and cornice are symbols of love and optimism in a turbulent world. They are above all, things of simple beauty which speak of one well-tried and well-loved version of human dignity expressed in architecture.”

I’m proud to say that The Art of Classical Details, a labor of love for the past two years, demonstrates the timeless beauty of classicism, its relevance in today’s world, the role that superbly crafted details play in creating art, and a human dignity expressed through architecture.

WINE + SPIRITS

Ferrari Metodo Classico

Ferrari Metodo Classico: Italian Art of Living Established more than a century ago in northern Italy’s Trentino region, Ferrari has earned worldwide recognition as the premier producer of luxury

Metodo

Classico Trento DOC sparkling wines

F

or over 2,000 years, Italy has inspired culture, artistry and refined living the world over. And for over a century, Ferrari Metodo Classico Trento DOC has drawn inspiration from its unique Italian heritage to craft luxury sparkling wines made in the traditional French Methode Champenoise manner (Metodo Classico in Italian).

Today, Ferrari is a true incarnation of the Italian Art of Living, which embodies the Italian zest for impeccable elegance, style, innovation and a legendary passion for life that is a key to the Italian spirit.

Ferrari was established in northern Italy’s Trentino region in 1902

by Giulio Ferrari, who after studying in France returned to Trentino convinced that his native region’s terroir was ideal for growing Chardonnay grapes suitable for the production of world-class sparkling wines. A pioneer in the Italian wine industry, Giulio Ferrari was the first Italian winemaker to dedicate his vineyards almost entirely to Chardonnay. Ferrari’s best-known wines – Brut Metodo Classico Trento DOC, Perlé Metodo Classico Trento DOC and Giulio Ferrari Metodo Classico Trento DOC – are Blanc de Blancs, made from 100% Chardonnay and known for their remarkable delicacy and finesse.

By 1906, the awards had begun to roll and Ferrari was well on its way to producing what would become the most famous sparkling wine in Italy. In fact, Ferrari is a perennial 22-time winner of the Tre Bicchieri award, Italy’s highest wine accolade, with the most

recent honor going to the 2005 Ferrari Perlé Nero Metodo Classico Trento DOC bottling in 2012. In 1952, Giulio Ferrari, not having any children, chose friend and local merchant Bruno Lunelli as successor for his beloved business.

Remarkably, Ferrari has maintained its authentic roots as a familyrun company, and is now led by the 3rd generation of the Lunelli family. The four cousins at the helm, Alessandro, Camilla, Marcello and Matteo, are the proud descendants of Bruno Lunelli. Every generation since has continued Giulio Ferrari’s search for excellence, remained loyal to Trentino, and striven to refine Metodo Classico as a production method par excellence. These have always been, and will forever remain, the guiding principles behind the success of Ferrari.

Its legacy and uncompromising dedication to quality have established Ferrari as the favored toast of Italy. The wines provide the perfect accompaniment to the most significant moments in statesmanship, culture, artistry, fashion, and athletic achievement. Ferrari is proudly served at the Quirinale, the Home of the President of the Italian Republic, and was selected as the official toast to the 150th Anniversary of Italian unification. Italian athletes toast their victories with Ferrari. And amongst the ranks of cultures most celebrity glitterati, Ferrari has long been admired by Hollywood stars, at Oscar night parties and at the Venice Film Festival.

FERRARI METODO CLASSICO WINES

Imported by Palm Bay International, www.palmbay.com

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APPETITE: Redding RoadHouse

Written by Linda Kavanagh

The New Redding Roadhouse A Genuine Dining & Gathering Destination Change is good. It brings with it new ideas, growth, and hope for the future. For the Redding Roadhouse it means a fresh start. Set among the scenic country roads of northern Fairfield County CT, the original dwelling was built circa 1840 and had functioned as an inn, meeting house and a tavern up until the Redding Roadhouse established itself in the early 1980s as a casual tap room and restaurant. A true neighborhood haunt, it was regularly patronized by locals and weekend road-trippers and motorcyclists as a country outing pit stop.

Today, Redding Roadhouse is more than just a local watering hole. New owners have taken this diamond in the rough and transformed it into a genuine dining and gathering destination befitting that of a stylish and sophisticated town, while maintaining its unpretentious and intimate appeal. No worries, the rickety floors still squeak below your feet, the stone fireplaces are still blazing, and the train set continues to hum along the perimeter of the tap room walls.

But, it’s amazing what a fresh coat of paint and a new outlook can accomplish.

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The talent behind the new Redding Roadhouse consists of solid culinary pedigree. Executive Chef Wirt Cook, a recent Iron Chef of America winner alongside mentor and world-renowned executive chef Alex Guarnaschelli, served as sous chef at both of her restaurants, Butter and the award-winning The Darby in New York. Wirt’s wife Karen Cook, who met Wirt while they were both attending the Institute of Culinary Education in New York, holds an advanced certificate in wines and spirits from the Wine and Spirits Education Trust and held the general Manager position at Joshua Wesson’s hugely successful retail wine concept Best Cellars for his flagship location in Manhattan. Joining Chef Wirt and Karen is their brother in law Ted Stonbely, a chef by trade whose foray into the New York restaurant scene found him working at Daniel Boulud’s DB Bistro Moderne before finding his niche on the operations side of the biz working with such prestigious conglomerates as Marriott International’s Marriot Marquis in Time Square as the Director of Food and Beverage and then with the Cipriani team at their Wall Street and Grand Central

locations serving as the Operations Director.

With strong family roots in Connecticut, and although they were initially pursuing opening restaurants of their own in CT or NY, the Redding Roadhouse location was what ultimately solidified their decision to collaborate and head home.

“The space is beautiful and definitely helped us make the decision to help create its renaissance,” says Ted, “We saw so much potential in the different segments: the New England rustic tap room, the beautiful and spacious dining rooms, the amazing party room upstairs, and of course the large patio.”

The revitalized Redding Roadhouse opened in July of 2012. Menu changes were slowly introduced to a mostly long-standing clientele who were apprehensive about the new regime and their ideas. After all, this was their neighborhood tavern. It took some time, but ultimately the enhanced concept won over the critics and slowly a more sustainable and modern food culture took over.

Some of these so-called changes were as simple as nixing the mass produced pre-formed burger and

Photographs by Tom McGovern Photography

replacing it with fresh house ground beef and handforming them. A traditional BLT became anything but ordinary with the use of house cured bacon.

And house smoked turkey and homemade pastrami would now be served on country breads with fresh accoutrements such as garden spinach and aged Vermont cheddar.

“When I get a whole brisket or whole pork belly in I like to trim it, brine or cure it and then dry rub or smoke it myself. This way I can control the outcome,” explains Chef Wirt.

Vibrant produce, cheese, meat and seafood are sourced from local suppliers such as Ambler Farm, Arethusa Farm, Fort Hill Farm, Gabe the Fish Babe, Hastings Family Farm, Stietzel Family Farm, The Hickories, Two Guys from Woodbridge and Westport Fishing Co – all are consistent names on the menu and ingredients in the Roadhouse kitchen.

I suppose one can refer to Redding Roadhouse as a farm to table restaurant. Chef Wirt doesn’t. He simply prefers to use fresh ingredients and support the local farmers and vendors while doing so. “It just makes sense, “says this laid back chef.

The Redding Roadhouse menu is a comforting mix of hearty and robust, with a lighter, slightly more refined selection of seasonal dishes. Pub grub faves such as sliders, all-beef frankfurters and spicy

I suppose one can refer to Redding Roadhouse as a farm to table restaurant.

Chef Wirt doesn’t. He simply prefers to use fresh ingredients and support the local farmers and vendors while doing so. “It just makes sense, “says this laid back chef. chicken wings can still be had. Another staple on the menu prior to the reincarnation of the Roadhouse is the French onion soup capped with melted gruyere cheese and toasted bread. The new spin on this dish is the addition of braised short rib meat.

It’s a great illustration of the Chef’s culinary prowess and general good taste. Appetizers include a varying selection of artisan cheeses, slow-braised and hand shredded duck confit over radicchio with crybaby cheese and roasted almonds, and veal meatballs simmered in a spicy tomato sauce.

Grilled flatiron steak, a wonderful, though underrated cut of meat taken from the shoulder of the cow is grilled and left with a slight outer char and served with simple mashed potatoes and Holbrook Farm spinach. I am happy to report that meatloaf has made a triumphant return to restaurant menus across the country and is found at the Roadhouse topped with a heaping ladle of rich beef gravy.

Stand-out seafood dishes are the seared diver scallops with sautéed kale, black rice and red cara cara orange and a southern mainstay of Cajun style Louisiana white shrimp sautéed with brandy and garlic served over buttery grits.

Equally homey and satisfying are seasonal fruit crisps and cobblers, bread puddings, and tarts and pies that are prepared fresh in-house. Karen prepares the majority of the desserts and attributes her flare and passion for baking to the nostalgia for her childhood and the recipes from her mom that are the foundation of the dessert menu.

Where there is food, let there be drink. In keeping with Chef Wirt, Karen and Ted’s homegrown philosophy, the beverage program has been given an equally impressive and fun rebirth. Never fear, the beer that made Clydesdale horses famous is still behind the bar, but it now keeps company with an exciting variety of local craft beers.

“We love to highlight CT and New England breweries and keep our taps in constant rotation, offering guests interesting local and seasonal beers,” explains Karen, “Both the adventurous and the safe beer drinker have a stool at our bar. “

The wine list echoes these same sentiments, blending traditional varietals and winemaking regions with some that might be lesser known.

“While someone might be intimidated to try a Gruner Veltliner by just reading it off the list,” says Karen, “ when I put it in their hand and let them taste it, it loses its foreign name and becomes just a lovely crisp and citrusy glass of wine. “

Change is good. The new Redding Roadhouse proves that.

Special menus, events & live music schedule www.ReeddingRoadhouse.com. Closed Mondays. Lunch/Dinner, Tue-Sun. Sunday Brunch Buffet.

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42 Photo: Lisa Seidenberg

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Illuminating 30,000 feet of the Manhattan Bridge anchorage, “Time Divides” by Integrated Visions received Grand Prize at the DUMBO Arts Festival 2012.

Part of Codex Dynamic, video show curated by John Ensor Parker and Leo Kuelbs.

FEATURE

Photo: Lisa Seidenberg

Imagine you are Leonardo Da Vinci and you are living in Williamsburg, Brooklyn because of course, as an art hipster, where else would you live – Florence and Milan are just so finito. And what would you be doing- you would be experimenting with the newest, most exciting public art form of the day – video projection mapping.

Projection-Mapping When All the world is a canvas

By Lisa Seidenberg CONTEMPORARY CULTURE//MAGAZINE

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FEATURE

Photo: Lisa Seidenberg

THIS

Above: Artists and newlyweds, John Ensor and Sarah Walkoo at the Form and Substance Show.

Top: Using 365 seconds to represent the 365 days in a solar year, “Time Divides” considers ancient calendars based on cycles of the sun and moon, as well as Quantum Mechanical theories.

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is the first original art movement of the 21st Century” according to Brian Blessinger, one of the team who comprise Integrated Visions, a collaborative company whose other members are Bryan Dodson and Michelle Penland Dobson. Constructing large-scale projects for commercial clients like Delta, Acura and Red Bull, the Integrated Visions team decided recently to mount the first totally artist-driven event in America dedicated to Projection Mapping, with the aim of demonstrating how this new medium could be accessible to low budget artists with a laptop and a video projector, as well as a modest amount of computer programming know-how.

The result was Form and Substance: Projection-Mapping in Contemporary Art, a conceptually ambitious exhibition mounted for three days this past spring – May 10-12, at the Gowanus Ballroom in Brooklyn, an approximately 16,000 square foot warehouse site normally used for metal fabrication.

To fund the event, which even on a modest scale, required some high-tech gear – the team found principal sponsorship in DWP Live, a projector company based in Nashville, Tennessee that normally provides equipment for somewhat larger shows…like the SuperBowl Half-time Show.

“Because we are primarily artists and not an advertising agency, we created this exhibition on a smaller scale”, says Blessinger, noting that last year the trio produced a series of colossal projections as part of the “DUMBO Arts Festival”, at the Manhattan Bridge. For that, they utilized 26 high-lumen (intensely bright and powerful) projectors and a massive amount of computer gear (primarily media-servers) to run it. The budget: about $300,000, (paid through art-friendly sponsors).

“Projection mapping” or “video mapping” is a relatively new medium that uses projector technology in combination with specialized computer software to turn any surface - or planes of an object - into a dynamic display for images – a movie screen that can be virtually anything or anywhere. Unlike 3-D cinema, there is no need for special glasses or hardware to produce the illusion of depth. Possibilities include everything from architectural facades to cars or even a small object like a toaster. The key is to have surfaces that can be “mapped” or drawn and then filled in with any desired images, such as animations, abstract colors or pre-recorded video.

Using the projector as an art medium is not new - avante-garde filmmakers have been doing that for decades - Ken Jacobs comes to mind. But creating alternatives to the conventional rectangle of the movie theater screen has become more sophisticated with digital software that allows the programmer (or artist) to key in on specific spatial elements or contours – say, for example, windows and doors, and then create a work that distorts or creates optical illusions based on those coordinates. The effect can be a startling opti-

Clockwise from top: Projection on windows by Adam Dare and Joel Fitzpatrick. John Ensor Parker’s sculpture uses 40’ hanging translucent tubes.

Pattern: Video Mapped animations projected onto three sculpted (life-size) paper dresses by artist Christina Graf. Joel Fitzpatrick LED lights form an interactive loop. Floating sculpure by Red Paper Heart art collective.

Photo: Integrated Visions

cal illusion of buildings morphing or turned into gargantuan fish tanks.

One of the most eye-catching works in the Form and Substance Show is a 40 foot cascade of illuminated plastic tubing that resembles glowing icicles, by artist John Ensor Parker.

“The first time I (tried) mapping light onto an old cardboard box in my studio, I immediately became intrigued.” Parker says, “I live and have my studio next to the Manhattan Bridge. It is my front yard and I see it every day. For years, friends and I would point projectors out my studio window and project video. Yet, it wasn’t until we had the opportunity to map the entire archway and facade of the anchorage that I truly understood its power on large scale. I saw something I see every day completely different. The bridge had unique energy and came alive - it was truly amazing.”

While many of the pieces were heavy on “tech”, they also had elements of humor. A trio of shimmering party dresses crafted out of paper were suspended above viewers heads (“Patterns”

by Christina Graf) and a large section of wall had funny bits of clouds and animated bunnies popping in and out of the (real) windows, by artist Adam Dare and Joel Fitzpatrick.

Davy and Kristin McGuire, an artist duo from Bristol, England, who have worked for Cirque du Soleil in the past, contributed “Pinboard” - a “live” poster board – some of the postcards appeared to be playing old home movies and other bits of footage.

