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Running with the dragons...
Urs Fischer, Pigmaid, 2015 Acrylic paint and silkscreen medium on paper, 33 ◊ 26 1À2 inches, edition of 20
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On Our Radar
Outlook
Predictions
Trade Winds
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Designing for the Future Visionary architect Patrick Tighe looks ahead
King of Ming Christie’s six-day sale of the superb Asian art collection of Robert Ellsworth set world records
BY ERIC GOODMAN
BY EVAN HUGHES
Art Explo The “gunpowder artist,” Cai Guo-Qiang
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Climate Change
From Palate to Palette Michael Chow has always been an accomplished artist as well as a famed restaurateur
Jet Stream
A Fairweather Moment with . . .
80 CAVU
Publishers Alexandra Fairweather Eric Goodman
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BY ALEXANDRA FAIRWEATHER
The Art of Living We meet with the Carpenter siblings in their Plaza Hotel home, where they operate one of the leading boutiques for stringed instruments, catering to investors, musicians, and collectors
Ruhm at the Top Mark Fitzpatrick of Ruhm delivers an immersive marketing experience BY ERIC GOODMAN
BY MIRA DAYAL
BY ALEXANDRA FAIRWEATHER
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Strokes of Genius Chinese calligraphy is an art form and a reflection of a nation’s philosophy BY EVAN HUGHES
Designers Douglas+Voss
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Editor Evan Hughes Digital Media Director Mira Dayal Advertising Director Mable Yiu
38 Power Projects Economic powerhouse China is rolling out some of the biggest infrastructure innovations in the world
Sparkling Startup Siena Lasker founded the succesful fashion company Siena Jewelry straight out of college BY MABLE YIU
Model Citizen Katie Ford, the former CEO of Ford Models and founder of Freedom for All, is on a mission to end modern-day slavery BY ALEXANDRA FAIRWEATHER
Cover, back cover, p. 1: Photography by Rick Day; Stylist: Mario Wilson; Hair and Makeup: Aeriel Payne; Leather motorcycle jacket from Screaming Mimis NYC; Cover bracelet by Eklexic Additonal art: Cover background: Thinkstock. Back cover background: Shutterstock. Digital illustrations by Ken Bae
BY KATHERINE VOGEL For advertising and sponsorship opportunities, or for customer service, please contact Fairweather at 646.582.6927 or info@ fairweathermagazine.com. Fairweather magazine, Summer 2015, copyright © 2015, Fairweather Magazine LLC. All Rights Reserved. See the magazine online at www.fairweathermag.com. Reproduction in whole or in part without written permission is prohibited.
ON OUR RADAR
i hao! Ni hao ma? The Metropolitan Costume Institute Gala put us in the mood for Asia and off we went! We got the scoop on the art scene from the new director of Art Basel Hong Kong, Adeline Ooi, and obsessed over Son Jung Wan’s new collection. We checked out the Forbidden City’s incredible restoration and marveled at China’s new projects, such as the Gansu Wind Farm. Asia Week in New York had everyone buzzing about Asian art and the collection of Robert Hatfield Ellsworth. Peter Cuneo, the former CEO of Marvel and Chairman of Valiant, shared his insights on the future of business in China. We then enjoyed tea with artist Cai Guo-Qiang. Next, we headed to California to meet with restaurateur and artist Michael Chow, checked in with luxury marketing firm RUHM, stopped by the home of jewelry designer Siena Lasker, and had drinks with architect Patrick Tighe at the rooftop bar of the Montage Hotel. Then it was back to New York to speak with Katie Ford about her work to end modern-day slavery. It was then time to stop by the Plaza Hotel to visit siblings David, Sean, and Lauren Carpenter, known for selling and playing renowned string instruments. With beautiful tunes in our heads, it’s almost time for takeoff on our next trip to Europe—Mallorca, Capri, and Edinburgh!
RICK DAY
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SELECTION OF FEATURED BRANDS
OUTLOOK Return to Romance Inspired by the romantic MGM films of the 1950s and the fashion photography of Gordon Parks, fashion designer Son Jung Wan presented a Fall 2015 collection best described as retro-meetsmodern, filled with glamour and a hint of romance. Fabrics consisted of merino wool and handcrafted knits in unique color combinations. Lively metallics, leather and multi-colored furs brought forth the relaxed yet chic mood of the former zeitgeist. Highlights included wool coats in bright orange, adorned with either a fox fur collar, lamb fur details or beaver fur sleeves. Turquoise gaucho pants and voluminous skirts complemented the finale look, a mint green, sequined cocktail dress, echoing the effortless style of the 1950s. —Paige Scott
Radiant Skin The idea of taking care of your skin is no new concept, but Japanese beauty brand SK-II is constantly upping their skincare game. Thirty years ago, SK-II scientists noticed that even the older sake brewers had such youthful looking hands. This led to the discovery of their secret ingredient called Pitera™, made from the specific yeast strain used in the sake fermentation process. Their signature product, the Facial Treatment Essence, has been known to be a “miracle water” that works to create beautiful, crystal clear skin. It contains 90 percent Pitera to gently exfoliate the skin, while reducing the appearance of fine lines and wrinkles. Yes, it’s another product to add in after cleansing and toning, but we believe that it’s well worth the extra step! On top of that, their new Essential Power Eye Cream combines SK-II’s award-winning anti-aging technology and beautiful ingredients to create younger and brighter looking eyes. —Mable Yiu
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The Metropolitan Museum’s collaboration between The Costume Institute and the Department of Asian Art, China: Through the Looking Glass, explores the influence of Chinese aesthetics on Western fashion. In the incredible exhibition, high fashion is juxtaposed with Chinese art, costumes, porcelains and films. Starting in the sixteenth century, the West has been enchanted with Asia’s imagery, inspiring fashion designers from Paul Poiret to Yves Saint Laurent. The exhibition, which celebrates the richness of Chinese history, includes more than 140 examples of haute couture and avant-garde readyto-wear. —Sarah Daniels
Fashion Faves Hello trousers! Nearly every collection for Fall 2015 included pants, be it flares, straight, skinny, or almost legging-like tights (like those from Judy Wu). Fur, fur, fur (thank you, Ashley Isham and others) was also everywhere, faux or real, on collars, cuffs, waistbands, and stoles. A rather Victorian vibe reigned where lace, like Eleni Kyriacou’s delicious designs (pictured), was concerned; a little mournful with a return to the choker and every kind of arm accessory. The final trend and definitely a welcome addition if next winter is as cold as the last, the polo neck! (as seen in Angel Sanchez’s new looks). —Lupe Castro
CENTER: © 2015 RODIN BANICA. TOP RIGHT: COURTESY METROPOLITAN MUSEUM OF ART (WWW.METMUSEUM.ORG)
Spotlight on China
OUTLOOK FORECAST: The Endless Summer It’s summertime again, which means it is time to dance the night away in Mallorca, go yachting along the Amalfi Coast, take part in an Edinburgh adventure, and have good oldfashioned fun in the Hamptons. In other words, it’s time to mark those social calendars…. Are you ready? You know we are.
�When you are in Europe for Venice Biennale and Art Basel in June, it is always nice to explore Europe’s best—this year, we made sure to party the night away at Mallorca’s Hotel Cap Rocat, enjoy lunch at Castelgandolfo and have dinner overlooking the sea at La Posta Vecchia.
�In July, it’s time for Art Southampton (July 9–13), the premiere art fair in the Hamptons— we are excited to see the fair take place in its new location, the celebrated pastoral grounds of Nova’s Ark Project in Bridgehampton. To continue with the celebration of art, Fairweather will be hosting an invite-only VIP event on Saturday afternoon at a private estate in the Hamptons with InSitu Works. After those daytime festivities, it will be time to get your boogie shoes on for the Parrish Midsummer Gala (July 11).
�In July, it’s time to head to Scotland for the
Collision Course We love the surreal, confrontational style that Beijing-based artist Li Hui brings to the Sandra Gering Gallery. Her piece Ksana (named for a Sanskrit word that means a brief fraction of time) shows a collision of opposities: A 500-lb tree trunk piercing a mirror-finished steel surface. —Evan Hughes
Ksana, 2015 Mirror finished stainless steel, steel, wood. Site specific (mirror: 49 x 73 x 6 inches).
Edinburgh Art Festival. As the U.K.’s largest annual festival of visual arts, attracting nearly 300,000 attendees, the festival will present over 40 exhibitions across 30 of Edinburgh’s leading museums, galleries and institutions. The work of world-renowned artists will be exhibited, including John Chamberlain and Tara Donovan.
�Don’t get too carried away with trying on kilts or looking for the Loch Ness monster, since the Circus of Stillness . . . The Power Over Wild Beasts, aka Watermill Center’s annual party of the year (July 25), will be taking place and you won’t want to miss it.
“I believe that art distracts us from everyday life. To live with art enables us to live in higher spheres and is a major quality of life, “ explains Friedrich Wille, CEO of Freywille, whose company creates a limited production of artistic precious fire enamel jewelry in Vienna, where Freywille was founded in 1951. Mr. Wille’s wife, Simone Grünberger-Wille, alongside a team of artists, designers, goldsmiths and enamellists, orchestrates the designs of the beautiful collection. With a tremendous focus on artistic design, the team at Freywille studies art history for inspiration and often pays homage to world-renowned artists such as this stylish bracelet that draws inspiration from Claude Monet. —Sarah Daniels
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�August 7 will be Guild Hall’s Summer Gala— this year the celebrated institution will feature acclaimed artist Roy Lichtenstein.
�August 13, Healthy Child Healthy World will have its 4th Annual Hamptons Luncheon, which will take place at Topping Rose House in Bridgehampton. And before we know it, summer will have ended, so let’s all have a fantastic season and remember to always be where it’s fairweather. FORECAST invites you to share your events with Fairweather Magazine at: www.fairweathermag.com.
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OUTLOOK Jettison Jet Lag For most North Americans, expeditions to China start with at least 12 hours aloft followed by days of brain-numbing jet lag, which often lifts, somewhat inopportunely, at about the time they return home. So how to beat the jet lag clock and feel great fast? Hit the spa within 24 hours of touching down. Tempting as a relaxing, fall-asleep-on-the-table hot stone massage may be, when you’ve got no time for jet lag, spa strategically to help reset the body clock —by booking services designed to rejuvenate and re-energize.
