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SUMMER 2010 • $4.95

Marilyn GoldberG’s Creative life artHaMptons stakes a ClaiM Deshuk’s Narcissus • soreN’s WomeN artexpo • koreaN art Fair the armory shoW

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Donald Sultan at work in his studio Courtesy of the artist and Mary Ryan Gallery, New York City.” Photo by Phyllis Rose

ArtHamptons Honors Donald Sultan

ArtHamptons hosts Donald Sultan Sat., July 10, 2-3 p.m., Collector’s Lounge. Sultan, who has been a Hamptons-Sag Harbor resident since 1985, is the recipient of this year’s ArtHamptons Lifetime Achievement Award. Mary Ryan Gallery will present a one-person exhibition of his work including large-scale paintings, drawings, and original prints. This will mark the first time in nearly 15 years that there has been a solo presentation of Sultan’s work in the Hamptons.

Daria Deshuk, Page 16

Moira Donohoe, Page 18

Soren, Page 19


Godon, Page 24

Jane Seymour, Page 22

Lana Lucas, Page 30

Summer 2010



Helen Dunn, author of Celebrity Recipes and People! Places! & Parties! with Marilyn Monroe, at Ms. Dunn’s Restaurant and Chop House, Clinton Street, New York City, 1960. To view Ms. Dunn’s compilation of recipes from the likes of Walt Disney, Queen Elizabeth II and Mamie Eisenhower, visit our website,

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Come socially network with where we will talk about The Creative life Yours, Ours, and Others Share Your Ideas and Images FineArtMagazine

http 4 • Fine Art Magazine • Summer 2010

Michele Bramlett New Work, New Book, New Portfolio

Wolf Way, 18” x 36”, giclee on canvas

The Greyhound Band, 18” x 36”, giclee on canvas

The Longest Way ’Round, (cover) 18” x 18”, giclee on canvas

Michele’s illustrations adorn the forthcoming book, The Longest Way ’Round — the true story of a rescue Greyhound’s adventures on a twelve day sojourn in the rugged Adirondack Mountains of New York. Available as singular prints or in a deluxe portfolio published by

SunStorm Arts Publishing Co., Inc. Bad Dogz, 18” x 18”, giclee on canvas • 631-909-1192

6 • Fine Art Magazine • Summer 2010

ArtHamptons: Art The Way It Ought To Be ArtHamptons will return again on July 8-11, 2010, as one of the major events of the Hamptons and the summer art season. Now entering its third successful year, ArtHamptons has already established itself as one of the top new fine art fairs in America. In 2009, over 5,000 art enthusiasts streamed through. Only at ArtHamptons will visitors and residents on the East End of Long Island, NY, an international playground for the wealthy, get to witness such a respected lineup of international upper-tier galleries assembled in such an impeccable museum-like setting. In addition to paintings, works on paper, photography and prints, the art fair will offer world-class glass art, ceramics and l’objects d’art. ArtHamptons will feature 83 highly respected U.S. and international galleries from six countries and 35 cities, including for the first time galleries from Russia, Argentina, Spain and eight galleries from Korea, as well as from the U.K. More than 600 artists ranging from the post-war to contemporary generation of art stars will be represented in the show. The exhibition will include a vetted selection of 7,000 art works valued at $300 million. From the masters to important contemporary offerings, there will be something for everyone’s budget level. Last year, with post-show sales remaining vibrant for many galleries, a stunning $10 million in art sales was generated as a result of ArtHamptons. Syd Solomon, Untitled (1027) 1965, 24” x 18”, Oil With Roller On Paper, Gallery Sam, Berkeley CA Noted Rick Friedman, ArtHamptons founder, “We see the vibrant ArtHamptons sales last year and the most recent New York and London auctions with a sell though rate over 90 percent of the lots offered, are auspicious signs for the art world. We just returned from our company-produced San Francisco * Fine Art Fair that ended on May 23 and experienced firsthand the vibrancy of the international art market right now: 15,000 enthusiasts streamed through; there was $5 million in sales, with red dots everywhere which we haven’t seen at a fair since 2007.” The ArtHamptons exhibitors will include such notable galleries as Art Link International, DC Moore, Waterhouse and Dodd, Forum Gallery, Mary Ryan Gallery, June Kelly Gallery and Throckmorton Fine Art that will be exhibiting investment-level artwork from an international array of modern and contemporary artists such as Stella, Rauschenberg, de Kooning, Dufy, Sultan and Rauzier. The Lifetime Achievement Award once again will honor excellence in the visual arts and go to an internationally recognized artist who has shaped the art scene in New York City and beyond. Donald Sultan will be the recipient this year. He has been a Sag Harbor, NY, resident since 1985. The Mary Ryan Gallery will present a one-person exhibition of his work including large-scale paintings, drawings and original prints. This will mark the first time in nearly 15 years that there has been a solo presentation of Sultan’s Donald Sultan, Five Blues Feb 26, 2006, 2006, Conte crayon and flock on work in the Hamptons. Past recipients of the award included Will paper, 22-1/4” x 23-3/4”, Courtesy of the artist and Mary Ryan Gallery, Barnett and Jane Wilson. New York City Fine Art Magazine • Summer 2010 • 7

So Ji Lee, A Lump 14, 2009 Acrylic on canvas, 39” x 28” Seonbawi Museum of Art, Seoul Korea

Jong Shik Shin, Voyage, acrylic on canvas, 40”x 26”, Kips Gallery NY

Young Art Gallery, Seoul Korea:Artist Woo, Byung Chul Title Seeing, 2010, oil on canvas 35 x 23

Kim, Kyoman Kim, Landscape 2007, Acrylic on canvas, 36x34inches, PS Contemporary, Palm Springs, CA 8 • Fine Art Magazine • Summer 2010

Pedro Pablo Oliva, The Artist and His Female Model, Oil on Canvas, 25” x 21”, 1999, Gomez Mulet Gallery

Young Art Gallery, Seoul Korea:Artist Lim, Jin Sung Title Floating kumkang which is sleepwalking, 2010, korea ink & gold powder on paper, 35 x 26

John ‘Crash’ Matos Born in 1961 in New York City, a true pioneer of the Graffiti art movement, John ‘Crash’ Matos’s work was discovered in a most unconventional way, through the murals he spray painted on subway cars, basketball courts and on the walls of buildings in dilapidated neighborhoods. Using the IRT subway system as his launching pad, Crash established a visual link between the underground street life and the world above. Represented at ArtHamptons by Art Link International, Crash will talk about his work and sign his Catalogue.

JEAN-FRANCOIS RAUZIER, French (born 1952), Bibliothèque Idéale 3, C-Type print Edition of 8 150 x 250 cm / 59 x 98 in, Courtesy: Waterhouse & Dodd, London, U.K. The third in Rauzier’s series of visions of his ‘ideal library’, this is based upon architectural elements of the Library of Congress in Washington DC. Rauzier wrote about a previous work in the series: I have dreamed of this city, an immense library open to the sky, a place of silence and peace, of ideas and of enlightenment, of differences and of tolerance, of whispered confidences. A Pantheon in which one keeps oneself close to that which soothed one’s childhood, forged my knowledge and my discoveries, of which I cannot speak the language. In the central section Rauzier has arranged his own personal Pantheon of the ‘greats’ from ancient and modern history, including Moses, Plato, Columbus, Shakespeare, Bach, Napoleon, Einstein and The Beatles. Meanwhile through the arches to left and right can be glimpsed two iconic American landscape paintings by Thomas Moran, while through the smaller arches in the lower right area, in a self-referential touch, can be seen Rauzier’s own ‘Bibliothèque Idéale 1’.

Stanley Boxer, “Sadharvestbledtocharm” 1989 Oil and mixed media on canvas 76 x 36”, Madelyn Jordon Fine Art Fine Art Magazine • Summer 2010 • 9

95 Galleries at ArtHamptons

The highest number of galleries will be participating in the 2010 fair, placing it among the top shows in America. It represents a 40% increase over 2009.

