Contemporary Culture
30 29
Issue_ Issue_
Issue_
29
CONTEMPORARY CULTURE//MAGAZINE
1
2
CONTEMPORARY CULTURE//MAGAZINE
Make the right move
EXCLUSIVE LUXURY PROPERTIES IN SOUTH FLORIDA AND THE WORLD.
Timothy Bascombe | Real Estate Broker | 954.401.8211 | info@bascombebrokerage.com | bascombebrokerage.com
JEFF KOONS JEFF KOONS
Split-Rocker VaseVase Split-Rocker Split-Rocker VaseVase Limited edition of 3500 Split-Rocker Limited Limitededition editionofof3500 3500 Limited edition of 3500 499 Park Avenue, New York 499 Park Avenue, New York 212-371-4300 212-371-4300
465 West 23rd Street, New York 465 West 23rd Street, New York 212-255-5280 212-255-5280 www.bernardaud.com www.bernardaud.com
LUX LUXBOND BOND&&GREEN GREEN jewelry • since 1898 jewelrywatches watchesgifts gifts • since 1898
West Hartford Glastonbury Sun West Hartford GlastonburyGreenwich GreenwichWestport WestportMohegan Mohegan Sun Boston Wellesley 800.524.7336, ext. 1 Shop Online: LBGreen.com Boston Wellesley 800.524.7336, ext. 1 Shop Online: LBGreen.com
AD AD FLORDIA LUXURIOUS LUXURIOUS FLORDIA PROPERTIES PROPERTIES
CONTEMPORARY CULTURE//MAGAZINE CONTEMPORARY CULTURE//MAGAZINE
5
5
38
CONTEMPORARY CULTURE
Spring Issue_30
SPOTLIGHT
17
Mallory’s Camera Holds Key to Everest Mystery
18
The Photographs of Jack Delano
20
SHE: Through the Eyes and Artwork of Eleven Female Artists
EVENTS + GATHERINGS
22
Parties, Art Exhibitions & Activities
PHILANTHROPY
28
APPETITE
Diamonds Unleashed with Kara Ross
37
STYLE
The Golden Palate: Toscana Saporita goes platinum!
30
FASHION: Off the (gallery) walls and onto the Runway
FEATURE
34
38
Turkey: A modern day travel odyssey
ARCHITECTURE: The Morgan Library
44
54
Don Gummer, the armature of emotion
50
Bernie Taupin’s painted words
MOTORING
54
The art of restoration: Amelia bound
ON THE COVER: Ziggy Stardust painting by Mr. Brainwash, see page 67. Image courtesy, Samuel Owen Gallery, Greenwich CT.
6
CONTEMPORARY CULTURE//MAGAZINE
60
CONTEMPORARY CULTURE
Spring Issue_30
YACHTING
58
Seakeepers, the yachting community’s charity
PULSE
60
ART: Comtemporary artist Peter Tunney
64
MUSIC: David Bowie tribute with Blackstar review, plus sidebar on cover artist Mr. Brainwash
68
STAGE: Steve Rankin: Fighting the good fight
FILM + ENTERTAINMENT
70
“I SMILE BACK” – Starring Sarah Silverman, Josh Charles, Thomas Sadoski, Chris Sarandon, directed by Adam Salky
64
DECORATIVE ARTS
72
ON THE BLOCK: Auction highlights
ART + OBJECTS
73
Venü Magazine’s marketplace for fashion, furniture, lighting, textiles, jewelry, art, antiques and accessories
GALLERY + MUSEUM GUIDE
78
Gallery and Museum directory
SOCIETY
84 Photograph courtesy Masatoshi Sukita
8
CONTEMPORARY CULTURE//MAGAZINE
THE DAISY COLUMN: Miami society, The powerful, The chic, The unique
By its very nature springtime ushers in a burst
PUBLISHER’S LETTER
of much anticipated new beginnings, making
Taking the lead in the visual design of our magazine going forward is Nichole D’Auria,
it the perfect time to tell you about all the
We are thrilled to announce our newly
our new Creative Director. Nichole brings her
exciting news here at Venü. Since we launched
formed partnership with Circle TPR, an
impressive experience with publishing giants
our magazine six years ago this spring, we’ve
international creative and production agency
Condé Nast and Meredith to the Venü team.
been growing our readership, advertisers
with a global reach and offices in New York,
Her eye-candy expertise debuts with the
and impressions in leaps and bounds. We’ve
Connecticut, Las Vegas, LA, Chicago and
articles inside this issue!
enjoyed accolades from movers and shakers
Atlanta. Circle prides itself on delivering the
We’re looking forward to another amazing
domestically and abroad. We’ve featured
ultimate guest experience in any format,
year and want to thank all of you… our
influence makers who have shared their
including but not limited to large-scale
advertisers, sponsors, contributors, headliners,
stories and successes in intimate conversa-
music festivals, hospitality design and
readers and supporters… for making us not
tions never before heard and introduced
management, live events, trade shows, major
only defy the prediction that print is dead and
emerging talent you may have never heard
business conferences, and interactive tech
magazines passé, but for making every issue
about before, but whose stars are definitely
experiences. The folks at Circle are beyond
of Venü a true coffee table collectible with a
on the rise. The people we’ve met and the
innovative, effective and ingenious, and
shelf life that never ends! Viva Venü!
places we’ve been have been instrumental
are accomplished at providing compelling
in keeping our contemporary culture content
solutions for every challenge. Venü Magazine
fresh, informative and infinitely exciting…
will serve as the pillar of Circle Publishing,
and have paved the way for a very exciting
and will help us come “full circle” as we
next chapter in the life of Venü.
greatly expand our reach and presence on coffee tables and at star-studded soirées from coast to coast and internationally
Tracey Thomas Publisher/Editor-in-Chief
through enhanced partnership marketing capabilities, social media support, brand
p
experiences and activations.
VENÜ and Circle TPR celebrated their new partnership, and the launch of the winter/holiday issue #29 with an invitation only cocktail reception honoring cover story, Pamela Anderson and Emma Dunlavey at Sagamore, The Art Hotel, Miami Beach. Pictured left to right: Tracey Thomas, Marcus Suarez, Pamela Anderson, Emma Dunlavey, Elaine Lancaster, Tiffany Dahlen See page 26 for more photos highlighting our event.
10
CONTEMPORARY CULTURE//MAGAZINE
Love Letter, Oil on Canvas 12” x 16”
www.julieleff.com
203.434.8655
julie@julieleff.com CONTEMPORARY CULTURE//MAGAZINE
11
Artboom
Celebrating Artists Mid-Century, Mid-Career
PUBLISHER/EDITOR-IN-CHEIF Tracey Thomas CREATIVE DIRECTOR Nichole D’Auria
April 30th - May 8, 2016
FEATURES EDITOR Cindy Clarke FILM & ENTERTAINMENT EDITOR Peter J. Fox DECORATIVE ARTS EDITOR Matthew Sturtevant
tapestry: Sara Brennan, sculpture: Christine Joy
MARKET EDITOR Tiffany Dahlen FLORIDA CONTENT EDITOR Daisy Olivera COPY EDITORS Susan Sullivan, Marc J. Miller CONTRIBUTING WRITERS Susana Baker, Jennifer Bangser, Fred Bollaci, Jeff Blumenfeld, Devika Boodhoo, Jennifer Butler, Cindy Clarke, Tiffany Dahlen, Phillip James Dodd, Peter Fox, Marianne Brunson Frisch, Bruce Helander, Janet Langsem, Daisy Olivera, Deb Karazin Owens, Kathleen Reckling, William Squier, Matthew Sturtevant, Linda Wolk-Simon PUBLISHING PARTNER Circle TPR NATIONAL ADVERTISING DIRECTOR Susie Earls VICE PRESIDENT, BUSINESS DEVELOPMENT Lauren Stever INTERN Gabriella Gonzalez Tiffany Visconti (Photography) 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 ADVERTISING INQUIRIES advertising@venumagazine.com EDITORIAL CONTRIBUTION editorial@venumagazine.com SUBSCRIPTIONS subscribe@venumagazine.com
browngrotta
arts
276 Ridgefield Rd, Wilton, CT • 203.834.0623
www.browngrotta.com 12
CONTEMPORARY CULTURE//MAGAZINE
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 quarterly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creative’s) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions.
INTERNATIONAL CONTEMPORARY ART FAIRS
MAY 3-8, 2016 | VIP PREVIEW MAY 3 PIER 94 | 55TH STREET & WESTSIDE HIGHWAY WWW.ARTNYFAIR.COM | WWW.CONTEXTNYFAIR.COM COURTESY SHUTTLE PROVIDED BETWEEN ART NEW YORK/CONTEXT NEW YORK AND THE FRIEZE FERRY AT 35TH STREET
CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
13 13
PIETER ESTERSOHN
MARCH 17–20, 2016
TICKETS ON SALE NOW ADDesignShow.com PIER S 92 & 94 55TH STREE T AT T WELF TH AVENUE NE W YO R K CIT Y CO-SPONSORED BY:
PRODUCED BY:
CO-LOCATED WITH:
SPONSORED IN PART BY:
THE MART | A VORNADO PROPERT Y
DIFFA’S DINING BY DESIGN
JENN-AIR
ADDesignShow
PALM BEACH BOAT SHOW
I N T E R N AT I O N A L
ONE OF THE WORLD’S BEST BOAT SHOWS
MARCH 17-2O , 2O16 WEST PALM BEACH FLORIDA
Visit showmanagement.com for special ticket offers and all the show details
CONTEMPORARY CULTURE//MAGAZINE
15
“
Evocative and haunting.” - TimeOut New York
RETURN TO THE LAND OF OZ AND DISCOVER HOW THE TIN MAN LOST HIS HEART.
BREATHTAKING! The moment you walk through the door, enchantment envelops you. ABUNDANTLY BEAUTIFUL.” “
- The New York Times
TELECHARGE.COM 212-239-6200 NEW WORLD STAGES 340 West 50th Street
TheWoodsmanPlay.com
PHOTO: EMMA MEAD
AN IMAGINATIVE THEATRICAL EXPERIENCE
SPOTLIGHT
Mallory’s Camera Holds Key to Everest Mystery Was Everest First Summitted in 1924?
Video image by Peter Holzel
Written by JEFF BLUMENFELD
Photography courtesy © Royal Geographical Society (with IBG)
Top: Mallory’s “VPK” model (Vest Pocket Kodak) camera using A127 roll film. Right: A portait of Mallory circa 1918. Left: The 1924 Mount Everest team. Back row (left to right): Irvine, Mallory, Norton, Odell and MacDonald. Front row (left to right): Shebbeare, Bruce, Somervell and Beetham. Taken by J.B. Noel.
Photography courtesy Tom Holzel
launch an unprecedented legal battle between the Chinese who own that side of the mountain, the Royal Geographical Society (with IBG), the Irvine family, and Mallory’s heirs. “Whoever finds the camera will likely be sued,” he said. “They need to go in, keep their mouths shut, get the camera and bring it out secretly.” He estimates the camera’s value at hundreds of thousands of dollars regardless of whether the film, which should still be viable according to researchers at Kodak, shows the team at or near the summit. He has a renowned photographic expert ready to carefully develop the A127 film using delicate and complex techniques lest Litchfield is an idyllic Connecticut town right out of a Hollywood movie. There beneath a spreading Chinese chestnut tree, historian and
the images be ruined. Holzel is sure Irvine was given the camera because, well, as leader
expedition leader Tom Holzel, 74, sits during a recent interview, his
Mallory would have wanted to be in the summit photograph, this, of
mind a thousand miles away. On the north flank of Everest to be exact.
course, being an era that predates the selfie stick by 90 years.
Thanks to his own expedition to Mt. Everest in 1986, the book
Holzel thinks the images would show that Mallory and Irvine did
he co-authored in 1986, scores of Everest books in his condo
not, in fact, summit, faced as they were with the insurmountable
basement, and a trinocular microscope he uses to study detailed
challenges of overall exhaustion, lack of adequate hydration, the
aerial photographs of the mountain, Holzel is the world authority
length and difficulty of the route, Irvine’s lack of climbing experience,
on the whereabouts of the body of Sandy Irvine, George Mallory’s
and the inadequacy of their clothing.
climbing partner in 1924. Irvine’s remains are thought to hold a Kodak
He seeks funding for a small team prepared to search for the
Vest Pocket Camera that could provide evidence of the success, or
camera instead of attempting to summit. A team willing to keep
failure of the 1924 Mallory-Irvine Expedition.
its discovery a secret and literally smuggle the camera back to the
It was Holzel who correctly predicted the location of Mallory’s body on a 8165 meter snow terrace found in 1999 by Conrad Anker.
States – mountaineers prepared to solve the greatest mystery in the history of mountaineering.
Holzel thought it would be Irvine, not the famed “because it’s there” mountaineer, but was delighted about the discovery nonetheless. After studying the mystery for 40 years, he’s looking for $10,000
For more information: www.velocitypress.com
to sponsor a low altitude fly-by of a precise spot on the 8400 meter
About the Author: Jeff Blumenfeld, a frequent contributor to
level of the Everest north side in Tibet where he thinks Irvine, the
Venu Magazine, is editor of ExpeditionNews.com, and author of an
camera, and several rolls of film are located. To date, no one has
adventure sponsorship book titled, Get Sponsored: A Funding Guide
come forward with the funding for the research trip, yet Holzel knows
for Explorers, Adventurers, and Would-Be World Travelers (Skyhorse
that if and when a camera is located, it’s ownership will undoubtedly
Publishing, 2014). CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
17 17
SPOTLIGHT
Clockwise: A view of the old sea town Stonington, CT (Nov. 1940); Pumpkin pies and Thanksgiving dinner at the home of Mr. Timothy Levy Crouch (Nov. 1940); Mr. and Mrs. Andrew Lyman (Sept. 1940)
Farms & Families The Photographs of Jack Delano Written by DEB KARAZIN OWENS
In 1940 and ‘41, photographer Jack Delano (1914–1997) documented farm and city life in the state of Connecticut for the Farm Security Administration (FSA). In rare early color photographs as well as blackand-white images, Delano documented the state and its residents as it recovered from the Great Depression, capturing the daily lives of farmers, factory workers, and commuters. His photographs, as well as those by winners of a juried regional photography show, will be on display at the Fairfield Museum in Connecticut during its much-anticipated IMAGES exhibition, beginning on May 15th. According to the Museum’s Library Director, Elizabeth Rose, “Delano’s photographs highlight the work and daily lives of people from different backgrounds who called Connecticut home— immigrants and Yankees, in farms, factories and small towns – and invite us to imagine how their Connecticut is similar to and different from the one we live in today.” Born in Russia as Jacob Ovcharov, Delano emigrated to the U.S. with his family in 1923 and studied art and music at the Pennsylvania Academy of the Fine Arts. A musician and composer as well as a photographer, Delano traveled throughout the U.S. and Puerto Rico as an FSA photographer before serving in the Air Force during World War II. 18 18
CONTEMPORARY CONTEMPORARY CULTURE//MAGAZINE CULTURE//MAGAZINE
Delano wrote in his autobiography, Photographic Memories,
Lyman, Polish tobacco farmers and FSA clients. Delano photographed
that the “camera could be a means of communicating how I felt
the Lymans in the vicinity of Windsor Locks, Connecticut in September
about the problems facing the country,” and that his works might
of 1940. He details this photograph in his autobiography:
be able to influence the course of events. “I thought I could portray ordinary working people in photographs with the same compassion
The diversity of ethnic groups in [the Connecticut River
and understanding that Van Gogh had shown for the peasants of
Valley] was fascinating… Mr. and Mrs. Andrew Lyman were
Holland with pencil and paintbrush.”
of Polish origin. The Lymans were working in their tobacco
Delano’s son, Pablo Delano, who co-curated an exhibition of his
barn when I came upon them… I asked them to let me
father’s photography at Trinity College, was quoted as saying that in
take a photograph of them. At first, Mrs. Lyman demurred.
New England, his father “loved the light and architecture, but also
With a giggle, she said, “Not in this dress. Let me change
the diversity of the people. So he took photographs of Polish tobacco
my clothes.” But after a bit of flattery, she agreed to pose
growers, Jewish farmers” and more.
with her husband, just as she was. There they stood, posing
Curator of Exhibitions at the Fairfield Museum, Andrea Renner,
stiffly for the photographer, staring morosely at the camera,
felt that this was a perfect time to re-examine Delano’s photographs:
not at all like the jolly people they really were. So I said, “Mr.
“We are living in a time of tremendous change as our region is still
Lyman, I think your pants are falling down.” The pearls of
grappling with the effects of a post-industrial economy and the after-
laughter that followed were just what I wanted because that
shocks of the Great Recession. We thought it would be useful to look
was what they were really like.
back and examine conditions during another such moment, when Connecticut was starting to come out of the Great Depression. The evocative photographs that Jack Delano took as he toured the state in 1940 highlight the strength of Connecticut and the resilience of
Left to Right: Untitled (possibly from inside the Farrell-Birmingham Foundry); People in bus on a rainy day in Norwich, CT (Nov. 1940); Workers coming out of the FarrellBirmingham Foundry, Ansonia, CT (Nov. 1940)
its people at a very difficult time.” One of the images included in the exhibition is Pumpkin pies and Thanksgiving dinner at the house of Mr. Timothy Levy Crouch, a Rogerine Quaker. The photo, taken in Ledyard, Connecticut in November of 1940, was discussed in Delano’s 1997 obituary in the
In conjunction with the exhibition of Delano’s works, the Fairfield
New York Times: “In [one] photograph, of a 1940 Thanksgiving dinner
Museum is organizing its highly-regarded juried photography show.
in Connecticut, the centerpiece of the meal -- glistening grapes and
Categories for this year’s show are Landscape, Portrait, Architecture,
a gleaming pitcher -- looks as though it were part of an Old Master
Nature and Abstract. Submissions are due by on March 21 at 9 a.m.
still life, while the clearly American family at the table parallels the
and winners will be announced in April. The much-anticipated IMAGES
pumpkin and apple pies lined up on a sideboard below the mirror
Celebration will take place on Saturday, May 14 to open the exhibition.
showing the assembled family.”
IMAGES is being sponsored by VENÜ Magazine. For details about the
Another image featured in the exhibition is Mr. and Mrs. Andrew
contest, the exhibition and the celebration visit Fairfieldhistory.org. CONTEMPORARY CULTURE//MAGAZINE
19
SPOTLIGHT
SHE Through the Eyes and Artwork of Eleven Female Artists Written by KATHLEEN RECKLING, SHE CURATOR
Tricia Wright, Vir Domesticus (detail). Photography © Jeffrey Sturges
Nicole Awai, Specimen from Local Ephemera: Pinpoint Black, courtesy of Artist Pension Trust
What it means to be a woman in modern America is ever shifting.
their own self-perception. “SHE” spotlights artists exploring the
Previous waves of feminism have evolved as new generations of
challenge to define “womanhood” while creating a space for other
women with different ideals and concerns have taken up the mantle,
women to share their experiences.
employing broader-reaching more fluid tools to voice ideas and fight
The artworks eloquently comment on the construction and defi-
for change. Schools now permit students to self-select the pronoun
nition of modern womanhood. Many of the works draw on acces-
by which they are addressed, domestic roles are less gender specific,
sories and accoutrement that are identified with traditional notions
and androgynous fashion is more mainstream – trends signaling that
of femininity—handbags, bras, doilies—transforming them into
“feminine” isn’t what it used to be. These wider realities, along with
ironic statements, iconic images or pieces that move the viewer
their own personal experiences have inspired the artists of Arts-
to reflect. “SHE” will debut several pieces as well as commissions
Westchester’s exhibition “SHE: Deconstructing Female Identity” to
created for the exhibition.
explore what it means, looks, and feels like to be a woman today. The 11 exhibiting artists work in a variety of media and engage
20
“She: Deconstructing Female Identity” is on view in
with themes of the body, self-presentation, a woman’s “proper”
ArtsWestchester’s Gallery, 31 Mamaroneck Ave., White Plains.
space, gender roles, and feminine personas. In a society that
For a full calendar of “SHE” exhibit info and special events,
so heavily emphasizes identity, women of all ages struggle with
visit artsw.org/she
CONTEMPORARY CULTURE//MAGAZINE
Rebecca Mushtare, SIGNal
Debbie Han, Season of Being IV (detail)
THE SHE ARTISTS ON THEIR WORK…
Nancy Davidson, Maebe (detail)
1 / NICOLE AWAI “In my early teens, my mother didn’t allow me to wear makeup. Her way of negotiating that was to allow me to wear nail polish. The nail polish was more than an accessory, it was a creative outlet and it became an expression of my identity.”
