VENU #17 Jan-Feb 2013 by VENÜ MAGAZINE

Contemporary Culture

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Content

17 January/February_CT-NY-FL Edition

23 44 Leisure 36 Golf Resorts: Sea Island, Golf and so much more

17 Cancer Research: With Dr. Theodore J. Lampidis

Spotlight

20 Indian Fair & Market: The annual juried Native American art show in Phoenix, Arizona

On The Cover:

Filmmaker Harrod Blank stands on top of his Camera Van â&#x20AC;&#x201C; a vehicle covered with old cameras, some of which are watching and recording the watchers. CONTEMPORARY CULTURE

40 Travel: Tanzania

People + Ideas

23 Beechwood Arts: The Four Seasons Fundraiser showcasing violinist Joshua Bell 17

January/February_CT-NY-FL Edition $5.99

Events + Gatherings

26 Parties, Exhibitions and Activities

CONTEMPORARY CULTURE//MAGAZINE

Appetite

44 Date Night at the Whelk

Content

17 January/February_CT-NY-FL Edition

76 50 68

Indulge

64 Decorative Arts: On The Block 65 Motoring: The New Audi S7

60 55

Pulse

72 Music: A Start in the Family

Features

46 Is there Life after 13: An interview with Dr. William F. Baker

76 Art: Colleen Browning

50 Cover Story: Space is the Place

83 Film + Entertainment: Fox on Film

55 The Woman with the Red Leather Gloves

85 On Stage: Ten Chimneys

Style

58 Timepieces: Watch Collecting on a Modest Budget 60 Decor: Making your personal space a reflection of you

58 6

68 Yachting: Sunreef 82 Double Deck HOUBARA

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80 Art: Constance Kiermaier

88 The Daisy Column: Miami Society. the powerful, the chic, the unique

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ENCOUNTER

INNOVATIVE

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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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January/February_CT-NY-FL Edition

President, Creative Director: J. Michael Woodside Vice President, Executive Director: Tracey Thomas Copy Editors: Cindy Clarke, Michael Foley, Brian Solomon Senior Arts Editor: Philip Eliasoph Film & Entertainment Editor: Peter J. Fox Decorative Arts Editor: Matthew Sturtevant Publisher: Venü Media Company Art, Design & Production: Venü Media Company Contributing Writers: Jeff Blumenfeld, Cindy Clarke, Harry Dill, Cheryl Dixon, Nona Footz, Betsy Fowler, Peter Fox, Bobby Harris, Nancy Helle, Lorenz Josef, Janet Lansem, Ryan Odinak, Daisy Olivera, Bruce Pollock, Lisa Seidenberg William Squier, Matthew Sturtevant, Monica Suleski, Melanie Swift Business Development: Shelly Harvey/Connecticut, Liz Marks/New York Legal Counsel: Alan Neigher, Sheryle Levine (Byelas & Neigher, Westport, CT) Distribution: Thomas Cossuto, Man In Motion, LLC Office: 840 Reef Road, 2nd Floor, Fairfield, CT 06824 +1.203.333.7300 Tel +1.203.333.7301 Fax venumagazine.com Advertising Sales: advertising@venumagazine.com Editorial Contribution: editorial@venumagazine.com Subscriptions: Call 203.333.7300 subscribe@venumagazine.com

The small print: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent upon the artwork and material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material as presented. All prices and specifications to advertise are subject to change without notice. The opinions in this publication are not necessarily those of the publisher. Copyright VENÜ MAGAZINE. All rights reserved. The name VENÜ MAGAZINE is copyright protected. No part of this publication may be reproduced or transmitted without written consent from the publisher. VENÜ MAGAZINE does not accept responsibility for unsolicited material. This is a bimonthly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creatives) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions. 14

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PEOPLE + IDEAS

Cancer Research

Feed a Fever... Starve a Tumor

Cancer exacts a heavy toll on society. The American Cancer Society estimates that more than 1. 6 million new cancer cases will be diagnosed in 2012 and more than 550,000 people – 1,500 a day – will die of cancer. Cancer is the second most common cause of death in the US, exceeded only by heart disease and accounting for nearly 1 of every 4 deaths. The rate is expected to increase as the population ages and demographics change. Beyond the burden of personal tragedy, the financial costs are staggering. The National Institutes of Health (NIH) estimate overall costs of cancer in 2010 at $263.8 billion: $102.8 billion for direct medical costs; $20.9 billion due to lost productivity caused by illness and $140.1 billion due to lost productivity caused by premature death. In spite of these dismal statistics, progress against this terrible set of diseases has been

made. In recent years, the five-year survival rate for all cancers has steadily increased, thanks to advances in prevention, detection, and treatment. However, the quest for a cure is ongoing and the road remains long and arduous for those devoted individuals who make the search their life’s work. Successes often have been diseasespecific, since cancer is not one, but many different diseases affecting all parts of the body. Greater advances will be made when we have identified common traits and processes in cancer cells that can be selectively targeted for therapy. Enter Dr. Theodore J. Lampidis: Anyone who believes that science and scientists border on the dull, hasn’t met up with Dr. Ted Lam-

pidis, PhD., Professor of Cell Biology at The University of Miami Leonard M. Miller School of Medicine and Sylvester Comprehenisve Cancer Center. He is known for his informative and entertaining speaking style. Dr. Lampidis has been quoted as saying that “Most people want to contribute positively to society in one way or another and medical research has provided me this opportunity.” Dr. Lampidis states unequivocally that all research success is a result of collaboration “medical research perhaps more than any other profession depends on the results of others, what others have found previously. It takes countless pieces of information, that have to be right and then put together in an appropriate order, for worthwhile advances to be made in medical research”. Nonetheless, there is such a phenomenon as a “eureka moment.” His was when the idea came to him of “starving to death” the slow-growing cancer cells found within most solid tumors. His research is founded on the following facts: Cancer tumors consist of slow-growing and fast-growing cells. Although standard chemotherapy attacks all fast-dividing cells, it does not, unfortunately, distinguish between normal and cancerous cells. Nor does it effectively attack the slow-growing, cells found within solid tumors that are hard to Like many of us, Dr. Lampidis has New York roots. He graduated from Brooklyn College with a bachelor’s of science degree majoring in chemistry and received his master’s degree in medical microbiology from New York University. He received his Ph.D. in immunology and microbiology from the University of Miami and completed his postdoctoral training at Harvard Medical School in the Department of Medicine, Division of Oncology. He came back to Miami and joined the Department of Oncology at the Sylvester Comprehensve Cancer Center at UM as an Assistant Professor in 1983 and has attained the rank of tenured Professor in 1995. He has had an outstanding record of almost continuous NIH/ NCI funding for his work in cancer for the past 32 years and has been an invited speaker in many prestigious cancer institutes throughout the world including Oxford University in Oxford England, the Max Planck Institute in Munich Germany, The Paul Brousse Institute in Villejuif France, The Royal Marsden Hospital, in London England, The Harvard Medical School in Boston Massachusetts, The Albert Einstein Cancer Center and The Sloan Kettering Cancer Center in NYC, NY, The MD Anderson Cancer Center in Houston Texas and a host of others.

CONTEMPORARY CULTURE//MAGAZINE

PEOPLE + IDEAS

Cancer Research treat and contribute to regrowth of the tumor after the fast-growing cells are killed by chemotherapy as well as being the source of cells that lead to metastisis. Fortunately, however, slow-growing tumor cells have inadequate blood supplies and thus low oxygen, so they do not metabolize sugar efficiently. This means they must use much more sugar than normal cells to provide the energy they need to survive, a process known as glycolysis. Eureka! Dr. Lampidis hypothesized he could “trick” these low-oxygen tumor cells by feeding them “false” sugars, such as 2-DG (2-deoxyglucose), to keep them from metabolizing the actual sugar they need to survive. Because they do not have the necessary oxygen to use fats and proteins as alternative sources of energy, they would literally “starve to death.” Meanwhile, the normal cells would survive because they do metabolize these alternate sources (think Atkins Diet, where when you lower your intake of carbohydrates [sugars] you instead burn fats and proteins)! His eureka moment led to a five-year award from the National Cancer Institute, which stated in the reviews of his work that “Dr. Lampidis’s work could eventually lead to cures in certain cancers.” Subsequently, there has been a Phase I clinical trial, led by Luis Raez, M.D., an oncologist at U/Sylvester, to determine the tolerable dose level of 2-DG. Bench to clinic to bench back to clinic: After completion of their Phase I clinical trial Dr. Lampidis’ team learned that an oral, once per day, drink of 2-DG can induce an insulin response to it as well as increase liver adsorption which will decrease the amount of this sugar getting to the tumor. Therefore, before they progress to a Phase II clinical trial, they will further investigate and develop the most efficient drug delivery, i.e. slow release pump, pill or diet. Additionally, in collaboration with Dr. Tim Murray, a leading expert in the investigation and treatment of children with retinoblastoma formally at the Bascom Palmer Eye Institute, Dr. Lampidis and his colleagues have demonstrated that the 2-DG raises the efficacy of the chemotherapeutic agent (carboplatin) used to treat this disease. Moreover, using piminidazole, which identifies hypoxic tumor cells, they have provided the first proof of principle that indeed 2-DG, but not carboplatin, targets and kills the hypoxic portion of this tumor. Based on these very encouraging in vivo results, they plan to begin a pilot Phase I trial in patients whose eyes cannot be saved by current treatments.

Need For Philanthropic Support

For over thirteen years, Dr. Lampidis has focused his research on glucose tumor metabolism with a single-minded purpose that he describes: I am convinced that the biochemi-

CONTEMPORARY CULTURE//MAGAZINE

His eureka moment led to a five-year award from the National Cancer Institute, which stated in the reviews of his work that “Dr. Lampidis’s work could eventually lead to cures in certain cancers.” cal principles at the basis of our work are as fundamental as gravity. That is why I believe investigating tumor metabolism in general and glucose metabolism in particular, will lead to significant and real advances in the struggle we all one way or another face in fighting this devastating disease. In the past Dr. Lampidis was awarded two consecutive multi-million dollar, five-year

awards from the National Cancer Institute at the National Institutes of Health (NIH) to support his game-changing work. Unfortunately, federal support to NIH will be reduced by 2.8 billion as part of a federally mandated package of budget cuts that will take effect in January, 2013, unless Congress is able to agree on an alternative deficit-reduction plan. Based on dwindling federal funding, Dr. Lampidis can no longer rely on the NIH to keep his research moving forward. Additionally, his work has reached a point where greater funds are required to bring his technology from the lab to the clinic. As with most important endeavors, it takes the collective efforts of a diversified group of individuals (not just the originator) to bring a medical idea all the way to actual clinical use since there are so many obstacles to be overcome. He and his research colleagues are on the brink of several major breakthroughs, but without the necessary funds to sustain this vital research, getting it to clinical use becomes less of a reality. Hence the recent creation of The Lampidis Foundation. A group of individuals headed by Mr. Anthony F. Merlino who have become global messengers behind the science and research of Dr. Theodore J. Lampidis.

If you would like to learn more about how you can join this effort please contact the Executive Director of The Lampidis Foundation, Anthony Merlino at 305-710-8113, Anthony@lampidisfoundation.org or visit us at www.lampidisfoundation.org.

CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: Indian Fair & Market

Have You Heard?

The Indian Fair & Market, the annual juried Native American art show at the exclusive Heard Museum in Phoenix, Arizona. by Betsy Fowler

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SPOTLIGHT: Indian Fair & Market

Winter sun, with its light touch, warms and soothes as I lay on the fragrant grassy slope in the outdoor ampitheatre enveloped in the liquid emoting of Grammy winner Carlos Nakai’s Native American flute. This is Indian Fair & Market, the annual juried Native American art show at the exclusive Heard Museum in Phoenix, Arizona. The exquisite handmade art, tempered by centuries of alchemical lore and molded into symbol and significance, is the foundation of the weekend. Captivating scenery is a blend of culture, charisma and celebration. For limited ticket holders, the weekend begins with a private showing of the top 25 winning pieces and an opportunity to meet the artisans in person and purchase pieces before the show opens. Interacting with the artisans, one can literally feel their passion for their creations. This is the magic of the Fair – it’s so much more than a show. It’s visceral. Arriving early Saturday morning, I meander among the aisles of incredible jewels, paintings and sculpture. I am lured into a tent by the promise of jewelry and lore. Everything has meaning, everything has a story. It’s the Native way. The woman starts spinning her web, weaving me into the story of the stunning silver bracelet, sharing intimate details of its purpose and meaning. I am spellbound, entranced… and suddenly crash! One of her life-size statues outside the tent made of stone and heart has been accidentally toppled by a passerby. I am sad for the artist yet freed as I realize the magic had gripped me and I was entranced! I wandered off to taste the delights of other artist offerings before I made any commitments. A stunning drag-

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onfly coat proudly displaying a winning ribbon; obsidian knives, hand-hewn and integrated with horn handles; hand-carved sculpture replete with décor and symbol call out as I stroll by. I stop to chat with a longago acquaintance, Kenneth Johnson. Award winning jewelry artisan, his creations weave Muscogee/Seminole history with contemporary insight. His sun-gold pieces sparkle their magic as he fills me in on his latest conceptions. He tells me the story of ‘The 3 Brothers’, custom bracelets he designed for a client that incorporated diamonds from his wife’s 3 stone diamond ring. He first brother he calls the ‘Suit and Tie’, a bracelet of straight, clean lines. The second brother he calls ‘the Tattooed Brother’, a bracelet of extra detail, twists and turns, incorporating elements of the wife’s personality into the artistry. He never described the 3rd, it didn’t really matter as the story unfolded and took on other dimensions. The lore. It’s part of the piece. It gives life and meaning to these wearable treasures. Energized, I continue my travels, enticed by the blood-red coral ring of Vernon Haskie, a master jeweler reknown for his intricate and stunning creations. One can feel the history and ancestors calling out through the pieces. I travel through aisles and time, drink-

ing in culture and artistry, selecting treasures to bring home to adorn my walls with depth and delight. Soon I find myself heading over to find a drink and back to the ampitheatre. Now, Native dancers are expressing their stories in traditional regalia, captivating the audience with their living legend and narrative. I find my spot on the grass, replete with drink, and sink into the arms of artistry in motion.

For more information:

www.Heard.org March 2-3, 2013 Indian Fair and Market www.KennethJohnson.com

SPOTLIGHT: Beechwood ARTS/JoSHUA BEll

Bell does not usually play house concerts, but when Frederic, his childhood friend and frequent music collaborator, asked him to lend his support to the new organization, Bell gladly agreed.

Melodies of a Bell The Four Seasons Fundraiser showcasing the unmatched talents of violinist Joshua Bell, held at Beechwood Arts in Westport. by Melanie Swift What do you get when you mix a 300year-old Stradivarius, a 200-year-old house, a 1-year old arts organization and 2 world-class musicians? You get the Four Seasons Fundraiser with Joshua Bell, held at Beechwood Arts in Westport this past October. Co-founded last year by renowned pianist Frederic Chiu and his wife Jeanine Esposito, an artist and innovation-consultant, this young non-profit wants to change the way the arts are

created and experienced. They pursue their mission through programs that foster collaboration across arts generations and genres -- between artists, performers, musicians, filmmakers, writers and culinary artists. The cornerstone of their programming is their popular (and usually sold out) Arts Immersion Salons. Each invitationonly Salon is organized around a theme and includes all the arts woven together into an immersive “happening”. The Salons recall the

intimacy and creative energy of the salons of old, turned toward new work and new ideas. Beechwood capped off a rich and busy year of activity with the ultimate Arts Immersion Salon, a gala event showcasing the unmatched talents of violinist Joshua Bell, a name usually featured on posters outside Carnegie Hall, the Kennedy Center or even promoting Hollywood movies. Bell does not usually play house concerts, but when Frederic, his childhood friend and frequent music collaborator, asked him to lend his support to the new organization, Bell gladly agreed. Chiu had a very specific request in mind – Vivaldi’s Four Seasons – but with a twist. This orchestral work is a staple of Bell’s repertoire. Chiu’s request was for he and Bell to perform a new version of the work solely for violin and piano, arranged by Chiu especially for the occasion, making it truly a once-in-a-lifetime experience. One of the hallmarks of Chiu’s career has been his championing of the piano transcription. “Reducing an orchestral work to the piano is like reducing a sauce in cooking – the essence of the music becomes much more intense,” says Chiu. Chiu hoped that the audience would hear the familiar warhorse in a new light, to better appreciate the genius of Vivaldi’s musical portraits of the seasons. With the theme chosen and Bell on board, Esposito got to work curating the rest of the Arts Immersion Salon. Weeks before the event she arranged for three Artists-in-Residence to spend time at Beechwood. Emily Wick, spent several days painting small “hidden paintings” that blended in to various spaces at Beechwood, waiting to be discovered by guests at the Salon. Artist Wendy Wolf and video artist and filmmaker Ann LePore collaborated on an installation under the 150-year old Copper Beech tree involving white string, meticulously hand-cut Yupo-paper leaves and hundreds of LEDs.

CONTEMPORARY CULTURE//MAGAZINE

SPOTLIGHT: Beechwood ARTS/JoSHUA BEll

“This tree is the soul of the house,” said Esposito. “According to legend, The Copper Beech represents the gathering of ancient learning and using it to forge new ideas. It was a big factor in our buying this house and the source of the name for our non-profit. Seeing it transformed by Wendy and Ann’s installation was very exciting and beautiful.” Another installation by local artist Bob Keating of 300 quartz rocks on iron stands wound its way under the Beech and out to the sculpture field and more works by Tom Berntsen, Derek Uhlman and Ivan Biro. Esposito reached out to local artists as well as sources for internationally recognized artists to select art aligned with the Four Season theme. Artwork was hung throughout Beechwood from over 25 artists and films from video artists played in Becchwood’s living room. As with all Beechwood’s Arts Immersion Salons, the musicians collaborated with performers. Esteemed veteran Broadway actor James Naughton joined in, reading two of four Sonnets written by Vivaldi to accompany his concertos. In keeping with the mixing of generations, Rachel Rival, a young actress still in her teens, read the others.

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After the chat, everyone headed over to the main house for the concert, which Bell and Chiu played for 70 people. The distillation of the Four Seasons to its essence clearly worked. The pendant to the music was a culinary tour-de-force by Chef Raúl (Raúl Restrepo) on the theme of Four Seasons. The fourcourse sit-down dinner following the concert presented a tasting dish and wine pairing for each of the four seasons. According to Chef Raúl, “I don’t feel I’m working for Beechwood. It’s more like I’m invited as a guest to share my art, through my food.” It was a visual and delectable marvel, inspiring Bell to

head off to the kitchen to meet and personally compliment the chef. For Bell’s part, he was in the whole way. Before the concert, Chiu and Bell sat down with a small audience in Beechwood’s Carriage House for a chat. The two laughed over memories of competitions when they were just barely in their teens and sparred good naturedly about which instrument is better – piano or violin! Bell impressed the intimate group by showing his violin and sharing its fascinating history (stolen in the 1930’s and MIA until the thief confessed on his deathbed) and the fact that it is insured for $10 million! After the chat, everyone headed over to the main house for the concert, which Bell and Chiu played for 70 people. The distillation of the Four Seasons to its essence clearly worked. Not only did the crowd give a standing ovation, many in the audience were brought to tears. For the listeners, surrounded by music and only a few feet away from Bell while he played, it was a unique experience of depth and intimacy. Unique for Bell and for Chiu as well – a program that would only be performed this one time in this format for both of them -- at least until Chiu asks Bell to repeat the program for a future fundraiser!