Byung Jeong I, Memory II, 24” x 35”, mixed media 2010 Cosmos Gallery Incheon, Korea Hyun Sook Jeong, Before and After, 2010, Acrylic, Mother of Pearl on Canvas 16” x 16”, Art Company Misoolsidae, Seoul Korea

Tom Blackwell, Coffee Break at Barnies Sarasota, 34” x 48”, Louis K. Meisel Gallery

Drew Tal, Faith, edition of 7, Metallic Paper mounted on Aluminum, Emmanuel Fremin Gallery Soho

Wosene Worke Kosrof, Color of Jazz II, 2007, Acrylic on canvas 40 x 42”, Madelyn Jordon Fine Art 10 • Fine Art Magazine • Summer 2010

Hee Man Ryu, Recurrence 2009 oil on canvas 46” x 28”, CW Gallery, NY


Marilyn Goldberg By JAMIE ELLIN FORBES Marilyn Goldberg’s father was a physician; a European immigrant speaking several languages — Polish, French, German Russian — who arrived in America with his wife Georgette from Paris in the 1940’s. He had a very personal vision of America, an eye for beauty and a wife he adored who resembled the great American beauty Marilyn Monroe. So when his daughter was born, naming her was easy: M-A-R-I-L-Y-N. Ms. Goldberg has taken that gift — her first experience with branding — and her life honors her parents and the great Norma Jean yet carves out a place in the history of humanity that is particularly and uniquely her own. It isn’t that being a successful art publisher, merchandiser, and creative home designer, creator of legendary art programs for the likes of John Lennon, Picasso, Erté, Andy Warhol, Keith Haring, Tamara de Lempicka and enough others that to list them and note their accomplishments would fill many books, it is that Marilyn Goldberg employs her love of life, of imagination, of beauty into a potent elixir that we have come to call “The Creative Life.” Living in this spirit is a full time experience for Ms. Goldberg, not an occupation. It is like breathing for her. Just as there is no peer or equal to the Icon status of Marilyn Monroe, in her field, which is her life, there is none who compares to Marilyn Goldberg. Her impact and vision as it pertains to her career in art, museum and Hampton Home Renovations branding, her style and her trademarks and licensing world since the beginning of her career, and the products she has created and manufactured pertaining to the great artists she has represented, are pioneering and unprecedented. “She is the greatest promoter, and an excellent companion creatively,” says Giancarlo Impiglia, the Italian Futurist who, before Absolut made him a household name, had many publications done by Ms. Goldberg with great regognition given him when she closed with The Metropolitan Opera for a limited series in the 1980’s. He also created a series of silkscreen prints and posters for Marigold that were literally everywhere; starting with her shows for him at her Southampton gallery named for her son Garett and run by her two sons Garett and Darren Goldberg who beamed with pride at being “in business” as youngsters. In 1985, when Artexpo was a the biggest show in town, people lined up at the doors of the old New York Coliseum and when they opened, many made a beeline for the Marigold Enterprises booth. Her art and art-related merchandise literally sold out moments after the show opened. People built careers and art galleries based on her intuitive ideas and plethora of creative merchandise. Marigold Enterprises, with Ms. Goldberg as founder and president, was a burgeoning-firm with seemingly limitless projects involving the marketing of art in varied media. She built an industry and lifestyle from art that was the treasured gift of any home, from her porcelains made in Germany to her carpets and tapestries from Denmark. She is a reservoir of artistic ideas and when you talk with her. the enthusiasm she generates for art, artists and her projects is more than contagious — it is powerful. Yet with all the push and hype necessarily surrounding a business that will take a Picasso painting and exquisitely reproduce it with hand drawn border designs on a scarf or tie pattern to be sold from Bloomingdales to Henry Bendels, there is an even more intense feeling one gets from Marilyn Goldberg: a positiveness detected in her genuine love and admiration of good art and good artists.

Marilyn Goldberg, at Radu Gym. Marilyn’s Hampton mornings start with a good luck text to her son Garett Goldberg on Wall Street. Coffee at Watermill Coffee house on Montauk Highway, walk on Flying Point Beach (year round) by the “cut” where the bay meets the ocean, (her spot) for inspiration, workout with Jen Judd at Radu, tennis once a week with pro Alex Teixti or massage with Derek Mdkonopka her Polish therapist. Marilyn Goldberg and Rick Freidman met at Radu in bike class getting revved up for their next creation. At the end of her very busy day is her chat or text with Darren Goldberg whose company, Atlantic Pictures, is named for his years growing up on Beach Road, Amagansett.

Maintaining relationships of “great cooperation” with estates and artist, for Ms. Goldberg, while challenging, is relatively easy. “If I weren’t doing Marigold:” says its founder, I would be painting. printing, builing, sculpting. Designing.” Extremely well versed in architecture and art history. Ms. Goldberg was awarded a painting scholarship to NYU and went on to earn her BFA at Boston University School of Fine SFAA and Applied Arts with a thesis on Art Therapy. She majored in Advertising Design and Product Marketing with a minor in Psychology and later the New York School of Interior Design, where she received her license for interior designing which led her to her creative garden designs and landscapes in the Hamptons with her signature waterfalls, and Monet’s waterlilys. After a decade in that field, a stint at the American Contemporary Art Corporation, the Art Center and Jackie Fine Arts, Marigold Enterprises. Ltd. was founded in 1979. Her first major project was with Marina Picasso for her grandfather Pablo Picasso’s estate. “All of my life, I have studied art, architecture, home interiors in addition to the various periods in art. Often, very little has been stated on canvas that was relevant to the times — as opposed to prehistoric cave art, the Egyptians, the Art Deco movement and-the ’50s scenes. People started to go back to styles that were successful and popular in previous eras. I said to artists. ‘Go outside and look. See the way people are living. Bring the outside in and the inside out; let the colors work.’” What Ms. Goldberg discovered was an entire generation — the first such generation in America — had the potential to become collectors with the money to pursue such interests. Mouseketeers. miniature Davey Crocketts, baseball card flippers ... grow up and decorate homes. Finding the secret of what they want to put on their walls to their dinnertable to the carpet on their floors has put Marilyn at the forefront of the art marketing and interior design artistry world. Extensive research into what fabrics were being manufactured, Fine Art Magazine • Summer 2010 • 7

