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People + Ideas 16 Amerian Flora In Full Bloom, Bringing back feminine style to American manufacturing
Spotlight 22 A visit to Sally’s Place 26 The Capitol Theater – Portchester’s Rock Palace, a cradle of legends restored
Events + Gatherings
28 Parties, Art Exhibitions & Activities
Insight 37 Should you bring a copyright infringement case
Travel + Leisure 38 Travel: Quintessential New England, Tranquil seaside getaways to urbane revelry 42 Southern Charms - Spring Island, South Carolina to Savanna 45 Leisure: Australia, golf down under
Appetite 48 The little restaurant that could, Bar Sugo redefines a neighborhood
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Features 51 Planting seeds for an oyster bar making waves in the oyster industry 53 The interior design world’s fascination with the equestrian lifestyle: A perfect Match 55 COVER STORY: Fred Stein’s photo odyssey. Eyewitnessing photographs from Nazism to Mid-Century New York 60 In Memory: A Life Well Lived, You knew him by his pen name Lorenz Josef
Indulge 63 Motoring: 2013 Agera R, The result of Koenisegg’s pursuit of perfection
66 Yachting: Jewel of the white-blue fleet, grit freedom and a sporting spirit for the Itama 62’ 68 Decorative Arts: On The Block, The Bay Psalm Book, Made in California, All that glitters is sometimes pink
Art + Objects 71 Venü Magazine’s showcase for fine furniture, textiles, jewelry, art, antiques and accessories
Gallery + Museum Guide 74 Gallery and museum listings in Connecticut, New York and Florida
Pulse 78 Music: Kelly Sweet 80 Film + Entertainment: Fox on Film, “The Company You Keep” starring and directed by Robert Redford
82 Movies, Not Mayhem 84 On Stage: The Finger Lakes musical theater festival, a mecca for lover’s of show tunes old and new
88 The Daisy Column: Miami society, The powerful, The chic, The unique
Showcasing local Arts, Culture, and Style without any contrived formality. VENÜ is published six times a year as a fresh yet discerning guide to art, culture and style throughout Connecticut and beyond. Not too artsy or too fussy, we’re thoughtfully written for the curious, the acquisitive, and those devoted to the one-of-a-kind and hard-to-find.
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President, Creative Director: J. Michael Woodside Vice President, Executive Director: Tracey Thomas Copy Editors: Cindy Clarke, Brian Solomon Senior Arts Editor: Philip Eliasoph Film & Entertainment Editor: Peter J. Fox Decorative Arts Editor: Matthew Sturtevant Florida Content Editor: Daisy Olivera Publisher: Venü Media Company Art, Design & Production: Venü Media Company Contributing Writers: Frederic Chiu, Cindy Clarke, Cheryl Dixon, Jeanine Espositio, Peter Fox, Bobby Harris, Linda Kavanagh, Janet Langsem, Ryan Odinak, Daisy Olivera, Nathaniel Parks, Bruce Pollock, William Squier, Matthew Sturtevant Business Development: Shelly Harvey/Connecticut, Liz Marks/New York Legal Counsel: Alan Neigher, Sheryle Levine (Byelas & Neigher, Westport, CT) Distribution: Thomas Cossuto, Man In Motion, LLC Office: 840 Reef Road, 2nd Floor, Fairfield, CT 06824 +1.203.333.7300 Tel +1.203.333.7301 Fax venumagazine.com Advertising Inquiries: firstname.lastname@example.org Editorial Contribution: email@example.com Subscriptions: Call 203.333.7300 firstname.lastname@example.org The small print: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent upon the artwork and material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material as presented. All prices and specifications to advertise are subject to change without notice. The opinions in this publication are not necessarily those of the publisher. Copyright VENÜ MAGAZINE. All rights reserved. The name VENÜ MAGAZINE is copyright protected. No part of this publication may be reproduced or transmitted without written consent from the publisher. VENÜ MAGAZINE does not accept responsibility for unsolicited material. This is a bimonthly publication and we encourage the public, galleries, artists, designers, photographers, writers (calling all creatives) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions. 14
PEOPLE + IDEAS
Photo: Kaitlin Bradshaw
American Flora In Full Bloom
Mary Brewster is bringing feminine style back to American manufacturing By Nathaniel Parks Mary Brewster never thought that she would start a boutique clothing and accessories brand. She never thought she’d become an expert in American manufacturing. Nor did she imagine the road trips to textile manufacturers, industrial sewing companies and sublimation houses. Or the late night calls with web designers, the photo shoots and the trunk shows. But
from those first sketches and those first days discussing names, aesthetics and materials, she knew there was no going back. A deeply creative mother of three, Mary established American Flora at a time in her life when most of her contemporaries were winding down their careers — she’s not your typical entrepreneur. Born out of her passion for dance
and the beauty of the natural world, the American Flora collection emphasizes a woman’s true femininity, strength and beauty. What’s in a name? There is a special resonance to the name American Flora. Long before the first pattern was cut and sewn, Mary knew everything for her company — from the raw materials to the manufacturing — must be sourced from, or created in, the USA. It was to be a company that deeply valued the quality, know-how and decency of American manufacturing. Mary notes, “I’m certainly not the only one choosing to make things in the USA. But with American Flora, I wanted to do a part in my
PEOPLE + IDEAS
Photo: Kimberly Davis Photography
own way — I wanted to try and bring a little bit of something back to the States.” Creating a successful startup, especially one in the garment and accessory industry, with such stringent criteria is not easy. When finances are tight, each deal matters — there’s that ever-lingering temptation to source product from a less expensive vendor overseas. But for Mary, that physical disconnect from vendors and manufacturers was unacceptable. How could she convey the nuances of her brand — her vision — without talking to the vendor in person? Keeping everything close was the only way to produce the quality and luxury that sets American Flora apart. The Power of a Fabric A veteran dancer and ballet teacher, Mary has spent the better part of 20 years getting to know performance fabrics. Like most experienced athletes, she knows what clothing works and what doesn’t, not from some online review, but from real time moving (and sweating) in it. Her goal? To find a fabric for American Flora that was not only an ecologically responsible choice, but also one that looked good, fit well and felt…well… felt like nothing else on the market. Mary found her perfect fabric with Repreve®. Created in North America from
pre- and post-consumer plastic, it’s used by companies like The North Face, Patagonia, Polartec and Haggar. It offers what she says is the perfect combination of “fit, comfort, style and responsibility,” Repreve, “feels like silk, hugs and flatters the body and performs like nothing I’ve ever worn. Once I felt it, I knew this would be the fabric of American Flora.”