In an email, Kristin McGuire wrote: “Our backgrounds are in theatre and dance so we like working with narratives and found that we can actually tell stories through projection mapping.

If you look at our other work you’ll find that we often use it on a very small, intimate scale. A few years ago we made The Icebook (www.theicebook. com) in which we project onto the pages of a pop-up book in order to tell a story. The video is mapped to the small, intricate paper cut outs and people often describe it as ‘mini mapping’.”

Commenting on their new work, she added, “In our latest project, a commission for Courvoisier, we created a paper diorama and then used projection mapping to bring the paper model to life…”

The Dobsons’ colorful piece, which incorporates elements of “conventional” abstract painting, utilises actual pigments on a vinyl canvas, which are then transformed via digital processing. The painting becomes a projection surface for itself producing the uncanny quality of being a “live” painting.

“I started in painting, and so I felt that it was important to return to the original materials, the >

Photo: Integrated Visions

Photo: Integrated Visions

Photo: Integrated Visions

Photo: Lisa Seidenberg

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FEATURE

Photo: Integrated Visions

Photo: Lisa Seidenberg

Left: Paulapart and Integrated Visions light sculpture. Right: Interactive Light Installation

by Laura Ramirez (Optika).

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pigment and the canvas,” explains Michelle Dodson, who studied painting and drawing at the University of Georgia, where she earned a Masters of Fine Arts and also met future husband Bryan Dodson, who was also studying painting.

Beginning around 2002, the Dobsons began working as v-j’s (video disc jockeys) programming electronic music shows with pre-recorded video content – mixing video clips together to create real-time special effects and experimenting with their own original material.

“It got to a point where we were in nightclubs every night and it didn’t feel like we were making art.” recalls Bryan Dobson. The turning point came in 2010 when they were commissioned by Red Bull to do a massive projection on the side of the InterContinental Hotel in Miami, Florida – the result was a series of 40 animated vignettes displayed through 12 projectors “tied” together to form a seamless display.

Shortly after that, they teamed up with Blessinger, who handles the marketing side of the business and Integrated Visions soon became one of the premier teams in the United States to produce large-scale advertising projection works. At the same time – they also performed a guerrilla projection stunt or two – such as video-mapping a trio of Sol Lewitt sculptures in Manhattan’s City Hall Park – in the middle of the night.

The DUMBO Arts festival was another turning point. “We discerned that in previous jobs, people always focused on the technical aspects, “ says Bryan Dodson, “whereas at DUMBO, people were interested in our message of unity, of finding a spirituality in art, as Kandinsky said” referring to early 20th Century Russian modernist artist, Wassily Kandinsky, and his classic book on art-making, “Concerning the Spiritual in Art”.

Citing contemporary art movements of the last century - Cubism, Dada and Abstract Expressionism Dodson explains his goal is “ to build a community of projection artists” - the way these earlier artists did.

Worldwide, there are about 100 or so projection artists, and in Europe, there are even video mapping festivals in Amsterdam and Vienna. At the Fete des Lumieres in Lyons, France, a building was transformed into a giant pinball machine. The Occupy Wall Street movement also used some projection art – with a guerrilla Bat-Signal.

“I just returned from Barcelona and met more people working in mapping than I know here in New York. It is only recently starting to take a foothold here in the US. I feel partly this is because we live in an economic art system here where European artists exist in a government funded world.

Large scale projection mapping is a costly endeavor primarily due to the insane expense of renting the projectors and associated gear.”

But he adds, hopefully, “Ultimately I think this is not a problem as I feel architectural projection mapping is less interesting than creating sculptural objects. Working on smaller scales in the studio allows the artist to work in a more conventional artistic practice experimenting with not only content, but manipulating a sculptural canvas from the imagination. Further, not being associated with a large organization sponsoring an event means there is no censoring - more freedom of expression.”

“One of the magical things about it is the element of time,” Michelle Dodson says, herself influenced by experimental cinema of the 1920’s and earlier. “So frequently today, you look at an image – and zoom! You are onto the next thing. But with video mapping, you are drawn into that world, it almost forces you to look at it longer.”

Echoing his team-mates, Brian Blessinger says the question he is asked most is, “ ‘ Can you teach me to do this?’ and I always say, ‘Yes, go do it. You will need to be an artist. The magic is all in the content creation.”

Kandinsky would probably agree.

Now,

FEATURE

is the time to envision a new Penn Station and the next Madison Square Garden.

Penn Station is the busiest transit hub in the western hemisphere, receiving well over half a million people each day. A new Penn Station has the potential to improvethe lives of millions of commuters each year and unlock extraordinary economic value.

The next Madison Square Garden has the potential to create a new entertainment complex on the West Side supporting the new energy and dynamism of that district. This ambitious vision for New York City will require an extraordinary commitment, but is nonetheless an essential investment in the future of New York City.

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FEATURE

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WHY NOW?

After 50 years, Madison Square Garden’s (MSG) special arena permit has expired, presenting NYC with an opportunity to rethink Penn Station.

With MSG foundations anchored in Penn Station there are very limited opportunities to make meaningful investment in a train station which is grossly inadequate. When constructed in the 1960s, the station served 200,000 passengers daily; today that number is three times as large and growing. MSG is asking the city to renew its permit to operate an arena on top of Penn Station in perpetuity; however doing so will prevent any significant improvements, saddling future generations with a faltering, inadequate Penn Station.

The Municipal Art Society (MAS) along with the Regional Plan Association and a growing number of elected officials, civic organizations, transportation groups, and individuals are advocating to restrict MSG’s permit to just 10 more years. On May 22nd the New York City Planning Commission voted for a 15 year limit. MAS will continue to advocate for a permit which is limited to 10 years and a transparent review process moving forward. It will be up to the City Council to make the final decision.

WHY RESTRICT MSG’S PERMIT?

With a station at capacity and continued population and passenger growth, a new station is imperative. There is however a limited window of opportunity in which to take effective action because: 1) The ongoing Hudson Yards development will bring an extraordinary amount of new development—approximately 19 Empire State Building’s worth—to Manhattan’s west side. Although there will be extended subway service on the 7 line, transit needs will continue to grow along with this unprecedented expansion of Midtown.

2) Amtrak & NJ Transit are studying a plan to expand service into Midtown by building two new tunnels under the Hudson River. Ensuring that this plan is part of a broader set of improvements to Penn is essential.

3) The Long Island Rail Road’s (LIRR) East Side Access project, expected to be completed in 2019, will shift LIRR trains from Penn to Grand Central.

This shift provides a window of opportunity for the construction of a new Penn Station by minimizing the impact to the transit network. This window will likely close by 2033 when passenger traffic growth into Penn Station makes heavy construction far more difficult.

WHY A NEW PENN STATION?

Improve local & regional transit—Penn Station houses Amtrak, LIRR, New Jersey Transit (NJT) and Subways (1/2/3 & A/C/E). Ridership is over half a million a day and growing. Infrastructure improvements currently underway will not adequately relieve this growth. The neighboring Moynihan Station project, although a critical part of the solution, will only house Amtrak, leaving 95% of commuters to continue their daily struggle through Penn Station. The LIRR East Side Access to Grand Central Terminal will also capture some growth; however will not effectively mitigate the increase in NJT and subway commuters traveling through Penn Station that is expected to rise by 28% by 2030.

Better accommodate current & future growth—The Hudson Yards Redevelopment is a 360 acre area bounded by West 42nd and 43rd Streets, 7th and 8th Avenue and West 28th and 30th Streets This development is

Diller Scofidio + Renfro with Josh Sirefman offers Penn Station 3.0, which will be a city within a city, a porous and light-­filled civic structure filled with diverse new programs that reflect the hybridity of contemporary urban life. Not just a gateway to New York, the station will be a destination in itself with fast, transit-­oriented programs layered with slower destinations in a gradient of decelerating speeds from tracks to roof.

The building will host transient and resident populations including commuters, office workers, fabricators, shoppers, foodies, culture seekers and urban explorers. In this plan, MSG will be located to the west end of the Farley building on Ninth Avenue, with access to Eighth Avenue.

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FEATURE expected to bring several hundred thousand new residents and workers to the area, which will have a significant impact on the surrounding pedestrian and transit networks.

Anchor Midtown, NYC and the Tri-state Region—Although it is one of New York’s most heavily used public spaces, it ranks among the least appealing. Penn Station’s current design blocks light and air, is extremely crowded, cramped and difficult to navigate. Removing MSG from its perch would help literally bring light to the underground station. If well planned, a new Penn Station could once again become a great civic space.

Enhance pedestrian accessibility—Approximately 70% of passengers enter and exit from only two Station entrances: 34th St and 7th Ave and 32nd St and 7th Ave, making 7th Ave a nightmare during rush hour. A new design would help disperse pedestrian traffic throughout the area, alleviating congestion on city streets.

Encourage economic development—Penn Station’s shortcomings prevent New York from capitalizing on retail and commercial development in the surrounding area. In addition, according to an MTA report, investments in the region’s transportation system would yield an economic return of $2.03 for every dollar invested. $8.2 billion invested in capital work from 2005 to 2009 in NYC generated 194, 695 jobs and had a $24.5 billion economic impact.

Help retain NYC’s global competitiveness—Large cities around the world (Les Halles Redevelopment Project, Paris, France & Kings Cross, London, UK) have built modern rail hubs or restored landmark train stations, while the New York region has been left to grapple with an increasingly congested and outdated Penn Station.

WHY RELOCATE MSG?

Enable the creation of a truly first-rate arena—MSG is the oldest arena in the NHL and second oldest in the NBA. Although the building has undergone an expensive renovation, it continues to fall further behind as new, more modern arenas are built. What should be one of the most exciting and dynamic buildings in New York City, is one of the least.

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Reprioritize the public benefit—MSG serves 20,000 people daily, while Penn Station serves thirty times as many people. Penn Station can’t be relocated because of the vast network of tracks and infrastructure that run below the station and through Hudson and East River tunnels.

Municipal Art Society Unveils Designs for Future of MSG and Penn Station

The Municipal Art Society of New York, in its catalytic role to ignite discussion, effect change and provide an opportunity to re-­envision Penn Station and Madison Square Garden, unveiled four compelling design possibilities for a new Penn Station and Madison Square Garden in the culmination of its Design Challenge for a New Penn Station and Madison Square Garden.

The four designs were presented by Diller Scofidio + Renfro with Josh Sirefman, H3 Hardy Collaboration Architecture, SHoP Architects and Skidmore, Owings & Merrill (SOM). Each re-­imagined the cramped and dismal Penn Station as an urban gateway, including relocating Madison Square Garden, which now sits atop the station and prevents needed expansion. A striking new MSG complex is suggested for sites ranging from immediately adjacent to the transit hub to a 16-­acre site on the west side waterfront.

“These four firms were selected because of their outstanding design talent and wide-­ranging experience on complex urban sites – including the Highline in Chelsea, a new arena linked to a subway station in downtown Brooklyn, the planned conversion of the Farley Post Office building, and other significant infrastructure projects around the world,” said Vin Cipolla, president of The Municipal Art Society.

“This Design Challenge is an invitation for the public to get involved in thinking about the possibilities for Penn Station and for the arena.

We are deeply appreciative of the creative ideas and stunning opportunities envisioned by these world-­class firms,” Mr. Cipolla continued.

“They have demonstrated that there are a range of practical and liberating possibilities for an expanded, world-class Penn Station and a great new Madison Square Garden. They have set a brilliant and achievable standard to serve commuters, fans, and the future of Manhattan’s west side and the City itself.”

A Brief Background on the Bigger Picture

The Municipal Art Society believes 2013 presents New York City with a truly unique opportunity. Madison Square Garden’s 50-­year special permit to operate an arena on its current site has expired. In December 2012, MSG filed an application to continue to operate an arena on this site in perpetuity.

That request is now going through the City’s land use review process with a final decision expected by the City Council in July.

In March, MAS, working in close partnership with the Regional Plan Association (RPA), formed the Alliance for a New Penn Station. Together they are building a coalition to represent the millions of people who use

SHoP Architects’ plan imagines an expanded main hall of Penn Station as a bright, airy and easily navigable space that defines a center of a new destination district, Gotham Gateway. In addition to striking public architecture, the project proposes significant security and rail capacity improvements that address major needs at the existing station. The team proposes new development, as well as new parks and amenities, around the station to help defray the required public investment, including an extension of the High Line that connects the new station to a glorious and financeable new Madison Square Garden.

Penn Station every year and the extraordinary economic potential of a new state-­-of-­-the-­-art train station and arena and advocating for a 10-­-year term for the special permit. Manhattan Borough President Scott Stringer, State Senator Brad Hoylman and Community Board 5 recommended that the permit be restricted to a 10-­year term. In April, MAS launched the Design Challenge for a New Penn Station and Madison Square Garden, meant to provoke ideas and visions to help re-envision the site from four of New York City’s best design firms.

On May 22, the Alliance welcomed the decision by the City Planning Commission to grant Madison Square Garden a 15-­year permit to occupy the arena’s current site, opening the way for the eventual creation of both a world-­class Penn Station and a world-­-class sports and entertainment arena. But the Alliance remains deeply concerned that a provision contained in the Commission’s recommendation would allow MSG to obtain a permit in perpetuity by striking a deal with the railroads that operate within Penn Station. Such a potentially fatal loophole would only require the signoff of the planning department, avoiding any public review of a deal that could permanently saddle our city and region with an overcrowded, grim transit hub.

The Alliance also contends that a shorter permit – for 10 years – would be a more effective catalyst for the public and private sector to focus on launching a project of this magnitude.

“The Alliance will continue its campaign to withdraw this invitation to a self-­serving backroom deal and reach out to members of the City Council to close the loophole, when they have their final say in this phase of the process,” Mr. Cipolla said. The Alliance will also continue to work toward a tighter permit timeframe of 10 years.

City Planning Commissioner Amanda Burden said, on the morning of the CPC vote: “This is a moment in time that could – and should – have historic consequences for the City. This is the moment for civic and governmental leadership to come together and undertake a comprehensive planning process and funding plan with the goal of building new arena on another site and the full redevelopment of Penn Station into a modern train facility with improved track capacity and public amenities.

“This is the time to focus energy, vigilance, vision leadership, and political leverage. It must involve City, State and Federal governments who must work jointly with Madison Square Garden and the railroads, in partnership with civic organization, and other stakeholders,” (Continued on page 58)

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PROTECT what is PRECIOUS Written by Cindy Clarke

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52 Photo: Susan Rockefeller

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Cover Story

Photo: Adam Allegro

‘‘

The least movement is of

to all nature. The entire ocean importance

is affected by a pebble.” French philosopher Blaise Pascal made that observation back in the 1600s.

Ocean conservationist Susan Rockefeller lives those words every day with everything she does and stands for today, championing his thoughts by adding, “Small ripples can grow into big waves of change.”