what new paint chips were being developed, carpet designs and decor ideas has enabled Ms. Goldberg to instantly visualize people’s needs for their space and get a handle on what kind of art people would want to look at.“We need to be soothed these days. People’s lives are so crazy because they’re working so hard. They need an image — a lifestyle — a home with floors walls and accessories they can relax with, feel proud of, entertain in and enjoy for even a few moments. We found that people want to escape viscerally, through art and decor, into an elegant world which for many is gone. I’d love to go home and get dressed for a beautiful evening, chauffeured to a magnificent estate to sample vintage wines…but if I can’t go because I’m here creating programs, at least I can look at the art I love, enjoy what is on my walls and escape into it for a while.” FINE ART: How did you get started, and develop your enterprises of art and real estate in the Hamptons, bringing them all together in a way nobody else did. MARILYN GOLDBERG: We started out with Marigold Enterprises, evolved into Museum Masters International and out here in the Hamptons it’s The Villas Del Arte, Southampton Cottages, Master Builders and of late, Marilyn Monroe Enterprises. FA: There are a couple of swell stories about your history. Can you elaborate? MG: A great story is that my parents came here after the War, from Europe. When my father arrived in this country, he spoke several languages but not English. His American idol was Marilyn Monroes, his dream girl, and he decided if he had an American daughter, especially with blond hair, her name would be Marilyn and so I owe my name to him based on his love for Marilyn Monroe. FA: Can you tell us about Marigold? MG: In 1977, there were articles in the Wall Street Journal Marilyn’s parents, Dr. Nusyn Huberman and Georgette Huberman about Pablo Picasso leaving his paintings to his granddaughter Marina Picasso. Unfortunately, since there was no will and she had Picasso, the development of what I call the art brand took birth. to pay taxes, she owed four and a half million dollars to the French FA: So you were an originator of art branding… Government. The idea came upon me to raise the investment financing MG: I was the Disney of the art world, meaning that artists for the taxes and develop what is now called art merchandising for and estates from Pablo Picasso, Salvador Dali, Andy Warhol, Keith the right of reproduction of copyrights on everything from fine art Haring, Erté, Tamara Limpika and a host of others came to me for limited edition prints to all kinds copyright and trademark filing of museum products. Once the and securing international logos development of that took place, to brand the art which was highly a Russian artist from London recognizable. and Barbados via Paris named FA: So this is your magic. Erté arrived for the first time in When you instill it into marketing this country (since 1923) and I you see plan and you can go for was hired to plan the marketing it. program for his work. I had many MG: I see a name. I see meetings with Erté and decided brand. I see how to get that to the at the time to go into a three consumer. I see how to market dimensional phase. We selected it to the public. I hand draw the a foundry Joel Meisner came to look. I took the P of one painting my office where we arranged for in Picasso, the “i”, the “c”…I the three dimensional casting would then graphically with of the historic Erté sculpture sumi-e ink re-draw it so it was collection. I travelled back and brandable and later on, in many Michael Rothbart with Marilyn, in Shanghai, where she was invited buy the forth to Barbados many times serious international litigations, Chinese Government to do a lecture on marketing to visit Erté, having coktails when other parties tried to make with Erté at his home, with my young son accompanying me. He claim to the trademark, they could never find a painting with a selected all the jewels for the tapestries we created, so it was a very signature because they were all mine. interesting time. FA: That’s very interesting. The magic really works. FA: To put it in perspective, this was a phenomenon. When MG: My partner, Michael Rothbart, inspired me to run and Erté became popular again, he was an icon amongst collectors. find my magic each time, like a key unlocking the vision that the His work was highly sought after internationally and was a huge public will recognize. I take the embryo of an idea and turn it into a marketing event. A wonderful man, also. whole beautiful body of visual understanding. This is what the style MG: It had a huge marketing plan, and ultimately with the of my life and the style of my home living and that which I bring merchandising and publications that went on with both he and to my clients is all about. 8 • Fine Art Magazine • Summer 2010

With Erté at opening, French Embassy, NYC

Andy Warhol and Marilyn Goldberg

FA: I remember sitting with you, knowing at the time you were an idea together and brought it into the Hamptons and created an the spark of an entire movement. I picked that up instantly first time inside environment to match the external one . I walked the floor of a trade show. I understood that the magic and MG: I created a lifestyle and the lifestyle is the artistry of the music was coming from you, and you were moving a market. living life to its fullest. At this particular point of time, in that What I found interesting at the time is that you understood so much many of the properties out here have been sold and reinvested, as about people. When we originally interviewed you many years ago, to the development of the houses here, we’re basically finding a very you spoke of the integration between home, art, living and space and unfinished and messed up canvas that needs a lot of work. And in how you were adapting visioning, the trees, the it. This was pioneering, gardening, the plantings, way before anybody else the pond, the house, had broached the subject the reconstruction, the of paint and decor as extension — the art visual art along with the that would go inside — actual artwork. You were how the art would bring creating an environment your eye to the outside; and you were certain this how the flowers and the process was to be the gardens would tie in to next big wave. what’s going on within MG: I think it is each of the houses, the important to understand explosiveness of paradise. that way before the Through creative living art and artists, my and through the art real background was of the masters and up in architectural and and coming fabulous interior design. The Pop artists that lend combination of gardens themselves to developing and houses and offices these environments in and commercial real the Hamptons—this estate and restaurants makes tenants and Marilyn’s Lunch Table, Flying Point Beach, Watermill, where the fresh water meets the ocean and all the children come to play in the “sweet” water filled with art, filled with purchasers very happy. beautiful patterns, having everything coordinate and work together FA: And the realtors are all now very very happy that you’ve was a total vision for me. I didn’t see the prints being published, I brought your Marilyn magic to their particular stage, so to speak. saw the prints in a matte, in a frame, in a house on a wall with the MG: Beyond the houses, the art, the furniture the decor, the surrounding textiles and carpet. An environment that it was going colors, the gardens, the ponds, the sea breeze, are all one part of it. to grow in. I’ve also put together the magic of staff that goes from house to house FA: I think this is very important because you’ve affected the and takes care of the clients so that their homes are impeccable, their environment in which we live. You left a branding on the social tables are set, their fresh flowers are cut from their gardens, their environment because art was not popularly consumed before. Art bedding is pressed, with the European linen, and everything brought was not quite so big until you began to do this. in from all over the world tells you that this is not an ordinary house. MG: Art wasn’t branded for home lifestyle. People didn’t think It’s a house of art styling. It’s a house of love. about going to restaurants and finding giant murals and fabric that FA: Few, if any have done this out here prior to you. was coordinating with the art. People weren’t eating at dinner tables MG: Correct. There are people who build houses, there are with plates that had the art on them coordinated with the paintings interior designers, landscapers, but there is no one singularly who on the wall. All of this became a development of showing the public creates the house for the art, for the landscaping, for the total my vision and when I found the land of gold and heaven, which is environment, for the five star Ritz Carlton service that I offer. where we’re sitting right now, I knew that I had found the place to FA: You have such a unique way of seeing things, and you’ve make it all happen, and we have. evolved your concepts over an incredibly prestigious career — what FA: You took your entire fabric in the way in which you weave allows you to spark in this way? What about this environment Fine Art Magazine • Summer 2010 • 9

Cribbs was with the Warhol Foundation and Corbis owned by Bill Gates.

allows you to see that real estate can benefit from this. What was you defining moment? MG: I had a very defining moment when I was in my twenties, which resulted in divorce. I was married at the time to a family of realtors from the city and all I wanted was to be living on the beach in Amagansett by the dunes. FA: For a few years, you had a retail gallery out here. MG: Years ago in Southampton, across from Saks, I had the Garret Stephens Gallery, named after my son Garret, and I remember having a huge show at the time for Peter Max, who stayed in one of my houses. It was very interesting, because as he was in my European bed and European duvee, he dropped some ink while he was doing a drawing. So he made an entire drawing out of the duvee cover and said he was very sorry for messing up the duvee. I said, ‘That’s OK, Peter. I’ll just hold on to the cover.’ The story goes on and on from there. FA: It sometimes seems like you have a modest renegade in you that saw a very holistic picture that was inspired and that you’ve been graced and blessed, allowing you to integrate this into an entire life’s vision. It must be very rewarding. MG: It’s very rewarding but it’s a lot of work. It’s a lot of work having a vision that no on else understands or will invest in. It started from the merchandise that no one wanted. I had an office in Japan for ten years. It wasn’t until I put that merchandise on the bookstore shelves of the Guggenheim Museum (which had no product up till then), that they turned around and said alright we’ll try it for a weekend. Soon there was an entire Guggenheim gift store. FA: Did anyone manufacture museum gift bags before you? I remember when you started them, and I remember your concept in describing them; I had seen you describe ideas that nobody was doing, the Erté tapestries, the sculptures. MG: Taking two dimensional art and putting it into a three dimensional form where the artist had not done that in his lifetime — and Erté was not a sculptor — this was all invented. Taking tissues or napkins found in John Lennon’s pockets with little sketches and turning them into stone lithography and hand-etched prints — all of these items have become very valuable today. The shopping bags that were a dollar fifty are trading for $800-900 each because they were a limited edition. The John Lennon prints that opened at $150 are between $8-$18,000. The Marina Picasso print collection which was numbered and endorsed by the estate that opened for $200 are selling between $7-8,000 a print. So it is interesting to see that the vision was very different from the vision that was making hats and tee shirts to sell at Disneyland. My vision to bring art to a young generation, informing them what was great, and why, and why it should be a part of their lives, worked out pretty well. Turning it into children’s books with stories that children can understand that are sold in museum gift shops all over the world so the art and the concept of the art and the houses and the lifestyle —it’s total. Making a Keith Haring rug for a child’s room, with Keith Haring chairs for them to sit and play on; making Andy Warhol tapestries, Andy Warhol children’s clothes, babies wear were all issues that ultimately brought art to the grandparents who knew the names, to the parents who were the young teeny boppers and suddenly to the children who grew up with the art. FA: Watching this great success as it began to evolve, your ideas are very validated. How did you handle the opposition, or did you feel you had opposition at the time, or were you so inspired that you just drove through it as an energy because it is a remarkable. I used to watch you work ad I had never seen anything like it. And you still have it. MG: I still have it and always will have it. There was huge opposition. The estates in general felt, ‘Oh my goodness, if we do editions, if we do merchandising, if we do all of these things, it will devalue the art and were very opposed. However, my vision created exactly the opposite. Those articles most highly merchandised were 10 • Fine Art Magazine • Summer 2010