The Evolution of a Brand With the fabric in hand, Mary sought out a local designer to articulate her vision into production-ready patterns. These first pieces, intimately tied with her life in dance, were meant to give other women the fit and performance to feel strong, feminine and athletic in or out of the studio. American Flora was, in its
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PEOPLE + IDEAS
infancy, a yoga and dancewear company. And these pieces, many of which remain in production, were the most direct articulation of this vision. But, as in so many entrepreneurial ventures, the business evolved. “I designed my line to have a certain sense of elegance, so it made sense to start selling pieces not just as dance and yoga wear, but as apparel that’s flattering, comfortable and beautiful enough to wear everyday.” Mary remarks that this brand repositioning has helped grow her market and break into the highly lucrative women’s lifestyle arena. “It’s a space that I can see us really developing in,” she notes. The Art of the Wrap With her Coconut and Sugar Body Scrub (which Mary says reminds her of “family vacations in Anguilla and St. John”) and her unique tote bags created from repurposed billboard vinyl, both in production and selling well, Mary set out to design the product that would become American Flora’s bestseller. Partnering with innovative artists and photographers like Francis Pelzman and Leslie Alexander, she created the American Flora Wrap. All the designs, Mary points out, are exclusive to American Flora.
Using the ultra-comfortable Repreve fabric as its base, each wrap goes through a cuttingedge printing process known as sublimation. This procedure permanently imposes a highresolution print on one side of the fabric. “It’s wearable fine art,” notes Mary, “the first time I saw it, I couldn’t believe this level of print quality was possible on fabric.” Such quality is not lost on American Flora’s customers either, “It’s become our most popular piece.” Bringing it Back Home The owner of a Connecticut-based small business, Mary fully realizes the importance of giving something back to the state and the
people who have helped her business grow. That’s why American Flora donates one dollar from every sale, no matter the time or piece, to the Hartford Hospital Partnership for Breast Care. Mary wanted to make a difference on a local level; giving in this way lets her see the direct connection between the donated dollars and a specific use. This sentiment – this idea of a direct connection between a product, a business and the people who make it all possible, is what drives Mary to take herself and her company further. “I’ve met such smart, strong women through American Flora, it’s inspiring — it’s what makes me get up every morning excited to create.”
For additional information about American Flora please visit www.americanflora.com
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SPOTLIGHT: SALLY’S PLACE
A Visit To Sally’s Place It should be up there on the Mount Rushmore of Record Stores, Sally’s Place, along with Bleecker Bob’s and the Colony by Bruce Pollock A visit to Sally’s Place is like a walk through the San Diego Zoo, surrounded by so many endangered species: vinyl albums, cassettes, a copy of the PhonoLog. Looking at the toys and photos and caricatures that adorn the wall of the store is like strolling through a museum of quirky artifacts of eras long since passed. Like the wall, like the store, Sally White is herself a quirky artifact of a Westport and a Main Street from another age. “Sally’s been working on Main Street since 1956,” says Sally White proudly. Who else has been on this street as long as her? Sally points to a photo of old Main Street near her door. “Nobody,” she says. Sally White went to work at Melody House, right across the street from the Remarkable Book shop (both gone) in 1956. That was during the heyday of jazz and the beginning of rock and roll (both endangered species now). The store’s inventory was Sally’s first love. “It was jazz, big bands, Sinatra, Armstrong...it was
the best of the best,” she says. It was a product line she gladly transferred to the store bearing her name in 1985, after a 20 year stint working at Klein’s (also gone). “The first boyfriend in high school way back in the ‘40s was a saxophone player,” says Sally, who is prone to reminisce at the drop of a phonograph needle about those golden days. “We would take the train into the city and we’d go to the Roxy, the Strand, the Paramount, to see the big movie and always ways back then there was one of the big bands, Basie or Ellington or Tommy Dorsey or Glenn or Benny or Artie Shaw. I saw Frank Sinatra at the Paramount. After the bands would play for an hour and a half T.K. and I would take the train back home to Norwalk for a buck and a quarter. Now, you almost have to mortgage the house to see a show like that in the City.” There was only one thing Sally was willing to mortgage her house for: Sally’s Place. But she didn’t have to. “When Stanley closed the