Summer Wine Picks While most of us don’t do the majority of our imbibing outdoors, and it’s perfectly acceptable (and even a good idea) for “summer wines” to include rich reds when you’re grilling steaks or a nice Port to pair with a wedge of Stilton, here are some ideas for warm-weather wines to enjoy now:
At the Sheraton Macau’s Shine Spa, the must-book rejuvenators are the Candle Massage and the Thai Yoga Massage, which, in my case, somewhat miraculously, managed to stop jet lag altogether. The day after landing, I started with Shine’s hour-long, signature Candle Massage, which features a warm, hand-blended mixture of natural butters drizzled onto the skin for a tension-melting, yet energizing, skin-nourishing treatment. To further ensure jet lag wouldn’t get a foothold (you can’t say I’m not committed), on day three I followed up with a Thai Yoga massage, which helps stimulate and improve blood circulation. The invigorating 90-minute session combined yoga-inspired stretches with massage of the muscles, tendons, pressure points and energy meridians that woke up every fiber of my being. After each treatment, the results were similar: instead of feeling sleepy, my body buzzed with energy and my brain felt more alert than it had since leaving JFK, all without caffeine, catnaps or cocktails. Score one for this long-haul traveler. Tennis, anyone? —Kate Doyle Hooper
F Rosé: Matthiason Rosé, Napa Valley 2014 Steve Matthiason is part of the new generation of California winemakers who believes more in balance than sheer power. Named winemaker of the year in 2014 by the SF Chronicle, Steve offers here a rosé that’s lively, full of perfume and yet light as it dances on the palate. Try it with mezze . . . or pizza, tapenade, ratatouille. White: Muscadet “Granite,” Domaine de l’Ecu 2012 Muscadet is not only for oysters! Domaine de l’Ecu has singlehandedly brought this Loire Valley appellation to stardom with wines that are chockfull of minerality and complex citrus aromas. Perfect on the patio with light charcuterie, seafood or vibrant vegetarian dishes. White: Raventos I Blanc “Silencis” 2013 Made from the local Xarel-Lo grape, this white wine from the heart of Spain comes to us from the creator of the Cava appellation in the 19th century. Light on its feet but packing a punch, this has aromas of fresh lime, orange rind and a pretty floral component. Who says Paella doesn’t work in summer? —Omar Khan (President, International Business and Wine Society)
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Right on ’Cue As part of our get-psyched-for-summer prep, we taste-tested a brand-new BBQ grilling sauce that is infused with Woodbridge Cabernet Sauvignon. The verdict? A big thumbs-up for the notes of dark fruit and caramel. While we poured it over pork ribs, it will work beautifully with pulled pork, burgers, brats, and even grilled veggies. And, of course, it pairs nicely with a glass of Woodbridge Cab! —Evan Hughes
PREDICTIONS
Rare Birds MARY JO MCCONNELL has a passion for the amazing bowerbirds of Papua New Guinea—like McConnell herself, the birds are true artists, says Fairweather’s JULIE KEYES.
Mary Jo McConnell has a special affection for rare birds—the extraordinary bowerbirds of Papua New Guinea, to be precise—and is, in fact, a beautiful, rare bird herself. She is an accomplished painter with a unique mission.
Right: A McConnell portrait of one of the bowerbirds of Papua New Guinea.
McConnell, whose work has appeared in group shows all over the world and in solo shows across New England (including the Peabody Essex Museum in Salem, MA), has been working on paintings of the bowerbirds of Papua New Guinea for 20 years. This immense work-in-progress remains unfinished and will never be for sale. It is a labor of love, and the resulting paintings are for viewing only. McConnell lives in Marblehead, MA, a traditional New England town, where her 17th-century home is a sort of world traveler’s scrapbook writ large. (She has spanned the globe extensively, including such far-flung corners as Haiti, Indonesia, and parts of Africa.) The walls of her home pulsate with the magic of primitive masks and jewels. The stars of this veritable tornado of creativity are birds in each room—hornbills, tucans, African grays, and macaws. She discovered a love of birds as a young girl, and when one sits in McConnell’s living room, surrounded by her beloved birds, it is very difficult to concentrate on mere polite conversation.
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To see the PBS documentary about Mary Jo McConnell, “Papua New Guinea: The Clever One,” visit pbs.org/frontlineworld.
As this work demonstrates, the bowerbirds are artists themselves, creating arrangements of found objects from their environment.
JOSEPH PULEO
Above: Artist Mary Jo McConnell at work in her studio.
McConnell first encountered the bowerbirds while researching information on breeding her exotic birds. It was mad, crazy love at first sight. Why? Male bowerbirds collect objects—flowers, berries, leaves, gum wrappers, and beer cans—and put them on display (as part of an elaborate mating ritual). She found this “artistry” mesmerizing, and began the life’s journey that continues today. She flew to New Guinea and helicoptered to the Hungku Mountains, where locals guided her on a three-day walk into the rain forest (complete with leeches and snakes). When McConnell saw the bowerbirds for the first time, she burst into tears. It was like a beautiful setting for a dinner party. She was shocked and immediately wanted to watch them work. “They love the same things I do, they collect the same things I do,” she says. “They have viewing perches, and when they bring a flower in and it is not just right, they come down and make an adjustment, then try it again. Exactly what I do when I paint. I see myself in the bowerbirds. They are artists too. I wonder what is in my eye and their eye that places and balances a composition. How do we know when it is just right?”
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TRADE WINDS
New Heights In just three years, Art Basel Hong Kong has become a new staple in the rich cultural fabric of the city, led by new Director Asia, Adeline Ooi, reports DANA MICHELE PRUSSIAN.
Art Basel’s third and latest art fair, Art Basel Hong Kong, is stirring excitement throughout the Pan-Asian region and throughout the entire art world. The 60,000+ visitors to the fair included the likes of international collectors, museum directors, curators, trustees, patrons from the world’s leading art institutions, and the eager Hong Kong public. Financial institutions such as bulge bracket banks are joining the action, advising clients on good investments and acquisitions and hosting “How-to Basel” conversations. Art Basel’s global Lead Partner this year was UBS; it has been a strong supporter for the past 20 years.
Visionary Leadership
Arario Gallery Art Basel in Hong Kong 2015 | Galleries MCH Messe Schweiz (Basel) AG.
New Destination With the art market booming and media hype growing at the original Basel in Switzerland and at Art Basel Miami Beach, the Art Basel team set its sights on another destination. Noting Hong Kong’s cultural scene, steeped in ancient history and brimming with modernization, they launched Art Basel Hong Kong, and it has set the art world abuzz.
The Place to Be This year’s Hong Kong fair took place from March 13–17, 2015, and featured 233 premier galleries from 37 countries. With half of those galleries coming from Asia and the Asia-Pacific area, the show demonstrated a strong commitment to its host region. 12 | SUMMER 2015 | FAIRWEATHER
This year’s Art Basel Hong Kong came with the addition of Adeline Ooi, the new Director Asia, Art Basel, who started in January 2015. Her specialization in the emerging collector bases of Indonesia and Singapore proved indispensable in taking over the new venture. “The show has proven that it is a truly international fair that highlights the best that Asia has to offer,” notes Ooi. “Furthermore, we’re seeing an increase in the number of Asian galleries participating at Basel and Miami, and we’ve received a great attendance of Western collectors in Hong Kong.” Ooi is looking ahead, focusing her creative vision on the future. She sees Art Basel’s fairs as “a global conversation, while at the same time retaining space for discovery and dialogue unique to each edition.” Thanks to its initial success, Art Basel Hong Kong will undoubtedly serve as a luxurious art destination for both collectors and savvy travelers for years to come.
Acquavella Galleries Art Basel in Hong Kong 2015 | Galleries MCH Messe Schweiz (Basel) AG.
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CLIMATE CHANGE
Back to the Garden Fairweather magazine’s EVAN HUGHES takes a peek inside Beijing’s Forbidden City, where the WORLD MONUMENTS FUND is leading an incredible restoration effort.
The World Monuments Fund is an extraordinary organization whose primary mission is to preserve the world’s great buildings, sites, and monuments. In pursuit of that mission, the WMF provides financial and technical support for a variety of conservation projects in partnership with local organizations.
One of the WMF’s major partnerships is with the Palace Museum in Beijing’s Forbidden City, a project to restore the Qianlong Garden, including the training of Chinese conservators to take on the challenges posed by the garden. The conservation of the garden’s first pavilion, Juanqinzhai (“Studio of Exhaustion from Diligent Service”) was completed in 2008. Work is ongoing on the 27 remaining structures in the garden. We spoke with Henry Ng, the WMF’s executive vice president, for his insight into this incredible project. 14 | SUMMER 2015 | FAIRWEATHER
Evan Hughes: Why was the Qianlong Garden largely abandoned in 1924? Henry Ng: The last emperor of China, Puyi, was allowed to occupy the inner court of the Forbidden City until 1924, at which point he was expelled. The Palace Museum was established the following year in order to operate the former imperial palace as a public museum. Over the years, the priority in making the former Forbidden City open to the public was the central axis of the complex, which contains the largest and most significant ceremonial buildings as well as the expansive courtyards originally designed to accommodate imperial audiences. The Qianlong Garden (QLG), where restoration efforts first began in 2002, had remained closed throughout the remainder of the 20th century because of its personal and more intimate design. Also problematic was the fact that the interiors of the QLG contained some of the most complicated and intricate decoration techniques in Chinese furniture and design and at the time the Palace Museum did not have the funds or expertise to restore and repair them for public viewing. What are some specific examples of the deterioration of the garden due to neglect? Large room-size trompe l’oeil murals painted on silk and paper were originally used in a
Above: Conservator in Residence Greg Landrey at work with visiting students. Opposite: The stunning Three Friends Pavilion at Qianlong Gardens. Opposite, bottom: A detail of decorative art at Juanqinzhai.
FROM TOP LEFT: HENRY NG/WORLD MONUMENTS FUND; © PALACE MUSEUM 2008
Right: Qianlong Garden boasts many exceptional murals and exquisite wallpaper requiring careful restoration.
of traditional Chinese furniture and wood craftsmanship that incorporate lacquer, cloisonné, jade, semi-precious stones, and mother of pearl. The passage of time and lack of regular maintenance have caused some of the stone and other materials to separate and fall from the surfaces. Why does the garden require a WMF master plan and restoration? Juanqinzhai, the Studio of Exhaustion from Diligent Service, was the first of the garden’s 27 buildings to be restored. When it was completed, it remained an isolated example of what the garden must have looked like in its prime. A master plan was created to complete the conservation of the remaining buildings, interiors, courtyards, and garden features.