CONTEMPORARY CULTURE//MAGAZINE

events + gatherings

By Ryan Odinak

FCBuzz

Executive Director, Cultural Alliance of Fairfield County

Happy Birthday FCBuzz.org! Keep on Buzzing.

The launch of FCBuzz.org was just three years ago, so this February we are celebrating what has become the go-to place for finding arts and culture events in Fairfield County. FCBuzz.org, provided by the Cultural Alliance of Fairfield County, serves nonprofit arts and cultural organizations, individual artists and creative businesses by helping them promote their events to audiences across the region. Recently we counted over four-hundred listings on FCBuzz.org for current and future events including art exhibits, music, plays, as well as kids and family activities, among others. In the past three years, over one-hundred-forty nonprofit arts and culture organizations have joined the Cultural Alliance and taken part in making FCBuzz.org an excellent one-stop-shopping resource. Cultural Alliance members collaborate on FCBuzz. org by posting their own events and telling their patrons about the FCBuzz.org Web site. Through this joint effort, alliance members are building relationships that foster other cooperative working partnerships as well. Gary Wood, Executive Director of the Regina A. Quick Center for the Arts at Fairfield University put it this way, “FCBuzz has been an invaluable asset to the Quick Center for the Arts in reaching not just artists, arts organizations, and arts leaders, but the broader public as well. Having their partnership has been a very helpful addition to our own efforts

to spread the word about all we do. As a performing arts, visual arts, education, and event-based organization, we are grateful for the access to information FCBuzz provides to others on our behalf.” David B. Byrd, the Director of Marketing at the Westport Country Playhouse added, “We are fortunate to have an organization that works tirelessly to unite our community through the arts, the way the Cultural Alliance does.” The people that click on FCBuzz.org regularly have become enthusiastic champions of the Web site and have helped spread the word about its usefulness. There are plenty of activities that appeal to families, couples and individuals looking for something to do. Jeff and Deb Danile of New Canaan shared, “As a busy family with three children, a little advance planning goes a long way. With FCBuzz.org, we have been able to quickly and easily find great opportunities for our children to help them learn and grow, and have fun doing it! We also use the site for finding grown-up things to do in Fairfield County. FCBuzz. org is priceless!” Newly-weds, Ben and Amy

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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Henson, put it this way, ““When it comes to a date night, FCBuzz helps us keep it local!” Behind the scenes at the Cultural Alliance the whole staff participates in helping make FCBuzz.org a success. Jeanne Aloi, Online Media Manager, maintains the Web site, assists members and creates the weekly E-Buzz newsletter to give audiences a taste of what is happening this week. Bernadette Deamico, Marketing Manager, manages all the partnerships that help promote the FCBuzz.org brand. Administrative Assistant, Jennifer Bangser, pitches in to help staff “FCBuzz Goes Live”, a community promotional effort. FCBuzz.org looks and works great on a smart phone too, so whether you are at home or on the go, finding something exciting to do in Fairfield County should never be a problem- just click…pick…and go! Sign-up for the E-Buzz newsletter right on the Web site for a weekly inbox reminder to get out and enjoy the great arts and cultural offerings that make Fairfield County a great place to live. Happy Birthday FCBuzz.org! Top left: CAFC staff celebrates FC Buzz birthday with cake (l-r, Bernadette Deamico, Jeanne Aloi, Jennifer Bangser). Top right: Ben and Amy Henson! Bottom: Luke, Dylan and Emma Danile show FC Buzz love.

ALASTAIR GIBSON, SILVER RACING MAKO, THE DRANG GALLERY, UK

Premiere galleries from across the globe, collectors and curators gather in exciting Miami January 18-21, 2013 for the 4th edition of Miami International Art Fair, one of America’s most exciting midwinter contemporary art fairs. Relocated to Miami’s premiere downtown Art & Entertainment District aboard SeaFair, the megayacht venue, MIA will bring together international and emerging artists to the waterfront scene for a five day extravaganza of art and culture. In addition MIA will present Sculpture Miami, a waterside installation and sculpture exhibition in Bayfront Park.

MEDIA PARTNER:

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Facebook: Beechwood Arts Website: www.BeechwoodArts.org

events + gatherings

Welcome to Beechwood Arts, born on the cusp of 2012 as a non-profit to help expand how the arts are created and experienced. We foster the collaboration and a sharing of new ideas and approaches across generations and between all arts genres: music, art, sculpture, performance, filmmaking, culinary art, by creating intimate, immersive and innovative

salons & programs that blur the lines between audience, artist and venue. Have a look back on our first year of Events! Arts Immersion Salons, Art Open Houses, Collaborative Artists-inResidence Programs, Innovative Arts Workshops, Community Innovation Labs. We hope you'll become a part of the fabric we're weaving.

Have a look back on A Few of our first year of Events! Arts Immersion Salons, Art Open Houses, Collaborative Artists-in-Residence Programs, Innovative Arts Workshops, Community Innovation Labs.

August ‘12 Film – Beechwood Arts Hosts the Production of Youth Film “Portrait of a Wave” by WYFF award-winner Amelia Arnold. Amelia Arnold, Oscar Chiu DeMargerie, Noah Johnson, Bryan Gannon and Syndney Robinson on a shoot.

April ‘12 Special Event – “Artsy Girls” comes to Beechwood: A group of nationally recognized women who make their living through creative pursuits – artists, writers, inventors, designers, etc. met at Beechwood for talk, a concert and dinner. A group of Artsy Girls takes a tour.

May ‘12 Workshop – Deeper Performance Studies – 3-day Workshop: Award winning series developed originally for musicians using unconventional techniques like Cooking and Learning Away From the Instrument to fully develop the heart/ mind/body aspects of performance. Through a sponsor, we offered scholarships to 4 students and housed 5 in our Carriage House.

July ‘12 Art Open House – Champagne, Desserts, Art & Film. A patron leaves with a vintage Edvard Steichen photo of Greta Garbo.

March ‘12 Special Event - RemoteLive “Salon Around the World”: Live concert from Beechwood streamed digitally to hundreds of other pianos around the world that played simultaneously to salon audiences for an intimate salon experience but with 1,000 listeners.

June ‘12 Arts Immersion Salon – “Arts Smackdown!” Battling composers, Poetry, Art, Film & Food, with audience voting throughout the evening!

October ‘12 Arts Immersion Salon Fundraiser – “Celebrate the Four Seasons with Joshua Bell”: The world’s leading violinist and Frederic Chiu play Vivaldi’s music in a never-done-before-format with only violin and piano. An intimate conversation in the Carriage House, the Benefactor Tree with Art of the 4 Seasons, Art Installations and Film and the 4 Seasons tasting dinner round out the evening. A beautiful and stimulating, once-in-a-lifetime evening. Read the article on page 23.

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The Wolfsonian Visionaries Hosted 3rd Annual Fundraiser The Art of Illumination at Historic Moore Building

he Wolfsonian Visionaries hosted their third annual fundraising event, The Art of Illumination, to benefit The Wolfsonian–Florida International University on November 10, 2012. The event, which focused on the power and beauty of light with LED light installations from local artists and designers featured throughout the venue, was held at the historic Moore Building in the heart of Miami’s famed design district. The evening coincided with the museum’s seventeenth anniversary and featured signature dishes from Miami’s top restaurants and caterers, as well as top shelf spirits from Bacardi, music, and entertainment. The evening’s theme of illumination was inspired by the Arts of Illumination: Illuminating the Arts, an exterior facade project funded in part through a Knight Arts Challenge grant with support also provided by the Jerome A. Yavitz Charitable Foundation, Isabel and Marvin Leibowitz, and the National Endowment for the Arts. The Visionaries challenged a small group of Miami-based artists, designers, and creatives to rethink the influence and everyday use of light with LED installations to be auctioned off at the event. Participants were invited to design an object using Lighting Dynamics LED strip lighting in a way that promotes ambiance, beauty, and innovation. All proceeds from the silent auction will benefit The Wolfsonian. In addition to the installations and auction, other highlights included dance performances inspired by art, architecture, and the idea of illumination by Dance NOW! Miami throughout the evening. A pop-up museum shop was featured with items for sale including novelty items created specifically for the event and will benefit the Visionaries. The design and construction of the pop-up shop was being donated by Bloom Interior Architecture.

Chris Adamo, Randi Wolfson, Micky Wolfson, Doug Scott, & Olga Granda-Scott

Adrienne bon Haes, Marvin Ross Friedman

Melissa Shalloway

Daniel & Marcella Novela

Micky Wolfson, Jessica Londono, Cathy Leff, & Michael Gongora

Edward Nieto, Nisi Berryman, Olga Granda-Scott, & Doug Scott

Nikolay Nedev, Cristina Canton, Elizabeth Cardona, & Peter Nedev

Photos: NATHAN VALENTINE

Cathy Leff & Ian Rand

Media Partner: VENÜ Magazine

Darin Held & Chloe Chelz

Kira Kaplan, Jennifer Pear, & Jill Barzilay

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Strong Gallery Line-Up for 2nd Edition of the Metro Show NYC

hen the second edition of The METRO Show at the Metropolitan Pavilion opens to the public for its four-day run on January 24, 2013, fair-goers will have a sweeping array of material from which to choose. The new dealer line-up includes preeminent specialists in the field of outsider and self-taught art; outstanding contemporary dealers; and the foremost dealers specializing in ethnographic works, Americana, paintings and prints, furniture, Native American, historical design, textiles, and American folk art. The METRO Show opens with a by-invitation-only preview on January 23, from 6-7 PM, followed by the public preview, from 7-9 PM. Tickets are $75 and available at the door or online. METRO has expanded its range of offerings to include mid 20th-century design, ethnographic material, applied and decorative arts, photography and modern painting. According to Director Caroline Kerrigan Lerch, the show’s mission— to illustrate the intellect, beauty, and vision in American arts and design — places it in a more modern and international context that will appeal to new collectors. “Because we’re in the heart of Chelsea, we are able to attract a younger audience while maintaining the interest of the loyal attendees who flock to New York every January to avail themselves of the many fairs that take place here at that time.” “We decided to participate in METRO this year because their concept is refreshingly based on diversity of material and exhibitors,” says Dick Solomon of Pace Prints (New York). “As a print dealer, this is an opportunity for us to reach a new audience that not only collects works on paper, but also has a variety of collecting interests. We expect to meet potential new clients attracted by the mix of high quality dealers offering a wide variety of objects.”

March of Dimes

2012 Fairfield County Real Estate Award Breakfast, December 6th Jeffrey R. Dunne, Vice Chair of CBRE, was honored with the 2012 Real Estate Award at the 17th annual March of Dimes Fairfield County Real Estate Award Breakfast on December 6th at The Hilton Stamford. 650 industry professionals were in attendance and the event raised at total of $140,000 for the March of Dimes. “I am privileged to receive the 2012 Real Jeffrey R. Dunne Estate Award and am pleased to support the March of Dimes’ most important cause,” said Mr. Dunne. “It is an incredible tribute.” Dunne oversees the Suburban New York Capital Markets group that sells, recapitalizes income producing office, retail, multi-family and industrial assets. Although much of their business is transacted in the New York Region, the group sells many assets and portfolios throughout the United States. His team completed $13 billion in transactions in the past eight years, and over $20 billion since his team’s inception. Dunne was CBRE’s top investment broker worldwide in 2007, 2004 and 2003 and was the runner up in 2005-2006 and 2008-2011. Some of his notable transactions include the $1.9 billion sale of the Kushner Apartment Portfolio, the $823 million sale of the Starwood Ceruzzi & Wasserman Retail Portfolios, and the $378 million sale of Newport Tower in Jersey City, the largest office building sale ever in New Jersey. 30

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Dunne is active in various charity and community organizations. He is past Chair and Vice Chair of the Board of Trustees for Lauralton Hall High School (2006-2009), sits on the Board of Trustees of the Wakeman Boys and Girls Club and is on the Board of Directors of the Bank of Fairfield. More recently, he joined the Real Estate Advisory Board at Pennsylvania State University’s Smeal School of Business. The Real Estate Award Breakfast honors an outstanding individual and/or company whose commercial real estate activities have significantly enhanced the local community. The March of Dimes wishes to thank Title Sponsors CBRE, Marcus Partners, and Seaboard Properties Inc., as well as Platinum Sponsors, The Ashforth Company and Building and Land Technology, for their continued support of the event. Special guests included Stamford Mayor Michael Pavia, and Bobby Valentine, American Professional Baseball Manager, and former Director of Public Safety & Health for the city of Stamford. For further information visit: www.marchofdimes.com

Center for Contemporary Printmaking MONOTHON2012: Auction and Party

rtworks by world renowned artists, art publications, studio tours and vacation stays were included in this year's offerings at the annual gala on November 17. Gallery and studio walls at the Center displayed a selection of original monotypes by emerging and established artists during Silent Auction, followed by an offering of original prints and paintings by preeminent artists at Live Auction, with Guy Bennett, auctioneer. A heartfelt thank you Garelick & Herbs, Bull’s Head Market, Trader Joes, Stew Leonard’s and Fountainhead Wines, the area purveyors of fine food and wine who provided hors d’oeuvre and beverages throughout the evening. Proceeds from this fundraising event, now in its 14th year, support CCP educational and community programs throughout the year. The Center for Contemporary Printmaking (CCP), is a nonprofit 501 (c)(3) organization dedicated to the art of the print, located in Mathews Park, Norwalk, CT. 203-899-7999, www.contemprints.org

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Photos: MICHELE FRENTROP

Anthony Kirk with original print by Currier & Ives 2. Deborah and Craig Thompson 3. L-R: Jennifer Charlebois, Cindy and Timothy Shanley and Chris Martin 4. Guy Bennett, auctioneer 5. Elizabeth Walton reviewing auction offerings 6. Jodi and Alexander, bartenders extraordinaire 7. Guests await the start of the Live Auction 8. Nancy McTague-Stock at Silent Auction 9. L-R: Peggy Weis, Grace Shanley, and Binnie Birstein 10. Elessabeth and her dollie view Live Auction proceedings with Dad, Raymond

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events + gatherings

By Janet Langsam CEO, ArtsWestchester

The Art of Boat Building: From Shore to Shore on the Arts) set out on a mission to find the artful craftsmen who keep boat building traditions alive. From Shore to Shore is an exhibit that explores the worlds of the boat building, the historic locations where boats and ships are built or maintained today, the personal yarns told in the boatyards, the architecture of the yards themselves and the traditions passed over the generations and still practiced. isitors to the exhibition will learn that even in this age of mechanized production and digital design, boat building and repair remain occupations where traditional techniques prevail and master boat builders are master craftsmen. Included among the many items on loan from local boatyards are scale models and wood planers. From the models, boat builders can trace shapes and structures before up-scaling the forms and combining them into full-size sailing boats. The boats, with their sails open wide, will also be on display – their masts scratching the ceiling of our historic White Plains gallery. Meanwhile, the planers, hand-tools that look like simple blocks of wood with a blade, appear rudimentary or antique, but are still used by 21st century builders. While the construction and technologies of boats has changed dramatically from wood-over-frame methods to fiberglass and metal, the art of traditional boat building is being revived at educational sites from Cold Spring to the Bronx. And, larger boats are still being built at the Derecktor Shipyard in the Mamaroneck, New York. Come explore their worlds, share your boat stories, and help us preserve these places and practices for future generations. This exhibition will be on display from January 17 th 2013 through March 2 nd 2013 at ArtsWestchester, 31 Mamaroneck Avenue, White Plains, New York 10601, www.artswestchester.org, 914.428.4220. This project is made possible with a grant from the National Endowment for the Arts, the New York State Council on the Humanities and the New York State Council on the Arts.

V From the dugout canoes of the native Linape peoples through the heyday of 19th Century Hudson River sloops and steamboats, to fishing and pleasure crafts, the building and repair of boats and ships of all sizes has been a vital part of occupational culture for Westchester and Connecticut. Still today, our region is home to a number of master boat builders.

his winter, Arts Westchester will present From Shore to Shore, the first of a two-part exhibition on the occupational tradition of boat building on Long Island Sound and the Hudson Valley. Combining personal narratives with tools of the trade and full-size, water-worthy vessels, the exhibition will transform ArtsWestchester’s gallery into a living, breathing master boat builder’s workshop. So, who are the artisans who construct and maintain the vessels on our region’s waterways? And what does this have to do with the arts? In 2011, ArtsWestchester entered into a partnership with Long Island Traditions of Port Washington, and with the support of the NEA (National Endowment

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Top left: Russell Watsky in the framwork of a ships hull. Left: A sloop nearing completion in 1850s Nyack New, York.

WILLIAM SWEETLOVE, COURTESY DEBUCK GALLERY

edition MEDIA PARTNER:

www.artpalmbeach.com +1 239 495 9834 CONTEMPORARY CULTURE//MAGAZINE

events + gatherings Georg Jensen Pitcher No. 992 1952, Denmark exhibited by Drucker Antiques Inc

Georges Fouquet Magnificent Art Nouveau brooch in aquamarine and enamel circa 1901, France exhibited by Hancocks & Co (Jewelers) Ltd.

The IFAAD Show Delivers Outstanding Sales and Enthusiastic Interest from Collectors and Interior Designers from Around the World.

here was much to celebrate when the International Fine Art and Antique Dealers Show finished its highly successful 24th edition tonight at the Park Avenue Armory, New York, NY. Sixty-six of the world’s most influential art and antique dealers had converged on the Park Avenue Armory, October 19-25, 2012 to participate in the country’s most prestigious art and antiques fair. A buoyant atmosphere prevailed throughout the 7-day event where excellent crowds, knowledgeable clientele and impressive sales were the hallmark. The fair

attracted collectors, interior designers and museum curators from all over the world. This year’s fair offered exciting panoply of collecting areas, from the Ancient World to the Contemporary, from East to West resulting in a rich multi-layered visual experience for the visitor. The fair opened to rave reviews and record crowd attended over its six day run and a sense of optimism prevailed among the dealers who brought their very best pieces to the fair. Highly coveted and historically important pieces sold to discerning collectors and institutions and audience response was extremely positive. The buoyancy of the market evidenced at this year’s fair trumped concerns about the economy and the impending presidential election. The exquisite “International Show” – which is the flagship fair organized by Anna and Brian Haughton - has retained its position as the premier showcase in America for top dealers from Europe and the United States for more than two decades. Many of the world’s leading dealers exhibit at the fair, the mix enriched from year to year by newcomers.

Max Ingrand (1908-1969) for Fontana Arte Important Chandelier 1958, Italy (Milan) exhibited by Bernd Goeckler Antiques

Many buyers prefer to remain anonymous but there were prominent art lovers among them, and those visible circulating on the floor at various times included New York City Mayor Michael Bloomberg, Carolina Herrera, Bette Midler, Tracy Ullman, Julian Sands, and Sigourney Weaver, a Chairman of the Preview Party and Candace Bergen who also attended. The Preview Party on Thursday, October 19th was an exceptional evening attended by more than 1,000 guests, raising more than over $1 million for the Society of Memorial Sloan-Kettering Cancer Center.