2 / LAUREL GARCIA COLVIN “In light of the social media campaign by young women stating their indifference to or outright negative views of feminism, I felt the need to respond through my art… Throughout history women have struggled, often at great personal and professional cost, against the accepted societal feminine norms of their day.”
3 / NANCY DAVIDSON “My sculptures integrate extravagant, bulbous, simple large-scale forms with a feminist view of popular culture, fused with a strong component of the comic-grotesque.”
4 / MARCY B. FREEDMAN “It is undeniable that one’s appearance plays a significant role in one’s reception by others. This is especially true for women in our society, as they are frequently treated as sex objects and/or eye candy in the media and in reality.”
8 / VALERIE PIRIANO 5 / DEBBIE HAN “Over the past decade, I have been exploring the theme of idealized female imagery to investigate the issues of race, culture, identity, and perception in today’s pluralistic societies.”
6 / REBECCA MUSHTARE “I was particularly interested in discovering how different generations of women related to and thought about technology.”
7 / MARI OGIHARA “Like a prayer said for daily strength, methods of decorating the body are done privately. In solitude and in complete concentration & devotion, a woman will carefully apply rouge to her lips. The repetition in achieving a superficial surface in my current work reflects self-imposed rituals that women perform to accompany their particular role in society.”
“Taking cue from my transnational identity, my work explores the landscape, economy and culture of the African Diaspora. I create sculptures, installations and drawings as a proxy for the… bodies of the Global South.”
9 / KATHY RUTTENBERG “The elusiveness of love may be Ms. Ruttenberg’s über-theme. Her often large figures remind us that the animal kingdom has an order in its relationships.” – Roberta Smith, for The New York Times
10 / BARBARA SEGAL I explore society’s long-standing obsession with status symbols and my own ambivalent relationship with them. The stone purses underscore the inherent contradiction of man’s... and woman’s... never-ending quest for ephemeral prizes.”
11 / TRICIA WRIGHT “Marginalia refers to the sidelined status of the home and those who work in it, despite its critical influence on us as individuals and as citizens.” CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
21 21
EVENTS + GATHERINGS
FCBUZZ
Jennifer Bangser Director of Marketing & Public Relations Cultural Alliance of Fairfield County
At Beechwood Arts, Collaboration is the Driving Force
People come to Beechwood Arts, yes, for the art, creativity and hospitality (not to mention to view the gorgeous copper beech tree that inspired the organization’s name), but over and over again, they come for community, connection and conversation. Respected innovation consultant and Artist Jeanine Esposito, along with her internationally recognized concert pianist husband, Frederic Chiu, have turned a gracious 1806 farmhouse, located at the northern edge of Westport, Connecticut, into an inviting environment for embracing creativity and collaboration. The mission of Beechwood Arts, a nonprofit 501(c)3 organization, is to expand what the arts experience can be for artists and audiences by fostering collaboration and community across genres and generations. At Beechwood Arts, immersive and intimate artistic events are created that marry traditions of the past with cutting-edge innovations of the future. Examples of recent on-site salon-style gatherings include a world-renowned classical pianist mixing with youth slam poets; jazz with audience readings; visual art, sculpture and short films curated with the theme of “resiliency.” The inclusive nature of the salon experience opens up hearts and minds to innovative experiences that forge connectedness.
There is also a forward-thinking edge to some experiences at Beechwood Arts. Technology is used to expand the audience - while maintaining the intimacy so enjoyed on-site. Beechwood Arts’ “Salon Around the World”™ events coordinate with a network of small venues around the globe who host simultaneous art immersion salons. These events consist of streaming performances, screening of films, and viewing curated art exhibitions. The result is a virtual meetup of different audiences via IPad and webcams that are set up throughout the Beechwood site. At these moments, a global audience becomes part of the intimate Beechwood Arts community.
Another innovative program Jeanine and Frederic have created at Beechwood brings together culinary arts with fine & performance arts. The duo curates work from their circle of artists to be enjoyed while experiencing fine dining or cocktails on-site or at The Blue Lemon, a Westport restaurant. A recent event at the restaurant featured a gourmet lunch along with the opportunity to view works by artists Wendy Petta-Goldman, Fruma Markowtiz, Alissa Siegal, Alice Katz, and Linda Colletta in a show aptly entitled
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. 22
CONTEMPORARY CULTURE//MAGAZINE
“Savor.” The attendees enjoyed a relaxed conversation with the artists that revealed artistic inspirations. Culinary arts were also enjoyed at a recent evening on-site salon event at Beechwood called “Unexpected Connections.” The evening was a celebration of Argentina & Latin America on the 4th Anniversary of Beechwood Arts. There were musical performances by Argentinian pianist Valentin Surif, tango dance performances, spoken word, works on view by 18 artists, a champagne toast and gourmet bites.
In addition, an event was held at Beechwood in December 2015 called “Peace for France Through Music,” in response to the terrorist attacks that occurred a month earlier in Paris. The event was a perfect platform for U.S. Senator Richard Blumenthal to bestow a special commendation upon Frederic in honor of his musical and goodwill works. Frederic, who lived in France for over 10 years, performs there frequently and has close ties with the artistic community in Paris. The Senator recognized Frederic for “extraordinary artistic talent and vision and dedication to achieving peace and goodwill through classical music.” Beechwood Arts will no doubt offer many future events that are full of opportunities for participation, discovery and connectedness. Whether strolling through the sculpture garden, or investigating the installation under the iconic copper beech tree, or being exposed to up and coming creative people, visitors become part of the collaborative process, sharing in the art and ideas that happen at Beechwood Arts. Beechwood Arts is a place for inspiration - where the unexpected becomes the mood of the day or night. For more information, please visit www. BeechwoodArts.org and for more information about Frederic Chiu’s musical career, visit www.FredericChiu.com.
CONTEMPORARY CULTURE//MAGAZINE
23
EVENTS + GATHERINGS
By Janet Langsam CEO, ArtsWestchester
Ladies First…
Kathy Ruttenberg, Nature of the Beast
Mari Ogihara, Strip and Dismantle
W
omen are an interesting lot. Like Sinatra sang in South Pacific, “There is nothing like a dame.” His was a sexualized version of what it means to be a woman. In truth however, there is nothing like a dame... or, more precisely speaking, nothing like a woman. Call the species what you will... women are a breed unto themselves and they individually and collectively have been redefining their worth, stature, vulnerabilities and uniqueness for centuries. For eons, pundits and academics – and even women themselves – have been building their myths of the female species and deconstructing them. In the process, we find ourselves redefining beauty. We hide our ages and our moles; we straighten and curl our hair; we plump and pluck; we eat and starve. We ask ourselves, is beauty
Barbara Segal, Designer Handbags
partly fashion? How much of it is in the eye of the beholder? Even after The Feminine Mystique told us who we were in the sixties and Fear of Flying gave us permission to be who we wanted to be in the seventies, we as women still continue to question our place and examine our role. ArtsWestchester asked eleven female artists to “weigh in” on the many faces f Eve. The result is an exhibition... SHE... in which these women explain in visual terms who we are, or who they think we are, or who we want to be when we grow up. Beautifully curated by Kathleen Reckling, ArtsWestchester’s Gallery Director, the exhibition opens March 15 (with an opening reception on March 13) and continues through June 25. Along the way, there will be time and space for women and men to join the conversation... but please, ladies first.
ArtsWestchester’s Gallery is located at 31 Mamaroneck Avenue, White Plains, NY. Gallery hours are Tuesday – Saturday, 12-5pm. For more information about She: Deconstructing Female Identity visit www.artsw.org or call (914) 428-4220.
For more arts, visit artsw.org The complete guide to the arts in Westchester /ArtsWestchester | @ArtsWestchester For more of Janet Langsam’s cultural musings, be sure to visit her blog at www.ThisandThatbyJL.com. For a full calendar of arts events visit: www.artsw.org. 24
CONTEMPORARY CULTURE//MAGAZINE
BEST C O M E D Y
OFF-BROADWAY
A Hilarious Night of Laundry, Laughs and Liquor!
Have you ever gone un-showered for days, fought with your husband over who works harder or had a kid pee on you? Dena Blizzard’s new show will make you realize that you’re not crazy…motherhood is!
“AN
UPROARIOUSLY FUNNY SERIES OF
INTERACTIVE DEMONSTRATIONS , ‘SEX TIPS’ IS
ONE OF THE BEST SHOWS YOU’LL SEE THIS YEAR!” - THEATERMANIA
T h e 7 7 7 T h e a t re
(866) 811-4111
Se x Ti p s P l a y. c o m
The perfect “Girls Night Out” or “Date Night” for anyone who IS a Mom, HAS a Mom or is MARRIED to a Mom!
OneFunnyMother.com Telecharge.com 212-239-6200 New World Stages, 340 W 50th St.
EVENTS + GATHERINGS
Nicole and Alejandro Cure
Odalys Paez, Nikki Salcedo, Bernerd Garsen, Daisy Olivera, Iris More
Tim Bascombe, Dena Lyons
Ana Quincoces, Lourdes Valls
Carlos Betancourt, Alberto Latorre
VENÜ CELEBRATES...
Igor Coke, Chad Falkner, Mark Friedman
The winter issue with a star-studded event in Miami VENÜ and Circle TPR celebrated their new partnership, and the launch of the winter/ holiday issue #29 with an invitation only cocktail reception honoring cover story, Pamela Anderson and Emma Dunlavey. The Soirée took place during Miami Art Basel week, December 1st, at Sagamore, The Art Hotel, Miami Beach. Ms. Dunlavey’s phenomenal photographic mixed media art was on display, and a portion of the proceeds of artwork sold that evening went to The Pamela Anderson Foundation which supports global philanthropic issues. 125 VIP guests from the world of art and pop culture, along with select members of the press enjoyed hors d’oeuvres, champagne and signature cocktails courtesy of Vintage Rockefeller Champagne & Vodka. Photos by DAVID HEISCHREK/DHPA.COM Samantha Kent, Matthew Kibble, Sheri Ladove
Tracey Thomas, Marcus Suarez, Pamela Anderson, Emma Dunlavey, Elaine Lancaster, Tiffany Dahlen Billy O’Rourke, Pamela Anderson
26
CONTEMPORARY CULTURE//MAGAZINE
Dario Campanile, Patricia Varley
Tracey Thomas, Cricket Taplin
Nathalie De Weerdt, Francois and Mercedes Duerinckx
Cristina Beti, Paolo Di Glino
Herman Milligan, Ruth Sutcliffe
Pamela Anderson, Emma Dunlavey
Don Gummer
The Armature of Emotion: Drawings and Sculpture March 3 - June 11, 2016 Walsh Art Gallery, Quick Center for the Arts bellarminewag.eventbrite.com Don Gummer, Drawing for Darwin’s Map, 2000. Courtesy of the artist.
Leah Black, Pamela Anderson, Jason Clarke
Fairfield University
CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
27 27
PHILANTHROPY
The name of the octopus is Pinky. The Octopus is the Diamonds Unleashed mascot. It’s Fun and whimsical, and the tentacles represent the various platforms under the Diamonds Unleashed umbrella.
Photograph by Georgia Nerheim, for Project Gravitas
DIAMONDS UNLEASHED: Celebrating that Women, like Diamonds, are Strong, Beautiful, Multifaceted, Brilliant and Unbreakable! By Tiffany Dahlen
28
On Thursday, December 10th, Diamonds Unleashed by Kara Ross
a teenager. After bringing a native gemstone home to Philadelphia,
officially launched at the iconic NYC Hearst Tower with a VIP party
her Mother took her to Jeweler’s Row where she designed a square
for 250 leaders from the worlds of fashion, finance, business and
cut ring on an 18 karat gold band with diamonds. Kara graduated
philanthropy. Hosted by Kara Ross, Ann Fulenwider and Marie Claire
from Georgetown University and spent a brief stint in advertising
magazine, the formal debut of Diamonds Unleashed featured a robust
with Harper’s Bazaar before becoming a certified gemologist. She
list of speakers, a stunning setting and a fabulous group of influenc-
began creating one of a kind custom pieces for private clients, includ-
ers. Their roster of Ambassadors (which includes Serena Williams,
ing President Obama and The First Lady. In fact, while she initially
Martha Stewart, Susan Rockefeller, Melissa Etherige and Cristie Kerr
created a piece for visiting heads of state, the collaboration continues
to name a few) enabled them to spread their message on women’s
and Kara designs gifts for lucky visitors and employees of the White
empowerment far and wide.
House to this day.
Diamonds Unleashed is both a brand and movement, the brain
Kara launched her phenomenally successful company, Kara Ross
child of world–renowned jewelry designer Kara Ross, and aimed at
New York, in 2003. Over the years she has been recognized with
supporting organizations that empower women around the world. Kara
many, many design awards, and her pieces are widely recognized as
fell in love with the art of jewelry making while traveling to Africa as
art, showcased in many museums around the country. On the heels of
CONTEMPORARY CULTURE//MAGAZINE
this massively successful run, she decided to close the wholesale of her namesake label and open a new venture with a social purpose. Thus, Diamonds Unleashed was born. Purposefully named, Diamonds Unleashed is a brand with a social purpose that symbolizes, promotes and supports women’s empowerment. The brand will be brought to life through a collection of jewelry and other products, a powerful network of influential ambassadors, and a platform of compelling content that is educational and engaging. Diamonds Unleashed has partnered with Shes’s the First and Girls Who Code. Diamonds Unleashed will donate all net profits from the sales of jewelry and products after expenses and has committed to make a minimum donation of $20,000 to each organization. The Diamonds Unleashed movement includes a collection of products including engagement rings, fine jewelry, accessories and tabletop; charitable partners that focus on girl’s education and employment; an event series in major cities around the world; a powerful network of influential ambassadors who are in solidarity with our
project’s mission and a robust digital presence including an informative website and social media channels. The logo signifies a diamond’s well-known qualities – strength, beauty, and brilliance. It consists of two diamonds resting within one another and revealing a heart, and is incorporated into the product designs to visually express the symbolism of a diamond, freeing it to celebrate the combination of women’s independence and solidarity. The intent is that this symbol will become as well known as the peace sign or cancer awareness ribbon. By showcasing stunning Kara Ross-designed jewelry, with each piece of the collection incorporating the Diamonds Unleashed logo and beginning at price points around $100, women in a range of demographics will be able to participate actively in the movement and disrupt the idea of who can buy, wear or own a diamond. With retail partners like HSN, Neiman Marcus and Stuart Weitzman, Diamonds Unleashed will directly support partner non-profit organizations with net profits from the sale of the collection, channeling donations to programs that educate, equip and empower young women to reach their full potential. If it’s not the right time to buy your own diamond, you can still engage with and support the movement by viewing the salon discussions online, and sharing your solidarity with the movement through social media. Diamonds Unleashed has also adopted the American Sign Language symbol for unity as a hand signal that ambassadors and supporters can use to show their support of the Diamonds Unleashed movement in photographs across social media platforms.
Getty Images for Diamonds Unleashed LLC
Nancy Cardone, Anne Anne Fulenwider, Kara Ross, Louise Camuto
Next up for 2016 will be the #BRILLIANT Salon Series, with exclusive VIP, invitation only events taking place in cities across the US. These events will feature world-renowned panelists and moderators speaking towards disruption in their particular industries. The conversations will be thought provoking, powerful and empowering.
Getty Images for Diamonds Unleashed LLC
Members of Girls Who Code
For more information on the Diamonds Unleashed brand and movement, please visit www. diamondsunleashed.org.
CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
29 29
STYLE:
Fashion
Under The Influence Off the (gallery) walls and onto the Runway By Jennifer Butler
1
1. Black Star: Wool/lurex boucle coat with vinyl detail. I think I hold the collar on the cover of Bowie’s Low as a pinnacle of perfection. I think of it whenever I do a coat. 2. Twist: Crinkled silk organza and pointdespirit lace gown-keeping the fabrics lightweight, soft to the touch and carefree would make any girl this age happy. 3. Bridal Showers: Rain cape. My favorite salesperson at Mood, Denis, said “I’ve got a GREAT rainwear for you!” and showed me this. I dismissed it, thinking I’d never be able to sell it, or construct it in a way that people would identify with. I called the next morning ask him to ship it.
Photographs by: David Esposito / Lucio Photography
3
2
I walked into the Guggenheim Museum last November on a whim, a rare bit of free time before a play and was stunned by the works of Alberto Burri, a post-WWII abstract artist. As a huge fan of minimalism and texture, it was exactly the door to my spring collection I was looking for. I’m not a flowers and pastels person, so working on a spring collection is not a cakewalk for me. A successful collection needs to be worn. And purchased. So whatever ideas I have need to be executed in a way people actually connect with. I was very happy with my work last Spring, but I’ve always wanted to explore the bleached out landscape of summer in a real way. Burri’s textured linens, the stitched together canvases, the burned out plastics, the thick layers of black or white paint, the
CONTEMPORARY CULTURE//MAGAZINE
31
STYLE:
Fashion 1
minimalist sand/black/white/red palette was the way into the timeless, raw side of modern. My studio soundtrack plays a big role in my work. The final, amazing work from David Bowie and an unusually heavy (for me) amount of female voices (Wolf Alice, Courtney Barnett) are playing in the studio all day. The undercurrent of a woman running for president made me want to keep my collection stronger than ever. My Spring show with be Sunday, March 20th, 4PM, at Art Place Gallery in Fairfield, Connecticut, a benefit for the Fairfield Public Library, tickets available through my studio 203-256-5768 or jen@jenniferbutler.com
32
CONTEMPORARY CULTURE//MAGAZINE
2
4
3
5 1. Black Magic: Silk crepe, silk charmeuase and silk chiffon dress – a little black dress retaining softness with angular details. 2. Sand Art: Superfine wool, embroidered tulle and silk screened cotton dress. I love mixing textures and fabrics from far flung sources and having them look like they were meant to be together. 3. Louche Life: Silk and lycra charmeuse dress with open back and on seam pockets. I wanted to ease up the silhouette while keeping the overall look sensual. 4. Exit: Red guipure lace, 4ply silk, satin face organza and silk organza gown: I actually ‘saw’ this gown walking away when I first heard Bowie’s Lazarus. I’m doing it in indigo and black as well. 5. Woodn’t You: I love unusual textures kicking tradition, like the woodgrain vinyl panel on this laminated linen jacket. Jens: Linen and lycra slim pant, my answer to jeans. CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
33 33
STYLE:
Architecture
Left: The East Library is one of the most opulent rooms ever designed. It reunited architect Charles McKim with artist H. Siddons Mowbray, who had worked together on the Library in the University Club some six years earlier. The corners of the room also conceal spiral staircases behind the book stacks, to allow access to the upper tiers. Right: In stark contradiction, the exterior of the Morgan Library is windowless, severe, and fortress-like. Yet it is carefully detailed, and constructed from solid blocks of marble - without the use of mortar in between. The only other building to employ this complex and costly construction technique is the Greek Revival Federal Hall on Wall Street, built 60 years earlier in 1842.
The Morgan Library Part I: The Legacy of John Pierpont Morgan – Banker, Philanthropist, Robber Baron… and Medici Prince By Phillip James Dodd
IT IS AN ELECTION YEAR. It is a time where monopolies and trusts dominate the financial landscape. Democrats promise to end the excesses of big business that have robbed the poor of their deserved wealth. Conservatives hail enterprising financiers and bankers for strengthening the economy and for their civic devotion. On one side of the argument we have Wall Street, and on the other side we have Main Street. Sound familiar? The year is 1896, and the election pits Republican William McKinley against Democrat William Jennings Bryan, who promises to bring an end to unregulated capitalism and those he characterizes as the “robber barons”. Also promising to curb the abuses of big business is the self-proclaimed champion of the people, the Governor of New York – Theodore D. Roosevelt – who has his sights firmly set on Carnegie, Rockefeller and in particular J.P.Morgan.
34
CONTEMPORARY CULTURE//MAGAZINE
Photographs by: Jonathan Wallen
Not all of the tycoons of the Gilded Age were rags-to-riches
the rise of the Metropolitan Museum of Art, serving as president and
stories. John Pierpont Morgan was born in 1837 and raised in Hartford,
donating extensively from his own collection – a collection that rivaled
Connecticut, the heir to two of New England’s most prominent families.
any in the world.