Klein’s record department in 1984, my brother in law wrote me a business plan, for a middle aged single lady with two kids. We went to the president of the bank and handed it to him and he said, How much money do you want? I was willing to put my house up for collateral. He said, We don’t want your house. Not only did they give me all the money I needed, they wrote letters of credit to every record company.” As much as she loves her sons, the store remains her pride and joy. “There are really no stores like mine,” she says. “I work alone. I’ve never even had my sons working for me. My relationship with them is amazing, because they know their mom has a life and they’ve got theirs. I don’t take vacations. I’ve only been on a plane three times in my whole life. I would get tired sitting home seven days a week. I get up at six to do my workouts; I lift five and ten pounds weights, do sit ups, I take yoga. Even when I had the hip thing last February I was in the hospital three days. They said I’d be out of the store for a couple of months, but I was only closed for two weeks.” Friends and customers all around the world and all around the country come to Sally’s Place just to take a look at The Wall, which is a shrine to the music she grew up with. “You should see the musicians who walk in. They just look at the stuff I’ve got,” says Sally, who can’t remember the first piece of classic memorabilia she obtained--or the last. “Even the toys are all from musicians and customers. Everything I >
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SPOTLIGHT: SALLY’S PLACE
put up it seems like it’s always been here. Woody Herman gave me that at the rainbow room after a dance,” she says, pointing to a caricature. “Mary Travers gave me this picture and told me to put it up. I said, The wall is really mainly jazz people. But she had it framed and signed from Peter and Paul. The next time she came in, I said, I want you to know I put you next to Louie.” Most will walk out with a rare LP tucked under their arm. Sally is the perfect curator for the Internet Age, where everything is suddenly attainable but nobody can sift through all the information to understand much less locate precisely what they’re looking for. Sally is a musical encyclopedia, who can find what you want even if you don’t know it yourself, a service more valuable as the years go passing by. A guy from West Virginia sent Sally the handmade cane that won him a blue ribbon at the State Fair (he sent her the blue ribbon as well), all for finding Blue Mist, by Sam the Man Taylor, an album he’d been searching for for years. If you’ve got a record on cassette and there’s no CD in print, she’ll have someone make it up for you for ten dollars, complete with liner notes. If the album exists in print somewhere she’ll special order it for you and have it in two days. “The bottom line is, it’s all about customer service,” Sally says. “Nobody knows how to do it anymore. I have this old expression: You get what you give. I’ve had customers I’ve grown up with and now I’m growing up with their kids. The bulk of my business is through special orders.” A quick tour of the small store could be done in a few minutes, if you don’t stop to analyze The Wall or visit each section, which includes “classical music, classic rock, blues, cabaret, singer-songwriter, folk, bluegrass, international--I’ve got everything from African to Israeli. There’s a whole row of show music, movie soundtracks, doo-wop. Here are some cassettes that I’ve had forever, all for two
bucks apiece. I don’t send a lot of it back, even stuff that’s rare.” On occasion you can find some current heartthrob of the teen audience at Sally’s, but not in abundance. “Somebody doesn’t come in here and ask for Lady Gaga or Justin Beiber,” she allows, “because they can go to Walmart and pick that up for ten bucks. Those things sell for about two or three weeks and then it’s over. The stuff I’ve got is stuff that lasts. And whenever Bob Dylan or Paul Simon or Bonnie Raitt comes out with a new album, it triggers their earlier catalogue. There’s Adele; she sells and she’s a good singer. I also carry Taylor Swift, but that’s a lot different from buying a Johnny Cash record or a Ray Price record or a
It’s all about the music itself. The things that I sell, people will come in and say, what’s that playing in the back-ground? Eventually they’ll buy it, because you’re never going to hear it on the radio. Hank Williams record. When you’re thinking about Taylor Swift it’s more a combination of pop and country, it’s not the real deal, like Dolly Parton or Willie Nelson, who still sells for me all the time. I try to be current, but there’s stuff that I want in here and stuff that I don’t. I stopped doing rap a while back, when the F word and the violence became cool. My rappers would come in and I would tell them, I made a decision, I’m not going to try to figure out what you guys are saying. Most of them
could understand where I was coming from.” Although Sally claims she’s “not a spring chicken anymore,” and business has been off for at least the last couple of years, she has no immediate plans to close up shop. “I’ve been working since I’m 14,” she says. “Normally I’m a lot busier than I’ve been this year or last year. Some days are better than others. Everything is like a day at a time. I’ve definitely had to reduce my stuff. My bins used to be filled. Now it’s thinned out, one here, one there, a little at a time. But what I had here you couldn’t buy anyplace else. Even though there’s a lot of empty shelves now, the atmosphere is still here and will always be.” But neither is she grooming a successor or been in touch with a museum or an Art Gallery to house a future “Sally’s Place” wing for her collection of accoutrements (hint to the Wesport Arts Center). When the place finally closes, she’ll be content to have it become a wonderful memory for those who were fortunate enough to visit. “I remember Dave Brubeck saying to me, you’ve got a 40 year history here,” says Sally, recalling another local icon now no more. “He said, ‘Sal, you know how lucky we are to be doing what we love to do all these years?’ It’s all about the music itself. The things that I sell, people will come in and say, what’s that playing in the background? Eventually they’ll buy it, because you’re never going to hear it on the radio. Where are you going to walk in and hear Lester Young from 60 years ago?”