Hope’s Door Annual Luncheon at Crabtree's Kettlehouse, Chappaqua, NY Hope's Door held their annual Luncheon and silent auction at Crabtree’s Kittle House in Chappaqua, NY. More than $30,000 was raised for the Pleasantville-based nonprofit organization, which gives shelter and support to victims of domestic abuse. Approximately 225 guests attended the event and enjoyed the chef's autumn buffet lunch. The organization served 52 percent more people this year than it had last year and it opened a second office in Ossining.

Among the items auctioned off: Melissa Etheridge concert tickets, US 2013 Tennis Open tickets, an overnight stay at The Ritz-Carlton, Westchester, Morton's the Steakhouse, Judith Ripka Earrings and more. Caroline Corley of 107.1 The Peak was the emcee to the $125-per-ticket event. For further information about Hope's Door: www.HopesDoorNY.org

Anne Ring of Yorktown, Jean Connolly of Croton, Kathy DeSilva of Buchanan, Roseann Alfano of Mahopac, Nyna Giles of Poundridge

Sandy Dineen of Somers, Caroline Murphy of Jefferson Valley, Jean O'Connor of Hopewell Junction Co-chairs Anne Ring of Yorktown (left) and Jean Marie Connolly of Croton, with Hopes Door president of board of trustees, Eric Wrubel of Chappaqua.

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Rori Sagal of Stamford, Potoula Gjidija of Yonkers, Lynn Wilson of Scarsdale

Photos: Nicole Thomas Media Partner: VENÜ Magazine

Westchester LOOK Launch Party at Neiman Marcus October 16, 2012 - White Plains, NY

laine and ChiChi Ubiña launched Westchester LOOK at a fabulous party hosted by Beth Sharkey, vice president and general manager of Neiman Marcus, Westchester. It was a cocktail party with Informal modeling of chic Neiman Marcus outfits from casual to evening, hip beats provided by Mike and Joe Shane of All Digital Mobile Music, wine by Winetasters of Larchmont, and sparkling wine by Yellow Tail, with gorgeous flowers by Nancy White at the Flower Bar in Larchmont, savory bites were created by the Neiman Marcus in-house restaurant, Zodiac and sweet treats by Lina Abdo at her Delicacies Bar - Les Cinq Amandes. The gift bags were filled with goodies from Yellow Tail, Dr. Jan Linhart - PearlinBrite and Harney Teas, along with wonderful information about many non-profits and charities in Westchester.

Beth Sharkey, Leslie Chang, Deborah Wilson, Nicole Hazard

Chi Chi and Elaine Ubiña

Additional hotos can be viewed at: www.westchesterlook.com

Sheila Cameron, Frank Corvino, Stephanie Dunn Ashley, Maura Corvino

The First Bank of Greenwich hosts Artist Receptions September 19th, Frank Smurlo. Self-taught and inspired by his love of nature, Smurlo developed an accomplished technique which displays the many moods of the outdoors. We are excited to showcase his work and give our customers the opportunity to meet this talented artist. October 17th, Michael Spezzano. Selftaught, Michael is primarily an impressionist artist who enjoys experimenting with other styles and has a great appreciation for the beauty found outdoors. We are excited to showcase his work and give our customers the opportunity to meet this talented artist. November 7th, Brooke Ann HaggertyCottle. Inspired by yoga, meditation and

a childhood surrounded by Greenwich’s natural offerings, Haggerty-Cottle’s artwork emits a deep, spiritual connection to the natural world.

L-R Frank Gaudio, Jay Castle, Frank Smurlo, Dona Menton, John Howland

Michael Spezzano, Julia Chiappetta, Mike's daughter, Tina Grabowski

Highgrove Luxury Residence Officially Opens its Doors Highgrove, the 18-story luxury residence located in downtown Stamford, has officially opened its doors and is now offering a one-ofa-kind lifestyle located within easy commuting distance of Manhattan. “ST Residential is thrilled to open the doors of Highgrove, especially after a successful grand opening event,” said James Schumaker, VP-Marketing at ST Residential. “Highgrove has set a new standard with the Highgrove lifestyle of luxury living within Stamford and Fairfield County. These are standards that ST Residential prides itself on and is proud to have Highgrove as a part of its national luxury high-rise residential portfolio.” Highgrove offers 92 stunning two-, three- and four-bedroom residences with es-

tate-sized living spaces, fabulous amenities, a walkable neighborhood and convenient access to Manhattan. All units are lavishly appointed, featuring SubZero refrigerators, Asko dishwashers, Wolf ranges, custom Beaubois cabinets and vanities, hardwood floors, marble baths and 11-foot ceilings. The Highgrove lifestyle extends to highend common areas that include a retractable-roof pool, yoga and fitness centers with saunas and steam rooms, concierge and valet service along with views of Long Island Sound and the New York City skyline. The Full Service-Concierge building also features above-ground garage valet parking, elevators with private-entry foyers, and 100-bottle wine cellars for each residence. Interested future residents can learn more about Highgrove by visiting: www.highgrovestamford.com or by calling the leasing center 203.425.1485 located on-site at 70 Forest Street, Stamford, CT.

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LEISURE: GOLF RESORTS

by Bobby Harris

Sea Island:

Golf and So Much More - For the whole family Decisions, decisions… do you take that golf vacation you really want, or do you take a family vacation, instead? How about doing both? You can have it all at Sea Island, the Georgia destination with so much to offer…and you don’t ven need a passport! Five miles of delightful private beach surround this resort off the Georgia coast, located midway between Savannah, Georgia and Jacksonville, Florida. Established in 1928, it has a venerable history and yet has so many modern amenities. Two venerable qualities boasted by Sea Island’s accommodation destinations are good old-fashioned friendliness and friendly but impeccable service. So much to do Bounded on the east by the sparkling Atlantic and on the west by the salt marshes that sepa-

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rate it from St. Simons Island, Sea Island offers a marvelous melange of activities for the golfer and the non-golfer alike, and for all ages, including the youngest. Beachwalk and discover a sea turtle just hatching. Enjoy a Gold Brick sundae. Play chess on a life-size chessboard. Go kayaking or sailing. Play tennis or squash. The Tennis Center offers 16 Har-Tru® courts, including eight lighted courts, and one stadium court. Ride bikes. Relish the calming effects of walking a labyrinth, or the blood-racing pleasures of learning to skeet-shoot at the shooting school. Or just lie in the sun on the beach, splash in the surf, or enjoy the huge pool. There’s a camp for the young ones and a Discovery program for their older siblings. There’s horseback riding and fishing. There are good old-fashioned Bingo games, too, and a 100-seat movie theatre.

In the summer months, there is aqua exercise, scuba diving, and snorkeling. Enjoy the Forbes Five-Star Cloister Spa at one of the resort’s two hotels. The 65,000square-foot facility boasts an expert staff of therapists, consultants, and providers and offers a wide array of massages, and body and skin care treatments. A strength and cardio studio features over 5,000 square feet of training equipment and fitness classes that are held each week in four studios dedicated to personal training, yoga and Pilates. The fitness center also features an indoor lap pool and three squash courts. Activities especially for kids include include Camp Cloister, Cookie Cutters, air rifle Bull’s-Eye Hour, beachcombing, and dinnerpajama parties. Teenagers are encouraged to mix and mingle during activities such as bowling, excursions to St. Simons Island, movies,

Symphony in G, Oil On Canvas, 36" x 60"

JULIE LEFF FLORALS . ABSTRACTS . PORTRAITS

www.julieleff.com

203.434.8655

julie@julieleff.com

LEISURE: GOLF RESORTS

Retreat: Par 72; Six tee areas; 5,082 to 7,106 yards, 117 to 135 slope. Renovated a bit over a decade ago by Davis Love III and his brother, Mark, Retreat features a uniquely dramatic design and challenges golfers to hit a variety of shots to avoid the sand bunkers and work with the undulations. Truly a test of golfing skill, this course is a challenge you won’t want to miss.

Seaside Course

kayaking tours, golf and tennis lessons, and a children’s game room. Spa treatments, cooking classes, nature hikes, and many other events at Sea Island are designed to foster family participation. In fact, there’s so much to do at Sea Island, you may have to extend your stay to have time to do it all! But you came with the intention of playing golf, and Sea Island is a great place to indulge your favorite hobby. Sea Island is home to three golf courses plus the Sea Island Golf Learning Center which works with several of the PGA Elite including Davis Love III. This state-of-the art facility offers an indoor video studio, 300 yards of teeing area, target greens, short-game areas, and an exclusive club-fitting service. Sea Island Golf Club’s three 18-hole championship courses are Seaside, Plantation, and Retreat. The views as you play your round are stupendous, offering some of the country’s most breathtaking landscapes for your pleasure. Here’s a breakdown on the three courses: Seaside: Par 70; Six tee areas; 5,048 to 7,005 yards; 120 to 141 slope. Seaside is a true linksstyle course, 15 of whose holes offer breathtaking views. It’s Sea Island’s most demanding layout. 38

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Plantation: Par 72; Six tee areas; 5,194 to 7,058 yards; 122 to 136 slope. Plantation unfolds from a forest of ancient live oaks, cedars, and Georgia long-leaf pines and is graced with breathtaking ocean views, plentiful lakes, expansive fairways and liberal sight lines between holes. Designed by Rees Jones, it’s a delight for experienced and novice players alike, but watch out for those tidal creeks and lakes!

Plantation Course

You’ve fed your soul. Now feed your body. All that activity is bound to work up an appetite. You can dine sumptuously or casually when you’re ready to savor the culinary delights that Sea Island has on offer. You have so many options to choose among. There’s the Forbes Five-Star Georgian Room’s breathtaking elegance and sophistication, offering flavorful refined Southern cuisine complemented by an extensive selection of wines from The Cloister Cellar. Or perhaps you’d prefer the Georgian Private Dining Room, (continued on page 75)

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Travel: Tanzania

Wild Things

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...And how to capture them Words by Cindy

Clarke Photographs by Kathy Muller If you’ve ever wondered how in the world people got close enough to take those amazing wildlife photos you’ve seen in travel and nature magazines, here’s your chance to get some tricks of the trade from the photographer who took the shots for this article. Meet Kathy Muller, an art director by profession and a photographer by passion. That she happens to be the graphics visionaire extraordinaire for one of the world’s leading travel companies helps perfect her already practiced eye for engaging, I-want-to-be-there pictorial journeys. That she also has the opportunity to travel to exotic places virtually every armchair adventurer dreams of is an added perk that has even the most seasoned fancy-free traveler envious of her day job. If it’s any consolation, somebody’s got to take those inviting pictures so it might as well be someone as talented as Kathy. She headed off to Tanzania recently on a Tauck safari that netted some pretty extraordinary wildlife encounters, many of which you’ll see in this article. I sat down with her in an attempt to get a hands-on lesson and a few tips of the trade in the event I happen upon some wild things crossing my path in Connecticut, at a nearby zoo or hopefully, on the road to somewhere more exotic like Africa. After editing out my everrepetitive wows, aaahs and ooos as I looked through her photo album, here’s the essence of our insightful conversation. Cindy Clarke: As an artist and a photographer, the world is your canvas. What prompted you to choose Tanzania for your last trip? Kathy Muller: Africa has always been at the top of my travel wish list. It’s visually a very textural place with an amazing contrast of colors everywhere you look… in the grasses, on the animals, in the beads and fabrics of the native people, in the rich wood carvings and primitive artwork, in the sunrises and the sunsets, the most gorgeous I have ever seen! The wildlife was a huge draw. I have always loved animals and have a real respect and appreciation for nature. Knowing our world is changing so fast that places like Africa are bound to change

as well prompted me to not wait any longer. I wanted to see Africa before the cell towers go up and tower over the giraffes (which I saw) and before the local tribes, like the Maasai, walked around armed with spears… and cell phones (which I also saw.) This trip really was a once-in-a-lifetime opportunity, both to experience the incredible scenery and wildlife, as well as the challenge to get some great photos. (CC: which she did.) CC: Let’s talk technology. What kind of camera equipment did you bring with you… and why? KM: I brought two DSLR cameras with a couple of lenses, always a good idea in case one of them dies. On a DSLR camera, the lenses are the most important features, and the long ones are pretty necessary if you want to capture sights that are off in the distance. If you don’t own a long lens, 300 mm or more, there are places where you can rent them pretty reasonably, without spending thousands of dollars on equipment you may not use every day. (CC: For the uninitiated, this is a digital single-lens reflex camera, a favorite among advanced amateurs and professional photographers. Basically, this is a wildlife photographer’s dream camera because it is so versatile. It lets you see exactly what the lens sees and has a near zero lag time that enables you to catch the action as it happens.) CC: Animals are moving targets. Did you have to take any special steps to capture live moments on film without blurring them? How did you set up a frame when you were never quite sure if your models would hold the pose? KM: Keep in mind that you do most of your shooting on safari in a vehicle with six or seven other people in it, in a confined space and you are moving. So keeping your camera steady for long periods of time can be rough. I brought a small beanbag with me to place between the vehicle and camera to help steady it. When you are driving in the national parks like I did, off-roading is not allowed, limiting your opportunity to get really close to the animals – it’s times like that when I really appreciated CONTEMPORARY CULTURE//MAGAZINE

Travel: Tanzania

having that long lens with me! Add patience, luck, being in the right place at the right time and a good driver guide and you can come home with some nice trophy shots. The guides are experts at knowing where to find the animals and position you for the best angle possible. I really give a lot of the credit to them – your driver guide is the single most important person to your success at setting up a good shot. CC: I imagine you have to have a quick trigger finger and a discerning eye to get such good shots. KM: You do, both help. But don’t worry. If you didn’t have fast reflexes before your trip, you’ll develop them on safari. CC: What about light? Is any time of day better than others for taking animal shots up close and personal? KM: The break of dawn. Early morning has absolutely great light and also gives you a greater chance of seeing the game animals enjoying a fresh breakfast… from their hunt the night before. Midday I saw leopards lounging in trees, lions lying down for an afternoon nap, elephants covered in mud to keep cool… and zebras rolling around in the dust for a good back scratch. The early evening sky turns pink, then blue, then golden and under it come herds of antelopes, wildebeest, gazelles, crossing the road right in front of you, all parading neatly in a row, on their way to and from water holes, and to somewhere safe where they can avoid being hunted… and being breakfast for a hungry lion or two. CC:What is your favorite photo… and why… and can you remember the exact moment you took it? KM: Just one? Not possible. Here are a few: the dancing elephants at the infinity pool when we arrived at the Billia Lodge… the happy faces of the 42

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schoolchildren who wanted to sing to us… getting that shot that no one else got – the spat between the male lion and his “girlfriend”… the filling up of the hot air balloon, followed by the absolute stillness of the ride up into the sky with the sunrise. I actually put my camera down and took in all the beauty and the animals waking up below with my mind’s eye. I can close my eyes and still see it, an unforgettable moment in time when I was at total peace. CC: Going on a luxury safari is not your ordinary backyard camping experience. When the lights went down and the stars came out, what scenes did you miss recording on camera? KM: Just outside our tented lodge, hippos gathered at the water hole after the sun went down and sang us to sleep at night. Going back in time at the Mt. Kenya Safari Club where I would try to envision glamorous celebrity stars long gone indulging in white glove service as they experienced unabashed and unequalled elegance in the bush. The views from our private balcony at the Billia Lodge were amazing, visually stunning, where we could watch animals of all shapes and sizes trek to the watering hole in the evening. CC: Now that you’re back at work, I am sure the trip seems like a dream. How do you recapture those moments? KM: I woke up every day on safari with a new sense of adventure. It made me feel like a kid again, excited about what the day would bring. I took thousands of pictures, witnessing nature play out in a place immortalized by the circle of life, trying to document it all through the lens of my camera, and knowing that this was something I would truly cherish for a lifetime.

Ralph Waldo Emerson wrote, “Though we travel the world over to find the beautiful, we must carry it with us or we find it not.” Thanks to Kathy for finding the beauty that Venü’s readers can now carry with them.

CONTEMPORARY CULTURE//MAGAZINE

APPETITE: The Whelk

Date Night at The Whelk Indulging a passion for seafood, sailors and culinary surprises

Chef Bill Taibe had me at Relish, his sophisticated SoNo restaurant where I first tasted his deliciously inventive cuisine. So when this acclaimed Connecticut restaurateur opened up a new oyster bar in Westport, I was already hooked. Named after a local sea snail that loves to dine on oysters, The Whelk has been enticing me to stop in every time I have driven by since its debut earlier this year. That I had the opportunity to pair my first visit, a ten plate tasting hand-selected by its talented culinary staff, with a special date, a former Navy Captain recently returned from an overseas assignment, made it all the more exciting… and mouthwatering. The hostess greeted us with a warmth and graciousness that set the tone for the night. Service with a smile isn’t just a tag line here. The friendliness of the staff, like the ambiance of the restaurant itself, was inviting and genuine. We were seated at a large wood-topped chef’s table in the back, center stage to the bustling activity coming from the kitchen. Nearby, the long bar and high-topped communal tables

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encouraged shoulder-to-shoulder conversations, while window-front, street-side seating radiated small table intimacy. The vibe is Hamptons cool. The décor is chic New England nautical. Its overall design, thoughtfully understated and seamlessly executed, rightfully allows its ingredient-driven culinary fare to be the undisputed star here. Well, actually, the food and the staff are both stars at The Whelk, a harmonious blending of all the right ingredients that have the makings of a great dining experience… and an amazing date night! Take our personality-plus wait team of Lauren Piccin and co-owner / general manager and resident sommelier Massimo Tullio, of Fat Cat fame, as a case in point. Lauren bubbled over to our table as she welcomed us with an effervescence and culinary aptitude that continued to wow us along with every dish she served. Massimo, attentive and clearly knowledgeable about the handcrafted wines he personally selected from the most buzz worthy small production vineyards, deftly matched palate and plate

pleasing vintages to enhance each taste. Everything about The Whelk celebrates sustainable, homegrown organic riches, sourced fresh from local farms (fish, fowl and garden), time-honored vineyards, ocean beds and boutique bakeries, an artisanal philosophy faithfully followed by its owners, Connecticut natives both. New Canaan raised, New England educated, and world traveled, Massimo started us off with a Raventós Cava that defied my indifference to champagne and redefined our expectations of a sparkling dinner wine. We sipped and savored the moment as Lauren brought out a platter of freshly shucked oysters, house specialties. “These are my absolute all-time favorites,” gushed Lauren as she pointed to the local Cobbs Island oysters harvested from a Norwalk family fishery. The larger Wild Belon oysters were plucked from the deep cold waters of Maine. The Moon Shoal

Written by Cindy Clarke

oysters hailed from Barnstable, Massachusetts and the smallest ones, the Sippewisetts, came from Falmouth of Cape Cod renown. Forget the traditional tomato-based cocktail sauce one generally smothers these crustaceans in; at The Whelk, a delicate drizzle of roasted jalapeno mignonette sauce added a flavor kick that didn’t mask the main event, giving the oysters the top billing they deserve. Tender and succulently smooth, they glided down my throat like velvet. Massimo poured the Frost Cuvée, a Riesling-inspired blend of wine produced at an award-winning Finger Lakes vineyard, a great choice for our appetizers. “If they ever took this off the menu, I would be devastated,” explained Lauren. She was talking about the Chef’s signature Sunburst Farm Smoked Trout Dip, garnished with crispy trout skin and spicy roe, and served with potatodill bread, grilled in olive oil, compliments of Fairfield County’s Sono Bakery. Eight more dishes followed. They included warm Castelvetrano Olives cooked in duck fat, and served with duck confit, soft garlic and more wonderful toast

The vibe is Hamptons cool. The décor is chic New England nautical. Its overall design, thoughtfully understated and seamlessly executed, rightfully allows its ingredientdriven culinary fare to be the undisputed star here. that together made my well-traveled companion growl (seriously!) with delight. Throwing caution to the wind, he dove into the Hamachi Crudo, a raw yuzu koshi, dressed in beads of jalapeno, fennel and sesame that transformed the yellowfin tuna into tendrils of taste. I turned my attention to the Blue Lip mussels, dancing in a broth of verjus and kissed with celery. I toasted this dish with the Ribolla Gialla Massimo suggested. Like many wines featured at The Whelk, this evolutionary wine was produced at a small production winery that

only uses natural indigenous grape varieties for their products. Lauren kept the plates coming, each an engaging presentation of taste, art and education. Chef Taibe’s genius gave birth to the Squid Ink Cavatelli, embraced by red shrimp, Mexican chorizo and tomatoes; the irresistible Warm Peekytoe Crab Fondue, chunks of crab served over grits and topped with fiery wisps of grunions – a fan favorite – and green, wasabihot, tobiko; and the ultimate indulgence, the Maine Lobster Butter, a New England lobsterbake-in-a-dish complete with leeks, roasted potatoes and memories of summer. Our meticulously selected Pinot Noir couldn’t have been bested by any other wine, and we found ourselves raising our glasses to our hosts with something akin to hero worship. How is it possible that each dish seemed to be better than the one before asked my curious, obviously impressed, date? Hands down, it was a clean sweep for The Whelk, no missteps, no disappointments, no contest for the critical eye or palate. It got even sweeter with dessert. I looked over at my date. He was clearly smitten with The Whelk. My thoughts turned to his upcoming expeditions in other far-off lands and I wondered how I could entice him back to Westport, soon. Then the words of an old song, “How you gonna keep him down on the farm after he’s seen Paree?” hit me. After the blossoming love affair I witnessed at The Whelk, I knew that our next date would have to be at Chef Taibe’s Le Farm restaurant, where passion is similarly rooted in every delectable bite.