FROM TOP: JOHN STUBBS/WMF (2)
Have you encountered any unexpected challenges? We continue to be surprised when we encounter extraordinarily beautiful objects and materials that have never been seen elsewhere. One such material is an ethereal textile used in Fuwangge, the tallest and most symbolic building in the Qianlong Garden. Surrounding an impressive throne facing the south entrance to the building, these gossamer-like panels exist nowhere else in China. number of rooms in the Forbidden City and the Summer Palace. These works display techniques in linear perspective that had been used in Western paintings and that had been introduced to the Chinese court by Jesuit missionaries; the illusionist quality of trompe l’oeil was very popular with the Qianlong Emperor. The murals are some of the great treasures of the garden, but over time they experienced some water damage, insect infestation, loss of pigmentation, and separation or detachment from the walls. The murals have now been well conserved with international and local expertise. As it might be expected, other ephemera in the garden— such as the block printed wallpaper and many fine examples of traditional Chinese embroidery and brocade also experienced significant
deterioration. The best surviving examples of wallpaper and textiles have been conserved and placed in the archives. In keeping with current museum practice, reproductions of the textiles based on the original materials and techniques have been commissioned for display in the restored rooms. The rooms contain some of the most refined examples
What has most surprised you? At some point in its history, a long and narrow portion of the silk trompe l’oeil ceiling mural—depicting a trellis with hanging wisteria that ran the whole length of the vestibule— disappeared; we assumed that its position along the exterior walls had contributed to an earlier demise. During the restoration, we were prepared to commission a reproduction for that section of the ceiling that was to omit the wisteria in the design, so as to distinguish it as a replacement piece. Three months before the completion of the project, a workman discovered the original ceiling, damaged but rolled up in a store room. To learn more about the World Monuments Fund, visit wmf.org. FAIRWEATHER | SUMMER 2015 | 15
FAIRWEATHER | SUMMER 2013 | 67
JET STREAM
Surprise Packages Started in 2011 in Berlin, the wildly popular Glossybox delivers a delightful monthly assortment of new beauty products to subscribers all over the world, reports MIRA DAYAL.
We caught up with Elian Pres-Gurwits, Glossybox’s President and Managing Director for North America, to take a peek inside the luxurious world of discovering the best in new makeup, skincare products, and fragrances.
What are a few of your favorite items that have appeared in a Glossybox? Because my beauty routine revolves around a bar of soap, I tend to listen to the women in my life, in the office, and of course our beautyobsessed, very vocal subscribers regarding what products to include in an upcoming box. Many women subscribe to Glossybox, some give boxes as gifts. What do you think is the best way to share a Glossybox? There really is no wrong way to be a part of the Glossybox family, but what we see with our monthly subscribers is that receiving a Glossybox is a very personal experience. One more example I’ll give comes from busy parents who travel for work and don’t get to spend much time at home with their children. Sending their daughters a Glossybox is, for 18 | SUMMER 2015 | FAIRWEATHER
How do you define beauty? We celebrate female empowerment and aim to give women the tools to experiment with their looks and have fun with their daily beauty routines.
Glossybox’s business model is effective and adorable: They deliver cute pink boxes filled with curated beauty products each month.
Have you noticed differences in how cultures think about beauty? In Asia, intricate skincare routines are passed down from mother to daughter, while the average American woman, who favors luxury brands, counts only two products in her regimen. In France, they prefer a much more natural range of products. In Germany, the understanding of beauty is evolving: Women want to be educated and adapt very quickly to trends. Women in the U.K. have similar tastes to their American counterparts, but prefer a more colorful range of cosmetics. What are your favorite global destinations? I am attracted to the extremes within nature. One of my favorite vacation destinations is Israel, where I love lounging on the peaceful beaches and enjoying the serenity. On the flip side, I am very much hoping to soon travel to Alaska, where I can hike through the icy terrain and see polar bears! To learn more, visit Glossybox.com.
COURTESY GLOSSYBOX
Mira Dayal: What gave you the idea to start Glossybox? Elian Pres-Gurwits: Glossybox was started by our Founder and CEO, Charles von Abercron, in Berlin in 2011. Central to the concept is a curated discovery experience, in which women can encounter new beauty products through a trusted source, in this case a thoughtfully packaged pink box delivered each month, sourced by beauty experts across 10 countries. I brought the Glossybox beauty business to the U.S. in 2012, offering $21 monthly subscriptions.
them, a way to stay connected. A grateful dad wrote us, “Thanks for making me a hero once I walked in the door from being on the road.”
image by wachirapol deeprom
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A Fairweather Moment with . . .
Peter Cuneo & Jeremiah Schnee . . . By Alexandra Fairweather
recently had a chance to sit down with Peter Cuneo, the CEO of Valiant (and highly celebrated as the former CEO of Marvel, who sold the company for 4.7 billion dollars), and Jeremiah Schnee, the CEO of Next Opportunity Group, known for advising CEOs of some of the most successful private mid-sized companies in industries ranging from aerospace and defense to retail.
I
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Above: Peter Cuneo (center) meets the next generation of business leaders to share his advice and experiences. Left: Peter Cuneo. Opposite: Cuneo with members of his team at Valiant.
Cuneo and Schnee shared with me the need to teach the next generation how to become the world’s next great business leaders and how a program they developed with Cornell University and CKGSB called iLEAD (Intergenerational Leadership Entrepreneurial Accelerated Development) is doing just that. “Leadership and culture start at the top. In a legacy family, it is just the same,” explains Schnee. Hence, “iLEAD brings you together with wealth creators, such as Peter Cuneo, not professors who are talking about how to create wealth… big difference,” asserts Schnee.
Leading by Example iLEAD is a pioneering international exchange and leadership program for high-achieving young business leaders from American, Chinese, and other international family enterprises. The idea is to build a preeminent international business network with those who share common values, learn how to conduct business in China and in the U.S., globalize family enterprises, adopt strategies to sustain wealth over generations, grow as leaders, expand entrepreneurship, collaboration, and leadership skills, and ultimately understand the relationships among wealth, values, and family legacies. “The United States needs China and China needs the United States,” explains Cuneo. “Five years from now, the China economy will probably be the largest economy in the world, and we need to sell products and services to each other,” he asserts. Cuneo continues, “I’m a huge believer in the wisdom to be gained in understanding foreign cultures. In the world of the future, to be truly successful you’ll need to be successful in multiple cultures… You begin to see that there are people on this earth who view situations differently. Learn to be flexible, don’t assume, and learn what they mean when they say, ‘yes.’”
ALL PHOTOS COURTESY PETER CUNEO
Building Relationships “Starting a new business is not about just understanding a culture, but having close relationships with others in other cultures. Contrary to what many young people think, you can’t do a deal only on the computer. We’ve become far too digitized. Personal relationships are still what matter in business,” explains Cuneo. “I always tell younger people: If you can meet someone face to face, do it. You get so much more accomplished in person, seeing the body language, learning about them personally. Once young people in the United States start to have these relationships, they see how important and how much fun they are; the greatest thrill is to have very good friends who you also make money with; that combination is powerful; wonderful feeling,” continues Cuneo.
Learning Leadership “I don’t think great leaders are born. I feel they are made by their life experiences,” remarks Cuneo. He credits his experiences in the navy, where he had a chance to observe brilliant leaders. He recalls an incident in which his captain had made a major mistake, prompting the ship to nearly cut an adjacent destroyer in half. “The captain blew it,” explains Cuneo. “The next day, the crew is thinking ‘The captain almost got all of us killed last night.’ Then he held a meeting for the officers and said, ‘I made a mistake. I want to analyze it so it never happens again.’ In that hour, the officers went from viewing him as incompetent to total loyalty, because he was saying in effect that he cares more about the men than his career.” “We learn from our mistakes. The first time I was on Squawk Box on television, I was the CEO of Marvel and we had some great announcements on movies to make and they told me ‘you are going to have five minutes.’ They started with a dumb question and I thought ‘Ok, I don’t want to upset them. I still have time to get what I want,’ then I got another dumb question, then they said ‘time is up’ and I had board members saying I looked like an idiot. Next time I appeared on television and they asked me a dumb question, I gave the answer I wanted to give and was more effective.”
Meaningful Mentoring “The best advice I ever received was when I was getting out of the navy. The captain said I should go to Harvard Business School, where he had just gone. I said, ‘Captain, I can never get into Harvard for anything,’ and he said, ‘Cuneo, you don’t know how good you are.’” Cuneo ended up getting a very high score on the business boards and indeed went on to Harvard Business School. “iLEAD prepares you for the future success of legacy businesses by immersing next generation leadership and wealth creators in real-world applications to foster international, intergenerational business opportunities and the transfer of values and knowledge,” explains Schnee. iLEAD will offer incredible opportunities to meet with CEOs of premier companies ranging from Google to Alibaba, experiential mentoring such as learning from a Broadway producer on how to present yourself as a CEO, as well as fantastic educational programs and internship experiences. To learn more and apply for iLEAD, please reach out to Margaret Poswistilo at Next Opportunity Group (mposwistilo@nextopgroup .com). FAIRWEATHER | SUMMER 2015 | 21
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FAIRWEATHER PUBLISHER ALEXANDRA FAIRWEATHER DROPS BY THE STUDIO OF CAI GUO-QIANG TO DISCUSS THE RENOWNED CHINESE ARTIST’S WORK, THE REAL AND UNSEEN WORLDS, CHINESE TALES, CREATION AND DESTRUCTION, THE ENVIRONMENT… AND EXTRATERRESTRIALS.
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“ART ALLOWS US TO TRAVERSE REALITY AND THE VISIBLE AND UNSEEN WORLDS. IT ALSO TRAVERSES BETWEEN CULTURES AND BETWEEN THE PAST AND THE FUTURE. “
Cai Guo-Qiang in his Manhattan studio.
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WHEN I WALKED into Cai Guo-Qiang's studio, on the Lower East Side, I felt that I had left Manhattan and entered a magical oasis. Cai was sitting in a white room with his incredible gunpowder drawings adorning the walls. I knew at that moment he did indeed have The Ladder to the Skyâ&#x20AC;&#x201D;the title of a recent publication Cai did with the Museum of Contemporary Art in Los Angeles. We walked through a Japanese garden and entered a second gallery space to view the works that I have been fascinated by since seeing his 2008 retrospective at the Guggenheim Museum in New York. Cai and I then headed downstairs, passing by his incredible Japanese tea room.
EARLY INFLUENCES Previous spread: Consolation, chapter three of Elegy: Explosion Event for the Opening of Cai Guo-
Qiang: The Ninth Wave on the riverfront of the Power Station of Art, Shanghai, 2014.
Above: Ignition of The Bund Without Us in the Great Hall of the Power Station of Art, Shanghai, 2014.
Below: The Bund Without Us, gunpowder on paper, 400 x 2700 cm (1571/2 x 1063 in.), 2014.