His father, Junius, had already made a name for himself in banking,
Morgan had started collecting art while touring Rome at the age of
and groomed his son for a career in international finance. The young
19. It was the start of a love affair that would continue throughout his life.
Morgan would start his training by working at the London branch of
In particular he zealously collected rare books and manuscripts from the
his father’s merchant bank, where he is taught to avoid risk at all costs.
Italian Renaissance – as if surrounding himself with these artifacts would
Yet despite this privileged upbringing, Morgan is not one to be
transform and elevate him into the Medici Prince that he aspired to
merely content. America is in an era of unparalleled industrial and
be. He acquired the majority of his collection from 1890 - 1900, which
economic growth - an era of opportunity - a new Renaissance. Morgan
included three Gutenberg Bibles (more than any other collection in the
pictures himself as a new Medici merchant prince, with the ambition
world); artwork on paper by artists such as Rembrandt, Raphael and
and determination to conquer the financial world. And conquer it he
Rubens; original manuscripts by Dickens, Twain, and Sir Walter Scott;
did, as over the next 50 years he would build the family fortune into
and music from the likes of Mozart and Beethoven. Almost his entire
a colossal financial and industrial empire focused on reorganizations
personal profit made from his stock-backing deals, went into artworks,
and consolidations. His process of creating a monopoly through
so much so that at his death his principal capital was in art, not cash.
the elimination of competition and the maximization of profits (by
For many years the bulk of Morgan’s collection had been stored in
slashing the workforce and reducing their wages) would become
his many homes in London, barred from transporting them to New York
known as Morganization.
due to high US import duties. Over time Morgan, along with Stanford
Morgan would begin by reorganizing railroads, becoming a board member and gaining control of large amounts of stock in many of the railroad companies that he helped restructure. By 1900, he controls 100,000 miles of railroad - the equivalent to half of the country’s mileage. He then sees the potential in what many people think is just a fad – the electric light. Despite the protests of his cautious father, he invests everything with Thomas Edison and the Edison Electricity Company, and by 1892 has forged a deal to create one of America’s largest corporations - General Electric. For most this would be enough – but not for Morgan, who had by now developed an intense bitter rivalry with John D. Rockefeller. And so, in 1901 he would take the lead in the consolidation and merger of Carnegie Steel Company and other similar concerns, buying out Andrew Carnegie, and creating history’s first ever billion-dollar corporation – US Steel. For brokering the deal, Morgan’s syndicate would receive a commission of $62 million in the new companies stock – which nowadays would represent over $1 billion. Yet as profits soar, the average worker in one of these steel mills earns barely a dollar a day. Unlike many of the other so-called robber barons, Morgan chooses
White, would successfully lobby the US Government to rewrite this
not to flaunt his wealth and success in the usual manner. While the
law, lifting all taxes on artwork and materials employed in scholarship.
Vanderbilt’s showcased their vast wealth by building the largest and
Finally he was ready to have his entire collection under one roof.
grandest mansions of the day – The Breakers in Newport, The Biltmore
Although Morgan’s brownstone, built in 1853 by Isaac Newton
Estate in Asheville, and Hyde Park on the Hudson – Morgan instead
Phelps, was no architectural masterpiece, it was significant, as it was
chose to live in a brownstone in the Murray Hill section of Manhattan,
the first electrically lit private residence in New York City. But it was
on the corner of 36th Street and Madison Avenue. He looked down
small for someone of Morgan’s stature in society, and it wasn’t long
at those that built monuments to themselves – these public shows
before the house became overcrowded with his collection of art and
of extravagance were not who how families built on old money lived.
artifacts. Indeed his son-in-law would write, “It was so difficult to find
Rather, Morgan would concentrate on his philanthropic efforts. It
anything - books, pictures and manuscripts were piled on the floor,
was not enough that New York be the financial capital of America, it
after every chair and table had been filled.” By 1900 it was clear that
also had to be its cultural capital. This would be Morgan’s goal, his
more space was needed. Morgan quietly purchased the two adjacent
legacy, to transform New York into a cultural metropolis to revival that
properties – so that he now owned the three brownstones facing
of London, Paris and Rome. By the turn of the century he had become
Madison Avenue between 36th and 37th Streets. He retained the
America’s greatest patron of the fine arts, and the driving force behind
southernmost of these homes for himself and his wife; the middle house CONTEMPORARY CULTURE//MAGAZINE
35
STYLE:
Architecture
yet it would be Morgan’s diminutive Library, and not the largest, most complex, and most costly architectural and engineering project of its day that would cause McKim to have a nervous breakdown. In the second half of this article (in the next issue of Venu), we will look at the involvement of McKim, and the story behind the design and construction of the Morgan Library. Undoubtedly one of New York City’s great architectural gems, this is not merely a setting to house Morgan’s great treasure, but also an architectural monument in itself that celebrates the talents of its architect. It is also a building steeped in history and intrigue, and the setting for many of the great financial deals that would shape, and secure this Country for generations to come. Back to the election of 1896: Reminiscent of a modern-day super pac, Carnegie, Morgan and Rockefeller would put aside their rivalries, and pool their vast financial and political resources, ensuring that their man be elected (and then reelected 4 years later). In essence buying the election, with a guarantee of business as usual, they merely see this as a business transaction like any other. Although this takes care of the threat of William Jennings Bryan, they still have to silence Theodore D. Roosevelt. Here though they have to tread carefully, as Roosevelt was no mere political upstart – as just like Morgan, he came from old money. And so, when the position became available in 1899, the three great robber barons had McKinley offer Roosevelt the vice-presidency – a position that came with no power, and more importantly, no voice – yet a prestigious position nevertheless that could not be turned down. The vice-presidency was a place where people where sent out to pasture, a place that they went to disappear – that is unless… Above: The entrance rotunda, is the hub that links the three other rooms in the composition - Morgan’s Study to the left, the great East Library to the right, and a Librarian’s Office straight ahead. As was the case for many of McKim’s designs, the inspiration for this room can found in the Renaissance, with the pattern for the marble floor taken from the Villa Pia in the Vatican.
On September 6th, 1901 President McKinley was shot, and died eight days later – at the time the third American President to have been assassinated while in office. The assassin was an anarchist named Leon Czolgosz, a former steel mill worker that had lost his job during a business merger and consolidation orchestrated by J.P.Morgan. Within
he tore down to create a private garden; and the northernmost house,
months of entering the White House, Roosevelt targets Morgan and
which still stands, he gave to his son Jack. He also purchased the land
his railroads. Criticized for creating monopolies by making it difficult
along 36th Street between his own house and an apartment building
for any business to compete against his, the Government that Morgan
on Park Avenue. With some space to maneuver, Morgan now realized
once controlled deems his railroad conglomerate illegal under federal
that he needed a building that would not only house his treasure, but
antitrust law – the first such action by a US Congress. He is then inves-
one that would be a treasure itself. Just like the Vanderbilt’s, it was
tigated for his control of the financial markets, and even US Steel is
time to build his own private monument – albeit one with a public face,
forced to relinquish its monopoly.
and bathed in culture.
Jaded by the harsh criticism, a resentful Morgan would move to
One evening in March of 1902, J.P.Morgan would telephone, and
Europe where he would live out the remainder of his days. He would
request a meeting the next morning with the senior partner of America’s
die in his sleep, aged 75, at the Grand Hotel in Rome – broken by a
largest and finest architectural firm – Charles Follen McKim of McKim,
President from his own background and class. On news of his death,
Mead & White. McKim, who happened to live just one block away from
flags on Wall Street flew at half-staff, and the stock market closed
Morgan, arrived expecting to discuss Morgan’s financial support for the
for two hours – in an honor usually only reserved for Presidents. J.P.
newly created American Academy in Rome. Instead Morgan laid out his
Morgan had become the most powerful banker in the world - and is
ideas for his Library. He wanted a free-standing, low classical building,
still universally regarded as the most important figure in American
surrounded by grass. He wanted a study and a space to display his ever
financial history. Even by his own standards John Pierpont surpassed
growing collection – as it important to note that this was to an addition
his goal of becoming a modern day Medici Prince.
to his home, a private commission, rather than the public library and museum that it is today. There was no discussion of cost. And with that,
that straight forward. That same year, McKim would also receive the
Phillip James Dodd has a reputation as one of the foremost experts on classical architecture and interiors. He is fast becoming one of the most sought-after young residential designers practicing today, and has designs can be found in Manhattan, Greenwich and Palm Beach. He is also the author of the highly acclaimed books The Art of Classical Details and An Ideal Collaboration.
commission to design the now demolished Pennsylvania Station. And
Contact: Email: phillip@pjd-architect.com or telephone: 203-900-1030
Morgan departed to Europe for five months, and left the design in the hands of the most esteemed architect of the day. But nothing is ever
36
CONTEMPORARY CULTURE//MAGAZINE
APPETITE
The Golden Palate by Fred Bollaci Toscana Saporita Goes Platinum! To kick off 2016 and the third year of Fred Bollaci Enterprises, I am honored to announce my newest and most prestigious initiative to date, the Platinum Palate Certificate of Excellence™ and Membership, recognizing passionate establishment owners who deliver consistently unparalleled experiences and treat guests like family. I am thrilled to introduce my first Platinum Palate member, esteemed chef, author, and owner, Sandra Rosy Lotti, and her remarkable Toscana Saporita cooking school located between Lucca and Viareggio in Massacciuccoli, Italy! Platinum Palate™ awardees serve as my premier worldwide brand ambassadors. Chef Mario Batali and Mary Ann Esposito are among the esteemed graduates. In 2016, I will be inviting select establishments in the U.S. and abroad, to consider Platinum Palate Membership and become part of my very exclusive family of destinations worldwide. Platinum Palate builds upon my Golden Palate Partner Certificate of Excellence® and Charter Membership model, recognizing and honoring the world’s finest healthy gourmet destinations. Sandra’s commitment to excellence and to creating authentic Italian and Tuscan cuisine, combined with her warmth, generosity, and Old World hospitality make Toscana Saporita an experience like no other. Sandra is the obvious choice to be my first Platinum Palate member in Italy and worldwide. Those fortunate enough to visit my member establishments will quickly realize that they are among the most gracious, passionate people you’ll ever meet. You’ll love Sandra! She is a vivacious Tuscan with a great sense of humor, whose positive energy and passion are contagious! Students leave Toscana Saporita as much-improved cooks and chefs, and become part of Sandra’s “family” of alumni. I’ve attended Toscana Saporita twice (the regular and advanced classes), making lifelong memories and friendships each time. Most of the wonderful folks in each group were from the U.S. and everyone there speaks English. In addition to cooking, Sandra organizes local tours of Lucca, Viareggio and Pisa. Enjoying the best of Italy has never been easier! Toscana Saporita welcomes approximately 20 students each week during the spring and fall for regular weeklong courses (20 hours of instruction over 5 days), and offers the Advanced Class in early November each year (32 hours of instruction over 5 days), plus additional touring. Her new three-day program also welcomes day guests. Sandra is a proponent of healthy, holistic cuisine, utilizing fresh, local, and seasonal ingredients. Sandra’s son, Alessio J.M. Da Prato, a master bread and pizza maker, will teach you how to make the best pizza, bread, and focaccia you’ve ever had
Above From left to right: Sandra’s son, Alessio J.M. Da Prato, a master bread and pizza maker, Fred Bollaci, CEO, Fred Bollaci Enterprises, and Toscana Saporita Chef Owner and Author, Sandra Rosy Lotti. Left: Panna Cotta with Raspberry Coulis.
(and bring home your ‘Italian Mother’ or bread starter to make your own!) Instructor Chef, Chris Covelli, a U.S. native, is renowned for his innovative, authentic Italian cuisine. Sandra, Alessio, Chris, and the Toscana Saporita family of staff and guest instructors are incredibly talented, wonderful people whose collective enthusiasm makes every visit to Toscana Saporita extraordinary. Be prepared to be inspired! Students learn: pasta making, classic sauces, the essential “soffritto” method, working with vegetables, bread making, pizza, pastries, cakes, custards, risotto, preparing fish, meat, poultry, and wild game. Other highlights include wine, cheese, truffle and olive oil tastings, a white truffle hunt with Cristiano Savini and his dog Giotto (in autumn), followed by a white truffle lunch, a wine tasting and lesson with Emiliano Alessi from the Cennatoio Winery in Panzano in Chianti (both Golden Palate Italia™ Partners). This year marks Toscana Saporita’s 22nd year of successful culinary instruction. Students stay on a charming 17th-century country estate, La Casa Rossa in Massacciuccoli, where famed composer Puccini once lived and where all classes are taught. Guests “live like true Tuscans” in contemporary styled rooms and enjoy leisurely meals on the estate’s sundrenched lawn. In warmer weather, there is a pool, and guests enjoy walking, running, and biking to explore and burn a few calories! For more information, please contact: info@toscanasaporita.com or +39 335 8129 442, or their U.S. liaison, Stephanie DeMarco at (516) 889.1271, or visit www.toscanasaporita.com. In 2016, be sure to mention Fred Bollaci Enterprises when booking to receive an exclusive welcome amenity!
For more information about Fred Bollaci Enterprises, visit: www.fredbollacienterprises.com CONTEMPORARY CULTURE//MAGAZINE
37
PART ONE OF A MODERN DAY TRAVEL ODYSSEY
By Cindy Clarke Opening Photograph: Amazing Istanbul by Adam Allegro
FEATURE
CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE CONTEMPORARY /MAGAZINE
39 39
oldest part of the city. This particular hamam had been in operation for 500 years, so it had to be good, right? Always up for a new adventure, the three American women I was traveling with knew it wasn’t a spa, but that turned out to be the only thing they expected. They paid in the men’s section, were sent down an even darker alley to the women’s side, where they were gestured to disrobe, given a tiny towel, led to a marble slab and motioned to lay down. Guided by intermitWhen you consider that Odysseus, the warrior wanderer of Homer’s
tent sign language, they were steamed, stripped of their modest
literary epic, spent 10 perilous and per chance passionate years
bathing suits, soaked in suds, scrubbed back and front, shampooed
sailing from Turkey to Greece and beyond to get home on a journey
and shocked with a cold water rinse by topless non-English speaking
that normally takes two weeks, you may wonder what took him so
women of few words but many pounds who were singularly focused
long. I know. I embarked on an odyssey of my own this past fall
on their task. The entire one-hour bath was orchestrated with a silent
from Istanbul to the storied Greek Isles, and returning home quickly
no-nonsense precision that spoke volumes about an age-old cultural
proved impossibly difficult for me too.
tradition that left my friends unusually wide-eyed and speechless,
Odysseus set off from the majestic Bronze Age city of Troy in northwest Anatolia (today’s Turkey), one of the most important archaeological sites in the world. My journey began in the two-continent port city of Istanbul (once Constantinople), a glorious Turkish retreat
every cheek aglow, skin as newly soft as the helpless babies they felt like, dignity shaken and sense of humor, thankfully, intact.
✦
rife with riches and romance. Think enormous church-born mosques
TRAVELING IS ALL ABOUT THE UNEXPECTED.
like the 1,500-year-old Byzantine Hagia Sophia soaring into the
That’s where the best stories take root. Turkey is a mecca for them, as
heavens with domes and minarets architecturally resplendent in every
its own story goes back much further than you may be aware. With 15
detail, and dashing Ottoman sultans of vast wealth wooing harems of
designated UNESCO World Heritage Sites and hundreds of potential
the most beautiful women in the world in an intriguing palace called
contenders, this is the land that gave rise to the earliest known human
Topkapi, the very one that starred in 1964 caper movie of the same
cities, to mighty empires, to the epic war in Troy and the fabled horse
name. Imagine fountained courtyards overflowing with milky white
that led to its fall. It’s the land that unites continents. And even given
pools overlooking views of the Bosphorus Strait that take your breath
its current challenges, it’s as astonishing and welcoming as ever.
away. Visualize Mediterranean-inspired tiles brilliant in blue, green
I met Turkish guides eager and enthusiastic about sharing their
and red, dressing ornate chambers gilded in gold; gem-studded
perspectives on contemporary issues like politics and religion,
weapons like the diamond-encrusted sword that figured prominently
respectfully covering my blonde hair and legs, shoes off, to accompa-
in the movie; priceless delicate Chinese porcelain; a throne encased
ny them inside sacred places like the iconic Izmir-tiled Blue Mosque
with 25,000 pearls, emeralds and rubies; and imperial jewelry,
and the stunning 16th-century Shezade Mosque built by Suleiman
diamonds as big as a fist and egg-sized emeralds, rubies and jade,
the Magnificent for his son, both active houses of worship for those
gifts for the Sultans who ruled here for 400 years. Head underground
of the Islamic faith.
to cistern cities of water and fish dating back to the Roman empire,
I wandered through the bustling 21-gate Grand Bazaar, home to
being sure to wear an evil eye charm to ward off the ill effects of
nearly 4,000 shops spread out over 56 labyrinthine streets, thousands
Medusa’s stony gaze, and meander through a mind-blowing maze
of years old. I explored colorful stalls selling hand-painted ceramics,
of shops in the Grand Bazaar mingling with modern-day merchants
magical lanterns, intricately patterned carpets, pipes for all kinds of
eager to trade.
smokes, musical instruments hand made and hardwood, scarves and
Like watching a ritual dance by the country’s Whirling Dervishes,
pashminas of cashmere and silk sensuous to the touch, jewelry glitter-
an Islamic sect of love-loving Muslims whose beliefs and practices
ing in silver and gold, baskets overflowing with evil eye pendants,
revolve around the mystic Rumi, a first timer’s introduction to Istanbul
pins and bracelets, towels – Turkish of course – and wooden boxes,
is a dizzying experience, a contrast between past and present that
inlaid with mother of pearl and mosaics. I paused at a shop selling
assaults your senses everywhere you roam. You can’t wait to see
backgammon games when the amiable shopkeeper politely invited
what’s next.
me inside to have a closer look at his wares, each board strategically
Take my companions’ authentic Turkish bath experience at a historic Istanbul hamam dating to 1481, tucked down a dark alleyway in the
open to reveal craftsmanship that suggested quality and meticulous attention to detail.
FEATURE
Photos by Mary F. Vaichus Clockwise from top: Hagia Sophia; Inside Hagia Sophia; Grand Bazaar Spices; Blue Mosque; Basilica Cistern; Topkapi Palace Harem
CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE CONTEMPORARY /MAGAZINE
41 41
FEATURE
Photos by Mary F. Vaichus Clockwise from top left: Inside the Blue Mosque; Terrace Houses at Ephesus, Bodrum with Castle of St. Peter overlooking gulets in the Old Port, and the Library of Celsus at Ephesus
I hesitated, smiling, insisting that I was just browsing and in
about him in a magazine when I returned home. “Trust me,” he said
quite a hurry, when he handed me a few of his personal favorites.
for the umpteenth time, handing me a little wrapped box “here is
“For you, a special price, the best in the shop, trust me.” “I don’t
a present from me, a new friend, to you, beautiful lady,” along with
know how to bargain (expected here) and frankly don’t want to,” I
my backgammon game, which he had carefully packed in a padded
admitted to him, trying to beg off and retrace my steps out of there.
cloth traveling bag. “Trust me, you made the right choice.”
My eyes betrayed me though as I glanced a little too long at a game
I hurried out, quickly meandering through the twisting lanes
that appeared to be handsomely designed and well made. “Ah, this
and making my way past Islamic worshippers who heeded one of
one is one of the best I have,” he said as he handed it down to me,
five daily calls to prayer right there in the marketplace, without a
“your taste is beyond impeccable. Trust me.” So was his salesman-
thought as to how I got from there to here, and was about five or
ship and his English. I surrendered, in retrospect way too easily, and
six streets and 15 minutes away from that backgammon shop when
let him name the price and wrap the game as a gift for a special
I felt a tap on my shoulder and heard the words “do you trust me?”
someone back home. “Trust me, he will love it and worship you.”
It was him, the doe-eyed, smooth-talking shopkeeper and he was
He had me again. I handed him my credit card and told him that
holding my credit card. “I forgot to give this back to you,” he said
I hoped he wasn’t pulling a fast one on me for I would be writing
as he handed it to me. “Have a nice stay in my city.”