Her beliefs, like her films, resonate with the joys of life. Music. Nature. People. They extend from the arctic snows to the arid desert to the oceans blue, carrying messages profound and poignant, uniquely personal and ultimately unaltered to simply let them speak their own truths.

Susan Rockefeller, award-winning filmmaker, author, philanthropist, conservationist, jewelry designer, businesswoman, is a tour de force and a force of nature. She takes her cues from the rhythms of the Earth and sea, preferring to let life unfold naturally, staying the course in an unhurried but always steadfast pace. The daughter of noted academics who encouraged her intellectual curiosity and her

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Cover Story

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Photo: Adam Allegro

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innate creativity, she grew up blessed with advantages. But it wasn’t the trappings of materialistic wealth that turned her head. It was the luxury of life, on the beach, in the woods, out at sea, in the lakes, down rivers, up streams, in the wild, that captured her heart.

She spent idyllic summers by the East Hampton seashore, dreaming of mermaids, sea horses and kingdoms under the sea. She played in waters, wild and wondrous, growing and gaining a childlike familiarity with naturally flowing playgrounds that nurtured her soul and her imagination with all the inspiration that nature creates. She learned to be respectful of, and resourceful with, her surroundings and the environment, grateful to live in a world where wild places existed and beauty seemed inexhaustible. Time spent in the great outdoors make up her happiest memories and remain today among her most treasured moments. It’s the ocean, says the grown up mother of two teenaged children, where she goes for ”rejuvenation, revelation and solace.” Her connection to the sea runs deep. Her love for the ocean and all that it promises runs deeper still.

Venü Magazine had the pleasure of interviewing Susan about her work on its behalf on a picture perfect, newly summer day in her Manhattan maisonette. Having watched her documentaries, mesmerized really, in preparation for our meeting, I walked through this coveted interview in my mind way before I walked through her front door. Her films evoke serenity and restoration with images of hope and healing, touching hearts and inciting change without preaching or intrusions of any kind. I wanted our interview to evolve as authentically and spontaneously as her work did, without canned questions and rehearsed answers. As it turns out, we ended up entering her home via her back kitchen door, which, had I planned it, couldn’t have been a better way to start the casual, natural conversation I had hoped for.

We were welcomed into her home with a cup of licorice tea, my eyes wide with appreciation for the genuine warmth of its design and décor. Whimsical mermaids flirted with hand carved seabirds and family heirlooms from bookshelves, walls and golden bathroom faucets, testimony to Susan’s love for mythical, magical mer-beings who symbolize the important interdependence between species. As a Rockefeller, Susan is one of society’s leading ladies and a member of a family whose philanthropic accomplishments are legendary and far reaching. It is difficult not to be awed by her celebrity status. But when you sit down and talk with her, it is impossible not to be awestruck

by Susan the person and her heartfelt passion for life’s most meaningful gifts. Family, art and nature rank at the top of her list, headlining her mission to protect what is precious.

She sits on the board of her beloved Oceana, the world’s largest international organization focused solely on ocean conservation, and the Global Leadership Council for the Natural Resources Defense Council (NRDC) and has served on others equally inspirational. She’s CONTEMPORARY CULTURE//MAGAZINE

actively involved with a host of humanitarian and conservation oriented organizations – Stone Barns Center for Sustainable Agriculture, We Are Family Foundation, Alaska Conservation Foundation, Arts Connection, Island Writers and Artists and many more. And lest you think she merely advocates for change from on high, think again.

She lives in the realm of the artist where creativity and art nourish the soul, restoring balance and satisfying an inherent hunger for self-fulfillment and selfless acts. She has traveled the world to see firsthand what ails people and places. When her counterparts were getting their graduate degrees or getting their feet planted on corporate ladders, she headed out into the Alaskan wilderness to spend three years living in a simple cabin in a remote Inuit village to immerse in their culture and lifestyle. She taught community gardening to native Inuit people living a life guided by sustenance and simplicity along the Kobuk River. In turn she learned about survival, resourcefulness, sustainability, respect for tradition and nature, and in so doing she learned what was most important to her.

Impassioned, she returned home with a renewed purpose and commitment to raise awareness about critical issues that impact humanity.

Camera in hand, she embarked into the world of documentary filmmaking, immortalizing, in her signature guerilla 5 style, the plight and pleas of soldiers, runners, addicts, conservationists, sailors, the ocean… and now mermaids. She tells me that her work is about capturing the essence of the person she is filming in very real moments of time that “expose the light in their soul.” Her goal “is to reveal the best of the human spirit and ways to create hope in the midst of darkness.” To her, the most important aspect of her filmmaking is “to tell a story that moves the viewer to see someone or something in a new way, to move their hearts toward action.” Her most recent films, Striking a Chord, and Mission of Mermaids, are powerful visual prayers for human and ocean health. I listened, was moved, and wanted to know more.

“Do you know about ocean acidification?” Susan asks as our conversation begins. I didn’t and I soon learned that it is an issue that affects every living being. Susan tells us that she first became aware of ocean acidification by reading Elizabeth Kolbert’s article, The Darkening Sea, in The New Yorker. So alarmed was she by what she learned that she partnered with Barbara Ettinger to co-produce the internationally acclaimed documentary, A Sea Change, to educate the public with a wake up call about this growing environmental threat.

Stated simply, ocean acidification is the result of the unnatural chemical reactions that are taking place in seawaters all over the world due in large part to increasing human-created carbon dioxide emissions.

When the ocean absorbs carbon dioxide at the pace it is doing today, the pH balance is disrupted and the seawater becomes more acidic than it should be. This causes a chain reaction that adversely affects the life cycles of many marine organisms, particularly at the lower end of 6 the food chain, and is also impacting shell growth for popular seafood stables like oysters, clams, crabs, lobsters and sea urchins, as well as coral. Unchecked, in addition to hastening global warming, it can set in motion an unwelcome domino effect that would eventually devastate the economy and livelihoods of people around the globe.

“71% of the Earth is covered by oceans but just 1% of it is protected. Compare that to the 10 to 15% of land that are protected areas and we have a big task ahead of us if we want to keep our oceans safe,” Susan informs us. The facts, intense, staggering, action worthy all, roll off her tongue effortlessly. Her knowledge of the alarming statistics about our oceans is extensive and impressive, her concern, evident, genuine and galvanizing.

Imagine a world with no fish. She confides that she begins many of her appearances with that evocative statement. She certainly got our attention. The statistics she shares have us riveted… Approximately half of all life on Earth lives underwater… over 1 billion people depend on ocean fish as their only source of daily protein… the amount of fish that are summarily cast aside to die in pursuit of the preferred catch of the

Photo: Greg Sorensen

Remember when you’d pick up a conch shell and hear the ocean waves?

It’s time to listen to nature’s whispers once again and do your part to help Susan Rockefeller and Oceana protect the precious sea. Become a wavemaker with the world’s largest international organization focused solely on ocean conservation.Visit www.oceana.org today to learn how.

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Photo: Adam Allegro

day, including dolphins and sea turtles, is a shocking ratio of 5 lbs. of saleable fish to 100 lbs. of sacrificed by-catch… The population of Bluefin Tuna has dropped by more than 82 percent, largely due to overfishing… One in four fish raise their young in coral reefs but in the last 40 years we have destroyed more than half of them… The effects of ocean acidification can negatively impact the livelihoods of the world’s 47.5 million fishermen and unchecked, can cause the mass extinction of coral reef, along with some 9 million marine species and 4,000 species of fish, if carbon emissions growth continues unrestricted.

Critical to know and important to discuss, these facts don’t often come up in everyday conversations with women you meet. More than likely the conversation revolves around other more grounded topics, including what they are wearing, particularly their jewelry.

During our meeting, I had on my favorite Tahitian pearl pendant and Susan complimented me on its simple radiance. We did the same for hers, admiring her watch – a priceless Girard-Perregaux timepiece uniquely Susan – and the jewelry she had donned that day, one of a kind statement pieces honoring the sea that she designed and created exclusively for her jewelry collection.

She launched her jewelry collection in tandem with the premiere of her 15 minute documentary call-to-action, Mission of Mermaids, spotlighting the issues that affect the health of our oceans: acidification, overfishing and pollution – and challenging viewers to rethink the way they treat the oceans. To keep the conversation going, she makes jewelry that reflects the beauty and fragility of the marine life whose environments are threatened. Think beautiful 14 karat gold and sterling silver chains that link mermaids, urchins, sea stars, pearls, and more together with a signature hook clasp to touch heart, soul and mind with their natural beauty, earrings that remind us to listen to what is really important, cocktail rings that engage people’s interest and bracelets that charm with collectible treasures from the sea.

“My jewelry is part of my platform to keep the conversation about the ocean going,” said Susan, who has teamed up with elite watchmaker Girard-Perragaux and Honora, the world’s largest cultured pearl manufacturer, to collaborate on her stunning designs.

Girard-Perragaux is one of the world’s most respected watchmakers, having been in business since 1791 and renowned for crafting exquisite heirloom watches that are made to be passed down and cherished for generations. Their philosophy on the importance of family, times shared and on leaving a lasting legacy for their children mirrors Susan’s. What a Girard-Perragaux watch does is remind people just how truly precious time is, and that, Susan tells me, is key to her message and mission of saving the ocean.

Susan aligned with Honora this year to incorporate some of the world’s most treasured, freshwater cultured pearls into her collection.

Like Susan’s beloved mermaids, pearls have long been considered magical and flawless, symbolizing purity, faith, wisdom and integrity, 56

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while making women feel empowered with femininity and beauty.

Look for her new line of Susan Rockefeller jewelry to debut this fall.

“What better way to respond to a compliment about your seainspired necklace than to thank them with a fact about the ocean and an invitation to join our cause at Oceana as a wavemaker?” muses the ever-thoughtful ocean activist.

She told us of the global work and victories that Oceana has achieved on behalf of the ocean through its volunteer members, which, at the time of our interview, was some 550,000 wavemakers strong and counting. She went on about the steps she hopes people will take to help protect the environment and the Earth’s wild places, on land and sea.

She repeats her mantra: recycle, reuse, repurpose, reduce and especially refrain from using single use plastic and overusing and abusing our natural resources. She walks the talk herself, even using existing Internet footage of the ocean for her Mission of Mermaids documentary to reduce the carbon footprint associated with the making of the film. She reminded us that every living thing needs to take a rest in order to be revitalized, refreshed and replenished, including the ocean and us women, even though some seemingly consider both to be virtually inexhaustible. “Take a sacred mermaid moment for yourselves every day and give yourself a rest,” she advised, “so that you can continue to give back to your family and loved ones and effect the changes you want to see in the world around you.”

Our conversation traveled in a circuitous fashion, taking us from Alaska to the Hamptons to Asia and to Maine, touching the same places her beloved oceans do. Susan recounted stories about the biggest influences in her life, her big hearted father who engages with everyman, every day, to acknowledge and honor individual lives and passions, her mother who unfailingly exudes kindness and respect for healthful living, her children who she advises to give 100% to what they believe in, and her husband, David Rockefeller, Jr., who, as a fellow conservationist, philanthropist, and founder of Sailors for the Sea, shares her commitments, passion and vision. Together David and Susan live their motto, Protect What is Precious, in everything they do… as a couple, as a family, on behalf of their family art and as dedicated colleagues and speakers advocating for mindfulness of Earth and sea in thought, words and deed. Not only is it in their family DNA, it’s in their nature.

Eyes speaking volumes about the love she has for her family, her mission, her art and her husband, Susan describes meeting David when they worked together on a documentary film about Alaska that David wrote and narrated. Susan made it come alive with images and music that honored the land she had grown to love unconditionally, a verdant wildlife-rich wonderland in summer, a snow-white wilderness in winter, warmed by the resilience of the human spirit, nurtured by nature and powerful in its simplicity.

“In Alaska I discovered how little one needs to be happy, that simplicity is an undervalued asset for one’s happiness and that ultimately nature is the one constant that gives us life, sustenance and health.”

Susan has journeyed from her own backyard to the ends of the Earth to celebrate what was most important to her. In so doing, she realized her life’s purpose and found her soul’s desire. Today you will find her inextricably linked with her husband as they focus their lives on what they believe in and what they can do, together, to safeguard the things they love. There is no doubt that she will continue to make her way around the world with her message to protect that one constant that so moved her as a child on a Long Island beach and that today underscores her every action.

As we wrapped up the interview, she embraced me with a warm hug and words that resonate still. “Follow your passion, listen to your heart and live your life with humor, patience and compassion. You have this one day to create a meaningful legacy for your children. Make the most of it.”

The story of Susan Rockefeller’s newest jewelry line begins in the sea where her ocean-inspired collaborations take shape, naturally, in pearls carefully cultivated by Honora and exquisitely designed by the queen of mermaids herself to engage admirers in illuminating conversations about conservation.

It’s all part of her quest to help protect what is precious. To learn more about Susan Rockefeller, her films, her jewelry and Mission of Mermaids to save the ocean, visit www.susanrockefeller.com.

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(Continued from page 51)

the Commissioner continued. “With clear coordination, realistic planning and reliable funding -­- with public and political will – such a project is not only possible, but there is no more important initiative to consider for the future of the region, the city and Midtown Manhattan.”

The Alliance for a New Penn Station continues to grow. The next step in the public process will be a public hearing at the New York City Council, followed by a vote of the full City Council, where the final decision on the permit will be achieved.

“A site which should be an economic development anchor for Midtown and Hudson Yards is instead a serious challenge to the global

competitiveness and economic health of New York City,” Mr. Cipolla said. “A new Penn Station and a new arena will be an economic engine for New York City – creating thousands of jobs, unlocking billions of dollars in additional private investment, making millions of commutes a year faster and more comfortable, and re-­affirming our sense that New York City can take on big projects and get them done.”

“New York City deserves a world-­class train station and truly dynamic arena,” Mr. Cipolla continued, “but if the City Council approves the Garden’s special permit with a loophole that allows them to operate on the site in perpetuity, New York City will have neither.”

Skidmore, Owings & Merrill proposes to grow the footprint of Penn Station by two additional blocks to accommodate high speed rail lines for the Northeast Corridor, expanded commuter rail service for all of the tri-­state area, and direct rail connections to JFK, LGA, and EWR. This last connection would allow one to go straight from the curb of 7th Avenue, through security at Penn, onto a train, and directly to one’s gate. The station itself is open and intuitive. A central, transparent Ticketing Hall is placed at the center of the site, with dedicated vehicular drop-off and radial, pedestrian connections to the city surrounding it. Below this are two concourses running North-­-South, seamlessly enabling passengers to move from ground level to below grade. Retail lines these circulation spaces, integrating the station into the surrounding streetscape. Finally, at the lowest levels are the expanded platforms, where visitors arriving from an overnight flight from Hong Kong rub elbows with a commuter on her way to Morristown. With all of these networks intersecting at Penn Station, its central hall would become the iconic gateway for nearly every visitor around the world. Around the Station, Midtown West will continue to grow.

