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Winter Issue_33


SPOTLIGHT 16  Artist Robin Austin: Iconic Photo Mosaic Storyteller

19 Real Estate Life at the Top: The Ritz-Carlton Residences, Westchester II

20  History Golf Greats



Death Valley Junction An Australian in the American Outback


Florence Griswold Museum In Place: Re-interpreting a Historical Artistic Landmark


Travel The Art of the African Safari


Antarctica Biennale The Coolest Art Exhibition in the World 6


16 52 EVENTS + GATHERINGS 22 FCBUZZ Silvermine at Governor’s Island

28 Highlights Two Museums, Eleven Artists, Two Excellent Preview Parties

24 ArtsWestchester This Season Enjoy Art and Visual Narratives Inspired by the Urban Landscape

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28 Art Opening Erick Vittorino at Cherie Greene

30 Flash Miami Behind the Scenes of Miami’s Elite Events and Happenings


Interior Design Havilande Whitcomb of Aviation Aesthetics


Interview Harper’s BAZAAR Executive Beauty & Fashion Editor talks with Venü


40 36 39

 rchitecture Part II: The A Gould Memorial Library

44 Cocktail Culture The

 ift Guide Give the Gift G of Style this Season

47 The Golden Palate


Fearless Chef The Magic of Mercer Street

Pierre’s Iconic Rotunda The Newest Members in Florida and The Bahamas

PULSE 66 Art Meet Irma Braman and the ICA



70  Stage Jenn Gambatese Joins Andrew Lloyd Webber’s Latest Hit

DECORATIVE ARTS 72  On the Block Selection for Fall Sales

SOCIETY 84  The Daisy Column Miami Society, The Powerful, The Chic, The Unique

IN EVERY ISSUE 10 Publisher’s Letter 74 Art + Objects 76 Gallery + Museum Guide


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Life is really on the move right now. By the time you read this, the election will be over,


Museum where 10 contemporary photographers have been invited to reinterpret the shared environment of the museum and its

(gratefully!) a new president-elect will be collaborating on non-partisan inauguration

from the equally cool Russian artist Alexan-

garden-graced riverside setting for a for-

festivities, (hopefully!), and the thinkers,

der Ponomarev who is making preparations

ward-looking exhibit called In Place. Check

doers and multidisciplinary artists featured

for an unprecedented Biennale expedition in

it out on page 52.

inside will be the talk of the town from Art

Antarctica where mobility is the watchword.

As winter moves in, be sure to check out

Basel… to Antarctica. (wonderfully!)

He’s setting sail with 100 aspiring artists from

the always-hot cocktail culture at play at

We can’t wait to head south to Miami for

around the world who will work their design

the Pierre Hotel in New York City (page 44).

Art Week / Art Basel, held this year November

magic on ice, before reassembling their

Sample some of the culinary experiences

28 through December 4, especially in light

visionary ideas in galleries back on warmer

Chef Josh Capon is cooking up in our

of our interview with philanthropist, world-

terra firma later next year. The Polar Poppy

“Fearless Chef” section, page 40. And if you

renowned art collector and co-chair for the

project was first presented at the “Antarcto-

are wondering how to dress your best this

Institute of Contemporary Art (ICA), Irma

pia” exhibition in the Antarctic Pavilion – the

season, turn to page 34 to see what Harper’s

Braman whose eye and heart for contempo-

Venice Biennale’s first ever supranational

BAZAAR fashionista Avril Graham says about

rary art was instrumental in bringing Art Basel

pavilion – and is an international interface of

what to wear, when.

to Florida. The ICA will be moving to a new

the Antarctica Biennale. Our exciting cover

space in 2017; read Susana Baker’s interview

story on page 60 reveals more.

on page 66.

We’re excited about all the festivities the next three months will usher in and wish to

If you want to take a head-trip, literally,

Our very cool cover, “Polar Poppy” by

turn to our head-turning story about Robin

Alexey Kozyr and Ilya Babak, came to us

Austin’s provocative mosaic portraits of cultural icons that changed their generations.

extend you our best wishes for a very happy holiday and healthy New Year! With our deepest thanks for your support this past year and a toast to the New Year!

A closer look reveals tiny images that capture the spirit of the big pictures. See page 16. A scenic road trip to Old Lyme, Connecticut, leads to the historic Florence Griswold

Tracey Thomas Publisher/Editor-in-Chief

ON THE COVER: Multifunctional center POLAR POPPY Alexey Kozyr, Ilya Babak The orangery, medical R&D base and a recreation zone in Antarctica. The project was first time presented on “Antarctopia” exhibition in the Antarctic Pavilion, the Venice Biennale’s first ever supranational pavilion, an international interface of the Antarctica Biennale. Commissioner Alexander Ponomarev. Curator Nadim Samman. 10


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COPY EDITORS Susan Sullivan, Marc J. Miller CONTRIBUTING WRITERS Susana Baker, Jennifer Bangser, Fred Bollaci, Katharine Booth, Cindy Clarke, Nona Footz, Phillip James Dodd, Peter Fox, Priya Krishna, Janet Langsem, Kelly Millington, Daisy Olivera, William Squier, Matthew Sturtevant CONTRIBUTING PHOTOGRAPHER David Heischrek / PUBLISHING PARTNER circle REGIONAL ADVERTISING DIRECTOR Jamie Lewis NATIONAL ADVERTISING DIRECTOR Susie Earls VICE PRESIDENT, BUSINESS DEVELOPMENT Lauren Stever INTERN Katharine Booth MADE IN NEW YORK CITY

LEGAL COUNSEL Alan Neigher, Sheryle Levine (Byelas & Neigher, Westport, CT) DISTRIBUTION Thomas Cossuto, Man In Motion, LLC OFFICE 840 Reef Road, 2nd Floor, Fairfield, CT 06824 ADVERTISING INQUIRIES EDITORIAL CONTRIBUTION SUBSCRIPTIONS THE SMALL PRINT: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent upon the artwork and material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material as presented. All prices and specifications to advertise are subject to change without notice. The opinions in this publication are not necessarily those of the publisher. Copyright VENÜ Magazine. All rights reserved. The name VENÜ Magazine is copyright protected. No part of this publication may be reproduced or transmitted without written consent from the publisher. VENÜ Magazine does not accept responsibility for unsolicited material. This is a quarterly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creative’s) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions.



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ROBIN AUSTIN: Iconic Photo Mosaic Storyteller It’s all there: movies, music, fashion, sex, sports, politics, news events – the iconic stuff that shapes our lives. Written by Cindy Clarke


“WOW!” THAT WAS THE FIRST WORD that came to mind when

My wowed appreciation grew as we took our conversation and his

I saw Robin Austin’s pop culture portraits of celebrity icons I had

compositions outside. Here the sunlight played off his metal canvasses

grown up with. Same for the second, third and umpteenth time that

to spotlight decades of genius, unequaled anywhere and uniquely

I uttered my awe in that one indefatigable, but wholly inclusive word

their own. Robin explained that his dye sublimation prints, brilliantly

that expressed my growing admiration for his work.

imposed on aluminum, give them an exceptional dimensional quality

The first time I said it aloud, it reflected my immediate, admittedly

and a more vibrant color palette that changes with the light. The

visceral attraction to Robin’s big picture vision – larger than life images

proof was in the looking. When I admired Your Majesty, Mick Jagger,

of superstars that truly own the walls of the Connecticut home he

inside and out, I relived the rock star’s life through impressive flashes

shares with his wife, Mickey, a fellow thought leader and innovator. The

of photo moments captured in time.

second “wow” came out in a spontaneous rush as I took a closer look

Back inside, I counted the 72 covers uncovered in his one Play-

at his storied portraits. Each revealed itself in intimate photo mosaics,

boy cover story No More Centerfolds, remembering how the brand

meticulously researched and perfectly posed, to speak volumes about

mesmerized generations of men with visions of bare beauty. I was

the person profiled, the times we’ve lived in and the artist himself.

amused that his Inappropriate Thoughts, ranking high among his


best sellers, now sits over the bathtub in one client’s bathroom. I was equally impressed by the tasteful, seductive reveal of Anticipation, a suggestion of a woman in a sensuous stage of undress that was part sex and all saucy. More “wows,” effusive and instantaneous, kept on coming as I immersed in his eye-candy retelling of visual stories that chronicle key generations of pop culture: the glamour of Hollywood’s Nifty Fifties as modeled by silver screen star Jane Russell, Twiggy of the Swinging Sixties, who epitomized the fashion fusion of change and charm from 1955 to 1966, Debbie Harry queen of the new wave of punk rock of the Fantastic Seventies, The Way You Wear Your Hat swoon sultan Frank Sinatra, the Let it Be sounds of the Beatles, the Never Give Up spirit of Nelson Mandela, his heartfelt Princess Diana, Marilyn the blonde bombshell and so many others immortalized by a discerning filmed montage of their lives. Robin’s art is a stunning reflection of the stories that have played out in his life and career as a creative branding genius. He relishes the telling, can’t resist the tease and thrives on the surprise. Right brain driven, Robin believes in disrupting expectations to make a stand that

Opposite Page: “His Majesty” Mick Jagger 54” x 40” - limited edition.

stands for something and stands out. A headlining article in Advertising

This Page Above: Robin Austin in his studio, Weston Connecticut. Photo by Luciana Pampalone.

Age about the blue-chip consulting firm, Fusion5, he co-founded in 1994 after leaving executive roles at the Marketing Corporation of

This Page Below: “Inappropriate Thoughts” 60” x 40” - limited edition.

America, referred to the firm’s “shock therapy approach” to marketing and their “pathological fear of being ordinary.” The firm’s clients, cool consumer brand giants like Coca Cola, Miller Lite and wanna-beconsidered-cool automaker king, Ford Motor Company, were among the corporate royalty who looked to Fusion 5 to launch them into the stratosphere with results-driven branding campaigns that translated into improved performance and presence in new, youthfully exuberant markets. Confident, innovative and armed with in-the-know, on-thestreet insights that would emotionally and effectively connect brands to buyers, Robin and company were known for telling it like it is, relying on trend-setting stories, not story boards, to play out in their always playful strategies. And while some things have changed since the company was sold some 16 years ago, Robin still has his finger on the pulse of the next buzz-worthy idea. Only this time he has put a new spin on his own signature version of story boards, giving his star-studded ideas a voice and vision that get better with each retelling. His first reinterpreted story board was inspired by his son’s fascination with the award-winning cable TV series Breaking Bad. Robin created it with hundreds of photos of the show’s stars and his own sofa-cheering family and friends for his son’s 18th birthday, giving birth to a new art form that never fails to start or keep the conversation going. CONTEMPORARY CULTURE//MAGAZINE




“He is a force of nature, an aesthetic alchemist who converts cultural dots into the here and now,” said New York art dealer Gene Seidman, who said Robin’s appeal as an artist goes way beyond what we’ve seen before. “We live in a photocracy where images take the place of words and celebrities are the icons of our culture. Robin’s work captures, reimagines and serves them up in such a way that he accelerates their essence and tells their stories, fully, through impactful images.” Printed in limited editions of 25 on acrylic and 24 on metal canvasses measuring upwards of 60” by 40”, his artwork has found homes in restaurants, galleries, bars, hotels, private residences, commercial headquarters and showrooms around the world, attracting fans and followers inextricably connected to his graphic multi-layered stories about lives that have shaped their lives. “People who see his work want to own one,” said Gene. “Art has the ability to activate and light up the frontal cortex, the pleasure center, of people’s minds. No matter who or what he profiles, Robin’s art always offers a new surprise and connection that make people smile every time they look at it.” Much like the artist himself, I mused, who is as charming and energetic, as undeniably gifted and as immediately likeable as his art is. Robin and I ended our interview with a sneak peek at his soon-to-

Top: “Classic Beatles - Let it Be” 40” x 60” limited edition. Above: “The Greatest – Muhammad Ali” 52” x 40” limited edition.

be-unveiled portrait of sitting President Barack Obama sitting in front of a portrait of George Washington. While the profiles of America’s presidents are clearly evident from afar, as you move in they dissolve into tiny photographs of the Obamas, hundreds of them, blending black and white into a colorful living commentary about the lasting impact influence makers have on contemporary culture. I asked Robin who’s next and he just smiled. Which I happily


Robin Austin’s work hangs in galleries in New York City, Tampa Florida, St Marten and two Gilles Clement Galleries in Westport

interpret to mean that there are many more exciting, invariably

and Greenwich Connecticut. He will be exhibiting his newest pieces

surprising stories almost ready for their close up. Like his art, no words

at Art Basel in Miami Florida this December. For more information

are needed. I can’t wait.

and to view his online gallery, visit




Real Estate

Life at the Top: The Ritz-Carlton Residences, Westchester II Exclusive Views, Exeptional Service, Extraordinary Living

Photography by Jaime Martorano

ASK RESIDENTS WHY they’ve chosen to call The Ritz-Carlton Residences, Westchester II their home and you’re sure to get plenty of enthusiastic responses. Some will undoubtedly rave about the majestic views – through floor-to-ceiling windows – of Long Island Sound and the Manhattan skyline. Some will point to the high-end finishes, such as the marble baths, spacious closets, custom cabinetry and sleek stainless steel Viking appliances. Still others will cite the glass-enclosed pool, the wellequipped fitness center and the full-service spa and salon, among other building-wide amenities. No doubt a few will mention the close proximity to fine dining, fabulous shopping and exciting entertainment options of downtown White Plains. And you’re only 30 minutes to Manhattan from the nearby Metro North train station! No wonder sales at Tower II have been exceptionally strong with over 90% of the 177 condominium residences sold out. Exclusive Selling Agent Nancy Kennedy of Houlihan Lawrence notes, “Sales of Tower II are understandably moving quickly because The Ritz Residences feature the three most important elements in assuring an exceptional lifestyle: unbeatable value, unparalleled views and convenient location. We have found that our current residents are delighted with their

“We love living at The Ritz-Carlton Residences Westchester. It provides security and tranquility with awesome views.” –Carole and Bert Mitchell

with den. Enter through a gracious foyer with large double coat closet and follow the

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open to the Great Room, affording expansive

“We’re thrilled with the living experience here. The amenities of the building and the attention to detail by the entire staff have lived up to our highest expectations.” –Alyce and Sanford Schwartz

room suite features two expansive walk-in

“The services and amenities enhance our busy life. Our grandchildren can’t wait to visit us and play in the playroom, swim in the pool and dine in the lobby lounge.” –Monica Lavin and Rick Ross

their excitement with friends and family.” Here is what some residents have to say:

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at The Ritz Residences and are eager to share

its newest penthouse model--a luxurious 2,880 sq. ft. two-bedroom, 2.5 bath residence

“After living in our spacious home for 40 years, we became empty-nesters and moved to the Ritz-Carlton Residences. The amenities offer a five-star lifestyle.” –Monica and Edward Kaufman

“We love our apartment with its beautiful views, the terrific staff, the services and amenities and the convenient location. Living here has exceeded our expectations.”

decision to purchase a condominium home

Ritz Residences Tower II is now unveiling

hallway into the oversized 17 x 37 foot Great Room featuring floor-to-ceiling windows with spectacular views of Long Island Sound and Manhattan. The 18 x 23 foot eat-in kitchen is entertaining space. Just off the Great Room is a cozy den, a perfect nesting spot, also with floor-to-ceiling windows. The very private and personal master bedclosets and a 5-fixture rose aurora master bath. The second bedroom located near the entrance foyer has two walls of floor-to-ceiling windows facing residential Westchester with far reaching views to Connecticut. There is also an ensuite cappuccino marble bath with walk-in shower affording guests maximum privacy.  To schedule a tour of the new penthouse model or for more information about The Ritz-Carlton Residences, Westchester II, call 914-946-9200 or visit CONTEMPORARY CULTURE//MAGAZINE




Golf Greats An Historic Inside Look at the Clubs, Balls, Art and Memorabilia of the Game Written by Cindy Clarke 1

2 3



1. Biarritz, The Chasm Hole, 1897. 2. The Cochrane’s Challenger, star-shaped dimples, 1907. 3. Arnold Palmer at The Masters by M. Lim, 1964. 4. U.S. Open Medal won by Bobby Jones, 1930. 5. Open Championship Belt won and retired by Young Tom Morris, 1870.



used in his first games,” explains fellow collector Dick McDonough, a

the course. American novelist John Updike, a golfer himself, likened

formidable world-class swimmer, an attorney by trade, and an author

it to a common experience of transcendence, saying of the players,

by design. Along with countless framed pieces, including photos with

“We have been somewhere together where non-golfers never go.”

royalty, and celebrities, commemorative plaques, Arnold had dozens

To say that great golfers are “on par” with one another is no

of golf bags, pairs of shoes, golf umbrellas and thousands of playable

surprise. Many think, eat, sleep and live the game, welcoming the

clubs along with artifacts that document the evolution of the game from

opportunity to share tales of their bogies, eagles, holes in one, and

post-war times to today. “He saved everything!” Dick’s co-author, Pete,

hazard woes with like-minded players. And it appears, a privileged

was invited to view the golf great’s treasures in Mr. Palmer’s hometown

few like Dick McDonough and Peter Georgiady, co-authors of

of Latrobe, Pennsylvania, inside The Arnold Palmer Enterprises home

Great Golf Collections of the World, even get special invitations to

office and his private workshop and in the museum-quality barn at the

see what others never imagined being able to access and enjoy.

Latrobe Country Club, where Arnold learned the game.

What we’re talking about is access to private, uniquely personal

“He was a jewel of a man, the ultimate people person,” says Dick

collections of golf memorabilia secreted away by many of the

whose admiration and affection for Arnold grows with each memory.

most knowledgeable golf experts in the world. Among them, a

“I remember watching him play in the PGA tournament in 1987 with

priceless visual repository of the 60-year career of the king himself,

Tom Watson. He was about to attempt an impossible shot from the

Arnold Palmer, renowned as one of the greatest players in the sport’s

extreme rough when he noticed that the lady standing next to me,

history, chronicled and archived in a collection that boggles the mind.

only a few feet from Arnold, was bobbing her right leg up and down.

“Arnold Palmer’s first wife, Winnie, had the foresight to keep many

Not wanting to hurt her feelings or embarrass her, he went up to her

of his early prizes, photos and gifts, along with the clubs and bags he

and kindly addressed her with a ‘please ma’am, could you keep your


knee quiet. If you think you are nervous, think about me!’ She did and

There was no authoritative source at that time, so Dick went to the

he hit the perfect shot, lofting the ball up so that it gently ran down

Library of Congress in Washington D.C. and in the stacks explored

the hilly green and actually hit the pin!”

century-old Scottish golf magazines to learn what he could. He

The game of golf is fertile ground for stories like this, each one

discovered material from the 1890s that included information about

relayed in the kind of timeless technicolor detail that never fails to

clubs like those he had purchased, their unique nomenclature, and the

engage aficionados of this shared sport with vibrant memories. You

collectors’ community. He wrote letters, networked and met experts

can only imagine the tales retold when Dick traveled worldwide to

in the U.S. and UK, noting that they are a “very collegial” group.

view, learn about, and photographically capture the vast field of golf

He was hooked. Through his research, he learned all about the

collectibles that go way beyond clubs and balls to an endless variety

origins of the game, the stick and ball games that preceded golf, the

such as early art, rare books, autographed photos, posters, piano

early American club producers, golf’s renowned champions and the

sheet golf themed music, postcards and whatever piqued a collector’s

early twentieth century illustrated magazine covers that made golf a

interest to pursue amassing a specialized collection. There were over

household pursuit. He scouted out collectors and their collections and

ten thousand golf collectibles, yet only a few hundred made their way

provided 36 of them with a virtual trophy case in the pages of the book,

into his one-of-a-kind coffee table tribute.

the closest representation of a world-class golf museum anywhere.