It is surprising encounters like these that bridge cultures and
donning my special red grounding shoes, pluggz™, to tap into the
countries with a new and needed understanding, defying stereo-
energy of the culturally advanced city that thrived on this hilltop in
types and redefining misconceptions. No matter how well traveled,
the 10th century BC! The streets were and still are paved in marble.
vigilant and street savvy I consider myself to be, when I do let down
Villas, carefully being unearthed today, reveal rooms with mosaic
my guard, even in a country like Turkey where Western tourists of
tiled floors and painted walls that rival their modern counterparts
late are rare, I have not been let down by the people I’ve met.
in design and color – and private bathrooms. Ephesus boasted one
✦
of the most advanced aqueduct systems in the ancient world, with
HEAD-TURNING SIGHTS kept turning my preconceived
city and several major bath complexes. Our guide pointed out a
multiple aqueducts of various sizes to supply different areas of the
images of Turkey upside down. I marveled at shore palaces
state of the art men’s room with multiple seats etched side by side
reigning unequalled over both the European and Asian sides of
into a marble bench which no doubt witnessed many a conversation
the Bosphorus. I joined a guided English tour of 19th-century
back in the day. Home to nearly 300,000 people at its height in the
Dolmabahce Palace, where six Turkish sultans resided in 285
second century A.D., its only residents now are cats that share the
rooms with their wives and harems, and where the first president
ruins with spirits of those who came before… the goddess Artemis,
of Turkey, Mustafa Kemal Ataturk, lived and died. If you can picture
the apostle Paul and Mary Magdalene, Cleopatra’s youngest sister,
fountains filled with marble sculptures and swans, gardens lush
who was murdered here on the orders of Mark Antony, and others.
with flowering plants, from roses to tulips, grounds graced with
To date an estimated 15% of the buildings at this site have been
peacocks and pheasants, trees of chestnut, magnolia and palm, all
excavated. The ruins that are visible give some idea of the city’s
connected by pathways and abutting the brilliant blue waters of
original splendor.
the Bosphorus, you’ll get a sense of the opulence I found myself
The theatre dominates the view down Harbor Street which used
in outside of the palace complex. Inside I couldn’t blink for all
to lead to the waterfront, now some six miles away due to the build
the treasures I saw there… Four crystal fireplaces in the gilded-
up of inland silt. The Library of Celsus where we had dinner to the
columned Entrance Hall alone, lit by a 60-arm chandelier of illumi-
music of the Aegean Chamber Orchestra was said to have held
nated cut glass… an Imperial Staircase with a crystal balustrade…
nearly 12,000 scrolls. The Temple of Artemis, one of the original
hand-woven, double knotted silk carpets you wouldn’t have dared
Seven Wonders of the Ancient World, once stood here with over
to walk on… bedrooms over-dressed in silver, gold and mother of
100 marble pillars each 56 feet high but is now represented only
pearl with furnishings of royal British descent and quality… another
by one inconspicuous column. In addition to its agoras, there were
immense Baccarat chandelier with red crystal accents leading from
many storefronts, temples and minor theatres too and a 24,000 seat
the Harem to the arched Grand Ceremonial Hall so over the top in
arena where gladiators sparred. Everywhere I looked and each step I
design and décor that my descriptive words fail me here.
took whispered tales of wondrous achievements long gone, ground-
Modern-day Istanbul is made up of old and new. Elegant
ing me in awe.
five-star hotels, condos and mansions line the sides of the Strait,
I had arrived in Kusadasi by ship which ferried me, sails unfurled,
along with restaurants, boutiques and entertainment venues of the
through the Dardanelles of Odysseus’ Trojan War, and later Gallipoli,
level one might find in the upscale coastal resorts of the US and
fame. I was on my way to the Greek Isles where my odyssey would
Europe. Steps away are local markets that date back to forever,
give rise to more legends and stories. But before we cruised to
like the must-shop covered Spice Market, where every tea blend,
Grecian waters, we cast anchor at Bodrum, a picturesque summer
sweet and seasoning worth its salt is available for sale and to taste,
resort playground for Turkey’s wealthy yachting set, site of St.
which I highly recommend doing.
Peter’s Castle and the ruins of another world wonder, Halicarnassus
✦
Mausoleum… and a place of refuge for Syrians fleeing from their
THE FOOD IS INTERNATIONAL, fresh fish is a mainstay, as are yogurts, street treats like doner kabobs wrapped in pita or lavash, honey-soaked pastries and Turkish delights, those sweet fruit and nut confections dusted in sugar that are incredibly hard to resist. Though it varies across the country, Turkish cuisine is a meld of Asian, Middle Eastern and Mediterranean influences with indigenous ingredients and a mix of spices. The vastness of the Ottoman Empire, which spanned three continents for almost 600 years, meant tasting layers of history in everything I ate. While my dining experiences in the city were exceptional in setting and satisfaction, it was my candlelit dinner in ancient Ephesus, 228 miles to the south on the western coast of Turkey near Kusadasi, that lingers in my dreams. I dressed for the occasion, even
war-torn country. I was jolted into reality and the dangers of the sea and the place when I stepped ashore near the beach where a little Syrian boy lost his life while trying to make safe harbor with his parents and siblings. I saw generations of families camped outdoors here, hearts aching and hungry in their exile, asking for donations with great humility. I couldn’t help but think how similar the challenges and triumphs were for people who made their way here thousands of years ago and today. Shaken and indelibly moved, I returned to my boat just in time to see a Russian warship cruising into view.
A Modern Day Travel Odyssey, Part Two, Grecian Gold, continues in the next issue. Photography on pages 4 and 5 were taken on Tauck’s Treasures of the Aegean cruise by Mary F. Vaichus CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE CONTEMPORARY /MAGAZINE
43 43
FEATURE
Equilibrium and imbalance, stasis and flow, gravity and loft, muscularity and grace, emotion and reticence—these paradoxical impulses are poetically reconciled in Don Gummer’s art. But it’s not just about a bold fusion of antitheses. Offsetting this dialectic is a subtle countercurrent: continuum--a fluid and seamless metamorphosis of forms through different iterations that lies at the core of Gummer’s approach to making drawings and sculpture. His work is the subject of a major survey exhibition, Don Gummer, The Armature of Emotion: Drawings and Sculpture, on view this spring at Fairfield University. Don Gummer is perhaps best known for his Constructivist sculptures, powerfully graceful, ascending creations of bronze and steel. (Several were recently installed along a stretch of Broadway in New York City.) But his considerable body of work also comprises painted wood wall reliefs, collages, drawings, monochrome encaustic painting, and watercolors, as well as earthworks incorporating rock, soil and water. Though he has abandoned printmaking and oil painting, these, too, are part of his repertoire. Drawing and sculpture are the dual focus of the exhibition. Historically, drawing was an integral part of a sculptor’s training and
G U DM OM NE R
of the preparatory process. Don Gummer is another. His drawings almost always have some connection to his sculpture. Gummer’s richly layered and cerebrally composed drawings begin with a light pencil line and variously incorporate color, encaustic and collage. They range in scale from quick, small sketches to monumental panels that are mural-like in their grandeur and proportions. Regardless of size, most of his drawings have a finished character, yet many are in fact stages of a genesis: they are preliminary ideas for sculptures in which he evolves and experiments with different vantage points or compositions, and ultimately pins down the final conception. Even the most cursory, if
The Armature of Emotion
supremely confident, initial sketch for a free-
By Linda Wolk-Simon
juxtapositions also reveal the fluidity and unity
standing sculpture shows the ground and a horizon, immediately placing the form in space and thereby capturing, through the agency of two-dimensional, “flat art,” its a priori threedimensional character. Sequences of drawings, especially when paired with corresponding sculptures, provide insights into Gummer’s working method and underscore the essential role of drawing in his creative process. The of forms and ideas that migrate and mutate
practice–an essential skill, and a preliminary
between media. With elastic boundaries sepa-
step in the creation of a finished marble or
rating drawing, collage, relief, and fully three-
bronze sculpture. The early Renaissance
dimensional form, Gummer’s work partakes
master Donatello purportedly avowed
of the “post-medium condition” that theorist
that drawing was the very foundation of
intact. Many modern and contemporary
Rosalind Krauss posited as a central tenet of
sculpture, and artists like Michelangelo,
sculptors, to be sure, are accomplished
contemporary art.
Bernini, and Carpeaux made drawings
draftsmen, but their ideas for sculpture are
In a conversation in his Connecticut studio
in order to experiment with, elaborate,
not necessarily first explored in drawings.
overlooking a picturesque lake Gummer spoke
or delineate ideas to be cast in metal or
Sculptors who draw often make drawings as
at length about a host of subjects, including
carved in stone: what would ultimately be
parallel, autonomous and discrete bodies
the memorable day he met his wife, storied
a three–dimensional work was first given life
of work–independent, finished creations in
actress Meryl Streep, whose first glimpse of
as a two–dimensional sketch. This seamless
their own right--rather than as stages (messy,
him occurred when she looked up to see him
union of drawing and sculpture is no longer
tentative, and provisional stages at that) in an
on a scaffolding in her bedroom.
artistic process that culminates in a sculpture. Richard Serra, author of supremely elegant, monumental monochrome drawings that are graphic analogues of his sculptures without being studies for them, comes to mind. One exception to this siloing is the sculptor Martin 44
Puryear, for whom drawing is an essential part
CONTEMPORARY CULTURE//MAGAZINE
Clockwise: Untitled, 2008, cast bronze; Towers, 2006, stainless steel; Anniversary, 2002, cast stainless steel
FEATURE
Darwin’s Map 4, 2000, silver leaf, oil on wood
plot with keen interest. Whatever the starting point, for Gummer the objective remains the
I Invoking a haunting book of short stories, Continent, by novelist Jim Crace, Don Gummer conjures a lost land as the imagined habitat for his sculptures. In this collateral universe, what is normative and routine gives way to the surprising and the unexpected. Vaguely familiar yet new and elusive, things in this artistic Atlantis are askew, slightly off balance, different somehow. Freed from the constraining laws of physics, they are bound only by their own internal logic, structure and contradictory rhythms. Such a place could be perilous (a shifting, topsy-turvy world has long been fuel for dark and subversive poetic visions—we need think only of Goya) but in Gummer’s fundamentally optimistic formulation, balance is ultimately restored and equilibrium achieved. “I’ll start something, and then as I’m building it, I do something to shift the flow, or the composition, or the balance. I have to then redirect to correct it. Something happened, and then something was recovered. A sculpture is a sort of a series of corrections that I put in, something that would cause imbalance,” is the way he describes this dialectical genesis.
same, and that is to move from the complex to the simple. “A lot of my work has some complexity at the bottom, and it strives to get a more simple result. It’s sort of like a building. There is a lot of stuff underneath, a lot of foundation work. But the penthouse is where you’re headed, and you want that to be a clear, open space.” This evolutionary process of simplification and stripping away not only literally describes a recurring principle of his free-standing sculptures, which tend to be more densely layered and weighted at the bottom and open and airy at the top; such distillation also underlies the creation of his disciplined, geometrically pure, and ethereal wall sculptures. Buildings, penthouses, houses of memory and of the imagination—references to architecture and the process of construction are threaded through Gummer’s biography and his work. Real and imagined architectural floor plans and elevations, and improbable structures like birdcages and tents—lithic or diaphanous, literally depicted or suggestively evoked--are recurring elements of his drawings and wall reliefs, and many of his monumental sculptures have the character of a building erected to the framing stage. “The heart of architecture and sculpture is sort of the same,” he says. Both “take up space and
deal with gravity.” In the earlier part of his career Gummer created sculptures that were horizontal because he was thinking of houses. A shift to a vertical idiom occurred when he moved to L. A. in 1989 and began to produce works reminiscent of towers, skyscrapers, and their iron-beamed skeletons. This was not some facile appropriation: Gummer has a uniquely intimate familiarity with the ‘bones’ of such architectural behemoths from having been part of the crew that built the Olympic Tower in Manhattan in the mid-1970s, not long after receiving his MFA from Yale. A union carpenter, he was involved in the construction of poured concrete columns, stairways, elevator ramps and other interior framing elements. (His engineering credentials led to his being hired to soundproof the bedroom of his friend’s sister, the actress who would become his wife.) The experience gave him a privileged knowledge of how buildings are built and, in the case of skyscrapers, how things get wider and open up as they go higher—a proposition he applies to his
“Then I get it back to balance, and the world’s
vertical sculptures. Few can say with such
all right again.”
authority that “something massive like a 55-story building is built very simply. It just
Where does the spark of an idea originate? For Gummer, who is more practical in his narration than bombastically philosophical, there is seldom a moment of revelation. “You have to start from zero and begin, just by starting.“ (Here I’m reminded of hearing the artist Nicole Eisenman offer a comparably matter-of-fact description of a typical day as getting up and going to work.) Sometimes Gummer knows from the outset where he’s going—what form and shape a sculpture will take—while other times he admits to having no set idea. “To start something without knowing what it’s going to be in the end is much more exciting, and more alive,” he avers. In this organic process, the artist is at once creator and observer, an author
“A sculpture is sort of a series of corrections that I put in, something that would cause imbalance. Then I get back to balance and the world’s all right again.”
takes more people and a lot of cement.” But behind the simplicity of the armature, of course, is a cognitive and structural rigor. This contrapuntal play between the simple and the complex underpins Gummer’s art. One of his subjects is the Twin Towers. With what proved to be an eerie prescience, Gummer executed a series of watercolors of the buildings only weeks before they were destroyed on September 11, 2001. In some they appear rigid and immutable; in others shifting, precarious and ephemeral, dissolved in an atmospheric haze. As for most New Yorkers, impressions of that unthinkable day linger. Glimpsing “the big hole gaping with
who begins a novel without yet knowing how
smoke was like seeing death,” he recalls. At
it will end, but who follows his own unfolding
the same time, the builder in him wondered
CONTEMPORARY CULTURE//MAGAZINE
47
FEATURE
“how are they going to fix that?,” as he
about order, structure and classical
assessed the magnitude of the challenge of
reticence---qualities that are also central
erecting scaffolding at such a great height. In
to Gummer’s own art. And Donatello?
the wake of the disaster he put the drawings
that you use to make your art. If you don’t like
The great Renaissance sculptor also
away, but some years later he returned to
it and it’s hard work, you won’t do anything. It
came in for particular praise from this
the subject of the Twin Towers in a stainless
has to be rewarding. And you have to be selfish
modern-day practitioner. Returning to
steel sculpture. One tower stands erect, firmly
with your time. You have to love going to your
the subject of the centrality of drawing
planted on the ground; the other, untethered
studio.” Asked about the celebrity, ego, and
in his artistic practice, and asked if
and inverted, floats like an apparition.
market-infused dynamics of the contemporary
he would disagree with Donatello’s
art world, he offers simply, with the wisdom
maxim that drawing is the foundation
that comes with age, humility, and success,
of sculpture, Gummer replied, “No. I
that fame can get you in trouble if you mistake
think it’s the foundation of everything.”
the small art world for the big world at large.
And he wasn’t just responding to the
And while many contemporary artists feel
questioner’s biased prompt. Observing
the imperative to make political statements
that the items scattered across his desk
I
or social commentary, Gummer does not
included both a pencil and a lump of
It is not surprising that cartoons inspired an
embrace the artist-as-activist paradigm. For
modeling clay, I asked Gummer which of
artist who loves to draw. Gummer recounts
him, relevance lies elsewhere.
those implements he instinctively reached
that Donald Duck was a childhood favorite (he
Art historians are trained to identify
for while daydreaming or talking on the
found the querulous and suggestively named
influences. As a specialist in long-dead Italian
phone. The pencil won. Drawing prevails.
character infinitely more interesting than the
Old Masters, I have never had occasion to
chirping Mickey Mouse), and that he drew
actually ask an artist who he particularly
him obsessively, often while in church. Donald
admires, just to conjecture, but here was
Duck’s prodigious curved bill, its contours
an opportunity to pose the question to
endlessly reiterated, held a particular fasci-
someone who could reply. Gummer’s list
nation; echoes of that sail-like shape endure in
of favorites includes Cézanne and Picasso.
his drawings and sculpture to the present day.
Wandering further back in time, he alights
Another influence came from a Nickelodeon
on Delacroix, praising his “looseness, color
The language of the exhibition’s title,
cartoon series, The Wild Thornberrys, which
and expression.” Delacroix’s contemporary
Armature of Emotion, warrants brief
he would watch with his daughter. The intrepid
Ingres, advocate of an alternative, more
explanation. In traditional practice, an
family had a chimpanzee named Darwin,
sculptural and sober manner of painting, also
armature is the metal framework around
and the cartoon would chart his wanderings
appeals to Gummer. So does Ingres’ revered
which a sculpture is modeled in clay. An
by showing his footprints weaving across a
hero, Poussin, whose style is fundamentally
armature can also be an exterior skeleton
terrain. As they watched the show, Gummer
that holds up and contains a sculpture in
and his daughter made drawings whose lines
progress. (Some of Gummer’s drawings
followed the path of Darwin’s footprints. It
actually depict a sculpture inside an
struck him that his drawings looked like maps
armature, and his studio is littered with
of a place one could actually go to--a line you
models of all sizes supported within
could follow. “There was no real logic to it. It crossed over places that he’d been before, and would go here and there. I was always making these drawings, and overlaying webs of composition. Then I thought, ‘some of these are interesting,’ so I blew some of them up and made the collages, and then after I made the wall sculptures.” Thus, the series Darwin’s Map, with its layered, kaleidoscopic ribbons of color, was born. Other than watching Cartoon Network
48
T
“You have to like the process that you use to make your art. If you don’t like it and it’s hard work, you won’t do anything.”
such structures that he fabricates.) The presence of armatures, real and implied, signals internal and external controls: they are the supporting frameworks that keep forms from collapsing and hold excess or imbalance in check. They are also scaffolds for channeling the energy and indelible optimism that animate his work—that sense of infinite ascent toward some higher plane. Armatures, then, are always present in some way in Gummer’s
is there any advice he would give to young
sculptures, signifiers of the structure he
artists today? “You have to like the process
brings to everything he creates.
CONTEMPORARY CULTURE//MAGAZINE
Clockwise: First Thoughts, 2011, encaustic and collage on paper; Untitled, 2015, colored pencil and watercolor on paper; Drawing for Courtyard, 1978, graphite, colored pencil and collage on paper.
DON GUMMER,THE ARMATURE OF EMOTION: DRAWINGS AND SCULPTURE is on view in the Walsh Art Gallery, located in Fairfield University’s Quick Center for the Arts, from March 3 through June 11, 2016. The Gallery is open Monday through Friday, 11- 4, and for the hour preceding evening performances at the Quick Center for the Arts. Admission is free. Please consult the Fairfield University Museums website for directions and additional information about opening times (www.fairfield.edu/museum). Generous support for the exhibition is proved by the Robert and Mercedes Eichholz Foundation. Venß is the exclusive media sponsor. The author wishes to thank Luke Syson. Excerpts from the interview with Don Gummer may be heard on the exhibition app at bit.ly/Bellarmineapp. The full interview is available on the museum website. Linda Wolk-Simon is Director and Chief Curator of the Fairfield University Art Museums and organizer of the exhibition.
FEATURE
BERNIE TAUPIN’S
PAINTED WORDS
T
he winds of change, imaginary currents of
One artist in particular at the fair, Bernie Taupin, a British-born,
invention and practicality, often find their way
California-based painter who is now a U.S. citizen, surely has a great
by slowly drifting into an urban neighbor-
deal in common with the communicative nuances inspired by risky
hood that has the potential to be reinvigo-
urban “tags” of street art and the inherent energy and political
rated into an area with a more useful purpose;
power tools of stenciling letterforms; blasts of spray paint; images
adaptively improving abandoned buildings and
created over unique textured surfaces; stamping out recognizable symbols; and utilizing target shapes and flag images.
warehouses that are forgotten and overlooked, giving them a new life. These opportunities continue to present themselves and follow the
example of other revitalized neighborhoods like SoHo in New York and the energetic Wynwood Arts District in Miami, where artists and art dealers assimilate the raw energy and pioneering spirit of these areas, propelling
Written by BRUCE HELANDER Images courtesy Waterhouse & Dodd
them into becoming a destination for collectors whose
50
From my point of view, his work also is among the freshest and most appealing in the fair, portraying an unusual and painterly clarity of rhyme and reason. The entry doors to the fair were flanked at both sides with large printed replica murals of Taupin’s original titled Sleeping Beauty, which set a thrilling mood from the get-go. I caught up with the artist at the fair, as he was surrounded by admirers at the spacious booth of
antennae are constantly on alert for the first signs of something new
Waterhouse & Dodd, his gallery representatives in both New York
and interesting. It is not surprising that Art Wynwood, celebrated
and London. I found the artist to be open and enthusiastic about
art fair and sister of the mighty Art Miami organization, became an
the response to his work, and we had a good time discussing his
annual art event that has grown exponentially and attracts a dynamic
methods, materials, and even a few secrets hidden just under the
array of works by street artists and muralists who take a cue from the
surface of his canvases. Bernie Taupin, who has been painting
surrounding visual activity, as well as enticing many emerging and
seriously for over thirty years, exhibited some of the most engaging
mid-career artists who have something different and exciting to say.
new works that I’ve spotted in many moons.