Garett Goldberg, Darren Goldberg

the ones that went at top value on auction. The public started to know the paintings that were different than van Gogh’s Starry Night which everyone knew. They started to know all the paintings and everything started to go up and I think that the most ambitious of escalation and appreciation in the art world for me has been the 25 years of input that I put into Tamara Lempika when the paintings were $200,000 and the name unknown internationally, I am very proud to tell you that in the auction at Sotheby’s last spring, brought in $3.5 - 6.5 million a painting and I am in the middle of doing exhibitions internationally which have gone from the Academy in UK, to Venice, to Berlin, to Mexico right after Frida Kahlo and we’re leaving for Rome in the Spring. The sales came from the paintings that I merchandised the most. Those were the ones that were most in demand. Those were the ones that brought in $6.5 million per painting. FA: So you were flying in the face of a certain aristocratic art market and yet you have overcome or defied or out-marketed … how would you put this? You have developed a market based on your techniques which had some opposition and now you are creating these entire environments, including paintings with the houses so the residents are comfortable they have their multi-million dollar properties for rent and they have their multi-million dollar paintings. MG: And the best part of it all is watching the buyers and the tenants entertain in my environments. They open the door and every friend who walks in says, ‘Oh My Goodness! That’s a Warhol, a Picasso, that’s a Haring, that’s a Lempika.’ All of a sudden they feel so important, they feel so proud. The young man that drove up and opened the walls, as soon as he saw the dinner ware, as soon as he saw everything he said, ‘This house is artistry from every wall to the garden.’ And then they go outside and find Monet’s Garden and because each of my gardens is planted with ponds, and waterlillies imported from Monet’s actual garden, and waterfalls and they feel the art outside. FA: So this is your art form. Creating the environment, marketing the art, selecting it and inviting people in; in your generous way you are creating an environment to share that you have envisioned. MG: Not only envisioned, but my greatest joy is watching them live it for themselves afterward. They walk into the environment and there is a tray with fresh flowers from the garden set up with art plates and tea or coffee or lobster or whatever it is that I am serving and when they feel how they feel, they call me to find out how to fix the first floral arrangement so that when their guests come in so they’re proud FA: So this magic, this art form that you bring, you feel it enriches people’s lives. Art is important. MG: Art is living. It is creation. It is the past, the present and the future. If you can bring it into your soul and into your being, and express it with joy, you’ve brought love to the world.

Opening Night ArtHamptons

The third annual ArtHamptons, Bridgehampton NY, July 8, 2010

Hans Van De Bovenkamp and his sculpture

Shimon Okshteyn

Lawrence Gartel with one of his creations Artist Daria Deshuk at Mark Borghi Gallery

Robert Walden, Henry Chung of rhv fine art

Nan Miller Gallery

Victoria Herbert, film producer

Artist/printmaker Michael Knigin

Robert Strada and Michelle Murphy Strada

PHOTOS — JAMIE ELLIN FORBES Fine Art Magazine • Summer 2010 • 15

Turquiose and Pond Meeting Narcissus’s Reflection

Narcissus NEW WORKS BY DARIA DESHUK By VICTOR FORBES The myth of Narcissus has been a rich vein for artists to mine for at least two thousand years, beginning with the Roman poet Ovid (Book III of Metamorphoses). In her new creations, Daria Deshuk reveals the influence of the romantic legend in a series called Meeting Narcissus. “The setting took place in East Hampton at a local park, where I unintentionally unfolded the mythological story of a young girl discovering her own Narcissus,” said the artist.“The model, seventeen years of age, was wearing a dress that I had designed to be a romantic decoration for a benefit event. She walked around the park as directed, adoring herself in nature, while I followed with my camera. Unscripted, she met herself in the reflection of a pond and the story became more than a simple ‘tale.’ ” This transformation into Narcissus transcends the classical story of the past into a modern romanticism of what the artist terms “Healthy Self Love” through the lens. Deshuk acknowledges ideas from the Age of Enlightenment and Romanticism through the iconic fairy image and also incorporates “an essence of spirituality and the evolution of the souls’ journey.” Continues Ms. Deshuk, “As a fine artist, entering the new frontier of Photoshop, I took it upon myself to learn all Enlightened Blue Fairy 16 • Fine Art Magazine • Summer 2010




By the Pond, Meeting Narcissus

that I could about transforming images. I explored the challenges by breaking boundaries through color and form and was shocked and amazed by the new-found freedom to which I now had access.” In the process, she redefined herself as a contemporar y figurative artist and like an icon from the Age of Enlightenment, the results of her experimentation take on characteristics that go against the grain in standard photography. Te l l i n g t h e s t o r y o f the popular myth and the Warm Cream Awakening transformation that takes place in nature and art of what it means to be human is in every essence a timeless story of evolution and self-discovery, the search for truth and spirituality in Art and Life. Mounted in Plexiglas, these photographic C prints on metallic paper in a variety of sizes exude a modern element combining the timelessness of Daria’s subjects while being presented in a contemporary format. With the painterly eye of the artist, the playful nature of each work is enhanced digitally, adding a visionary texture. Meeting Narcissus debuts at Art Hamptons at Mark Borghi Fine Art, Inc. “The Narcissus collection,” says Mr. Borghi, “will appeal to patrons looking for contemporary artwork. The imagery is dream-like and saturated with color; and especially alluring because of its aura of peacefulness.” e-mail for additional details. Fine Art Magazine • Summer 2010 • 17

MOIRA DONOHOE “I love being out there, in the elements, painting.”


oira Donohoe’s paintings offer the viewer the spontaneity, energy and color of the western countryside, as the artist opens a unique window of experience, sharing, the magic of this special terrain. Via these landscapes. Ms. Donohoe observes untouched majestically transcribed flashes of nature woven into rich brocades of color to tell the story of her heritage in each image. Donohoe’s love of nature, translated as lavish color exploding, imbued with living vibrancy reveals the mystery and mystical of the mountainous western California topography she grew up in. A quiet reverence offered by the artists, a stillness conveyed, invites the viewer through the doorway of her captured vision, alive in each painting. Born and raised in Yosemite National Park, California, Donohoe states, “I was lucky to be in direct and daily contact with grandparents who were also born and raised in Yosemite in the 1880s. Their influence, and my freedom to roam the woods and mountains, shaped and continue to inform who I am. My grandparents, who grew up there, were self-sufficient. My family was all by themselves. In those days, just about everyone left for the harsh winter…even the indigenous peoples.” Donohoe’s observations of pristine beauty inspire all of her paintings. Cliff Hangers is an example of a Yosemite image­­