SPOTLIGHT: The Capitol Theater
Photo: Dino Perrucci
The Music Never Stopped The Capitol Theater – Portchester’s rock palace, a cradle of legends restored by Philip Eliasoph, Senior Arts Editor Imagine a snapshot of a time and place with a cast of characters and an eternal ‘vibe’ few can behold, but many have known. About 30 minutes before showtime, the ‘tribe’ of 1,800 lucky ticket holders gathers with its distinctively energetic electricity. Plucked out of the throng is one pixie girl – Cheyenne. She fits right in: a dusty-blonde, long-haired street waif, who face curls into a beaming smile. The wear and tear of being a ‘lost child’ on the tour is obvious. A unique mix of ages, backgrounds, and social castes surges beneath the now legendary marquee of Port Chester’s Capitol Theatre. A place of biblical significance for rock connoisseurs, its known as a holy grail venue where music’s legends, prophets and saints have made history. Whispering among these acolytes from ages 18 through 68, memorable performances by the Grateful Dead, Janis
Joplin, the Rolling Stones, Pink Floyd, Eric Clapton or Santana, are recalled like questions in a ‘Trivial Pursuits’ game. After going dark, “the Cap” reopened as a first-rate rock palace in September, 2012 with Bob Dylan heading the resurrection event. Last April, the Grateful Dead’s latest incarnation (with Uncle Jerry’s spirit on their shoulders) Further played to a sold-out nine night run. Bob Weir admitted that the Cap was “always at the top of the list” of their favorite venues, while Garcia noted: “There’s only two theatres… that are set up pretty groovy all around music – the Fillmore East and the Capitol Theatre.” Young entrepreneur, visionary Peter Shapiro funded the reno-
vation. Billboard magazine raved: “the lavishly decorated theatre – filled with mirrors, chandeliers, and painstakingly restored detail, looks absolutely stunning, and sounds even better.” The New York Times chimed in: “the Capitol is something to celebrate.” Like a dazed hippie-clad kid from Life magazine’s 1969 coveted collector’s edition on Woodstock, I spot Cheyenne again inside the lobby with her band of gypsie styled wanderers. She’s been on the road, from small town America, leaving Peroria as Margaret or Jennifer where she was a cashier at Lowe’s to be transformed into a faerie-spirit out of a Botticelli painting. With a bemused look, offers a wink and says: “I’ve been to over 150 Dead/ Furthur/ D.S.O. shows
Streisand, Neil Diamond, or an Elvis impersonator can compete with this total gestalt of sound/light/bodily immersion. And joining in the enrapture – among with peers and other ‘old guys’ who still remember the 1967 San Francisco ‘Summer of Love’ – we are still enchanted and bewitched by the grinning skull on the ‘Steal Your Face’ cover. Maybe I need to visit the Dalai Lama, or reread Maimonides or Emerson to decipher that poetic gem from Garcia/Hunter: “The spiral light of Venus…where crickets and cicadas sing, in the shadow of the moon... Terrapin Station, and I know I’ll be there soon.” As if an uninterrupted laser beam current could includes a bedraggled core of ‘lost souls’, some well-scrubbed white suburban kids, and beaming lawyers, physicians, and career professionals in this odd-ball crowd ensemble. The Cap is building an impressive bridge between the generations of music fans ‘then’ and ‘now.’ Let’s also applaud Port Chester’s local gov-
already and I’m only 22.” Her career goals: “gonna have a real good time tonight!” About an hour later into first set, as Jack Straw bridges over to Franklin’s Tower then melting into a sizzling Fire, -- this past-mid-life college art history professor is inevitably twirling with Sunshine, who’s now a veteran on the tour. She’s another elf like seeker with thickly matted, long dred-locks, a torn tie-dyed shirtdress, along with anybody else on the open dance floor invoking the spirit within them. Sunshine (born Elizabeth Blake in Sandusky, Ohio) seems to ignite as the band rips into
the St. Stephen lyric: “Lady finger, dipped in moonlight, writing ‘what for?’ across the morning sky…” By the end of the first set, somebody anoints me with a neon-necklace, as the primordial dance transforms the crowd from reverential appreciation to orgiastic ecstasy. Nothing has really change other than the graying of my hair and the expansion of my waistline since that time when back then when I first saw the Dead at a state college upstate New York. I feel fortunate not only to be alive -- but to count the blessings of these endless nights with the boys on stage – and their loyal following genuflecting and bowing like supplicants at a liturgical service. With zealous fervor, we ‘Deadheads’ are bound within a chain of scarlet begonias prepared to go anywhere, pay any price, and experience that which most will never understand. Call it a cult – but no Wagner Ring cyle at the Met Opera, or corny Vegas act by
erning bodies for preserving this important architectural monument, a 1926 theatre listed on the National Register of Historic Places. “We are seeing new faces with groups like Sleigh Bells and My Morning Jacket,” comments manager Tom Bailey in an exclusive interview for VENU. And why turn up for a live show in a digital age? “There’s nothing to approximate life music and the interaction of the sound and projection technology we are featuring.” Bailey explains their intention to be all- inclusive – “we like when the parents bring their kids to the shows and vice-versa.” With its incomparable state-of-the-art concert venue, mind-blowing visual tech, and inter-generational concert scene, the new Capitol Theatre was transformed on that early Spring night into that magical place where one “gets shown the light” as “strangers stop strangers just to shake their hand, while everybody’s playing in the heart of gold band.”
For information and a full schedule of upcoming shows and events please visit: www.thecapitoltheatre.com 149 Westchester Avenue, Port Chester, New York 10573-4549 (914) 937-4126
events + gatherings
By Ryan Odinak
Executive Director, Cultural Alliance of Fairfield County
Loves A Summer Fair and Festival! The Bridgeport Arts Fest is a one day celebration of local and original art, artists, crafters, community organizations and performers that takes place in downtown Bridgeport on July 13, and is followed immediately by the After-Party Concert that evening. The Westport Downtown Merchants Association’s Westport Fine Arts Festival is celebrating its 40th year, July 20-21. This popular festival is situated along the lovely Saugatuck River and features original works from approximately 140 artists in a variety of mediums. The Westport Arts Center staffs the festival’s Children’s Zone with creative, hands-on activities for children of all ages. When warm breezes start to blow, it’s time to be outside as much as possible. If you are looking for some new ways to soak up the sun, head to one of the many great summer art fairs and festivals that take place around Fairfield County!