CONTEMPORARY CULTURE//MAGAZINE
From Ashes, 2014 Acrylic, corrugated cardboard, fabric, wood and wire on canvas, 48 x 60 in.
Civil War Trilogy 1 The Union, 2014 Acrylic on canvas, 36 x 48 in.
FEATURE
No Left Turn at Babylon, 2014 Wood stain, fabric and twine on canvas, 60 x 36 in.
Sleeping Beauty, 2014 Fabric and twine on canvas, 36 x 60 in.
Taupin often moves back and forth from an abstract expressionist mode, to assemblage that often employs wrapped string as well as saturated color field compositions, to a particular fascination with the stark beauty of the stars and stripes of the American flag. This artist’s iconic style after thirty years of serious painting has evolved into incorporating letterforms and phrases and memorable titles, and likely can be traced to his legendary talents as a songwriter, a pursuit that many artists who also have made music can identify. After all, it is a lyricist’s responsibility to ‘paint’ with words pictures that you can’t see, so it follows quite naturally to make paintings that you can read. There is an honorable tradition of integrating alphabetical fragments in modern art, beginning with Braque and Picasso’s Cubist period, where letters were either painted, stenciled or collaged onto revolutionary canvases. This pioneering spirit of applying letterforms, especially stenciled
Bruce Helander and Bernie Taupin discussing Taupin’s painting titled Scrawl (2014, Acrylic, newspaper and stencil casings on canvas, 48 x 60 in.) at the Waterhouse & Dodd exhibition booth during Art Wynwood 2016 (Miami).
Photograph by Christopher Fay
shapes, is still used by contemporary visionaries like Jasper Johns (alphabets), Ed Ruscha (printed observations), Mel Bochner (Blah, Blah, Blah), Barbara Kruger (I shop
Taupin has assimilated his past with a magical lyrical approach to
therefore I am), Jenny Holzer (projections, such as Money Creates
his current picture-making, as he dices and slices and basically synthe-
Taste), and most recently Christopher Wool (stencils like SEXLUV, as
sizes his signature styles and ideologies, and mixing them up with a
shown in his masterful Guggenheim survey).
variety of recognizable ingredients as he explores the visual relation-
It should be noted that Taupin also demonstrates a powerful
ships between color and texture and word and image equations. His
chemistry and instinctive aptitude with painterly shapes and color,
handsome composition Scrawl is a particularly fascinating work in
as in his early non-narrative, heavily pigmented works of handsome
terms of his inventive use of stencils, which produce colorful silhou-
rough square shapes on a field of vibrant color, which owe a tip of
ettes that offer only bits and pieces of words, such as “for Peace” or
the hat to Hans Hofmann. Another exceedingly striking and refined
“Truth.” In this painting, which could serve as a book jacket for Tom
piece is Civil War Trilogy 1 The Union, where Taupin unequivocally
Wolfe’s classic exposé on the art world, “The Painted Word,” Taupin
establishes an insightful ability to create beautiful surfaces that merge
has fashioned a dazzling, transparent, marching circus of letterforms
minimalist shapes in perfect harmony.
on newsprint that becomes a challenging crossword puzzle of sorts.
It is an extension of one’s creativity and vision to assimilate all
Here Taupin not only spray paints meandering, upper and lower case
of life’s past experiences and professional agility into one’s work.
letter shapes vertically and horizontally, but secures the actual stencil
Taupin’s Bohemian mother was a valuable inspiration to him, as she
onto the canvas for a perfect yin yang of positive and negative space.
exposed him as a young artist to leading modernist painters of the
In other works, Taupin creates a vigorous, colorful background where
1960s and 1970s and encouraged him to visit museums. She had
he often places a single curious word like ‘bang’ or ‘scar’ or ‘explore.’
studied French Literature, and his maternal grandmother taught the
And finally, a salute to Taupin’s Flags of our Founders series,
classics and graduated from the University of Cambridge, so it’s not
where the artist has taken a recognizable, respected image and
surprising to learn that he logically inherited an early appreciation
tied it down under swirling layers of twine, nearly obscuring the
for descriptive words, prose and narrative poetry, coupled with a
outlines of red, white and blue, which also seem to be akin to
strong interest in art history and art. He grew up on a farm, and I can
minimal compositions created by the artist years ago. In Sleeping
tell you from personal experience, being saturated and surrounded
Beauty (pictured left), Taupin offers the viewer a secure patriotic
with the properties of the earth, inhaling its enriched soil, the Burnt
symbol that is tightly wrapped like a Christo object, as if to protect
Sienna-tinted mud connected to its environment makes a permanent
its dignity and importance to our history. Ironically, the repetition of
impression, and for many of us, especially artists, often influences
the strings, coming from all directions and on an angle, create their
the way we look at art. As a young man, Taupin spent many hours
own pattern of star shapes, which complement the horizontal bars
contemplating the works of German painter and collagist Anselm
hidden underneath. This work might pose the question and offer the
Kiefer and his innovative use of soil mixed with straw. In Taupin’s The
interpretation: are we as a country tied up in a web made of layers of
Barricade, one can appreciate his obscure but wonderful homage—
contradictions that often dilute common sense and vision, obscuring
with a twist—to Kiefer.
our greatest symbol of freedom.
Bruce Helander is an artist who writes on art. He has written compelling essays on Willem de Kooning and Christopher Wool at the Guggenheim for The Huffington Post. He is a former White House Fellow of the National Endowment for the Arts, former Provost and Vice President for Academic Affairs of the Rhode Island School of Design, and recently was inducted into the Florida Artists Hall of Fame. Helander is the guest curator for Manolis’ upcoming survey of recent works at the Coral Springs Museum of Art. CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE CONTEMPORARY /MAGAZINE
53 53
MOTORING
Photo by Max Itin
THE ART OF THE RESTORATION: AMELIA BOUND! By Marianne Brunson Frisch Sunny skies, balmy temperatures and stellar cars are an annual beacon
Richard Kocka has preserved two examples of Pegaso’s limited
drawing automobile collectors and enthusiasts to the Amelia Island
output, which will be highlighted in the Featured Marque exhibit of 14
Concours d’Elegance. The March 11-13, 2016, show celebrates inno-
of the 84 produced: his 1958 Pegaso Z-103 Touring Berlinetta and 1955
vative styling and engineering with displays of more than 300 vehicles.
Pegaso Z-102 Saoutchik Prototype 1. A years-long restoration trans-
Like-minded friends and colleagues gather for camaraderie, anticipating
formed his Touring Berlinetta, the single one of this model built, from
Spring, exchanging stories old and new and having grand fun.
a jumble of chassis and body and baskets of parts to a highly regarded
The road to the Amelia Island Concours is paved with passion,
masterwork, earning awards at the Pebble Beach, Amelia Island and
commitment and hard work. Research, car preparation from minimal
Greenwich Concours d’Elegance and Lime Rock Park Historic Festival’s
repair to full-body restoration and last-minute fit-and-finish touches must
Sunday in the Park show. “Richard’s dedication and his reverence for
combine to meet the high standards of excellence set by Bill Warner,
and knowledge of this rare marque are the key elements in the quality
Founder and Chairman of The Amelia Island Concours d’Elegance
achieved in restoring his Touring Berlinetta coupe,” shares Bain, whose
Foundation.
team restored the car. “This is very much an objet d’art automotive
Stars of the Concours consistently hail from Connecticut, shining
54
perfected and preserved.”
among fellow beauties from around the globe. Preparing a car to qualify
Rarified “jewels” for the rich, Pegaso cars were born of the unique
for exhibition is “a labor of love,” explains Kent Bain of Automotive
goals of Spain’s ENASA (Empresa Nacional de Autocamiones SA
Restorations, Inc., Stratford, Conn. Discerning and devoted collectors
or National Truck Manufacturing Company). Primarily truck and bus
nurture these artful rolling sculptures, often rescuing them from neglect
manufacturers, they hired brilliant Spanish engineer Wifredo Ricart fresh
and abandonment.
from Alfa Romeo to create high-quality sports cars, not to render a profit
CONTEMPORARY CULTURE//MAGAZINE
but rather to apprentice automotive engineering and design students.
Son Brad cautiously exercises the car on Connecticut’s narrow, winding
Pegaso’s high standards, sophisticated design and advanced
roads: “The Pegaso is very light and powerful. With its narrower back
production processes demonstrated Spain’s technical prowess to the
end, steering is responsive and turns on a dime. It is an engineering
world. All parts were manufactured in Spain except for some bodies
masterpiece.” Period reviews deemed the Pegaso “Europe’s most
by renowned custom coachbuilders Touring of Milan and Saoutchik
powerful car.”
of Paris and a few parts from Bosch, Weber, Borrani and Lockheed. Kocka cites that Pegaso’s efforts were a grand international public relations campaign. Spain, still beleaguered by their Civil War and
Brad fine-tuned the Pegaso Touring, applying his expertise with lasers to precisely align the engine with the driveshaft that had a tendency to shift.
the Country’s isolation after World War II, strove to promote their
Kocka shares that Bill Warner and the Amelia Island Concours
truck company and to create the image of a flourishing economy and
d’Elegance are doing the automotive community and public a great
prospering nation. “Pegaso cars generated much publicity although
favor by heightening awareness of the exotic Pegaso marque. Warner
they were never seen on the road,” he recalls. “Most of the cars were
comments, “That such an elegant advanced design could come from a
in Spain or Portugal. Frightfully expensive, many were given away to
marketing plan promoting plebian commercial vehicles is a testament
such dignitaries as the Shah of Iran, the ruler of Morocco, the president of Portugal, Dominican Republic’s President Trujillo and Eva Peron of Argentina who died before its delivery.” Intrigued by these “mystery” cars since they first appeared in the press during his high school years, Kocka spotted the 1958 Pegaso Z-103 Touring Berlinetta advertised for sale in The New York Times in 1974. When pondering whether to buy this first Pegaso he ever saw, his wife advised him to “buy it and shut up or never speak of it again.” Thankfully he did, gifting us with its legacy. While Kocka’s Pegaso Touring is designated a 1958 model, it was shown at the 1955 and 1956 Paris and Turin auto shows, respectively.
Photo by Max Itin Opposite page: Fully restored by Automotive Restorations, Inc., Richard Kocka’s 1958 Pegaso Z-103 awaits its showing at the Amelia Island Concours. Left: The 1958 Pegaso Touring Berlinetta has come a long way since its arrival at Automotive Restorations. Above: Charlie Webb of Automotive Restorations applied his expertise to the Pegaso’s transformation to concours-winner.
Photo by Kent Bain
“Over four decades ago, Richard purchased this exceptional example
to the genius, vision and skill of engineer Wifredo Ricart. Pegasos are
of Pegaso’s short-lived effort to rival the likes of Ferrari and Maserati
technically extravagant cars. It’s period Formula 1 technology for the
and to flaunt Spain’s capability in a rarified arena,” tells Bain. “Richard
road, wrapped in coachwork by the likes of Touring and Saoutchik.
can tell of the car and a scrapyard, but the entire car was indeed all
The Pegaso Z-102 did exactly what Ricart and the Spanish government
there. Decades passed before it got to our shops while Richard worked
wanted: it brought Spanish industry to the attention of the world, and
to build a business. It then took years for us to source all parts needed
did it in a very glamorous way.”
and get the car back to its former glory.” Kocka credits Automotive
The fluid lines of Kocka’s Pegaso Z-102 Saoutchik Prototype 1 are
Restorations and Head Technician Charlie Webb, “the Maestro,” for
appealing to Warner who has included it in this select gathering. It is the
their respect for original craftsmanship.
only Pegaso made with a sunroof, and remains proudly unrestored, still
Driving the car evokes the marque’s namesake, the winged-horse
hinting its original black cherry exterior and sporting its suicide doors
Pegasus. “It is a handful with very fast steering,” states Kocka. “At above
and built-in, two-piece luggage compartment; side scoops and white
4,000 rpm, the engine seems very happy, making some glorious sounds.”
wall tires were subsequently added after its import to the United States. CONTEMPORARY CULTURE//MAGAZINE
55
MOTORING
Photo by Kent Bain Clockwise: (top left) The Cisitalia 202 SC is readied for shipment from Argentina to the United States; (top right) Restored and Amelia Bound!: Henry Miller’s Cisitalia Vignale Cabriolet, donning its original colors; (bottom left) The Cisitalia windshield molding gets close attention from Zack Razzaia at Automotive Restorations.
Miller’s Cisitalia makes its debut at the Amelia Island Concours. “Always beautiful and a luxury car for the time,” Warner will spotlight it in the Sports and GT Cars (1946-54) class. “The beauty of the car appealed to me,” says Miller. “Cisitalia is not a particularly well-understood marque. Owning and restoring the car is a special opportunity as there are so few of them.” Photo by Max Itin
Miller acquired this rare car to revive it to its original stature. “He has brought a forgotten gem back to life; his respect for the marque provided us the latitude to assure that our restoration was done properly
Cisitalia cars are also steeped in intrigue. Industrialist and amateur racer Piero Dusio’s Turin, Italy-based conglomerate, Consorzio Indus-
“All of the ‘basic bones’ were there,“ Bain elaborates. “This car had
triale Sportivo Italia (acronym Cisitalia), introduced their single-seat,
never undergone any real restoration. The exterior was resprayed ages
Fiat engine-powered, D46 Grand Prix racer in 1946. They soon after
ago, repairs were made to keep it on the road and seat covers replaced,
launched the 202 two-seater sports car, which legendary driver Tazio
but it had not been to bits…ever. Some of the standards employed
Nuvolari steered to a second place win in the 1947 Mille Miglia. Skilled
demanded upgrade, but key elements of its original configuration
coachbuilders such as Vignale, Colli, Pinin Farina, Stabilimenti Farina
were all intact. This evidence was exceedingly valuable in restoring
and Garella were charged with designing bodies for the approximately
Cisitalia 202 SC #054. We were told ‘this car never had bumpers’;
100 coupes and 60 cabriolets built between 1947-1952. Dusio foretold his financial fate when he purportedly exclaimed, “it
we had our doubts, but no bumper mountings or remnants on the chassis or related structure could be found. All of the Vignale signature
will be the ruin of me, but I am going to make the Grand Prix!” Bent on
trafficator mountings were intact though the trafficators were long gone.
producing a champion car, Dusio contracted with Ferdinand Porsche
A remnant of the original dark red exterior paint was discovered under
and paid bail for Porsche’s release from a French jail where he was
the windshield trim once the glass was out, which was good enough to
a war prisoner. Poor fiscal management and subsequent bankruptcy
polish and then match. Under the seat coverings, we found pieces of
forced Dusio to emigrate with some Cisitalias and his Grand Prix car
the original oxblood-brown leather. The car had the Pinin Farina-built
and parts to Argentina in 1949 after President Juan Perón paid off his
cars’ fender flank ‘porthole’ vents cut in, confusing us about the origin
debts. He joined car manufacturer Autoar (Automotores Argentinos)
of the body. Once we removed these and compared the location and
and founded Cisitalia Argentina SA. His son Carlo continued to operate
fitment format to a known Pinin Farina 202 Spyder…’added later’ was
a marginally successful refinanced Cisitalia company in Turin until
the clear message. Much of this information filtered in from hearsay
1964. Piero Dusio died in Argentina in 1975.
at purchase in Argentina, but it was rewarding to find these and other
Henry Miller’s 1947 Cisitalia 202 SC Spyder Vignale Cabriolet has
56
and with historical accuracy,” states Bain.
details of Vignale’s efforts preserved.”
taken an adventurous path to the Amelia Island Concours, being among
The Amelia Island Concours d’Elegance sparks appreciation of
those that Dusio shipped to Argentina. Driven by three owners there,
automotive history and innovation and captures the artistry of design,
the car was imported to Florida by metal crafter Orlando Cairo for a
creativity of technology and romance of motoring. Amelia Bound!
collector who sold it to Miller.
Automobile devotees will be richly inspired.
CONTEMPORARY CULTURE//MAGAZINE
st
The 21
Annual
Amelia Island Concours d’Elegance The Ritz-Carlton, Amelia Island The Golf Club of Amelia Island
March 11-13, 2016
Honoring
Hans-Joachim Stuck Celebrating Cord and Pegaso Automobiles & The 100th Anniversary of BMW Benefiting The Amelia Island Concours d’Elegance Foundation For Advance Tickets & Event Information, visit www.ameliaconcours.org Photos Courtesy Michael Furman BMW NA BILL WARNER
CONTEMPORARY CULTURE//MAGAZINE
57
YACHTING
The Yachting Community’s Charity An Amazing Year: Honoring Fabien Cousteau. Celebrating the DISCOVERY Yachts Fleet. Launching E3 Cuba and More… Written by DEVIKA BOODHOO
Photo by Yanni Georgoulakis Fabien Cousteau, recipient of the 2015 SeaKeeper Award, poses with his father, Jean-Michel Cousteau, the 1996 recipient, at the 2015 Founders’ Dinner.
Founded in 1998 by a small group of yacht owners, The International SeaKeepers Society is a not-for-profit organization that focuses on the health of the world’s oceans. SeaKeepers works with the boating and yachting community to take advantage of its unique potential in order to further marine research and raise awareness about the issues our oceans face. The International SeaKeepers Society acts as a global catalyst working with governments, scientists, industry, and other marine organizations to achieve its mission and support sensible and sustainable marine protection and restoration. On Thursday, November 5th 2015, The International SeaKeepers Society hosted the Bal de la Mer and Founders’ Dinner event to honor the 2015 award recipient, Fabien Cousteau, and recognize the 2015 DISCOVERY Yachts Fleet, at a private home in Fort Lauderdale, Florida. Guests were treated to a beautiful waterfront backdrop while enjoying an incredible evening of cocktails, dining, and entertainment. 58
CONTEMPORARY CULTURE//MAGAZINE
The evening celebrated, Fabien Cousteau, third generation explorer, environmental activist, and documentary film producer, as he became the 21st recipient of The International SeaKeeper Award. His father, Jean-Michel, who was the first ever recipient of the award in 1996, was also in attendance. Fabien’s extensive achievements were highlighted with a particular focus on his 2014 Aquarius mission in which he and six crew members descended into the undersea laboratory Aquarius in the Florida Keys. Cousteau’s team conducted extended scuba diving expeditions to collect scientific data and IMAX footage over the course of 31 days. Mission 31 was a tribute to his grandfather, Jacques Cousteau, who spent 30 days living underwater in 1963. In addition to Mission 31, Fabien founded Plant A Fish, in 2012 a nonprofit organization dedicated to restoring our water planet and educating the youth about the importance of conservation and restoration. In 2016, The Fabien Cousteau Ocean Learning Center will be
opening. The center’s virtual STEAM platform will give children and young adults around the world the opportunity to learn about the ocean while engaging with aquanauts, ocean explorers, and marine biologists through social media and interactive videos. Fabien Cousteau joins an elite and influential group of leaders in marine conservation including: Monaco’s own H.S.H. Prince Ranier III and H.S.H. Prince Albert II; Canadian film direct/producer and deep-sea explorer, James Cameron; American marine biologist, author, lecturer and National Geographic explorer-in-residence, Dr. Sylvia Earle; and most recently, the 2014 recipient Wendy Benchley. This year’s SeaKeeper award was designed by Courtney Mattison, SeaKeepers featured 2015 Artist of the Year. Each year SeaKeepers selects an artist whose work is influenced by marine life, science or ocean conversation and showcases their work in connection with the mission. The 2015 DISCOVERY Yachts Fleet was also recognized at the event to commend their efforts as pioneers of the yachting community. The DISCOVERY Yachts program was started by SeaKeepers as the foremost initiative to accomplish their mission and goals. The program is comprised of scientific expeditions, instrument deployments, and educational outreach events. SeaKeepers collaborates with numerous organizations, academic institutions, and government agencies in order to accomplish its DISCOVERY Yachts missions. SeaKeepers staff work closely with yacht owners and crew to coordinate research and outreach activities that reflect the yacht owner’s ocean-related interests. Over the past year, SeaKeepers has organized 21 missions through the DISCOVERY Yachts Fleet Program. Additionally, program time on the water for conservation and research projects has increased by more than 80% every year since 2012. Scientific expeditions conducted by SeaKeepers allow yacht owners, guests, and crew, the opportunity to participate in ongoing research while engaging with influential, wellknown marine scientists. Using member yachts, SeaKeepers promotes and facilitates ground-
breaking research in the fields of marine science and oceanography. One of the highlights occurred in October 2015, with a team of University of Florida researchers, aboard the DISCOVERY Yacht Penny Mae as part of a global initiative to survey the biodiversity of the world’s oceans. Under the guidance of Dr. Leonid Moroz, a distinguished professor of neuroscience, genetics, biology, and chemistry, the research team conducted plankton sampling along a transect from New York to West Palm Beach, Florida. In the same month, SeaKeepers partnered with the United States Geological Survey to study coral bioerosion
current velocity, and pressure/depth profiles. The collection of consistent and accurate data is extremely important for oil spill and marine debris accumulation analyses, weather and hurricane prediction models, quality control tests on satellites, and an overall better understanding of the marine environment. The 2015 Barcelona Yacht Rendezvous hosted by SeaKeepers on May 8th 2015, was to celebrate DISCOVERY Yachts and announce plans for expanding SeaKeepers missions in Europe. Since that time SeaKeepers has begun talks around a Baltic Sea clean-up program and DISCOVERY
Crewmembers of D/Y Fugitive deploy a drifter as guests look on.