Originally contracted by Harper Collins and the Smithsonian

His journey collecting golf stories and mementos is still in full swing

to write a companion piece to their popular Baseball title on golf

as he makes his way back to the clubs where he played and bonded

collections before the publisher shelved the project, Dick linked up

with fellow golfers for book talks and signings. They include two of

with his co-author Peter Georgiady to make the book a reality.

America’s oldest clubs, the esteemed Dorset Field Club (1886) and the

“Pete is not only the world’s leading expert on antique golf clubs, he has been a collector since the 1980s and has published more than

Greenwich Country Club (1892) where he has served as an historian for many years and where he is making golf history once again. ¨

a dozen books that provide readers with descriptions and values of hickory-shafted golf clubs, their cleekmarks, the club makers and

Please visit to learn more and to

the pursuit of collecting, “said Dick. “If you want to learn anything

purchase your very own copy of this timless one-of-a-kind treasure!

and everything about hickory golf clubs, you buy his books.” His partnership with Pete also gave Dick privileged entrée into an elite club of golf collectors who were delighted to share their private,

1. Original artwork for St​.​ Andrews, ​Scotland ​R.R. poster, 1929. 2​. Author​,​ Dick McDonough on S ​ wilcan bridge, St​.​ Andrews​, Scotland.​ 3. Silver Playclub gift to Royal Blackheath Golf Club, England​, 1766.


uniquely personal collections with him for their book. In the five-plus years Dick spent reading, researching and recording the private collections of golf legends and laymen alike, he traveled across the continent to Scotland and England where the sport was born, explored courses in our country from California to Florida to Georgia where the premier tournaments are played, and visited exclusive, members-only clubs where golf history was made. He met


scores of collection-minded “students and scholars,” passionate and prolific in their knowledge and love of the game, and revealed centuries old secrets, specialties and sentimental items that together celebrate that special golfer’s bond. It was that indelible bond that gave him unprecedented access into the hallowed places featured in his book and a first look at antiquities and golf memorabilia never before seen by the public. Viewing the items that collectors have amassed over their lifetimes have given Dick a history lesson that speaks volumes about sporting traditions, past and present. “It’s interesting to note how the game evolved just by viewing the items in these collections,” said Dick. “I became interested in collecting when I purchased a bag containing 22 golf clubs made before the 1900s in the early 1980s for just $75. When I brought them home, I saw that many were made in Scotland.” That alone made him curious to learn more about who made them and their craftsmanship.





By Jennifer Bangser


Director of Marketing & Public Relations Cultural Alliance of Fairfield County

Silvermine at Governor’s Island

Phillips, Gina Piccirilli Hayden, Erica Ranee, Ben Rosecrans, Gerald Saladyga, Nichole van Beek, Daniel Weiner and Jody Wood. “Why do this?  It was our hope to use the historical elements to tie the contemporary art to the history of the island’s past lives and to generate a multi-layered conversation within the context of the island’s new life as a home for contemporary art & ideas,” said Jeffrey Mueller, Silvermine Gallery Director.



Photos by Jeremy Saladyga Photography 1. Room installation by Michael Levinson. 2. Second floor bedroom. 3. Daniel Weiner’s “Trespass of Their Unexpected Welcome,” 2016. 4. Downstairs living and dining room.

FOR THE LAST YEAR a half, Silvermine Arts Center has been developing a program of exhibitions which have extended its reach beyond the borders of the institution’s home in New Canaan, Connecticut. The focus so far has been primarily with establishing a presence in the New York City contemporary art scene, but Silvermine does have plans to extend these activities more nationally and eventually internationally. Since last June, they have produced exhibitions with Brian Morris Gallery & Buddy Warren Inc. located in Manhattan’s quickly growing gallery district in the Lower East Side; a summer exhibition at Elizabeth Harris Gallery in Chelsea and most recently a month long show that was held this September on lower Manhattan’s Governors Island alongside the Governors Island Art Fair. The Governors Island exhibition, entitled “The Tide is High,” brought together the work of 23 contemporary artists including members of Silvermine’s Guild of Artists, along with other invited artists from Connecticut, Massachusetts, New York, and Rhode Island. The goal of the exhibition was twofold, to create a greater dialog between the Connecticut region and the larger contemporary art world; and begin to create a new context for art outside of the gallery/museum structure.  As the show’s co-curator Christopher Joy said, “The contemporary art world permeates everywhere.”



For the “Tide is High,” Silvermine partnered with Michael Levinson of Empire Historic Arts and Christopher Joy, co-producer of the artist-studio interview series Gorky’s Granddaughter, who has also been acting as a curatorial advisor for Silvermine Galleries. With the guidance of Mr. Levinson, the show brought in some select pieces of antique furniture along with a period, three panel wallpaper section of the inauguration of George Washington. These historic elements were then woven into the context of the 23 artists in the show: Julia Bland, Robert Calafiore, Caroline Wells Chandler, Kris Chatterson, Vince Contarino, Chris Coffin & Jeremy Slater, Jonathan Cowen, Carl D’Alvia, Deborah Dancy, Philip Knoll, Martha Lewis, Becca Lowry, Susan Manspeizer, Portia Munson, Adam Nicklewicz, Matt

Looking for something different to do? is the place to find out what’s happening in Fairfield County any day of the week–featuring theater, exhibits, music, history, science, family fun, classes and local artists. Click on Pick a great event to attend. Then Go–bring your family, meet your friends or fly solo.™ is presented by the Cultural Alliance of Fairfield County. For more information contact the Cultural Alliance of Fairfield County by emailing, calling 203-256-2329, or visiting the website at



Installed throughout the two stories of this former naval-base home on Governors Island, visitors were able to experience a diverse group of drawing, painting, photography, sculpture and video. Upon entering the home visitors experienced one of the more dramatic moments of the show with the juxtaposition of vintage George Washington wallpaper and an array of contemporary art ranging from abstraction to hyperrealism and the alteration of commercially made objects. As a whole, the Silvermine Governor’s Island exhibition provided visitors with experiences that explored notions of water, antiquity, and other visual politics. It allowed artists to weave in both social themes and aspects of the material and elemental. Playful seriousness reigned.



„ Teachers Jessica Baldizon and William King meet with Rick Shaefer, students Juma Boneface and Akbar Nironkuru, and CWP-Fairfield Director Bryan Ripley Crandall

Members’ Preview Party, October 6, 2016 October 6 was the Members’ Preview Party for the exhibition In Place: Contemporary Photographers Envision a Museum at the Florence Griswold Museum in Old Lyme, Connecticut. For this exhibition, a select group of ten photographers was asked to focus their lenses and imagination on the Museum and create work that reacts to the historic site’s landscape, collections, and story. In a world where virtual images inundate society through digital channels, these photographers rediscovered on the viewer’s behalf the inspiring, fulfilling, and thought-provoking potential for connection to place.

James Prosek and Rick Shaefer

Photography by Cheryl Poirier Media sponsor Venü Magazine

Kathleen Leitao and Nancy Cannon

RICK SHAEFER The Refugee Trilogy

 Left to Right: Artist Power Boothe, Florence Griswold Museum Assistant Curator Jenny Parsons, and Photographers Marion Belanger and James Welling in front of Belanger’s work  Left to Right: Florence Griswold Museum Curator Amy Kurtz Lansing and Director Jeff Andersen and Photographers Tina Barney and James Welling in front of Welling’s work ƒ Left to Right: Betsey and Jeff Cooley and Photographer Kate Cordsen in front of Cordsen’s work

On September 7, the Fairfield University Art Museum opened the exhibition “Rick Shaefer: The Refugee Trilogy,” a monumental new series created by the artist in response to the ongoing refugee crisis convulsing the globe, in the museum’s Walsh Gallery. This three-piece suite is comprised of Land Crossing, dealing with the migration across foreign lands; Water Crossing, addressing the perilous journeys of refugees on the open seas; and Border Crossing, spotlighting the conflicts and hostilities faced at borders. The trilogy employs the artistic lexicon of the Baroque (specifically incorporating heroic figurative elements of paintings by Peter Paul Rubens) to explore this contemporary crisis in a language both familiar and canonical. Such historical quotations underscore the tenacious persistence of this epic human tragedy throughout time. In addition to the three triptychs, each executed in charcoal on synthetic vellum, the exhibition included more than a dozen of Shaefer’s preparatory drawings for the series. Although the exhibition is now over you can still access the audio tour (at, which includes the voices of resettled refugee and immigrant youth, and teachers of the Connecticut Writing Project at Fairfield University, who wrote and recorded stories of migration and movement, and their thoughts on the current crisis. Photography by Cassidy Kristiansen Media sponsor Venü Magazine CONTEMPORARY CULTURE//MAGAZINE



By Janet Langsam CEO, ArtsWestchester

Come in from the Cold: Westchester’s Museums Await You WHILE THE WEATHER might be turning cooler than you might like, Westchester museums are keeping their gallery walls ablaze with abstract art and visual narratives inspired by the urban landscape this season. In a multi-media exhibit, both literally on and off the wall, The Neuberger Museum of Art at SUNY Purchase presents Post No Bills: Public Walls as Studio and Source on view through December 23rd. This stunning, colorful exhibition, curated by Avis Larson, explores the inspiration that nine international artists find in the beauty of decaying urban walls. The show looks at a contemporary archaeological aesthetic, celebrating the marks made by anonymous hands and examining the evolving

From Left to Right: Girl in an Interior by Henri Matisse on view at The Katonah Museum of Art; View of Post No Bills: Public Walls as Studio and Source on view at the Neuberger Museum of Art; Quai Jean Compagnon, 27 Novembre 1989, courtesy of Alan Koppel Gallery at The Neuberger Museum of Art.

history of walls that have been layered over time with paint, posters, and narratives. It is very difficult to pass by the walls on display in this exhibit without taking notice and without getting a very deep and resonant sense of place and artistic process. In fact, one gets a solid sense of the ways in which artists move between the studio and the street in this show. There are twenty works on view in The Neuberger’s galleries. Exhibiting artists include: Blu (Bologna), Mark Bradford (Los Angeles),

Burhan Dogançay (Istanbul), José Carlos Martinat (Lima, Peru), José Parla (Brooklyn), JR (Paris), Robin Rhode (Berlin and Johannesburg), Vhils a.k.a. Alexandre Farto (Lisbon), Jacque Villeglé (Paris), each of whom contributes to and captures a unique and public narrative. Walk-in Gallery Tours are available at The Neuberger Museum of Art: Tues-Friday at 1pm, Sundays at 3pm. For museum hours and directions, visit: Area visitors also have the rare opportunity to experience the drawings of Henri Matisse this winter in a special exhibition of 45 of

his works at The Katonah Museum of Art in Katonah, NY. Matisse Drawings: Curated by Ellsworth Kelly from The Pierre and Tana Matisse Foundation Collection is on view now through January 29, 2017 in the museum’s galleries. The exhibit, a unique exploration of Henri Matisse’s drawings by Kelly, one of America’s great abstract artists, provides new insight into the French master’s work. Many of the works on view, from quick sketches to highly detailed images, have rarely or never-before been exhibited. As an added bonus, to accompany this display of Matisse drawings, Kelly selected work from his own large-scale Suite of Plant Lithographs (1964–66) for presentation in an adjacent gallery, illuminating both the sympathies and distinct differences between the two artists. For museum hours and directions, visit:

For sure, if walls could talk at The Neuberger or Katonah Museum of Art, you’d be entertained for days. For more art visit:

For more arts, visit The complete guide to the arts in Westchester /ArtsWestchester | @ArtsWestchester For more of Janet Langsam’s cultural musings, be sure to visit her blog at For a full calendar of arts events visit: 24




29 years on collins ave accross from the Fountainebleau and Eden Roc Hotels

FEBRUARY 16 - 20, 2O17 New Yachts • Brokerage • Marine Accessories • VIP Packages Exclusive Superyacht Miami Location At Island Gardens Deep Harbour For tickets and more information visit


Jamie Lewis, Tracey Thomas, Kristine Kucej

Models dressed in the latest trends

Artist Antoinette Wysocki painting a masterpiece

Guests enjoyed frozen cocktails from Frost321

NEW BEGINNINGS Neiman Marcus celebrated their grand re-opening of Westchester, September 15, 2016 An exciting evening was celebrated by all in attendance at Westchester’s Neiman Marcus, for their grand re-opening party. Guests enjoyed frozen cocktails from Frost321, sweets provided by FluffPop and light hors d’oeuvres from Mariposa, Haiku of White Plains sushi bar, Beer Tasting by Gun Hill Brewing Company, Hip beats by DJ Sparky Griswold and Live painting by artist, Antoinette Wysocki. Models were on every floor, wearing the latest trends and must-haves for Fall 2016. Photography by Mike Lauterborn Media sponsor Venü Magazine

Guests enjoying a celebratory cocktail

Hannie Sio-Stellakis and Paula Kelliher

Co personal appearance with Justin Kern and Stephanie Danan Beer Tasting by Gun Hill Brewing Company

Entering to win a $1,000 Neiman Marcus gift card, with Venü’s Fall issue on display



Popcorn and sweets provided by FluffPop


Chiara Rudzin, Erick Vittorino and Brie Garrison

Cherie Greene, Erick Vittorino, Carole McClintock and Maria Inês Dzieduszycki.


Vivianne Torres, Christina Bruno and Alice Gimenes

Ray Raymakers and Erick Vittorino

Retrospective exhibition vernissage at Cherie Greene Interiors, Westport, CT, on October 6th. Curated by Cherie Greene, ERICK VITTORINO’S exhibition was an incisive look into the artist’s life and journey in becoming one of the most esteemed Brazilian contemporary artist of the 21st century. Vittorino is a Contemporary artist whose style is defined as the combination of modernism with a traditional European edge. In the year of 2009, he received the “Brazilian International Press Award” for the “Best Visual Artist” category in the United States. BIPA is held annually in Miami, FL. and is the most prestigious, well recognized award for Latin culture in North America. Erick Vittorino’s exhibition covered his most notable works, more than 30 pieces, including paintings, drawings and sketches from ca.1995 to present works. It was the most comprehensive exhibition he has had since his “Europe Debut in Cyprus” in 2014 and a private viewing in New York City last year.

Zuzana Mizerova, Quinn Carrol, Otto Dutra, Elena Hristu and Nataya Smalls.

Photographer: Ana Paula Pacheco Sponsors: Cherie Greene Interiors, Rive Bistro, Venü Magazine Peter Armstrong and Erick Vittorino

Otto Dutra, Kimberly Ran Van Munching and Chris Van Munching


Kathleen Krauser, Maria Ines Dzieduszycki and Otto Dutra

Garry, Ana Parzych’ and Erick Vittorino Susanne H. Armstrong, Erick Vittorino and guest


The chefs, Antoine Blech, Erick Vittorino and Eric Sierra.

February 16 - 19, 2017

Palm Springs Convention Center Opening Night Preview Thurs. Feb. 16

Blade with Taotie Engraving, Shang/Western Zhou Period Throckmorton Fine Art

E+ G:


Photography by David Heischrek / 2




6 7

FLASH MIAMI Behind the scenes of Miamiâ&#x20AC;&#x2122;s elite events and happenings.



1. Mayra Smalley, Ernesto Arambatzis at Black Dahlia at the Saxony Bar at Faena 2. Manuel de Santaren, Ella Fontanals-Cisneros at Liquid Sensibilities at the Cisneros Fontanals Art Foundation 3. Maria Evelia Marmolejo, Susana Fontanals at Liquid Sensibilities at the Cisneros Fontanals Art Foundation 4. Steven Smith, Bonnie Clearwater, Francesco Clemente at Francesco Clemente Dormiveglia Exhibition Preview and Reception at NSU Art Museum of Ft. Lauderdale. 5. Barry Picchiarini, Charlie Kleinicke at USBG Bartender Olympics at Repour 6. Eddy Guerra, Tony Guerra at the Gurkha Cigars and Ron Abuelo Tasting & Pairing Event at Prime Cigar & Whiskey Bar 7. Ryan Nielsen, Sarah Payton at Black Dahlia at the Saxony Bar at Faena 8. Giannina Botero Sudarsky, Cecilia De Sola, Carola Pimentel at the Piamita Shopping Event at Assure Home

About the Photographer: What started out as a hobby 20 years ago, has turned into a career for David Heischrek who has photographed many important events and people, including celebrities, kings & queens, and presidents. His work has been published around the Globe. In Publications like Hola, Vogue, El Nuevo Herald, and Jerusalem Post just to name a few. Based in Miami Beach FL, he recently launched his own Photo Agency, with the focus on continuing what he has been photographing all these years, but with strategic emphasis for his clients. 30


ART MIAMI PARTICIPATING GALLERIES Adler & Conkright Fine Art, Miami | Allan Stone Projects, New York | Alon Zakaim Fine Art, London | Álvaro Alcázar, Madrid | Amstel Gallery, Amsterdam | Andrea Schwartz Gallery, San Francisco | Antoine Helwaser Gallery, New York | Arcature Fine Art, Palm Beach | ARCHEUS/POSTMODERN, London | Arthur Roger Gallery, New Orleans | Ascaso Gallery, Miami | Benrimon Projects, New York | Bernarducci Meisel Gallery, New York | Bernice Steinbaum Gallery, Miami | Berry Campbell Gallery, New York | Bowman Sculpture, London | C24 Gallery, New York | C. Grimaldis Gallery, Baltimore | CARL HAMMER GALLERY, Chicago | Casterline|Goodman Gallery, Aspen | Catherine Edelman Gallery, Chicago | Cecilia de Torres, Ltd., New York | Cernuda Arte, Coral Gables | Chowaiki & Co., New York | Christopher Cutts Gallery, Toronto | CONNERSMITH, Washington | Contessa Gallery, Cleveland | Cordeiros Galeria, Portugal | Cynthia Corbett Gallery, London | CYNTHIA-REEVES, New York | David Benrimon Fine Art, New York | David Klein Gallery, Detroit | Dean Project, Miami Beach | DE RE GALLERY, Los Angeles | Diana Lowenstein Gallery, Miami | DIE GALERIE, Frankfurt | Dillon + Lee, New York | Dolby Chadwick Gallery, San Francisco | Durban Segnini Gallery, Miami | EDUARDO SECCI CONTEMPORARY, Florence | Ethan Cohen Gallery, New York | Espace Meyer Zafra, Paris | Fabien Castanier Gallery, Culver City | Galeria Freites, Caracas | Galería La Cometa, Bogotá | Galerie Boulakia, Paris | Galerie Dukan, Paris | Galerie Ernst Hilger, Vienna | Galerie Forsblom, Helsinki | Galerie Francesco Vangelli de’Cresci, Paris | Galerie Terminus, Munich | GALLERY ANDREAS BINDER, Munich | Gallery Delaive, Amsterdam | Gallery Rueb, Amsterdam | Gazelli Art House, London | Goya Contemporary Gallery, Baltimore | Haines Gallery, San Francisco | Heller Gallery, New York | HEXTON | modern and contemporary, Chicago | Hollis Taggart Galleries, New York | HORRACH MOYA, Palma de Mallorca | Jackson Fine Art, Atlanta | James Barron Art, Kent | Jaski, Amsterdam | Jenkins Johnson Gallery, San Francisco | Jerald Melberg Gallery, Charlotte | JEROME ZODO GALLERY, London | Jonathan Novak Contemporary Art, Los Angeles | Klein Sun Gallery, New York | KM FINE ARTS, Chicago | Kuckei + Kuckei, Berlin | Kustera Projects, Brooklyn | Leonard Hutton Galleries, New York | LESLIE FEELY, New York | Lisa Sette Gallery, Phoenix | Long-Sharp Gallery, Indianapolis | Louis K. Meisel Gallery, New York | Lyndsey Ingram, London |