Cliffhangers, pastel, 36” x 24” 18 • Fine Art Magazine • Summer 2010

—pine trees of green, midnight blue and lavender tower up toward the sky blue hues, all colors transitioning as they meet white clouds to form the moody composition of this pastel. “The legacy of people who embodied an Irish mystical sense of the wilderness was passed on to me,” Donohoe stated recently. “Learned collective family impressions form the basis of her particular style. Through these Plein Air landscapes, the artist filters the beauty of the majestic wilderness. Donohoe expresses a rainbow of color seen, and then applied with painterly expertise in each image. Summer Cadence, states clearly the splendor seen in the play of light as forest, mountain rock and sky are transformed, converging into a masterful impression of the late afternoon’s rich color. The pines begin to shape-shift, purples and blues emerge as the shadows set in. The complete spectrum of Donohoe’s pallet displays blazing light mixing changing color, possibly inviting in evening’s unseen muses. Thin spots, Donohoe perceives as certain places that are in touch and close to the unseen elements. This ability to unite with the unseen and the seen allows Donohoe to paint her beloved western surroundings with an understanding few can achieve. When coupled with her academic achievements of a BFA-Northern Arizona University-Flagstaff and MA-CSU Fresno both cum laude, Donohoe’s rare gifts become a powerful artistic force. “In Yosemite in particular and all the places I am compelled to paint, I feel connected with nature and unseen elements. To me, mystical means things are unseen beyond the obvious spirituality, things hard to put into words. This mystical feeling is especially apparent in Spring Giant. The water is thundering downward, dispersing the energy of the moment. It is the energy accented by the light, which moves the painting to form the composition. Colors align down the center of the piece, the long tapering water fall almost forming a skirted body, with clouds drifting upward, appear like angelic like wings between the immediate rich color of deep blue, russet and new grass green

Summer Cadence, pastel on paper, 26” x 34”

Spring Giant, pastel, 36” x 24”

caught in early morning light. “I paint my experience of the Western Landscape. I put it all in—time, emotion, the bugs, the breeze, the colors, and me. I believe art is a record of who you are. The landscapes of my childhood are still the same, but my landscapes of the same places are different. Life is not stationary. Like the flowers or trees, we grow, we change. It is funny how the land for me becomes a metaphor for my state of mind and emotion, the stage of life I am now in. I love being out there, in the elements, painting. I hope those who view my art feel some of what I felt while painting. More of Moira’s work may be viewed at

Suren, Dialogue #3, 115 x 146cm, oil on canvas, 2009

Suren found what he was looking for in life – the woman as a source of inspiration, as a divine gift.


By Movses Zirani

o be 40 and enter life in the 21st century, to be able to create in a romantic way, and still to paint only nude women…might seem to many a little absurd and unnatural. But, when we become acquainted with the inner folds of Suren Voskanian’s early life, and try to analyze the unusualness of his personality, we will notice that in him the world of emotions and instincts, together with the desire to run away from a troublesome daily routine, have more weight than the logical and the tangible. He was born half a century ago, in the Abaran region of Armenia, on the Mount Arakadz slopes, which are rich in plants and animal varieties. There the future painter felt blended with the nature around him; he found refuge in nature, escaping the over-caring of the parents, and the control of the teachers. In order to empty his mind

from the torturing energies and passionfilled thoughts, he would run, bare-foot, in the wheat fields or along the streams. Then, breathless, he would lie on the green grass and follow the metamorphoses of the clouds above. After resting a while, he would explore his surroundings. He would never hurt the insects. On the contrary, admiring their beauty, he would catch the butterflies and place them on beautiful flowers, convinced that he was helping them. He would also help other animals; he would teach the frogs how to jump, and the turtles how to walk. He did not like the cunning reptiles. Sometimes, he would catch them (the non-poison snakes) and take them to school to surprise his friends. For the same purpose, he wanted to take the sun into his hands and imprison it in a box, so that he would take it to the village and, upon his desire, turn the daylight into darkness, or to illuminate the night. He was the misfortune

of the school, the teenage scoundrel. In vain, his teachers tried to “educate” him. He was reluctant to take part in the school group games or family gatherings. His world was the outside—nature— where he sought “Something”, neither finding it, nor knowing what it was. Suren seemed to be more intimate with the animals than with family members. In winter, it was his pleasure to take care of the animals. It was the only thing that was allowed to him, and was appreciated by his parents. For hours he would watch the animals mate or deliver babies. The mating of the oxen, with their masculine note, astounded him, the speedy mating of the rabbits made him laugh, and the cunning “rape” of the hens by the cocks amazed him. In the village setting, there was no sex education, neither at home, nor at school. Everything was left to chance. Fine Art Magazine • Summer 2010 • 19

The children had to learn from nature, or from what happened to their bodies. Uncertainties concerning love and sex resulted in psychological crises, which lingered for a long time. And it seemed to him that “something somewhere was wrong.” For this reason, the issues of sexual relationships and baby delivery were daily worries for Suren – they posed big question marks. At that age, he used to think about life and death; tortured his mind and searched for the “Thing” that would give meaning and value to life. Suren’s childhood was thus spent on the well-irrigated slopes of Mount Arakadz, which had a lavish natural setting. That is, until love stirred in his heart and his sexuality began to mature. While a teenager, he noticed that the village girls had a special appeal. They were shy and did not respond to his questions. The feminine mystery remained with him, where it was gradually formed as an attractive and alluring puzzle. He became sad and melancholic, but the newly-risen passionate instinct within him made him bolder. And one day he entered the neighbors’ courtyard, where the girls had their bath in open air. His eyes hungrily took in the images. For the first time, a very pleasant sensation went down his spine, and a sticky and unknown liquid flooded the area between his thighs. After that his dreams became very different, and he fantasized many, many things… His pursuits became bolder and bolder. But one day, he was caught watching the bathing girls and was given to his parents to be punished… Many things were forbidden now. The problem reached his school and he was closely supervised as a hyper active and naughty child. There was nothing naughty in him; he just could not understand that why something so pleasant would be forbidden for him. In general, he did not understand that why the pleasant and good things were not allowed, whereas the unpleasant things were imposed. Anyway, he started to take care of his looks, his hygiene, and hair. He even decided to study more, so that the girls would notice him and find him attractive. Time went by and the desire to possess the female grew in him. One day he learned from a friend that certain female students accompanied their mothers to the river for their laundry, and sometimes bathed in the river, undressing and dressing under the bushes. Both boys went, spied on the group and were able to watch the girls. This they kept a secret. They had the satisfaction of watching, but physically they felt deprived and this feeling of deprivation grew in him. He started to paint nude females during the painting classes at school. The teacher appreciated it, but was astonished – how and where…? 20 • Fine Art Magazine • Summer 2010

Desire #1, 100 x 80cm, oil on canvas, 2009

The feminine mystery remained with him… as an attractive and alluring puzzle. On the verge of youth, he moved to the capital city, Yerevan, where both the economic conditions and girl-hunts were more favorable. He was accepted in the fine arts school for his extraordinary talent. There were nude female models and he could watch and paint as much as he wanted. His female classmates were astonished at the speed and correctness of Suren’s nude paintings. He loved them, he made love to them. Even though his uncontrolled passion was poured on them and he enjoyed the beauty and warmth of their flesh, but that “Thing” was still missing. There came a time when he grasped that his soul, more than his body, needed warmth, caring and consideration. Then, at last, in a beautiful day, and by a beautiful coincidence he met Marineh, his future wife. She came to fill the whole being of this rough artist. She

satisfied his inner world with beautiful feelings, emotions that endowed a new meaning and a different content to the concept of woman, rendering her a divine being, a mother worthy of worship. And when his first daughter was born, he felt that the miracle had happened. Suddenly, nature and life became more colorful, more beautiful, and nobler. And it seemed that he had found that what he was looking for in life—the woman as a source of inspiration, as a divine gift. Today, the passion to paint the woman is growing and multiplying in Suren, who, during his search, is discovering more and more feminine hues and is expressing them as artistic relics… Females painted by Suren, with their attractive lust, are directly proportional to their surroundings, where the real and the

unreal are mixed in a dreamy unanimity, as an aesthetic desire. This artist, who has a special love – even veneration – toward women, mostly variegates passionate female nudes, who are ardently sensual. However, they are far from being impolite or vulgar. They are simply beautiful, good-mannered, amiable, delicate courtesans with supple and modest looks, who, being created to make life attractive and beautiful, do not carry any debauchery or pornography marks on their nudity. On the contrary, they are either predestined virgins or goddesses worthy of worship. If at the beginning Suren Voskanian seemed to be inspired by Gustav Klimt, then in recent times he let his artistic talents soar. He has started to create whimsical characters that have an uncontrolled and free attitude, but also have sensitive expressions and remain in the realm of the romantic. However, they also try to enter the realms of the absurd and the surrealist. This painter, with his color-sensitivity