FROM TOP: JJY PHOTO, COURTESY CAI STUDIO; WEN-YOU CAI, COURTESY CAI STUDIO. PREVIOUS SPREAD: STEPHANIE LEE, COURTESY CAI STUDIO
Growing up in Quanzhou, Cai was surrounded by a city that firmly believed in Feng Shui. His grandmother, who worshiped traditional Chinese deities and practiced folk customs,
PORTAIT BY CARRIE BUELL
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adored Cai and had a shaman look after him whenever he became ill. She was the one who also advised Cai to pick a type of meat to give up eating, asserting that only when one’s life has a gap, will it become complete. Since Cai was born in the year of the rooster, he decided to give up chicken and never touched it again. His father, who loved traditional Chinese inkwash painting, reading, and practicing calligraphy, was Cai’s first artistic influence. “When I was small, I was always made to sit on my father’s lap and roll his cigarettes. My deepest memory of him involves him puffing out clouds of cigarette smoke and drawing landscapes on matchboxes with his fountain pen. The matchbox landscapes had mountains, rivers, the sea, seagulls, boats, waterfalls, and clouds. I used to ask him what place he was painting, and he always replied, ‘home.’ Many years later, I went to where my family once lived, to sweep my grandfather’s grave, only to discover that the reality was completely different from the scenes my father had painted all those years,” explains Cai. Those early memories help shape Cai’s understanding of art as well as the ideas of seen and unseen worlds that run through his work. “I usually define art as a time-space tunnel,” remarks Cai. “Art allows us to traverse reality and the visible and unseen worlds. It also traverses between cultures and between the past and the future. And art enables me to be away from the challenges and difficulties reality burdens me with.” Cai knew as a child that he wanted to become an artist. Hence, he studied martial arts, theater, and set design in anticipation of his career as an artist. “Everything I learned back then laid a solid foundation for me to become the contemporary artist I later became. It is as if I had a ‘training’ in contemporary art.”
EXPLOSIVE MEDIUM The world-renowned artist is known for working with gunpowder for site-specific large-scale explosion events as well as his breathtaking gunpowder drawings. “Gunpowder helps us to imagine the unseen energy. In the world, when it is in front of you, you can never quite know what it will bring. It helps us to experience life 28 | SUMMER 2015 | FAIRWEATHER
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Cai continues, “At first when I engaged with gunpowder, it was in order to free my own art. Because my personality is actually on the more timid side and very logical, just like my father, I needed something external to break out of that.” Reflecting on the fact that ever since society started establishing national borders, humans have used gunpowder to maintain these artificial lines, Cai’s work suggests that we should look beyond national borders. “My engagement of gunpowder allows me to work with different cultures. It transcends culture, especially when gunpowder explosions are often used in violent ways such as in wars and attacks. To have an artist like me who uses gunpowder through art 30 | SUMMER 2015 | FAIRWEATHER
Previous spread: Remembrance, chapter two of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave on the riverfront of the Power Station of Art, Shanghai, 2014.
Top: Installation of Spring, Summer, Fall, Winter, gunpowder on 240 tiles of porcelain, suite of 4 panels, each 3 meters x 2.4 meters overall, Power Station of Art, Shanghai, 2014.
Above: Firecrackers igniting on Summer, gunpowder drawing on porcelain as part of installation Spring, Summer, Fall, Winter.
Opposite: The Ninth Wave, incorporating 99 life-sized replicas of animals, wooden fishing boat, one white flag, electric fan, Shanghai, 2014.
FROM TOP: ZHANG FEIYU, COURTESY CAI STUDIO; LIN YI, COURTESY CAI STUDIO
and to also experience the existence of nature. Gunpowder also enables us to experience time, since as a material it is one of the most ancient inventions; it extracts materials from nature, such as sulfur and charcoal. At the moment of ignition, it is very transient, and yet embodies a long-lasting time. At that instant, when the explosion takes place, it forms a continuum with the rest of time,” explains Cai.
WEN-YOU CAI, COURTESY CAI STUDIO (2)
and in a very different way allows people to reimagine this material and also see how art can transcend different cultures,” explains Cai.
IMAGINATIVE INSTALLATIONS Cai also explores this idea in his installation works, as seen in his 1998 piece, Borrowing Your Enemy’s Arrow. “I like to find materials and inspirations and cultures in history to give it a new reading or interpretation,” reflects Cai. The piece, which consists of a boat floating in the sky, recalls an epic Chinese historical tale in order to explore China entering the world stage—realizing that China would experience “cultural shocks from different value systems” while simultaneously “lifting off and taking off into the sky,” explains Cai. The celebrated Chinese artist has seen China’s transformation occur firsthand, as he worked on two projects for APEC, one in 2001 and one in 2014. “In 2001, this was the first time in history that so many leaders gathered in China. At that time, the goal was to present to the world what China is about… China’s identity. And last year, FAIRWEATHER | SUMMER 2015 | 31
replica animals from across the world: tigers, pandas, leopards and an elephant. While the piece evokes images of Noah’s Ark, “the animals look as if they have been through harsh weather, they look tired, almost dying.” One of Cai’s objectives is to inject new positive energy into places that lack resources; this was the case with his recent explosion event in Argentina. “To my surprise, over 200,000 people showed up to see the explosion event. And the artwork injected a new energy into this community,” explains Cai.
“In Feng Shui, there is a saying… The qi, the energy within you, rises slowly; radiates to your external… The energy outside of you helps the energy coming out of you to take shape… When the external and internal forces are at equilibrium, then you have good Feng Shui, good energy. Art works in this way too and so does life. If you have the inner energy and outside energy at equilibrium, including your artistic concept and your passion for art, that’s the internal energy, and the external energy needs to support the internal. And if the two can work together, it will help you make good art and also maintain good health,” reflects Cai.
Top: Cai Guo-Qiang during tango sessions, part of artwork process for Life is a Milonga: Tango Fireworks for Argentina, Buenos Aires, 2014.
in 2014, the goal of what I wanted to present was the idea that China is the same as the rest of the world. I focused my concept on nature and the title of the work is Ode to Nature,” explains Cai. Cai reflects on how in Chinese calligraphy, the human figure used to be a tiny dot and then, over time, the human figure in art became larger and larger. “In most cases the uncontrollable situation is the reality. But as humans we often try to intervene in nature, which actually complicates our life,” asserts Cai. “The severe environmental issues in China influenced me and inspired me to do the exhibition, The Ninth Wave, an installation piece at Shanghai's contemporary art museum, the Power Station of Art, consisting of a full-size fishing boat with
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Above and opposite: Life is a Milonga: Tango Fireworks for Argentina, Vuelta de Rocha outside Fundación PROA, 43,810 mono-shot fireworks, tango dancers, live tango orchestra and television host, La Boca, Buenos Aires, 2015.
Cai’s art offers a platform to explore the future and the past. Moreover, he is using the Earth as his canvas in order to have a dialogue with the cosmos. “People expected me to light up fireworks for the new millennium, but all I wanted to do was to switch the lights off,” explains Cai. “This will allow the planet to step across time and space, and connect to its past self from 1,000 or 10,000 years ago, or even its primordial origins.” We walked upstairs to have lunch with his team in his studio. A chef prepares daily traditional Chinese meals for Cai’s team, using ingredients from nearby Chinatown. As I enjoyed the meal with new friends, I asked Cai what he hopes his legacy will be. He demurely laughed, suggesting that he was too young to answer such a question. When I insisted he was young but wise, he remarked, “I’m wise and young at heart, so I don’t have to think of these questions yet. Ask me in 10 years, I might have an answer for you.”
FROM TOP: SEBASTIÁN FREIRE, COURTESY FUNDACIÓN PROA; TATSUMI MASATOSHI, © FUNDACIÓN PROA & CAI STUDIO, COURTESY CAI STUDIO
POSITIVE ENERGY
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TATSUMI MASATOSHI, © FUNDACIÓN PROA & CAI STUDIO, COURTESY CAI STUDIO
S T R OF K GENIUS S 34 | SUMMER 2015 | FAIRWEATHER
CHINESE CALLIGRAPHY has evolved for more than 3,000 years, blending a spoken language with highly stylized characters to create a uniquely compelling and philosophically intriguing art form that goes far beyond phonetics to capture the essence of a culture. By Evan Hughes
Although calligraphy is far more than mere decoration, interpreting it as a form of visual art is essentially correct, and a useful way to begin to understand its rich history and importance to Chinese culture.
Above: Poem of Farewell to Liu Man, Yelu Chucai, ink on paper, 1240. Previous spread, from left: Two Chinese Scholars Practicing Calligraphy in Their Studio, artist unknown, ink and colors on paper, ca. 1840; Tiger Calligraphy, Weng Tonghe, ink on silverflecked red paper, 1890.
A 3,000-YEAR TRADITION The written language of China began more than 3,000 years ago, initially taking the form of pictograms on jade, bone, and bronze, says Delbanco, adjunct professor of East Asian art at Columbia University. In the 2nd century A.D., the written language took on a more standardized form of script. Over the centuries, various forms of script, each making use of the variety of brush strokes possible, took shape, finally evolving into what is now known as “standard” script (or kaishu), though five basic script types remain in use and are still employed by contemporary Chinese artists.
BRUSH STROKES
A VISUAL LANGUAGE
Perhaps the clearest connection between Chinese calligraphy and fine art is the use of a brush. If you grew up writing with a pencil or pen, imagine the greater variety of width, pressure, and energy that can be explored by using a brush. Just as the dynamic, idiosyncratic brushwork of, say, Jackson Pollack helped to convey his personality in his paintings, so does the use of a brush lend a highly personal style to calligraphy.
Unlike Western language, Chinese has no alphabet or phonetic system. Characters are unique and must be learned through repetition.
“It is no wonder that twentieth-century American Abstract Expressionists felt a kinship to Chinese calligraphers,” notes Dawn Delbanco in her essay “Chinese Calligraphy,” in Heilbrunn Timeline of Art History (Metropolitan Museum of Art, 2008). 36 | SUMMER 2015 | FAIRWEATHER
While this may strike some as a limitation, in actuality each character can convey much more than a mere word. “Not only does a character denote specific meanings, but its very form should reveal itself to be a moral exemplar, as well as a manifestation of the energy of the human body and the vitality of nature itself,” notes Delbanco. There are more than 50,000 characters, but most remain unused, with a typical Chinese newspaper requiring the knowledge of about 3,000 words.
IMAGES COURTESY METROPOLITAN MUSEUM OF ART (WWW.METMUSEUM.ORG)
M
OST WESTERNERS are introduced to Chinese calligraphy as a form of decoration, found on paintings, textiles, monuments, and of course shops and restaurants. We can often enjoy Chinese characters for their distinctive beauty without even knowing what they mean. (Some take it to an extreme, adorning their bodies with Chinese tattoos whose meaning they only dimly understand.)