The Whelk is located at 575 Riverside Avenue, Westport, CT 06880. For reservations call: 203-557-0902. CONTEMPORARY CULTURE//MAGAZINE

FEATURE

Is There Life After 13

An interview with Dr. William F. Baker by Harry Dill

From Blue Screens to Blue Ice

When I interviewed Dr. Bill Baker he was vacationing in Nova Scotia on Henry Island. After only a few minutes into the interview, it became readily apparent that this man of letters was also a man of hyphens. As a broadcasting pioneer-educator-author-lecturer-adventurer, his many professional and avocational achievements help to define his greatness. And those that have had the pleasure of listening to him speak quickly realize that his formal credentials must be superseded by his humanity. Co-author of Leading With Kindness: How Good People Consistently Get Superior Results (American Management Association, 2008), Baker has made a career of improving the methodology and efficacy of management. By tempering strong leadership with authenticity – a discernible and often palpable quality emanates that can elevate morale and translate into greater employee productivity and retention. When asked about the erosion of civility in contemporary culture, he states, “it cannot be denied. We must seek to manage both our business and personal affairs in a manner that cultivates our humanity. Accordingly ,unmitigated functional rationality will not get superior results.” Leading with Kindness will. Baker has recently released a sequel entitled Every Leader Is An Artist that explores the relationship between artistic creativity and leadership.

Explorer at Heart

Baker’s journey of achievement began in Cleveland, Ohio where his lower middle-class family provided all that was necessary to maintain his momentum. He recalls that his parents were always very supportive. His father was eager to encourage young

Baker’s interest in broadcasting. So much so, that he built his teenage protégé a functional radio studio in a household room. That was all Baker needed to point and shoot. Highly motivated by aspiration, his trajectory followed a path to Case Western Reserve University where he earned undergraduate and graduate degrees. In the course of his long career, Baker has been awarded numerous honorary doctorates in America and Europe. Blessed with an unquenchable thirst for knowledge and discovery, he was, and remains a perennial trailblazer. Much like Admiral Byrd, one of his boyhood heroes, Baker courageously trekked to explore the Polar Regions where temperatures can plummet to -100 degrees Fahrenheit with wind gusts exceeding 200 miles per hour. Despite the challenge, he succeeded to become the 8th man in human history to set foot on both the north and south poles. When asked to reflect on his near death experience of falling into a 2,000-foot crevasse near the North Pole, he blithely quips, “I only fell thirty or forty feet down. What saved my life was my camera strap, which snagged on an outcropping and stopped me from falling to my death.” When asked to share his impressions of the region’s desolation he states, “it takes you out of yourself, makes all your human concerns small and fleeting. It’s what the early Christian monks were looking for when they went out into the desert. That’s what both poles really are. Deserts of ice.” And just as the spirit of adventure took him to far away regions, it also ignited his passion to explore new frontiers in television broadcasting.

Shooting the Tube, including Rutherford’s

With a lifelong affinity for water and coastal environs, it is no wonder that Baker lists among his recreational pleasures, sailing, snorkeling, and surfing, he proudly stated, “While living in Southern California, I could hang-ten with the best of ‘em.” But “shooting the tube” does not only describe his surfing prowess; it also describes his dissonance regarding commercial broadcasting. “In a very real sense there were moments when I felt like literally shooting the cathode-ray tube I was watching also known as television.” Profit is, and always has been, the primary impetus of commercial television broadcasting. With rare exception, commercial television regrettably plays to a lowest common denominator audience. Not an admirer of the status quo, Baker recognized that the powerful medium of television could do much more than provide insipid entertainCONTEMPORARY CULTURE//MAGAZINE

FEATURE

… one of America’s most prolific fundraisers, raising over $1 billion for the station, and establishing the largest endowment in the history of public television. ment. It could inspire and educate. The raison d’être of PBS is to fulfill this higher purpose. As CEO of WNET/Channel 13 New York, he dedicated over two decades of his life to innovating and improving the quality of television programming. Thanks to his dedication, WNET is recognized as PBS’s preeminent progenitor of exceptional programming. He also co-authored Down the Tube: An Insider’s Account of the Failure of American Television (Basic Books, 1998) and is the author of Lighthouse Island: Our Family Escape (Ruder Finn Press, 2004).

In Praise of “Big Apple” Teachers

With a long and distinguished career as an educator, Baker has established an event entitled, “Celebrating Teaching and Learning” to honor New York’s finest and most dedicated teaching professionals. The event began 3 years ago and attracts more 10,000 teachers annually. When asked about depersonalized high-tech learning Dr. Bill opines, “the essential human connection between student and teacher will never be displaced by the electronic classroom, nor will the Socratic method be rendered obsolete.”

First Person (of) Singular Distinction and Multiple Achievements

Even now as a member of the “AARP generation,” Dr. Bill remains eager to explore new frontiers. Trailblazing is second nature to him as he is always scouting for new and exciting opportunities to fulfill his wanderlust for discovery that may present opportunities to manifest his vision, management precepts, and creative genius. During his twenty years commanding the helm of WNET, he distinguished himself as Dr. Bill also introduced the landmark programs including Charlie Rose, Bill Moyers Journal, Great Performances, and Nature. He also oversaw the station’s transition to digital broadcasting. We can also thank him for launching WNET’s first of many cable channels -- MetroArts/Thirteen. Before joining WNET, he was president of Westinghouse Television and chairman of their cable and programming companies. At Westinghouse, Baker introduced Oprah Winfrey as a talk show host and established PM Magazine as the #1 syndicated program in America in the 48

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1980s. During Baker’s tenure, Westinghouse also launched five cable networks, including the Discovery Channel and the Disney Channel. Baker is the recipient of seven Emmy Awards and is a fellow of the American Academy of Arts and Sciences. He has been inducted into the National Academy of Television Arts & Sciences (NATAS) Management Hall of Fame and received the Mark Schubart Award from the Lincoln Center Institute, given to individuals who most exemplify the Institute’s ideal of integrating the arts with education. He has also been inducted into Broadcasting & Cable’s Hall of Fame and the New York State Broadcasters Association Hall of Fame. In addition to numerous other awards, Baker has received the

Gabriel Personal Achievement Award, two Alfred I. DupontColumbia University Journalism Awards and the 1987 Trustees Emmy Award, given in recognition of outstanding contribution to the advancement of television. Baker has also served as Chairman of the National Parks Sytem Advisory Board and is a board member at Rodale Press.

“Baker’s Island” aka Henry Island

While “no man is an island,” some men are definitely islanders. One such man is Dr. Baker. When he is not busily attending to his professional pursuits, lecturing to audiences around the world, or savoring the solace of his Greenwich domicile, Baker may be found roughing it on his island getaway. A 30-year Greenwich resident, he loves the town’s many amenities, but mostly its magnificent shoreline. It follows that a man so enamored by coastal environs would have an appetite for real estate cum coastline. Thus Dr. Baker has been the proud owner of Henry Island located 4 miles off the scenic coast of Nova Scotia, Canada. Aside from the Baker clan, there are a variety of other seasonal island residents, including a population of grey seals that migrate there annually to birth their young. The Bakers love their maritime “Ponderosa Ranch” with its 150 acres of heavily forested terrain, 100foot cliffs, and most notably the 1902 built, 53-foot high, octagonal, wooden lighthouse. When I asked about his love affair with lighthouses he replied, “These structures represent a safe harbor, good deeds and selfless service to humanity. My boss didn’t like the idea. He told me I was a crazy romantic. So I started looking for another job.” Many years later, with stops at Westinghouse Television, as president, and at Thirteen/WNET New York, he decided to dip into his savings and buy the island from a friend of Robert Mac Neil of The MacNeil /Lehrer Report fame. Originally au natural and entirely unimproved, over the years Baker has equipped his idyllic “realm” with a few modern conveniences including running water, plumbing, solar panels and wind-turbine electrical generators. Baker does it all. He may be described as the personification of synergy wherein he is more than the sum of his capabilities and achievements. He’s also a wonderfully inspiring human being with a passion to

seize opportunities where he can improve the way business transacts and humans interact. As a man of spiritual substance, Baker is the executive producer of the The Face: Jesus in Art, a landmark Emmy-winning feature film that traces the image of Jesus Christ in art around the world and across two millennia. The Face premiered nationwide on public television in 2001 and also enjoyed a limited theatrical release. When not enjoying his rustic “splendor in the woods” island retreat, Dr. Bill spends countless hours engaging his other loves – namely, astronomy, horology, polar science, and putting his quill to the papyrus writing books. Arguably one of Baker’s most esoteric loves are studio clocks. He explains, “after spending a lifetime working in an industry where time plays a starring role I became fascinated by these marvels of precision timekeeping and began to collect them.” His collection included the 1986 atomic clock once used by the US Naval Observatory that he donated in 1982 to the American Clock & Watch Museum in Bristol, Connecticut.

Fifty Years of Great Television

As current chairman emeritus of WNET Channel 13, Dr. Bill will be moderating the upcoming gala celebrating WNET’s 50th Anniversary www.thirteen.org/50. He will also be honored for his tremendous contributions to the station’s success and its PBS preeminence. In the annals of PBS broadcasting fame I’m sure there must be a place of honor to inscribe the thirteen letter equation: 1(remarkabledrb) = 1(greatwneticon) that best describes the greatness of a genteel Riverside gentleman that will not be easily upstaged by his successors nor commercial contemporaries for there are very few as capable, creative, and visionary as our Dr. Bill. Don’t count on Dr. Bill hanging up his spurs anytime soon. He may surprise us all and suddenly decide to book a flight on Sir Michael’s Virgin Galactic to do some serious stargazing! Without a doubt, there’s plenty of life after 13, and in Dr. Bill’s case, there are many more exciting episodes to produce in his ongoing life script. There are plenty of brilliant and lettered Greenwich residents, but few are as successful at combining genteel modesty with purposeful accomplishment as William F. Baker Ph.D. CONTEMPORARY CULTURE//MAGAZINE

Cover Story

Photo: Lisa Seidenberg

By Lisa Seidenberg

SPACE IS THE PLACE VENÜ Maga zine visits “Machine Wilderness” – a meeting of Artists, Scientists and Techno-geeks in New Mexico I could blame it on the mile-high altitude of Albuquerque, but my light–headedness on a fall trip to New Mexico was more likely the effect of attending the ISEA 2012 Conference. ISEA is an acronym for the International Symposium of Electronic Arts, which meets in a different country every year to discuss matters of concern and/or whimsy to a global crowd of people involved in the upper altitudes where technology and art and environmental issues intersect. The fact that no one who signed up for these conferences is quite sure where that intersection is or what the obliquely named Machine Wilderness actually means was of virtually no concern to anyone I met. That, I presume, is why they are a lot of fun. My first day was spent on a “Field Trip” to LAND An Art Site and Earthbound Moon, both grandiosely-titled art environments in remote areas of the New Mexico desert. One could have chosen visits to Richard Branson’s SpacePort America or The Very Large Array, where 27 antennas are rearranged to study black holes and “objects” billions of light years from Earth. It turned out to be a fortuitous decision as I was accompanied by one of the co-founders of ISEA, Wim Van Der Plas, as well as ISEA Director Sue Gollifer and and ISEA Board Chair Julianne Pierce, natives of the Netherlands, England and Australia, respectively. Van Der Plas explained that ISEA was started in 1988 with the idea of bringing together people working in the fields of computer graphics and electronic music. Since then, of course, the digital world has expanded exponentially and along with it, ISEA became a much more multi-faceted organization including all sorts of visual artists, filmmakers, programmers, architects and others working on the creative edges of digital experimentation. 50

CONTEMPORARY CULTURE//MAGAZINE Photo: Lisa Seidenberg

Photo: Lisa Seidenberg

Clockwise from top left: Albireo, by Mark Malmberg of Orinda, California, comprised of solar panels, an Arduino microprocessor, LEDs, speakers, and motors; Gambiocycle by the Gambiologia Project; ISEA Co-founder Wim Van der Plas, from Amsterdam, on the road to Earthbound Moon.

Our van bumped along a scrubby dirt road eventually arriving at LAND An Art Site, a 40 acre plot of desert that has been turned into an artist residency and gallery. “It’s compelling to think that 40 acres could be a studio,” says Edite Cates, who with her partner Thomas Cates, developed and owns LAND, now run as a non-profit. They have hosted various sound and environmental artists, as she describes one, “ We had a painter who paints the night sky with a flashlight,” and added that, “we liked the idea that Native Americans had lived here and you can find pot shards here.” Walter de Maria’s 1977 seminal earth work Lightning Field - consisting of 400 steel poles in a grid pattern - is also relatively close by, but Albuquerque was not generally thought of as an art destination, says Thomas Cates, “we’ve always been overshadowed by Santa Fe.” For the next week, most ISEA2012 activities were held at the more urban Albuquerque Museum, 516 Arts, a gallery in the downtown area, and the Albuquerque Balloon Museum. Among the panels and art presentations, were Tweets in Space a project of Nathaniel Stern and Scott Kildall, Accelerating Networks, Broken Networks a talk by internet film archivist Rick Prelinger, and Extinction a panel that included ASU Art Museum Director Gordon Knox, addressing issues of art and evolution. One of the most provocative presenters was Mark Hosler’s Adventures in Illegal Art that embraced a philosophy of media hoaxing. Although a concert by Laurie Anderson was clearly the headliner, Miwa Matrayek’s performance, Myth and Infrastructure was a highlight for many. Matreyek’s work is an enchanting blend of animation and live performance; one of the few digital artists who is able to keep a CONTEMPORARY CULTURE//MAGAZINE

Cover Story

Photo: Lisa Seidenberg

Page left, clockwise: Filmmaker Harrod Blank stands on top of his Camera Van – a vehicle covered with old cameras, some of which are watching and recording the watchers; Escape by Neil Mendoza and Anthony Goh (London, England) uses broken phone junk; British Boy Scouts taking a closer look at The Camera Van. Page right, top photo: Seft-1 by Ivan Puig and Andrés Padilla Domene -- Seft-1 is a futuristic, artist-designed vehicle that is equipped to move on both land and rail. Puig and Padilla Domene traveled abandoned railways throughout Mexico in this exploratory probe, using photography, video, audio and text to record contemporary landscapes, infrastructure and inhabitants to create a futuristic exploration of Mexico’s past. Bottom photo: Albireo by Mark Malmberg, Orinda, California; Bottom photo, CB2 (08.2012-3) by Michael Bisbee on view at LAND An Art Site.

Photo: Harrod Blank

CONTEMPORARY CULTURE//MAGAZINE

Photo: Lisa Seidenberg

strong element of human presence in her work. “I’ve never been interested in telling one story - I hope that my pieces have a very loose sense of narrative and an emotional journey, but I don’t like to define what that is to one thing for the audience or even for my self. I am much more interested in keeping it open to interpretation both artistically and emotionally,” according to Matreyek, who founded Cloud Eye Control, a group of Cal Arts MFA grads who are “playing with the cross-section of media, projection, body, and space - in a juxtaposition of film and theater.” “What I hope for people to take away from my piece is a sense of magic and fantasy that I hope I can show them with animation/music movement… a lot of people think my work is high-tech, but in fact the computers and projectors are used more like tools, and I use a lot of lo-fi techniques, which I think is actually grounding and easier to emotionally and viscerally connect to for the audience.” If there was a theme to the style of art, it would be “humorous interaction”, with a message of how to manipulate an increasingly technically sophisticated world – before it manipulates you. Where an earlier generation of artistic rebels may have wanted to get off the grid, the idea now is to create your own grid, to use all the high-tech tools for the good of the people – as opposed to big business or big government - and now that our world is infinitely connected, and to use that interconnectness in a humane way. This results in such projects as barter exchanges of goods and services, a global currency (called “bit-coin”), and the previously mentioned Tweets in Space. “Why should NASA decide what mesCONTEMPORARY CULTURE//MAGAZINE

Cover Story

Top photo: A production still from the film, Desert Haiku; Bottom photos: Different scenes From Myth and Infrastructure a performance by Miwa Matreyek Gwenaëlle.

sages we send to other planets?” asked one of the Tweet/artists. If you heard bird sounds coming from the roof of the Albuquerque Museum, it was likely being emitted from Albireo, a trio of bird-ish sculptures that look more or less like the insides of an old desktop computer, if it were dropped on the floor. Albireo, by Mark Malmberg of Orinda, California, comprised of “solar panels, an Arduino microprocessor, LEDs, speakers, and motors” form what the Malmberg calls “autonomous creatures” who “sleep by night and dance and sing through the day.” Similarly, other artists used old cell phones in their sculptures, as well as a sort of weeping shower-curtain (“SHIVER”) and a row of clocks that spell ETERNITY twice a day. Filmmaker Harrod Blank (director of documentaries Automorphosis and Wild Wheels) was there with his Camera Van – a vehicle literally covered with old cameras, some of which are watching and recording the watchers. A large screen depicting JUNKSPACE (by Lynn Cazabon and Neal McDonald), promises, through a feat of elaborate programming and an “iOS APP”, to depict “two forms of waste”: “Earthbound (electronic waste) are the remnants of the many devices that fills our lives, transformed from objects of desire to trash through a self-perpetuating cycle of obsolescence. Celestial (orbital debris) consists of the millions of pieces of junk currently circling the Earth, left behind by decades of satellite and space missions.” These are not artists painting a pretty picture of the future. Or the present, for that matter. Unlike traditional art, it’s rarely, in fact, about the picture at all. “The art is in the documentation” commented one digital artist.