Lyons Wier Gallery, New York | Marina Gisich Gallery, Saint Petersburg | Mario Mauroner Contemporary Art SalzburgVienna | Mark Borghi Fine Art, Palm Beach | MARK HACHEM GALLERY, Paris | Mayoral, Barcelona | McCormick Gallery, Chicago | Michael Goedhuis, London | Michael Schultz Gallery, Berlin | Mimmo Scognamiglio Gallery, Milan | Mindy Solomon Gallery, Miami Beach | Mixografia, Los Angeles | Modernism Inc., San Francisco | Nancy Hoffman Gallery, New York | NanHai Art, San Francisco | Nikola Rukaj Gallery, Toronto | NOW Contemporary, Miami | Olga Korper Gallery, Toronto | Omer Tiroche, London | Opera Gallery, Miami | OSBORNE SAMUEL, London | Other Criteria, New York | Pablo Goebel Fine Arts, Mexico | Pan American Art Projects, Miami | Priveekollektie Contemporary Art | Design, Heusden aan de Maas | Queue Projects, Greenwich | Renate Bender, Munich | RGR+Art, Valencia | Rosenbaum Contemporary, Miami | Rosenfeld Gallery, New York | RUDOLF BUDJA GALLERY, Miami Beach | Scott White Contemporary Art, San Diego | Simon Capstick-Dale, New York | Sims Reed Gallery, London | SMITH-DAVIDSON GALLERY, Amsterdam | Sous Les Etoiles Gallery, New York | Sundaram Tagore Gallery, New York | Tansey Contemporary, Santa Fe | TAYLOR | GRAHAM, New York | TORCH, Amsterdam | Tresart, Coral Gables | UNIX Gallery, New York | Vallarino Fine Art, New York | VERTES, Zurich | von Braunbehrens, Stuttgart | Waltman Ortega Fine Art, Miami | WANROOIJ GALLERY, Amsterdam | Waterhouse & Dodd, London | Wellside Gallery, Seoul | WETTERLING GALLERY, Stockholm | Yares Art Projects, Santa Fe | Yufuku Gallery, Tokyo | Zemack Contemporary Art, Tel Aviv | Zolla/Lieberman Gallery, Chicago

CONTEXT ART MIAMI PARTICIPATING GALLERIES 11.12 Gallery, Moscow | 3 Punts Galeria, Barcelona | 57 Projects, Los Angeles | 532 Gallery Thomas Jaeckel , New York | Accola Griefen, New York | Adelson Galleries, New York | Affinity for ART, Hong Kong | Ai Bo Gallery, Purchase | ALIDA ANDERSON ART PROJECTS, Washington, DC | ANNA ZORINA GALLERY, New York | Ansorena Galeria de Arte, Madrid | ARCH GALLERY, Miami | Art Bastion Gallery, Miami | Art d’Aurelle Gallery, Paris | Artêria, Bromont | ARTPARK, Seoul | Baik song Gallery, Seoul | BAU-XI GALLERY, Toronto | Benrimon Projects, New York | Bensignor Gallery, Buenos Aires | Black Book Gallery,

Denver | BLANK SPACE, New York | Caldwell Snyder Gallery, San Francisco | Cantor Fine Art, W. Hollywood | Christopher Martin Gallery, Dallas | CONNECT CONTEMPORARY, Atlanta | Contempop Gallery, New York | Cube Gallery, London | Denise Bibro Fine Art, New York | Dialecto Gallery, San Francisco | Eastern Europe Art Connection, Warsaw | Fabien Castanier Gallery, Culver City | Fernando Luis Alvarez Gallery, Stamford | FREDERIC GOT, Paris | Galeria Alfredo Ginocchio, Mexico City | Galeria Casa Cuadrada, Bogota | Galería Enrique Guerrero, Mexico City | Galería Gema Llamazares, Gijon | Galeria Juan Silio, Santander | Galeria LGM, Bogota | Galerie Andres Thalmann, Zurich | Galerie Barbara von Stechow, Frankfurt | Galerie Bhak, Seoul | Galerie Friedmann-Hahn, Berlin | Galerie GAIA, Seoul | Galerie Matthew Namour, Montréal | Galleria Ca’ d’Oro, Miami | GALLERIA STEFANO FORNI, Bologna | Gallery G-77, Kyoto | Gallery Henoch, New York | Gallery Jung, Seoul | GALLERY LEE & BAE, Busan | Gallery Tableau, Seoul | Gibbons & Nicholas, Dublin | Hazelton Galleries, Toronto | HOHMANN, Palm Desert | JanKossen Contemporary, Basel | Joerg Heitsch Gallery, Munich | JUAN SILIÓ GALLERY, Santander | K. Imperial Fine Art, San Francisco | K+Y Gallery, Paris | KANG CONTEMPORARY, New York | KEUMSAN GALLERY, Seoul | Kim Foster Gallery, New York | Knight Webb Gallery, London | Kostuik Gallery, Vancouver | LaCa Projects, Charlotte | Laura Rathe Fine Art, Houston | Lawrence Fine Art, East Hampton | LEEHWAIK Gallery, Seoul | LICHT FELD Gallery, Basel | LIQUID ART SYSTEM, Capri | Lucía Mendoza, Madrid | Lyle O. Reitzel Gallery, New York | Madelyn Jordon Fine Art, Scarsdale | METROQUADRO, Torino | Modus Art Gallery, Paris | Mugello Contemporary, Los Angeles | N2 Galería, Barcelona | Octavia Art Gallery, New Orleans | Paik Hae Young Gallery, Seoul | Paul Stolper Gallery, London | Pigment Gallery, Barcelona | PYO Gallery, Seoul | Ranivilu Art Gallery, Miami | Robert Fontaine Gallery, Miami | Rofa Projects, Potomac | SASHA D, Córdoba | SET ESPAI D’ART, Valencia | Shine Artists / Pontone Gallery, London | Shirin Gallery, New York | Skipwiths, London | Susan Eley Fine Art, New York | ten|Contemporary, Nevada City | The Public House of Art, Amsterdam | UBUNTU Art Gallery, Cairo | UNION Gallery, London | Valli Art Gallery, Miami | Villa del Arte Galleries, Barcelona | Walker Contemporary, Waitsfield | Woolff Gallery, London | ZK Gallery, San Francisco





Interior Design

Flights of Fancy Havilande Whitcomb of Aviation Aesthetics Written by Cindy Clarke Photographs by Peter Gorman and Eric Piasecki After: Falcon 900 exterior paint scheme

The secondary market for aircraft is very dynamic because airplanes last a long time and unlike cars, the models don’t change much from year to year. This means that when someone buys an airplane, they often want to refresh the interior with new materials that also make it more personal and reflect their own style. “Aviation design is pretty challenging,” explains Havilande, who said that all the When it comes to the design services Havilande

materials and furnishings, along with all wall,

Whitcomb provides for her clients, the sky’s

seat and floor coverings, literally have to pass

the limit. An accomplished interior designer

a burn test with a blow torch. Furniture needs

for high-flying clients, Havilande has raised

to be bolted in place and strong enough

the bar in a niche interior design market that

to survive a devastating impact. Space

has taken her architecturally inspired vision

constraints limit what’s physically feasible,

to new heights.

and often components are designed so that

We’re talking about her aerodynamic styling of private airplanes, those ultra-chic living


every millimeter is taken into account, in the galley for example.

rooms in the sky that combine streamlined

Technical and engineering limitations not-

efficiencies with upscale comfort to ensure

withstanding, she loves the challenges that

interior spaces that pass muster on all fronts.

are inherent in aircraft design and like the

“You not only have to please your clients,”

pilots who fly the planes she works on, she

she says, “you have to make sure everything

rises to each occasion with the confidence,

you use inside the airplane is non-flammable,

performance and precision required for a

immoveable and conforms to federally man-

successful outcome. With more than 15 air-

dated safety standards.”

plane projects under her wing, she’s one of a


Falcon 900 After: New interior.

Falcon 900 Before: Beige and bulky

G1 Interior After: Retro lounge

G1 Tail After: Inspired by Verner Panton fabric from 1969.

few elite design firms experienced in aviation

G1 Interior After: Bar

G1 Interior Before: Grey and drab

feels the outside should relate to the inside.

“The completion centers we partner

interior design and, according to one of her

“Fortunately the graphic design back-

with to modify and refurbish our clients’

recent clients, the owner of a Falcon 900,

ground that was part of my early training

airplanes are like surgeons in their dedica-

she’s one of the best.

serves this process well.”

tion and craft. They are experts at making

“Havilande brilliantly implemented our

In addition, her Design Firm helps manage

drawings and modifications work. They are

vision with grace and sophistication. She was

every step of the project, representing the

able to calculate just the right dimensions

very much hands on, flexible, and had great

owner’s interests from budget to execution.

for cabin management, entertainment

follow up. We hope to have a house for her

They work closely with engineering and

systems, and installing appliances to make

to do next.”

production professionals at industry-leading

sure everything fits like a puzzle.” Together,

One of the most important things that

completion centers to make their aesthetic

they troubleshoot, brainstorm, advise and

Aviation Aesthetics does for their clients is

vision and their clients’ wish list become a

revise as needed, carefully watching costs

similar to what an architect does for a house.


and construction to ensure that the end

They work with the client directly on the

“One of my favorite projects was restoring

design and make all the creative decisions

a 1969 Gulfstream 1 that was often chartered

So if you’re in the market for a new

that go into a single specification document

for parties. We approached the design as we

airplane with a customized look and com-

so that it can be bid to different completion

would have in the era it was produced, and

fortable ambiance – think a self-contained

centers to install.

made the decor extraordinarily fun- the pilots

sky-high sanctuary with all the comforts

result is a true diamond in the sky.

“The completion centers are very skilled

nicknamed it the ‘Austin Powers’ plane. Inside

of home and dressed in luxury fittings,

at implementing the work, and this is a very

it was purple and green – nothing corporate

handmade all-wool carpet, premium Italian

expensive undertaking. If you cannot com-

about this! The carpet was from the Edward

leather upholstery that is “sink-in soft”, fine

pare apples to apples, then it’s hard to get

Fields brilliantly modern Palm Springs collec-

wood paneling and accents, elegant metal

competitive pricing for the refurbishment of

tion. We had an oval cocktail table mounted in

fittings and cashmere blankets. It can all

an airplane.”

the middle of two curvy divans that faced one

be yours! ¨

Paint schemes for the exterior are also

another. The party started the moment you

important and a key component of most

stepped inside the plane!” So distinctive was

For more information, visit www.

projects. Havilande said that the first impres-

their work that the plane was exhibited at the or call 203.984.2607

sion of the airplane is upon approach, and

NBAA national aviation convention in 2008.





Winter Fashion Trends Avril Graham, Executive Beauty & Fashion Editor of Harper’s BAZAAR talks with Venü By Katharine Booth • Photographs by Nicole Taylor

The 2016 Luxe Fashion Show hosted at The Westchester, one of the many Simon Malls distinguished for their impeccable quality as clothing retailers, combined a day of high-fashion with a philanthropic effort dedicated to the Pediatric Cancer Foundation (PCF), a non-profit charity whose mission is to find a cure for childhood cancer. The fashion show, featuring more than a dozen models in this season’s top trends, was presented by none other than Avril Graham, Harper’s BAZAAR Executive Fashion and Beauty Editor. While attending the event, we were thrilled to get a chance to talk with Avril. She is widely considered an expert in all things style, as she has been sitting front row at the world’s most exclusive shows and attended some of fashion’s most glamorous events during her illustrious career. Avril has covered many moments in fashion and culture, such as the Royal Wedding, on some of TV’s most watched shows and networks, including the TODAY Show and the E! Network. During our discussion, we talked with Avril about her take on upcoming fashion trends, the beauty of this philanthropic event, and how this event Avril Graham, Harper’s BAZAAR Executive Fashion & Beauty Editor

Our discussion began by asking Avril for early clues for what to expect in the near future for the fashion world.

Tracey Thomas: For the winter, are there

mid-calf of Victoria Beckham or super long of

any fashion trends you want to share? Any

Valentino are both in, so in terms of lengths


it’s literally anything. That’s the beauty.

Avril Graham: The wonderful thing about

Another main thing is a question mixed

being a fashion editor is when anyone asks

materials, so we’re playing around with

me if there are there any trends, I could talk to

golds, silvers and brocades for daytime.

them until literally the mall was empty. I can

And what you’re wearing, is this idea

find more and more in the back of my head.

of something floatier and light, and you’re

Right now we’re thinking “Spring,” we’re

going to start wearing that with your big

already into the next season. I would say


expertly tied in high-end fashion with a selfless cause.

heavier clothes, your tweeds.

there’s not any specific one trend to look

You would wear that with a bootie, and

for. We’re not saying to women you’ve got

it doesn’t have to be a long boot, and if it’s

to wear super short [length skirts] or you’re

long it should be over the knee.

not in, or you have to wear super long styles,

This year, as opposed to the flat boots

we saw super-short with Yves Saint Laurent.

that we saw [Stuart Weitzman], we’re play-

When it comes down to longer length, the

ing around with a bit of a heel, so you have


Ayesha Khan and Eric Aho of the Food Bank for Westchester From Left: Avril Graham; Bonnie Shyer, President of the Pediatric Cancer Foundation; Paula Kelliher, Director of Marketing at The Westchester; and Coco Lefkowitz, member of the Pediatric Cancer Foundation Board of Directors.

TT: They’re made to be broken. AG: You can wear whatever you please. Some people are still wearing head-to-toe white in Paris. It is what it is. Alana Sweeny, President and CEO of United Way of Westchester and Putnam.

We then turned the discussion to the event’s blending of her fashion expertise with supporting the Pediatric Cancer Foundation. TT: So this is the second year you’ve been involved with this event, and it’s for a great cause. AG: Yes, when you see a local charity organize an event like this, it’s not talking Event guests Lorena Lombardi and Irene Wallace.

about erasing pediatric cancer, but talking to someone who’s survived it. That’s one of the things we get out of this more than anything else, and to be able to clap our

a choice of a short, little lady-like heel, a

hands and say “bravo” and witnessing real

thicker seventies style heel, or even a mas-

people’s strength. And then this idea that we

sively gothic style [Marc Jacobs]. And there’s

can sit down and enjoy a luxurious fashion

still plenty more coming back for the next

show—it’s what every woman loves. ¨

season, Gucci is a very good example with their velvet platforms.

Retailers participating in the fashion show: Runway, Nordstrom, L.K. Bennett, Neiman

TT: Considering October, when it can be

Marcus, Brooks Brothers, Rebecca Taylor,

80 to 40 degrees, do you dress for the

Anne Fontaine.

weather or the season? AG: I dress for the season, and whatever I feel like, generally layering pieces is the way to go. I’m not of that [thing] that you can’t wear white after Labor Day. I’ve done numerous television segments about this -- the great thing about rules is there are no rules.

The Westchester is an upscale fashion center anchored by Nordstrom and Neiman Marcus located at Westchester Avenue and Bloomingdale Road in White Plains, New York. Managed by Simon, The Westchester offers over 150 specialty stores, exceptional dining and unparalleled customer service.





The Hall of Fame of Great Americans Part II: Preservation, The Gould Memorial Library and the Creation of America's First Hall of Fame By Phillip James Dodd • Photography by Jonathan Wallen

Left: The curved open-air colonnade of the Hall of Fame sits atop the limestone foundation wall of the Library. A water fountain, shaped like an ancient sarcophagus, eludes to the Roman ideals of architecture and fame that were favored in the Gilded

IN A DESIGNATION REPORT, filed in 1981, the New York City Landmarks

So why does one of this nations architectural masterpieces remain

Preservation Commission wrote “The interior of this building is one

largely anonymous, especially one designed by arguably its finest

of the supreme examples of interior design in America”. High praise

and probably most infamous architect, Stanford White? The simple

- and it would be easy to assume that they were describing the interior

answer is “location”. Unlike the other buildings already noted here,

one of the City’s most vaunted, visited and recognizable landmarks.

the Library is not located amongst the hustle-and-bustle of mid-

Perhaps the Main Concourse at Grand Central Terminal; the Rose

town Manhattan – on Fifth Avenue or on 42nd Street – but rather 10

Reading Room at the New York Public Library; or the Great Hall at the

miles north on the idyllic, almost rural, campus of Bronx Community

Metropolitan Museum of Art? Instead the Commission was describing

College, in Fordham Heights. Ironically, its remote location is also the

the interior of a building that now only a few even know exists - The

main reason why it has survived.