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POWER PROJECTS For millennia, China has had a knack for doing things in a big way, from the Great Wall to the Olympic Games. Now, the economic powerhouse is rolling out some of the biggest infrastructure innovations the world has ever seen. Here, a rundown of these amazing landmarks-in-the-making. By Katherine Vogel 38 | SUMMER 2015 | FAIRWEATHER
FASTER THAN A SPEEDING BULLET China’s high-speed rail network “HSR” debuted in 2007. Daily ridership on these “bullet trains” averages nearly 2.5 million, making it the most heavily used high-speed rail service in the world. The HSR made headlines in February 2011 when Liu Zhijun, the Railway Minister, was removed from office on charges of corruption. Although the expansion of the HSR slowed in the period after Zhijun’s arrest, it has since rebounded—2014 saw major expansions in provinces such as Wuhan, Chengdu, and Qingdao. All told, the HSR now reaches 28 of China’s 33 provinces. As overall ridership continues to grow, the HSR is expected to continue expanding at a breakneck pace. The network has been so successful that Chinese state firms are likely to construct the highly anticipated high-speed train network from Los Angeles to San Francisco. FAIRWEATHER | SUMMER 2015 | 39
DON’T LOOK DOWN… This U-shaped glass walkway in Chongqing is the world’s largest cantilever bridge. This newly completed structure, which extends 26 meters from a 718 meter cliff, offers breathtaking panoramic views of the Longgang National Geological Park. It reportedly feels like you are walking on air. The bridge was designed to withstand an 8.0-magnitude earthquake. However, this bridge is not the highest bridge in the world— the title belongs to the Grand Canyons bridge.
UP, UP, AND AWAY
G NEW FOCUS ON WIND The Gansu Wind Farm is expected to be the largest wind farm in the world. Located in northwest China, an area with an abundance of win resources, the project cost $17.5 billion. China is the world’s second-largest energy user and the country hopes to dramatically cut carbon emissions through utilization of this 10-gigawatt wind power base. To put that figure in perspective… in 2012, the approximate installed capacity was 6,000 MW—almost equivalent to the U.K.’s wind power capacity.
Construction began on the Beijing Daxing International Airport in late 2014, on what will qualify as the busiest airport in the world. The need to build an airport with such a high capacity is not surprising considering that China is the world’s fastest growing aviation sector. Don’t pack your bags yet though, Terminal 1 is on track to be completed in 2018 and will process an estimated 45 million passengers a year. The airport is designed to fit in with the surrounding landscape.
Located due south Shanghai, the Yangahsan deep-water port was built to allow the world’s largest container ships to access Hangzhou Bay. It is part of the Port of Shanghai, the busiest container port in the world. Construction on the first phase of the port began in 2000; the fourth and final phase is slated to be finished in 2015. When complete, the port will have 30 berths capable of handling 15 million cargo containers per year, more than any other port in the world. (Singapore’s port comes in second, and the Shenzhen port, also in China, comes in third). Chances are that if your new shirt says “Made in China,” it came through in a container here. The port is vital piece of infrastructure for both regional and global trade and solidifies China’s position as an economic powerhouse.
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THIS PAGE AND PREVIOUS SPREAD: SHUTTERSTOCK (3)
F SHIPPED FROM SHANGHAI
NO ORDINARY COMMUTE The Jiaozhou Bay Bridge qualifies as the world’s longest sea bridge. The bridge, which was completed in 2011, was constructed from 450,000 tons of steel (enough to build almost 65 Eiffel Towers). Designed not only to be long, but also wide, the bridge has six traffic lanes. The bridge is so long that it takes 30 minutes to drive from either end.
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The New Century Global Center is considered the “world’s largest building” when measured by floor space (The Boeing Everett Factory in Everett, WA, has a larger volume). This nearly 1.7 million square feet building houses a university, hotels, commercial centers, and an IMAX cinema. Don’t think that that’s all…The New Century Global Center also boasts a pirate ship, skating rink, a “Mediterranean village,” and even a water park with a 54,000-squarefoot artificial beach!
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Designing
A
A Massachusetts native, Patrick Tighe moved to Los Angeles to attend graduate school at UCLA, ultimately earning a master’s degree in architecture. Tighe recalls that from early childhood, “I was always very interested in the arts and building things… and architecture was the perfect combination of both.”
On a recent trip to Beverly Hills, Fairweather publisher Eric Goodman caught a moment with acclaimed contemporary architectect Patrick Tighe of Patrick Tighe Architecture.
GOING HIS OWN WAY After honing his design and architectural skill sets while working under the tutelage of Pritzker Prize-winning architects Frank Gehry and Thom Mayne, Tighe found himself eager to launch his own firm and took the adventurous leap forward, launching Patrick Tighe Architecture in 2004. “I was a bit naïve and didn’t know exactly what it entailed,” he recalls. “I started off doing a lot of residential work. Many of my clients were in the arts, so I did a lot of houses for artists, studios, and galleries.” Over time, Tighe carved his own niche in the Los Angeles architectural scene, infusing contemporary, forward-thinking design in his projects. A team player, “I’m all about collaboration and working with like- and un-like-minded people, for that matter. This leads to unexpected, interesting, and fresh work.” While initially focused on the California market, Patrick Tighe Architecture has already broken the international glass ceiling with innovative projects in London, Milan, China, and Morocco.
Left: Patrick Tighe
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Right: Tigertail is a 3,200-squarefoot residence in Brentwood, CA.
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for the Future â&#x20AC;&#x153;I wanted to keep some of the qualities of that neighborhood, so I intentionally kept most of the home the same and added some pieces that would pop. I always strive to do things that are unexpected.â&#x20AC;?
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In addition to his beautiful home design, Tighe has also earned widespread acclaim for his 46 | SUMMER 2015 | FAIRWEATHER
“I love doing a�ordable housing. The people who live in these buildings are extraordinary people and the building should reflect that in some way.”
work in developing sustainable and affordable housing projects. “Everything we do is sustainable. A few years ago, sustainability was a big deal. Now it’s a given. We’re also very much interested in technology. We use robotics and look at new technologies, new materials, and new fabrication techniques to keep our work new and fresh.” AFFORDABLE AESTHETIC Tighe’s Sierra Bonita and La Brea projects have become breathtaking pillars of an affordable housing aesthetic, both conveniently located in the fashion-forward West Hollywood district. “I love doing affordable housing. The people who live in these buildings are extraordinary people
ALL PHOTOS COURTESY PATRICK TIGHE ARCHITECTURE
VIBRANT VISION Of his many notable projects, Tighe recalls fondly the creative process in designing the visionary Brentwood, CA, residence Tigertail. The hillside home was originally built in the 1950s, long before the neighborhood became the affluent area it is today. Cognizant of the changing landscape, “I wanted to keep some of the qualities of that neighborhood, so I intentionally kept most of the home the same and added some pieces that would pop. I always strive to do things that are unexpected,” Tighe asserts.
Left: La Brea Affordable Housing project in West Hollywood, CA. Right: The Twin Villa is located 60 miles outside Beijing. Below: The Collins Gallery in West Hollywood blends functional business space with a residential feel.
and the building should reflect that in some way,” he commented. Given the varying complexities associated with developing affordable housing and the difficulty in adhering to the often enigmatic legal codes, Tighe concedes the unfortunate reality that many such projects are doomed to a bland, mediocre aesthetic. Fortunately, “West Hollywood was super progressive and big advocates for great design and affordable housing. Having an ally in the city helped a lot,” Tighe added. A PASSION FOR ART In addition to architecture, Tighe is also an accomplished artist, with such notable works as the Ocean Park Shell sculptural installation FAIRWEATHER | SUMMER 2015 | 47
Above and left: The Montee Karp residence overlooks the Pacific in Malibu, CA.
Right: The Rick Owens Shop is in the Selfridges Department Store in London. Far right: Trahan Ranch is a 3,200-square-foot residence in Texas Hill Country.
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in Santa Monica’s Clover Park; and the walk-in installation Out of Memory at the Southern California Institute of Architecture, a three-dimensional representation of site-specific music by renowned composer Ken Ueno. Recalling the impetus behind Out of Memory, he notes, “I wanted to do a piece that drew on your senses.” Tighe strives for the same sensual experience with his furniture design, an artistry he finds stimulating, yet equally challenging given the myriad variables involved: “It has to work functionally, relate to the body in the right way, not be over the top, and be comfortable… it’s a challenge.” Looking forward, he is enthusiastic for the upcoming pipeline of projects ahead. “While some sites warrant certain features or orientations, every project and every client is still so different… it’s all very exciting.” A true artist at heart, Patrick Tighe bucks the cookie-cutter approach to architectural design and crafts each project around the client’s specific goals. “We have no prescribed methodology,” he concludes.
“I’m all about collaboration and working with like- and un-like-minded people, for that matter. This leads to unexpected, interesting, and fresh work.”
FAIRWEATHER | SUMMER 2015 | 49
The name “Mr. Chow” evokes images of celebrities and power players flocking to Michael Chow’s storied restaurants. But Chow was always an artist, and we visit him in his studio to view his extraordinary paintings and learn how his remarkable life story has shaped his art. By Alexandra Fairweather • Photographed by Amanda Friedman 50 | SUMMER 2015 | FAIRWEATHER
Michael Chow in his Los Angeles studio. “One must be true to your time, true to your dream, and true to yourself,” he says.
Michael Chow:
from Palate to Palette MICHAEL CHOW’S LIFE resembles a film and, in many respects, the legends that have surrounded him throughout his life have all been cast accordingly. Chow is putting forth a stylized performance for all of us—he is embodying a part, a role, a character, taking after his father, the Chinese opera singer Zhou Xinfang. It was an honor to walk into Chow’s studio in L.A., filled with breathtaking paintings along the walls, and have a conversation with the master of ceremonies to get his thoughts on his upbringing in Shanghai, studying art in London, embarking on his culinary career, and celebrating his life as an artist. “One must be true to their time,” explains Chow. “True to your time, true to your dream, and true to yourself. By that I mean, it’s like a newspaper, like this article, it’s current, it’s current news. If it is dated news, it’s useless. It doesn’t matter how good it is. If I paint as well as Michelangelo, it is meaningless since I’m not true to my time. Those who are true to their time are the greatest artists on the planet. That’s why Andy Warhol is so great.”
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I inquire if he thinks that he is similar to Warhol, who, like Chow, created a social scene that creative types gravitated around. “My world is slightly different—in some ways I suppose it is the same. I’m basically a loner, so was Warhol in his own way. I’m very social, but I’m not sociable. I don’t go to parties too much or socialize with everybody. I’m basically a loner, but on the other hand, I do create scenes that are very social, like the restaurant. Mr. Chow has been there for 47 years. So everybody went there. The whole world went there.”