In pursuit of making rail the “mode of choice”, H3 Hardy Collaboration Architecture asserts that several inextricably linked interventions must be made to improve the City’s essential systems and better express its culture: Public Space, Entertainment, and the Environment; Transportation; Education; and Economic Development. A relocation of Madison Square Garden to a 16-acre site on the west side waterfront provides an enhanced venue with a singular new identity and expanded tourist, hospitality, and entertainment opportunities. The New Penn Station, including an eight-track high-­speed rail expansion to the south, accommodates increased capacity and integrates community and traveler amenities, including a new three-­acre public park, retail complex, and two-­acre roof garden. Redevelopment of the Farley Post Office creates a centrally located Center for Education. And, perhaps most importantly, 24 million square feet of private development around Penn Station and up Seventh Avenue serves as an economic engine for improvements and a revived world-­class commercial district.

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INDULGE: Motoring

BMW Pininfarina Gran Lusso Coupé BMW and Pininfarina are two of the most tradition-swathed

names in the motoring world. Each is a byword for cutting-edge technology, style, dynamics and aesthetics.

W

ith the BMW Pininfarina Gran Lusso Coupé, the two time-honoured companies are unveiling the outcome of their first collaboration at the Concorso d’Eleganza Villa d’Este 2013. The BMW Pininfarina Gran Lusso Coupé is a one-off and represents the exclusive interpretation of a luxurious BMW Coupé as seen through the eyes of Pininfarina. Working in close consultation, the two design teams have created a new automotive persona brimming with character and ready to join the high-end luxury class – typically BMW while sporting the distinctive signature of Pininfarina.

With the BMW Pininfarina Gran Lusso Coupé, the BMW Design team took up exclusive design aspects such as luxury and elegance and fed them into a creative exchange with long-established specialist car designer and manufacturer Pininfarina. In this elabo-

rately created one-off, the renowned companies BMW Group and Pininfarina joined forces to bring an idea to fruition: “The appeal of this collaboration with Pininfarina is that you get another, very different and special angle on facets like luxury and exclusivity,” notes Karim Habib, Head of BMW Design. “The Italian company, after all, has always been a byword for these criteria in particular, demonstrating time and again its keen sensitivity and exceptional finesse in these areas. In Pininfarina we have found the ideal partner to lend shape to this vehicle concept.”

“The result of this cooperative venture is far greater than the sum of its parts,” says Fabio Filippini, Head of Design at Pininfarina.

“When two such tradition-rich and experienced brands join forces to turn a vision into reality, something utterly new and exciting emerges. From start to finish, this project was

defined by a mutual respect for the identity of the other company.”

Consummate elegance. The BMW Pininfarina Gran Lusso Coupé adds a new dimension to the BMW claim to exclusivity. This painstakingly created one-off captivates the viewer at first glance. Liberal surface areas and taut contours are the distinguishing elements of an elegant car body. Typical BMW proportions – a long wheelbase, stretched bonnet and set-back greenhouse – imbue the BMW Pininfarina Gran Lusso Coupé with imposing dynamics even when stationary. At the same time the car exudes balance and harmony: BMW values such as technology, dynamics and precision are complemented by the skilled craftsmanship of Pininfarina to create a very special holistic experience. “The BMW Pininfarina Gran Lusso Coupé has an extraordinary impact. It expresses hallmark >

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INDULGE: Motoring BMW values such as luxury and sheer presence in a highly elegant form,” says Adrian van Hooydonk, Senior Vice President BMW Group Design. “I admire the reductive clarity and precision in Pininfarina’s design. Their expectations for the end result have been just as high as ours, and their understanding of design perfectly complements the BMW design DNA for a vehicle of this kind.”

Dynamic presence – the front view With its broad, wheel-focused stance, the front of the BMW Pininfarina Gran Lusso Coupé radiates sheer presence and dynamics. The hallmark double-kidney grille and the road-focused headlights with their suggested twin circular look reveal at a glance the family bond with BMW. At the same time the distinctive Pininfarina elements have been interpreted with Italian finesse to lend the front end a special flair.

The trademark BMW kidney grille forms the central element of the front-end design, and all surfaces and lines take their bearings from it. It symbolically points to the engine at the heart of the vehicle, its size reflecting the power of the V12 unit nestling behind it.

The “kidneys” are angled towards the road, citing the typical BMW “shark nose” and lending the front end an even more dynamic look, particularly when seen from the side. Viewed up close it discloses highly accomplished detail work: the front part of the bipartite kidney grille is made of matt-sheen aluminium, while behind it an identically shaped part in highgloss black adds visual depth and makes for an exciting contrast of materials.

Above the kidney grille the bonnet stretches across the front of the car, its subtle contours appearing to emanate from the BMW emblem and lending the bonnet a dynamic elegance. The flat headlights underline the road-focused look associated with a BMW and round off the “face” of the BMW Pininfarina Gran Lusso Coupé. Their dynamic contours are in perfect harmony with the classic BMW twin circular look in an interpretation that leaves them open at the top. The use of LED technology creates a technically premium impression while adding a striking depth to the headlights.

The eye-catchingly sporty front apron concludes the front end as it dips towards the road. The flat, one-piece air intake accentuates the breadth of the front, an impression reinforced by chrome trim that adds a classy touch. The air intake is larger at the wheels and draws attention to the car’s wide, sporty track. Just above the road surface, discreet Pininfarina lettering points to the contributing partner from Italy, like a signature on a work of art.

Elegant sculpture – the side view The designers at BMW and Pininfarina set particular store by creating the right proportions.

The car’s surfaces display the elaborate form

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language of BMW while being sculpted with a clarity that is hallmark Pininfarina. Within a powerfully present silhouette, convex taperings on the side add a dynamic elegance and give the body a tautly athletic shape.

At the same time the reduced, precise contours stretch the vehicle and underline its exclusivity with a contemporary touch. The high shoulder line extends almost horizontally along the entire side of the car, imbuing the BMW Pininfarina Gran Lusso Coupé with stature and presence. Above it the long roof line flows elegantly into the rear to define the short tail end. Below the shoulder line, a striking countersweep to the roof line emanates from the Air Breather behind the front wheel.

Ascending towards the rear, it lends the back section of the car a light and dynamic appearance. All the lines have been designed with keen sensitivity: as they trace their course they become stronger or weaker and, through the changing play of light and shadow, show off the surrounding surfaces to their best effect.

Numerous details accentuate the elegance of the side view. The matt-sheen embellishment behind the front wheel adds a stylish accent as it integrates the side indicator. Another signature BMW detail is the Hofmeister kink – the eye-catching forward bend in the window graphic that is perfectly

integrated into the surrounding play of lines.

Behind it the V12 logo indicates the powerful engine within. Pininfarina lettering in the side panel points to the definitive role played by the Italian design company in creating this vehicle, with the Pininfarina logo above it indicating that the BMW Pininfarina Gran Lusso Coupé was also built by Pininfarina.

The exclusively designed 21-inch wheels perfectly augment the sporty, elegant statement made by the BMW Pininfarina Gran Lusso Coupé. Five trios of graceful yet powerfully sculpted spokes display a strong visual depth through the application of matt-sheen aluminium, black and black chrome. As such the wheel design blends an elegant multi-spoke style with the sportiness of five-spoke rims.

Sophisticated stance – the rear view. The elongated side profile leads to a slender and elegant tail end. Striking horizontal elements

high-grade trim in matt-sheen aluminium.

A particular highlight is their open design, allowing air to flow through them.

imbue the entire rear end with a very broad, flat impression. At the same time, the generous surface design of the rear lends it a powerful presence. Between the surfaces, precise contours and horizontal lines break up the rear aspect, resulting in a clever interplay of light and shadow that partitions the entire design and brings it alive. An eye-catching detail is the transition from the roof to the rear lid: two elaborately shaped struts extend the roof pillar towards the rear, ensuring an elegantly fluid transition of the roof line into the tail section.

Extending from the sides, the tail lights embrace the rear end in a single sweeping gesture that brings the side and rear together visually. The tail lights reveal elaborately detailed workmanship and lend the BMW L-shape a slender, almost filigree interpretation. They are set – jewel-like – within

A contemporary take on classical values – the interior The interior of the BMW Pininfarina Gran Lusso Coupé takes up the accomplished fusion of modern elegance and authoritative dynamics as displayed by the exterior. Here the melding of sportiness, exclusivity and comfort makes for a unique interior experience.

The fluid underlying geometry of the interior design by BMW takes on an individual character courtesy of the Pininfarina touch. With a special colour concept, choice materials and geometrical details in the doors, centre console and dashboard binnacle, Pininfarina lends further emphasis to signature BMW elements such as the driver focus and layering principle, while accentuating the sporty character of the interior with a fine instinct for cutting-edge and elegant details alike.

The four-seater luxury coupé rolls out an exclusive ambience to welcome driver and passengers. The front and rear seats embrace all occupants with sporty side supports while providing the highest levels of comfort. From the driver’s seat, a sideward glance will initially reveal the hallmark BMW driver focus: all driving-related functions and controls are slightly angled towards the driver to be within optimal ergonomic reach. The horizontal alignment of the surfaces and lines of the dashboard create an expansive sense of space. The doors take up the flow of lines and invest them with greater dynamics as they follow their course, while the door handles cite the incisive shape of the tail lights as well as the side-panel embellishments as they bring

these styling cues into the interior. The rear of the cabin likewise boasts spacious design, with legroom in the back seats almost on a par with that of a large luxury sedan.

Select materials and top-quality craftsmanship. The exclusive colour and material concept is one of the stand-out features of the BMW Pininfarina Gran Lusso Coupé and eloquently reflects its unique character. Extensive handcraftsmanship further enhances the interior ambience. Finest leather and kauri wood aged more than 48,000 years lend the cabin a special aura. The high-grade leather from the Foglizzo leather factory – in black and a light shade of Tobacco Brown – creates a warm, exclusive ambience. Metal highlights in black chrome set a technical counterpoint to the extensive application of natural materials.

All the wood elements in the cabin are sourced from a single piece of kauri wood selected by the Italian timber experts of Riva 1920 exclusively for the BMW Pininfarina Gran Lusso Coupé. Kauri wood has a unique grain and shifts in colour from gold to red to brown, depending on the incidence of light and angle of view. Simply polished and oiled, it exudes a particular warmth and naturalness in league with the exclusive leather surfaces of the interior. Native to New Zealand, kauri wood is among the rarest timbers in the world. Its special character derives from the fact that the toppled kauri trees have been preserved in swamps for millennia and can be processed like fresh timber after being retrieved from the fossil swampland.

The roof liner of finest Italian virgin wool features the striking “Principe di Galles” pattern. This grey plaid strikes a bold contrast to the traditional materials used for the doors and dashboard. The brown leather seats also pick up on the pattern in their all-round piping. Allowing extra light into the interior is an oblong aperture in the roof liner which is additionally illuminated by white LEDs. In the footwell areas, a soft deep-pile carpet in dark grey adds to a subtle sense of wellbeing. Another interior detail are the freestanding B-pillars, whose elegant design when viewed from the outside creates a homogeneous glazed area and frameless doors that appear very light.

Pininfarina. Pininfarina ranks as one of the most time-honoured names in automotive design. What began in the 1930s as a “carrozzeria” building one-offs and limited editions, alongside the visual refinement of high-end automotive technology, has today become one of Italy’s leading design companies. Its operating spectrum stretches far beyond automobiles to include product and industrial design. Through numerous collaborations with a wide range of carmakers, Pininfarina has established itself as a style-defining partner. Simplicity and harmony in look and feel, perfect proportions and innovative functionality are the hallmarks and underlying concept of each and every Pininfarina design.

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INDULGE: YACHTING

Newly Enhanced Mochi Craft Dolphin 54’, The Reference Point For Lobster Boats AVAILABLE IN FLYBRIDGE AND SUNTOP VERSIONS

T

he newly enhanced Dolphin 54’, available in flybridge or in sun top versions, is a lobster boat ready to tempt lovers of the sea who are seeking a more direct contact with nature. The Dolphin 54’ is a direct result of cooperation between architect Brunello Acampora from Studio Victory Design, with the AYTD (Advanced Yacht Technology & Design), and the team of architects and designers of the Ferretti Group.

The Dolphin 54’ is a reference point in the lobster boats segment and includes an innovative reconfiguration of design solu-

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tions for board spaces, giving this 54ft yacht the light and comfort of a much larger boat.

Running through its history, the Mochi Craft brand is noted for creating the first Italian- Made Lobster Style Yacht, presenting the Dolphin 51’ at the 2003 Cannes Boat Show.

Then the shipyard created a full range of boats between 44 and 74 feet, which have all been very well accepted by the press internationally with multiple award nominations and recognitions. Now they are a “must have” for the kind of owner who can understand and appreciate a product that showcases a

unique personality, perfectly balanced lines, extensive use of wood, an expert choice of select natural materials and the best on board equipment.

The Dolphin 54’ returns to the brand’s roots and offering the market a new reference point, capitalizing on their extensive knowledge of this yachting segment over the last five years.

The elegant Mochi Craft lobster boat retains all of the sophisticated vintage style embodied by the entire fleet, together with its cutting edge technical equipment and

high performance of previous models, perfecting them with a further reduction in fuel consumption and noise emissions*, which allow owners to feel truly one with the surrounding environment.

The Dolphin 54’ introduces the Mochi Craft range in a navy blue and the bright new cream-yellow hull while retaining the typical Dolphin style features like the flowing lines and the extensive use of solid wood, from the inviting teak floor in the roomy cockpit, furnished with two comfy divans at the sides of the salon and one nearby the dinette entrance. The beauty and practicality of the wood extends throughout the yacht’s interior and exterior surfaces, right up to the bows, where there are two luxurious sun pads that can accommodate up to three people.

On entering the living area visitors will be entranced by wide windows creating an ideal combination of sea and sky views. Quality hides in natural colors reflect the elegance of the salon, furnished with a roomy C-shaped divan and an extendable teak table.

The cockpit provides access to both a sun top with a sliding canopy and another roomy sun pad, and the practical garage, which opens hydraulically to reveal a tender ready for immediate use. A fully-equipped unit, with sink and fridge, and grill on request, stand by the wood and steel stairs.

Guests entering the salon will be enchanted by the light flooding in through the wide windows, opening onto a perfect combination of sea and sky.

The spacious, well-equipped galley extends along the starboard side of the salon, encouraging a perfect entertaining atmo-

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INDULGE: YACHTING

sphere. The galley gives access to a below deck storage area which can be transformed on request into a welcoming crew cabin with separate head.

The command console is located forward, to port. Next to it, on the starboard side of the salon, is a co-pilot’s chair for any guest wishing to keep the owner company during a cruise - a totally new element that once again shows the care lavished on every person aboard this new lobster boat.