Gould Memorial Library. 36


The Gilded Age was a time of unparalleled prosperity, growth and

Left: The Library’s circular reading room is a breathtaking exercise in Beaux Arts panache and opulence, featuring 32 Corinthian column capitals elaborately carved and gilded by Tiffany Glass and Decorating Company that create a lush symphony of color. Below: The grand barrel vaulted entrance hall and staircase connects the ground floor entrance to the circular reading room on the floor above, and was designed to recall

and 26th Street) was demolished 35 years after it opened in 1890. The location of Stanford Whites murder in 1906, it made way for the larger 40-story New York Life Insurance Building, designed by Cass Gilbert. Undoubtedly the most famous building to suffer this fate was the monumental Pennsylvania Station, demolished in 1963. Designed by White’s partner Charles McKim, and completed in 1910, it is still considered to be one of the greatest architectural and engineering masterpieces ever built. The public outrage caused by its demolition led to the creation of the New York Landmark Commission to protect other iconic landmarks from a similar fate. Yet despite this, other notable buildings would continue to be demolished. When the Singer Building (Broadway and Liberty Street) opened in 1908 it was he world’s tallest building and quickly became one of New York’s most iconic landmarks and most recognizable structures. Sixty years later it too would be demolished to make way for a larger building. Despite being only seven-stories taller, its replacement, the U.S. Steel Building (now One Liberty Plaza) had a footprint 10-times larger, with each floor containing almost one acre of rentable office space. It remains one of New York’s largest buildings – but unlike its predecessor, not an iconic one. As you move further north in Manhattan the architectural carnage decreases, in part because these areas of the City were not developed until much later, and because the value of the real estate was not as high. When The Dakota Apartments (Central Park West and 72nd Street) were built in 1880, it was said that the building was named after the Dakota Territories because it was so far west and so far north of everything else. Even further north, to the east, and remotely located in the Bronx, the Gould Memorial Library remained safe from the wrecking ball that had demolished other similar small, opulent and obsolete buildings designed by Stanford White and his colleagues. Not only did it surrive, it prospered, and in the years leading up to World War I, the Gould Memorial Library and the Bronx campus of NYU became one of the most popular tourist destinations in the City – not because of its magnificent architecture, but because of an open-air colonnade, designed originally to solve a mere aesthetic problem. To enlarge the campus it was decided to place the Library as close as possible to the edge of the plateau high up on Fordham Heights, overlooking the Harlem River. However, due to the sharp change in elevation this resulted in the foundation walls becoming exposed at the

technological advancement. Buildings literally and metaphorically

rear of building. To conceal these unsightly bare walls, White designed

reached for the stars as real estate prices soared. Some of the City’s

a curved terrace with an open-air colonnade to wrap around the rear

finest architectural masterpieces had very short lifespans, as they were

of the Library rotunda – a solution to a problem that in turn would lead

replaced with bigger, grander and more profitable buildings. The

to the creation of America’s original Hall of Fame.

diminutive Madison Square Presbyterian Church (located at Madison

Chancellor Henry Mitchell Cracken believed that if the students at

Avenue and 24th Street) was designed by Stanford White in 1906, and

the University sat among the greats they would then go on to mag-

yet a mere 13 years it was demolished to make way for a 16-story office

nificent achievements after graduation. He immediately realized that

building, which in turn was demolished 10 years later to make way for

the newly created colonnade could help promote this academic goal.

the 30-story Metropolitan Life North Building. Two blocks north, the

McCracken, like Stanford White, had travelled throughout Europe

famous Madison Square Garden (on the corner of Madison Square

and had visited the Great Galleries of Immortals at the Ruhmeshalle CONTEMPORARY CULTURE//MAGAZINE



Architecture Each of the 150 panels in the great colonnade was to be inscribed with the name of a famous American, and contain a bronze bust of the inductee. These busts were modelled and cast specifically for the Hall of Fame, and include the work of famous sculptors including Augustus Saint-Gaudens (who carved the busts of Abraham Lincoln and William Tecumseh Sherman). Elections took place every five years and candidates had to be a born or naturalized American citizen and deceased for at least 25 years (from 1900-1922 it was only 10 years). Various nominee classifications included politicians, scientists, authors, soldiers, inventors and a number of other professions. The nominations were open to the public but an election committee of prominent intellectuals, politicians and socialites would select each years’ inductees. In 1900 the first election took place and the committee selected 29 inductees from a total of 1,000 nominations for the inaugural class. Members of the first group included obvious statesmen George Washington (the only unanimous inductee), Thomas Jefferson, Abraham Lincoln and Ulysses S. Grant, along with writers Nathaniel Hawthorne and Ralph Waldo Emmerson, and inventors such as Samuel F.B. Morse and Eli Whitney. Others later added include Susan B. Anthony, Alexander Graham Bell, Samuel Langhorne (a.k.a. Mark Twain), Alexander Hamilton, Theodore Roosevelt, and Wilbur and Orville Wright – with

The 630 foot-long curved colonnade includes bays containing 98 specially commissioned bronze portrait busts of prominent Americans, divided into classifications such as politicians, authors, soldiers, and inventors. Its initial goal to induct 150 members was never fully realized, and many of its bays remain empty.

the latter being inducted 10 years after his brother. In 1973, on the brink of bankruptcy, NYU left the Bronx, and consolidated itself back in Greenwich Village - surrounding the Washington Square Park campus that it had abandoned some 77 years earlier. When the campus was sold to the City University of New York to serve

in Munich. The original concept of the Hall of Fame has its roots in

as the new home of Bronx Community College, the Hall of Fame

ancient Norse mythology, and Valhalla, the enormous Hall in Asgard

trustees decided to officially suspend elections. The last inductees -

where warriors who were slain in battle would go upon their death.

Clara Barton, Luther Burbank and Andrew Carnegie - never had busts

King Ludwig I of Bavaria was apparently inspired by this legend, and

commissioned, leaving an empty spot in the colonnade.

built two different Halls inspired by Norse legend: Walhalla near

Once one of the most visited attractions in the City, the Hall’s

Regensburg (completed in 1842) and the Ruhmeshalle in Munich

renown has now faded. However, the glorious architecture of the

(completed in 1853), whose name translates as “Hall of Fame”. These

Gould Memorial Library and The Hall of Fame of Great Americans

Halls were in essence museums containing plaques and statues of

remains. Together they stand as a shrine to the great men and women

important German-speaking people, including scientists, artists,

who defined this nation, and the ideals of the Gilded Age. This is best

and politicians. And so the 630 foot long colonnade, designed for

summed by the following inscription found on the walls of the Hall,

aesthetic considerations would be transformed into The Hall of Fame

“By wealth of thought, or else by mighty deed, they served mankind in

of Great Americans containing space for 150 bronze busts to honor

noble character. In worldwide good they live forever more.” Perhaps

prominent Americans who had made a significant impact on this

it’s time for us to be inspired, and reevaluate how we now define and

nation’s history.

recognize fame in the 21st-Centery. ¨

Although other Hall of Fames may now be more “famous” – such as the Baseball Hall of Fame in Cooperstown, New York, or the Rock and Roll Hall of Fame in Cleveland Ohio – the one at the Gould Memorial Library was this nations first, and the very first time that the English phrase “Hall of Fame” was used. It quickly became a renowned landmark visited and talked about throughout the Country. In fact, for a time the term “Hall of Famer” carried greater cachet than that of “Nobel Laureate”, and its induction ceremonies became grand stately affairs, attended by the academic, political, and social elite. 38


About the Author: Phillip James Dodd has a reputation as one of the foremost experts on classical architecture and interiors. He is fast becoming one of the most sought-after young residential designers practicing today, and has designs that can be found in Manhattan, Greenwich, Napa and Palm Beach. He is also the author of the best-selling books The Art of Classical Details and An Ideal Collaboration, and is currently working on a new book on The Architecture of the Gilded Age in New York, which will feature a foreword by Julian Fellowes – the creator of Downton Abbey. Email: or telephone: 203-900-1030


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Fearless Chef

THE MAGIC OF MERCER STREET SoHo’s Mercer Street has been the focal point of the group’s operations for over 20 years - and they still keep it feeling local. By Priya Krishna

Left to Right: Founder John McDonald and Chef Josh Capon

That story, as the name suggests, begins on Mercer Street. McDonald, the company’s founder and CEO, had just graduated from Columbia University and had befriended a few people in the downtown hospitality industry. He was influenced by heavy hitters like hotel magnate Andre Balazs and restaurateur/nightclub owner Serge Becker, and in 1993 decided to open his own spot, MercBar, on (you guessed it) Mercer Street—inspired by iconic neighborhood mainstays like M.K. and Raoul’s. “Watching guys like [Andre Balazs and Serge Becker] explore these entrepreneurial projects—it really piqued my interest,” McDonald says. “I loved that there was a real backbone to their projects—they were so involved with the creative and the design, and they weren’t just guys that hire other guys to build stuff.” Mercer Street has since become the focal point of the group’s operations—McDonald prides himself on the fact that all of his spots in New York are within walking distance from each other, and also his apartment (which—surprise, surprise—is on Mercer Street). “I feel like I owe this strange credit to Mercer Street,” McDonald says. “It’s the center of everything I have ever created. My whole adult existence began there.” The area has certainly changed a lot since


THE NEIGHBORHOOD RESTAURANT—the place where the food is

the opening of MercBar—going from nightclub hotspot to a retail

consistently good, where the service is hospitable, and where anyone

and hotel-centric area—but perhaps this fact is just an all-too-perfect

will find something to love on the menu—is an elusive concept, espe-

reminder of the group’s ability to open consistently popular spots in

cially in a place like New York City.

the face of constant evolution.

And yet, Mercer Street Hospitality has built its empire—now con-

Case in point: MercBar would go on to have a staggering 22-year

sisting of six restaurants in two cities—on precisely these types of

run (a tenure unheard of in the industry today)—in fact, it would still

places. In a city where food trends come and go as quickly as the real

exist if the building hadn’t had to be torn down, a decision McDonald

estate, MSH’s restaurants stand out for their timelessness—for their

says was one of the saddest ones he’s ever had to make. But even

ability to always be relevant, no matter how much their surroundings

in the bar’s heyday in the early 2000s, McDonald wanted to expand

may be changing.

laterally, and take on a new challenge. He noticed that the restaurant

So how do two guys (partners John McDonald and Josh Capon)

across the street from MercBar wasn’t doing well; around the same

create a wildly successful steakhouse, seafood restaurant, Mexican

time, he met Josh Capon, his now business partner and executive

joint, Italian trattoria, and pub—all with staying power, all with cult

chef. Together, they planned to open a neighborhood restaurant

followings—in a little over a decade?

that would speak to the needs of the local crowd—that spot was the


Burger and Barrel, Soho

B&Bâ&#x20AC;&#x2122;s Double Barrel Burger

Sessanta Ristorante


Bowery Meat Company




Fearless Chef

extremely popular retro café, Canteen, which was perfectly tailored

Twenty three years after the opening of MercBar—MSH’s blue-

to the newly-minted dot com crowd of the area. But, McDonald says,

print for opening a restaurant has not changed all that much. In a

“I realized that style of experience wasn’t going to be timeless. There

world that is obsessed with finding the next new, obscure cuisine

are certain physical elements of a space that dictate whether or not it

or unknown chef, the company’s approach has remained, in many

has the ability to be permanent. It didn’t have that.”

ways, just the opposite. As Capon puts it, “We give the people

So the company made a bet and changed Canteen into Lure—a

what they want.”

vintage-looking seafood restaurant with fresh fish and a fantastic

And, he adds, there is consistency in everything—from the food

burger. “I got more interested in service and hospitality, and I wanted

to the ambiance to the service. “That’s my definition of quality,”

to evolve past Canteen and find something that would be more enjoy-

he says. “I know how to run a kitchen and to do it consistently

able on a personal level,” McDonald says, “I wanted to create a room

well. I know that it’s about longevity—that a customer needs to

that had a sense of age—like it had already been there.”

be taken care of from the very beginning to the very end.” Capon

The bet paid off. Lure became a bonafide neighborhood insti-

tells me that he’ll go through a whole stack of business cards each

tution—the go-to spot for celebrating a birthday, having a power

day, inviting new customers to come in and try the restaurant. “I’ll

lunch, going out after work, and everything in between—creating

make sure they get taken care of, and that’s how they then become

the template for all of Mercer Street’s future projects (McDonald and

promoters of the restaurant to other people,” he says. “Word of

Capon, along with restaurateur Josh Pickard, even went on to open

mouth is really invaluable.”

another location of Lure in Miami in 2013). “I learned a lesson in closing Canteen,” McDonald says. “I only

His approach, he says, extend to his staff. MSH is known throughout the industry for its exceedingly low turnover rates (in an industry

wanted to do projects that I felt had a really similar DNA. I wanted them all to feel local. I always tell my crew: if you win your neighborhood, you will win the city.” This strategy led McDonald and Capon a few blocks down the street, to a space on Houston Street that most realtors thought was cursed. (For the record McDonald does not believe in cursed spaces, only cursed concepts). They didn’t over-think the concept too much, creating a much-needed addition to the neighborhood in the form of Burger & Barrel, a slightly more upscale version of the classic American pub: “There wasn’t that casual, easy, go-to spot,” he says. “People love a great burger, they love a good wine list. I wanted to have a space where I could get those two things.” And he isn’t kidding about the great burger—Capon’s signature “Bash Burger” has won the New York City Wine & Food Festival’s annual Burger Bash five years in a row. That same winning formula went into MSH’s next two restaurants—El Toro Blanco—“I am from Arizona, I missed Mexican food, but I didn’t

Lure Fish Bar

want a restaurant that was too conceptual or kitschy. I wanted a place where people could go to get great guac and margaritas,” McDonald says—and Bowery Meat Company, a high-quality yet very accessible

with some of the highest turnover rates), as the company has always

steakhouse that went on to earn two stars from the New York Times

emphasized paying employees fairly and providing them with a

(there are very few steakhouses to have ever been awarded this honor).

flexible schedule. “If we don’t care about the family, the family isn’t

The group’s latest project, Sessanta, was born out of a complete


going to take care of anyone else,” Capon says.

reboot of the 60 Thompson hotel; MSH was given the opportunity

Running the restaurants, of course, hasn’t always been smooth

to build a brand-new restaurant from the ground up in the space.

sailing: McDonald recalls making a poor call on hiring his first chef

McDonald, again, based his concept on what would be the most

at Sessanta, or when a fire forced Lure to temporarily shut down.

accessible and consistently executable. He arrived at an Italian

But, he says, events like those are what allowed his restaurants to

restaurant, which, he says, “is now what French food was in the ’80s.

really evolve and improve—Sessanta ended up switching gears and

People eat it all the time, and it works particularly well for a hotel—it

earning glowing reviews from the media, while Lure was able to

means something in the way that those ‘continental’ hotel restaurant

reinvent itself as an all-occasion restaurant, not just the high-end

concepts just don’t.”

place you went for your birthday dinner.


El Toro Blanco, Guacamole Bar

Chef Capon at Bowery Meat Company

Keep in mind John McDonald managed to do all this while also making an impact in the media world. He not only founded the award-winning CITY magazine, but created Tasting Table, the leading digital media company for food and drink news, which blazed the Main Dinning Room, Lure Fish Bar

trail for the dining-focused email newsletter. It is almost impossible to make a lasting impression in a city as a bar or a restaurant. MSH has done this at least six times—building ver-

Tomahawk Steak at Bowery Meat Company

itable institutions in the most volatile industry in the world. McDonald jokes that people refer to him as the “Mayor of SoHo.” Governmental structures aside, this is not an entirely inaccurate characterization. He and his partners have been an active part of building the neighborhood into what it has become; and if history is any indication, they and their restaurants will continue to play that role in both SoHo and—if all goes according to plan—other cities as well. “People go out to have an experience, not just to put food in their body,” McDonald says. “As long as I keep opening restaurants, I’ll always prioritize putting good people in a good place, giving the spot that personal touch, and hoping to god we can deliver. Maybe sometimes we’ll fail—but we’ll fail fast, and succeed faster.” ¨ CONTEMPORARY CULTURE//MAGAZINE



Cocktail Culture

Photography Courtesy of The Pierre

THE PIERRE’S ICONIC ROTUNDA The Pierre relaunched their iconic Rotunda with a re-imagining of the space by architect Daniel Romualdez, and a unique food & drink concept



for cultural shifts in entertaining. The Great

is delighted to once again open up the

Depression brought Art Deco design, World

iconic Rotunda as a culinary space, offering

War II called for patriotic touches, and the

indulgent dishes alongside a re-imagining

arrival of The Beatles in the 60’s spelled the

of the space by architect Daniel Romualdez.

end of the Big Band era. With each change,

Having served as an event space in the hotel

The Pierre shifted to accommodate the

for the past decade, The Rotunda returns

tastes of New York society. And today, with

to the ranks of The Pierre’s storied public

the ubiquity of social media, comes a need

New York high society when first unveiled –

spaces as a testament to the hotel’s evolu-

for beautiful, photo-ready spaces serving

provided Mr. Romualdez a rich color palette

tion of entertaining.

beautiful, photo-ready cuisine.

with which to introduce the new furniture

“We are very excited to return The

Daniel Romualdez’s interpretation of The

and décor. Mr. Romualdez called for the

Rotunda to its rightful place as the heart of

Rotunda left intact the whimsical murals

installation of a dramatic up-lighting system,

The Pierre,” says Francois-Olivier Luiggi,

painted by American artist Edward Melcarth

casting theatrical shadows and setting the

General Manager. “Since the hotel’s opening

in 1967. The artwork – a tongue & cheek

tone for the intimate and lively gatherings

in 1930, The Rotunda has been the barometer

social commentary that caused waves in

below. Daniel Romualdez, who designed a


number of apartments at The Pierre, including

By day, Executive Pastry Chef Michael

that of Tory Burch, accepted this commercial

Mignano’s desserts, beautifully arranged on a

project because of his personal connection to

large center table, will serve as the focal point

the iconic hotel. Romualdez said, “From the

of the oval room. Chef Michael’s decadent

moment I arrived in New York, The Pierre has

creations include:

always held a very special spot in my heart. To bring one of the most cherished and iconic spaces in the city back to life is an honor.” The Rotunda has reopened with menus inspired by The Pierre’s black tie crowd, who crave indulgences that bookend evenings spent at galas, receptions, or the theater.

• Seasonal Bundt Cakes with Blueberry Lemon for Summer • Double Chocolate Devil’s Food Cake • Crisp Meringues & Miniature Strawberry Shortcakes • An array of Madeleines, Macarons & Truffles

The Rotunda has reopened with menus

The relaunch of The Rotunda closely

inspired by The Pierre’s black tie crowd, who

follows the opening of adjacent Perrine, the

crave indulgences that bookend evenings

newly designed restaurant serving simple,


spent at galas, receptions, or the theater.

seasonal French-American fare. Perrine’s

Director of Restaurants

Jay Poblador has been at the forefront of many of New York’s most lauded dining rooms over the last 15 years. Along with his passion for New York’s robust dining scene, he brings a tireless work ethic and invaluable industry knowledge garnered over years of experience to enhance the dining venues at The Pierre, and to ensure the service at Perrine, The Rotunda and Two E reflect the unrivaled hospitality that is synonymous with The Pierre. Poblador graduated from the Culinary Institute of America (CIA) in 2000. While he had initial aspirations of becoming a chef, Poblador accepted a fellowship as Assistant Dining Room Manager in the CIA’s restaurant. Here, Poblador discovered his passion for frontBeginning at 7pm, supper dishes crafted by

outdoor seating on 61st Street, launched

of-house interaction with staff and

Executive Chef Ashfer Biju include:

early Fall 2016, brings The Pierre’s culinary

guests, and began his managerial

• Maine Lobster Tartine

and design evolution full circle, completing

career in hospitality.

• Spaghetti Bolognese

an ambitious re-imaging of the hotel’s

• Smoked Salmon Rillette

public spaces.

• Kale & Chickpea Fritters

Following his time at CIA, Poblador became Private Dining Director

The Rotunda is open to the public Monday

of Noche in New York City before

• Reuben Melt on a Soft Baguette

through Friday 3pm – 10pm, with extended

joining the owners at their notable

• Classic French Onion Soup

hours commencing in Fall, 2016.

Midtown event venue, Guastavino’s,


Continued on page 46




Cocktail Culture

BOTTOM’S UP Continued from page 45

The Rotunda, a New York Icon, Reinvents the Classic Cocktail.

where he remained for five years. In 2006, Chef Geoffrey Zakarian recruited Poblador as Service Director for his restaurant, Country, which received three-stars from The New York Times and one Michelin star. During his two-and-a-half-year tenure, Poblador developed an affinity for fine dining. Poblador then left to serve as the Opening 1

Service Director for The Plaza Hotel’s The Oak Room in 2008. In 2010, Poblador returned to Manhattan to open The National, before joining Zakarian’s popular American restaurant, The Lambs Club, as Service Director. After three years, Jay joined a former colleague from The Lambs Club, Arleene Oconitrillo, and her partner, acclaimed Chef Paul Liebrandt, to open critically acclaimed The Elm in



Williamsburg. As General Manager, Poblador oversaw the restaurant



during the highly-anticipated




opening year. In 2014, Poblador

Jim Beam Black Whisky served with a spiced syrup (cinnamon, cloves, star anise and orange peel) and finished with a pop of fresh lemon juice to brighten up the drink. Garnished with a candied grape and rosemary to add to the sensory experience of the cocktail.