A VOICE FOR HIS FATHER “I grew up with artists, most importantly my father. So I’m used to being with all of the great artists,” explains Chow, whose father, a grand master of Beijing opera and founder of the Qi performance style, is highly celebrated in China. “I didn’t spend much time with my father, only two precious weeks before I left [for England],” explains Chow, who left China at the age of 12 before the turmoil that would subsequently unfold. His father was tortured during the Cultural Revolution in the 1960s and died in 1975 after years of house arrest. Chow remembers fondly his last two weeks with his father, considering that time to be “very important. But more importantly, he was such a great artist, to me he’s the perfect artist. The essence of him is the expressionist in spirit, which deals with injustice, transcending through his work. My work, my painting, is in that spirit.” Earlier this year, Chow had an exhibition at the Ullens Center for Contemporary Art in Beijing titled “Michael Chow: Voice for My Father” to pay homage to his father and to the home, China, that he left in 1952. During the exhibition, China celebrated what would have been Chow’s father’s 120th birthday. In addition to Chow’s artwork, the exhibition includes portraits of Chow by his old friends, including
Left: Michael Chow with his paintings in his Los Angeles studio. Right: Chow’s father was a grand master of Beijing opera and is highly celebrated in China. (Courtesy of Michael Chow) FAIRWEATHER | SUMMER 2015 | 53
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works by Jean-Michel Basquiat, Andy Warhol, and Keith Haring and archival images of Chow’s father. The exhibition subsequently traveled to the Power Station of Art in Shanghai and in 2016 will head to the Andy Warhol Museum in Pittsburgh. Filmmaker Lana Jokel, who is known for creating documentary films on Larry Rivers and Andy Warhol, is directing a documentary film on Chow and accompanied Chow during his visit back to China.
RETURNING TO THE CANVAS When in England, Chow attended boarding school as a teenager and subsequently studied to be an artist at Central St. Martins. While Chow’s artwork was shown in a couple of exhibitions, he struggled to succeed as an artist, which prompted him to begin his career as a restaurateur. However, even though he launched a successful group of high-end Chinese restaurants around the world, he never forgot his love of art. And while he stopped painting for 50 years, only returning to the canvas three years ago, he was always an artist and an integral part of the art scene. Chow has an artist sketchbook, filled with drawings and works by some of the world’s most famous artists, including Andy Warhol, John Chamberlain, Roy Lichtenstein, Cy Twombly, Keith Haring, Alex Katz, and Jean-Michel Basquiat. This book represents a period of time in which Chow was an integral part of the legendary New York art scene. Artists would gather at his restaurant and discuss art and life. These esteemed artists would also create portraits of Michael Chow, depicting a scene in the metaphorical film—the life of Chow. Richard Prince assembled checks from Mr. Chow’s restaurant and wrote the line, “I never had a penny to my name, so I changed my name,” referring, presumably, to Chow’s decision to use the name Mr. Chow instead of his Chinese name. Today, Chow paints under his Chinese name, Zhou Yinghua.
COLLECTOR AND CARETAKER “Basically, I’m also a collector; I collect all things. Through collecting, you begin to educate. After all, all collectors are caretakers of whatever
Left: Paintings by Michael Chow. Right: Richard Prince’s page in Chow’s sketchbook. (Courtesy of Michael Chow) FAIRWEATHER | SUMMER 2015 | 55
they are collecting and you learn so much. And so collecting is a part of my educational methodology, since I had a broken education. I never had a conventional education. I’m a very visual person. So the book of artists is my collection of all of the great artists—we have 80 great artists. It is amazing and fortunate and the result of some lucky opportunity and stamina and my maintaining this over 40 years. I’m very proud that I was able to do this and accumulate this very powerful book,” Chow asserts. “See, only through controlled spontaneity, controlled accidents, you take a chance and you can reach a different level of the universe. Man can never paint it as good,” Chow reflects. “My father started when he was 7 years old and was famous then and his technique is beyond technique (you want to get to the truth, you don’t want the technique, it will hinder you). When you do the controlled accident you are completely at oneness with nature. Therefore you are at oneness with yourself and through that internal move, what I call ‘one breath’ in the case of painting, and in that split second that accident will happen and the methodology of my painting, of collaging, which I have the choice of taking away, keeping, the technical side of my painting allows me to use the controlled accident to the fullest of my reach.”
ART FOR A NEW CENTURY “The 21st century changed so much through technology… so much information is available now and therefore we no longer differentiate in linear sequences, meaning we do not follow; we just take the whole art from cave man to 18th century, from east to west, to everywhere; it’s all at our disposal and we are in a new century; it’s 2015, my painting takes all of that information and spins it,” reflects Chow. “I’m very fortunate to be the spirit of Chinese; I see my father as China; the essence of China is already in me. With that inherited from my father, then I was trained in Europe and lived in the violent and rich times that was the 1950s, after the war. I was part of that even though I was much younger than the senior painters; I was trained there in that spirit, then I quit for 50 years and picked it up again and adopted America. The 1950s was a very important time. It was a new age. It changed from Europe to America, and when that happened, the whole world changed. I happened to be there at that moment and later on, recently I picked up painting again, I truly hope that my paintings are true to my time and I know are true to myself.” Facing page, top left: A table in Chow’s studio. Facing page, right: “My life is like a movie,” says Chow. “Each of us lives in a bubble, and my bubble and my vision and my life of living my life like a movie did come true.”
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Currently, Chow is working on building a 57,000-square-foot studio in L.A. “It will be an environment, a creative environment, open houses, very energetic space, and of course very beautiful, lots of good work will come out. It is going to be a few buildings, with a big library and a huge showroom and a huge studio and offices and a kitchen too. It’s going to be a magnet for creativity and hopefully people will visit.” Chow reflects on how he always missed how it used to be, where you had all different types of people, ranging from professors,
FROM TOP: © KEITH HARING FOUNDATION; © 2015 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC. / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; © THE ESTATE OF JEAN-MICHEL BASQUIAT / ADAGP, PARIS / ARS, NEW YORK 2015; ART © ESTATE OF LARRY RIVERS/LICENSED BY VAGA, NEW YORK, NY. PREVIOUS PAGE, BOTTOM RIGHT: COPYRIGHT © 2005 RICHARD PRINCE
From top: Pages from Chow’s sketchbook include drawings and works by such artists as Keth Haring, Andy Warhol, Jean-Michel Basquiat, and Larry Rivers. (Courtesy of Michael Chow)
moviemakers, architects, and various creative people together. “Like the restaurant I created that way, this studio will be like this, preferably young people. I’m like a vampire, I’m old, so I need you for energy, for creativity,” he laughs. “It should hopefully make my work grander and bigger.” When I inquired what’s the best advice Chow ever received, he laughed. “Well, there is the most humorous advice I ever received: A New York City taxi driver told me, ‘You got to have a gimmick.’ I took an imaginary puff of my cigar and said, ‘Whoa, that’s great, you got to have a gimmick,” recalls Chow. “Well, my life is like a movie. I love movies. I had a broken education so I plan my vision and most of my vision comes true, big or small. Each of us lives in a kind of bubble, and my bubble and my vision and my life of living my life like a movie did come true,” notes Chow. “Because I had a broken education, I never had a conventional education. Therefore I did not suffer under the locking device of education. The positive side of education is you get a lot of knowledge; the negative side is you are locked into this knowledge, which mostly you forget, and dampens your creativity and energy… For me, I’m so thirsty for knowledge that I create a methodology [of learning],” he explains. “But this is a way of life, every detail is a universe. That is a very important statement. If you take any important artist, every detail in their work is a universe.” Chow takes one of the beautiful books published for the exhibition, “Voice for My Father,” and opens it. He writes my name—letter by letter. “My internal starts to come out and my hand is already trained to do this–the body is already used to it,” he says as he starts painting the inside page of the book with a black sharpie, creating a piece of art for me. “Chinese calligraphy is all about that. You see the beginning looks quite interesting.” And so does Chow’s life—let’s keep watching to see how the film unfolds. FAIRWEATHER | SUMMER 2015 | 57
RUHM at the TOP
ALL PHOTOS COURTESY OF RUHM
On a sunny Southern California drive down the Santa Ana Freeway, Fairweather publisher Eric Goodman chatted with Mark Fitzpatrick, founder of luxury real estate marketing firm Ruhm.
FINANCE
: How do you unlock value when the sum of the parts is greater than the whole? Sell the domestic real estate brokerage business and transform the marketing operations into a global platform. That’s exactly what entrepreneur Mark Fitzpatrick has done with Ruhm, his successful Irvine, California-based full-service luxury marketing agency. Nearly a decade before the transformation, Fitzpatrick began his career as a police officer in Newport Beach, and later, after becoming a new father, took on the added responsibility of real estate broker. Plunging deeper into real estate, he says, “I soon realized all the inefficiencies [in the brokerage business]… with no one taking advantage of the internet and video back in ’04, ’05, and ’06. So I FAIRWEATHER | SUMMER 2015 | 59
started formulating a plan to market real estate at a really high level and hire professionals,” Fitzpatrick recalls.
Spinoff Success Fast-forward to 2009. As Ruhm’s reputation as a seasoned marketer of luxury and high-end real estate began to crystalize, Fitzpatrick realized the pressing need to spin-off his brokerage firm, Fitzpatrick & Prince, and concentrate exclusively on Ruhm. Reflecting on the split, Fitzpatrick asserts, “I really loved the marketing and innovation. I also thought that if we sold the real estate company and became a marketing company for luxury, we could take down the barrier of industry and competition, and no longer be bound to real estate or need to work exclusively with one agent. We could market yachts, jets, hotels, all things luxury and work with all agents. We would also take down the bounds of geography and be able to tell a story anywhere in the world.”
Bespoke Marketing Previous spread, from left: Mark Fitzpatrick; Cavu Las Vegas, a stunning resort-style residence.
This page: Cavu’s opulent yet comfortable interior is the subject of one of Ruhm’s real estate marketing campaigns.
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When it comes to process, Ruhm applies its signature all-handson-deck approach, providing bespoke marketing packages tailored to each customer’s needs. “Every property is different and each property has a distinct and unique buyer that will most likely buy that property,” Fitzpatrick contends. Ruhm applies a multifaceted approach to each client. “We create visuals and then create a pitch book, which is marketed through our PR team for editorial coverage.
This page: Hale Alâ&#x20AC;&#x2122;i, Maui, Hawaii, one of the luxury projects marketed by Ruhm.
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We’re very focused on how we spend our marketing dollars and utilize social media, SEO, and other techniques to reach our target audience.” For each project, Ruhm creates attractive visuals—including customtailored websites with detailed videos, high definition photography, and in-depth virtual tours—using Hollywood production techniques, technology, and other tools to tell the unique story behind the property.