This section gives access to the sleeping area. At the end of the corridor lies the owner’s stateroom, a suite with two sweeping windows stretching down to sea level, flooding the space with natural light and creating the sensation of being able to plunge your hands directly into the sea and enjoy all its moods to the full. The cabin has two spacious

cupboards, a large set of drawers beneath the bed and numerous wall units, and is flanked by a private bathroom with shower unit. Two guest cabins are sited to either side of the central corridor, a twin to port and a cabin to starboard that offers the owner a choice between two functional solutions – a standard version with a double bed and extra single above it that can accommodate up to three guests, or an optional version with large double bed and spacious wardrobe. These cabins share the bathroom accessed from either the central corridor or the port cabin. Here too the spaces are filled with light from the sun and sea, flooding in through the large windows and the new opening portholes in the deckhouse.

Mochi Craft has responded to current trends by offering a sun top or a flybridge

version of the Dolphin 54’. The latter is equipped with a second, raised console and an extra space for on board living. The flybridge can be shaded with a canopy, and is furnished with a comfy U-shaped divan, a cabinet behind the captain’s chair and a sun pad aft for serious sun seekers!

Comfort and stability are granted by the variable geometry Deep Vee keel and deadrise angle of 19° with longitudinal steps.

Dolphin 54’ is powered by two latest generation Common Rail MAN 800 Hp engines providing a cruising speed of 28 knots and a top speed of 32 knots.

On request the Dolphin 54’ can be equipped with the Mitsubishi MSM 4000 ARG (Anti Rolling Gyro System), exclusive to the Ferretti Group, which reduces roll at sea and at anchor by over 50 per cent.

For further information: Andrea Biondi - andrea.biondi@ferrettigroup.com Tel. +39 0543.787.513 www.mochicraft-yacht.com 64

CONTEMPORARY CULTURE//MAGAZINE

by Matthew Sturtevant

INDULGE: Decorative ARts

On The Block:

BEYOND EXCEPTIONAL. LITTLE THINGS BRING BIG PRICES. BONHAM’S GOODWOOD FESTIVAL STRIKES AGAIN.

Beyond Exceptional Christie’s London hits the mark with a truly exceptional sale. A concept developed in 2008 promoting European made items of the highest quality for the truly elite and there night sale at King Street on July 4th was no exception. The Exceptional Sale realize £14,990,450/$22, 845,446/€17,553,817 selling 69% by lot and 79% by value.

The top price was paid for the Maharaja of Patiala’s banqueting service which realized £1, 965,875/$2,995,994/€2,302,0 40 (estimate: £1 million – 1.5 million), setting a world record price for an English dinner service sold at auction. Robert Copley, Deputy Chairman Christie’s UK, International Head of Furniture and Decorative Arts, Christie’s London: “The very strong results witnessed in this evening’s sale build on the success of this pioneering sales platform, first established at Christie’s in 2008, and demonstrate the enduring appeal of masterpieces of European furniture

A Sevres Porcelain Ormolu-Mounted Blue Ground Clock recorded to have been in the Cabinet des bains in Louis XVI’s apartments at Versailles was purchased by Chateau de Versailles for $661,226 (estimate: $185,000- 275,000).

and decorative arts. These works were highly admired over the past few weeks while they have been exhibited alongside highlights of the Old Master, Impressionist, Modern and Contemporary art in London and when they toured to Moscow, Hong Kong and Monaco. Several records were set including a world record auction price for the enamel plaque by Henry Bone which was purchased by the Cleveland Museum of Art. We are delighted that the Sèvres porcelain ormolu-mounted blue-ground vase-clock was purchased by Chateau de Versailles and will be returning to its original home.” .........................

Little Things Bring Big Prices Leslie Hindman Auctioneers, one of the nation’s leading auction houses, offered a single-owner auction of property from the Estate of Adell Venus on July 17. The auction realized nearly $750,000 and all 767 lots sold. The collection encompassed a diverse selection of miniatures, dolls and accessories, ranging from antiques to modern day miniaturists’ works. Adell’s passion for collecting led to five decades of accumulating tens of thousands of items and was undoubtedly one of the largest and most profound private collections of its kind. Interest prior to the sale suggested this area of the market had a strong following. Spirited and competitive bidding continued throughout the entire auction, setting record prices.

William (Bill) R. Robertson’s works were in high demand with a drafting set selling for $18,750, a rodent trap and a bird cage each achieved an astounding $13,750, while a fly rod set sold for $3,000. A collection of miniature books published by Barbara Raheb at the Pennyweight Press was the top lot, realizing $23,750.

A pair of Louis XV style occasional tables, not even 3 inches tall, by Denis E.W. Hillman, $22,500

Other highlights included: a pair of Louis XV style occasional tables, not even 3 inches tall, by Denis E.W. Hillman, $22,500; a Queen Anne style lady’s writing desk by Paul A. Runyon, $10,625; a George II style secretaire bookcase by John J. Hodgson, $10,000; and a Federal style slant front desk

by Ernie Levy, $10,000. .........................

Bonham’s Goodwood Festival Strikes Again Automotive history was made at the Bonhams Goodwood Festival of Speed Sale today, when the car that took fivetime champion Juan Manuel Fangio to the second of his Formula 1 world titles achieved a record-breaking figure of £19,601,500 (US $29,650,095, €22,701,864). The car becomes the most valuable motor vehicle ever sold at auction, beating the previous record of £10,086,400 set by a Ferrari

in 2011. Doug Nye, racing historian, said: “If he were here today Fangio would shake his head and smile his slow smile. He was a humble man, originally a mechanic from a potato town in Argentina – and he never forgot his roots. As a driver, he was simply a genius.

As a man he had no enemies.

He was universally loved, even by those he regularly beat on track. No standard-setting sportsman could have a better epitaph.” The 2½-litre straight-8 W196 – chassis number ‘00006/54’ – was the car in which Fangio won both the 1954 German and Swiss Grand Prix races. These great victories were the first two to be achieved in succession by the frontier-technology MercedesBenz factory Formula 1 team in its post-war racing comeback.

Chassis ‘00006’ also has special significance as the first openwheeled ‘slipper’-bodied postwar Mercedes-Benz to win a Formula 1 Grand Prix race.

Fangio’s 1954 Mercedes-Benz W196R Formula 1 Racer fetching $29,650,095 (World Record)

Photographs: Courtesy of Christie’s Images Ltd, 2013 CONTEMPORARY CULTURE//MAGAZINE

65

Camila Cook

oil on canvas

48 x 32 inches

ALANNA FAGAN Commissioned

PORTRAITS A portrait is a collaboration between the Artist and the Sitter, and the end result should capture something of the spirit of both. alannafagan.com 203-809-7174 alanna@alannafagan.com

art + objects

VenĂź Magazine's Marketplace for fine furniture, textiles, jewelry, art, antiques and accessories

Cocoon Pendant Light (Small)

Nest Mirror The intercepting and interlocking sticks create a woven, three-dimensional structure that is unique among contemporary mirror designs. The sections of timber are three-dimensional, and the mirror’s profile remains close to the wall making it well suited for usein narrow hall ways as well as open spaces. The Nest Mirror is hand-made to order.

The smallest version of the Cocoon pendant light works especially well when suspended in clusters or a row formation. The slightly broader leaves create a diffused light which satisfies the demands of diners and customers in the Bar and Hospitality industry. The small Cocoon is also suitable for domestic use and sits elegantly above a dining table or workspace. Hand-made to order, the lightweight and elegant pendant is laminated from FSC approved solid timber veneers. www.macmasterdesign.com

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Venü Magazine’s Marketplace for fine furniture, textiles, jewelry, art, antiques and accessories

NANCY MOORE ORIGINAL PAINTINGS . MIXED MEDIA . WOODCUT Signed, Limited-Edition Giclée Prints

Portrait of a Woman Mixed Media, 33" x 40"

Woodcut 1

Mixed Media Woodcut, 27.5" square

www.nancymooreart.com

203.438.5556

Fledgling

Mixed Media, 40" x 32"

Two-Spirit

Mixed Media Woodcut, 27.5" square

nancymooreart@gmail.com

light one up DID YOU JUST LOOK HERE? So Did all of our readers!

To be included in Art + Objects call: 1.203.333.7300 or email us at advertising@venumagazine.com

Lotus Table Lamp Created by:

Raul Casas

Made from American Walnut, the graceful open curves denote the lotus blossom. Simple lines create a delicate look. The ivory art paper is marbelized for a unique effect when lit. Very meditative.

Lamp comes with in-line dimmer switch to vary the light intensity. 40 watt fan size bulb maximum.

Dimensions: W 6” H 18” $235.00 AVAILABLE AT www.LAMPSBYRAUL.COM

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CONTEMPORARY CULTURE//MAGAZINE

Venü Magazine’s Marketplace for fine furniture, textiles, jewelry, art, antiques and accessories

Hand-crafted using a variety of hardwoods and fine Asian papers.

Natural oils are used to enhance the color and grain of the wood Traditional Japanese and original contemporary styles are combined to create unique tabletop lighting.

Auctions Held Once a month, Quality, unique items sold to the highest bidder! Come down to preview our gallery.

For scheduling and more information, visit: WWW.WESTPORTAUCTION.COM Always accepting consignments stop down for a free appraisal

615 RIVERSIDE AVENUE WESTPORT, CT 06880

LOTUS LAMP Created by:

Raul Casas

Made from American Walnut, the graceful open curves denote the lotus blossom. Simple lines create a delicate look. The ivory art paper is marbelized for a unique effect when lit. Very meditative.

Lamp comes with in-line dimmer switch to vary the light intensity.

40 watt fan size bulb maximum. Dimensions: W 6” H 18” $235.00 AVAILABLE AT www.LAMPSBYRAUL.COM

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Venü Magazine’s Marketplace for fine furniture, textiles, jewelry, art, antiques and accessories

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

AQUARIUS 871 Post Road, Darien, CT 06820 203.655.7303

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.

M.S. ANTIQUES

BY APPOINTMENT ONLY

917.885.6163

www.msdecorative.com

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Venß Magazine’s Marketplace for fine furniture, textiles, jewelry, art, antiques and accessories

DID YOU JUST LOOK HERE? So Did all of our readers!

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71

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. ______________________________________ 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. ______________________________________ 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.

Brookfield Brookfield Craft Center 286 Whisconier Road (Rte. 25), Brookfield Tel: 203.775.4526 Web: brookfieldcraft.org Hours: Tue-Thur 12-5pm; Fri-Sat 12-6pm; Sun 12-4; Mon & other hours by appt Brookfield Craft Center is recognized as one of the finest professional schools for creative study in America, dedicated to teaching traditional and contemporary craft skills, and fostering the appreciation of fine craftsmanship. Our classes and workshops are taught by nationally acclaimed local and visiting artists who regularly bring their experience and creative energies to our unique institution. We invite you to be creative, and encourage you to learn and grow within our artistic community of talented faculty, inspired students and generous volunteers and supporters.

Students can explore blacksmithing, bladesmithing, ceramics, fused glass, lampworking, jewelrymaking, woodturning, weaving and fiber arts. Other areas of special interest include business, marketing and photography for artists; decorative arts; drawing and painting. (See our calendar for what’s currently available.)

DARien Geary Gallery 576 Boston Post Road, Darien Tel: 203.655.6633 Web: gearygallery.com.

Hours: Wed-Sat 9:30-5pm The Geary Gallery is well-known as a preeminent Fairfield County gallery for representational art. Its proprietors, Tom and Anne Geary, are more than art dealers. They are friends to artists, spotting talent and market appeal, and nurturing careers, with a lively schedule of art exhibits that rotate approximately every five weeks. They feature both Connecticut-based artists with national reputations and well-known artists from along the eastern seaboard.

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

Troy Fine Art 3310 Post Road, Southport (Fairfield) Tel: 203.255 .1555 Web: troyfineart.com Hours: Mon-Fri 9:30am to 5pm, or by appointment in your home or office at your convenience.

Fine Art Gallery, Exceptional Design, Conservation Framing, Perfect Installation. _______________________________________ 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: Mon-Fri 10-4; Sat-Sun 12-4 Believing in the power of history to inspire the imagination, stimulate thought and transform society.

EXHIBITS: In Vogue: A Runway of Vintage Fashion July 17 – Jan. 5, There’s a Map for That! Aug. 15 – Nov. 15

Greenwich 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 Consistently voted the “Best Museum” by area media, the Bruce Museum is 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.

Connecticut’s finest new art gallery is a century-old ‘worn with time’ historic space nestled within Southport’s picturesque village. Presenting a selection of enduring American Masters and exciting Contemporary artists, we invite new clients and seasoned connoisseurs to explore the values of fine art collecting. ______________________________________ Red Carpet, Antoine Rose, lambda print face mounted on Diasec, 39" x 52"

_______________________________________

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_______________________________________

To be included in the Gallery & Museum Guide call: 1.203.333.7300 or email us at advertising@venumagazine.com

New Canaan

New Haven

Butler Fine Art 134 Elm Street, New Canaan Tel: 203.966.2274 Fax: 203.966.4694 Web: butlerfineart.com Hours: Tue-Sat 10-5pm or by appt.

Fred Giampietro 315 Peck Street New Haven, CT 06513 91 Orange Street New Haven, CT 06511 Tel: 203.777.7760 Web: www.giampietrogallery.com Hours:Tue-Fri 10-4pm, Sat 11-4pm

Located on Elm Street in the center of town, Butler Fine Art specializes in 19th and early 20th century American paintings.

Paintings are available for serious buyers as well as beginner collectors. The gallery hosts three to four shows per year. _______________________________________ 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. _______________________________________

June 7–29 Riley Brewster: “works” September 6 – October 5: Zachary Keeting “recent paintings” and Clare Grill “Steeped”. Works in the office by Anahita Vossoughi. Opening Reception, Friday, September 6th, 5-8pm. Artist Talk Saturday, September 21st at 2pm.October 11 – November 2: Clint Jukkala “Off Course” and Alexis Granwell “Ghost Stories”. Works in the office by Blinn Jacobs. Opening Reception, Friday, October 11th, 5-8pm.

Artist Talk Saturday, October 19th at 2pm.

Fine examples of American Folk Art also available for view.

The Center for Contemporary Printmaking (CCP) is a non-profit organization dedicated to the art of the print: intaglio, lithography, monotype, silkscreen, woodblock printing, paper works, book arts, and digital arts. CCP is a unique cultural resource, a place to discover, to experiment, to learn.

The entire spectrum of printmaking arts is here to be explored through workshops, edition printing with master printers, exhibitions, community programs, and an Artist-in-Residence Program.

Old Lyme

Exhibitions, free and open to the public, include a broad spectrum of professional, student and alumni artwork throughout the year. Selected Student Work is on display through 8/24/13. _______________________________________ April (2), 2013, Zachary Keeting, Acrylic on canvas, 50" x 54"

Florence Griswold Museum 96 Lyme Street, Old Lyme Tel: 860.434.5542 For hours, admission, special events visit: www.FlorenceGriswoldMuseum.org “Home of American Impressionism.” Historic boardinghouse of the Lyme Art Colony, modern gallery with changing exhibitions.