This is a blend of Paul Beau VS Cognac and Del Amigo Mezcal. The pleasurable headiness from the smokiness of both the cognac and the mezcal are intoxicating. A spiced sugar rim adds a nice bite to each sip.

The Carriage House is a simple cocktail on our Rotunda cart that features Ultimat Vodka, Domaine de Canton Ginger Liqueur and a honey ginger syrup. The drink is topped off with seltzer water and is garnished with a horse’s neck lemon peel and a generous plouche of mint. It’s refreshing and very easy to drink, and takes inspiration from a Mint Julep.

joined the team at Benoit, Alain Ducasse’s Parisian bistro located in Midtown Manhattan, serving as the restaurant’s General Manager. In Spring 2016, Poblador made his way to the Upper East Side to open new signature restaurant, Perrine, at the legendary The Pierre, A Taj Hotel. In his time at The Pierre, Poblador also opened the newly redesigned The Rotunda in July 2016. Poblador’s dynamic career, spanning the city’s finest restaurants, complements The Pierre’s devotion to providing a first-rate guest experience, and his multifaceted scope of work offers a welcome source of creativity for the reimagined dining program. 46



2 oz Jim Beam Black ¾ oz Cinnamon Syrup* 24 / oz Lemon Juice 2-3 dashes Angostura Bitters 1 Lemon Twist Ginger Ale, to top 1 Candied Grape (roll a grape in sugar until coated and skewer. 1 Sprig of Thyme Measure liquid components into a shaker. Pour into a rocks glass with ice Finish with ginger ale. Garnish with candied grape and a sprig of thyme. *Add 1:1 simple syrup recipe (1 part sugar 1 part water), orange rind, cinnamon, star anise, and cloves to sauce pan. Bring to a quick boil. Reduce to a simmer and wait to reduce by 25%.

1.5 oz Paul Beau VS Cognac .25 oz Del Amigo Mezcal .25 oz Cointreau .5 oz Fresh Lemon Juice .25 oz Simple Syrup Spiced Sugar (for the rim) Pour all wet ingredients into a Boston shaker and shake vigorously. Rim a chilled cocktail glass with spiced sugar. Strain drink into cocktail glass.

2 oz. Ultimat Vodka 1 oz. Domaine de Canton Ginger Liqueur Seltzer, to top 1 Mint Plouche Half a Lemon, juiced ½ oz Honey Ginger Syrup Horseneck Lemon Rind (zest a lemon on its circumference to achieve a 6 to 8-inch twist) In a high ball glass wrap lemon twist from top to bottom and around the glass. Fill with ice to keep twist in place. Pour in Vodka, Ginger Liquor, honey syrup and lemon juice and stir. Finish with Seltzer water. Garnish with a generous mint plouche.


By Fred Bollaci

The Newest Platinum Palate™ & Golden Palate® Charter Members in Florida and The Bahamas! The Royal Blues Hotel & Chanson Restaurant

Eau Palm Beach Resort & Spa in Manalapan Photo by Jason Nuttle Photography

JUST IN TIME FOR YOUR WINTER GETAWAY, I’m thrilled to introduce my three newest Platinum Palate hotels and resorts in Florida! Experience the very best of new “Palm Beach luxury” at the five-star, five diamond Eau Palm Beach Resort & Spa in Manalapan. Nestled on seven lush, tropical oceanfront acres, the former Ritz-Carlton has been transformed into the cool, chic, and trés elegant Eau Palm Beach! Enjoy excellent locally sourced, seasonal cuisine by Executive Chef Josh Thomsen (Thomas Keller and Michael Mina alumnus) and Chef de Cuisine Manlee Siu (who worked with Thomsen at San Francisco’s famed Gary Danko) at the gorgeous Angle, casual oceanfront dining in Temple Orange and Breeze Ocean Kitchen. This exquisite property two swimming pools, a fabulous spa, and stunning contemporary décor with a bold color palette of bright yellow and teal blue by Jonathan Adler, who poetically calls Palm Beach “lemon sorbet for the soul.” A family and pet-friendly resort, staying here is “Eau so nice.” Overlooking the ocean near the pier in Deerfield Beach is Florida’s only Relais & Chateaux property, The Royal Blues Hotel and Chanson Restaurant. Owner Ed Walson, a Hollywood producer (Blue Jasmine, Bullets Over Broadway), created a stunningly beautiful, modern boutique hotel reminiscent of a luxury yacht. It has become a favorite spot among locals for an intimate “staycation” with just 12 oceanfront rooms and suites, gourmet dining, exceptional service, and state-of-the-art amenities! Plans are in the works for a luxury spa and additional guest rooms next door.

The Gasparilla Inn & Club

On Southwest Florida’s coast, enjoy “Florida as it was meant to be®” at The Gasparilla Inn & Club, a tradition in many families since 1913! Located in beautiful Boca Grande (Gasparilla Island), between Fort Myers and Sarasota, the resort offers excellent cuisine in the main dining room and at the casual Pink Elephant Restaurant. Experience personalized service, a championship Pete Dye golf course overlooking Charlotte Harbor, a private beach club with dining and pool overlooking the Gulf of Mexico, tennis, fitness, spa, croquet, sport fishing, and more! Stay in the beautifully preserved main building or in one of the numerous fully equipped guest cottages in the village, rent bikes and explore this lovely, family-friendly island! Discover the best authentic rustic Italian in Naples, Florida, at my newest Charter Members, Osteria Tulia and adjacent Bar Tulia, featuring fresh handmade pastas, exquisite seafood, wood oven pizza, an impressive wine list, and awesome craft cocktails in an inviting atmosphere by star Chef Vincenzo Betulia! Born in Sicily, Vincenzo and his family

relocated to Milwaukee, Wisconsin when he was two years old. He began his career at age 14 with an after-school job in Paul and Joe Bartolotta’s Ristorante Bartolotta. While attending the Kendall Culinary School in Chicago, Chef Vincenzo worked at Bartolotta’s acclaimed Spiaggia and worked with Michael White, a fellow Kendall alumnus and Bartolotta protégé (his acclaimed New York City restaurants include Marea, Ai Fiori and Osteria Morini). Chef  Vincenzo fell in love with Naples while visiting, and had been head chef at Campiello for nine years before opening his namesake restaurant Osteria Tulia in 2013, followed by the adjacent Bar Tulia. A leader in Naples’ culinary evolution, Chef Vincenzo will open his third restaurant, The French, a rustic French brasserie, in late 2016., Looking for the ultimate Bahamas escape? Want to own a piece of paradise? Visit the new Hilton hotel at Resorts World Bimini, a Charter Member, and the exclusive Rockwell Island residences at Resorts World! Located just 48 miles east of Miami, Bimini is known as the sport fishing capital of the world! With beautiful beaches and turquoise waters, the brand new Hilton is the place to stay. Enjoy great food, several pools (including a stunning rooftop infinity pool and “lazy river” pool), casino, beach club, water sports, and discover #biminibliss! The crown jewel of the Bimini Bay development is the exclusive Rockwell Island, featuring luxurious oceanfront homes, private docks, and access to all resort amenities, from approximately $5 million., This Fall, Fred Bollaci is debuting his much anticipated Premium Dining Guides for purchase and download on www.fredbollacienterprises. com, beginning with Traverse City, Michigan, and followed by Aspen, Colorado, Florida, New York City, and​​Long Island.

Chef Vincenzo Betulia & Fred Bollaci

For more information about Fred Bollaci Enterprises, visit: CONTEMPORARY CULTURE//MAGAZINE


How an American Ghost Town Attracted a Ballerina and a Cook.

When I heard about a ballerina

bone straight road surrounded

who, in 1967 gave up The Big

by wide open flatlands of sand,

Apple for a place called Death

sagebrush and blazing sunshine. I

Valley Junction, I have to admit my

didn’t see another human being,

interest was piqued. For decades

car or street sign for what seemed

many have considered New York

like a very long time.

City the center of the world – at

Then a cluster of whitewashed

the very least, the center of the art

adobes started to appear in the

world – and I was interested to find

distance through the shimmer off

out what could have possibly lured

the hot asphalt. The town limits

away a dancer who was performing

sign read, “Death Valley Junction,

on Broadway and at Radio City

Population: 4” and a lone sand-

Music Hall for the California desert.

wich board on what seemed to

I decided to go and see for

be the only sidewalk beckoned

myself, and made the 88-mile trek

“Amargosa Café” which made me

West of Las Vegas this past spring. I wondered what the Death Valley would be like; the word “death”

Written by

Nona Footz

stop and think about lunch and definitely hydration


after the drive. It was May but temps were already in

sounded ominous and I’d heard it was deemed one of


the 100s. With the ring of the bell as I swung open

the hottest places on earth. Some claimed WWE wres-

Courtesy of Amargosa Opera House

the door, I took one look around, ordered, and got to

tler “The Undertaker” was a resident. That seemed

chatting with the café manager, Australian transplant

creepy. But the drive was simple enough, mostly

Bobbi Fabian. I soon learned this was not your ordi-

because it was the classic “you can see for miles!”

nary run-of-the-mill desert town.


Horses (left), Cafe, and Breakfast Biscuit (below) photos by Joanne Kim

Photo by Travis Mann




What is the history of Death Valley Junction?

a theater was all it took for Marta to discover her destiny. Through

opening of a post office but it wasn’t until 7 years later with the

the sunbeams of dusty light, she saw a small stage framed by faded

completion of the Tonopah and Tidewater Railroad by the Pacific

calico curtains, a piano with missing keys and several rows of wooden

Coast Borax Company that signs of life – a.k.a. ‘people’ - appeared.

benches. Old roller skates, rat carcasses, spiders and a doll’s head lay

By 1923 an architect was summoned to build company offices, a

haphazardly across the warped floorboards. She decided then and

store, employee dormitories, a hotel, ice cream parlor, gymnasium,

there to defect from New York, lease the theater and move to this

and a hall for community dances, church services, movies and funer-

blank canvas where she could create her own art and her own dance

als. The population was at an all-time high of 300.

repertoire. She said, “I had the distinct feeling I was looking at the

Post-Depression years, however, were hard on this little town and the café (originally the train master’s office) and hotel were all that

other half of my life. The building seemed to be saying, ‘Take me, do something with me, I offer you life.’”

remained open. By 1940 the railway stopped coming and the post

Her NYC friends questioned her sanity and wondered just where

office moved to nearby Furness Creek. The town literally dried up

she’d get an audience given the town’s proximity to absolutely

until 1967. But then Marta Becket came to town.”

nothing. But Marta was determined and knew this was to be her

Ah yes, the legendary Marta Becket – what can you tell


One peek through a hole in the wall of what appeared to be

“The town first appeared on the California map in 1907 upon the

home. She decided to create her own audience by hand painting a

us about her?

mural across the theater walls and ceiling – deeply rich and colorful

“While on an Easter vacation New York City dancer Marta Becket

depictions of Renaissance-era kings, queens, whispering nobility,

and her then-husband took a camping trip through America’s West.

nuns, gypsy fortune tellers, American Indians and ‘women of the

Marta, a sought-after ballerina having performed on all of the city’s

night’ – all ready to watch her perform at her newly re-opened

famous stages, was on a much-needed break from touring and the

Amargosa Opera House.

harsh winter. A flat tire on their trailer necessitated a stop in Death

And over the next 44 years Marta performed. She eventually

Valley Junction’s filling station and Marta decided to walk around

purchased the town and slowly worked to restore it, opening the

and explore the town’s deserted and dilapidated buildings until they

hotel and the café, drawing tourists. National Geographic, The New

could resume their trip.

York Times, and several television crews ran press on this “Ballerina


in the Sands” (also the name of Marta’s memoir). And while Marta

The renovation was based mostly on a restricted budget. We were

officially retired from performing in 2012 - at the age of 88! - she is

lucky enough to get many things donated and had a good number of

still the heart and soul of the Junction.”

volunteers to do the heavy lifting. It took a lot longer than expected but I’m extremely happy with the work that we did.”

So let’s talk about you…just how does a woman from Australia (dare I say ‘Sheila’?) find herself out in the middle

The farm-to-table concept is a contemporary restaurant

of the Wild West?

style that’s gained great popularity – how do you find

“Like many expatriates who come to America, there’s a story. I landed

these fresh food products in this land of desert, dust and

in Tennessee from my native Melbourne in 2003 in order to finish

extreme heat?

my Masters’ project. I bought a 1965 Oldsmobile, embarked on a

“Much of the fresh produce is sourced from farmers in the nearby

road trip to conduct research and eventually landed in California. I

town of Pahrump. I was hopeful that I’d find farmers who were growing

discovered Death Valley Junction – “DVJ” – and kept coming back every

crops without pesticides but I didn’t expect there to be so many! I

Christmas. I couldn’t help but notice the slow deterioration of the

have a couple of regulars I visit on a weekly basis and these farmers

town, but there was also something very spiritual about it that held

have worked hard to establish good soil in the desert. In fact, the

my attention and devotion – the history of the miners,

hardiness of these plants is based on their resilience to frost, not heat,

the adobe architecture, the starkness of the space.

and we have cold winters out here too, believe it or not – it’s the land

During a visit in 2014 I met a ballerina from the Bay

of extremes – summer days up to 120 degrees and winter nights down

Area who had moved to DVJ to revive Marta Becket’s

to 40. I base much of the menu on what’s available and supplement

original works and I was hopeful that finally the Junc-

from other food sources. My mission is to provide good, fresh food

tion would live on. There was a planned dinner and

in the middle of nowhere.”

show in the Opera House one night so I offered to help cook. After a successful event and many happy

What are customers saying about the newly opened cafe?

guests, I was told “The cafe is available for lease - you

What’s the most popular item on the menu?

should run it!”

“We are getting a great response from customers - both locals and

My job as the Chair of Photography at a for-profit

tourists. Many are surprised that they can find delicious, fresh food

school in Los Angeles wasn’t an easy one, and

out here. And we are getting wonderful reviews about our espresso.

although I wasn’t thinking about changing careers,

We were lucky enough to have our machine donated through a

this caught my attention and I just couldn’t let it go.

family-owned company from my homeland Australia and we serve

What I really wanted to do was to restore DVJ and help

Genovese coffee. I think visitors look askance at our menu and say,

keep Marta Becket’s legacy alive.

“Espresso in the desert? Is it really coffee?” Some people have told

I approached Marta with the idea of restoring the

us it’s the best they’ve ever tasted.

café and offered to work for the non-profit. The café

We have a few menu favorites. Eggs and bacon with house bread

would bring long-needed revenue to help with resto-

or biscuit is always a hit. The BLT is popular too but it really varies day

ration, and we started to talk about what the future

to day. We’re taking time to learn what customers like – we read all of

could look like - artist residencies and workshops, an

the Yelp and TripAdvisor reviews – and we continue to focus on good

artistic oasis in the desert and continuation of Marta’s

quality food at a reasonable price.”

work. When Marta agreed, I was excited but suddenly the fear kicked in. This was so scary I just had to do it!”

There’s undoubtedly a spirit here that touches everyone who visits - what is it exactly?

What did the renovation entail? Did it turn out as expected?

“There is definitely a magical energy out here but it’s hard to describe

“The Junction has two distinct histories – its mining origin and Marta

in words. Maybe it has to do with the silence, the light and the air. The

Becket. It was important for me to honor both, so I reused and

large open space that allows one’s focus to broaden - both physically,

repurposed a lot of what was already here. Our back countertop has

mentally and emotionally. Sure, some say there are ghosts here –

inlaid glass, metal and wood from the old rail yard and I painted a

that doesn’t scare me. I’d lurk around here indefinitely too if I’d lived

mural in keeping with Marta’s murals from the hotel and the Opera

during the town’s heyday and got to see Death Valley Junction as it

House. I had access to the Death Valley archives so we laminated

changed over the years – the mining history here is phenomenal. I

the cafe tables with historical photographs of the region and Marta’s

fell in love with Death Valley Junction the first time I stepped foot out

theatrical past. Our front counter is originally from the hotel’s dining

here and every time I visited I felt like I was coming home. Now I’m

room and we had it restored.

lucky enough to literally call this home.” ¨ CONTEMPORARY CULTURE//MAGAZINE


The Florence Griswold Museum, through its exhibit

Colony, the buildings and environment surrounding the

In Place: Contemporary Photographers Envision a

Museum were, and still are, ideally suited to be artisti-

Museum, made a bold, courageous departure from

cally interpreted, a haven for nature lovers, artists and

its early twentieth-century beginnings associated

visitors alike. The buildings work with the environment,

with the Lyme Art Colony. Ten photographers were

where walls reflect sunlight and cast shadows. Its setting,

tasked to focus solely on the setting of the Museum

populated by meadows, forests and fields all situated

and its grounds. Despite the deceptively limited sub-

on an idyllic riverside inspired a generation of artists and

ject matter, the project resulted in an array of vastly

continues to thrill visitors today.

different works, creating a new collection of stunning,

While the Florence Griswold Museum prides itself on

unique and quite personal re-interpretations of this

its rich history, In Place shows that the Museum is not

shared environment. The exhibit runs through January

stuck in the past by any means. Its choice to base the

29th, and is definitely worth a visit.

new exhibit in modern photography is completely inten-

So what makes the Florence Griswold Museum

tional, seeing contemporary photography as an art that

an ideal setting for an exhibit like this? Its location in

increasingly pushes the boundaries with other media.

Old Lyme, Connecticut, for one, which lives up to the

Speaking with the Museum’s curator Amy Kurtz Lansing,

Museum’s description as a beautiful place to visit far

she explained how the development of In Place began

from the bustle of city life.

in her eyes as “unstructured.” Asked about her first

Then there is the property of the Museum itself. Orig-

impressions of the artists’ work, Ms. Kurtz Lansing said

inally used in the early twentieth-century by the Lyme Art

that she would hear the artists develop a “kernel of an

Tina Barney, The Print Dress, 2016. Chromogenic color print. Courtesy of Paul Kasmin Gallery.



Adrien Broom, The Parlor, 2016. Digital C-print. Courtesy of the artist.

James Welling, 0549, 2016. Inkjet on rag paper. Courtesy of the artist and David Zwirner, New York.

idea,” and would be curious and excited to see where they would go from there. “It was inspiring to see how they connected to history as a natural landscape.” The curator was also impressed with the artists’ responses to the project, in seeing so many different approaches from this small, highly talented group. Of course, as curator, one of Ms. Kurtz Lansing’s main challenges was to pull a story together from the finished work, by exploring how the pieces relate to each other. This resulted in her splitting the artists into three conceptual groups: Time and Nature, Abstraction and Connection, and Houses and Stories. Seeing and learning more about the artists’ work shows their pieces tying in to their respective theme, at the same time maintaining their individuality and artistic complexity. Artists Marion Belanger, Ted Hendrickson, Alida Fish and Tom Zetterstrom formed the Time and Nature group. Fittingly, these artists kept in mind both the historic nature of the Florence Griswold Museum CONTEMPORARY CULTURE//MAGAZINE



and its grounds, while acknowledging the passage of

girl, and perhaps most of all the mint-green wallpaper

time. For Belanger and Fish, merging history and time’s

interact with the model’s bright flowered dress, and

march towards the future was reflected in their choice

even eye makeup with a color that almost exactly mir-

of medium. Belanger’s pieces combine photography

rors the wallpaper. 0549 shows Welling reflecting upon

with video and audio components, while Fish trans-

the history of the house through the use of objects,

fers her photographs onto oxidized aluminum plates.

specifically china teacups and dishes.