Duet, 80 x 100cm, oil on canvas, 2010

and special ability, creates with his priestesses, a colorful world, where the artist lives in his own visions, away from the daily annoyances and human barbarity. His bright and brilliant hues come from both the sun-filled nature

Love Song, 100x80cm, oil on canvas, 2010

of his native country and from his ego; from the flames of his love and sensuality, which not only cares and caresses the beauty of the female, but also appreciates and protects her human rights in an artistic way.

Modesty, 100 x 80cm, oil on canvas, 2009 Fine Art Magazine • Summer 2010 • 21


Jane Seymour, at Artexpo, interviewed by Jamie Ellin Forbes; youtube

Artexpo Embarks on a New Era


New Venue, New Management & We Are There

Susan Pillsbury, with her watercolors, at the Fine Art booth

The SunStorm/Fine Art crew at Artexpo, NY, April 2010. In this photograph by the great Peter Simon (visit him on Martha’s Vineyard or by going to www/; standing: Victor Forbes, Charles Wildbank, Tim Smith, Jeanette Gorsky, Steve Zaluski, Ronni Simon; in front: Peter Simon, Jamie Ellin Forbes 22 • Fine Art Magazine • Summer 2010

With Eric Smith’s Redwood Media takeover of the venerable Artexpo, the show moved to the Pier on New York City’s Hudson River, a cozier venue to reflect the times but we all had fun visiting old friends and meeting new ones, making some sales, discovering new artists, partying, making music and loving life. Next show is in Los Angeles this fall and again in New York next Spring. Further info at

Art Week in NYC

Pictoral Recap of The Armory Show and Korean Art Fair

Kyung-Ho Lee, Gallery Sejul, Seoul, Korea

By Jamie ELLIN Forbes


David Lester, IFAE co-owner, Armory Show

Jamie Ellin Forbes with Jorg Paal of Galerie Thomas, Munich, Germany, at the Armory Show


he Fine Art Magazine crew experienced a breath of Spring fresh art air, which we found at the NYC Armory Pier Show, and The Korean Art Show earlier in March 2010. The tempo was up-beat and the report from the Scope show coming into and posted on our FineArtMagazine. com home page news was art spring sales were up. Good news for all. Pictured here is a recap of the walk through we made of the two exhibits halls with our roving camera, while we shot video footage, which can be seen on the Fine Art Magazine you tube channel, FineArtMagazine. The Korean Art Show, as a collective of Korean contemporary galleries, spear -headed and organized by the Chairman of the Galleries Association of Korea, PYO, Mi-Sun was very successful. They hope as a group to make the Korean artists very well known on the international art stage. The show was supported by the Ministry of Culture, Sports, and Tourism of the Republic

of Korea, Korean Cultural Service of NY, and the Korean-American Association or greater New York. The group’s goal as a leader in the Asian market is to make the KIFA stand among the Armory, Pulse, and Scope shows as they establish an international role in the NY show spring market week. The show was well laid out, walked easily, and was the focal point for the highly schooled and technically trained artists, as they demonstrated their individual and gifted approaches to a serious fine art dialogue in image. The Pier 92 blue chip collection of contemporary art was airy and light in it’s presentation in the massive venues, upstairs and down. This was important, as the original energy of creativity instilled by the known artist was emphasized, capturing for the viewer in this setting 100% accessibility to experience the art with a personal or emotional connection to the works by the viewer. We enjoyed filming and discussing art with Jorg Paal, Thomas Galeries, Munich Germany, Tim Hill, Hill Gallery, Birmingham Mi., Niki de Saint Phalle works at the Nora Haimi Gallery NY, booth and many more.


Shosun Gallery

Opening remarks at KIAF, New York City

Opening night at the Korean International Art Fair


Jim Dine’s Parrot sculpture, Galerie Thomas, Armory Show Fine Art Magazine • Summer 2010 • 23

Alain Godon

Hello Father Chrismas


Chassis Foot Rouge


lain Godon’s unique art works stand alone as a singular form of expression, developed within a motif comprised of Godon’s own visual language. Images are constructed employing bright colors to display the artist’s whimsical imagination. Stylistically, Godon has developed his approach by the incorporation of stylized, cartoon-like characters coupled with French naive nuances derived from his early days of drawing in front of the Louvre as a chalk wielding, street Pop painter in Paris. Worked into the pieces are familiar emblematic caricatures of himself, his wife and the family dog often contained within his unfolding story, energetically and adroitly harnessed by Godon’s expressive, definitive line. Godon invites his viewers to enter a new world, suspending known time and space, instilled with an upbeat tempo inclusive of soaring stars, whirling suns and kinetic movement. Meetic‚ ( is the French “”) tells the story of an embrace under a blue sky, swirling clouds and sun in a park complete with squirrels, pigeons, and statuary where a perfect spring day is captured. Godon channeled the chaos of his frustration caused by his dyslexia to further communicate what he felt in pictures rather than words. This artistic license was needed to dispel the grief he felt as a youngster after the death of his beloved father. The imaginary differences sought are hinted at in the fancifully perceived visions he creates. His artistic drive to overcome unhappiness is shared with and made possible to the viewer through his art works. Godon’s approach is to structurally outline and define the inner essence of the world as he sees it through his pop expressions, painted with a child-like wonder as the artist infuses energy and life into his canvases. The blazing red outline accentuating the deep maroon sky in At the Foot of a Christmas Tree‚ offers a vision of lights, the moon and stars enhancing a Church steeple covered in snowflakes falling as Santa’s sleigh and reindeer mix with cars and people below, in a scene exuding the comfort of familiar holiday images. In 2009, Alain Godon was involved with the Creation of The Festival of Le Touquet (an annual festival for young artists) presided over by Emmanuel de Chaunac, Senior Vice President, Christie’s. Careful detail is lent in the reproduction from the originals to maintain the visual intent and integrity of the work reproduced. The Godon Prestige limited editions are printed using the highest caliber of reproduction giclee process available to maintain the vibrancy of color. Editions are fifty in number, printed on archival paper. Godon Etoiles are the reproductions of work on canvas as giclee done in editions of 300. To establish the resale value of the art, an 24 • Fine Art Magazine • Summer 2010

I Love Tango


approved network of dealers is overseen by the publisher to guarantee the authenticity and the collectible market value of the reproductions.

Alain Godon’s limited edition prints may be viewed at and the originals at Mr Markowicz may be contacted at Markowicz Fine Art, 1 NE 40th Street, Miami FL 33137, Tel 305 308 6398. Alain Godon’s detailed biography may be found at http://

The Money Solution

Mr. Thoughtmill, the town’s wise old sage and historian explained: “Money signifies agreements we give and receive instead of something real and valuable to us; things or work which are not immediately available. By giving money to someone else we admit the unfortunate situation that we do not have anything of value to offer them at the moment. In other words, money represents a promise to exchange or produce something of worth at a future time.