Even theatre takes to the outdoors in summer. Shakespeare on the Sound will present William Shakespeare’s As You Like It, a comedy of intertwined plots and a story about liberat-
What would summer be without free concerts and street fairs? Starting from late June and running through early September, The Levitt Pavilion for the Performing Arts presents an outdoor festival of over fifty nights of free
world-class music and performing arts under the stars. The season spans a limitless array of music – from rock, roots, folk, world and blues to jazz, big band and classical and more – and includes evenings on which free dance lessons are offered in the style of music being played.
ing transformation. Performances will take place June 13 - 30, in Rowayton’s Pinkney Park. The production is meant for families, and an education tent is open in the park with Shakespeare games and crafts. A pre-show for young audiences, developed by the Apprentice Company, will be performed each night. Connecticut Free Shakespeare celebrates its 14th season under the stars with A Midsummer’s Night Dream, on Bridgeport’s McLevy Green in late July. Then the production moves
Looking for something different to do? FCBuzz.org is the place to find out what’s happening in Fairfield County any day of the week—featuring theater, exhibits, music, history, science, family fun, classes and local artists. Click on FCBuzz.org. Pick a great event to attend. Then Go—bring your family, meet your friends or fly solo. FCBuzz.org™ is presented by the Cultural Alliance of Fairfield County. For more information contact the Cultural Alliance of Fairfield County by emailing info@CulturalAllianceFC.org, calling 203-256-2329, or visiting the Web site at www.CulturalAllianceFC.org.
to the historic grounds of the American Shakespeare Festival Theatre in Stratford, as the headliner at Stratford Center for the Arts’ Festival! Stratford, July 31-Aug 4. It is Shakespeare’s most magical romantic comedy where even though “the course of true love never did run smooth”, at the end true love prevails, and everyone lives happily ever after. As summer heats up, chill out at Gathering of the Vibes, an annual four-day music, arts and camping festival at the beautiful Seaside Park, Bridgeport, July 25-28. The Vibes will feature over 40 world-class bands including Phil Lesh & Friends, The Black Crowes and The Roots- and more, on multiple stages located throughout the 370-acre beachfront venue. Or take a break from the beach at The Sono Arts Celebration takes place August 3rd and 4th on the streets of the historic waterfront of South Norwalk. This year’s festivities, inspired by a passion for the arts and community spirit, will offer attendees an array of outdoor exhibits over a diverse cross section of professional and performing artists. This is in addition to workshops for adults and children and a Puppet Parade on Sunday! Find it all on FCBUZZ.org throughout the summer and any time of year. Stay cool!
events + gatherings
ALERT: Motor Racing Fans - Lionheart Gallery Celebrates Motor Racing History Pound Ridge, New York – July 8-21, 2013
“The Eye of Klemenski” - Highlights from The Klemenski Collection
©The Klemantaski Collection
Born in Manchuria to a Polish father and ne of the world’s largest and most Russian mother in 1912, Klemantaski bevaried libraries of motor racing and came fascinated with cars through hangrelated automotive photographs will ing around his dad’s car agency, learning be on exhibition at The Lionheart Gallery to drive at age eight. After graduating in Pound Ridge, NY from June 8 through from Kings College, London, his continJuly 21. Louis Klemantaski, internationally ued consuming interest in cars led him to known as motor racing’s greatest photogBrooklands, England where he spent the rapher (2001 obit, The Daily Telegraph, 1930’s racing supercharged single-seaters London), competed in three Monte Carlo and taking photographs of cars during rallies and followed the Grand Prix circuit races. In those days - long before zoom around Europe from 1934 to 1974, perlenses - photographers could perch on fecting his uncanny ability to seize exactly the edge of the track and capture excitthe right spot and best moment for his ing larger than life close-ups of the cars pictures. The Klemantaski Collection inNorman Wilson at the Junior Car Club meeting: Brooklands, England, and drivers. Klemantaski became secrecludes over 500,000 automotive images May 6, 1939, showing great intensity with his E.R.A. (English Racing Auto) on tary of the Junior Auto Racing Club and of which 60,000 are by Louis Klemantaski. the Mountain Circuit. Note the complete absence of any safety equipment. also served as navigator for racing greats Other significant archives include those of Nigel Snowdon who, with his wife Diana Burnett, photographed many such as Reg Parnell in an Aston Martin and Peter Collins in his Ferrari 860 of the Grand Prix and International Sports Car races from the 1960’s on- Monza in the Mille Miglia, the Italian 1,000 mile race on public roads. ward. Prints of the photographs on exhibit will be available for purchase His photographs were highly sought after by Auto companies, such as Ferrari, Aston-Martin and the Chrysler Corporation. as well as several books on motor racing.
The Lionheart Gallery is open Wednesday through Saturday from 11 to 5 p.m., Sunday from 12 to 4 p.m., and by appointment.