Meanwhile, Hendrickson and Zetterstrom chose to

Discussing his work, Welling provides a piece of his artistic interests, his vision clearly informing this

focus on the Museum grounds. This is Zetterstrom’s home territory, as he has already

photograph’s subject, “Photography is so specific

established himself as an activist for the preservation

about what can be rendered. I think that specificity is

of nature. He chose to focus specifically on trees at the

something that I have always found exciting.” Welling’s

Florence Griswold in order to observe how the land-

interest in focusing thus on the house’s “story” is not

scape interacts visually with the surrounding buildings.

without context—Welling himself photographed Old

Meanwhile, Hendrickson’s work focuses on the theme

Lyme in the 1970s, and his grandfather was a student

of time by observing the change of seasons on the land-

of the Lyme Impressionist painter Wilson Henry Irvine.

scape. As Hendrickson explains his work for In Place, the

Arguably the most striking work of the three artists,

artist states, “A museum is about time as well, collecting

however, is Broom’s The Parlor. Broom uses dramatic

and exhibiting bits of the past and present, preserving

lighting and artificial fog to create a work that is fan-

them for the future, to inform, nourish and inspire.”

tastical while using a very real, historical and physical

The Houses and Stories group features Tina Barney, Adrien Broom and James Welling. The artists focused on different parts of the Griswold house. Barney and Welling use strong lighting to focus clearly on crucial elements of the house, Barney focusing on the composition of a room, while Welling closely observes household objects. Barney, in The Print Dress, places a young model within a room where the colors of the book case, knickknacks, a painted door behind the

Ted Hendrickson, Florence Griswold Museum Lawn Series. Fog, December 14, 2015. Courtesy of the artist.

Alida Fish, Metcalf Collection #1, 2016. Pigment transfer print on oxidized aluminum. Courtesy Alan Klotz Gallery

Marion Belanger, Garden Study (Untitled), 2016. Courtesy of the artist.

Peter Daitch, Griswold Architecture Series 1-#8, 5/4/16 10:15am, 2016. Archival pigment print. Courtesy of the artist.

closely to the Florence Griswold Museum. She said her work began by extensively researching Ms. Florence Griswold herself, calling her a “transmitter for art.” Sophie T. Lvoff, Sturgeon Moonlight, 2016 (after Florence’s Moonlight, 1905) I, Archival Inkjet Print. Courtesy of the artist.

She then found an archive of photos with images of paintings and began making prints from the negatives. Perhaps most interesting was her use of water from the river running by the edge of the property for her development process, saying she “wanted to be specific to the place.” The result was a host of stunning images, the final proof of her commitment to In Place technically, intellectually, and artistically. Beyond the breathtaking work of the exhibit’s ten featured artists, there is another reason why The Florence Griswold Museum’s In Place is so significant. Just as the ten artists involved were challenged to create a new perspective on a familiar place, so too are visitors to the exhibit called to observe and create

Kate Cordsen, Murmurations, 2016. Cyanotype on gessoed linen. Courtesy of the artist

their own vision of the Museum, inside and out. The Museum aims to use the artistic experience to fuse its deeply rooted history with the public, encouraging them to use their smart phones and tablets to capture their own experience of their visit to the Museum.

space. She creates a stunning work that almost brings

In Place is a personal experience for all involved,

you into a classic fantasy storybook.

engaging and connecting commissioned artists and

The final group, Abstraction and Connection, served as the umbrella for Kate Cordsen, Peter Daitch, and

Tom Zetterstrom, European Beech on the Lieutenant River, 2016. Archival pigment ink print. Courtesy of the artist.

curious visitors to the Museum, its grounds, and their subjective artistic experience.

Sophie T. Lvoff. Cordsen’s work could be considered

Just as the Museum has sought to advance itself

the most abstract of the three. This shines through

into the future of art through In Place, it has clear

with Murmurations, which suggests the movement

goals for keeping the site poised towards the future

of swallows flying over the nearby Connecticut River.

as well. Restoring the gardens and grounds is central

Her process, complicated as it is fascinating, results in

to the Museum’s plans to create a living cultural

a large cyanotype representing a beautifully chaotic,

landscape here. The current landscape master plan

swirling mass of wings.

includes reclaiming the site’s rural past with hedge-

Daitch’s work focuses on landscape and architec-

rows, riverfront meadows, and woodland thickets

ture, abstracting his subjects by working to break down

while promoting a thriving ecosystem for bird, plant,

his photography to convey the most basic elements.

and animal life. Over time, these grounds will capture

As he explains, “my intention is to simplify the subject

a sense of place and provide a sensory understanding

before me to its most natural elements of light, color

of why so many artists found, and continue to find,

and composition.” Lvoff focused much of her atten-

inspiration in this riverside setting. The Florence

tion on capturing images of “icons” in the area. Her

Griswold Museum has begun to combine modernity

photograph Sturgeon Moonlight combines several key

with appreciation of the natural world, which under

elements of the Museum’s natural surroundings, such

any other circumstances would seem utterly paradox-

as trees, the nearby river and, of course, the moon,

ical. In Place highlights the very best of the Florence

beautifully using the present natural landscape to make

Griswold Museum, as it engages its traditional setting

connections with the past.

and historic past with today’s most innovative artists,

Having the pleasure of discussing her work face-toface, Lvoff explained how she truly connected her art

the modern public, and the promise for environmental preservation and appreciation. ¨ CONTEMPORARY CULTURE//MAGAZINE



The art of the

AFRICAN SAFARI “I never knew of a morning in Africa when I woke up that I was not happy.” – ERNEST HEMINGWAY

By Kelly Millington


aving had the privilege and pleasure of vis-


iting Africa twice, I can assure you that Mr.

This will be your biggest decision and will require the

Hemingway knew exactly what he was talking

most consideration. The answer really depends on what

about. An African safari is a true adventure,

type of traveler you are and where your interests lie. East

and I can think of no other place to travel

Africa is typically what one thinks of when they envision

that awakens the soul and senses like Africa does. When

their safari. Picturesque images from “Out of Africa”

speaking to my clients about where they want to travel,

quickly come to mind. The geography is stunning and

Africa often becomes a topic of discussion. What I have

East Africa is renowned for its incredible wildlife and the

found, though, is that people are overwhelmed and some-

annual Wildebeest migration in the Maasai Mara and

times frustrated by the enormity of planning such a bucket

the Serengeti. If you are considering East Africa for your

list trip. This may be one of the biggest trips one can take,

safari, it is important to understand that the focus here is

and with proper planning and thoughtful collaboration with

on wildlife and culture. You will spend a great deal of time

your Travel Advisor, this dream can easily become a reality.

on game drives, visiting local Masaai villages and devel-

The four questions I am most frequently asked are:

oping a deeper understanding of life on the Mara. There

Where should I go? When should I go? How long should I

are a variety of accommodations ranging from modest to

go? How much will it cost?

luxurious. This is also the best location to add on a Gorilla Trekking experience in Uganda or Rwanda.



Opposite Page: Okavango Delta, Botswana This Page Clockwise: Leopard resting, Botswana; Cape of Good Hope, South Africa; Cape of Good Hope, South Africa; Lion family, Kruger National Park




South Africa is often considered an ideal destination for first-timers because of the varied travel experiences it provides. It is also appealing for families with children who are seeking a malaria-free safari, as there are several options here that fit the bill. Getting around South Africa is perhaps a little easier and there are many sophisticated and luxurious lodges with excellent game-viewing. A safari to this region could include the Okavango Delta in Botswana, Kruger National Park and the incredible Victoria Falls. A visit to South Africa would not be complete without a stop in Cape Town and the beautiful surrounding Winelands.

WHEN SHOULD I GO ON SAFARI? The best time to visit depends on the rainy season in each region. In East Africa, the rains typically fall mid-March to mid-May with shorter rains occurring mid-October to mid-November. Anytime is a great time to visit South Africa and the rainy season (also known as the Green Season) varies, again, depending on the region. Cape Townâ&#x20AC;&#x2122;s weather will be particularly nice between December and May with their rainy season occurring between June and September. Botswana is lovely from March to December with October being the hottest month. The rains will typically be here November to mid-April. As you can see, it does get a little confusing planning when to go where, which is why relying on a knowledgeable Travel Advisor is so vital. While prices are typically lower during the Green Season, the rains affect the game viewing since animals move with the rains to eat the new grass. As the bush becomes thicker, it makes it harder to spot the game. What is even more of a deterrent This Page clockwise: Kings Pool Camp, Botswana; African Elephant, Kruger National Park; Penguins on the shore, Boulders Beach, South Africa; Ellerman House Hotel, Cape Town Opposite Page: Sundowner Cruise, South Africa



is that roads may become flooded and impassable. For this reason, travel is often advised in the dry seasons when conditions are more favorable.

HOW LONG SHOULD MY SAFARI BE? Just as the “where” will depend on the “when”, the “how long” will be greatly impacted by the budget. We Americans are a funny breed. We want to see it all in one trip! The truth is, you wouldn’t consider trying to see all of Europe in one trip. Why should Africa be any different? Two weeks seems to be the length of time that first timers typically dedicate. You need to keep in mind that a two-week trip may possibly give you only twelve nights on the ground depending on your international flights. Naturally you will want to be on the move to experience more than one lodge or camp. I believe an optimal stay in one camp is three nights. This gives guests enough time to unpack, settle in and experience all of the activities, game drives and animals in the area. For some camps two nights is fine as well. Rarely, if ever, would I recommend only one night. When mapping out your safari, you want to consider the daily schedule. Typically you will have an early morning game drive, siesta and lunch in the middle of the day and then head back out on a late afternoon game drive and dinner

another by air or vehicle? Are the transfers included in the quoted

upon your return. When you are departing one camp and heading

price? Are the transfers private or are they shared? If the camp is

to another, the transfer will usually occur midday, allowing guests to

not in a private concession, are entry fees into the park included?

enjoy their morning drive at one camp and their afternoon game

Will there be a private guide or will you be locally hosted? I cannot

drive in another. For South Africa, you may want to consider adding

tell you how important all of these considerations are. This is not a

time on at the end of your trip to visit Cape Town, Victoria Falls or

trip to be pieced together on your own. The very last thing you want

Johannesburg. Whereas at the beginning of the trip it’s rather easy

on your trip of a lifetime is to be dropped off on a dirt airstrip in the

to head straight out on a safari, we find giving travelers a chance to

middle of nowhere with no one there to greet you. That plane that

transition from safari mode back into the real world works well.

dropped you off will leave as fast as it arrived and there aren’t exactly any pay phones out there. It is an extreme example but I stand by it.


When I think about my own experiences in Africa, I can’t help but

The budget for your trip will depend on what kind of traveler you are.

smile. The wildlife is truly remarkable and will always be a highlight in

Do you prefer a custom tailor-made trip? Are you all about luxury?

my mind. However, when I reflect back on some of my most profound

Perhaps you like the idea of traveling with a group on a scheduled

moments, it was the people that captured my heart. In my life I have

predetermined itinerary. All of these options are good ones depend-

never experienced such kindness, generosity, big smiles and laughter.

ing on who you are and what is most important to you. Perhaps the

When you are out on your game drive in your open-air vehicle surveying

biggest point of difference when planning a safari compared to other

the beautiful landscape, it will stir emotions deep inside of you. The

types of travel is that the safari is the original all-inclusive vacation.

simplicity of life on an African safari will make you question the pace

In most cases your meals, beverages, game drives, accommodation,

we keep at home, how plugged into technology we are and how little

laundry and transfers are included. Even gratuities may be prepaid

we revere nature. On a trip well planned, the schedule will run like

and can be arranged by your Travel Advisor. A very broad guideline

clockwork and you won’t have to think about a thing. You will eat some

I use with my clients when we begin discussing budget with clients

of the best food and drink some of the best wine you’ve ever had. At

is as follows. High-end safaris can start at $1,500 per person per day

the end of the day sitting around with fellow guests regaling each other

and will go up from there. Luxury safaris will be between $1,000 and

with your stories and adventures from the day, you will wonder why

$1,500 per person per day. Moderate level will be $500 to $1,000 per

you waited so long to visit this mystical continent. It is at this precise

person per day. There is no easy way to digest an initial quote for

moment that you will begin planning your next trip back, because Africa

a safari. Often clients experience sticker shock upon reviewing the

will have taken up a lot of space in your heart. ¨

proposal, which is why it is important to understand what is being proposed, and what is included. What is the size of the camp and, more importantly, the quality of it? The tour operators we use are on the ground in Africa and annually inspect all of the camps and lodges we sell. They are not all the same. Where are they located? What is the time of year of travel? Are you getting from one camp to

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What better canvas than a pristine winter white wonderland, painted by nature, masterfully sculpted by wind and ice, glistening in a palette of iridescent hues of silver and blue, eternally ever changing with the glint of the sun and the stroke of a wave? We’re talking about Antarctica, the indomitable seventh continent that owns the south pole yet is owned by no one, a land of tuxedoed emperors – penguins, not people – footloose and fancy free, where temperatures and tempers rarely rise and impossibilities become possibilities with a hint of imagination, passion and heart. One of the most remote places on the planet, it’s also the inspirational destination for Antarctic Biennale 2017, an unprecedented new exhibition of contemporary art spearheaded by Russian artist Alexander Ponomarev whose vision culminates with a voyage of discovery, discussion and design for a collaborative crew of one hundred. Ponomarev describes his Antarctic Biennale as “an international socio-cultural phenomenon that uses artistic, scientific and philosophic methodologies to address shared spaces such as Antarctica, outer space and the ocean.” It is scheduled to launch aboard an international research vessel on March 27, 2017 from Ushuai, Argentina, for a round-trip expedition expected to last through April 6, 2017. The ship, envisions Ponomarev, is to become “a vehicle for the generation of art and ideas, a traveling platform for dialogue between artists, researchers and thinkers,” a description that also applies to the

The Coolest Art Exhibition in the World Written By Cindy Clarke

man behind the wheel himself. A Russian born artist, sailor and nautical engineer, Alexander Ponomarev is above all else an innovator. He imagines things other’s don’t, viewing spaces with a transfor-

mative eye and inventing something new with his thoughts alone. But it isn’t just his ideas that make him stand out as one of the art world’s most inventive thinkers; it’s how he makes his ideas work that put him on a different track than anyone else. Over the span of his 30+–year career, he has combined his love of traveling and high seas adventures with his passion for artistic interpretation and visual performance. He views oceans and isolated, often surreal, terrain through a lens shaped by his early career as a seaman and submariner, exploring “the relationship between illusion and reality, the utility of art, and the shifting tides of personal and cultural history.” His projects, as philosophical as they are creative, have taken place in some of the world’s most remote oceans, the Arctic, the Antarctica and the Sahara desert.


Clockwise: Alexander Ponomarev, 2015 Antarctica Expedition; Cover Image, “Polar Poppy” by Alexey Kozyr and Ilya Babak; “Antarctopia Exibition,” On location in Antarctica, 2015; The Antarctic Pavilion at the Venice Biennale; Antarctica, 2015




Clockwise: Akademik Loffe Research Vessel, 2015 Antarctica Expedition; “The Ice Breaker” 2016 by Alexander Ponomarev on exhibit in the Richard Taittinger Gallery; Alexander Ponomarev in Antarctica, 2015

With 100s of exhibits to his credit, his artwork has manifested in a range of disciplines and multimedia installations that include drawings, films, photographs and architectural models, inextricably rooted in the depths of his personal experiences and uniquely forward-thinking perspectives. He has exhibited his works in many important galleries and museums around the globe including the Louvre Museum and Centre Pompidou in France, the New National Museum of Monaco, the National Museum of Singapore, the Museum of Contemporary Art of the Grand Duke in Luxembourg, the State Tretyakov Gallery, The Pushkin State Museum of Fine Arts and the State Russian Museum in Russia, among others. He participated at the Venice Biennial of Contemporary Art three times – in 2007, 2009 and 2015 when he presented his project, Concordia, inspired by the Costa Concordia disaster. In 2008, he was named an Officier des Arts et des Lettres by France’s Minister of Culture. He is also a member of the Russian Academy of Arts. In 2014, as Commissioner, Ponomarev established the Venice Biennale’s first ever supranational pavilion – the Antarctic Pavilion – as an international interface of the Antarctica Biennale.

There are two ways to live life: one of them is living like there are no mysteries, there are no miracles in life. The other way is to live as if there are only mysteries and miracles out there.”

Venü had the rare opportunity to catch up with Alexander Ponomarev when he was in Kyoto,

The other way is to live as if there are only

Japan, this fall, to speak with him about his Antarctic Biennial. Our

mysteries and miracles out there. When you

interview, itself a virtual rendering of the man and his mission, revealed

get to Antarctica, you feel like some mystery

too the spiritual side of both the artist and the place, Antarctica.

follows you, it’s with you all the time, and

For Alexander, Antarctica is serene and seductive, drawing him back again and again. We asked him to take us on his first journey to this glacial land, wondering if it was wanderlust that led him there so long ago.

everything is a miracle. That is the thing that gets me to go back again and again.” In March, when he goes back again, he will be bringing a community of 100 with

“Well I’m a professional sailor, and I’m naturally inclined to

him. They will be free to react, reinvent, and

explore something different than I’ve known. Antarctica was one of

rework an ice-encased pristine landscape

those places. When you get there and see that space in its pristine

populated by penguins and marine life.

and pure environment, you become addicted. It is surreal and

What does he hope transpires from this

evokes many different impressions. You want to share it with your


loved ones and your friends and show it to other people.”