“We have very artistically printed money, as you know, such as bread and butter money, shoe money, house money and money for automobiles, wine and other items. Those different kinds of paper cause us confusion at times. And the reason it creates such confusion is simple: the more money we have, the more nothing we have except promises!”


uch a marvelous afternoon embraced the town of Bullford on this very Sunday. The air was glowing like honey. It was intoxicating. The birds gave the town a few sleepy chirps.

It was difficult to do anything but appreciate the wonder of oneself. Still, an important meeting was to take place at Mr. Gentlegrill’s impressive home, and before long almost every member of the Society had arrived and been seated in the comfort of the Creamrock conference room. Several of the guests seemed stuck in the garden, repeatedly greeting and bowing to one another. Eventually, with most of the Society seated, tea was served. After several cups, the meeting at last began. Just when the thoughts finally started moving, Lady Cherrypin arrived. “Oh my, I’m dizzy! Or am I drowsy?” she trilled. “I just remembered that when I see more than two people in one place I always feel this way. Would you be so kind as to let me play my cello in the next chamber?” “But of course, Lady Cherrypin,” said Mr. Thoughtmill, the Noble Society’s great sage. “It will be most delightful to hear your lovely music as a background to our discussion. And please allow me to observe that your comment is quite correct. Speaking sincerely, when I come upon more than one person, I can hardly think at all!” “It is quite true! No one can think clearly or independently in the company of several people,” agreed Mr. Hotbean, the youngest member at the table. “In that case we can conclude that crowds must be considered utterly brainless.” “Dear ladies and gentlemen,” spoke the noble and respected Lady Nova, “Let us be independent ourselves. We are not a crowd; we are all individuals assembled here in order to collect our personal suggestions. For we have a monumental task at hand.”

“So, it would seem that if we are indeed running out of money, we must be doing very well!” concluded the lovely Lady Fluffystone. “Oh, yes, absolutely,” Mayor Gentlegrill agreed. “It means that everyone is trading well and the ledgers are balanced.” “Except for one case…,” someone remarked. Lady Fluffystone waved her lovely hand in the air for everyone’s attention and quickly explained: “Almost all of us know that Mr. Hotbean seems to think he needs this ‘money’ quite desperately. He has been going to the free currency mailbox almost every day and becomes quite distressed when he has to shake it, sometimes for hours, and obtains only a few scraps. He feels that he has never enough and has asked everyone for more. I wonder, for what reason is Mr. Hotbean is so attracted to such a useless thing as money?” Mr. Gentlegrill nodded. “Of course, our gentle friends have given him all the money they have on the promise that he will trade something important and needed at a later time, or at least return the paper money to the currency mailbox. But has Mr. Hotbean done either of those things?” The Society seemed disturbed and confused. Then Mr. Gentlegrill, the Mayor, continued: “Well, our currency mailbox is shaken out and contains no more money. I also have to inform you, dear friends, that we do not have a single bill left in this entire town. Mr. Hotbean is here. Perhaps he can explain his compulsion for this currency and tell us where he keeps this substantial number of bills.” Mr. Hotbean, however, remained silent and upset. “You know,” Mr. Thoughtmill recalled, “there were once undeveloped and wildly ruled societies where they called themselves ‘people’ and not individuals because they had not yet sufficiently refined their ethics.”

Silence followed for several seconds as the Society members considered this idea.

A stifled gasp went up among the Society. They never referred to themselves as ‘people’. “They were compelled to rely upon this artificial form of commerce that tags a collective, unrealistic ‘price’ upon everything ‘people’ trade,” Mr. Thoughtmill continued. “Artificial values forced upon these ‘people’ who had no choice but to agree with those rules and work for money. They stored money, they strived for money, and when they had gained a large amount of this currency, they called it success.”

“Please forgive my forgetfulness, dearest,” Lady Fluffystone commented.“But what is this thing called ‘money’?”

“How foolish they must have been to work for this useless paper,” remarked Lady Nova. “Such poor people that they were

“And what is that, dear friends?” wondered members of the Society. “We are here to discuss the fact that our town is running out of money,” Mr. Gentlegrill, the town’s mayor announced.

Fine Art Magazine • Summer 2010 • 25

tricked by this paperish power. Maybe our friend Mr. Hotbean has this same illness, this curious addiction to money. If so, he needs our help immediately.” This conclusion was followed by a silent pause as everyone seemed slightly bewildered about what to do next. Sweet cello music and a tantalizing aroma from the Mayor’s kitchen were penetrating the minds of the Noble Society members, disturbing their concentration on the subject of the discussion. All of a sudden, Ms. Boot, a Society crow, arrived through the open window of the Creamrock conference room. “Forgive me my delayed appearance,” she began. “I came here to clear up this confusing situation regarding money. You see, gentle friends, it is not really dear Mr. Hotbean who has a misguided passion for it. There is nothing wrong with Mr. Hotbean. He is merely collecting money for his goat, Mr. No-Whitenose, who I have the pleasure to know quite well.” The room rippled with excitement as Ms. Boot continued in her shrill voice: “The goat has developed a gluttony for paper money and desires to eat the bills every day. Eventually, his demands made Mr. Hotbean absolutely desperate for currency, since he could find no cure or substitute for Mr. No-Whitenose’s special taste.” The Society members began to nod their heads in sudden understanding as Lady Cherrypin’s cello music cascaded into the Creamrock conference room from the adjacent chamber. After another moment, Mayor Gentlegrill spoke up: “In that case, we shall take special steps to provide additional currency. We shall build a factory to produce more of the bills which the Society’s Artist, Mr. Slowbell, creates and prints for us. This additional money will be made available exclusively for the goat. He can go to a special mailbox we shall construct and collect all the money his belly can hold.”

“Who would know better the value of a thing that is needed than he who needs it? I mean, of course, the consumer.”

money that will be provided to Mr. No-Whitenose?” wondered Lady Fluffystone. “In olden times they put prices on almost everything,” suggested Mr. Gentlegrill, the Mayor, “Does anyone have an idea as to what would be an appropriate price for the money this goat wishes to eat?” The noble Lady Nova had the answer in an instant: “Who would know better the value of a thing that is needed than he who needs it? I mean, of course, the consumer.”

This suggestion was met with great respect by the Noble Society.

“Brilliant!” responded Mr. Thoughtmill. “We shall ask the goat!”

“And perhaps Mr. Hotbean will be able to complete a musical composition based on this wonderful story and share it with the rest of us,” added Lady Nova. “I do so cherish his musical work.”

As the Society concurred, the low, sweetly sliding melodies from the music room suddenly fell silent and Lady Cherrypin, who still seemed drowsy, appeared with her cello in the doorway.

“Shall we coat this new money with a special smell?” someone wondered aloud.

“I am sorry. It appears that I missed the entire discussion about the small paper notes. I myself always lose them somewhere or throw them away by mistake. I’ve never learned how to deal with paper work. But Goodness! Ladies and gentlemen, you all look so tired!”

Mr. Hotbean sighed happily, a great worry lifted from his head. “That will not be necessary,” he responded. “My goat, Mr. No-Whitenose, is already quite fond of the way our money looks and smells.” Mr. Hotbean then bowed to the company of ladies and gentlemen, swinging his hat with a gay flourish. The question appeared to be settled when Lady Nova raised a new issue. “I was wondering: shall this money be free? Or should Mr. No-Whitenose somehow compensate the artist, Mr. Slowbell, for his work in producing so much additional currency?” The Society members became instantly engrossed in the subject. “Are you suggesting that we determine some price for the 26 • Fine Art Magazine • Summer 2010

Mayor Gentlegrill nodded in agreement. “The next time we have a meeting, we must invite our dear Lady Dancing Fish, who cavorts on our conference table and never fails to stimulate our thoughts.” The problem solved, tea time and music continued until a late dinner was served. The Society enjoyed a splendid evening, accompanied by many grand toasts and luminous conversations that continued well into the night.