“In some far off place Many light years in space I’ll build a world of abstract dreams. And wait for you…” (SUN RA) Underlying these works is an apocalyptic vision of the future – and the present. It seemed fitting, therefore, to pay a visit to the apocalyptic past by making a pilgrimage to the Nuclear Museum, a testament to the Cold War history of New Mexico. There, on the outskirts of Albuquerque, you can see a replica of Fat Boy and Little Man, the bombs dropped on Hiroshima and Nagasaki, among other atomic artifacts developed right up highway 40 in Los Alamos. Call me romantic… but I thought woefully missing from most of this electronic art was any hint of sensuality. Desert Haiku, a lushly hypnotic experimental film by Marie-Michele Jasmin-Belisle, helped make up for that lack – and the fact that the filmmaker, originally from Canada, said she had fallen in love with New Mexico. Shooting in the White Sands desert, the film infuses the stark setting with an operatic soundtrack and an unlikely mix of cultural elements; including Japanese and Hopi. Ah - the land of enchantment, where even your GPS does not always work. 54

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Photo: Marie-Michele Jasmin-Belisle

Photo: Gwenaëlle Gobé

Photo: Scott Groller

Contact Lisa at: www.missmuffett.com

Feature

The WomAn with the Red Leather Gloves By NONA FOOTZ

It seemed fitting to be having lunch with a stranger at my favorite French bistro in Fairfield that Sunday; it was a few hours before The Oscars aired on network television, he was an actor, and I was in search of a story about a woman; an actress. Six months earlier I had purchased fifteen boxes of vintage photographic slides at an estate sale. I’d noticed the faded Bausch & Lomb black and red rectangular boxes stacked haphazardly under a dining room table, and after eyeballing a few of the slides up to a window I was immediately captivated - the color, quality and sharpness of the images were impressive given they had been developed sixty years ago as per the pencil scribbled dates. I promptly bought them all. After looking at each of them more closely what became most captivating was the woman in the images. The actress. Her fur coat was luxurious, her pearls ubiquitous.

She wore sensible yet sophisticated shoes, bold lipstick, a demur smile, coifed hair and appeared in practically every one of the 200+ slides I now owned. There were scenes of her waving out of a Swiss chalet window, walking along the Champs D’Elysse, posing in front of cathedrals donning the mink and

red leather gloves, walking seductively along Bahamian beaches, pausing at her reflection from shop windows in San Francisco’s Chinatown, sitting in what appeared to be a theatre dressing room, and lounging on the deck of the Queen Mary. Who was she? An initial Internet search uncovered little except for the names of the homeowners where I made the estate sale purchase and I learned they were involved in community theatre. “Bill,” the actor and my dining companion that Sunday afternoon circa 2012 had responded to an email I sent the Westport Community Theatre Board of Directors inquiring about “The Kean’s.” Bill had appeared in many locally produced plays over several decades and emailed me a curt “Let’s do lunch” when I inquired about the slides and my interest in The Keans. He told me that the man in the slides was Gerry Kean, a local theatre playwright and director who passed away some years ago, but that Gerry’s wife Glenna was in an assisted living facilCONTEMPORARY CULTURE//MAGAZINE

FEATURE

ity nearby and that they had been very close friends for years, performing together in several stage productions. The notable twinkle in Bill’s eye didn’t go unnoticed every time he said Glenna’s name and I wondered if maybe there was some long lost love interest. Alas, the mystery started to build. I made arrangements to visit Glenna the following week with bouquet in hand and a framed portrait I had developed from one of the slides. It was a glamorous close up of “her” sitting demurely at a lighted table in a theatre dressing room from 1963. I was nervous but also excited to hear about the stories that accompanied those two hundred scenes taken during the 1950s and ‘60s; I was convinced there would be juicy tales of world travel and saucy romances. While the visit with Glenna was lovely and she had no shortage of stories regaling her life as an actress, her friendship with Paul Newman, and her storybook romance of thirteen years of wedding bliss to Gerry Kean, she had taken one look at the portrait I brought and stated abruptly, “Who’s that?” More Internet searching, more phone calls and email inquiries but I didn’t have much to go on. There was a small piece of paper tucked into one of the boxes that said “Julie new hairdo 1960.” Judging from the slides “Julie” seemed to travel extensively with Gerry and appeared to have an acting career all her own, appearing in the stage productions of Boys from Syracuse, and Gypsy. Julie and Gerry took a lot of trips during their few years together - to visit his aunt in Upstate New York, to the 1961 Six Flags Over Texas grand opening, on Bahamian Airlines for a beach vacation, and amongst what appeared to be several visits 56

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The notable twinkle in Bill’s eye didn’t go unnoticed every time he said Glenna’s name and I wondered if maybe there was some long lost love interest. Alas, the mystery started to build.

to art fairs. She liked to paint out in the garden, dress in feminine frocks, tailored skirt suits and always looked clearly “taken” by her suitor. But while the woman in the slides had me puzzled, it was the short, redhead mustached man appearing in a select few of the slides who ended up the character with a most storied life worthy of a stage production all its own. Gerry Kean was born Gerald Henri Buerger but no one seemed able to confirm precisely what year or where; although most speculated 1915 and some claimed it was in New York but couldn’t commit to the city or the state. But we do know he was born into a family of significance. His mother, Parisianborn Germaine Schnitzer was a widely concertized pianist during the early decades of the 20th century, and Gerry’s father, Dr. Leo Buerger, was a notable Viennese urologist who discovered Buerger Disease (and apparently assisted in the amputation of Sarah Bernhardt’s leg).

The couple had two children, a tumultuous marriage and Leo apparently had somewhat of a temper and didn’t make friends easily. Germaine, on the other hand, lived a divorced but glamorous social life in New York and Connecticut until the age of 95. In 1930 Gerry, the budding actor changed his name to “Red Buerger” when he was on stage at Camp Wigwam in Maine, then decided upon “Gerald Henri” while working in England at the Old Vic and Open Air Theatre. His 10-week tour in leading Shakespearean roles elicited good reviews and local famous photographer Angus McBean published many photos of Gerald Henri. Gerry finally changed his surname to Kean after the British actor Edwin Kean during the last half of his acting career at The Temple Playhouse in Greenwich, the Clinton Playhouse and the Westport Community Theatre. Gerald Kean was very active professionally as a writer, editor, and producer/director in the media and entertainment fields from the late 1930s to the 1980s, he had a long and close working relationship with Himan Brown, who had gained fame as the producer of the old-time radio series Inner Sanctum plus other radio and TV series. After World War II Gerry worked in the press department at the United Nations and intimated to family and friends more than a few times later in his life that he had also been a part of “the intelligence” but couldn’t disclose the specifics for fear of being found out. Meanwhile, Glenna was also living a life of drama, albeit in a different way. A 1951 New York Times wedding announcement declared that Glenna was married in Long Island to Miguel Negris, the son of a Madrid mayor. They had three children, tragically losing one to suicide, and then thirteen years later, adventurous Glenna met and fell into a whirlwind of

love with Gerry Kean and wanted a swift divorce from Miguel. Her attorney’s advice was to go to Juarez, Mexico and have it done as a “two-fer” marking December 29th 1964 as the day of both her divorce and her wedding day. Gerry, in his slightly Napoleonic style liked to regale friends and co-workers with stories about his long-time friendship with Tennessee Williams, the Newmans, the Barrymore’s; he liked to smoke a pipe and friends of the Kean’s said Glenna and Gerry were incessantly rehearsing their lines in preparation for a performance – at the dinner table, in bed, out in the garden - and that there was a sense that life whirled tightly around the two of them; they were inseparable and completely dedicated to their craft. The Kean’s theatre career culminated in 2012 with special recognition by the Westport Community Theatre for the couple’s outstand-

ing service and dedication. But there was still the unanswered question of who Julie was. A frequent estate-saler, I had seen my fair share of boxes overflowing with haphazard assortments of negatives, postcards, slides and photographs offering passing glimpses into people’s lives. I had a difficult time stomaching the fact these people’s stories would eventually just vanish. Short of a national milk carton campaign complete with picture and plea; “Where is Julie?” what could I do to find her? Call me sentimental but wouldn’t some long lost relative want to see how happy she was during those years; how she glowed on stage, how she swooned a lover, travelled the world. I suppose one can only Google and Bing so many times trying to find out exactly who “Julie” was but this woman with the red leather gloves remained for me, still at large. CONTEMPORARY CULTURE//MAGAZINE

Style: Timepieces

Buying What You Love Watch Collecting on a Modest Budget By Cheryl Dixon Watch collecting can undoubtedly be an expensive hobby, as rare and unique models and watches with provenance can command prices from $20K to more than $200K. Though watches like the Rolex Single Red Prototype Ref. 1665 Sea-Dweller that broke two world records at Antiquorum Geneva auction in November when it sold for $519,414 and a one-of-a-kind Patek Philippe Ref. 1463 made and worn by famed watchmaker Jacques Golay are unquestionably horological treasures, watch collecting is mostly subjective. Experts advise aficionados and serious collectors to “buy what they love,” regardless of price point. Not every collector has the luxury of an unlimited budget, but modestly-priced watches can invoke the same level of enjoyment and thrill of discovery. Here’s the proof. Following are a selection of watches that sold below $10K at auction in the past year as well as comments from Antiquorum experts on why each are so special.

Patek Philippe (Ref. 3597) “The result of a massive collaboration in the Swiss watch industry, the movement is the famous quartz Beta 21. The heavy large case and pronounced dial make this one of the ‘must have’ watches to come out of the 1970s.” Rolex (Ref. 1675) ‘’GMT Master,’’ made in early 1970s “Actually I have this reference, and it is very pleasant to wear because the watch is very light compared to the new model. The movement is automatic and it features the date as well a second time zone – it is the perfect watch for the weekend or vacation!”

Patek Philippe (Ref. 2429) “In 1948, Patek Philippe debuted reference 2429, cased primarily in yellow gold and rose gold. The model is distinguished by its beautifully fluted and elongated lugs.”

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Rolex Submariner (Ref. 5512) “The timeless design of the Submariner was a good value in a 4 lines vintage.”

Omega Speedmaster “Probably one of the most reliable chronographs ever produced; it’s nice looking, affordable and has a sensational history! If a man were going to the moon, surely he would wear a Speedmaster. I love it with Nato strap and signs of time – aged and rough – it is a perfect chronometer!”

Cheryl Dixon is Vice President of Marketing and Communications for Antiquorum Auctioneers. Established in Geneva in 1974, Antiquorum has carved its own unparalleled niche in the auction world through its focused expertise in horology and by cultivating a thriving collector’s market for timepieces worldwide. For information on buying or consigning watches and free evaluations of your fine timepiece, visit www.antiquorum.com.

Rolex (Ref. 3071) Made circa 1940 “This pocket watch has been never seen at auction before. A perfect interpretation of Art Deco design with a black dial, this would delight any Rolex collector in search of a rare pocket watch.”

Rolex (Ref. 1675) “This is the first luxury watch I ever purchased. The blue and red bezel give this watch a special character that I have not seen in other sports watches produced during this period.”

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STYLE: DEcor

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{Making your personal space a reflection of you}

Design Well & Prosper Home dĂŠcor is often viewed as a matter of aesthetics, focusing more on what works and looks good in the space, rather than how it makes you feel. But as in life, your home should be an expression of your personality, radiating your unique energy, and providing a haven for your soul.

Monica SUleski & Simi D Images by Blue Ocean Photography Written by

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STYLE: DEcor

I learned just how important the intangible aspects of interior design are for our emotional well being early in my career. I was constantly drawn by the energetic power of the rooms inside my clients’ homes. Energy travels, and through movement in design, I noticed how the room’s energy would shift for better or worse depending upon the changes I made within the space. As I came to realize that this connection was similar to the energetic vibes we give off in person, I decided to apply this concept to my design choices in my own home. My bedroom has always been my sanctuary from the stresses of the day so I took special care in choosing the right colors, scents, lighting, materials and flow which would evoke a sense of peaceful serenity for anyone entering the room. Then I set about creating different moods for the other rooms in my house. Over time, with study and practice, I learned that keeping a room’s décor simple and balanced is truly the best way to draw upon the positive energy – the peace and love – you hope to feel in life. In fact, “Peace and Love” has become the driving motto for both my personal and professional life. 62

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We live in a fast paced, high stress world, full of idealistic man-made images that cause us to second guess our own opinions and self worth. te Sadly many of us buy into the media hype of the perfect body and lifestyle, leaving us unsatisfied with what we have and wanting more. Multi-tasking has also become the norm as we push ourselves harder in search of a better way to live. Of course, this daily demanding bombardment leaves us battered and conflicted and disrupts the natural harmony and life balance we need to survive – and thrive. While some things in life are simply out of our control, others are not. We can make a positive difference in our lives and those around us by becoming more grounded and practicing more self-awareness and honest self-expression, and by making our homes a true reflection of the values we treasure. One great way to do this is to apply the principles of Feng Shui in your home. Simply, Feng Shui is an ancient art and science developed over 3,000 years ago in China that reveals how to balance the energies of any given space to assure health, emotional well being and good fortune for people inhabiting it. Although the

“well-balanced Tai-Chi practicing” people of the East may find this concept an easy do, for most over worked Americans, it can prove to be difficult and daunting. At EE Designs, I use a simpler and more modern approach. By using my basic “life design concept,” I have found a unique way to bring a brighter and more positive hue to the

space, as well as to the people who live in it. As a general rule, keep your dĂŠcor simple, uncomplicated and clutter-free, the way life should be, and select your design elements thoughtfully. Proper balance and furniture placement are key to evoking harmony and flow. Texture represents the more sensuous, feel me, touch me, aspects of life. Variety and contrast add dimension. And

color schemes are an important way to create mood and self-expression and can also be leveraged to affect emotions and behavior. One of the first steps in creating an emotionally healthy home is to consider the primary function of each room, then choose a predominant color that works to encourage certain behaviors. Living rooms and foyers should be welcoming and invite warm conversation, creating a space that encourages people to connect with one another. Warm tones, like reds and yellows, and earth tones, browns and beiges work well in this regard. Dining rooms are often painted red to stimulate conversation and appetites! Bedrooms painted in blues, greens and lavenders are thought to have a calming effect, just what you want waiting for you at the end of the day. Whites and warm colors are good choices for bathrooms in large part because they connote cleanliness

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

and purity. Add accents of blues, greens and turquoise and this room becomes a private retreat for relaxation and rejuvenation. How about that home office or workout room? Color consultants suggest green, the color of concentration for work-related tasks. While reds and oranges can help you move and work off the stresses of the day, they also tend to make you hot, so blues and greens may be better choices for your home gym. And the happiest colors, they are the yellowgreens and blue-greens, great for creating light-filled and light-hearted spaces! Start your day in an emotional and physical space filled with peace and serenity, and youâ&#x20AC;&#x2122;ll soon discover that you can experience the true meaning of health and happiness in your own home, as it should be. Design well, and prosper, and find peace and love throughout your home.. and your life. CONTEMPORARY CULTURE//MAGAZINE

INDULGE: Decorative ARts

On The Block:

Contemporary on fire. Oscars away my friend. christmas comes early. by Matthew Sturtevant

Contemporary On Fire The latest Post War and Contemporary art sales at Christie’s and Sotheby’s racked up closed to a billion dollars in November, making one small part of the world appear as if the financial global crisis had never happened. Christie’s blew away the records for auction splurges with what it said was the highest-grossing contemporary auction ever, raising $412.24 million dollars. “This evening’s sale set a new record total for any Post-War and Contemporary Art sale. Over the past six years, Christie’s has led this market first over the $200 million, then over the $300 million, and now over the $400 million barrier,” said Brett Gorvy, head of contemporary art. Leading the way was a canvas of violent black brushstrokes by abstract expressionist Franz Kline that sold for $40.4 million, four times as much as his previous auction record price. A Day before At Sotheby’s uptown galleries the contemporary sales fetched $375.15 million reaching the high end of their presale estimate. “ This has been an extraordinary year for contemporary art at sotheby’s” said

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Tobias Meyer, head of Contemporary Art at Sotheby’s. The big star of the sale was Rothko’s “No. 1 (Royal Red and Blue)” which sold for $75.1 million. Christmas Comes Early A conch pearl and diamond bracelet that once belonged to Queen Victoria Eugenie of Spain fetched 3.2 million Swiss francs (2.7 million euros, $3.4 million) at auction in Geneva on Wednesday, more than doubling reserve estimates. Spectators in a packed auction room at Sotheby’s looked on as bids for the baby-pink and diamond-encrusted Cartier piece surpassed expectations, which had put the final sale price at 750,000 to 1.5 million Swiss francs. It was the star lot in a huge jewelry sale of nearly 600 items. Described by Sotheby’s as

a “unique and highly important” item of jewelry, the bracelet was made in the 1920s and is 186 millimeters (just over seven inches) long. It resembles an articulated band of vines bursting with conch pearl “fruits”. The band is set with diamonds of various shapes, all of them embellished with black enamel, according to Sotheby’s. The bracelet’s original owner, Victoria Eugenie, was born on October 24, 1887, at Balmoral Castle in Scotland. Her grandmother was Princess Beatrice of the United Kingdom, youngest child of Queen Victoria and Prince Albert. To her family and the public, she was simply known as Ena. Although she married King Alfonso of Spain in 1906 and went on to have seven children with him, they separated, whereupon Ena purchased a chateau in Vieille Fontaine, near Lausanne. Oscars Away My Friend The Oscar award market continues to be red-hot, with Joan Crawford’s Best Actress Oscar for 1945s “Mildred Pierce” selling today for a record price of $426,732. Nate Sanders, owner of Nate D. Sanders Auctions, said, “This Oscar carries with it a fascinating story as well, and represents Joan Crawford’s gutsy comeback in the industry that labeled her ‘box office poison’ several years earlier. It’s really one of the most spectacular Oscars in existence.” Though she famously felt she deserved the Oscar, since she didn’t think she’d win it, Crawford pretended to be ill and stayed home the night of the ceremony on 7 March 1946. When

her name was called, her director, Michael Curtiz accepted the Oscar on her behalf with Crawford listening to the broadcast on her radio. Later that night, she invited reporters to photograph her accepting her award from her bedroom. Upon receiving this Oscar, Crawford was famously quoted, “Whether the Academy voters were giving the Oscar to me, sentimentally, for Mildred or for 200 years of effort, the hell with it - I deserved it.”

INDULGE: Motoring

Audi is Listening!