Focus on Luxury Fitzpatrick and the Ruhm team are utilizing their technical expertise and unique storytelling abilities to expand into the ancillary areas of luxury—including yachts, planes, art, and even vacations. Conceding that the average consumer will not necessarily make a home purchase through internet browsing, Fitzpatrick clearly notes that most consumers will make their vacation choice through online viewing alone. By extension, “if we can tell a story about a vacation, a yacht charter, or a week at a beautiful home—and that story is compelling— people will go with that option.” Focusing on the marketing aspect also provides tremendous cross-selling opportunities as “clients who have a home that’s worth $12 million in Greenwich can also use [Ruhm] to sell and market their home in Vail or their yacht. We’re the place they can call whenever they want to sell anything.”
This page: Hurlingham, a luxurious haven in the Conyers Farm neighborhood of Greenwich, CT.
Reflecting on his vision for Ruhm, Fitzpatrick asserts that he “want[s] to be more of an all-encompassing consultant for marketing strategy—not just a vendor company to handle photos and videos.” In addition to providing striking visuals, Ruhm has tremendous experience in market research and SEO as well as utilizing other technical capabilities to identify and attract prospective buyers. “Nearly everyone [on our team] has a degree in marketing, which further emphasizes our focus and strategic [value-add] as a marketing company,” Fitzpatrick concluded. Ever the prescient entrepreneur, Fitzpatrick also has imminent plans to build and develop a secondary marketing business targeting the non-luxury sector, “an area we believe will also have great opportunities.” For more information on Ruhm, check out ruhm.com.
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See What We See. You Are Invited to Join
Fairweather Access Get access to VIP events and bespoke experiences in New York City and the Hamptons. As a member, you will be invited to cocktail events, intimate dinners, VIP art tours, panel discussions and exhibition preview receptions throughout the year. Members will have Fairweather magazine delivered to their door for insider access to the best in art, design, film, fashion, travel, real estate, business and culture. Request an invite at info@fairweathermagazine.com www.fairweathermag.com
Sparkling Startup
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We caught up with the beautiful Siena Lasker, founder of Siena Jewelry, to learn how she started a fabulously successful fashion company straight out of college. By Mable Yiu Mable Yiu: How did Siena Jewelry come about? Siena Lasker: I have always loved fashion and jewelry! My mom likes to remind me that as a child, what I loved most was sitting and beading necklaces all day long. I loved to string colorful plastic beads on pink ribbon. It wasn’t until my last year of college that I revisited this proclivity. I was working a summer retail job at Fred Segal and I started to go to the Jewelry Mart in Downtown Los Angeles to play around with different stones and diamonds. I started stringing my own necklaces and wearing them to work. I was shocked at the feedback I got. Multiple customers asked me where they could purchase my designs. I asked my boss if I could put some of my necklaces in the case and he agreed to let me. Sure enough, they sold! After that I started designing more and bringing my jewelry to local stores. One of my first stores was an incredible boutique in Pacific Palisades eponymously named Elyse Walker. It’s a
place for everything fabulous and I was beyond excited that she purchased my line. It was there that the CEO of Neiman Marcus discovered my work. I thank my lucky stars that Elyse Walker took a chance on me. What surprised you the most in starting your own business right out of college? During my last year of college, I viewed my line as more of a hobby. I had absolutely no idea that it would become what it is today. I never took a business class. In fact, I planned on going back to school for psychology. I never thought that I would be a businesswoman. It has been a very fast learning curve and sometimes when I look back at the beginning I am surprised at how much I didn’t know. What makes your jewelry unique? I think I have an unusual way of mixing different colors and bringing to life what I see in nature. My jewelry has a kind of a modern/artsy/organic feel to it. The pieces are also really
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versatile; they can be worn with a dress and heels or a T-shirt and jeans. All of the pieces layer together to create a very playful look. What is the best part about seeing someone wearing your jewelry? I am still shocked when I meet someone wearing a piece of my jewelry. It is so exciting to see my designs and makes me feel so happy. I am very personally attached to the different designs and I feel connected to anyone wearing the jewelry. What inspires you? I love some of the pearl pieces that Chanel does and the chunky necklaces of Dolce and Gabbana. I’ve always been really inspired by nature. I love to use all natural stones. Thus far, I have incorporated birds, bees, spiders, stars, leaves, feathers, and lots of flowers into my line! Where do you see Siena Jewelry heading? Currently I am in major department stores like Neiman Marcus and Bergdorf Goodman’s. Going forward, I would love to get into more specialty stores both in the U.S. and overseas. If you weren’t designing and selling jewelry, what would you be doing? I would probably be back at school getting my Ph.D. I’ve always wanted to be a psychologist, and I still plan on going back to school at some point. Right now I feel so grateful to have gotten this far. I am blessed to wake up and get to be in a creative zone every day. What are your favorite restaurants in NYC and L.A.? I love Pulqueria in New York for Mexican food. I also love ABC kitchen. I am a huge ramen fan, so I always have to make a stop at Momofuku when I’m in New York! In Los Angeles, my favorite places to go out are The Nice Guy, Blind Dragon, Bootsy Bellows, and Ysabel. You’ll also find me at Mizu, this Shabu Shabu restaurant in L.A. that I am obsessed with! For a good Italian dinner I love going to Dan Tanas. To learn more, visit sienajewelry.com. FAIRWEATHER | SUMMER 2015 | 67
KING MING OF
By Evan Hughes 68 | SUMMER 2015 | FAIRWEATHER
Right: Giltbronze figure of Avalokiteshvara, Nepal, 13th century (sale price $8.229 million; est. $2-$3 million). Left: One of a set of four Huanghuali horseshoe-back armchairs, Quanyi, China, Ming Dynasty, 17th century (sale price $9.685 million; est. $800,000-$1.2 million).
ALL PHOTOS COURTESY OF CHRISTIE’S
Robert Hatfield Ellsworth amassed a trove of Asian art that was considered the finest in the West. When it went on the block at Christie’s this spring, even skyhigh expectations were exceeded.
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Left: A bronze figure of Shiva Gangadhara Nataraja, South India, Tamil Nadu, Chola Period, 9th century (sale price $2.853 million; est. $2-$3 million). Below: Huanghuali recessed-leg painting table, Huaâ&#x20AC;&#x2122;an, China, Ming Dynasty, 17th century (sale price $3.525 million; est. $800,000-$1.2 million). Opposite: Bronze figure of a seated yogi, possibly Padampa Sangye, Tibet, 11th/12th century (sale price $4.869 million; est. $1-$1.5 million).
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A
RT COLLECTORS, art dealers, and art lovers of the world headed to New York in March for Christie’s fiveday auction of one of the greatest collections of Asian art in the West, that of Robert Hatfield Ellsworth, who passed away in 2014 at age 85. Excitement was in the air and predictions were high, with some presale estimates suggesting the auction would bring in at least $35 million. That estimate would eventually turn out to be extremely low. AN ASIA WEEK PHENOMENON Making the Ellsworth auction even more thrilling was the fact that it coincided with Asia Week, the annual New York-based event that this year included exhibits by more than 40 dealers, auctions at the major houses, and fundraising events such as the Metropolitan Museum’s celebration of its Asian art department, drawing not only savvy collectors and dealers but also important scholars and major museum curators.
The New York Times quoted Jay Zu, director of the Asian Art Museum in San Francisco, as describing Asia Week as “the largest constellation of Asian art on the face of the earth.” A LIFE DEVOTED TO ASIAN ART With all the buzz generated by the Ellsworth auction and Asia Week, perhaps it’s difficult to imagine an art world in which Asian art was less than central. In fact, over the course of the 20th century, Robert Hatfield Ellsworth played a pivotal role in bringing Chinese painting, furniture, porcelain, and jade to prominence not only for collectors but also for museum curators and scholars. Born in 1929, Ellsworth began his career when he was just a teenager working for a Manhattan antiques gallery. There, he met a leading Asian art dealer who taught him to appreciate Chinese painting, furniture, and porcelain. Over the years, he developed such a discerning eye for Asian art, he has been called the “King of Ming,” a reference to the Chinese dynasty (1368–1644) known as an exceptionally long period of stability that produced an outpouring of fine art. (It is FAIRWEATHER | SUMMER 2015 | 71
Ellsworth’s work was not limited to collecting art. He founded the Hong Kong-based Chinese Heritage Art Foundation to restore Ming and Qing structures in Huangshan, known for its underappreciated architecture. Since his death, another example of Ellsworth’s generosity has come to light: In his will, he left $50,000 to each of two waitresses at Donohue’s Steak House, on Manhattan’s Upper East Side, where he was a famously devoted regular. A RECORD-BREAKING AUCTION The most recent testimony to the significance of Ellsworth’s life’s work is the dazzling success of Christie’s March auction of more than 1,400 pieces from his collection. The results were impressive: more than $61 million in the evening sale, and another $70 million in the five other sales. All six sales were 100 percent sold by lot and 100 percent sold by value, which is a rare occurence.
worth noting, however, that Ellsworth’s interests included not only the art of China but also of South and Southeast Asia.) Ellsworth helped important collectors, including John D. Rockefeller III and Christian Humann, acquire works and he also bought works, and sometimes whole collections, from collectors. AN INFLUENTIAL EYE The Asian art collections of several major museums, such as the Metropolitan Museum of Art, the Cleveland Museum of Art, the Philadelphia Museum or Art, and the Museum of Fine Arts Boston include works the institutions purchased from Ellsworth. In 1981, the Met opened its Astor Chinese Garden Court (financed by Ellsworth’s friend Brooke Astor and modeled after the kind of courtyard a Ming-era scholar would have built) as a result of its purchase from Ellsworth of a significant suite of Ming and Qing hardwood furniture. (Ellsworth was the first major collector to take interest in Ming-era hardwood furniture.) In 1986, Ellsworth donated 500 Chinese paintings to the Met. 72 | SUMMER 2015 | FAIRWEATHER
Gilt-bronze figure of a seated bear, China, Western Han Dynasty, 206 BC–8 AD (sale price $2.853 million; est. $200,000– $300,000).
The evening sale set four world auction records: A gilt-bronze figure of Avalokiteshvara, Nepal, 13th century, realized $8.229 million (est. $2-$3 million); a bronze figure of a Seated Yogi, possibly Padampa Sangye, Tibet, 11th/12th century, realized $4.869 million (est $1-$1.5 million); a bronze figure of Shiva Gangadhara Nataraja, South India, Tamil Nadu, Chola Period, 9th century, realized $2.853 million (est. $2-$3 million); and a set of four Huanghuali horseshoe-back armchairs, Quanyi, China, Ming Dynasty, 17th century, realized $9.685 million (est. $800,000-$1.2 million). (Estimates do not include buyer’s premium.) Eleven additional objects in the evening sale brought in more than $1 million each, including a rare Huanghuali recessed-leg painting table, Hua’an, China, Ming Dynasty, 17th century; and a superb gilt-bronze figure of a seated bear, China, Western Han Dynasty, 206 BC–AD 8. It’s enticing to anticipate the institutions and galleries where these masterpieces from Robert Hatfield Ellsworth’s collection will go on display, inspiring and delighting a new generation of Asian art aficionados.