Photo by Cat Schulz
on the DISCOVERY Yacht Vigilante. During the expedition, researchers dived several reefs off Islamorada, Florida. SeaKeepers works with institutions such as the NOAA, World Meteorological Organization (WMO), and Argo, to make ongoing oceanographic measurements with SeaKeeper Drifters and Argo floats. The SeaKeeper drifter is an environmental monitoring device that sits on the ocean surface and extends 15 meters deep into the water column. As the drifter floats along local and global currents, the instrument measures sea surface temperature, current velocity, latitude and longitude, and time. This data is then transmitted directly to NOAA and WMO databases. Argo floats are technologically advanced water monitoring devices that are programmed to move up and down through the water column while traveling with the ocean currents. These floats sink down to 2000 meters and then rise to the surface, recording salinity, temperature,
Top: Members of SeaKeepers participated in a University of Miami Shark Research Center shark tagging event in Biscayne Bay. Bottom: Beneath the Waves’ co-founder, Erica Staaterman, inspects a coral core during an outreach event with award recipients from the Youth Making Ripples Film Festival onboard the D/Y Defiance.
Yachts Alegria and Morning Glory deployed SeaKeeper drifters into the Mediterranean. During 2015, SeaKeepers conducted three educational outreach trips. In April, SeaKeepers hosted Youth Making Ripples Film Festival award winners, researchers, and film makers onboard DISCOVERY Yacht Defiance. In November, SeaKeepers worked with CARTHE researchers and students from the IMPACT program at the Patricia and Phillip Frost Museum of Science. Fleet Miami hosted the event onboard DISCOVERY Yacht Julia. In December, onboard the DISCOVERY Yacht Vigilante, SeaKeepers partnered with researchers from the Whitney Laboratory for Marine Bioscience at the University of Florida. The purpose of the outreach was to give MacArthur Beach State Park educators a hands-on day collecting and studying planktonic organisms in West Palm Beach, Florida. In late 2015, SeaKeepers developed the E3 Cuba Experience: Ecology, Environment & Education. The educational program offers a blend of activities covering these three vital areas of focus while actively engaging with Cuban people and scientists. Over twenty percent of Cuba is already protected including a significant portion of its waters. To this end, SeaKeepers aims to advance and support the efforts of scientists in Cuba through a collaborative agenda. The cornerstones of the SeaKeepers Cuba E3 Experience are: direct engagement with students and scientists of marine research and protection efforts, deployment of SeaKeeper drifters, and documenting the marine environment through the use of a DISCOVERY Detective Kit. As we move into 2016, SeaKeepers hopes to continue doubling its efforts to activate many more DISCOVERY Yachts for research, exploration, and education, in conjunction with furthering its mission to advance marine sciences and raise awareness about global ocean issues. CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE CONTEMPORARY /MAGAZINE
59 59
PULSE:
60
Art
CONTEMPORARY CULTURE//MAGAZINE
Peter Tunney, Wynwood Exposed Show featuring GIANT, Giant Polaroids, showcased Miami Art Basel 2015
“I’M ALMOST NOT CRAZY”: PETER TUNNEY “The Making of a Contemporary Artist” By Susana Baker Photography by Armando Colls
“GRATTITUDE”, “DON’T PANIC”, “I’M BUSY FOR THE REST OF MY LIFE”, “THE TIME IS NOW”… these are the inspirational messages of artist Peter Tunney. These positive affirmations are iconic in his everyday artistic practice. Working with every imaginable medium of the visual arts, paints, photography, stencils, watching Peter Tunney create is like observing a very organized mad scientist fabricating a powerful life-changing experiment. A wooden drawer, ½ a boat, refrigerator door, and a luggage becomes Tunney’s canvases. He loves to work with new found objects, transforming them in to master works of art. Peter navigates through our cultural lexicon, collecting vintage photographs, magazine covers, articles, vinyl records, watches (his favorite) including garbage thrown away by someone like a
PULSE:
Art
Marlboro cigarette box, but for Peter these are treasures that will fill the vast empty space on a canvas as he collects and separates American pop culture media images and the words to assemble the collages that give life to these affirmations of Peter Tunney’s World. Commissioned by the new owners that purchased and restored the iconic landmark Hotel, the Eden Roc in Miami Beach, Peter Tunney was the artist of choice to create monumental collages throughout the lobby and common areas of this Miami Beach treasure. Recently, one can walk down the most famous street in the USA, Times Square, look up and find a colorful billboard titled COURAGE, a beautiful collage by Tunney to commemorate the New York City Landmarks50 Alliance. There are more billboards to be found by Tunney throughout the city; one cannot miss driving into NYC and being welcomed by the billboard, “CITY OF DREAMS”. Tunney has had various roles in life from a magician, Wall Street broker, car salesman, investment banker to a ten-year odyssey working as a photo curator for renowned artist and photographer Peter Beard. Following the metamorphosis of Peter Tunney, one starts to understand his creative genius, always inventing, always finding meaning and relating his thoughts through his art and humor. Peter is living the dream, with galleries and studios in New York City and in Miami. Art Basel 2015 introduced a new series of works tittled “GIANT Giant Polaroid”. The show was seen in the new pop up gallery at the Wynwood Gardens, a property owned and operated by the Goldman
Tunney with a one of kind Gaint Polaroid Camera, Wynwood Gardens Pop up gallery
62
CONTEMPORARY CULTURE//MAGAZINE
Left: Tunney, Pop Up Gallery Show at the new Wynwood Gardens Above: Tunney and with his new baby boy, Art! Below: Mix-media by Peter Tunney
Family. This show introduced a collection of Peter’s photographic process with models, friends, and artists through the use of a one-ofa-kind giant Polaroid camera. Tunney creates unique superimposed images, which he defines the process further by painting over them, doing his iconic collages and phrases on the 20” by 24” image and then magnifying the Polaroid to double its size, thus creating a new series of fine art works. “I’M ALMOST NOT CRAZY” was the tittle of Art Basel 2015 show in Miami, but it also sums up all the parts that equal this amazing “far from crazy” artist. Peter Tunney’s life is a unique, elaborate, and colorful story. Through his hard work and achievements, he has become one of the most sought-after contemporary artists in America. Besides his new shows, bi-coastal galleries and major commissions, becoming a father and celebrating the birth of his son, Art, along with his wife Amy has brought Peter to the “NEXT LEVEL”. About the Author: Susana Baker is an award-winning Tourator (historian tour guide/ art curator). Creative Founder of The Art Experience, the number one company in South Florida to privately curate group or individuals through Miami’s Art Districts. Winning the distinguished “Certificate of Excellence for 2015” by TripAdvisor. For a private curated tour of the Design District, Wynwood, Little Havana or South Beach go to www.theartexperiences.com or for Art Basel go to www.artbaseltours.com. or call 305-767-5000. Contact: Colls Fine Art Photography, Armando Colls (305) 903-7786, www.CollsFineArtPhotography.com
For more information on seeing Peter Tunney art go to www.petertunney.com. For a private curated experience of Wynwood and Peter Tunney Gallery call 305-767-5000 or visit www.theartexperiences.com.
CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
63 63
PULSE:
Music
Photograph courtesy Columbia Records
David Bowie 1947-2016 Blackstar By Peter Fox
The moment that I first made contact with the sounds of David Bowie are as clear as yesterday …
Since David Bowie’s passing, those of us who loved him, and who now miss him, will remember their own experiences of hearing his music for the first time. As with most of the classic rock and roll
The limousine was illegally double-parked in thick traffic somewhere
acts of the late twentieth century, we associate various stages of our
in Chelsea. My father was up in one of the skyscrapers, which meant
own lives with the music catalogs of our favorite bands or musicians;
that I was waiting in the car with his driver, Phil, who had just gradu-
music that serves as the soundtrack for our lives. It can be fairly said
ated college and was a very cool guy. He also played in a band, and
that David Bowie’s work has provided the most vivid example of that
knew all of the best New York radio stations. It was 1972, I was eleven,
phenomenon than any other body of work in rock and roll history.
and FM radio stations that played obscure rock and roll were still a very novel thing.
64
This farewell to David Bowie began as a review of his triumphant, final work, Blackstar which has taken on new meaning since Bowie’s
My father, whose publishing company manufactured the souvenir
passing, in a manner that can only be described as incredible and
program booklets sold on rock and roll tours for every major band of
surreal. As only he could, David Bowie transformed the meaning of
that era, would occasionally wake me before school to tell me that
Blackstar with his passing; its true intentions and narrative now fully
I would spend the day with him in New York City. But I remember
revealed as his final change; the album and accompanying videos a
this particular day vividly, because it was the day that I heard David
performance of death art. Before Bowie’s passing, advance reviews
Bowie’s music for the very first time. As the opening snare drum
of the Blackstar spoke of perceived apocalyptic themes in both the
beats of Space Oddity began to come through the speakers, Phil
music and video presentations; its true intention had not yet been
turned up the volume and said something like, “Hey...listen to this
revealed. Many who viewed the videos reported that the images were
guy. His name is David Bowie. He’s going to be around for a long
so disturbing that they couldn’t view them in their entirety. But, as
time...” The song built and then all I could hear was the song. Its
he had done so many times before in life; in his final act of brilliance,
complexity in theme and tone, its unapologetic, visual description of
Bowie transformed the context of the album through an event which
the pain of isolation struck a chord inside of me and it was enough
followed its release.
to insulate the car’s interior from the midday madness of New York
Just as he would repeatedly shape-shift his persona through the
City and everything happening outside of the car window. When we
years, our perception of his collective work, when viewed retrospec-
arrived home that evening, I ran right out and bought Space Oddity.
tively, would in turn, change. Station to Station, (1975), experienced
And so, the trip began...
as a raucous 45 minute bullet train-ride through the early days of the
CONTEMPORARY CULTURE//MAGAZINE
Istock
“A REAL GENIUS. HIS MUSIC WAS ALWAYS INSPIRING BUT SEEING HIM LIVE SET ME OFF ON A JOURNEY THAT FOR ME I HOPE WILL NEVER END...“ - MADONNA
made-up by Bowie, part Polish, part Italian, and created to convey deep emotions which he found unaccessible though any conventional language). I remember a time when many of us, as teenagers after the release of Low, actually considered the possibility that David Bowie might be an alien? It was the first atmospheric music that I’d learnt to love. From that album, New Career in a New Town would become the theme song for my first solo adventure away from home in a foreign country, (Montreal, Canada), Always Crashing in the Same Car would become the song associated with the failure of that adventure. Many years later, Art Decade would reverberate in my car and work space as I explored making a living as a writer and filmmaker. But after
American cocaine explosion, would be experienced in an altogether
Low became a part of that great body of sounds which become the
different context after the release of Low (1977). The album, so far
soundscape of one’s life, it occurred to me that listening to David
removed in every aspect from Station to Station, changed the way
Bowie music would always be connected to a challenge of some sort,
that we listened to all Bowie albums which preceded it. Could this
and that his changes were not so much for the sake of change, rather;
man actually be otherworldly, we wondered out loud? On its first
they were challenges more than they were changes. By challenging us
pass, Low was jarringly unfamiliar, with its surreal aural tomes, and
to be open to his ever changing motifs, he moved his listeners away
took more than several full play-throughs to appreciate. The album
from simply listening and receiving from art; toward self-introspection
contained only several songs which sounded like the David Bowie
and self-challenge as a result of the contact with his music.
that we’d all come to know. However, the album’s second side placed
Through his death, the sounds and visions included on Blackstar,
us all squarely into unfamiliar territory. It was my first experience with
perceived as daunting and disturbing before his death, have now
being challenged by an artist through their work. “What was he trying
been turned inside-out, their perceived original purpose now inverted.
to show us?” I wondered...He dared us not to like him, and we found
Tenderly, sadly, yet triumphantly, Bowie guides us through his final
that to be impossible. I had no idea who Brian Eno was at that time,
days on earth as an artist as he shares with us his fear of the unknown,
or what Warszawa meant. And in what language were those lyrics
a summation of his time on earth and ultimately, his love for us, his
recorded? (I would later discover that the lyrics to Warszawa were
family and his fans. CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
65 65
PULSE:
Music
It has been widely reported that David Bowie’s illness was discov-
2012. They discovered the land while Bowie was recording Heathen at
ered 18 months ago. However, sources close Mr. Bowie conveyed that
nearby Allaire Studios, in Woodstock. “I went into Woodstock, once,
he was diagnosed with liver cancer in early 2012. Shortly thereafter,
and I hated it; it was just too cute for words,” he told Interview in June
Bowie and his wife, super-model Iman, built a three-bedroom ‘70’s
2002. “This is not cute, on top of this mountain: It’s stark, and it has a
modernist house in the Upstate New York hamlet of Shokan, near
Spartan quality about it. In this instance, the retreat atmosphere honed
Woodstock. In the immediate aftermath of September 11th, Bowie
my thoughts...I’ve written in the mountains before, but never with such
was compelled to move out of New York, and sought seclusion and
gravitas.” It has also been reported that he had planned on another
safety for his new family. He and Iman discovered the 64 acre lot atop
album, but that his illness had progressed to such a degree that he
of Little Tonshi Mountain and purchased it for $2.1 million cash in
could not keep it from his bandmates, so the idea was scrapped.
2003. While the couple still spent significant time in New York City,
Bowie’s work on Heathen (2002) is reflective of how shaken he
where their daughter, Alexandra, attends school, the urgency of the
was by being a New Yorker at the time of September 11th, and how
move seemed to run parallel with the discovery of his illness. The land
he’d felt that the events of that day ushered the world into a godless
sat dormant for nearly ten years, and the house was completed in
age: “Nothing remains/We could run/When the rain slows/Look for the cars or signs of life/Where the heat goes/Look for the drifters/ We should crawl under the bracken/Look for the shafts of light on
“DAVID’S FRIENDSHIP WAS THE LIGHT OF MY LIFE. I NEVER MET SUCH A BRILLIANT PERSON. HE WAS THE BEST THERE IS.”
the road/Where the heat goes...” On Reality, (2003), his work conveyed the need to place the events of 2001 into a context and somehow, as impossible as it seemed at the time, find a way to move forward: “See the great white scar/Over Battery Park/Then a flare glides over/But I won’t look at that scar/ Oh,my nuclear baby/Oh my idiot trance/All my idiot questions/Let’s face the music and dance.../All the corners of the buildings/Who but we remember these?/The sidewalks and trees/I’m thinking now/I’ve got a better way/I discovered a star/Ready, set, go.” Then, as now,
- IGGY POP
he challenged us to pick ourselves up and get on with it. Shortly before Bowie’s passing, as I experienced Blackstar for the very first time, it was easy to place the songs into an apocalyptic context, especially after viewing the videos Lazarus andBlackstar. References to the illuminati and a corrupt church are symbolized throughout, and not very subtly, or so it seemed. Had David Bowie remained with us, the heated debate as to their meaning, which had already begun with the release of the videos just over a month before his passing, would have continued. But the truth of their intended nature and identity are now certainly clear. Their creation; a most tender goodbye from the most prolific rock and roll artist of our time. Just as David Bowie’s life and career presented to us the concept of challenging the definition of normal, his album Blackstar openly communicates with us about death, painful as it may be. To his adoring fans, losing David Bowie feels very close to how a death in the family feels. Those spaces of time between his albums, videos and movies were always filled with an anxious, joyful anticipation. One would wait patiently to see where he was headed next. He mirrored us like no other artist every did, and reflected back at us those thoughts and feelings which many of us felt, but would never dare express. Through his music, he comforted us during our worst moments, (Heathen, Reality) and celebrated us at our best, (Let’s Dance). While it is heartbreaking to think that there are no more Changes to anticipate, one might only be cheered by this: The earth is 4 billion years old, and somehow, we were lucky enough to be alive during part of a 69 year period when David Bowie lived. He created the best art amongst the best of artists of his time, and his music lifted us; always delivered Istock
66
CONTEMPORARY CULTURE//MAGAZINE
with great humanity and knowing spirit, right up until the day he left us. His changes were our changes, too.
ABOUT THE (COVER) ARTIST
Mr. Brainwash: Street Artist, Shape Shifter, Art Icon.
David Bowie’s interest in art extended well beyond his music. His career was significantly influenced by Pablo Picasso, Andy Warhol and later,Jean Michel Basquiat and Julian Schnabel (Bowie would receive high-praise for his portrayal of Warhol in the 1996 biopic, Basquiat, which was directed by Schnabel.). Bowie’s passion for painted works of art was life-long. He was a member of the board
Artwork courtesy Samuel Owen Gallery
of the British art magazine, Modern Painters. During his tenure, he interviewed such art luminaries as Damien Hurst, Tracey Emin, Jeff Koons, Balthus, and Julian Schnabel. In addition to being a serious collector,
the most famous street artists from around
Bowie had, in recent years, been an avid
the world, including the elusive Banksy, who
painter. Though his works have yet to be
ultimately decided to use some of the footage
formally displayed in a gallery (Several of his
that Thierry had shot, which was then added
paintings are indeed included in the touring
to additional footage shot by Banksy to make
retrospective, David Bowie Is, currently on
In much the same way, the works of Mr.
his own movie about Thierry’s journey in the
display at the Groninger Museum, The Neth-
Brainwash have upturned prevailing conven-
project. In turn, Thierry decided to become
erlands until April 10th), Bowie had produced
tions in the art-world and have now gone
a street artist himself, and reinvented himself
hundreds of works of art in various mediums,
mainstream. The image-Bowie during the
as Mr. Brainwash.
including oil, charcoal and computer gener-
height of his Ziggy Stardust era-symbolizes
While many critics assail his work, the
ated graphics.
Bowie’s first bold challenge to consumers of
demand for works by Mr. Brainwash con-
The cover for this issue of Venü Magazine
rock and roll; that moment when the visual
tinues to grow, as do their importance. His
demanded an image of Bowie which captures
aspect of Bowie’s performances would
recent portraits, The Kardashians, (executed
the gravitas of Bowie’s passing; a work of art
first take their spot alongside his music,
in the style of Renoir) have gained global
that not only conveys Bowie’s mainstream
on equal footing and of equal importance,
attention, and the scope of their relevance in
appeal, but also comments on his scope of
both onstage and off.In the film, Exit Through
popular culture have already been noted by
Bowie’s connection to the art world, and its
The Giftshop, (2010), Brainwash (a.k.a Thierry
mainstream art critics. The depth and manner
underground.