Forty years ago, Audi entered the US automobile market with some pretty basic, non-descript cars. However, over time they paid attention to their customers’ needs and desires and responded by radically changing their strategy. In fact, over the past decade, I’ve watched Audi build a formidable model lineup. Writer Lorenz

Audi’s accomplishments include their smaller A4 model which continues to be a best seller. Those desiring more room and luxury features can select from its three bigger brothers, the A5 two door series, the A6 sedan and the ultra-luxurious, aluminum framed A8. Audi also offers a few other models such as the A3 Wagon and the redesigned TT. There is no question about the fact that Audi’s patented “Quattro” all-wheel drive has been a big factor in increasing sales. For many of us it signifies that an Audi is safe and con-

Josef

(Audi S7 test drive courtesy of Fairfield Audi)

trolled in wet and icy conditions. Taking that concept to its logical next level, several years ago Audi made a successful entry into the SUV market with their introduction of the Q5 and Q7 models. The overall result has been fantastic. Last year Audi’s worldwide Audi sales exceeded 1.3 million cars! Not bad for an auto manufacturer which almost did not survive the post-WW II economy. Audi also has also been paying attention to the sports car market segment. Personally, I lust after their $100,000 plus R8 supercar. Audi originally debuted this street racer with one of their

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INDULGE: Motoring

high-performance V-8 engines and it was fast. However, I got really excited when they decided to boost the performance considerably by equipping it with a V-10 power plant borrowed from its cousin in the VW-Audi Group, Lamborghini! More recently, perhaps spurred on by Porsche’s Panamera and Aston Martin’s Rapide, Audi decided to launch a 4 door hatchback sport sedan called the A7. Although I am a big fan of this sleek Coupe/Sedan design concept on the Mercedes CLS and even on the VW CC, I was not initially convinced that Audi needed such a car to round out their model offerings. Despite this wide ranging product line, most people think of Audi as a relative newcomer to the luxury and sports car market segments and that belief is particularly strong in the US. In reality, Audi is actually more than 100 years old and was a leader in both segments of the market while other car companies had not even been hatched. Audi was founded in 1909 by August Horch in Germany. At that time Mr. Horch was already a veteran of the still nascent automobile business as ten years earlier he had launched another car company under his own name, Horch. However, after a dispute with the Board, he was forced out. Although he tried, he was forbidden by law from using his own name again for the second company. Cleverly he named the new company Audi, which is Latin for “to listen”, the exact same meaning of his last name (Horch) in German! Ironically, in 1932 Horch and Audi were merged along with two other auto manufacturers, DKW and Wanderer under a new parent company called Auto Union (kind of a General Motors of Germany). While each of these four brands continued to use their own logos and badging, the parent company adopted the now famous interlocking four rings as its corporate logo, although it was only used on the Auto Union Grand Prix racers of the pre-war era. Today the four ring logo is the official badge of Audi! 66

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On the subject of racing, to this day Audi still derives its competition DNA directly from those Auto Union Grand Prix cars which were so successful in the 1930s and broke the dominance of Alfa Romeo (managed by non-other than Enzo Ferrari), Bugatti and Maserati. Ferdinand Porsche (yes, the Mr. Porsche) and his engineering team developed the Auto Union Grand Prix cars with innovations like mid-engine design, supercharging, exotic V-12 and V-16 cylinder engines and aerodynamic streamlining to cheat the wind! That same caliber of engineering innovation symbolizes the Audi cars of today! Fast forward to the 1980s when Audi realized it was finally on a solid financial footing and decided to develop its future models by participating in auto racing. Since then Audi has been very successful on all the major race tracks around the world. This trial by fire has resulted in the development of a marketing strategy to

The S7’s acceleration is what really got my attention during the test drive. As I floored it on the entrance ramp of the highway it went like a shot. build very high performance cars such as the serious street racers called the RSR4 and RSR5. More importantly for non-racers like me, this concept has evolved into Audi building a user friendly, sports version of virtually every model. Yes, there is an S4, S5, S6 and even an S8 model available for those so inclined. With that as background, it did not surprise me when I recently heard that Audi was about to introduce a higher performance version of their A7 and naturally they called it the S7. That is when I went to my local dealer to check out Audi’s 420 horsepower beast for myself. Well, I’m happy to report that the new S7 is definitely a performer. It has a twin turbocharged 4 liter V-8 engine versus the 3.0 liter supercharged V-6 located under the hood of its cousin, the standard A7. Instead of the usual automatic transmission, Audi supplies this new car with a paddle shifted 7 speed Dual Clutch gearbox just like in a Ferrari! Of course, as in virtually every Audi, their Quattro all-wheel drive is standard issue. The S7’s acceleration is what really got my attention during the test drive. As I floored it on the entrance ramp of the highway it went like a shot. In a heartbeat I heard the engine speed up to the redline and I instinctively pulled on the right paddle behind the steering wheel. In the next heartbeat, I squeezed the paddle again. Within what seemed like only another second, 3rd gear wound out and I found myself arriving in the Granny Lane of I-95 at a far greater speed than the Grannies were driving. Relax! Don’t worry! I played it safe! I never took my eyes off the road to look at either the speedometer or tachometer. However, truth be told, I had to lean on the brake pedal just a bit to come down to the mere mortal pace of the flow of traffic! Speaking of brakes, in view of the S7’s higher performance, Audi wisely equipped it with much larger front and rear brakes (400mm front/356mm rear) than found on the normal A7 and

I am very glad that Audi did that. The S7’s adaptive air suspension is also quite unique and it even hunkers down at high speeds to improve stability. Once I was back at my home (no, not with the Audi), I had a chance to read the brochure which the dealer provided and found out that the S7 runs up to 60 mph in 4.5 seconds which is almost a second quicker than the A7. Incidentally, that performance is identical to Audi’s V-8 equipped R8! Now I know why the S7’s acceleration was so thrilling and got my pulse going. I also read that although the top speed of the S7 is electronically limited, Audi doesn’t turn on the limiter until you try to exceed 155 mph. Don’t be so glum as that is still 25 mph more than the 130 mph allowed in the standard A7. Audi also enhanced the S7’s exterior from a styling standpoint in several areas. Most notable is that the new car has a cool moveable rear wing. Although discreetly tucked away into the hatchback at normal speeds, it pops up to stabilize the S7 when you are being a bad boy (or girl). Another feature which I noted on the car I drove were the optional 20 inch alloy wheels (when the desirable Sport Package is ordered). These wheels in my opinion are a must have as they provide the S7 with a much sportier stance. The interior is also significantly restyled from a standard A7. Upon entering the cockpit, I saw that the interior features an attractive diamond quilted leather pattern on the seats, which I had only seen previously on ultra-expensive Bentleys and astronomically priced Bugattis. Not only did they look good, but they hugged me tight once I was behind the wheel. Needless to say, the S7 is equipped with many more features and all sorts of modern luxury appointments, but I just can’t get that acceleration out of my mind! In my opinion, Audi is definitely listening!

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INDULGE: YACHTING

Sunreef 82 Double Deck HOUBARA Gdansk, Poland – Following the successful launch of two mega catamarans over 100 feet each in 2010, the Sunreef shipyard has been designated as a builder of an 82ft double decker sailing catamaran with the latest design, featuring sleek hulls and a streamlined deckhouse topped with a giant 35m2 flybridge inspired by large superyachts. The European client, impressed by the elegance and unrivalled spaciousness of the 102ft IPHARRA, selected Sunreef’s original Double Deck design. “This sale was concluded thanks to Sunreef’s well-proven capability to build large custom yachts for demanding owners and according to the highest construction standards. The last few 68

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The everlasting stylish look of the hull line is the result of Sunreef’s advanced design technologies and ongoing research into new solutions and inspirations. years of simultaneous construction of the two mega catamarans have given us invaluable experience that we will strive to improve with the Sunreef 82, our first superyacht built of composite materials,” explains Francis Lapp, Sunreef’s CEO. The everlasting stylish look of the hull line is the result of Sunreef’s advanced design technologies and ongoing research into new solutions and inspirations. Sunreef’s Naval Architecture Bureau is studying performance and sea capabilities using Computational Fluid Dynamics (CFD) at its highest levels in collaboration with K-Epsilon and Rivoyre Ingenierie based in Sophia Antipolis, and applying Finite Element Analysis to structural calculations for the optimization of structural parts. The Sunreef 82 DD has been designed with integrated stepped hull chines to increase interior space without compromising on performance. In the double deck concept there is one spacious owner cabin in the front, and a large and bright salon with an internal helm station with sea views. That is why this model is a perfect alternative to a traditional motoryacht which consumes tremendous amounts of fuel. The Double Deck catamarans have a chance to become superyachts of the future with their comfort on board and low fuel consumption resulting from its low draft and the possibility of cruising on sails in keeping with the maximum stability at all times.

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INDULGE: YACHTING

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This private yacht accommodates up to 7 guests in one beam-wide owner suite, one VIP queen cabin and one guest twin cabin convertible to a double cabin with an additional Pullman bed, attended by two crew to assist the owner, a sailor himself. The Sunreef 82 DD features the canoe type boom and carbon mast, Sunreef’s in-house speciality. An innovative element aboard the Sunreef 82 DD is the smart mezzanine floor housing a coffee table within a lounge area located on the starboard side of the main deck within the dining area. There is also a purpose-built storage area for painting equipment, as the owners enjoy this activity while sailing. This additional floor provides more space below decks for extended cabin or storage space. The main deck also includes a second lounge area and provides access to the crew hull on the port side and guest hull on the starboard side. The 32m2 owner suite, arranged over two floors, is set to occupy the entire forward section of the yacht with a master cabin, Jacuzzi and vanity on the main deck, and a walk-in wardrobe and bathroom located below decks in port and starboard hulls respectively. The right corner of the master cabin includes LED-lit Jacuzzi set on a two step platform, surrounded by an orchid jardinière, providing amazing sea views through beam-wide 180

degree panoramic windows. The vanity is positioned in the centre and a low Japanese-style king-size bed with two night tables occupies the left part of the suite. Guest cabins are generously sized with three way access to a queen size bed with spectacular sea views through 6-part large windows, and have a separate bathroom and shower, spacious wardrobe, several lockers, a comprehensive entertainment system and air conditioning. Interior design has been customised following the owners’ suggestions, and combines light and natural colours and materials finished in a classic style. The impressive 64 m2 cockpit holds a large dining table for up to 8 guests, sunbathing mats, wicker armchairs, a flower area, and storage for diving equipment. There is additional space for a tender and a jet ski hidden in a purpose-built locker under the main sun pad in the cockpit. The spacious 34m2 flybridge is fitted with the main helm station, bar with barbecue and ice maker, large dining table and comfortable deckchairs, as well as a coffee table. The Sunreef 82 DD superyacht is built of light high-tech composite materials that the shipyard introduced to construction in 2007, and was launched in July 2012. The yacht’s sail plan includes private use only by the owners and their party in the Caribbean and the US until Spring 2013 and later a few years of cruising in the Pacific Ocean.

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PULSE: Music

Written By

Bruce Pollock

a star in the family Last September a unique milestone occurred in the Webster household, when father David and son Chris both released new music on successive days. The father’s independent CD, Dreaming Backwards, is an alternately searing and soaring blues rock blend reminiscent of Eric Clapton circa “Wonderful Tonight.” It can in no way be confused with the son’s mixed tape, Bars on Me, which occupies a place on the other side of the musical spectrum, a raucous rap concoction out of the Eminem school of blistering histrionics. While David Webster acknowledged that his son, otherwise known as Chris Webby, is “the star in the family,” the twin releases were just a coincidence. “I really believe in this new album,” said the elder Webster of his proud creation, five years in the making. “I think the songs make sense and I’ve gotten a really good response from people. Now I want to see how far I can take it. The guys I worked with at my release party, I’m not saying it will necessarily be that line-up, but it might, and I’d like to see if I can do some live shows and get a buzz going.” In the matter of buzz, Webster need only turn to his other proud creation, 24 years in the making, his son Chris. One week after his new mix tape dropped, it had almost 100,000 downloads. A year earlier, his first CD went to Number 1 on the iTunes hip hop chart the first day of its release. On the overall iTunes chart, it went to Number 3 on the first day. “I don’t know if that’s unprecedented for an unsigned artist, but it’s certainly a rarity to say the least,” David said. “He’s really done it all through the Internet. He’s got 37 million hits on YouTube. He’s got hundreds of videos. Some of them are collaborations with other rappers, which is a big thing in the hip-hop field. He’s done two national tours.” Just as the father has pursued his blues rock dream since graduating from Boston College with a major in B.B. King and Mike Bloomfield, 72

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By far his career’s most rewarding moments have been brought to him courtesy of son Chris. “I got the chance to tour with him this spring,” said the proud father. “That was interesting: me on the bus with a bunch of 25-year-old guys. He paid for the whole thing himself. They did 45 dates. I just did the Northeast and then I went out to California and it was enough.” along a twisting trail from local bands to touring bands to wedding bands, the son dropped out of Hofstra after a year and a half to follow his passion for the latest permutation in the history of black music. After the requisite piano lessons and cello lessons, young Chris’s gift emerged in the 6th grade, when he delivered a class report as a rap. “He got a great response,” his father recalled, “and that kind of kick started the whole thing. After that, he was always writing and performing. When he first started, I was a little horrified. To be honest with you, my understanding of the hip-hop world was extremely limited. I’m an old school guy. I love the Beatles and Hendrix and Cream. He used to wear a big W medallion and he looked preposterous with his braces, but he did it all through high school. “When he got out of college he started his career big time and he has built it up slowly. He started doing opening acts at Toads and various venues and worked his way up to headliner at Toads and then he did his first tour in a small hybrid van/bus kind of thing. There were eight guys in his entourage and they were booked by an agency in New York and they went out and did clubs. Now he goes back and forth to Atlanta where

he’s totally in the black world and he is totally accepted there. Ever since he was a kid, even in school, he always seemed to gravitate towards that lifestyle, so who knew.” Or maybe it’s not so strange after all, for a kid to grow up in a household filled with the sound of blues guitar and want to seek out the opposite path to the same goal, sort of like blues rocker Bonnie Raitt turning her back on her father John’s show tunes. In the end, though, it’s all music. “He’s been dancing with the labels for a while and he’s sort of been offered some things that weren’t really to his liking and he wants as much leverage as he can get,” said Dave. “He has a good manager and a financial advisor and a lawyer. He’s got the team and they’ve done this on their own. The music business is so different now. The major labels are crumbling, just disappearing. So he’s got his path and he’s fine and he’s growing.” “Being unsigned has its advantages,” Chris chips in. “But it also has its disadvantages. You’re not going to be blasted over TV and radio like everyone else. There are a lot of other white kids coming out right now CONTEMPORARY CULTURE//MAGAZINE

PULSE: Music

There’s been a lot of deferential ‘we’re not worthy’ stuff from his audience with me. I come out and I do four or five tunes with him and he gives me space to wail. He lets me step out and play. And it’s a thrill. It’s just a thrill.” and some of them I see all over TV. Not that I haven’t been on MTV and I will be again with some of these next videos, but we just have to work a lot harder for it. We don’t have someone throwing money down on someone’s desk and saying take care of this for me. But at the end of the day, there’s also no one to answer to.” Back in his own heyday, David Webster’s biggest shot at the kind of stardom his son seems poised to attain occurred when the band he’d been in for six years, Street Kid, did a showcase for the legendary promoter Sid Bernstein, the man who promised to reunite the Beatles. He also promised to get Street Kid a record deal. “We were sure our future was set, but it turns out that Sid was on the downside of his career,” said Webster. “He said ‘oh if you come with me, I’m gonna make masters and I’m gonna sell them to the record company and it’s gonna be great.’ Well, he put out a play called Lennon, which stiffed, and then he said he didn’t have the money to do it, so it was basically a waste of time. After that we kind of fractured.” Webster’s career both before and after the Bernstein episode virtually defines the term working musician. “After college I toured with this guy named Roger Salloom. We made almost no money but we opened for Jose Feliciano, Fairport Convention, and Tracy Nelson and Mother Earth. I did that for about a year and then I got a call to play with this Boston-based band called Wiley Crawford. Wiley is one of the most talented people I have ever known; he sounded a little bit like Steve Winwood. But he fell victim to drugs and alcohol. On one of the last gigs we ever did, we opened up for Roy Buchanan at the Performance Center in Boston and he got completely hammered and destroyed the set. All of the record companies were there, so that was the end of that. Then I did some session work for Peter Johnson. I think he was on Warner Brothers. He liked this kind of George Harrison/Eric Clapton type harmony solo I played and he said ‘why don’t you come to New York and do some session work.’ So I lived on Long Island for six years and that’s where I played slide guitar on a track “Buckets of Rain” on the Bette Midler album, Songs for the New Depression (the song’s author, Bob Dylan, also played on the track). “I got to meet Bette Midler many times and she was a real sweetheart,” said Dave. “I didn’t meet Dylan. Dylan laid down his part before I got there.”

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It was through session work with Stan Pendridge (co-author of “Beth” for Kiss) that he met the players that would form Street Kid. After the demise of that band, Webster found himself in Connecticut, married, with a mortgage to pay. “While I was playing in Street Kid, I met this guy who had a wedding office in Stamford. He said, call me if you ever want to play weddings, and I was like, yeah, sure. I said I would never do weddings, and then a year later, there I am hat in hand saying yes, I’ll do some weddings, and he put me to work right away. The first year I was there, I think I did like 100 gigs. For the next 17-18 years, that was my primary thing.” His attitude toward eventually leaving his longest lasting gig can be summed up thusly: “If I have to play ‘Brown Eyed Girl’ one more time, I’ll kill myself,” Webster said. “Relatively speaking, the money was good and it helped pay for the mortgage, but it’s basically doing the same thing over and over and over again and it’s kind of a soul sucking situation. But in that period during the 90’s, that was the best way to make money. All the session guys who played on records in New York were all doing weddings. “Towards the end of the wedding thing, I started writing again. I wrote this children’s story with music which I put out in 1997, called Jacob Wake Up and that kind of got me back into songwriting again. In 2007 I put out my first CD, Dance on the Moon. Around that time I went through this very prolific period, and I wrote all of the songs that are on the new CD. I probably wrote about 25 songs and I culled it down to 12. This is definitely the best thing I’ve ever done and at my age, I’m going to be 64 in a couple of weeks, I don’t have too many five year blocks to come up with new material.” Dave’s last local endeavor was a blues rock outfit called the Quake, which had a nice run but closed up shop late in 2011. “I think it just kind of ran its course after six or seven years. I’m getting older and I don’t really feel like doing all the heavy lifting involved with being in a local band. It’s like carrying your furniture around to every gig. We used to play the Georgetown Saloon and we played some great gigs there, but it never really went beyond the local band scene.” By far his career’s most rewarding moments have been brought to him courtesy of son Chris. “I got the chance to tour with him this spring,” said the proud father. “That was interesting: me on the bus with a bunch of 25-year-old guys. He paid for the whole thing himself. They did 45 dates. I just did the Northeast and then I went out to California and it was enough. I felt like I had been hit over the head with a club when I came home. These guys, they’re up until five in the morning and even though I still play clubs occasionally, I have more of a normal schedule. But they had a bus and an entourage; he had a video guy and a photographer. He had a huge security guy who had played professional football out in Chicago. I used to call him Dave plus one--weight wise, he was exactly two of me. “We played Irving Plaza. We played the Stone Pony, which was awesome. He flew me out to Los Angeles to play the Troubadour with him. The first time I played with him was at Toads in New Haven a couple of years ago. I’m used to playing in clubs where maybe tops is a couple of hundred people and after a good guitar solo, you get some applause and it’s great, but with this, it was like walking into this sea of energy. It knocked me backwards. There’s been a lot of deferential ‘we’re not worthy’ stuff from his audience with me. I come out and I do four or five tunes with him and he gives me space to wail. He lets me step out and play. And it’s a thrill. It’s just a thrill.”