Gardens and grounds to enjoy.

Ridgefield

Silvermine Arts Center 1037 Silvermine Road, New Canaan Tel: 203.966.9700 Web: silvermineart.org Hours: Wed-Sat 12-5pm; Sun 1-5pm Exhibits September 15-October 26 Christine Aaron “Liminal States: Beneath the Surface”Amy Bilden “Inheritance” Guild Group Show “Beyond the Book”

Center for Contemporary Printmaking 299 West Avenue, Norwalk Tel: 203.899.7999 Web: contemprints.org Hours: Mon-Sat 9-5pm; Sun 12-5pm

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

Heather Gaudio Fine Art 21 South Avenue, New Canaan Tel: 203.801.9590 Fax: 203.801.9580 Web:heathergaudiofineart.com Hours: Tue-Sat 11am-5pm or by appt.

Heather Gaudio Fine Art specializes in both emerging and established artists, offering works on paper, photography, painting and sculpture. The gallery offers a full range of art advisory services, from forming and maintaining a collection to framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. Offering five shows a year, the exhibitions are designed to showcase important talent and provide artwork appealing to a broad range of interests. _______________________________________

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. _______________________________________

Oracle, 2013, Clint Jukkala, Oil and acrylic on canvas, 20" x 24" _______________________________________

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,

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. _______________________________________

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Gallery + Museum GUIDE

CT Ridgefield

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 www.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 has extensive experience in the field of contemporary art. After years of working at the Metropolitan Museum of Art, Guggenheim Museum and Marlborough Gallery, she became a private dealer in New York and Connecticut. The gallery 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. _______________________________________

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 Curated by Helen Klisser During, “Bird’sEye View” features major contemporary artworks that depict real or imagined landscape from an aerial perspective. From the Andrew and Christine Hall Collection. _______________________________________ Westport River Gallery 1 Riverside Avenue, Westport Tel: 203.226.6934 Web: westportrivergallery.com Hours: Wed-Fri 11-4; Sat 11-5; Sun 12-4, or by appointment We offer the best in distinctive European, American & Asian fine art, working with all levels of art collectors, corporate clients and decorators. Artists are selected based on reputation, credentials, style, distinctions. Styles include impressionistic, realistic, abstract & modern. Your hosts are Ken & Pat Warren. _______________________________________

NY

New RochellEe transFORM Gallery 20 Jones Street Tel: 914.500.1000 Web: www.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.

Larchmont

Pound Ridge

Kenise Barnes Fine Art 1947 Palmer Avenue Tel: 914.834.8077 Web: www.kbfa.com Hours: Wed-Sun 12-6pm

The Lionheart Gallery 27 Westchester Avenue Scotts Corners, Pound Ridge Tel: 914.764.8689 Web: thelionheartgallery.com Hours: Wed-Sat 11am-5pm; Sun 12-4pm

The gallery mounts seven exhibitions annually in our gallery space in Larchmont, NY as well as curating shows for art centers, museums, institutional art galleries and corporate spaces. 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. _______________________________________

The Lionheart Gallery presents top drawer contemporary art: the sophistication of a Chelsea gallery in a charming country setting.

Fine art photography, figurative art, mixed media, printmaking, paintings & sculpture.

Sept. 7 – Nov. 1: Chilean artists: Soledad Leonicio, sculpture; Pablo McClure, prints.

November: Betsy Podlach: paintings; Kathleen Griffin: “Butterflies of Memory”.

Nuartlink Gallery 19 Post Road East, Westport Tel: 203.858.2067 Web: nuartlink.com Hours: Wed-Sat 11-6 and by appt.

Nuartlink gallery focuses on contemporary art providing exposure to emerging and established artists. _______________________________________

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Seen and Unseen, oil and acrylic on canvas by Geoffrey Stein.

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F e atu r e d

G all e r i e s

DID YOU JUST LOOK HERE? So Did all of our readers!

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75

PULSE: Music

International superstar

José Feliciano

W

ith a name that is synonymous with music, José Feliciano is recognized as the first Latin Artist to cross over into the English music market, opening the doors for other artists who now play an important role in the American music industry. He’s been awarded over forty-five Gold and Platinum records; he has won nineteen Grammy nominations, earning nine Grammy Awards, including the LARAS Award for Lifetime Achievement.

José was born blind, to humble beginnings, on September 10, 1945, in Lares, Puerto Rico.

One of eleven boys, he was five, his family immigrated to New York City. Young José learned to play the concertina at age six, using a handful of records as his teacher. At eight, he entertained his classmates at PS 57, and at nine, performed at The Puerto Rican Theater in the Bronx. Venturing beyond the accordion, he taught himself to play the guitar with nothing but records as his teacher, practicing for as many as 14 hours a day. Exposed to the Rock’n’Roll of the 50’s, José was then inspired to sing. At 17, he quit

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By Michael Horyczun

Photograph By David Bravo

school. His father was not working at the time and he needed to help his family.

He starting playing in coffee houses in Greenwich Village, and for his salary - as was customary during that time in small clubs they’d “pass the hat.” He played in coffee houses, clubs and cafes from Boston to Cleveland to Detroit, Chicago and Colorado. A music critic from the New York Times, reviewing his performance at Gerde’s Folk City, referred to him as a “10-fingered wizard who romps, runs, rolls, picks and reverberates his six strings in an incomparable fashion.” Around this time, Jack Sommer, an A&R executive from RCA, saw José perform and signed him to RCA, instead.

His first major break happened in the Spanish market when, in 1966, after a spectacular performance at the Mar del Plata Festival in Argentina, the RCA executives in Buenos Aires encouraged José to stay and record an album of Spanish music. The first single, “Poquita Fe,” was a ‘smash’ hit and “Usted” was even bigger.

Taking long-time standards and torch songs

from another era, he re-worked and re-fashioned them with his signature acoustic guitar style and his vocal inflections of jazz and the American influences that he’d acquired during his adolescence - and made them brand new. The formula clicked, and José quickly became a “teen idol,” unable to pass through airports or leave his hotel room without a riot. Two more albums followed in similar fashion and the name “José Feliciano” was known all throughout South and Central America, Mexico and the Caribbean. Back in the States, RCA execs in Los Angeles assigned him to staff producer, Rick Jarrard, who closely studied José’s intriguing style and recommended that he record a Doors’ song that he’d heard him perform in concert -a tune called, “Light My Fire”...

By the time he was 23, José Feliciano had earned five Grammy nominations and won two Grammy Awards for his album “Feliciano!” He had performed over much of the world, and had recorded songs in four languages. He had a desire to expand his career to include some acting and

during the next few years, had made a number of dramatic TV appearances, including an episode of “Kung Fu”, “Macmillan and Wife” and “Chico and the Man”.

Three songs that have been milestones for Feliciano are: 1) “Light My Fire”, which topped the charts globally in 1968 and according to the song’s publisher, is now a “standard” because of José’s interpretation. 2) “Che Sara,” the 1971 San Remo Music Festival entry that became a mega-success for José throughout Europe, Asia and South America and of course, 3) “Feliz Navidad,” the Christmas song that has now become a tradition worldwide during the holiday season every year. In fact, it has become a top iTunes download while ASCAP has placed it among the 25 Greatest Holiday Songs of the Century. Additionally, the world enjoys many other Feliciano songs, including “Chico and the Man,” “The Sound of Vienna,” “Porque Te Tengo Que Olvidar?” and countless others, many of which he wrote.

J

osé and his wife Susan have been together since 1971. In1988, they were blessed with a daughter, Melissa Anne; in 1991, with their first son, Jonathan José; and in 1995, with their third child, Michael Julian. Together they live in a 275+ year-old former tavern- turned-homestead on a river in Fairfield County, Connecticut.

In the early 90’s, José indulged himself a little by staying closer to home, enjoying his young family and trying his hand at a life-long dream: “to be on the air!!” The local Westport, Connecticut, radio station, WMMM, became the perfect instrument for his desire. Its general manager, Mark Graham, and José had a Saturday morning talk show entitled, “Speaking of Music,” where they would chat, take phone calls, share musical tidbits and trivia, interview musical artists and play an array of music from jazz and blues to the rock ‘n’ roll of the 50’s and early 60’s to pop and more. The community embraced their collaboration and the show continued for well over a year until José’s touring schedule simply couldn’t afford the time it took to broadcast a weekly show.

Over the years, José has been part of many historic events. José participated in the American Bicentennial celebration at Ft. McHenry and the Lady Liberty Concert in New York along with Frank Sinatra, Elizabeth Taylor, Helen Hayes, Barry Manilow and Mikhail Baryshnikov before Presidents Reagan and Francois Mitterand. He co-headlined with Paul Simon and James Taylor at the internationally acclaimed ‘Back To The Ranch Benefit’ on Long Island and performed on the Motown 25 Special where he preceded Michael Jackson’s

premier ‘moonwalk.’ Among his greatest honors is to have performed for two Popes: Pope John Paul II during “Christmas at the Vatican” and Pope Benedict XVI before the Papal Mass at Yankees Stadium.

In 2005, José recorded a collection of Mexican Mariachis. In “A Mexico...con Amor,” he was able to express his affection for the people and music of Mexico in much the same way he’d illuminated the beauty of the bolero.

In September 2006, The Hispanic Heritage Foundation, an organization that identifies, inspires, promotes and prepares Latino role models through national leadership, cultural, educational and workforce programs, honored José with their prestigious Lifetime Achievement Award at the Kennedy Center in Washington, D.C. In 2008, José explored the typical countryside music of the Dominicanos - The Bachata. The album, part of his nowpopular “Señor Series,” was aptly titled, “Señor Bachata!” won two Grammy Awards, for “Best Contemporary Tropical Album” by LARAS, the Latin Association of Recording Arts and Sciences and “Best Tropical Album” by NARAS, the National Association of Recording Arts and Sciences. In November 2011, LARAS honored him with their prestigious Lifetime Achievement Award in recognition of his life’s work.

Even with the attention given to his roots in the Spanish culture and his life spent on American soil, José’s music has touched people in all corners of the world. He has a particular affection for Europe; Austria, in particular. Back in the mid ‘80s, José recorded what was to become an iconic song, “The Sound of Vienna,” and for many years, passengers on every Austrian Airlines flight arriving in Vienna would be greeted with José’s singing of it. Now it has become the Official Anthem of the City of Vienna. Additionally, José is humbled to have been chosen to represent Austria when he was named Honorary President of the Ronald McDonald Children’s Aid of Austria, ‘Kinderhilfe.’ The privilege of sharing in the magic of what the Ronald McDonald Children’s Aid of Austria accomplishes for children and their parents is unparalleled and he is thrilled to be associated with it.

One special project, organic from the standpoint that it grew out of José’s Studio, is his current release, “The King...by José Feliciano.”

This album is a collection of twelve of José’s favorite Elvis Presley songs, recorded in his inimitable style and released in August 2012.

José Feliciano’s musical career has been immortalized with a Star on Hollywood’s Walk of Fame. New York City has honored him by re-naming Public School 155 in East Harlem, “The José Feliciano Performing Arts School.”

The Equestrian Order of the Holy Sepulchre,

International superstar José Feliciano performs at 8 p.m., Saturday, September 28, at Fairfield University’s Regina A. Quick Center for the Arts.

Tickets are $75, $65, and $55.

Tickets are available through the Quick Center Box Office: (203) 254-4010, or toll-free 1-877-ARTS-396. (1-877-278-7396).

Tickets can also be purchased online at www.quickcenter.com.

The Regina A. Quick Center for the Arts is located on the campus of Fairfield University at 1073 North Benson Road in Fairfield, Connecticut.

Entrance to the Quick Center is through the Barlow Road gate at 200 Barlow Road.

Free, secure parking is available.

Access for people with disabilities is available throughout the Quick Center for audience members and performers.

Hearing amplification devices are available upon request at the Box Office. Fairfield University is located off exit 22 of Interstate-95.

For further information and directions, call (203) 254-4010 or 1-877-278-7396, or visit www.quickcenter.com. an ancient and prestigious Papal Order of the Catholic Church has knighted José at St. Patrick’s Cathedral, and he’s received a Doctor of Humane Letters degree from Sacred Heart University in Fairfield, Connecticut, for his musical, as well as humanitarian, contributions to the world. Guitar Player Magazine has awarded him “Best Pop Guitarist,” placing him in their “Gallery of the Greats,” and he’s been voted both Best Jazz and Best Rock Guitarist in the Playboy Magazine reader’s poll, as well.

In 1996, José was selected to receive Billboard Magazine’s Lifetime Achievement Award. Being constantly in demand, José has performed for and with some of the most important people on Earth. He’s enjoyed playing with many of the top symphonic orchestras including the London Symphony, the Los Angeles Philharmonic and the Vienna Symphony Orchestra.

Fairfield University offers its students and the regional community a wide array of opportunities to enjoy the arts and enrich their lives through study, performance, appreciation, and thought. The annual Arts & Minds season of events at Fairfield provides an outstanding array of cultural and intellectual events that include the Regina A. Quick Center for the Arts season, the popularOpen VISIONS Forum lecture series, professional and student performances, art exhibits, special lectures, and a myriad of other lifelong learning opportunities. For further information, visit www.fairfield.edu/arts.

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PULSE: ART

Nomi Silverman (left) and Alanna Fagan (right) in Alanna’s Studio.

Mark Making: The Collaborations of Alanna Fagan and NOmi Silverman

by Laura G. Einstein

A

rtists Alanna Fagan and Nomi Silverman began their portrait collaborations in 2007 when they created portraits of each other for an exhibition called Collaborations at Silvermine Arts Center. Together, they have executed three sets of portraits.

In the first set the artists created pastel portraits of each other on paper; in the second they created interpretations of the curator and art consultant Camilla Mackeprang Cook in oil on canvas; the third set are self portraits of each artist in oil on canvas.

Fagan and Silverman make natural partners as they emphatically state, “No one touches or works on our work!” They both feel that their imagery is strong enough to stand on its own without intervention of others.

Given that they both hold this position, they thought that they should work together. Camilla Mackeprang Cook states, “I had the opportunity to experience Alanna and Nomi’s first partnership at Silvermine Galleries in 2007 where I then worked as the Guild/Exhibitions Administrator. Their collaboration was not a traditional one. They developed a process built on respect that allowed for mutual exchange without compromising or altering

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artistic quality or efforts. For this first experiment, they drew each other standing in the same setting. The spark that arose during that project was palpable, and I can still recall in vivid detail those two memorable and seminal works.”