Gutta) began with the thought that he would
of their impact on the art world have been
The image selected, David Bowie by Mr.
document graffiti artists in the act of creating
compared that of Andy Warhol in the mid to
Brainwash (courtesy of Samuel Owen Gal-
their work. The production grew in scope
late 1960’s and like David Bowie, his work is
lery, Greenwich, CT) captures the essence
as it evolved, and eventually drew some of
always compelling, and never predictable.
of David Bowie, the iconoclast who singlehandedly upturned conventional wisdom
(David Bowie by Mr. Brainwash is on display
and accepted norms of rock and roll, and
at Samuel Owen Gallery, 382 Greenwich
managed to achieve what so many others
Avenue, Greenwich, CT 203-422-6500
deemed impossible.
samuelowen.com) CONTEMPORARY /MAGAZINE CONTEMPORARYCULTURE/ CULTURE/ /MAGAZINE
67 67
PULSE:
Stage
Steve Rankin: Fighting The Good Fight Steve Rankin is the embodiment of what’s known in the entertainment industry as “a hyphenate.” By William Squier Contributed Photo
Rankin is an actor-director-musician-teacher with a string of movie and television credits that extends back to the early eighties, including a starring role in the recently released independent film Listen. “For the last five years I’ve been teaching a class at the California Institute of the Arts,” he explains. “One of the things I tell my students? If there’s anything else that you can do that’s related to your career as an actor, develop that skill. You have no idea if it will blossom into another cottage industry.” In Steve Rankin’s case, following his own advice meant adding another hyphen for what has become an equally successful career as a theatrical fight director. For almost as long as he’s been tackling roles onstage, Rankin has also been staging scuffles, melees, battles and brawls in everything from the classic works of Shakespeare and O’Neill to rock operas and jukebox musicals. He’s been involved in no fewer than 14 Broadway shows, including the hits Jersey Boys, Memphis and The Who’s Tommy, and been responsible for the nightly demise of such iconic characters like Dracula, Macbeth and Bonnie and Clyde. “I grew up on a farm in Illinois as the youngest of six kids,” Rankin recalls. “I always blame my brothers and sisters of being responsible for me becoming an actor. On a farm, you have a lot of make-believe time and they had the greatest imaginations.” And that led to acting out rough-andtumble adventures that included feats of daring-do like swinging on ropes from the hayloft in their barn. “Than inspired me,” he says. Rankin’s early acting career followed the well-worn path of performing in high school and college plays, summer stock and, eventually, working the circuit of dinner theaters in the Midwest. “I was getting $100 a week, a place to stay and all the roast beef I could eat!” he says, with a laugh. And Rankin gained a bit of a reputation as a risk-taker. “I was the kind of a guy who’d hear them say, ‘We need somebody to get on this platform
the English born Barry’s Broadway credits were well into the double digits,
twelve feet in the air, jump down and fall on his head,” he remembers.
along with serving as fight director for the Royal Shakespeare Company.
“And I’d say, ‘I’ll do it!’ So, I hurt myself a lot and thought, ‘There must
“I dogged him for as much information as I could get,” Rankin admits.
be a better way.’
“Several years later, I got into the acting company at the Actors Theater of
The “better way” was revealed to Rankin in the late seventies when
Louisville. The first show I did there was The Three Musketeers and David
he enrolled in a graduate acting program offered by the Asolo Repertory
Boushey staged the fights.” Boushey was Barry’s Yankee counterpart and
Theater’s Conservatory. There he met Norm Beauregard. “He was a gymnast
together they founded the Society of American Fight Directors Society of
with fencing training who knew a lot about theatrical fighting,” Rankin
American Fight Directors.
says. “His course was three days a week, three hours a day, for eighteen
Rankin’s eight-year stay at the Actors Theater proved to be a turning
weeks. I took to it like a duck to water!” Then, Rankin applied what he was
point. “I was able to do everything,” he says. “I acted in 60 plays, directed
learning to the task of staging the action at Florida’s Renaissance fairs, with
some and staged fights in about 50. I came at it from an actor’s point-of-view.
Beauregard as his mentor.
The questions became, ‘What is the dramatic gesture that the playwright
When Rankin resumed his professional acting career, he was fortunate to work with several venerable fight directors. “Right out of graduate school I got a job playing Viscount Valvert in Cyrano de Bergerac opposite F. 68
Murray Abraham,” he remembers. “B.H. Barry staged the fights.” By then,
CONTEMPORARY CULTURE//MAGAZINE
wants and what can actually be done in a theater?’ Actors have to figure out how to make a fight real and organic.” Rankin points to an example of what he means from his Louisville days.
He was on the creative team for the premiere of John Patrick Shanley’s
could continually work on it and keep it in shape during the run. The reviews
Danny and the Deep Blue Sea in which the stage directions indicated that
where so glowing that they were on the verge of being embarrassing!”
a beer pitcher was smashed across the face of one of the characters. “You
When the production won the Tony Awards for Best Revival and Best
can do an effect like that on film,” Rankin says. “In the theater, you have
Direction of a Play, O’Brien singled Rankin out for thanks in his acceptance
to do it over and over again and do it safely.” So, instead, he conceived
speech. “That made this career official,” he insists. And Rankin’s phone
of a fight that began with the characters throwing popcorn at one another
started ringing off the hook!
and escalated into furniture being overturned. “It had the same effect,” he notes, without putting the actors as risk.
Even though organizations as prestigious as the Metropolitan Opera have come calling, Rankin has chosen to keep his circle of collaborators
Rankin’s career as fight director took off when he formed creative
small, working primarily with O’Brien, McAnuff and their successors at
partnerships with two of the country’s hottest regional theater directors:
The Old Globe and La Jolla, Darko Tresnjak (now the Artistic Director of
Jack O’Brien at the Old Globe Theater in San Diego, CA, and Des McAnuff
Hartford Stage) and Christopher Ashley. His longstanding relationships
at the La Jolla Playhouse. He began three decades of collaborating with
with each of these directors has allowed for the development of a kind of
O’Brien by staging the combat in a pair of Shakespeare productions which
creative shorthand. “They know that I’m going to take care of that part of the play, show it to them and then we make adjustments,” he says. “95% of the time, I get the go-ahead to do what I want to do.” Rankin’s has also honed his overall approach to stage violence. “I look for a way to bring an element of spectacle to it,” he says. “And then, I build the storytelling around that, based on what the director would like to see and working within the capabilities of the actors. It needs to be quick, brutal and over.” Photo by Paul Kolnik
Clockwise: Pig Farm at The Old Globe; Michael Hayden and Ethan Hawke as Henry and Hotspur in Henry IV; Romeo and Juliet at The Old Globe.
“Fights look best when they’re messy and surprising,” Rankin continues. “But, it can
get out of hand really quickly. It can get dangerous. So, I try all of these things out before we actually do them to make it as injury-proof as possible with the highest amount of theatrical gesture.” “I also try to fit into the style of the play,” Rankin explains. He points to his recent stint with director Tresnjak on a stage adaptation of the short
Contributed Photo
story that inspired the film Rear Window. “It’s in the noir style, so the way you handle a gun is different,” he cites as an example. “Put a gun into a contemporary actor’s hand? They’ll grab it with both hands and hold is
Rankin jokes he did “in exchange for housing at the beach.” When he
straight out. That’s not what happened in the 30’s and 40’s. They held it
moved to Los Angeles in 1989 to pursue film and television roles, Rankin
with one hand, down low with a very different feeling.”
frequently found himself shuttling between Hollywood studios and the Old Globe’s stage.
Rankin is even able to draw on his experience as a musician when he’s polishing a fight sequence. “There’s a natural, sequential rhythm that has
Des McAnuff contacted Rankin after he saw his work in Hamlet. “He
to happen when you’re doing any kind of punches or sword fighting,” he
didn’t like the production very much,” Rankin says, with a laugh. “But,
feels. “How it wants to sound and wants to flow. I can hear when it’s too
when the fight scene came on he went ‘Somebody else directed that part
long or not long enough.”
of the play.” That led to Rankin partnering with McAnuff for the premiere
But, it’s often one striking theatrical gesture that distinguishes a Steve
of The Who’s Tommy in 1992. In the years since, McAnuff and O’Brien have
Rankin fight. “In Memphis, there was a street fight,” he recalls. “These
mounted more than 30 of the shows they’ve directed on Broadway, roughly
Southern guys showed up when the black girl and the white guy were
a third of which have included the handiwork of Steve Rankin. Another turning point happened when O’Brien opened Shakespeare’s sprawling history plays Henry IV, Parts 1 & 2 at New York’s Lincoln Center
kissing. And I said, ‘We’re going to give one of them a bat.’ As soon as you see it, the bat does all the work. It provides the dramatic tension because you know somebody’s going to get hit. And you go, ‘Oh, no!”
in 2003, starring Ethan Hawke and Kevin Kline. Rankin was hired to not
“I look for an image,” Rankin says, summing up his approach. “They
only stage the combat but also play Prince Hal’s confidante, Ned Poins. “It
come to me at the strangest times. It might even be something we used
was a fight with 30 people,” he explains. “I was there the whole time, so I
to do in the hayloft!” CONTEMPORARY CULTURE//MAGAZINE
69
FILM + ENTERTAINMENT
FOX ON FILM by PETER FOX: about.me/foxonfilm
“I Smile Back” Starring Sarah Silverman, Josh Charles, Thomas Sadoski, Chris Sarandon, Directed by Adam Salky. 85 Minutes, Rated R, a Broadgreen Pictures Release.
E
ach year, just before Oscar selection season begins, a spate of character-driven films are released, most of which feature tried and true character motifs: The Stand and Deliver, Man Against the Mountain, Life or Death themes can be found in theaters, portrayed by members of the A-List, all of whom take on these archetypical roles with the hopes that their portrayals of characters being pushed to the limits of human endurance will garner them favor with the Academy. With that in mind, Sarah Silverman’s performance in I
Smile Back will certainly be remembered as one of the most Oscar-worthy performances to have somehow escaped recognition. Silverman is electrifying as Laney, a suburban housewife who has what seems to be a perfect life, but is forced to face her painful past when the despair and reckless behavior that she is hiding, puts her in danger and ultimately destroys everyone and everything around her. Laney is an attractive, intelligent suburban wife and devoted mother of two adorable children. She has the perfect husband, Bruce,
(Josh Charles) who adores her. He plays basketball in the driveway with their two children and is a very active father. They live in a beautiful house; Laney has a fancy SUV for driving her children to school and activities. As we follow Laney through her routines, which include sneaking into the family’s bathroom to snort cocaine, at night, followed by a romp in a neighbor’s bed after dropping the kids off at school the next day, the audience is left wondering about the source of her need to constantly medicate. Is it the
numbing routine of marriage and motherhood? Or, is it some lingering injury from her childhood? Depressed about her sagging breasts and jawline, Laney bemoans her self-loathing to Bruce. The scenes of Laney’s affair with the neighbor are smartly juxtaposed with the scenes of her around the house with Bruce and the children. Is she just bored with Bruce, an insurance salesman who seems weirdly oblivious to Laney’s mental torment? Director Salky expertly navigates between Laney’s two worlds, one secret, the other a public performance, and the audience is left to wonder which way Laney will chose at the end of the day. Silverman’s tour-de-force performance obliterates every suspicion that her comedic roots might be an impediment to gaining access to the dark, deeply-depressed character of Laney. Silverman suffered from depression as a child growing up in New Hampshire. At age fourteen, she was placed on anti-anxiety medication by her psychiatrist. “I was kind of numb, I guess,” she said. “It didn’t fix me in any way.” Her first therapist hanged himself, and her parents did not tell her why she couldn’t continue to see him. Her next therapist, a hypnotist, told her about the former therapist’s suicide. All of this and more made for a difficult childhood; a common link shared by many stand-up comedians. “I don’t have easy access to my emotions,” she admits. “They’re very tightly packed and compartmentalized.
All photos courtesy of Chase Bowman, BBCG Films, LLC 70
CONTEMPORARY CULTURE//MAGAZINE
But for this part, they had to be on the surface. A really big director I admire once told me, ‘You’re really good, but I’ll never cast you in anything because you’re Sarah Silverman. People are too familiar with you. You’re like a personality. I need actors that people can get lost in.’ I
of a potential client, which hurts and offends Bruce. As the story unfolds, Laney continues to unravel. After leaving rehab, her need to find the root of her addiction reaches a boling point, but it is almost as if Laney wants her efforts to fail; its as if she would like an excuse to
couldn’t argue with him [she fake pouts] other than give me a chance.” The nature of the Laney’s tortured existence are touched upon, but never explored deeply enough. But, in sessions with a therapist (Terry Kinney) during her first trip to rehab, we get a small glimpse. There are abandonment issues stretching back to her father leaving her when she was nine, but contact is never re-established, leaving an encroaching fear that loving anybody, even her children, means living with the ever-present fear of losing them. But it is also suggested that the routine dullness of upper-middle-class existence is also a trigger of Laney’s addiction. We get a very brief hint of Silverman’s onscreen comedic talents during a dinner party scene in which she puts the guests at the table into an uncomfortable moment by mocking the wife
use drugs again. We feel her loneliness as we follow her through the obligatory hiccup scenes where she makes a fool of herself during drop-offs and pick-ups at the school where her children attend, a coke-fueled romp with her neighbor, followed by the ultimate rejection by him after she learns that his wife is
pregnant. But the best scene in the film is where Laney makes an unscheduled visit to see her estranged father, sensitively portrayed by Chris Sarandon. His response to seeing Laney is touching, the sadness and shame evident in his eyes and body language, the need for dialog almost non-existent. The visit with her father does not produce the result which Laney had hoped for. Subsequently, her ability to resist drugs is weakened, and the battle becomes a losing one. In one of the few moments of levity in the film, Laney asks Bruce to retell the story of how they met. The scene plays as if Laney knows that this will be her final contact with all that is warm and safe, before she succumbs to the final pull of the other side of her existence. In the beginning of the film’s climax sequence, she heads alone to a bar and sits with the burly bartender at closing time, where he, somewhat predictably, preys on her drug fueled promiscuity. The film explores the question: How many times can an addict return home and try again? At the finish,
the film the posits the state of Laney’s existence, and leaves the audience with what can be taken as either an open-ended answer, or an answer which is very dark, haunting and cold. In I Smile Back, the uncertainty and danger of loving a recovering addict are fearlessly explored with gritty storytelling, and a ferociously delivered performance by Silverman, whose commitment to the role of Laney is evident from the very first frame. Silverman portrays the trickery and deceitfulness of Laney as if they are second nature, and she seems familiar with the daily routines which come along with addiction; blocking out the effects of her addiction on her loved ones, ignoring the pain that it causes others as she pursues the next rush. Laney operates on auto-pilot. She never stops to consider the costs as the disasters mount, unseen at first, but are then reflected back at her; her own estranged, familiar face, stares blankly back at her in a shattered mirror, as everything around her falls to ruin. Sarah Silverman is brilliant in this utterly dark, but true to life tale of addiction.
CONTEMPORARY CULTURE//MAGAZINE
71
DECORATIVE ARTS
On The Block: Auction Highlights by Matthew Sturtevant
Willey Indeed! The Lancashire-based Gordon Willey Collection saw 100% sold, including a stunning 1964 Aston Martin DB5. Originally owned by Johnnie Walker heir and celebrated motor-racing figure, Rob Walker, the DB5 achieved £516,700. Further sale highlights include a 1937 Lagonda 4-litre LG45 Rapide Tourer, sold for £785,500, a 2005 Ferrari 575 Superamerica Convertible, sold for £611,900, and the personal Rolex wristwatch of Austin Healey founder, Donald Healey, sold for more than double estimate to achieve £25,300. Featuring some of the worlds best examples of great British marque, Austin-Healey, the Arthur Carter Collection saw buoyant bidding in the saleroom. Arthur Carter assembled the greatest collection of AustinHealeys, including a 1953 AustinHealey 100 / 100S Coupe, the much loved everyday car of marque founder, Donald Healey. After intense bidding, the coupe sold to a bidder in the room for £639,900. “We’ve seen some excellent figures achieved at the annual Bond Street Sale, with over £8.8 million sold, and a new world record set for the 1960 Jaguar XK150 3.8-Litre Drophead Coupe, which soared to an incredible £427,100” said James Knight, Bonhams Group Motoring Director.
72
CONTEMPORARY CULTURE//MAGAZINE
Brother Have You Got a Dime? An 1894-S Barber Dime, Branch Mint PR66 PCGS CAC, the finest known, realized $1,997,500 at auction on Jan. 7, 2016 as the centerpiece of Heritage Auctions’ Platinum Night event at the Florida United Numismatists (FUN) Convention in Tampa, FL. It was sold to an experienced collector, who placed their bid online and wishes to remain anonymous. The winning bidder was one of 16 different collectors vying for the piece. “This was a once-in-ageneration opportunity to own one of the most famous, mysterious and elusive coins in American numismatics,” said Greg Rohan, President of Heritage Auctions. “It’s a classic of American coinage often grouped with the 1804 dollar and the 1913 Liberty nickel as ‘The Big Three’ of U.S. coin
rarities. It has been the stuff of collectors’ dreams since attention was first brought to it in 1900.” Only 24 Barber dimes were struck at the San Francisco Mint in 1894, apparently in order to balance a bullion account. No more than nine — and possibly only eight — examples of the 1894-S are known to collectors today, with this coin being the finest survivor certified. “We know that there are likely at least a couple more of these 1894-S dimes still in circulation,” said Rohan. “Heritage Auctions is offering a reward to anyone who might have a previously unreported example of this coin. We’ll pay $10,000 simply to be the first to examine and verify it is an authentic, previously unknown 1894-S dime.”
Locked and Loaded At Sotheby’s London “The Lock”, one of John Constable’s most famous compositions sold for £9,109,000 / 12,562,266 / $13,699,025, 160 years after its last appearance on the market. The monumental landscape depicting the countryside of the painter’s “careless boyhood” was the highlight of the Old Master & British Paintings Evening sale which featured a significant number of museum-quality works and totalled £22.6 million / 31.2 million / $34 million (est. £21.8-32.6 million).
Alex Bell, Joint International Head and Co-Chairman of Sotheby’s Old Master Paintings Department said: “The Lock belongs to a small group of pictures that define Constable’s oeuvre and genius. The artist’s absolute mastery as a landscape painter is everywhere in the picture and this was reflected in the result achieved tonight. The painting was one of many museum-quality works presented in the sale, an unprecedented proportion of which were from private collections and came to the market for the first time in several generations. The combination of quality and freshness to the market are key in this field and certainly account for this evening’s strong results.” John Constable’s The Lock Painted circa 1824-5 when Constable was at the height of his powers, The Lock is one of only three major works by Constable left in private hands. This iconic image is the fifth in the series of six monumental landscapes popularly known as the artist’s ‘Six-Footers’, which for many define the pinnacle of Constable’s career. Depicting a bucolic scene on the River Stour in the artist’s native Suffolk, and painted in response to the huge critical acclaim that greeted Constable’s first treatment of the composition (exhibited at the Royal Academy in 1824), the picture was treasured by the artist. Retained by him in his studio until the end of his life, singled out by him for prestigious exhibitions, it was chosen as the basis for the engraving that was to make it among the most familiar and celebrated images in the canon of British art.
CONTEMPORARY CULTURE//MAGAZINE
73
JOSEPH DERMODY
BOOTH M715
Reuse, repurpose, reinvent are Joseph Dermody’s signatures. Award-winning artist and versatile craftsman, Dermody reuses old forgotten materials in his modern furniture designs, and repurposes wooden veneers into 3-D movement-infused sculptures. Reinvent and elevate your space with these bold one-of-a-kind works of art. Shown: 24” x 24” framed wood veneer sculpture. josephdermody.com or e-mail: josephdermody@gmail.com
74
CONTEMPORARY CULTURE//MAGAZINE
JEFF MCNAMARA Jeff McNemara is a top magazine and advertising photographer, whose work is seen in magazines such as Architectural Digest, Luxe Interiors & Design, Coastal Living, House Beautiful - and in his Brand work with Polo Ralph Lauren Home, Restoration Hardware, oomph and Cowtan & Tout, to name a few. jeffmcnamara.com represented by crcampbell@aspiremediamarketing.com
FASHION FURNITURE LIGHTING TEXTILES JEWELRY ART ANTIQUES ACCESSORIES •
•
•
•
•
•
•
CONTEMPORARY CULTURE//MAGAZINE
75
FASHION FURNITURE LIGHTING TEXTILES JEWELRY ART ANTIQUES ACCESSORIES •
76
CONTEMPORARY CULTURE//MAGAZINE
•
•
•
•
•
•
(203) 451- 3066
FASHION FURNITURE LIGHTING TEXTILES JEWELRY ART ANTIQUES ACCESSORIES •
•
•
•
•
•
•
CONTEMPORARY CULTURE//MAGAZINE
77
Gallery + MuseuM GuIDe
eSSeX
BridgeporT City Lights Gallery 37 Markle Court, Bridgeport Tel: 203.334.7748 Web: citylightsgallery.org Hours: Wed - Fri 11:30am-5pm; Sat 12- 4pm, or by appointment City Lights Gallery presents local, regional and emerging artists to Bridgeport and its visitors. The gallery hosts various community-based exhibits and events such as: Artists’ Receptions, Arts/crafts classes, Open Studio Workshop, Lunch Time Art Demonstrations, Movie Night Series, Concerts and Music, Private and Corporate Rentals. Housatonic Museum of Art 900 Lafayette Blvd., Bridgeport Tel: 203.332.5052 Web: hctc.commnet.edu/artmuseum Hours: Sept-May, Mon - Fri 8:30am-5:30pm; Thurs until 7pm, Sat 9 - 3 pm The Museum has one of the most significant collections of any two-year college in the country and includes works by master artists such as Rodin, Picasso, Matisse, Miro and Chagall. Both art enthusiasts and casual observers have the rare opportunity to engage daily with original works of art and artifacts on continuous display throughout the College and campus grounds. The Museum also presents lectures, programs and changing exhibitions in the Burt Chernow Galleries for our students and the community at large, serving as a rich cultural resource for the Greater Bridgeport area. Schelfhaudt Gallery University of Bridgeport 84 Iranistan Avenue, Bridgeport 203-576-4696 The Schelfhaudt Gallery at the University of Bridgeport produces a varied and eclectic number of shows each academic year. Exhibits include works from students, alumni, local, regional and nationally known artists and associations such as the New York Type Directors. The Schelfhaudt Gallery is also host to the Innovators Entrepreneurs events, film screenings and multiple symposiums.