He drew a parallel to his trip to Kyoto

He’s passionate about what he has experienced there, adding

where he visited monasteries and gardens

that “most people do not get to see such a place in their lives. They

“learning about thousands of years of

would normally never see so much space with nothing built there.

tradition. It is really wonderful how people

When you first get there, you go sort of crazy. It is really wonderful,

can maintain all of this in the space around

it is breathtaking.”

them, and this was quite a new experience

As our conversation continued in superlatives, he spoke of the

for me. In my artwork and when I collaborate

mysteries of life, of the ocean and the environment and how they

with artists, I always want to find something

never fail to draw him in.

really new, something really special. Like

“The most wonderful experience anyone can have ever is the

the ocean, Antarctica is a common place. It

experience of some mystery. There are two ways to live life: one of

belongs to everyone, and to no one, it’s of

them is living like there are no mysteries, there are no miracles in life.

nature and it attracts me.” CONTEMPORARY CULTURE//MAGAZINE


like that, or do we have to decide how to collaborate in a new way to make a new multicultural population there? This is the goal of the discussion, what to do with such a place like Antarctica.” That’s why there will be very different artists there he said. “There will, of course, be some architectural projects, so we can see what can actually be built there. They have to absolutely ecological and we will see those projects but there will be all kinds of different artists aboard. All of those artists have to produce a work in Antarctica, in that environment.” “We will go there and we will create art objects. We will then take them away, and nothing will be left there. This is an agreement between nature and human activities. And of course this requires artists

We have a number of limitations connected to the geography, the space and so on. But the main goal is to discuss how we should collaborate – how art and science should collaborate.”

to be capable of performing in these circumstances, and not everyone can do that. We have a number of limitations connected to the geography, the space and so on. But the main goal is to discuss how we should collaborate – how art and

“The main goal of the whole Biennale is

science should collaborate. The art work that we create will eventually,

to create a new platform for communication

we hope, be on display in museums and galleries around the world.”

and collaboration with scientists and so

By definition, a biennale is an art exhibition held every two years.

on, for building a discussion about living

Are you already planning another Antarctic Biennale we asked?

together, collaboration on new, common

“We are thinking about making such kinds of expeditions every two

spaces like Antarctica. And the platform is

years, maybe not Antarctica only,” he said. “We are thinking about

absolutely multicultural, multi-professional,

building different multicultural and multinational stations. And we

and this is central to this process, bringing

need to separate the common principles of how we should do this,

all of the different people together.”

ecological principles, principles of collaboration. It is very important that

“The idea of mobility was the main idea

Antarctica is actually the only place today where different nationalities

for this voyage,” he said, explaining that

like Russians, Americans, Germans, and Argentinians and many, many

while the artists will initially produce the

nations can work together without military interventions or controls.

works in Antarctica, the artists’ works will not

They can perform only scientific and artistic activities there.”

stay in Antarctica permanently. “They have

“We don’t have illusions that we will go there and decide right

to be able to come and go, so they have to

there and now what we are going to do. We will be collaborating with

be portable.”

a lot of scientists and philosophers, so we really understand that there

We wondered if the artists would actually

is a big question. As we remember the history of the development of

be installing their architectural models and

past civilizations, we believe that only art allows us to see the whole

artistic visions on the glacial Antarctic islands

picture of what is going on, which is why art will be at the center of

making the inhospitable, hospitable. He

the whole process.”

reminded us that the goal of the expedition

“I care for the future of pristine places like Antarctic. That’s why

“was not to populate Antarctica right now or

I’m organizing this international biennale—to raise the awareness and

to think about how to populate it there, how

to build the platform for the better communication of the future of

to build something and survive there. The

such places.”

idea is to talk about what to do with such a

Calls for artists, journalists and thinkers have been issued around

common space. Do we have to collaborate,

the world. In December, select invitations will be delivered to those

and decide how to leave it exactly as the

artists chosen to chart a course for the coolest art-driven exhibition

permanent, untouched nature, and leave it

of a lifetime. Will you be among them? ¨


Clockwise: “Stored in Ice” 2016 by Alexander Ponomarev on exhibit in the Richard Taittinger Gallery; On location in Antarctica, 2015; “The Antarctic Biennale” by Alexander Ponomarev; Alexander Ponomarev in Antarctica, 2015

“An Antarctic biennale is quite a realistic project. I’ve conceived it As a sailing trip, a movement and a cultural adventure. I have already covered this route More than once. I like to share a flavour that I’ve tasted myself, To introduce my friends to each other and make them friends As happens when we sit down to a festive table for a celebration. A team of artists, poets, architects and scientists Are narrowing down their personal territory. Now it is the deck of a research ship. We will rock together on the waves Of the Drake Passage, grapple with the hardships of sea life, Slide the loxodrome down south Without any support, And disappear suddenly behind the ice-floes. So let us sign up as sufferers of space, Leave important matters aside, Have an airing like a flag And flick the words and meanings Away onto paper, As if they were crumbs on the table. All sorts of talents will find themselves on the bridge, Capable of unreserved emotions and joy.

They’ll overcome the distance of mutual alienation And look at themselves and their feelings From the extremities. Our ship will visit harbours and bays To hide from the wind. The team will go ashore and everyone Will be able to make a unique piece of work In the snow, ice or water. We won’t leave a scratch on the white body of Antarctica. We’ll spread the noosphere a bit, Record and document our presence, And dismantle our objects and installations. Our vessel will then move on and, renewed, Make an appearance at a new place. Our ships will become laboratories For artworks to be made and transported. These centres of creativity, Communication and debate Will sail, skirting icebergs, islands and capes, And encourage an artistic attitude With fairytale landscapes. A topsy-turvy Biennale! An upside-down Biennale, Mobile in mobile.” – By Alexander Ponomarev





THE GRANDE DAME OF ART Meet Irma Braman and the ICA By Susana Baker Photography by Armando Colls

Meet Irma Braman, a philanthropist, world-renowned art collector and the co-chair for the Institute of Contemporary Art. She is the matriarch of the legendary Braman family, with two beautiful daughters, Debra Wechsler and Suzi Lustgarten, and is married to automobile magnate Norman Braman. The Bramans began piecing together their collection in 1979, amassing one of the most impressive collections of post-war and contemporary art, featuring masterpieces by Mark Rothko, Andy Warhol, Roy Lichtenstein, Jasper Johns, Frank Stella, Jean-Michael Basquiat and Pablo Picasso, to name a few. The Bramans also have one of the largest

1. “The Inverse,” artist Laura Lima titled, installation of one ended braided abstraction that dwindles in size until it merges with a female body. 2. Irma Braman, ICA Library. 3. Laura Lima “The Inverse,” enormous braided abstract installation that is estimated 4 stories in height and 20 feet in width.

collections of mobiles and work of arts from kinetic master, Alexander Calder.


Once they were immersed in the art

In addition to owning one of the most

scene, the Bramans felt that Miami needed a

impressive art collections in the world, the

new reputation; they watched the city trans-

Bramans are committed to bringing their

form from a tropical oasis to a drug-fueled

love and support of the arts to share with

dystopia, and most recently to becoming a

the community in their newest endeavor, the

top cultural art destination. Irma and Norman

Institute of Contemporary Art (ICA), located

Braman are credited with the revolution of

in the Design District of Miami.

the explosive contemporary art scene of

Having opened its doors in late 2014, the

Miami, and with bringing one of the most

Institute of Contemporary Art (ICA) Miami is

prestigious art fairs in the world, Art Basel, to

the city’s newest contemporary art museum.

this new hub of activity for the arts.

The ICA will move in 2017 from its current

Art Basel’s arrival to Miami was due in

temporary location in the Design District’s

large part to the Bramans’ many persuasive

historic Moore Building on NE 2nd Avenue

discussions with the former director of Art

to a new lot on NE 1st avenue and 41st

Basel, Lorenzo Rudolf, who convinced the

street, featuring a 37,500 square-foot space

Board of Directors in Switzerland to come to

and a jaw-dropping sculpture garden. The

Miami after careful analysis and deliberation.

new location neighbors another fabulous

Since 2002, it has become by far the most

collection, the private museum of Rosa and

important art fair in the United States. But

Carlos de la Cruz, the de la Cruz Collection.

the Bramans’ passion doesn’t stop there.

Its new permanent home was donated by





the developer and visionary Craig Robbins,

community outreach and education program,

whose work has restored the Design District

from the design and the integration with the

to its former glory and turned it into a hotspot

street and community, and programming to

of fashion, art and design.

extend throughout the Design District, as

The ICA is a public museum (100% admis-

well as a unique arts program in conjunction

sion is free). Mrs. Braman states “we decided

with educational partners such as FIU (Florida

that we would privately fund this project with

International University).”

the community in mind, working with other

When I asked Mrs. Braman how she

cultural art institutions, with the goal to

would secure the longevity of the museum

deliver an urban experience attracting new

with free admission and programming that

people, new investment and empowering

would obviously have a significant cost,

local businesses.”

Mrs. Braman enthusiastically answered, “I

I wanted to know how this museum would

am proud to have the best team onboard,

set itself apart from other public cultural muse-

which is so important for the longevity of

ums in Miami, many known for welcoming

a museum: our Director of the ICA, Ellen

great audiences in their opening receptions,

Salpeter, known for her great leadership,

but recently seeing a declining appeal in

passion, commitment and great fundraising,

their collections and shows. I asked Mrs.

coupled with our Chief Curator Alex Garten-

Braman what is different about the ICA? She

feld, and recently the interim deputy director

replied proudly, “the ICA will have a robust

until Ellen Salpeter came aboard.”




1. ICA with a view. 2. Renaud Jerez, Skeleton Sculptures installation of Domiciles in ICA. 3. Ida Applebroog, Ballerina from art series “Mercy Hospital” students of North Beach Elementary enjoys a group chat on this artist and ICA. 4. Rendering of the new ICA to open in 2017 with sculpture gardens. 5. The heart and soul of ICA, meet Chief Curator Alex Gartenfeld and Director of ICA, Ellen Salpeter, domicile by Renaud Jerez, an art installation of domiciles and figurines amidst the museum.

As I walked through the temporary loca-

was bittersweet. I was honored to interview

conjunction with FIU School of Medicine.”

tion of the ICA, I truly loved the dialogue with

one of the true grand dames of art who

In 2014, in memory of her sister Linda

masters, mid-career and emerging artists.

has this amazing history, and is a pioneer in

Fenner (who died from breast cancer in

Alex Gartenfeld is the curatorial visionary and

the arts with a deep love for Miami. I found

2005), along with the FIU Herbert Wertheim

is responsible for creating the narrative that

her to be very humble, always ending her

College of Medicine, the Linda Fenner 3D

flows majestically and effortlessly throughout

accomplishments with “Well, we are not the

Mammography Van was launched; it was the

the floors of the museum.

only ones, there is credit to share with many.”

first mobile 3D mammogram unit in South

Ellen Salpeter had experience in work-

Irma Braman certainly beams when speaking

Florida, traveling through inner city commu-

ing with groups, both from the public and

about her husband Norman Braman; she

nities to increase access to breast cancer

private sector, before moving from the

shared how proud she is in regard to the

screening for women. Without a doubt this

Jewish Museum in New York. She was also

recent news that he is the Honoree for the

is a truly amazing cause! Bravo, Irma!

founding director of the Heart of Brooklyn.

15th Annual Art Basel Fair for 2016.

“Mrs. and Mr. Braman, on behalf of the art

She stated, “Under the direction and vision

The Bramans have also established the

community around the world, art lovers, art-

of Irma Braman and collectively with Alex

Irma and Norman Braman Art Foundation,

ists and this resident of Miami, I am honored

Gartenfeld, our goals are to educate, inspire

with $63,000,000.00 in assets with a total

to thank you for all you do and your great

and entertain. We want to reach not just

giving of $7,445,000.00 as of 2016. I asked

contributions to our community, as well as

existing generations but future generations

Mrs. Braman if she could name some of her

to others around the world. From the ICA to

to come, with great programming, education

favorite charities that she has supported

your foundations, you are one of America’s

and interaction with the community.”

over the years, to which she replied,

great families, standing along the Carnegies,

Alex Gartenfeld, a young but recogniz-

“We have empowered some truly great

the Mellons and now the Bramans!” ¨

able talent in the contemporary art scene,

organizations, but one dear to my heart,

is a pioneer in the explosive art scene of

which always brings tears to my eyes, is

For more information on the Institute of

New York City. When I asked Alex how he

the Linda Fenner 3D Mammography Van in

Contempory Art go to

felt about the Miami art market versus New York City, he replied, “I love Miami for its exchange in ideas and the endless opportunities with South America, young collectors and the visitors who come from all over the world to soak up some sun, go yachting and see great art collections!” Ending my interview with Mrs. Braman

About the author: Susana Baker is an award-winning Tourator (historian tour guide/art curator). Creative Founder of The Art Experience, the number one company in South Florida to privately curate group or individuals through Miami’s Art Districts. Winning the distinguished “Certificate of Excellence for 2015” by TripAdvisor. For a private curated tour of the Design District, Wynwood, Little Havana or South Beach go to or for Art Basel go to www. or call 305-767-5000. Contact: Colls Fine Art Photography, Armando Colls 305-903-7786,





Gambatese asks co-star Alex Brightman “Where Did the Rock Go?”

Getting Schooled Jenn Gambatese Joins Andrew Lloyd Webber’s Latest Hit Written by William Squier Photographs by Matthew Murphy

Andrew Lloyd Webber’s hit Broadway musical, School of Rock, is set

Venü: You grew up in the Richmond Heights suburb northeast of

at an elite private school where the students are pressured to meet

Cleveland. What was it like back then?

very high academic standards. Leading the charge is Principal Rosalie

Gambatese: “A little bedroom community. The public school almost

Mullins – a role recently taken over at the Winter Garden Theatre

felt like a private school because there were only 75 kids in my grad-

by actress Jenn Gambatese. A glance at her resume suggests that

uating class.”

Gambatese knows a thing or two about what motivates the driven Principal Mullins. She was a self-described “nose-to-the-grindstone”

V: Tell me about your family?

student who completed a double major at NYU in three years, began

G: “I’m half Italian. So, the joke is that I only speak with one hand.”

working professionally right after graduation and admits that she was so focused on her performance in a European tour of the musical

V: Where did you get your love of musical theater?

Fame that she passed up seeing the continent’s famous sights. That

G: “From my mom’s side of the family. Her father was a pianist and

led to a seven year run on Broadway where she worked her way up

her grandfather was a violinist. Maybe the dramatics came from the

from the ensemble in Footloose to starring in the musicals All Shook

Italian side. That part of my family is rather large and rambunctious.”

Up and Tarzan. But, after stepping back from her career for a bit


to establish a home with actor Curtis Cregan and begin a family,

V: Do you remember your first time in front of an audience?

Gambatese has returned to Broadway with a renewed perspective.

G: “I remember getting my first real laugh onstage. It was in a summer


camp production of the musical Tom Sawyer. We all had to bring in props to trade with Tom so that he’d let us whitewash his fence. I brought marbles. And I found this really pretty blue velvet bag to put them in. But, I didn’t realize that it was a Crown Royal [Whiskey] bag! So, it got a huge laugh! I didn’t know why until later. But, I did enjoy that.” V: When did you decide to turn acting into a career? G: “I think I was always drawn to it. But, there was a definitive moment in a high school drama club production of Our Town. I was playing Emily. And one night something happened onstage that got me upset and I put it into the words. It all just kind of tumbled out and was really good! After the show, my parents, friends and teachers came up to me – some of them still crying – and I thought, ‘Oh. I’m good at this!” V: In 1993 you moved to Manhattan to attend NYU’s Tisch School of the Arts. Was that a big change for a girl from Ohio? G: “It was. I’d been to New York, but hadn’t spent a great deal of time. But, I took to it like a fish to water. My dad tells a story, though, of loading me into the dorm and seeing somebody throw away half a sandwich into a garbage bin. Then, six different people came by and picked it up to decide whether or not to take a bite! And he thought, ‘Oh, my god! I can’t believe I’m leaving my daughter here!” V: By the fall of 1998 you’d joined Footloose. From there, you

whirlwind workshop of a new musical. Then, one day I walked in and

were in the original Broadway casts of Hairspray and A Year with

saw a motorcycle helmet. And I asked, ‘Who has the bike?’ He said,

Frog and Toad, then you took over the supporting role of Penny

‘Me.’ And I thought, ‘Really?!’ Because a bike isn’t the first thing you

Pingleton in Hairspray. So, you basically you spent your twenties

think of when you see him! But, in All Shook Up my character was a

in hit Broadway musicals?

motorcycle mechanic. I’d just done the show at Goodspeed Opera

G: “I had an incredible run of luck! But I was pretty young, so I just

House and I felt like a fraud around the bike. So, I asked him to show

thought this is how a career happens.”

me things so I’d look a little more like I knew what I was doing. We fell in love over an oil change! Or under one!”

V: Next came the opportunity to originate a leading role in All Shook Up. At the time you were quoted as saying, ‘Before, I had

V: Now you’re back on Broadway in School of Rock?

to fit into a well-oiled machine. Now I am helping to build the

G: “I’m jumping into that well-oiled machine again. As a mother, the

machine.’ How is that different?

replacement thing actually isn’t so bad! Going out on the tour with

G: “As an actor my preference is, of course, to be an originator and

Wicked was an amazing experience. But, that’s a really specific show.

a creator. To quote a very popular show by the name of Hamilton,

They’re very consistent. One thing that’s been great at Horace Green

you want to be in the room where it happens. I love the rehearsal

– we call School of Rock that, because it’s the name of the school – is

room. I love collaborating with writers and directors. Helping to bring

that they’re a little looser with everything because the show is rock

something to life for the first time is really quite thrilling.”

and roll! They were very open to my take on the character. And I only had a week to learn everything, so it was a little crazy!”

V: Is it true that seventy members of your family came to see the show when it was trying out in Chicago?

V: You’re also recording a solo album of Rodgers and Hammer-

G: “Yes! Lots and lots of cousins! They got a bus!”

stein tunes? G: “Rodgers and Hammerstein are my all time favorites. The melodies

V: Around that same time you met your husband-to-be, Curtis

are so beautiful; the lyrics are so poignant; and it’s my greatest joy to

Cregan. Was it love at first sight?

sing their work. If you approach it cynically than it can be saccharine or

G: “We were friends first – getting to know each other during this

sentimental. But, if you just approach the truth of it, it is so moving!” ¨ CONTEMPORARY CULTURE//MAGAZINE



Selection for Fall Sales

“Hannibal” Jean-Michel Basquiat’s “Hannibal” became the most valuable work sold at auction in London this week, when seven bidders drove the canvas to £10.6m / $13.1m / 11.7m, double the pre-sale estimate (est. £3.5-4.5m). The painting dates from 1982, the artist’s breakthrough year.

Touch of Gold A pair of Gold Cuff Bracelets by Van Cleef & Arpels personally given by Jacqueline Kennedy Onassis to Nina Straight, her step-sister and maid of honor when she married John F. Kennedy in 1953 hammered down at $162,500 in a public auction of fine jewelry held by Dallas-based Heritage Auctions Sept. 26 in Beverly Hills, California. Kennedy Onassis surprised Straight with the bracelets

Record for Huntington American Paintings, Furniture & Decorative Arts at Doyle New York on October 5th was highlighted by a painting by Daniel Huntington (1816-1906) entitled “The Counterfeit Note” dated 1858, which attracted a great deal of attention from collectors, institutions and trade alike. With spirited competition from determined bidders on the telephones and the Internet, the painting soared past its estimate of $35,000-55,000 to achieve a stunning $406,000 -- A World Auction Record for the Artist. The work was acquired by a major American Art collection. The record price of $406,000 more than 72


doubled the prior auction record of $159,200 set in 2003 and far surpassed the next highest price of $65,000 set just last year. One of two genre scenes executed by Huntington during a trip to Europe in 1857-58, The Counterfeit Note was exhibited to acclaim at London’s Royal Academy. The work depicts a sharp-eyed stranger attempting to pass a counterfeit bill in payment for a purchase at a variety store, while a lovely young woman – the type known as a “true English Rose” – examines a bolt of fabric in the foreground. A rediscovery, the painting remained in the family of the artist for many years and only recently came to light.

when she served as Straight’s maid of honor 21 years later.”The bracelet cuffs matched an identical pair Kennedy Onassis often wore, marked No. 50, of a limited edition set,” said Jill Burgum, Senior Director of Jewelry at Heritage. “The pair Kennedy Onassis gave to Straight are marked 47 and 48, and it is likely Kennedy Onassis purchased both limited edition sets at the same time and gave Straight the earlier pair.” In the auction, conducted by Heritage on September 26, 2016, the cuffs soared past the $30,000 opening bid, and surpassed the price paid for Kennedy Onassis’ bracelet cuffs when they were auctioned by Sotheby’s in 2011 for $128,500.