For Collaborations, they completed pastels of each other. Although the main subject was their interpretation of each other, each drew her own image reflected in a mirror to the left. The mirror remains a compositional device in future portraits. One cannot help referencing the use of mirrors in the portraits of Jan Vermeer, who used the mirror to provide a third dimension to his paintings. The partial treatment of the subject’s bodies and the intense gaze of the artists as reflected in the mirror provide a nuance harkening back to the Dutch artist. The mirror was used symbolically by Vermeer to suggest vanity and self knowledge. For these 21st century artists, the mirror serves as means to insert themselves into the tableau and to establish a sense of creator and created.

These first works in pastel established a symbiotic connection for these two artists whose styles are actually quite different from each >

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PULSE: ART

other. Nomi’s works are pushed to the front of the picture plane and seemingly enlarged to dominate the surface of the single plane that she has created. Alanna’s works are a quieter evocation whose imagery is defined by a depiction of foreground, middleground, and background achieved with more subtle transitions of color.

Alanna creates Nomi, arms folded, staring out to welcome the viewer into the room. Regardless of the final impression, line, color, and texture are integral to each work whether subtly created or strong and bold. Alanna states, “Nomi always draws smaller than life – very big, very bold.

I tend to sneak up on it and draw slightly larger than life size.” Alanna could perhaps be considered an atmospheric painter while Nomi is intent upon depicting pictorial space front and center while nuances of atmospheric effects recede in a more diffuse treatment of color and texture.

The second project was a portrait of Camilla Mackeprang Cook in oil on Belgian linen. Camilla states,

“As they were both energized and intrigued by the initial exercise, they continued to work alongside each other on self-directed projects as opportunities arose. In 2010, I was honored when they asked if I would sit as each painted my portrait. Over the course of several weeks, we three gathered in Alanna’s studio as they painted me.

After each session, we would relax and talk over lunch or tea – discussing artistic techniques, comparing visual effects -- and I’d marvel at having such rare and valuable access to the behind-thescenes action as it was unfolding. It was exciting to be painted by two equally talented - yet very different - artistic powerhouses!

The paintings that resulted from those sessions yielded two distinct views and interpretations, and I’m sure they’ve continued to evolve since I last saw them. Both artists depicted me standing in the same room, at the same time of day, wearing the same dress; and while the aesthetic qualities and moods differ, both Alanna and Nomi capture core essences of my psyche and physical presence. As an Artist Consultant and Independent Curator I work with artists on a daily basis, so it was a tremendous thrill to be involved in Alanna and Nomi’s creative process and watch the paintings evolve in real time!”

The third project is a diptych with each artist painting a self portrait with a connected tableau.

They can be viewed together as one painting or as two separate paintings. These two works were created for another themed exhibition at Silvermine Arts Center titled, Double Vision that focused on the collaboration between pairs of artists. In this piece, the mirror was used again as a technical and compositional device. Alanna states, “We both find mirror images complex and fascinating, so it was decided that we would each do a self-portrait using the same mirror at the same time, thereby creating two separate paintings that can be seen as one when placed together – connected by the mirror which begins in one and ends in the other.” For the material, Nomi found exquisite linen that both artists share for this series. They prefer oil-primed Belgian linen.

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This page: Camilla by Nomi Silverman (top left), and Camilla by Alanna Fagan (below right).

Nomi & Me, by Alanna Fagan (middle left) and Alanna and Me by Nomi Silverman (bottom right).

Page right: Self-Portrait at Alanna’s, by Alanna Fagan (left) and Nomi Silverman (right).

Each artist has a visceral reaction to the smell of oil-primed linen.

Fagan and Silverman consider making art as mark making whether in drawing, painting, or printmaking and believe drawing to be the foundation for their works of art. Alanna states, “Making marks on paper, canvas or copper plates is what my art is about. Those first marks begin the exciting, frustrating, driven, joyous journey that is art making. From the first marks comes the drawing, the spontaneous response to some idea, and from there the process evolves.

I never know for sure where the journey will end, or if it will end well, but I obsessively persevere in the hope that what is first conceived in my mind will come through my hand to fruition in the chosen medium.”

Nomi considers herself a German Expressionist trapped in an academic’s body. She studied at the High School of Art and Design in Manhattan, attended Barnard College and the Art Students League of New York along with teachers Daniel Greene, David Leffel and Gustav Rehberger. Silverman also attended the

National Academy of Design with teachers Harvey Dinnerstein, Ron Sherr and George Nama.

She has printed at Robert Blackburn Printmaking Workshop, a collaborative printmaking studio in Manhattan.

Both artists love the physical nature of painting. Color appears to be a shared struggle for each artist and the application of color becomes a violent activity for Nomi as she applies paint in assertive slashes of textured color. She states, “I like to destroy a surface with medium.”

Silverman modestly believes that color is her

weakest ability as an artist even though she was trained as a painter. Her works convey social issues in a profoundly arresting and haunting manner akin to the German Expressionist artists including the works of Kathe Kollwitz, a painter, printmaker and sculptor of the 20th century.

Silverman reaches deeply to convey the power of human suffering through her selected themes of homelessness, hunger, and brutality. This comes through in any medium that she selects.

Barnbougle Dunes, Hole 15

For Nomi, it is not about the paint -- it is about undoing its rigid specificity. Nomi believes that color has value and that you must learn the rules in order to break the rules.

Both artists share an expressiveness that is concrete, stable, and emotionally stirring.

Color for Fagan creates atmospheres that might be as sparse and alone as that of the American artist Edward Hopper. Rooms by the Sea, a painting in oil on canvas dated to 1951 is one

that Fagan has sat in front of many times -- this is a meditative practice that she compares to the author Siri Hustvedt’s account of sitting in front of Jan Vermeer’s oil painting of Woman with a Pearl Necklace at the National Gallery of Art in Washington for hours at a time in her book, Mysteries of the Rectangle: Essays on Painting.

For Fagan, Hopper’s austere atmospheres, suggested through color, texture, and dimension, are compelling aspect of his work that she admires and similarly conveys in her works.

About their collaboration Fagan and Silverman both state, “If it didn’t work for us, we wouldn’t do it!” They continue to learn from each other and casually make comments to each other that generally add to the creative process.

“Maybe the Buddhist concept of ‘mindfulness’ is an apt description of how we treat one another’s work and ideas,” states Fagan. Fagan and Silverman feel very lucky to have this ongoing collaboration which turns out to be instructive as well as entertaining, and pushes them to work more thoughtfully. Once, when they were painting together, Silverman turned to Fagan and mentioned that Fagan’s upper lip was thinner than depicted, causing Alanna to set down her brush with the slightest hint of disbelief.

This collaboration is successful because there is tremendous chemistry between these two exceptional artists.

CONTEMPORARY CULTURE//MAGAZINE

81

PULSE: FILM + Entertainment

Fox on Film

& Entertainment

by PETER FOX: about.me/foxonfilm

Left to right: Cate Blanchett as Jasmine, Max Casella as Eddie, Bobby Cannavale as Chili and Sally Hawkins as Ginger Photo by Merrick Morton © 2013 Gravier Productions, Courtesy of Sony Pictures Classics

“Blue Jasmine”

Written and directed by Woody Allen. Starring Alec Baldwin and Cate Blanchett. Rated PG 13, 98 minutes.

A Sony Pictures Classics release.

Rating:

W

oody Allen’s ability to maintain a one film per year pace as both writer and director is unprecedented. His new film, Blue Jasmine, is a fine comedic drama which documents the severe, life-reversing events of Jasmine, who is masterfully portrayed by Cate Blanchtett. The film examines the dire consequences that can result when people avert their eyes from reality and the truth they don’t want to see.

After everything in her life falls to pieces, including her marriage to wealthy businessman Hal (Alec Baldwin), elegant New York socialite Jasmine (Cate Blanchett) moves into her sister Ginger’s

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(Sally Hawkins) modest apartment in San Francisco to try to pull herself back together again.

Jasmine arrives in San Francisco in a fragile mental state, her

head reeling from the cocktail of anti-depressants she’s on. While still able to project her aristocratic bearing, Jasmine is emotionally precarious and lacks

any practical ability to support herself. She disapproves of Ginger’s boyfriend Chili (Bobby Cannavale), who she considers another “loser” like Ginger’s ex-husband Augie (Andrew Dice Clay). Ginger, recognizing but not fully understanding her sister’s psychological instability, suggests that she pursue interior design, a career she correctly intuits that Jasmine won’t feel is beneath her. In the meantime, Jasmine begrudgingly accepts work as the receptionist in a dentist’s office, where she attracts the unwanted attentions of her boss, Dr. Flicker (Michael Stuhlbarg). Feeling that her sister might be right about her poor taste in men, Ginger starts seeing Al (Louis C.K.), a sound engineer whom she considers as a step up from Chili.

Jasmine sees a potential lifeline when she meets Dwight (Peter Sarsgaard), a diplomat who is quickly smitten with her beauty, sophistication and style.

Jasmine’s flaw is that she derives her worth from the way she’s perceived by others, while she herself is blind to what is going around her. Delicately portrayed by Ms. Blanchett, Jasmine earns our compassion because she is the unwitting instrument of her own downfall.

“We know from the minute the movie opens that Jasmine is lost,” says Allen. “She’s already someone who has been found talking to herself and has had real problems.” Hitting rock bottom both financially and psychologically, and having nowhere else to go, Jasmine turns to her sister Ginger (Sally Hawkins), a grocery store cashier in San Francisco. “Jasmine has really been through the mill,” says Allen. “In a fit of anger she did something that caused dire consequences she never anticipated, and she brought on herself an extremely Left to right: Bobby Cannavale and Director Woody AllenPhoto by Merrick Morton © 2013 Gravier Productions, Courtesy of Sony Pictures Classics

potent series of traumas.”

Says Blanchett: “Jasmine is in freefall and has to leave behind everything she knows and has expected. She’s entering the realm of absolute unknown, moving from one coast to the other, from one social set to the other, one class to another.”

Hal, portrayed by Alec Baldwin, is a man whose fortune is as bountiful as the source of his income is questionable. “I think Hal is like a million guys out there, who have this big shot complex,” says Allen. “They make a lot of money and they’re charming and generous with people.

They stay just within the law when they can, and when they have to stretch it a little, they stretch it.” Hal is also equally flexible in his attitudes towards fidelity. “I think Hal is like a lot of hard-charging, successful men who feel the need to take the edge off of a stressful life and expect their wives to understand,” says Baldwin.

“In his case Jasmine isn’t able to accept that, but he is very adept at reassuring her that she has nothing to worry about.” Says Allen: “For Hal, Jasmine is elegant and knows how to keep up the social end of things, and yet he’s always playing around because he’s good looking and dynamic and that’s his style.”

The two sharply contrasting worlds of Jasmine and her sister, Ginger, are intelli-

Left to right: Sally Hawkins as Ginger and Andrew Dice Clay as Augie. Photo by Jessica Miglio © 2013 Gravier Productions, Courtesy of Sony Pictures Classics

gently rendered through smart intercutting and flashbacks between past and present.

Ginger’s world is a far cry from the Madoff-esque existence that Jasmine once enjoyed, and her ex-husband, Augie, cements the contrast between Jasmine’s former life, and the hardscrabble reality to which she must now adjust as part of Ginger’s world.

Allen’s ability to assemble a powerhouse cast is an element of his work which has enabled him to maintain the distance which separates him

Left to right: Cate Blanchett, Director Woody Allen and Alec Baldwin

from his peers. The surprise powerhouse performances from Louis C.K. as Al, Bobby Cannavale as Chili, and Andrew Dice Clay, as Augie, keep the audience engaged from the first frame to the last. (As a result of his work here, I predict that Mr. Clay will soon experience a resurgence in the same manner that John Travolta did after his work in Pulp Fiction). But it is the work of Ms. Blanchett as Jasmine that will have moviegoers talking about Blue Jasmine, and will certainly earn her and Oscar nomination.

Allen’s command of cinematic narrative is among the best of the best. He is not only prolific, but masterful at juxtaposing images and tones in a manner which keep the audience on-board. However, it is perhaps this breakneck pace of his recent work which may be the cause of one slight flaw.

When salvation arrives at the door in the form of Dwight, a diplomat and widower whose injuries are as deep and profound as Jasmine’s, her tendency toward selfdeception becomes glaringly evident. However, Dwight’s arrival seems too conveniently placed in the narrative, and took me out of the story for a

minute. This was the only flaw in an otherwise beautifully constructed film, which will only add to Mr. Allen’s legacy among his peers.

Baldwin’s performance as Hal is spot-on, and he wears the big-shot Wall-StreetTitan’s role as if it were an old comfortable shoe. Hawkins’ performance as Jasmine’s underachieving sister Ginger contrasts perfectly with Blanchett’s.

Throughout his career, Woody Allen has created many indelible female characters portrayed by some of the world’s greatest actresses, including Diane Keaton, Geraldine Page, Mariel Hemingway, Charlotte Rampling, Mia Farrow, Barbara Hershey, Gena Rowlands, Dianne Wiest, Mira Sorvino, Judy Davis, Samantha Morton, Scarlett Johansson, and Penelope Cruz, to mention only a few. Whether they appear in light comedies, dark dramas or anything in between, these complex female characters resonate in our memories as the focal points of his movies.

Certain to take her place in this gallery of multifaceted, complex, and richly observed women is Jasmine, troubled heroine of Allen’s new drama Blue Jasmine, portrayed by another one of the world’s most extraordinary actresses, Cate Blanchett.

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PULSE: FILM + Entertainment

FLICK:

A Gala Celebration of Film, and New Jersey Filmmakers at the Count Basie Theatre with Randy Newman

BY PETER FOX

Photo: Brian Stratton

O

n the landscape of American cinematic history, there are few states whose contributions rival those of the Garden State. America’s first movie studio, the Black Maria Studio, was founded by Thomas Edison, and opened in West Orange in 1893. The very first feature film, The Great Train Robbery, was shot in Essex County in 1903.

Some of the first movie chains were born in New Jersey. Walter Reade, a resident of the affluent Monmouth County seaside town of Deal, founded the Walter Reade theatre chain, which, during its heyday, boasted more than forty theaters throughout New

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Jersey, New York and southern New England.

As vaudeville and feature film exhibitors scrambled to accommodate steadily increasing demand, new theatres began to open and New Jersey was

Photo: Courtesy Count Basie Theatre

a hotbed of activity for filmmakers and exhibitors. During this era, New Jersey led the industry in film production.

In 1926, the Carlton Theatre opened in Red Bank, to a crowd of almost four thousand

people. The feature film The Quarterback, starring Richard Dix, and several vaudeville acts were on the slate. Nearly 4,000 people attended two shows that night, with crowds gathering two hours before the first performance. The New Jersey Register called the new theatre “…a marvel of beauty, convenience and comfort. Outside and inside it is a veritable and architectural triumph.”