Art of the Northeast
A sixty-three year history at Silvermine Arts Center and it remains one of the most anticipated annual, regional juried shows at its home in New Canaan, Connecticut.
rt of the Northeast (AoNE) began as a means to both showcase emerging and lesser-known artists and afforded artists the opportunity to engage with influential curators, directors, critics and gallerists. Over the years these prominent jurors have included Dore Ashton, Clement Greenberg, Hilton Kramer, Louise Nevelson, Irving Sandler, Ann Temkin, and Marcia Tucker, to name a few. As Silvermine celebrated its 90th Anniversary last year, the Guild Committee and I thought that it was important to enliven the format with
a vision for AoNE that was fresh and dynamic. We wanted this juried competition to function as a curated exhibition that would engage the public with a multifaceted story that included conceptual art and installation art as well as painting, photography, printmaking, and sculpture. The exhibition needed to be visually interesting and conceptually complex, encouraging visitors to think more critically about the ideas artists were exploring. With these goals in mind, I asked David Ross, a curator who has served as Director of the Whitney Museum of American Art and the San Francisco Museum of Modern Art to jury this year’s AoNE. Mr. Ross has been involved in the organizing and jurying process for international contemporary art exhibitions worldwide including Documenta, in Kassel, Germany; the Venice Biennale in the Castello district of Venice, Italy; and Carnegie International at the Carnegie Museum of Art in Pittsburgh, Pennsylvania. He also has a reputation for unwavering support of artists and a willingness to take thoughtful risks. Typically, juried shows like AoNE include only one to two entries by an artist. While this allows a greater number of artists to participate, it does not allow for great insight into the ideas
that an artist is exploring. Works of art often gain power by being seen in the context of their larger body of work evidenced by a portfolio. This year Mr. Ross was encouraged to select more than one work from each artist. He deftly pored over nearly 1,500 images in order to carefully and thoughtfully weave together diverse media and works for a cohesive exhibition. His expert selections highlight the foundational goals of the exhibition: to create an exhibition that is both beneficial to the artist and insightful for the visitor. I am proud to say that although the selection was completely anonymous, Best in Show was awarded to Silvermine Guild artist Mary Jo McGonagle. Her installation titled, “Get Out” combines video and painting in a witty room that, as Mr. Ross pointed out, is “sweetly domestic and architecturally oppressive.” McGonagle states, “My art practice is a multi-disciplinary exploration of the many issues happening in the home, an investigation of images and narratives of sublimated family dynamics and the idea of the suburban home as an environment of contradictions.” In addition to a cash prize, McGonagle was awarded a solo exhibition at Silvermine Arts Center in which to continue to develop her melding of conceptual and installation art as well as painting, and sculpture. The changes in format, along with a continued commitment to selecting internationally renowned jurors, will only add to the prestige of AoNE and reinforce Silvermine’s commitment to promoting artists and their ideas.
By Jeffrey Mueller, Gallery Director, Silvermine Arts Center 30
From Left: Executive Director Maggie Howell, AtKA, Curator Rebecca Bose with Chef Anthony Goncalves & Josh Ozersky
Photographs: Alan Shapiro ATKA, A stunning artic gray wolf is escorted into the event
Feast for The Beast
Fundraising Dinner, White Plains, NY
he Feast for The Beast Fundraising Dinner, co-sponsored by Chef Anthony Goncalves of 42 The Restaurant and Josh Ozersky, food writer and founder of Meatopia, was an extraordinary and successful evening. The dinner benefitted the Wolf Conservation Center (WCC), located in South Salem, NY, which promotes public education through its Ambassador wolf program. The highlights of the evening included: a meet and greet with the stunning Atka, the WCC’s oldest Ambassador wolf, a deliciously different five course menu. This cause is important to Chef Anthony due to his children’s love for nature and animals. Which is why he added Red Velvet Cake with Powdered Cream Cheese Frosting and Toasted Marshmallow Ice Cream to the menu and it will benefit the WCC each time it is ordered. For more information about the WCC, please visit http://nywolf.org.
From Left: Chef Anthony goncalves, josh ozersky, and Anthony’s father
Guests are mingling about and marveling at the stunning city views
A doorman makes way for curatoR Rebecca Bose, and ATKA – the star of the evening CONTEMPORARY CULTURE//MAGAZINE
events + gatherings
Facebook: Beechwood Arts Website: www.BeechwoodArts.org
elcome to our page! We started Beechwood Arts, a non-profit art and innovation organization, to expand the idea of how the arts can be created and experienced. Our events and programs involve collaboration across all artistic genres and generations and push the boundaries of what the arts experience can be. Our “Arts Immersion Salons” draw on the intimacy of the salons of old combined with cutting edge elements for an immersive, multi-sensory yet intimate community experience. They are alive with artists, designers, musicians, performers, culinary artists, filmmakers, arts appreciators and supporters, all working in collaboration toward innovative, often experimental, new ways to create and experience the arts. Our “Salons Around the World” bring this vibrant intimacy to other salons around the world using cutting edge technology. Our “Innovation Labs” and “Arts Innovation Workshops” turn traditional thinking on its head to find new ways to approach learning, performing, creating, visioning and collaborating, not just for arts, but for non-profits, start-ups and entrepreneurs. Our“Culinary+Arts” program pairs gallery and museum quality art with high level culinary experiences, enhancing both by stimulating multiple senses at one time. We are happy you have found your way here and hope you become a part of the fabric we are weaving at Beechwood Arts.