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Katie Ford, the former CEO of Ford Models and founder of Freedom for All, is on a mission to end modern-day slavery.
Model W Citizen
In order to stop human trafficking and modern-day slavery, Ford’s nonprofit, Freedom for All, has been partnering with on-the-ground organizations to create long-term, systemic changes to end slavery as well as advising companies on how to manage their supply chain and remove problems within it.
By Alexandra Fairweather Informing & Warning One important step is to get information to populations at risk about what “good labor 74 | SUMMER 2015 | FAIRWEATHER
CRAIG PAULSON PHOTOGRAPHY
hen Katie Ford was asked to speak on a panel at the United Nations about human trafficking in 2008, she was shocked to learn that there are over 27 million people in slavery in the world today and it is the second most profitable criminal industry after drug trafficking. “These are people,” she remarks. “It’s a business selling them to whoever pays the most. They travel with hope of a better life,” only to be deceived by their future captors: Force, fraud, and coercion prevent these victims from escaping.
BOTTOM: SAMANTHA NANDEZ/BFANYC.COM
recruitment and bad labor recruitment” looks like, explains Ford, who as CEO of Ford Models would oversee recruitment of models from around the world. The power woman explained to me that it is important to note that modern-day slavery and human trafficking are not limited to emerging nations, but rather are also present in developed countries such as the United States. As Ford shared with me stories of victims, detailing how they were captured and escaped, my first thought was how alarming it is that in contemporary society we often do not realize that slavery exists around us, and for that reason, Ford pointed out that it is paramount that police and immigration offices be taught how to spot signs of human trafficking.
Disincentivizing Slavery Recently, Brazil enacted the National Tax for Eradication of Slavery, where businesses that are found to have slavery in their supply chains will be listed on Brazil’s “Dirty List.” Ford believes that initiatives that disincentivize slavery practices will help lead to their end. But, as Ford explains, “the biggest thing is consumer action.” Ford shared with me how we as con-
Above: A video from freedomforall.org. Right: Molly Gochman's anti-trafficking "activist artwork," Red Sand Project. Facing page: Katie Ford and Patricia Velasquez at the United Nations.
sumers need to become aware of problems in supply chains of the companies we purchase from. People need to “live it in their life first,” explains Ford. She believes we all need to start asking ourselves, “Where are the sheets being produced?” and we need to “make people aware.” Ford explains, “CEOs are looking only at the numbers.” Therefore, consumer action is the most effective way to disincentivize human trafficking and slavery. FAIRWEATHER | SUMMER 2015 | 75
I
In our visits to the beautiful homes of tastemakers, movers, and shakers, we have learned that there is truly an "Art of Living" that should be explored, studied, and ultimately mastered. Recently, we had a chance to get together with the Carpenter siblings (David, Lauren, and Sean) in their home at the Plaza Hotel. Gorgeous, extremely witty, and unquestionably talented, the family also founded Carpenter Fine Violins, one of the leading boutiques for stringed instruments, catering to investors, musicians, and collectors.
Right: David Carpenter's primary viola, made by Michele Deconet in 1766 in Venice (also known as the "King David"). Below: David's Rolex watch, given to him by the former CEO of Rolex (he is a Rolex Protege). Facing page: David with his Deconet, Lauren with a Stradavari violin from 1691, and Sean with a Stradavari violin from 1725.
HEAT INDEX:
The Art of Living By Mira Dayal Photographs by Carrie Buell 76 | SUMMER 2015 | FAIRWEATHER
We learned through our conversation that the siblings not only sell the exquisite works of Antonio Stradivari, Giuseppe Guarneri Del Gesù, and Giovanni Battista Guadagnini, but also collect art from greats such as De Kooning, Motherwell, and Cy Twombly, and watches such as rare Patek Philippe pieces. Mira Dayal: When did you fall in love with music? The Carpenters: We’ve always had a natural affinity for music. We were very lucky to have a mother who encouraged our musical and athletic activities. We became more serious about our musical studies in middle school when we commenced attending conservato-
ries (at the Manhattan School of Music and the Juilliard School) every Saturday morning. How did Carpenter Fine Violins come about? Sean’s passion for stringed instruments started in his early teens when he had the opportunity to study and play on old Italian and French violins from the 17th to 19th centuries. He developed a unique skill in identifying all types of violins that he had seen and played from stringed instrument dealers in the United States and Europe. We founded the company at an economically depressed time more than five years ago, but it proved to be a strategically advantageous period when
musical instruments became even more attractive as alternative investments for both established collectors and new investors. We grew the business primarily by word of mouth to become the leading brokers of fine musical instruments globally. Do you have an instrument that you are particularly fond of at the moment? We each have a favorite instrument—David’s is a viola made by Michele Deconet in Venice (1766), Sean’s is a 1725 Antonio Stradivari violin that he uses for his major New York concerts, and Lauren's is a 1691 Stradivari violin that she also uses for special concerts in New York. FAIRWEATHER | SUMMER 2015 | 77
Left: Sean Carpenter in his home office. Below: Murano glass made by Dino Rosin.
5 Questions Do you have a favorite neighborhood in New York City? We love attending lectures and concerts in our area, in places like the University Club on 54th street and Fifth Avenue (of which David is a member), and Carnegie Hall, which is a fiveminute walk from our property. What are your favorite spots in New York City? Fifth Avenue is definitely a highlight, as it is our route to Christie’s, our favorite living museum that we visit almost every week.
What is one of the most interesting instruments that you have encountered? We are currently curating a violin that was owned by King Ludwig II of Bavaria; the “Mad King” of Neuschwanstein Castle (also previously owned by his father, King Maximilian), which later passed through Alice de Belmont’s ownership in the 1940s and was recently featured at an exhibition at the Metropolitan Museum of Art. The violin is not only visually stunning (as it was made at the zenith of Stradivari’s Golden Period in 1720), but it is also an incredible sounding violin that premiered the Richard Strauss Violin Concerto. Each of the instruments that we deal with has a truly fascinating story going 78 | SUMMER 2015 | FAIRWEATHER
back in some cases to nearly when it was constructed centuries ago. Collectively, the three of you have studied or worked in politics, finance, and technology; how has that contributed to the ways in which you run your business? Having worked in the corporate world for some period instilled in us a sense of corporate discipline as well as relationship-driven sensibilities. Essentially, we are in a customer-service-oriented industry, and our business thrives when we deliver a "turnkey" solution to buyers of fine instruments. We not only help to find great opportunities for new clients, but also curate the experience of own-
What are your biggest virtues and biggest vices? Vices: Tea and sweets. Virtues: loyalty and fun! What is the best advice you've ever received? Always give back. Philanthropy is a huge part of our lives and we love giving back to the people and institutions who helped us realize our dreams—Princeton University being at the forefront. What do you hope your legacy will be? We want to raise awareness for whatever it is that we are doing; for the fine musical instrument market as an exciting, investmentgrade asset; for classical music as an accessible and entertaining style of music; and for philanthropy as something that all people should get involved with early on, either financially or as a commitment of their time and energy.
ing instruments by maintaining and featuring them in private and public concerts, as well as in new publications that contribute to their overall provenance.
critical link to almost everything we do, and certainly is a testament to how powerful a unifying force it is in our lives. You have a beautiful home. What's your favorite feature of your apartment? Thank you! When we first moved into the apartment, we questioned whether to keep the very colorful and unique wallpaper, but ever since it has grown on us so it’s a keeper!
As music becomes increasingly distributed and shared through technology, how do you see performances evolving? Consumers of media are constantly inundated with information and opportunities to see and hear new talent. It is indeed difficult to distinguish oneself both as performers and as businesspeople. However, we believe that we have been successful since we take a "multi-dimensional" approach to what we do. We founded an orchestra, the Salomé Chamber Orchestra, that performs around the world and collaborates with fellow nonprofit organizations to help raise money for their philanthropic endeavors, and by doing so, we are introducing a whole new audience to classical music.
How would you define your style? As creatures of habit, we have always been attracted to handmade Italian objects. Violins are only one part of that equation—Italian clothes from Angelo Galasso and Roberto Cavalli have becomes staples of our closets and concert attire. How did you start collecting art? Do you have a favorite piece of art in your collection? We started collecting art when we started our company five years ago. Collectibles in general tend to have overlapping themes; we love the quality and uniqueness of art, fine watches, and musical instruments. Our first art pieces were from the 19th century by Alfred de Dreux, Adolphe Monticelli, and Théodore Géricault. Since then, our tastes have gravitated to post-war contemporary art, which has been a very fun and dynamic market for the past few years. We have collected works by Cy Twombly, Yayoi Kusama, Robert Motherwell, Willem de Kooning, and Adolph Gottlieb. Our favorite piece has to be our 1968 Motherwell Open in the colors of our alma mater (orange and black!). We are actually lending it to the Princeton University Art Museum starting this July.
Who are your favorite performers? We enjoy watching performances by musicians who bring a lot of energy to the stage (in any genre). In particular, Cecilia Bartoli, Beyoncé, and Bruno Mars are outstanding performers, to name a few. Who are your favorite classical composers, and which composers do you think are making the greatest strides today? We love performing staple works by the great classical composers—Vivaldi, Brahms, Dvorak, Beethoven—but our passion is to perform new works of music that are immediately accessible to younger audiences. In particular, these include works by Ástor Piazzolla, Alexey Shor, and Oran Eldor. You are an incredibly close family. One can sense how special your family is and how much love there is. What does family signify for you? We consider the family unit to be the foundation upon which all of our activities are built. Without our close-knit family, we never would have started a company and new venture, continued playing music, or even lived in the same city as we do. Music has been
Above: Lauren Carpenter's style is reflected in her choice of concert attire and the fine art on display in the Carpenter's apartment at the Plaza.
Tell us about your watch collection. Watches are "utilitarian" jewelry, and we’ve started to collect rare pieces from Patek Philippe as a way of diversifying our collectible portfolio. They are, like musical instruments, marvels of engineering and aesthetic beauty, and as we consider ourselves only the temporary custodians of fine violins, we are also the custodians of watches that will far outlive us. FAIRWEATHER | SUMMER 2015 | 79
RECTO AND VERSO Yayoi Kusama working in her studio, 2014
*Ceiling and Visibility Unlimited
PHOTO BY GO ITAME; IMAGES © YAYOI KUSAMA. COURTESY OF KUSAMA ENTERPRISE, OTA FINE ARTS, TOKYO / SINGAPORE AND DAVID ZWIRNER, NEW YORK
CAVU*
Riding through the Scottish Highlands on our way to Edinburgh to see the Chamberlain sculptures in the Royal Botanic Garden . . .