Signed copies of Ms. Henry’s illustrated deluxe cloth-bound book, The Noble Society, as well as singed and numbered limited edition prints are available at

ART AROUND TOWN Out filming for the fineartmagazine. A collection of these videos can be found on our You tube channel: PHOTOS BY TIM SMITH

Sculptor Jacinthe Dugal-Lacroix with her work, which was very well received, at Samir Sammoun’s booth, ArtExpo New York

Jonesco Rodriguez of the Monaco Art Fair, Monte Carlo, and founder of the Montréal Art Esposition

Jamie being interviewed for a doc on the Artexpo, in front of Charles Wildbank’s “Luvin’ Wave” painting at the Fine Art Magazine booth

Jamie Ellin Forbes interviewing Artist Hessam Abrishami at the Studio Fine Art booth during Artexpo NY

Brian O’Neill at Nan Miller Gallery booth

Artexpo stalwart Bill Mack, artist/sculptor/entrpreneur, noted for handing out roses to all the ladies at every art expo since………

Jamie Ellin Forbes and Steve Zaluski interviewing Surf-board shaper and artist Greg Webster of Resin Psychosis

Konstantin Vais From InterArt Gallery, New York City, at Artexpo Fine Art Magazine • Summer 2010 • 27


Frank Latorre at his Art and Soul Gallery, Eastport, NY, home to fine art and live music.



Brazilian artist superstar Hamilton Aguiar at Artexpo NY with Nan Miller Gallery

Pillsbury Family Reunion Concert, April 25th, Biltmore United Methodist Church, Asheville, NC, where Rev. Dr. Susan Pillsbury-Taylor hosted her brothers, from left to right, Dr. Ralph Pillsbury, Rev. Dr. Stephen Pillsbury, and youngest brother Rev. John Pillsbury. A live recording of the concert is available at 28 • Fine Art Magazine • Summer 2010

Kathy Nicolosi with Susan Pillsbury-Taylor, at the Fine Art Magazine booth “hootenanny”, where the duo performed with their long time associate Gene Gambardella, much to the delight of the Artexpo attendees. See more video from the event on our Youtube channel

“If I cannot live where the everyday thought is different, then I have to paint it. Show me the unseen: the unexpected. Let me get lost in a room of paint and blank canvas and I will create a world where anything is possible.” —Jennifer Vitalia


viewer will find an eclectic, contagious enthusiasm for life vibrating through Jennifer Vitalia’s art work. Staccato splashes, accentuating curves found in forms or created by line, stated in bright colors, all are combined to create traditional fine art in sometimes non-traditional ways, bringing life to art or enlivening life as art. Whether her canvas be the human body, a wall, or traditional surface, this young artist has given her souls’ creative instinct permission to combine the traditional discipline of composition a creative voice in a new age of media and medium. With early training from her grandmother, an art teacher in public school and later a graphic art school eductaion, Vitalia combined the pizazz of her sports modeling career to message beauty. The artist wished to positively accentuate in the surrounding world by returning to art as the effective way to make her social statement. With an understanding of the difficulties and hardships that life may bring, the light of this artist’s gaze focuses on beauty. As a free thinking body sculptor/painter, Vitalia interprets the pure emotion of her subjects without conforming to the limits or constrictions of the selected material used to construct each painting. Abstract, impressionist art is comprised of techniques using spray cans, brush strokes, oil and acrylic paint to make the moment a poetic statement while capturing the essence of the intrinsic music hanging in the air. The resulting freedom maintains a structure based on the images being captured in classical form. “I try not to think, but rather be elusive to my own mind, I want emotions to guide my creations, not reflect what I’ve been taught to think,” states Vitalia. Having been a featured artist at both the NY Fashion Week, the Latin Mixx Showcase Artwork 2009 & 20010 and the International Contemporary Masters 2010&2011, and Vatalia’s photography, body painting and fine art career are firmly established, enabling the artist to open her own studio in Rahway, New Jersey. —JAMIE ELLIN FORBES

for more of the artist’s work, visit

Fine Art Magazine • Summer 2010 • 29

“Females on the Fringe” at Corscaden Barn

Corscaden Barn, Keene Valley, NY, in the heart of the Adirondacks

To paraphrase Jimi Hendrix, “Art (Love) can be found anywhere, even in a barn (guitar).” In the rustic hamlet of Keene Valley, about 60 miles south of Montréal in upstate New York, the Corscaden Barn has been supporting artists of all kinds for over 30 years. Founded by the late and legendary painter and art lover, Vryling Roussin ( Vry), and admirably kept up by her younger sister Martha Corscaden since Vry’s death in 2004, the Barn is rocking and rolling all summer with a cool collection of art by a diverse amalgam Cynthia Gallagher of very creative souls who put their best artistic energies forth in the season’s opening exhibition, Females on the Fringe featuring Cynthia Gallagher, Lana Lucas, Julia Gronski, Janet Millstein, Alice Boardman, Stephanie DeManuelle and Amy Fennelly. Coming in August is the exhibition Landscape Paintings Near and Far with Samina Quareshi, Marjorie Morrow, Robert Stark, Stephanie DeManuelle, Michael Gaudreau and Bear Miller. The Sculpture Garden plays host to Steven Zaluski, Harry Matthews and Robert Scofield.

Exhibition space at the Corscaden Barn

Steve Zaluski with his sculpture, Red Curvism Lana Lucas with her paintings of carnivorous plants

Harry Matthews stones hang loose(ly) 30 • Fine Art Magazine • Summer 2010

Ceramic artist Julia Gronski (center) and friends at opening reception.


“THE SPHERE OF HOPE” 7’ diameter...


Functional and decorative, these avant-garde “Collapsible Art Works” may be displayed on the wall or, in a moment’s notice, transition readily into a table. Created by Adirondack artisan Wendy Sheasby in her Keene Valley studio, these works can be customized for your rustic camp or city apartment, painted to order.

“SILVER BALLPLAYER” 6.5’x4’x4’, e-mail: phone: 631-804-7073

for further information, e-mail the artist at Fine Art Magazine • Summer 2010 • 31

Youneverknow whatyou’ l lfind. . .

Homage a Honoré Daumier 1808 – 1879 • Printmaking Master The artwork The Uprising (About 1860) inspired contemporary painter John Pacovsky as he created this, one of more than 120 pieces in our Absente Homage to Great Artists Collection.

GRANDE ABSENTE ~Absinthe Originale Its maker’s private recipe has stood uncompromised since 1860. Hand crafted in Provence. Only fine botanicals of the region are selected – including artemisia absinthium, the wormwood of legend. Grande Absente is 138 proof so please enjoy responsibly. Grande Absente Liqueur, 69% ALC/VOL., Grande Absente and Grande Absente Logo are trademarks owned by M. P. Roux, Imported from France by Crillon Importers Ltd., Paramus, NJ 07652 © 2008

Homage a Gustav Klimt 1862 – 1918 • Reality & Illusion The artwork The Kiss (1908) inspired contemporary painter John Pacovsky as he created this, one of more than 120 pieces in our Absente Homage to Great Artists Collection.

GRANDE ABSENTE ~Absinthe Originale Its maker’s private recipe has stood uncompromised since 1860. Hand crafted in Provence. Only fine botanicals of the region are selected – including artemisia absinthium, the wormwood of legend. Grande Absente is 138 proof so please enjoy responsibly. Grande Absente Liqueur, 69% ALC/VOL., Grande Absente and Grande Absente Logo are trademarks owned by M. P. Roux, Imported from France by Crillon Importers Ltd., Paramus, NJ 07652 © 2008

Fine Art Magazine - Summer 2010  

Fine Art Magazine, Summer 2010 Issue. Featuring ArtHamptons opening night. Fine Art Magazine's YouTube page and the Creative Life.

Fine Art Magazine - Summer 2010  

Fine Art Magazine, Summer 2010 Issue. Featuring ArtHamptons opening night. Fine Art Magazine's YouTube page and the Creative Life.