John Chamberlain, Softenedbysnow, 2007, painted and chrome-plated steel, 23 x 40 x 22 in Jerome Zodo Gallery, London

JAN 12-15, 2017 | VIP PREVIEW JAN 12

Palm Beach Modern + Contemporary (PBM+C) kicks off the Palm Beach season presenting a fresh opportunity to acquire important never-beforeexhibited works by top name artists from the Modern, Classical Modern, Post-War and Pop eras as well as works from emerging artists. PBM+C opens with an elegant, invitation-only VIP Preview on Thursday, January 12th benefiting the Palm Beach Zoo. The special preview offers

collectors, art advisors, curators, and media the opportunity to examine and acquire the finest works available in the market before the fair opens to the public. PBM+C will take place within the intimate and modern setting of a 65,000 square foot clear span pavilion centrally located between City Place and the new, luxurious Hilton West Palm Beach in the heart of downtown West Palm Beach.




Nancy McTague-Stock New Paintings

JOSEPH DERMODY Reuse, repurpose, reinvent are Joseph Dermody’s signatures. Award-winning artist and versatile craftsman, Dermody reuses old forgotten materials in his modern furniture designs, and repurposes wooden veneers into 3-D movement-infused sculptures. Reinvent and elevate your space with these bold one-of-a-kind works of art. Shown: 24” x 24” framed wood veneer sculpture. or e-mail:

Sotto il Mare I, Oil on Linen, 2016

225 Wilson Avenue, Studio 14, S.Norwalk, Ct.

ClothIng ACCeSSoRIeS JewelRy

AQUARIUS 871 Post Road, Darien, CT 06820 203.655.7303

Fiction, Oil on Canvas, 48”h x 36”w x 2”d Barbara Owen CONTEMPORARY CULTURE//MAGAZINE


Shepard Fairey, “Palace of Power”, 2016, Silkscreen and Mixed Media Collage on Paper, HPM, 30 x 40 inches (45.7 x 61 cm), Courtesy of the artist and Jacob Lewis Gallery, New York





Light Up Your Holidays! LIMITED ENGAGEMENT Nov. 22 - Jan. 8


“BEST NEW ACT IN AMERICA! SUPERB, SENSATIONAL!” - America’s Got Talent • 212-239-6200

New World Stages • 340 W 50th Street



CONNECTICUT BRIDGEPORT ž City Lights Gallery 37 Markle Court 203.334.7748 HOURS Wed-Fri 11:30am-5pm, Sat 12pm-4pm, or by appointment ž Housatonic Museum of Art 900 Lafayette Boulevard 203.332.5052 HOURS Sept-May: Mon-Fri 8:30am-5:30pm, Thurs until 7pm, Sat 9-3pm, Sun 12pm-4pm Current Exhibit: Rendezvous In Black. Featuring two solo shows by Cindy Sherman and Ann Chernow Images inspired by Film Noir - black and white visuals; dark shapes and shadows. Female roles are challenged while provoking a sense of unease and tension.

Representing artists nationwide, the gallery exhibits a range of genres and styles to bridge the gap between abstract and representational art.

FAIRFIELD ž Art/Place Gallery 70 Sanford Street (Fairfield Theater Co.) 646.258.6912 or 203.374.9720 HOURS Thur-Sat 12pm-4pm, Sun 2pm-5pm or by appointment ž The Fairfield Museum + History Center 370 Beach Road 203.259.1598 HOURS Open daily 10am-4pm ž Fairfield University Art Museum Fairfield University 1073 N. Benson Road 203.254.4046 Bellarmine Hall Galleries Crafting the Elements: Ceramic Art of Modern Japan from the Collection of Carol and Jeffrey Horvitz through December 16, 2016 ) HOURS Tuesday-Friday, 11am-4pm •

Walsh Art Gallery (Quick Center) Leonardo Cremonini (1925-2010) – Timeless Monumentality: Paintings from The William Louis-Dreyfus Foundation through March 3, 2017) HOURS Wednesday-Saturday, 12pm-4pm •

GREENWICH ž The Bendheim Gallery 299 Greenwich Avenue, 2nd Floor 203.862.6750 HOURS Tues-Fri 10am-4pm, Sat-Sun 12pm-4pm

Cindy Sherman. Untitled film still # 35. 1979. Gelatin silver print. 10 x 8 inches; 25.4 x 20.3 cm. Courtesy of the artist and Metro Pictures ž Schelfhaudt Gallery University of Bridgeport 84 Iranistan Avenue, Bridgeport 203.576.4034 HOURS Tues to Sat 12pm to 4pm

ESSEX ž Cooper & Smith Gallery 10 Main Street 860.561.8526 HOURS Wed-Sat 11am-6pm, Sun 11am-5pm



HOURS Wed 11am-5pm, Thu 11am-6:30pm, Fri 10am-6:30pm, Sat 12pm-4pm

NEW CANAAN ž Handwright Gallery & Framing 93 Main Street 203.966.7660 HOURS Mon-Sat 10am-5:30pm Handwright Gallery & Framing provides a full range of framing and installation services for the Fairfield County area. The gallery also offers an expansive collection of original fine art by emerging and award-winning regional, national and international artists in both traditional and contemporary styles. November 7-December 31: Small Works Show

ž Silvermine Arts Center 1037 Silvermine Road 203.966.9700 HOURS Wed-Sat 12pm-5pm, Sun 1pm-5pm

NORWALK ž LoveArt Gallery & Studio 132C Washington Street 203.957.3124 HOURS Tues-Sat 11am-8pm, Sun 11am-4pm Love Art is a gallery and studio with working local artists, specializing in contemporary, urban, pop art and photography. We make it a mission to create and curate pieces that amuse and excite. Art should be something that brings happiness into your life, makes you smile, or inspires you.

ž C. Parker Gallery 17 E Putnam Ave 203.253.0934 HOURS Mon-Sat 10am-5:30pm, Sun 11am-5pm ž Flinn Gallery Greenwich Library 101 W Putnam Avenue 203.622.7947 HOURS Mon-Wed & Fri 10am-5pm, Thurs 10am8pm, Sat 10am-5pm, Sun 1pm-5pm

IVORYTON ž Six Summit Gallery 6 Summit Street 860.581.8332 or 917.573.0029, NYC

Fearless Dylan, Mixed media on canvas By Cabell E. Molina


F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E R V I C E S


Randi F. Solin

Carolyn H. Edlund

93 Main Street, New Canaan CT • 203-966-7660 • To be included in the Gallery + Museum Guide email us at


ž Sidewalk Gallery@ Press Proof Studios, Inc. 18 Main Street (corner of Havilande) 203.857.1240 Norwalk, CT 06854 Stress free art viewing from sidewalk; lights on til’ Midnight

OLD LYME ž Chauncey Stillman Gallery Lyme Academy College of Fine Arts 84 Lyme Street 860.434.5232 HOURS Mon-Sat 10am-4pm ž Florence Griswold Museum 96 Lyme Street 860.434.5542 HOURS Mon-Sat 10am-5pm Florence Griswold Museum, “Home of American Impressionism.”

FLORIDA COCONUT GROVE ž Bernice Steinbaum Gallery 2101 Tigertail Avenue 305.573.2700

CORAL GABLES Cernuda Arte 3155 Ponce de Leon Blvd 305.461.1050 HOURS Mon-Fri 10:30am-6:30pm, Sat 12-6:30pm

Historic boardinghouse of the Lyme Art Colony, modern gallery with changing exhibitions. Gardens and grounds to enjoy.



ž Art Bastion 2085 NW 2nd Avenue #104 305.509.8338 HOURS Tues-Sat 11am-6pm

ž The Aldrich Contemporary Art Museum 258 Main Street 203.438.4519 HOURS Tues-Sun 12pm-5pm ž Ridgefield Guild of Artists 93 Halpin Lane, Ridgefield 203.438.8863 HOURS Wed-Sun 12pm-4pm

STAMFORD ž Fernando Luis Alvarez Gallery 96 Bedford Street 888.861.6791 HOURS Mon by appointment, Tues-Sat 10am-6pm


203.222.7070 HOURS Mon-Fri 10am-4pm, Sat 10am-5pm, Sun 12pm-4pm

ž Opera Gallery District Design, 140 NE 39th St. # 239 305.868.3337 HOURS Mon-Sat 11am-7pm, Sun 12pm-6pm ž Fredric Snitzer Gallery 1540 NE Miami Ct 305.448.8976 HOURS Tues-Sat 11am-5pm ž Dean Project 1627 Jefferson Avenue 800.791.0830 HOURS Call for hours


ž Now Contemporary Art 337 NW 25th Street 305.571.8181 HOURS Tues-Sat 10am-6pm, Mon by appointment

ž Picture This Custom Framing & Fine Art and Nylen Gallery 772 Post Road East 203.227.6861 HOURS Mon-Fri 10am-5:30pm, Sat 10am-5pm

ž Ranivilu Art Gallery 2617 north Miami Avenue 954.297.2580 HOURS Tues-Fri 11am-7pm, Weekends call first

ž Westport Art Center 51 Riverside Avenue

ž Waltman Ortega Fine Art 2233 NW 2nd Avenue


305.576.5335 HOURS Tues-Sat 11am-5pm, Mon by appointment ž Sponder Gallery 1657 N Miami Avenue Suite 716 561.350.0004 HOURS Call for hours ž Robert Fontaine Gallery 2121 NW 2nd Avenue Unit #3 305.397.8530 HOURS Mon-Sun 11am-6pm

GEORGIA ATLANTA ž Jackson Fine Art 3115 East Shadowlawn Avenue 404.233.3739 HOURS Tues-Sat 10am-5pm ž Westside Cultural Art Center 760 10th Street, NW 678.218.3740 HOURS Mon-Sat 10am-4pm ž Spalding Nix Fine Art 425 Peachtree Hills Avenue NE, Suite 30-A 404.841.7777 HOURS Mon-Fri 10am-5pm

MASSACHUSETTS BOSTON ž Adelson Galleries 520 Harrison Avenue 617.832.0633 HOURS Wed-Sun 12pm-6pm ž M Fine Arts Galerie 61 Thayer Street 617.450.0700 HOURS Tues-Sun 10:30am-5:30pm ž Robert Klein Gallery 38 Newbury Street 617.267.7997 HOURS Tues-Fri 10am-5:30pm, Sat 11am-5pm


F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E R V I C E S

IN PLACE through january


Alida Fish, Metcalf Collection #1, 2016. Pigment print transfer on oxidized aluminum.

contemporary photographers envision a museum


TIMELESS MONUMENTALITY Paintings from The William Louis-Dreyfus Foundation November 4, 2016â&#x20AC;&#x201C;March 3, 2017

Walsh Art Gallery

To be included in the Gallery + Museum Guide email us at


MICHIGAN ROYAL OAK ž Habatat Galleries 4400 Fernlee Avenue 248.554.0590 HOURS Tues-Sat 11am-5pm

NEW YORK BRIDGEHAMPTON ž Chase Edwards Gallery 2462 Montauk Highway 631.604.2204 HOURS Mon-Sun 10am-6pm (seasonal)

BROOKLYN ž A.I.R. Gallery 111 Front Street, #228 212.255.6651 HOURS Wed-Sun 11am-6pm ž Art Mix Gallery 160 Union Street 917.603.2154 HOURS Mon-Fri 10am-6pm ž Space 776 229 Central Avenue 718. 578.1195 HOURS Thurs-Sun 12pm-6pm

EAST HAMPTON ž Castline/Goodman Gallery 46 Newtown Lane 631.527.5525 HOURS Mon-Sat 11am-6pm, Sun 12pm-5pm

MANHATTAN ž Adelson Galleries 730 5th Avenue 212.439.6800 HOURS Mon-Fri 10am-6pm, Sat 10am-5pm ž Agora Gallery 530 West 25th Street 212.226.4151 82

CONTEMPORARY CULTURE//MAGAZINE HOURS Mon-Sun 12pm-7pm ž Berry Campbell Gallery 530 West 24th Street 212.924.2178 HOURS Tues-Sat 10am-6pm ž Blank Space 30 Gansevoort Street 212.924.2025 HOURS Mon-Sat 10am-7pm, Sun 12pm-6pm ž C24 560 West 24th Street 646.416.6300 HOURS Mon-Fri 10am-6pm ž Ethan Cohen 251 West 19th Street 212.625.1250 HOURS Tues-Sat 11am-6pm

ž UNIX Gallery New York 532 W 24th Street 212.209.1572 HOURS Tues-Sat 10am-6pm

POUND RIDGE ž The Lionheart Gallery 27 Westchester Avenue 914.764.8689 HOURS Wed-Sat 11am-5pm; Sun 12-5pm and by appointment November 5th- 2016 - January 2017 •

 eoffrey Stein - “KING and QUEENS of LATE G NIGHT” Collage and Mixed media works

 LEPHANT/roxyshow - Mixed media works on E paper, soft sculptures

January – March 2017 •

Leslie Giuliani and Peter Massini

ž Gallery Henoch 555 West 25th Street 917.305.0003 HOURS Tues-Sat 10:30am-6pm ž HG Contemporary 527 W 23rd Street 212-366-4490 HOURS Tues-Sat 11am-6pm ž Heller Gallery 303 10th Avenue 212.414.4014 HOURS Tues-Sat 11am-6pm ž Lik SoHo 419 West Broadway 212.941.6391 HOURS Sun-Thurs 10am-8pm; Thurs-Sat 10-9 ž Lumas 362 West Broadway 212.219.9497 HOURS Sun-Fri 10am-6pm, Sat 10am-7pm ž Opera Gallery 791 Madison Avenue 646.707.3299 HOURS Mon-Sat 10am-7pm, Sun 11am-6:30pm ž Rotella Gallery 468 West Broadway 212.260.1140 HOURS Mon-Sat 10am-7pm, Sun 11am-6pm

Skaters, Photograph, 36” x 36” Peter Massini- The Lionheart Gallery

PURCHASE ž Neuberger Museum of Art 735 Anderson Hill Road 914.251.6100 HOURS Tue-Sun 12pm-5pm

RYE ž The Rye Arts Center 51 Milton Road 914.967.0700 HOURS Mon-Fri 9:30am-7pm; Sat 9:30am-1pm


F E AT U R E D G A L L E R I E S , M U S E U M S & C R E AT I V E S E R V I C E S

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“Notorious” by Michael Wagner Acrylic on Canvas 48 x 36 in.

“Machiavelli” by Michael Wagner Acrylic on Canvas 48 x 36 in.

Facebook: LOVE ART Gallery and Studio Contemporary Art ~ Pop Art ~ Urban Art ~ Inspiring Art Instagram: LOVE ART Gallery and Studio

LOVE ART Gallery and Studio 132 Washington St. South Norwalk CT 06854 ~ 203.216.2354 P













To be included in the Gallery + Museum Guide email us at



miami society. the powerful, the chic, the unique

BASQUIAT AT PAMM The Pérez Art Museum Miami (PAMM) celebrated the opening of Basquiat: The Unknown Notebooks with two nights of events. At the Museum Circle member preview, guests got a first glimpse at this major exhibit of Jean-Michel Basquiat’s notebooks. It included drawings, objects, paintings and works done in collaboration with another iconic artist of the 1980s, Andy Warhol. An art talk by Peruvian-born artist William Cordova, was followed by a discussion with PAMM Director Franklin Sirmans and PAMM Assistant Curator María Elena Ortiz. Notables included musician Lenny Kravitz; Princess Deena Aljuhani Abdulaziz; and artists Michele Oka Doner, Tomás Esson, Edouard Duval-Carrié, Glexis Novoa and TYPOE. 

Maurizio Farinelli, owner of Farinelli 1937, VENU Florida Editor, Daisy Olivera, HOLA USA Deputy Editor, Miguel Sirgado

Manuel Machado with Deputy Consul General from Spain, Pablo Platas

Renowned Editor Fêted, Premieres Cuba Documentary

When Miguel Sirgado announced he was moving back to New York to be

PAMM director Franklin Sirmans, Maria Elena Ortiz, artist William Cordova

Deputy Editor for HOLA! USA magazine -- the new U.S. glossy by the iconic Hola Media company in Spain -- celebrations immediately got underway. The Cuban-born Sirgado, had been in Miami three years during this, his second time at El Nuevo Herald, the Miami Herald’s Spanish-language paper, where he was editor of the arts section. For nine years prior to that, he was Entertainment Editor for People en Español. Sirgado is a beloved charmer, possessing a vast knowledge of art, music, films and fashion and is always the life of the party. One dinner was hosted by restaurateur Maurizio Farinelli at his chic Italian bistro Farinelli 1937, in trendy Coconut Grove. Among the guests were plastic surgeon Dr. Julio Gallo and Farid Moussallem. Another, was at the Coral Gables home of Pablo Platas, Deputy Consul General of Spain and Yomani Hernandez  Alcántara. Among the guests were celebrity TV chef Ingrid Hoffmann; writer Sergio Leon; Manning Salazar and Elvira Valdes. Sirgado also recently debuted as associate producer and writer on an HBO Documentary Film directed by Olatz López Garmendia with ex-husband, artist Julian Schnabel as executive producer, “Patria O Muerte: Cuba, Fatherland or Death.” A sharp, vivid portrait of Cuba as it is now, seen through the eyes of a diverse group of brave individuals living under a repressive dictatorship. It premiered at the New York Film Festival and will continue to air on all the HBO platforms. Follow Daisy on Twitter and Instagram @DaisySociety. For more on Miami, go to



Chapman Hosts Annual Luncheon Chapman Partnership’s Womenade “Take a Walk in Her Shoes” vintage fashion show and Stylist Danny Santiago, Rik Rak Salon owner luncheon is one of Raquel Watters, C. Madeleine's boutique the most popular owner Madeleine Kirsh events in the Miami season which raises funds for the homeless. Currently 44% percent of the residents at Chapman are families with children. The event honors Miami’s top women leaders and philanthropists with a glamorous, vintage fashion show produced by C. Madeleine’s boutique and directed by Danny Santiago. Raquel Watters owner of Rik Rak Hair Salon, Boutique & Bar brought her team of stylists and makeup artists to create the transformations. This year’s theme depicted fashion icons from different decades including Grace Kelly, Madonna and Jacqueline Kennedy.

JaneFinds is the worlds preeminent Hermes Cur Collector, and Reseller. Specializing in unique, impossible to get and vintage authentic Hermes and accessories.

With access to the worlds finest and rarest Herm Bags and a worldwide cult following, JaneFinds c grow your collection, or rotate it.

JaneFinds invented The Baginizer, the worlds be handbag organizer designed exclusively for Herm bags -

JaneFinds is the worlds preeminent Hermès Curator, Collector, Reseller. Specializing in unique, impossible to get and vintage authentic Hermès bags and accessories.

Access to the worlds finest and rarest Hermès Bags and a worldwide cult following, JaneFinds will grow your collection, or rotate it. JaneFinds also invented The Baginizer. The worlds best handbag organizer and protector designed specifically for Hermès bags - Required protection for your Investment Bags.

Venu #33 Winter 2016/17  

Antarctic Biennale, Alexander Ponomarev, Irma Braman, Chef Josh Capon, John McDonald, Marta Becket Ballerina, Avril Graham, Amarosa Opera Ho...

Venu #33 Winter 2016/17  

Antarctic Biennale, Alexander Ponomarev, Irma Braman, Chef Josh Capon, John McDonald, Marta Becket Ballerina, Avril Graham, Amarosa Opera Ho...