– Jeanine Esposito & Frederic Chiu
Beechwood Arts Takes Intimacy Global in 2013! What a winter! Cocooned in layers of white snow, we used the hibernating months of January and February to plan for an expansive 2013. Our Arts Immersion Salons are mostly private events as they have so far been held at our private residence and are limited by space and the nature of a Salon. However, we have been exploring ways to bring the exciting experience of our Arts Immersion Salons to a more public venue, while retaining the intimacy and community feel of the Salon. Culinary + Arts Program We inaugurated our Culinary+Art program with art partner Blue Lemon of Westport. Owned by chef Bryan Malcarney and managed by Jeff Evans, Blue Lemon is one of Westport’s top-rated restaurants. The public Art Opening took place immediately after Nemo dumped over 2 feet of snow on Westport! Nevertheless over 75 people attended the event. We worked with Blue Lemon to curate gallery quality art, place the work and light it. The final result was incredible, said manager Jeff Evans, “When we saw the work hung, it transformed the restaurant completely! As soon as our guests arrive, they can tell the art is special and many comment on it right away.” Blue Lemon is a perfect partner. The walls are well suited to
Intimate. Innovative. Immersive. show art and it truly feels like a high-end gallery and restaurant. More importantly, Blue Lemon respects the art and truly cares about supporting artists, made evident by the investment they made to show it well. They also plan to partner with Beechwood Arts to have several art-related events during each 16 week show
the conversation between Frederic and Joshua, when an audience member from the fundraiser asked a question, at least 2 guests turned around in their seats to see who was asking only to realize it was on the film! The filmed performance itself felt real enough to elicit deep emotion, bringing a number guests to tears with the beauty of the music. A visionary Patron’s gift breathes life into the “Art Immersion Salon Around the World!” In the middle of our planning how to bring our Arts Immersion Salons to a wider audience, we received a generous gift from a visionary patron that would allow us to purchase portable, high-quality audio-visual technology that will allow us, with great sound and image quality, to: •
Stream our Salons live from one intimate venue direct to other intimate venues with a Salon-type audience to expand the audience while retaining the intimacy
• Carnegie Provide Font:
a like-you-were-there perspec- tive of performances, artwork, recep- tions and conversations
• Allow candid interviews with guests and virtual participation in conversations • Conduct an “art tour” including inter views with artists about their work • Stream film from film artists to other venues including an opening AND a closing party as well as artist-talk tasting events and brunches. This is more activity than most art shows get at a gallery. Blue Lemon patrons have also shown keen interest in the new level of art and can be seen discussing Beechwood’s “Art List” that patrons receive along with the Wine List which details the artist bios and information on their work. According to manager Evans, “Partnering with Beechwood Arts allows us to have a high-quality art exhibit while we concentrate on what we do best...create an unforgettable meal.“ Four Seasons with Joshua Bell: A Petit Encore! In March, we hosted a “Petit Salon” to show the footage of last fall’s fundraising conversation and concert by Frederic Chiu and Joshua Bell. The performance was captured beautifully by Dan Broderick of Lead Dog Productions (who is also our partner in getting us technologically ready for streaming). Projected large, the sound and visual were so captivating, a number of guests forgot they were watching a film. In fact, during the filmed Q&A portion of
• Project incoming streams from other locations to a screen in the main Salon • Capture high-quality sound and video of the Salon for future sharing across different venues. We’ll be testing the setup to be ready (fingers crossed!) for our first Arts Immersion Salon in June.
COMING IN JUNE... Our 6th Arts Immersion Salon: Vibrations: Science, Art & Body-Mind-Heart Exploring the effect of art & music on the body, mind and heart, this Salon combines ancient knowledge with the most cutting edge
technology. Fresh from the recording studio, Frederic plays pieces from his “Hymns and Dervishes” CD, which relies on a different ancient tuning for each piece, said to tap into different vibrations in the body. Biofeedback, neurofeedback and bioelectrography experts join us, measuring the effects of this music on selected audience members during the concert! A chef prepares food that influences these 3 areas and art, installation and sculpture provide immersive experiences in the theme! We hope to have our streaming technology in place so that this can truly be a “Salon Around the World”
Master Auctioneer Lydia Fenet officiates the evening sale at the Inaugural Oceana Ball at Christie’s
The Inaugaral Oceana Ball hosted by Christie’s, Photographs: Andrew Walker/Getty Images Alexandra Cousteau introduces the film Planet Ocean at the Inaugural Oceana Ball at Christie’s
Susan Rockefeller and Adrian Grenier
The Inaugural Oceana Ball
Kate Walsh co-chairs the Inaugural Oceana Ball at Christie’s
Hosted by Christie’s, Raises nearly $1 Million with Susan and David Rockefeller, Kate Walsh, Chris Hemsworth, Elsa Pataky and more
op collectors, philanthropists, celebrities and influencers convened at Christie’s last night to witness the Inaugural Oceana Ball, which raised approximately $1 million in proceeds via the live auction of fantasy lots curated by Oceana, the largest international organization dedicated solely to protecting the world’s oceans. The opportunity to have lunch with President Clinton and Susan & David Rockefeller at Blue Hill at Stone Barns swept the evening sale with a winning bid of $110,000. All event proceeds directly benefit the protection and restoration of shark populations. The evening kicked off with a star-studded blue carpet, where stunning couple Chris Hemsworth (in Calvin Klein) and Elsa Pataky, clad in a glittery frock by Naeem Khan stole the attention of photographers and guests alike. Not far behind them was Chris’ equally charming older brother, Luke Hemsworth with his wife, Samantha. Oceana Ambassador, Kate Walsh, attended in support of the inaugural event as well, wearing an appropriate ocean-blue Jenni Kayne skirt, effortlessly paired with an off-white embellished Isabel Marant top. Following arrivals, the JW Marriott Lounge served as the VIP area where attendees sipped refreshing custom Grey Goose libations including the aptly-named Wavemaker and the Oceana Gimlet. The lavish area boasted special timepieces by OMEGA and stunning botanical designs provided by the renowned Jane Packer Flowers. Christie’s Lydia Fenet officiated the lively auction, and Olivia Cipolla kicked off the after party with a spirited performance that brought the crowd to their feet.