Through the years, the theatre has weathered many storms; some economic, some literal, most recently hurricane Sandy. In addition to hosting some of the very biggest names in entertainment like Bruce Springsteen, Bon Jovi, and Tony Bennett, the Count

Basie Theatre has not only maintained, but expanded its extensive entertainment slate, and arts education programs which include dance, theatre, music and filmmaking.

In 1984, the theatre was renamed after the town’s most famous citizen, jazz great Count Basie. In the wake of hurricane Sandy, which decimated the Monmouth County community where the theatre is located, the Count Basie is enjoying a renaissance.

Recently completed renovations include improvements to both the front and back of the house. New state-ofthe-art sound and projection improvements have brought the theatre into the twenty first century, while maintaining the building’s original architecture and character.

The theatre’s longstanding connection with film in New Jersey was celebrated on June 14’th with a Gala and concert

jeans and a blue shirt. Without accompaniment (he performed center stage on a grand piano) he launched into his significant body of contributions to the American catalog from his albums and movie soundtracks.

He was affable, and joked with the crowd between songs. (On “Short People”: “Sounds really nasty, don’t it?”) and took audience requests, and told stories of how some of his songs were born. On his contribution to the film score of Toy Story: “You Got a Friend In Me is a story about how I got involved with a movie called Toy Story.”

Curiously, he performed the song Losing You, twice. On his second pass of the song, the audience sat in rapt attention, as if trying to figure out why Newman chose to perform the song twice.

To experience an American master in such an intimate setting was indeed a treat.

One part Tom Waits, (without

Photo: Brian Stratton

From L to R: Adam Philipson, CEO, Count Basie Theatre; Tom Widener, Chairman, Count Basie Theatre Board of Directors and Gala Co-Chair; Raymond R. Moser, Jr., Chairman, Count Basie Theatre Board of Trustees and Gala Co-Chair; Jonathan Demme, Academy Award-winning Director and Honorary Gala Chairman; and Tom Bernard, Co-President, Sony Pictures Classics.

Photo: Brian Stratton

Fom L to R: Tim Hogan, President, Riverview Medical Center; Eileen Hogan; Carol Stillwell, President, Stillwell-Hansen; Phil Villapiano, Former Oakland Raiders Linebacker; Lynn Bidgood and Steve Bidgood, Co-Owner, Salt Creek Grille-Rumson Peter Fox with Adam Philipson, CEO of the Count Basie Theatre

Photo: Courtesy Count Basie Theatre

by the great singer, songwriter and film score composer Randy Newman. He was recently inducted into the Rock and Roll Hall of Fame. Nominated for twenty Academy Awards – he has won twice – he reflected on his induction into the Hall: “I really thought maybe I’d have to die first. I didn’t think it would happen if it didn’t happen, you know, a little earlier.

But this is great. I’m really glad it happened when I was still around to see it.”

Newman unpretentiously walked onstage to the delight of the sellout crowd dressed in

the bite), part American bayou scat, one hundred percent Randy Newman, this night was one of those rare moments when an iconic genius met with his public in a personal way, in an elegant setting.

The Gala featured luminaries from the world of film, and included film director and honorary Count Basie Theatre Honorary Chairman Jonathan Demme, Sony Classics Pictures President and CBT Advisory Board member Tom Bernard, CEO Adam Philipson and Count Basie Theatre Chairman Raymond Moser.

Photo: Brian Stratton

Photo: Brian Stratton

For more information on the Count Basie Theatre, visit www.countbasietheatre.org.

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PULSE: On Stage

By William Squier

Broadway on the spectrum

The Theatre Development Fund’s Autism Theater Initiative

I

f you’re a fan of New York theater, you’ve probably found yourself at some point standing on a line in the middle to Times Square waiting to buy discounted theater tickets at the TKTS booth.

Since the late 1960’s the not-for-profit Theatre Development Fund (TDF) has run the booth as a part of its efforts to subsidize the performance of drama, musical theater and dance in New York City (including 32 productions that won the Pulitzer Prize). And the millions of theatergoers who have benefited can attest to the program’s popularity. The booth received an architectural upgrade in 2008 that has made it even more of a familiar cultural landmark for visitors of Manhattan. But, TKTS is only one of a variety of programs that TDF has developed to help get “butts into the seats” of the city’s theaters.

Along with TKTS, TDF runs a similar discounting service that’s available online or by mail order to provide tickets to students, teachers, members of the military, clergy, retirees and performing arts professionals. The organization

Audience applauds the performance of The Lion King at curtain call.

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also sponsors classes in the arts that often include a trip to see a show as part of the curriculum. It is arguable, however, that the not-for-profit’s most significant efforts have been made on behalf of theater patrons with disabilities.

Perhaps you’ve attended a performance of a Broadway show and noticed one of TDF’s earliest and most visible innovations: open captioning on the side of the stage or a sign language interpreter to assist patrons that are hearing impaired. TDF provides those same services to school-aged audiences and, beginning in 2008 they added audio descriptions for those that are partially sighted or blind. Less obvious, perhaps, are the many physical modifications that the organization has urged building owners to install to make attending the theater easier for patrons that use wheelchairs or guide dogs.

The person behind many of these initiatives is Lisa Carling, the Director of TDF Accessibility Programs. Carling took the job a little over 25 years ago, shortly after earning an MFA from the Yale School of Drama. And she has been a

Lisa Carling, the Director of TDF Accessibility Programs

tireless advocate for accessibility ever since.

“There’s always something more to do,” she insists. “Sign language, open captioning and audio description are done. The buildings are really good about physical access. But, there’s a last component: the autism community and people with other sensitivity issues.”

Acknowledgment of that fact has led TDF to develop an Autism Theatre Initiative – a comprehensive program that makes it possible for children and adults on the autism spectrum and their families to attend live performances. The need was first brought to Carling’s attention by Special Education teachers from the city’s schools five years ago. But, finding a way to make Broadway autism-friendly took a bit of doing.

“TDF has very successful outreach to children with hearing and vision loss, which we can do during a regular Wednesday matinee,” Carling points out. “But, there really wasn’t any way we could accommodate children on the autism spectrum. They’re an atypical audience.

It wouldn’t be fair to them, or to a typical audience to mix the two.”

Undaunted, Carling brainstormed with the teachers, psychologists and parents and together they hit on the idea of creating designated performances for families with members who were on the spectrum. The Disney Theatrical Group, whose Broadway hits include Beauty and the Beast, The Lion King, Mary Poppins and Newsies, was the first producer to partner with TDF to develop a program in 2011.

“They were terrific,” Carling recalls. “From the very beginning, they were open to making very slight artistic modifications. They were very accommodating regarding the theater space. And very supportive.”

After deciding to test the initiative with an autism-friendly performance of The Lion King, TDF spent a little over a year preparing. It was a painstaking process. “If you know one child with autism, you know one child with autism,” Carling concedes. “They are each unique in terms of their sensitivities and communication issues. But, there are a couple of areas where it’s safe to say difficulties might occur.”

plemented by an equal number of volunteers - Carling points out that children and adults people that work in the field of autism who willon the spectrum tend to be very literal thinkers. ing to roam the aisles to help parents to calm a A show with double entendres or jokes that rely a child or direct them to a quieter spot. TDF set certain amount of background knowledge might up activity areas in the lobby equipped with bean not be the best fit. So, the first step TDF took was bag chairs and sofas to sit on, the lights someto have professionals in the autism field visit The what dimmed, a monitor with a live feed of the Lion King to determine whether or not it would show with the sound turned down, rubber squishy be a likely candidate for an autistic audience. balls and “fidgets” to squeeze, coloring books They decided that it was. and crayons, toy cars and trucks, and weighted

Then, they took a closer look at the physical blankets or lap pads – the pressure of which some production to identify potential red flags. “Things persons on the spectrum find calming. that might be difficult,” Carling explains. “Strobe

With all of this preparation, Carling and her lights, sudden changes from dark to light or light staff were still anxious about the event. “We were to dark, sudden changes in sound, very high very nervous the first time,” she says. “To the expitched, loud sounds – those are all areas where, tent that we hesitated having news coverage. No if possible, our advisors asked if they could be toned down.” The folks at DisPatiently waiting for the performance ney were happy to comply. of Mary Poppins to begin.

Next, the staff at TDF developed materials that patrons could use to prepare for a visit to Broadway. “Prepping the families before they purchase tickets is important,” Carling stresses.

Special emphasis is placed on acquainting them with content that could prove to be disturbing. Carling points to a scene from the musical Spiderman: Turn Off the Dark as an example.

“The character of Arachne hangs herself,” she notes. “Our psychologist said, ‘For very young children that image might be upsetting.’ So, we put it on our website with information. We were also lucky enough to have a threeminute video that pretty much covered it all: the Green Goblin and the villains he hangs out with.

A parent who does his or her homework can take a look at it.”

Carling says that they also tried to alert families to hazards that were far less obvious.

“We make a Social Story available that prepares a child or adult for what to expect when you go to the theater,” she explains. “It’s what the child or adult will see: what the front of the theater looks like; what the escalator looks like; who the ticket one knew the effect of putting 500 to 600 kids takers are and the ticket scanning process; what and adults with autism in the same theater. When the restrooms look like; the water fountains; the you don’t know what to expect, you imagine all seating area. And it’s done in a Word document kinds of things.” so that a parent can personalize the Social Story

Then, they took a closer look at the physical production to identify potential red flags. “Things that might be difficult,” Carling explains. “Strobe lights, sudden changes from dark to light or light to dark, sudden changes in sound, very high pitched, loud sounds – those are all areas where, if possible, our advisors asked if they could be toned down.” The folks at Disney were happy to comply. to take out or add what’s appropriate for their child.” There was also a Character Guide that showed a photo of each actor and, if applicable, what corresponding animated character looked like, so that children wouldn’t be confused when The Lion King’s onstage Simba didn’t look like he does in the film.

On the day of the performance, the theater’s house staff of approximately 30 ushers was sup-

To the relief of everyone, the performance went off without a hitch. And many of the parents who were in attendance contacted TDF afterward to express how wonderful it had been to be somewhere where there are no judgments – where they didn’t have to apologize or explain what their child was doing – where their child could feel normal.

Soon, TDF was organizing autism-friendly

performances of Mary Poppins, Elf the Musical and Spiderman: Turn Off the Dark. Tom Souhrada, a member of the Broadway cast of Mary Poppins, recalls what the experience was like from the performer’s perspective. “We had a specialist come and speak to us about what to expect,” Souhrada recalls. “We were encouraged to not alter our performance in any way and told that the audience response would not be typical. She mentioned that there would probably be more noise coming from the house and possibly random sounds.”

“The most extreme modification was the cutting of the song, “Playing The Game,” where all of Jane and Michael Banks’ toys come alive,” he continues. “It’s a pretty scary number on a regular day, so they, with good reason, felt it would be too challenging for this audience. In that number I played a Jack in the Box that would pop Spiderman spins a web of joy for many families.

out of the floor very close to the audience. Many performances I would see a horrified young child in the first row out of the corner of my eye.

I am sure I have appeared in many a frightened child’s nightmares.”

Carling reports that their mailing list of organizations and schools interested in the Autism Theatre Initiative has grown from 200 in 2011 has grown to over 4,000. TDF has also begun to consult with theaters around the country that are interested in offering autism-friendly performances, such as the Hobby Center in Houston, TX (www.thehobbycenter.org), Pittsburgh Cultural Trust in Pittsburgh, PA (www.trustarts. org), the Old Globe in San Diego, CA (www. theoldglobe.org). As for Broadway, a third autism-friendly performance of The Lion King is planned for the fall, as is a repeat performance of Spiderman: Turn Off the Dark later in the fall (www.tdf.org/autism for further details).

“In the end it was an extremely emotional and fulfilling experience for everyone involved,” Tom Souhrada feels. “At the curtain call you could see the huge smiles, families dancing in the aisles, absolute joy all around. There were some tears shed by the cast as well.”

“There is a tremendous need,” Lisa Carling concludes. “Seeing what it does to the families – the impact – is such an affirmation of why we’re doing this. You see it in the faces of the parents; of the siblings; and children on the spectrum. It’s bringing something very special to families that have been shut out for so long.”

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the

Daisy

Daisy column

miami society. the powerful, the chic, the unique

by daisy olivera

Photo: DaLaet

Miami. When introducing her husband onstage, Gloria Estefan joked, “after being married to him for 38 years I’m glad to say I’m also Lebanese!”

The glamorous gala, which Photo: DaLaet was held at the Ritz Carlton The gala’s emcees, WSVN CH 7 News Hotel in Coconut Grove, was coanchor Belkys Nerey, plastic surgeon Dr. Julio Gallo. chaired by RMF Board Member Rima Mousallem Otrakji and last year’s honoree, art dealer Gary Nader, owner of the Nader Art Centre, one of the most important galleries in the art world. The very witty emcees were WSVN-CH 7 News anchor, Belkys Nerey and renowned facial plastic surgeon, Dr. Julio Gallo.

Photo: Eduardo Ford

Gallery owner & gala co-chair Gary Nader, Her Excellency Former First Lady of Lebanon Nayla Moawad, gala co-chair Rima Moussallem Otrakji, Emilio & Gloria Estefan. Right: Singing superstar Gloria Estefan, RMF Board Member and gala co-chair Rima Moussallem Otrakji.

Emilio Estefan Gets Lifetime Achievement Award

Photo: Eduardo Ford

Legendary music producer and entrepreneur, Emilio Estefan, husband of superstar Gloria Estefan, was honored with the “René Moawad Foundation (RMF) Distinguished Lifetime Achievement Award” during its seventh Annual Gala fundraising dinner in Miami. The RMF is a non-profit, non-governmental organization whose main objective is promoting sustainable human development in Lebanon. Her Excellency, Nayla Moawad, former First Lady of Lebanon, founded it in 1990 after the assassination of her husband, President René Moawad.

The Cuban-born Estefan is of Lebanese descent and an integral part of the important Lebanese community in Photo: DaLaet

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Honoree Emilio Estefan, Her Excellency, Former First Lady of Lebanon Nayla Moawad.

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Victoria Mejjati, Rebecca Benkerroum, Charles Mejjati, Nicholas Collins and Orianne Collins Mejjati.

Orianne Collins:

A Jewel of a Birthday Bash!

The glamour continued at jewelry designer Orianne Collins Mejjati’s lavish birthday bash at her breathtaking waterfront beach home. The birthday girl, spectacular in a fitted, Dolce & Gabbana couture gown, celebrated with husband, Charles Mejjati, their children and about 65 friends and family. Collins, born in Switzerland of Thai heritage included her fave Italian and Thai dishes in the exquisite buffet menu. Long tables made from illuminated white Lucite bases covered with hot pink Lucite seemed to float on the illuminated floor covering the pool. Collins’ 13-year old son Nicholas, from her first marriage to musician Phil Collins, amazed everyone by skillfully playing the drums with the live band! Champagne flowed nonstop and we danced very late into the night!

For more stories about Miami society please visit TheDaisyColumn.com