78
CONTEMPORARY CULTURE//MAGAZINE
greenwich
Cooper & Smith Gallery 10 Main Street Tel: 860-581-8526 www.coopersmithgallery.com Hours: Wed-Fri, 12–5; Sat-Sun, 11–5
Bruce Museum 1 Museum Drive, Greenwich Tel: 203.869.0376 Web: brucemuseum.org Hours: Tue-Sat 10-5pm Sun 1-5pm
Fine art on a grand scale. Nov: Natural Impressions, James Coe. Reception, Dec 5: Color Forms, Judith Pond Kudlow, 4:30-7:30.
A regionally based, world-class institution highlighting art, science and natural history in more than a dozen changing exhibitions annually. The permanent galleries feature the natural sciences that encompass regional to global perspectives.
FairField Art/Place Gallery 70 Sanford St Tel: 646-258-6912 or 203-374-9720 Web: www.artplacegallery.com Hours: Thur-Sat 12 - 4pm & Sun 2 - 5 PM
C. Parker Gallery 17 E Putnam Ave Tel: 203-253-0934 Web: www.cparkergallery.com Hours: Mon-Sat 10-5:30pm, Sun 11-5pm
Art/Place Gallery celebrates over 30 years as a not-for-profit artist run gallery, located in the center of downtown Fairfield, Connecticut.
Over the last decade, C. Parker Gallery has cultivated an impressive array of original works created by highly collectible and distinguished artists. The gallery’s extensive collection ranges from 19th century masters to rising stars who have exhibited in major salons, museums and galleries around the world.
The Bellarmine Museum of Art Fairfield University, Bellarmine Hall Tel: 203-254-4046 www.fairfield.edu/museum Edward Koren: The Capricious Line February 5 – April 8, 2016 The Walsh Art Gallery Fairfield University, Quick Center for Arts Tel: 203-254-4062 www.fairfield.edu/walshgallery Don Gummer - The Armature of Emotion: Drawings and Sculpture March 3 – June 11, 2016 Hours: Monday – Friday, 11-4 Fairfield University 1073 N. Benson Rd. Fairfield, CT 06824 The Fairfield Museum + History Center Explore the Past, Imagine the Future 370 Beach Road, Fairfield Tel: 203.259.1598 Fax: 203.255.2716 Web: fairfieldhistory.org Hours: Open daily 10am - 4pm Southport Galleries 330 Pequot Avenue Tel: 203.292.6124 Web: southportgalleries.com Presenting a selection of enduring American Masters and Contemporary artists, we invite new clients and seasoned connoisseurs to explore the values of fine art collecting.
Flinn Gallery Greenwich Library, 2nd Floor 101 W. Putnam Avenue Web: flynngallery.com Tel: 203.622.7947 Hours: Mon-Fri 10am-5pm; Thur 10am-8pm Sat 10am-5pm; Sun 1pm-5pm The Flinn Gallery is a non-profit, education oriented exhibition space that presents art in all mediums from a wide range of periods, visions and techniques. Michael Florio Gallery 135 Mason Street, Greenwich Tel: 203-858-5743 Web: michaelflorio.com Hours: Mon-Fri by chance or appointment Michael Florio Gallery brings thirty years of expertise to collectors of emerging artists, contemporary art, investment grade marine art, and rare curiosities. The gallery hosts regularly scheduled artist receptions and works closely with major collectors and museums in helping build their collections and acquiring precious objects of great historical value. Located in downtown Greenwich with free and easy parking.
ivoryTon Six Summit Gallery 6 Summit Street Tel: (860) 581-8332 (917)-573-0029 NYC Web: sixsummitgallery.com Hours: Wed: 11am-5pm Thu:11am -6:30pm Fri: 10am-6:30 pm Sat: 12pm-4pm Sun: 12pm 4pm. Hours subject to change, please call ahead.
GALLERY + MUSEUM GUIDE
F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E RV I C E S
To be included in the Gallery + Museum Guide email us at advertising@venumagazine.com
CONTEMPORARY CULTURE//MAGAZINE
79
GALLERY + MUSEUM GUIDE
MADISON Susan Powell Fine Art 679 Boston Post Road Tel: 203-318-0616 Web: susanpowellfineart.com Hours: Wed-Sat 11am-5pm Sun: Anytime by appointment
Center for Contemporary Printmaking 299 West Avenue, Mathews Park Norwalk, CT 06850 Tel: 203.899.7999 Web: contemprints.org Hours: Tue-Sun 9- 5pm
The gallery specializes in Contemporary Realism, and Impressionism, with monthly exhibitions featuring nationally-known and emerging artists.
Serving the tri-state area for twenty years, CCP is a non-profit gallery and world-class printmaking studio. The art of printmaking can be explored through workshops, edition printing with master printers, exhibitions, community programs, and an Artistin-Residence Program.
NEW CANAAN Handwright Gallery & Framing 93 Main Street, New Canaan Tel: 203.966.7660 Fax: 203.966.7663 Web: handwrightgallery.com Hours: Mon-Sat 10-5:30pm Handwright Gallery & Framing provides a full range of framing and installation services for the Fairfield County area. The gallery offers original paintings including watercolors, oils, and pastels along with sculpture from traditional to contemporary. Our gallery represents emerging and award-winning regional artists. Silvermine Arts Center 1037 Silvermine Road New Canaan, CT 06840 Tel: 203.966.9700 Web: silvermineart.org Gallery Hours: Wed-Sat 12pm-5pm; Sun 1pm-5pm
NEW HAVEN Fred Giampietro 1064 Chapel Street New Haven, CT 06510 Tel: 203.777.7760 Web: giampietrogallery.com Hours: Mon-Sat 11-6pm, or by appointment Reynolds Fine Art 96 Orange Street, 9th Square New Haven, Connecticut 06510 Tel: 203.498.2200 Web: info@reynoldsfineart.com Hours: Tues-Thurs – 11-5pm, Fri – 11-6pm, Sat – 11-5pm Yale Center for British Art 1080 Chapel Street Tel: 203-432-2800 Web: britishart.yale.edu Temporarily closed for building conservation . REOPENING SPRING 2016 Yale University Art Gallery 1111 Chapel Street (at York Street) Tel: 203-432-0600 Web: artgallery.yale.edu Hours: Tue-Fri 10am–5pm Thu (Sept–June) 10am–8:00pm Sat–Sun 11am–5pm The Gallery is free and open to the public.
80
NORWALK
CONTEMPORARY CULTURE//MAGAZINE
Leclerc Contemporary At Fairfield Co. Antique and Design Ctr. 19 Willard Road, Norwalk, CT 06851 Tel: 203.826.8575 Web: leclerccontemporary.com Hours: Mon - Sat 10-6, Sun 11-5 and by appointment. Brand new upscale contemporary art gallery located just off Westport Avenue. Featuring new art exhibits every 6 weeks.
STAMFORD Fernando Luis Alvarez Gallery 96 Bedford Street, Stamford, CT Tel: 888-861-6791 Web: flalvarezgallery.com Hours: Mon by appt. Tue-Sat 10am-6pm Sun closed The Fernando Luis Alvarez Gallery was founded by contemporary artist Fernando Luis Alvarez with the goal of providing other artists with what he always yearned for from a gallery, yet which he never received. Franklin Street Works 41 Franklin St, Stamford, CT Tel: 203-595-5211 Web: franklinstreetworks.org Hours: Wed, Fri, Sat, Sun: 12 -5:00pm Thurs: 12-7pm Franklin Street Works is a new, not-for-profit contemporary art space, café, and social gathering place in Stamford, Connecticut. It produces original on-site and off-site exhibitions, artist projects, and related programming. Located in renovated row houses on Franklin Street, the two-story space includes three galleries and a café.
OLD LYME Chauncey Stillman Gallery Lyme Academy College of Fine Arts 84 Lyme Street, Old Lyme Tel: 860.434.5232 Fax: 860.434.8725 Web: lymeacademy.edu Hours: Mon-Sat 10-4pm Exhibitions, free and open to the public, include a broad spectrum of professional, student and alumni artwork throughout the year.
The Cooley Gallery 25 Lyme Street Old Lyme, CT Tel: 860-434-8807 Web: cooleygallery.com Hours: Tue-Sat 10am-5pm Diane Birdsall Gallery 16 Lyme Street, Old Lyme 860 434 3209 Web: dianebirdsallgallery.com Hours: Wed-Sat: 12-6 pm Sun: 1-4 pm Florence Griswold Museum 96 Lyme Street, Old Lyme Tel: 860.434.5542 For hours, admission, special events visit: FlorenceGriswoldMuseum.org “Home of American Impressionism.” Historic boardinghouse of the Lyme Art Colony, modern gallery with changing exhibitions. Gardens and grounds to enjoy.
RIDGEFIELD The Aldrich Contemporary Art Museum 258 Main Street Tel: 203.438.4519 Web: aldrichart.org Hours: Tue-Sun 12-5pm The Aldrich is dedicated to fostering innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking. The Aldrich, which served an audience of over 37,700 in 2011, is one of the few independent, non-collecting contemporary art museums in the United States, and the only museum in Connecticut devoted to contemporary art. Ridgefield Guild of Artists 93 Halpin Lane, Ridgefield Tel: 203.438.8863 Web: rgoa.com Email: rgoa@sbcglobal.net Hours: Wed-Sun 12-4pm For a complete calendar of events and offerings, please visit our web site at rgoa.org. Watershed Gallery 23 Governor Street, Ridgefield Tel: 203.438.44387 Web: watershedgallery.com Hours: Tue-Fri 11-6; Sat 11-5; Sun 1-5
GALLERY + MUSEUM GUIDE
F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E RV I C E S
To be included in the Gallery + Museum Guide email us at advertising@venumagazine.com
CONTEMPORARY CULTURE//MAGAZINE
81
GALLERY + MUSEUM GUIDE
WESTPORT
POUND RIDGE
Amy Simon Fine Art 1869 Post Road East, Westport Tel: 203.259.1500 Fax: 203.259.1501 Web: amysimonfineart.com Hours: Tue-Sat 11-5:30 and by appt. Amy Simon Fine Art specializes in work by mid-career and emerging artists, contemporary blue chip editions and Asian contemporary art. The gallery’s inventory and exhibitions reflect its eclectic interests and expertise in these areas. Amy Simon works with collectors worldwide. It is our mission to introduce clients to work that we are passionate about. Picture This Custom Framing & Fine Art and Nylen Gallery 772 Post Road East, Westport Tel: 203.227.6861 Web: picturethisofwestport.com Hours: Mon-Fri 10am-5:30pm Sat 10am-5pm Framing: Creative presntation and preservation solutions for every kind of art. Digital art services offred as well. Westport Art Center 51 Riverside Avenue, Westport Tel: 203.222.7070 Fax: 203.222.7999 Web: westportartscenter.org Hours: Mon-Fri 10-4; Sat 10-5; Sun 12-4
NJ MORRIS
Morris Museum 6 Normandy Heights Road Tel: 973.971.3700 Web: morrismuseum.org Hours: Tues-Sat 11am-5pm Sat 12pm--5pm The Morris Museum is Morris County’s epicenter of art, science, culture, and history. Located in the Twin Oaks mansion in historic Morristown, the museum boasts a permanent collection of more than 40,000 objects ranging from rocks and minerals to model trains, as well as one of the country’s largest collections of mechanical musical instruments and automata.
82
CONTEMPORARY CULTURE//MAGAZINE
The Lionheart Gallery 27 Westchester Avenue Pound Ridge, New York Tel. 914-764-8689 Web: Thelionheartgallery.com Hours: Wed-Sat 11am - 5pm; Sun. 12-5pm and by appointment.
BROOKLYN A.I.R. Gallery 111 Front Street, #228, Brooklyn, NY Tel: 212-255-6651 Web: airgallery.org Hours: Wed - Sun 11 am - 6 pm A.I.R. Gallery’s goal is to provide a professional and permanent exhibition space for women artists to present work of quality and diversity.
MANHATTAN
The Lionheart Gallery in Pound Ridge, New York is located in Northern Westchester’s Hudson River Valley on the border of Stamford and New Canaan, Connecticut. The Lionheart Galley has beautifully lush grounds with a pond and a aviary garden. Gallery Director Susan Grissom curates each exhibit from work chosen from the artists’ studio. March 7-May 1 Serge Strosberg - Tales of the High Line Jo Hay Rabbitude May 7- July 3rd Ashley Chase Andrews Greg Welz
Agora Gallery 530 West 25th Street New York, N.Y. 10001 Tel: 212.226.4151 Web: www.agora-gallery.com Hours: Mon-Sun 12-7pm Castle Fitzjohns Gallery 98 Orchard Street, NY, NY Tel: 212-260-2460 Web: castlefitzjohns.com Hours: Mon-Sun 12-7pm Hoerle-Guggenheim Gallery 527 W 23rd Street New York, NY 10011 Web: hoerle-guggenheim.com Tel. 212-366-4490 F. 212-366-4481 Rotella Gallery 468 West Broadway Tel:: 212-260-1140 Fax: 212-260-1125 Web: rotellagallery.com Hours: Mon–Sat 10am–7pm EST Sunday 11am – 6pm EST
LARCHMONT Kenise Barnes Fine Art 1947 Palmer Avenue Tel: 914.834.8077 Web: kbfa.com Hours: Tue-Sat 10am-5:30pm and by appointment. We are a gallery and consulting firm that represents emerging and mid-career investment-quality artists. Our program includes over thirty artists working in a variety of mediums. The gallery mounts seven exhibitions annually, and participates in art fairs in Miami, Santa Fe and New York.
Blackstar, 48” x 60”, Oil on Canvas by Jo Hay
PURCHASE Neuberger Museum of Art 735 Anderson Hill Road, Purchase Tel: 914.251.6100 Web: neuberger.org Hours: Tue-Sun 12-5pm; Closed Mon and Holidays. Admission: Adults $5, Students $3, Seniors (62+) $3.
RYE The Rye Arts Center 51 Milton Road, Rye, NY Tel: 914-967-0700 Web: ryeartscenter.org Hours: Mon-Fri 9:30 -7:00pm Sat 9:30-1:00pm
GALLERY + MUSEUM GUIDE
F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E RV I C E S
To be included in the Gallery + Museum Guide email us at advertising@venumagazine.com
CONTEMPORARY CULTURE//MAGAZINE
83
Photographer: David Heischrek
Louis Spagnuolo, Chairman/CEO Illuminati Trust, Raquel and Andrew Dickson, Zurami Pascual
Len Blavatnik, Alan Faena, wil.i.am, Ximena Caminos
Faena Hotel’s Art Basel Opening Extravaganza In one of the most over-the-top bashes during Art Basel Miami Beach, Alan Faena -- who is quite the showman -- and Len Blavatnik welcomed a select crowd to the Dom Perignon-fueled, grand opening celebration of Faena Hotel Miami Beach. (Faena, along with film director/producer Baz Luhrmann and designer Catherine Martin, restored the historic Saxony Hotel, launching the Faena District, a new neighborhood rooted in the arts.) Guests explored the hotel and interacted with dancers and performers, enjoying fireworks by the pool and a spectacular food procession. Notables included music superstar wil.i.am; art world luminaries Jeffrey Deitch, Larry Gagosian and Julian Schnabel; photographer Mario Testino and W magazine editor in chief, Stefano Tonchi. Back row: Linda Levy Goldberg, Cathy Jones, Dr. Joel Hoffman, Nicole Lozano, Sonia Gibson, Suzy Buckley. Front row: James Murphy, Swanee DiMare, Lesli Ann Brown, Alexa Wolman
Vizcaya Ball a Most Elegant Affair Villa Vizcaya is the most majestic Miami setting for a ball. Built in 1910 by millionaire industrialist James Deering, it was the destination for many a decadent black tie and costume bash. This year’s theme, “A Return to the Gilded Age and All That Glitters” set the tone for a magical night, which began with a stylish cocktail reception inside the courtyard where a string ensemble from the Florida Youth Orchestra, played party music from the era. Then on to a lavish dinner under a clear tent that glimmered with gold decor and white flowers. After a breathtaking fireworks display everyone danced late into the night.
CONTEMPORARYCULTURE//MAGAZINE CULTURE//MAGAZINE CONTEMPORARY
Suzanne DeWitt, Zurami Pascual
Over 25 artists came together to raise funds for the Pediatric Cancer Treatment Foundation for childhood cancer research. The non-profit honors Kelsey Michelle Dickson, a brave ten-year old who in 2014 lost her battle with a rare cancer. Her parents, Raquel and Andrew Dickson and aunt Suzanne DeWitt, joined philanthropist Zurami Pascual for an evening that featured a silent auction of Latin American contemporary art. Kelsey was the first child diagnosed with the rarest childhood cancer in the U.S., Merkel Cell Carcinoma, a skin cancer that only affected the elderly. The foundation, a vocal advocate for children diagnosed with all cancers, helps families cope with their difficult journey. In the past, funds were donated to Joe DiMaggio Children’s Hospital in Hollywood FL, Duke University Research Hospital, Children’s Healthcare of Atlanta and Wolfson’s Children’s Hospital in Jacksonville. Sponsors included the Dicksons; Illuminati Trust; Zurami Pascual and Boca Tanning Club Brickell.
Rene Moawad Foundation Gala at Fisher Island Club The Friends of the Rene Moawad Foundation (RMF) celebrated their yearly dinner to benefit the needy and underDr. Christian and Rima Otrakji, H.E. Nayla Moawad, served in Lebanon. The Congressman Nick Rahhal, Jespa Mawad organization was founded by former First Lady of Lebanon, Her Excellency Nayla Moawad. Special guests included Congressman Darrell Issa and singer Manel El-Mallat. Gala chairperson Rima Otrakji, once again created a glamorous evening, which included the crème de la crème of Miami and international society.
Follow Daisy on Twitter and Instagram @DaisySociety. For more on Miami, go to TheDaisyColumn.com
84 84
“Artists Against Cancer” Art Auction
LIVE THE FISHER ISLAND LIFESTYLE
8032 Fisher Island Drive Fisher Island, FL 33109 2 bedrooms 2 ½ bathrooms 2,420 SF Offered at $4,300,000 8032FisherIsland.com Tropical breezes and endless Atlantic Ocean views await you from this redesigned and turn-key Oceanside residence. Located in highly sought-after location, and steps away from its white sandy beach, this unit offers 2 bedrooms, 2-1/2 baths and over 2,420 sq. ft. of well-planned interior space. Features include oversized wrap terraces, an open Chef’s kitchen, stone floors, impact windows, and much more.
Live on South Gables’ most coveted address... Riviera Drive! 6019 Riviera Drive, Coral Gables, FL 33143 3 bedrooms + office 3 bathrooms 2,561 Adj SF 12,000 SF Lot Offered at $1,169,000 6019Riviera.com
BUY | SELL | RENT | INVESTMENT PROPERTIES | PRE-CONSTRUCTION
Pierre Cameau Sales Associate
(305) 298-5715 pierrecameau@gmail.com
Betty Mitchell Broker
(305) 322-1852 Bmitchell@miamihome.com
Fine cabinetry by Plain & Fancy, Medallion, UltraCraft, and KBS Signature. Outdoor kitchens by Brown Jordan. Inspiration by KBS, Westchester’s premier design, cabinetry and remodeling showroom.
50 Virginia Road, White Plains, NY 10603 (914) 946-8600 kbskitchen.com