CLOISTER OCEAN VILLAS

(continued from page 38) serving up to 10 guests, or the Black Banks River Bar, a wonderful spot for casual dining, where the menu features light snacks and appetizers, and the potables include selections from an extensive wine list, and a fine selection of bourbon and whiskey. If all you want at the moment is drinks and perhaps a fine cigar, consider the Smoking Lounge. Want to dine with a seaside view? Visit the Southern Tide, where the offerings include slow-smoked oak-brined pork ribs and and Georgian Fried Chicken. Confirmed beef eaters can feast on aged beef (or fresh seafood) by the glow of a wood-burning fireplace at Colt & Alison, paired with an extensive selection of wines. Or perhaps you’d prefer the Oak Room, with its tavern menu of local fried shrimp, blue crab jalapeño hushpuppies, and other mouthwatering fare. At Tavola, rustic Italian is the order of the day. Don’t miss the Perina Pizza or the Egg Plant. Then there’s the aptly named Wonderland, a sweet shop offering 12 housemade ice creams and over 65 varieties of candy. It’s a perennial fave with kids, but if you’ve got a sweet tooth, you’ll be returning time and again with or without the kids. Accommodations At day’s end, you’ll enjoy the magnificence of Sea Island’s accommodations. Choose The Cloister, and you’ll step back into the charm of 1928 updated to total modernity. Originally designed as a “friendly little inn,” the hotel has been enlarged, upgraded, and updated. Terra cotta roofs, sunlit garden patios, and old-world elegance mark the Mediterranean style that is among the reasons The Cloister is five-star rated by Forbes. The rebuild in 2006 included an entire newly built structure that encompasses many of the original architectural features. Here you’ll find 175 elegant guest rooms and suites, with views of the Black Banks River, the Atlantic Ocean, or

CLOISTER Wine Cellar

the lush natural surroundings. In 2011 Harper’s Hideaway Report honored The Cloister as its #1 Family Resort. January 2009 saw the debut of The Cloister Ocean Villas, with one-, two-, and three-bedroom/bathroom private villas with open kitchens and with balconies that overlook the Atlantic and the private beach. The Cloister guest rooms and suites are exquisitely appointed with handmade Turkish rugs, luxurious bed linens, and stone baths with deep-soaking tubs. Then there’s The Lodge at Sea Island Golf Club, rated Five Diamonds by AAA and Five Stars by Forbes. The Lodge makes it its mission to offer its guests the ultimate in privacy and luxury. At just 40 rooms, the hotel is intimate and

features expansive ocealn views. The stunning accommodations offer the feel of a classic English country manor with hand-crafted Oriental rugs, spacious marble baths with deep-soaking tubs and rainhead showers. Amenities include a 24-hour butler offering freshly-baked cookies and a daily sundown performance by the resort’s resident bagpiper. There are also cottages for rent on Sea Island. But wherever you choose to lay your head, and whichever activities you and your family choose to indulge in to round out your golfing experience, a grand vacation awaits you at Sea Island, as near as Georgia but as far from your mundane cares and real-world worries as you can get. Happy Golfing, and Happy Times to you at Sea Island! CONTEMPORARY CULTURE//MAGAZINE

PULSE: Artist Colleen Browning

Gifted Woman Artist Rises To Fame In The 1950s Among NYC “Mad Men” By Philip Eliasoph, Senior Arts Editor

COLLEEN BROWNING She “paints in a neat white blouse and tweed skirt and stockings,” noted Glamour Magazine in a 1954 splash feature about classically trained artist Colleen Browning. Just a bit ahead of the feminist vanguard of the next generation of female artists, the ravishingly attractive Browning cut a paradoxical swath across the tumultuous landscape of American art. Now, taking stock of her impact after six decades looking back through the rear-view mirror, Browning’s paintings are re-surfacing for a fresh, second look. A revisionist take on Browning’s ‘Magic Realist’ art at the zenith of her success in the 1950s-60s is as relevant as rewinding some recent episodes of television’s ‘Mad Men’. In that Emmy winning dramatic series, we can sense the artists struggle amidst the wars of professional identities, sexual politics, and sturm und drang of slickly marketed products sudden rise and fall. What seemed to be hopelessly banal like early advertising campaigns for Bristol-Crème or Buicks, has taken on a new post-modernist aura. Art world trends have seemingly shifted so dramatically that the April ARTnews cover story openly wondered: “When Bad is Good?” And by what criteria or standards of taste do artists gain market share or fall off the shelf? Browning was an ‘old fashioned’ representational, realist artist. You know, those charmingly anecdotal paintings with or-

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dinary human beings captured in beguiling, existential vignettes. Since what the critics call ‘the Triumph of the New York School’ – modernist abstraction – realist art was decidedly outré. The cultural zeitgeist of the Eisenhower era of innocence was being over-taken with the brooding pessimism of Cold War era abstraction and avant-gardism. Under the threat of a mushroom cloud, Mark Rothko’s presuicidal reams of dark-maroon-fade-to-black canvases perfectly captured the mood. Post-Hiroshima depression was in. Realist imagery capturing quotidian mini-dramas of pleasant town and country life was despised. Abstract master Barnett Newman announced in 1957 that it would be “1,000 years before we will see representational painting return.” Norman Rockwell-esque pleasantries – paintings which the Common Man could actually relate to or infer some morsel of meaning, were hopelessly passé. Unapologetic elitists like Harper’s Editor Russell Lynes towed the line authoring missives on “Snobs,” “The Tastemakers,” and “High Brow, Middle Brow, Low Brow.” Cornspun nationalism, regionalist views of town and country folk was suspect being too closely allied with mindless Stalinist Socialist Realism or even Nazi era propaganda. Lynes pronounced: “Any real New Yorker is a ‘you-nameit-we-have-it’ whose heart brims with sympathy for the millions

(Left to Right) Self Portrait of Colleen Browning. At work in her studio. Preparing studio set designs for J. Arthur Rank Organisation, Spring 1949.

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PULSE: Artist Colleen Browning

of unfortunates who through…pure STUPIDITY live anywhere else in the world.” Who thought Red state vs. Blue state cultural politics was something current? Emerging out of obscurity, the enigmatic persona of Colleen Browning [1918-2003] is enjoying a current revival. As I have dedicated my own career to the revival of realist artists from the “lost generation of the mid-20th century, I have authored books and catalogs about artists including Paul Cadmus [Weston, CT] Robert Vickrey [Fairfield, CT] and Stevan Dohanos [Westport, CT] taking on Colleen Browning’s elusive career was right in my sweet spot. With the encouragement and support of the Southern Alleghenies Museum of Art in Loretto, PA, I spent over three years excavating the artifacts of Browning’s mysterious past. The result is: Colleen Browning: The Enchantment of Realism, [Hudson Hills Press, 2011]. Sparked by a national retrospective tour organized by SAMA’s gallant efforts to organize a national tour, we have re-awakened attention and curiosity by collectors and curator is re-positioning her art back into the limelight. Offering massive visual testimony of her prolific artistic vision, the exhibition will then tour museums at Fairfield University, Connecticut, the Butler Institute of American Art, Youngstown, Ohio, and the Amarillo Museum of Art, Texas through 2014. Her artistic legacy and archives were bequeathed by her late husband, Dr. Geoffrey Wagner, to SAMA. The small, western Pennsylvania museum has worked tirelessly to honor Browning who enjoyed a popular retrospective there towards the end of her working career in 1999. And they seem to have struck gold. Senior American art expert, Dr. Henry Adams, Professor at Case Western comments: “This book is something one never encounters: art history for grown-ups – it’s got the complexity of real life or of a good novel. Through this searingly honest account, Eliasoph makes an utterly persuasive case of her accom-

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plishment.” At the national symposium staged at SAMA last September, Edward Hopper authority, Dr. Gail Levin applauded this “major rediscovery” and praised the “thoughtful handling of this female artist’s estate,” recognizing that so many womens’ careers were “entirely overlooked – it is horrifying to learn how many artworks and records were cast off to trash bins.” Of Irish heritage, she arrived in New York in 1949 with her thoroughly upper-cut English style, and pedigree as the ravishingly attractive daughter of a British Major General hero of WWII. Within two years of her arrival on the old HMS Queen Elizabeth, her enormously gifted painting skills catapulted her into the forefront of American art. Her first New York gallery showing in January, 1953 received unprecedented attention in the art pages of Time Magazine which praised her gritty, urban realist imagery: “Harlem has been painted more expertly, but seldom with more sympathy or wit a quick-

(Opposite page, Clockwise) Rio Bamba Restaurant Mural Study 1, 1950, Watercolor, gouache and graphite on paper, 8 ½ x 9 ¾ inches, Gift of the Estate of Geoffrey Wagner, Collection of Southern Alleghenies Museum of Art [2011.051]. Nine Times One (Self Portrait), 1970, Oil on canvas, 25 x 19 inches, Gift of the artist, Collection of the Southern Alleghenies Museum of Art [99.127]. Wet, 1971, Oil on canvas, 35 x 46 ½ inches, Gift of the artist, Collection of the Southern Alleghenies Museum of Art [99.135]. (This page) WOW Car, 1977, Oil on canvas, 36 x 54 inches, Gift of the artist, Collection of the Southern Alleghenies Museum of Art [99.154].

er eye for vivid detail.” Newsweek chimed in that Browning is “a painter with sharp eyes and a facile brush.” She had arrived. By 1965, John Canaday, New York Time’s Chief Art Critic, raved about her latest gallery showing claiming she possessed awesome painterly abilities – comparing her to Hudson River School masters and Andrew Wyeth – that she “has the technical skill to do whatever she wants, in whatever way.” However, as modernist style wars progressed from precisionist realism to muscular, wallpaper brush applied Abstract Expressionism angelic rendering technique was replaced with gutsy, bladder relieving angst. Browning peaked just at the moment when the barometric pressure for realist art plummeted and the art world’s weathervane swung around 180 degrees in anticipation of a Bermuda hurricane. By the1970s her early rising star was fading. By the time of her tortured death in 2003 from intestinal cancer, her super nova had gone dark. She won numerous prestigious awards, was featured in many of the leading competitive national exhibits including the Whitney Museum’s Annual and the Carnegie International Exhibition, and sold her works at top-notch New York venues including 57th Street’s Kennedy Galleries. Virtually forgotten, she was rescued by the courageous intervention of Naples, Florida gallerist, Bill Meek of the Harmon-Meek Galleries, who literally salvaged her works from total obscurity. Unable to pigeon-hole her, Glamour’ Magazine’s clueless correspondent has difficulty assigning her marital and domestic duties with a self-invented, autonomous art career. The oppressively macho nature of American painting at mid-century – characterized by the stormy intellectual and boozed-up fisticuffs between Jackson Pollock, Willem de Kooning and their circle – also contributes to this muddled narrative. Like the bruised, childish egos of Don Draper and his over-sexualized partners in their glass skyscraper offices in Mad Men, the truly original work of their female underlings, Peggy, Joan and even lovely Megan, were never fully esteemed. Browning’s undeniable contribution to American painting might have suffered as she was consistently being reduced to a housewife who painted as a hobby. A chatty interview with Browning published in 1949 in The Rochester Democrat Chronicle, was titled; “And She Can Cook Too.” One wonders how many female artists of that generation were handicapped by accepted attitudes. One prime-time TV show hit, Father Knows Best had actor

Robert Young speaking to his perky wife Jane Wyatt demanding, “C’mon woman, let’s get on with the cooking.” A head-turning, doppelganger for Ingrid Bergman, Glamour Magazine described her as a “young housewife with a career of her own as an artist. Even her marketing trips Manhattan’s Upper East Side [then Italian East Harlem] serve her paintings. Laden like a Sicilian donkey with shopping bags in either hand… the dark-haired, outrightly handsome young woman suddenly stops, props her burdens on the ground against her knee, and begins making surreptitious scratches on a piece of paper cupped in her hand.” Sensing the sweet taste of early fame and the indignities of later anonymity, Browning penned a personal handwritten note to feminist author Germaine Greer. Writing in 1987 – long after Browning had disappeared off the art world’s radar screen – the artist lamented to the feminist icon: “Your diligence and scholarship in bringing to light these obliterated women [artists] is remarkable and I think a splendid incentive to women now; when conditions are easier, to treat themselves seriously.” Unquestionably, with this remarkable exhibition and definitive monographic book, another small story comes to light of how a woman’s artistic genius now demands to be taken seriously. Colleen Browning is back in town. She’s been liberated from the back-burner of a sometimes snobbish art world and pulled out of the kitchen. Now, nobody’s going to wonder “what happened to that British import who stormed the New York art world but got lost in the shuffle?” Thursday, January 24, 2013 Exhibition Opening Receptions: The Bellarmine Museum of Art, 5:00-7:00 p.m. Thomas J. Walsh Art Gallery, Quick Center for The Arts, 6:00-8:00 p.m. Thursday, January 31, 2013 Lecture: with Philip Eliasoph, Ph.D., Professor of Art History, Fairfield University and author of Colleen Browning: The Enchantment of Realism with reception to follow, Diffley Board Room, Bellarmine Hall, 5:00 - 7:00 p.m. Saturday, February 9, 2013, 1:00- 4:00 p.m. Family Day: Street Life (best for ages four and up),The Bellarmine Museum of Art open to the general public from 12:00 - 5:00 p.m. Wednesday, February 13, 2013, 12:00-1:00 p.m. Gallery Talk: with Philip Eliasoph, Ph.D., Professor of Art History, Fairfield University and author of Colleen Browning: The Enchantment of Realism, Thomas J. Walsh Art Gallery, Quick Center for the Arts, 12:00 - 1:00 p.m.

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PULSE: ARTist Constance Kiermaier

Finding Magic In Everyday Life Retrospective celebrates the work of Constance Kiermaier by Nancy Helle

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Whether Constance Kiermaier is inside or outside, at home or abroad, she finds inspiration for creating art everywhere. This talented multi media artist and teacher makes her art out of almost any of the materials we have access to – whether wood, metal, fabric, paper, photographs, small objects or articles of clothing. And her inspiration comes from innumerable, incredible sources like dried onion skins, pieces of broken glass and her late husband’s neckties. While she can paint beautiful portraits or landscapes in the classic representational tradition, she would rather use a variety of materials at hand, including her paintbrushes, to make contemporary collages and constructions. And while she finds plenty of inspiration from daily life, memories of the past have also inspired her collages and especially her box constructions. She is a painter, printmaker, a “boxist” and collagist. She also works in wood to create sculptural assemblages and utilizes photography in some of her collages and constructions. This February Constance Kiermaier is being honored with a Retrospective at the University of Connecticut (UCONN) Gallery in Stamford which opens February 4th.. In planning the exhibition, she said, “I want to show a body of work that represents my life.” The public reception is February 9th from 3 to 5 p.m. and the exhibition continues through March 16th. Of her many projects, she says, “The surfaces I choose to work upon have always guided me as an artist. They’re a prime factor in my pursuit of discovering new ways to use them as a foundation for collage,

(OPPOSITE PAGE) Constance in her studio. Onion Skin on Line, 2011, mixed media on Corrugated Cardboard, 16" x 20". (THIS PAGE) My First Infinity, 2011, mixed media on wood, 46" x 36" with 6 ½ x 8" x 2 ½" projection. Come Grow Young With Me And That Is All Of It, 2010, mixed media on corrugated cardboard, 21" x 29".

“A painting is not really a painting no matter how well it is conceived and rendered unless it has some sort of mystery – magic, if you will – which cannot be explained in words.” drawing, and of course, painting. My focus is in integrating the surface and the materials in a way that enhances both. With the elements of design, placement and color in mind, I aim to subtly suggest a perception of my personal experience of the world around me. I want to use the surface to go beyond its physical limitations, to go to deeper places which reflect a universe of my own making.” It’s all about creating a visual experience for both artist and viewer. “A painting is not really a painting no matter how well it is conceived and rendered unless it has some sort of mystery – magic, if you will – which cannot be explained in words.” she states. For example, her experience in working with wood – one of her favorite mediums – has culminated in using large planks in her constructions. “Through shapes and patterns I seek to enhance the clean, clear surface and to let the nature of the wood – its vertical direction – speak louder than the designs I have placed upon it. I want to imbue a sense of direction and some fantasy to the wood’s static quality,” she explains. In her exhibition, The Forest, at the Silvermine Art Center where she is a member of the Guild of Artists, she mounted 64 planks of different wood grains, each with a different painted tree image, grouped together in various segments as they leaned against the walls to create the forest. Each of the segments stood alone as a piece, but they also worked together as part of a whole in which the parts could be easily interchanged – offering an opportunity for viewer participation. She describes the work as having “a subtle concept of minimalism, keeping the wood elegantly simple”.

Her enthusiasm for finding magic in the natural world and in everyday objects is not lost on her students. Cate Leach, a Darien artist who has studied with her says, “She has a love of physically making things – she’s a boxiest, constructionist, collagist, printmaker and painter and she’s fascinated with the various processes and techniques. Her focus is on creating a simple but sophisticated elegance. Her teaching manner is subtly Socratic – a gentle insistence on growth and exploration. She also has a sense of humility, respect for the artistic efforts of others. She creates an atmosphere of trust and infinite possibilities for each artist to develop her own individual style. Her inventive and challenging assignments and the dynamics of interaction unite the class into a closely bonded group.” Another former student, Claudia Mengel of Westport says, Constance is an inspiration to everyone with her knowledge of art, deep understanding of technique and encouragement to pursue your personal passion in your work.” Some of the most successful class projects have been adventures in collaboration, and Kiermaier herself engaged in a collaborative work with a former student who had returned to her native Italy. Their joint collage was flown across the Atlantic three times as each artist took turns in responding to the latest work of the other. Interested in making art at the age of six, Constance recalls that her first grade teacher gave out images of a pig, asking the the class to trace them on black paper, then cut out their images and paste them on white paper to create a silhouette. Constance thought this was a little boring, so she cut holes into her pig, giving it white spots when pasted on the CONTEMPORARY CULTURE//MAGAZINE

PULSE: ARTist Constance Kiermaier

(CLOCKWISE) My Own History of Art, 2002, paint and assemblage on planks leaning against the wall, 7’ x variable width, each image representing: Kiermaier, Nevelson, Duchamp, Cornell, Kiermaier. Reversible Oars, 1994, mixed media on wood, 78” x 7 ½” each. Encyclopedia Britannica Series, 2009, Mixed media on wood , 40" x 40".

paper. Her teacher loved it and said, “You’re going to be an artist!” For Constance, this was a crucial, prophetic moment which gave direction to her life. She grew up on a farm near Richmond, Virginia with a cow, a pony, twelve sheep, four pigs plus chickens and geese, and attributes this experience to making her “more attuned to nature”. At boarding school an art teacher encouraged her to apply to the Yale School of Fine Art which turned out to be a good idea in more ways than one. While earning her BFA she met her future husband Jack Kiermaier who was pursuing a degree in law at Yale. However, his career took a different path and he later became president of the Channel 13 television network. It was his necktie collection and his favorite observations on life that inspired her exhibit “Obsolete Elegance” at the Silvermine Guild Gallery in 2011, the year after he died. Kiermaier’s career has been heightened by her varied experiences in the arts world over the years. Working for a television company, she did set designs, creating scenic backgrounds from images in books and magazines which were blown up in size. The process of cutting out images and rearranging them sparked her interest in collage. During early married years with her four young children in Westport, she free lanced as an illustrator for childrens’ magazines. Becoming increasingly committed to pursuing a serious art career, she hired a babysitter from 9 to 3 and found herself a studio in downtown Westport within walking distance of her 82

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house. Here she began “serious painting” in 1964 with triptychs becoming her first big adventure. Next she concentrated on collage as well as paintings between the 60’s and 80’s. During this time she was elected to membership in the Silvermine Guild of Artists where she also served on the board of directors. In yet another venture, she began a series of “Portrait Boxes” with people as subjects - mainly friends and family including herself and her husband. Collecting small symbolic objects and mementos, and painting significant background scenes on the inside of the wooden box lids, she created miniature histories and tributes to loved ones. Kiermaier has taught art at Norwalk Community College, the Lyme Academy of Fine Arts and New York Adult Education courses, and for many years has conducted a summer painting workshop in Maine. She was awarded a Regional Fellowship in Painting by the New England Foundation for the Arts/National Endowment for the Arts, the only Connecticut artist to receive this honor. Today in her eighties, Constance Kiermaier is still going strong, teaching 12 individual students and producing fresh art in her East Norwalk studio. Some of her newest collages combine dried onion skins, slivers of mica glass and paint. Incredible as it may sound, the results are quite beautiful!

The U Conn Gallery is at One University Place in Stamford at the corner of Washington Boulevard and Broad Street. (203)-851-8400

PULSE: FILM + Entertainment

Fox on Film

& Entertainment by PETER FOX: about.me/foxonfilm

Rust and Bone

Directed by Jacques Audiard, starring Matthias Schoenaerts, Marion Cotillard, Armand Vedure and Corinne Masiero. Rated R, 120 minutes, a Sony Pictures Classics release. Rating:

y tradition, expressionist filmmakers present the world from a subjective point of view; distorting the established locale with images and characters that are part of that place, yet exist within the context of an alternative reality within the same universe. The goal of this is to create a visceral emotional reaction from the viewer. It is in this tradition that director Jacques Audiard has created a masterful example of modern expressionist cinema with his new film, Rust and Bone. The film, adapted from the short story of same title (written by Craig Davidson),

by Audiard and screenwriter Thomas Bidegain, is a tightly woven love story set in the south of France, in a Princess and the Fighter structure. It begins as Ali, (Matthias Schoenaerts), a rugged, but down on his luck man with a five year old son, Sam, (Armand Verdure) finds himself without a partner, friend or any money. To support his son, he fights in underground kickboxing matches. With nowhere else to turn, Ali takes refuge with his sister Anna (Corinne Masiero) in Antibes, in the south of France. Once father and son move in, things improve immediately. Anna puts them

up in her garage, she takes the child under her wing and the weather is glorious. Ali, a man of formidable size and strength, then lands a job as a bouncer in a nightclub. He comes to the aid of Stéphanie (Marion Cotillard) during a nightclub brawl. Aloof and beautiful, Stéphanie seems unattainable, but in his frank manner Ali leaves her his phone number anyway. Stephanie trains orca whales at Marineland. When a performance ends in tragedy, a call in the night again brings them together again. When Ali sees her next, Stephanie is confined to a wheel chair: she has lost her

legs and quite a few illusions. Ali’s direct, unpitying physicality becomes Stéphanie’s lifeline, but Ali too is transformed by Stéphanie’s tough resilience. And Stephanie comes alive again. As their stories intersect and diverge, they navigate a world where strength, beauty, youth and blood are commodities—but where trust, truth, loyalty and love cannot be bought and sold, and courage comes in many forms. Says Marion Cotillard: “When I read the script, I loved Stéphanie right away, but I have to say that I didn’t really understand her. I was a bit freaked out to confess that to Jacques, and he said, ‘Well you know, it’s the same for me. I don’t know who she is and we’re going to have to take the road together and find her and give her life.’ That was very exciting for me. At the end, there’s still some mystery about Stéphanie.” The adaptation of the screenplay is only loosely based on the source material. The idea for the cinematic version began with director Audiard and writer Bidegain’s examination of the human crisis. Audiard explains: “I’d read Craig Davidson’s short story collection Rust and Bone with tremendous pleasure. Davidson is a writer of the Crisis. He brutally depicts a modern world that is wobbling; his characters are on the margins, outside society. After A Prophet, a film about confinement, a world of men, without much light, (co-writer) Thomas Bidegain and I were drawn to follow up with a film that would be its opposite: a love story, bathed in light, that would show a woman with a man. Yet we also wanted to explore contemporary chaos and barbarism without addressing them head-on.

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PULSE: FILM + Entertainment

The contrasts fascinated us— but there isn’t a love story in Craig Davidson’s collection, so we invented it.” Before love in this story, though, comes pain. As Ali and Stéphanie bring each other back to life, they navigate a world of violence and scarred emotions. Audiard worked with his actors to portray the relationship with powerful resonance. “Audiard is constantly looking for the life in the moment itself,” says Matthias Schoenaerts. “He’s not about executing what he wrote, he’s constantly on the lookout for “how can life change what I wrote?” Ali is not always the most sympathetic guy; the audience isn’t going to identify with him straight away. But there’s something about his sincerity, his simplicity, that’s genuinely attractive. We rehearsed and improvised, trying out darker, rougher ways to play Ali. Finally, we struck on an almost childlike streak in Ali which made the character suddenly more real to us, more believable as someone Stéphanie could love. That juvenile energy breathed life into him. Otherwise he’s this social, self-aware character that knows what shit he’s in and starts being depressed about it, and we

didn’t want that at all. Ali goes from being an emotional zero to surrendering to love. He also learns to love his child. Audiard has a way of making characters so profound and so multilayered. He’s truly an actor’s director, who works with the actors very collaboratively to bring out those shades. Cotillard concurs. “I’ve worked with amazing directors,” she says, “But the thing with Jacques is you feel the love that he has for his story and the characters—it’s so strong, it’s very, very inspiring. Audiard is a poet.”

Audiard and cinematographer Stéphane Fontaine, who also shot A Prophet and The Beat That My Heart Skipped, evoke a harshly commercialized setting of urban strips, big-box retail, the anonymous disco, the touristy orca show—but they also make the audience feel the liberating sensation of sun and seawater on Stéphanie’s body, the physicality and adrenaline of sex and combat. Gritty social realism slides into dreamlike imagery, as Audiard describes: “We were obsessed with the

Left to Right: Armand Verdure as Sam and Matthias Schoenaerts as Ali, Photo by © Roger Arpajou / Why Not Productions, Courtesy of Sony Pictures Classics

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idea that the strength of the images would render this painting of passions, extreme situations, extreme feelings. We wanted to find a brutal and contrasting aesthetic. We talked about neo-expressionism, Tod Browning’s Freaks, the films of Lon Chaney, the circus and fairground films of the Great Depression, in which the strangeness of the visuals sublimates the blackness of reality. We talked about monstrous tales. And about Charles Laughton’s Night of the Hunter, which begins with a father being arrested in front of his son because he has stolen in order to feed them. Are those films melodramas? Are they expressionistic? We don’t have a lexicon for that.” Rust and Bone accomplishes what few independent feature films have in the past year. Cotillard’s Oscar worthy performance is at once brave, bold, yet childlike. The film, which has already been released in Europe, will certainly enjoy a relatively long art cinema shelf life in America. Though you will be hard pressed to find Rust and Bone on the slate at the shopping mall megaplex, it’s story, visual beauty and performances merit a trip into the city. Go see this one.

PULSE: On Stage

By William Squier

Eight Days At Ten Chimneys Home of legendary acting duo Alfred Lunt and Lynn Fontanne The actual Ten Chimneys can still be found in the little southwestern Wisconsin town of Genesee Depot. But, these days the estate is a National Historic Landmark that is open as a museum to visitors from May through November.

laywright Jeffrey Hatcher’s new comedy-drama Ten Chimneys recently enjoyed a limited engagement Off-Broadway in New York. The play gave audiences an idea of what life might have been like on the Wisconsin estate of the same name half a century ago when it was the home of the legendary acting duo Alfred Lunt and Lynn Fontanne.

In those days, Ten Chimneys also served as a summertime hideaway for the couple’s equally famous friends. It wasn’t unusual for luminaries like Laurence Olivier, Katharine Hepburn, John Gielgud or Helen Hayes to camp out there for days at a time. Noël Coward was a frequent guest and often enjoyed long meals with the Lunts in their Dining Room, time in the Drawing Room,

and leisurely swims in their pool. In Hatcher’s play the Lunts hunker down with Hollywood heavy Sydney Greenstreet and a very young Uta Hagan to rehearse for an upcoming production of Anton Chekov’s The Seagull and seriocomic complications ensue! The actual Ten Chimneys can still be found in the little southwestern Wisconsin town of Genesee Depot. But, these days the estate is a National Historic Landmark that is open as a museum to visitors from May through November. You can tour the property’s large colonial style Main House, the Swedish style log cabin Studio, and charming Cottage, as well as get glimpses of a cluster of other buildings that includes a poolhouse, creamery, green house, barn, and stable. There is also the Lunt-Fontanne Program Center that was built by the Foundation that oversees Ten Chimneys. And, remarkably, all of the original buildings have been kept much as they were as the Lunts Brad Oscar belts a show stopper.

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PULSE: On Stage

left them when Lynn Fontanne died in 1983. For eight days every summer, however, the doors are closed to the general public and Ten Chimneys is turned over to a small group of the country’s top regional-theatre actors. It’s a return, of sorts, to the estate’s heyday celebrated in Jeffrey Hatcher’s play. And, just as the Lunts did so often with the rising stars of their era, a world-renowned theatre great is invited to teach master classes for actors at the top of their game, the “best of the best” to return to Ten Chimneys and follow in the footsteps of the great actors of the generations that came before. Past Master Teachers have included actresses Lynn Redgrave, who was named for Lynn Fontanne, and Olympia Dukakis, as well as renowned Shakespearean director, Barry Edelstein. Named the Lunt-Fontanne Fellowship Program, it’s one of many programs sponsored by Ten Chimneys Foundation on an ongoing basis. The fellowship grew out of the desire of the property’s founding patron, Joseph W. Garton, that the estate not only be preserved as a museum but also continue to

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be a place that fostered theatrical excellence. Garton established a foundation that eventually bought the property back from him and set about to create programming that would honor both his original vision and the legacy of the Lunts. The notion for the Lunt-Fontanne Fellowship Program began with the founding members of Ten Chimneys Foundation wondering where theater’s mentors went to be mentored. Ten Chimneys President and CEO, Randy Bryant reflected on this important national program: “We hope to provide for the master actors of the country an opportunity to retreat to Ten Chimneys, to be mentored by a respected theatrical great, to be inspired by the haven the Lunts created for themselves and for their friends, and to continue to build a community of Lunt-Fontanne Fellows who will then return to their home communities ready to be more engaged and more committed to mentoring the next generation of actors. We are honored to work with the best regional theaters in the country to choose the master actors who will become Lunt-Fontanne Fellows.” For the

first three years the fellowship weeks focused on the dramas of Shakespeare and Chekov. And actors from such prestigious region theaters as the American Conservatory Theater, Arena Stage, The Old Globe, Goodman Theatre and Steppenwolf Theatre Company participated. In addition to being treated by their hosts to fine dining and poolside relaxation, their week-long stays included one-on-one monologue and scene work with their master teachers and a final public performance. This past summer, however, musical theater legend Joel Grey signed on as master teacher. And the actors that were chosen to take part included several, like Martin Moran (Titanic, Spamalot), Coleman Domingo (Passing Strange, The Scottsboro Boys) and Brad Oscar (The Producers, The Addams Family), that have not only originated roles on Broadway but, in the case of Domingo and Oscar, were rewarded with a Tony nomination for their efforts. And Broadway conductor Rob Fisher (Cabaret, Anything Goes) was tapped to act as the group’s music director.

Opposite page: The 2012 Fellows gather for dinner with Joel Grey and Rob Fisher. This page clockwise from left: Brad Oscar and Sarah Litzsinger perform a duet. The 2012 Fellows split their time between poolside relaxation and performing. Litzsinger and Oscar receive kudos from Joel Grey.

Despite having a resume that includes a string of Broadway appearances that runs from 1990 to the end of last year, Brad Oscar says that he was flattered to be asked to take part in the Fellowship Week. “Molly Smith (Artistic Director of Arena Stage in Washington, DC) called me and asked if she could submit me,” Oscar recall. “And I said, ‘Of course! I’m honored!” Even so, Oscar says that he wasn’t sure of what to expect when he arrived at Ten Chimneys. “It was like a murder mystery mansion!” he jokes. “I was like, who gets murdered here? Do we have to solve a crime? We’re in this fabulous house! Something terrible has to happen.” What Oscar and the other fellows were treated to was eight days worth of artistic exploration, pampering and a chance to share the experience with other professionals they may have admired from afar. “I was star struck by spending the week with Coleman Domingo, who I saw in The Scottsboro Boys three times because I loved it so much!” says Oscar. Though actor David St. Louis also spent time on Broadway in casts of The Scarlet Pimpernel and Jesus Christ Superstar, his recommendation for the Fellowship Week came from the Center Theatre Group in Los Ange-

Named the Lunt-Fontanne Fellowship week, it’s one of a number of programs sponsored by the Ten Chimneys Foundation on an ongoing basis. The fellowship grew out of the desire of the property’s founding patron, Joseph W. Garton, that the estate not only be preserved as a museum but continue to a place that fostered theatrical excellence. les. “Our group really enjoyed each other,” St. Louis feels. “We sat and talked a lot about what our challenges are. And found out that most of us have the same challenges. Male, female, black, white, young or old, we’d gone through the same things.” Both Oscar and St. Louis say that they felt the presence of the Lunts strongly during their stay. “There are many pictures around of them there, on the property,” Oscar notes. “There you are in rooms that have been preserved and look exactly the same. It’s a little freaky in a way!” Freaky, but also inspiring.

“After getting to know who they were, what they stood for and what they tried to do, I really appreciated being in their space and continuing their legacy,” St. Louis says. Randy Bryant sums up his hope for the Lunt-Fontanne Fellowship Program: “The lasting relationships the Lunts had with their friends, the artistic leaders of their era, often culminated in leisurely weekends – or even weeks – spent at Ten Chimneys, Alfred in the kitchen creating meals culled from his fields and Lynn filling the rooms with freshly cut flowers picked from the English cutting gardens still found on the estate. Our hope with the Lunt-Fontanne Fellowship Program is to follow the Lunts’ lead, bring together the ‘best of the best’ in a place unlike any other in the world, and treat them from start to finish with Lunt-like care.” The hope is that the Fellowship Weeks will continue to do the same for today’s actors. “When I was young, I was thrilled just to be working,” says Oscar. “To be in it! To be doing it! As you get older and want different things. I took away a sense of fellowship. That sense that we’re all in this together. That we share a common bond.”

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Daisy

the

Daisy column

miami society. the powerful, the chic, the unique

by daisy olivera

Photo: Lilly Echeverria

Ronaldo Stern with Deborah Slack, VP/GM Saks Fifth Avenue, Bal Harbour Shops

Clockwise from left, Beatrice & Sanford Ziff with Lourdes Lopez; Gabriel & Jennifer Montoya (left) with Tina & Dan Carlo

Photo: Eduardo Ford

Saks & H. Stern At SOHO Beach House

Miami City Ballet’s Dazzling Opening Night

Photo: Lilly Echeverria

It was a night of firsts for Miami City Ballet (MCB) at the Sanford & Dolores Ziff Ballet Opera House at the Adrienne Arsht Center for the Performing Arts. It was the first MCB opening night in 26 years without founding artistic director Edward Villella at the helm and the first season for newly appointed artistic director Lourdes Lopez. She was thrust into her new role many months earlier than planned because of Villella’s unexpected departure over Labor Day weekend. Villella has been a dear friend of mine for many years and I’m not the only who will miss him and his legendary talent. He created the company and molded the MCB dancers, so there was great trepidation during the search for his replacement. That fear has been quelled with Lopez’ arrival. According to several MCB dancers, Lopez has been sensitive to their feelings and focused on the urgent task of Program I “Fire & Ice.” The Cuban-born Lopez’ arrival here is a homecoming. She grew up in Miami and moved to New York at age 14, where she launched her ballet career, achieving great success at New York City Ballet under George Balanchine, Villella’s mentor. Program I was received with great enthusiasm and perhaps, a collective sigh of relief from the audience. The dancers were technically sharp with electrifying energy. A dazzling ending to a glorious night of dance and of new beginnings. Photo: Ben Thacker

Clockwise from left, Alberto Soto, Cesar Conde, Adrienne Arsht, Jorge Plasencia, Janet Murguia, Sergio M. Gonzalez, Claudia Puig, Marlon Hill; Real Housewives of Miami cast member, attorney Ana Quincoces, Marcos Jimenez, former U.S. Attorney Southern District. of Florida.

Ladies who lunch, or rather, ladies who would rather shop than have lunch, attended an invitationonly event by Saks Fifth Avenue Bal Harbour to preview the latest collection by jeweler H. Stern. Gargantuan jewels – some as big as chandelier crystals – made for a sparkling display, throughout the penthouse at Soho Beach House in Miami Beach. Deborah Slack, VP-GM of Saks Fifth Avenue Bal Harbour, hosted the luncheon to present the charming Ronaldo Stern and the “Ancient America” collection. Stern is vice president of H.Stern, the company his father Hans founded, which is one of the biggest gem empires in Brazil. A divine afternoon!

Adrienne Arsht Celebrates Plasencia

And speaking of Adrienne Arsht – in this case, the woman behind the $30 million financial rescue of the eponymous performing arts center – she was back at her Miami home to honor a dear friend, public relations guru Jorge Plasencia with an invitation-only cocktail reception for his appointment as chairman of the board of the National Council of La Raza (NCLR). Plasencia, chairman and CEO of República is the first Cuban-American ever chosen as chair by the NCLR, one of the nation’s foremost Latino civil rights organizations. Arsht, who made her mark during her years in Miami as a business power broker, outspoken political supporter and passionate philanthropist is also an accomplished party host. Now living between homes in New York and DC, Arsht keeps her expansive waterfront home in Miami mainly for entertaining. The glamorous reception was a who’s who of business and financial leaders, politicos, the socially notable, television personalities and top members of the press and the arts. NCLR President and CEO Janet Murguia was also there to welcome the very humble Plasencia. Great moment: Plasencia was genuinely surprised when Arsht read letters of congratulations from presidents Clinton and Obama. That’s what we love about Jorge! Photo: Ben Thacker

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For more stories about Miami society please visit TheDaisyColumn.com

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