Susan and David Rockefeller co-chair the Inaugural Oceana Ball at Christie’s
Photo: Angela Jimenez
Luke Hemsworth and Chris Hemsworth
Les Stroud emcees the Inaugural Oceana Ball at Christie’s
Photo: Angela Jimenez
Elsa Pataky And Chris Hemsworth
Olivia Cipolla (left) and Arie Dixon (center) perform at the Inaugural Oceana Ball at Christie’s CONTEMPORARY CULTURE//MAGAZINE
events + gatherings
By Janet Langsam CEO, ArtsWestchester
Placemaking: Re-Envisioning White Plains The hot topic for cities across America is placemaking. The term hasn’t made its way into my dictionary, but here at ArtsWestchester we use it all the time to describe the strategic use of arts and cultural activities to frame a place as a vibrant, fun place to be… one enlivened with banners, art, music and sculpture.
ity planners, arts organizations and tourism councils believe that placemaking can improve the livability of a city, positively impacting business by bringing visitors and residents downtown. Art has been a critical element in the economic revitalization of cities across the globe because it promotes quality of life and community pride. This spring, in an effort to help the community visualize how a city can be enlivened through the arts, ArtsWestchester will present Placemaking: Re-envisioning White Plains, the imaginings of 25 artists who will present their unique public art and placemaking concepts for locations throughout the City of White Plains. The exhibit will allow visitors to see familiar locations in unfamiliar ways, to reimagine downtown spaces through the lens
of the artist. Several artists are working independently with the same site, offering the viewer alternate visions for a common space. As an example, Sculptor Sarah Haviland’s “Phoenix” enlivens the historic Arts Exchange building to animate its neoclassical façade, while Nicoletta Barolini draws upon its nemesis as a bank with her design based on the huge vault that still adorns the building’s first floor. In the street, a pedestrian median at a busy intersection becomes an island haven
with Jerome Harris Parmet’s sculptural migrating birds. The blank exterior wall on a department store becomes the silver screen for Chris Kaczmarek’s collection of films, made in conjunction with area artists and school children, while across the street an empty building becomes a glass kaleidoscope based on photography by Barry Mason. Landscape transforms a public plaza through the architectural vision of Stomu Miyazaki, in which he turns a flat grassy area into a welcoming, rolling field of hills designed for sitting and playing. ArtsWestchester’s gallery will be transformed into a miniature version of downtown White Plains as the artists’ visions will be pre-
sented as scaled sculptures, vibrant two-dimensional renderings, and engaging projections. The exhibition will engage the public, to inspire them to consider how thoughtful art installations can personalize the built environment and turn a space into a place. The public is able to enjoy the exhibition Placemaking: Re-envisioning White Plains at the ArtsWestchester’s Gallery through mid-July, located at 31 Mamaroneck Avenue, White Plains, NY, (914) 428-4220. For more of Janet Langsam’s cultural musings, be sure to visit her blog at www.ThisandThatbyJL.com. For a full calendar of arts events visit: www.artsw.org.
Massimo Vitali, Rosignano Donna Sola, 2004. Hall Collection. Image courtesy the Artist.
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SHOULD YOU BRING A COPYRIGHT INFRINGEMENT CASE? Written by Alan Neigher & Sheryle S. Levine
Creative artists should know what remedies are available if they are victims of copyright infringement. In a nutshell, the question usually comes down to this: is it worth the cost (few lawyers will take infringement cases purely on a contingency), the time distraction and the stress to bring a lawsuit? This is not a decision to be made lightly. A federal lawsuit will challenge any lay person in the costs, the exhausting rules on the “discovery” process (a blanket term referring to questions, documents and admission requests that each side will hurl at the other) and deadlines. You may assume that absent a personal, family or medical emergency, litigation deadlines will not be changed once established. With that said, what can a creative artist whose sculpture, photograph, textual materials, or music hope for assuming a reasonably strong case of infringement? INJUNCTIVE RELIEF: Courts may stop infringing parties from reproducing an artist’s work. Courts will generally find “irreparable” harm (damage no compensable solely by money) where continued and prospective infringement is apparent. Claims based only on past infringement will generally not meet the standard of “irreparable harm”, and plaintiffs will be left to monetary, rather than injunctive, relief. IMPOUNDMENT: A court may during the pendency of an infringement action issue an order of impoundment - - confiscation - - of the infringing copies of a work. The court may also order the impoundment and destruction of all means by which copies have been illegally reproduced. DAMAGES AND PROFITS: The explanation of damages and profits under the Copyright Act is a bit complicated. The victim of an infringement may elect to recover (i) actual damages and profits, or (ii) statutory damages. The point of actual damages and profits is to make it clear that there is no gain from the unauthorized use of someone else’s property. The “actual damages” computation involved two steps. First, plaintiff needs to establish the gross revenue from
the infringer’s activity; second, the burden is then shifted to the infringer to show its deductible expenses and elements of profits not “attributable” to factors other than the copyrighted work. For example: plaintiff (P) proves that defendant (D) infringed plaintiff’s copyright P shows that it lost $10,000 from the infringement in lost sales. P also shows defendant’s gross revenues of $25,000. It is now up to D to show that of the $25,000, X amount went to deductible expenses. If D is unable to show such deductible expenses, the entire amount of D’s revenues resulting from the infringement $35,000 will count as damages in favor of P. STATUTORY DAMAGES: This damages theory serves as an alternative for persons victimized by infringement who are unable to clearly establish actual damages or profits by the defendant. Statutory damages are merely another way to measure the harm suffered by the plaintiff. The court has wide discretion to award damages. Where the infringement is found to be neither “innocent” or “willful”, the court has discretion to award between $750 - $30,000. In the case of willful infringement where the court finds a purposeful pattern of illegal behavior, the court may award up to $150,000 per copyright infringed. COSTS AND ATTORNEYS FEES: The prevailing party in any infringement action may at the discretion of the court receive full costs, including reasonable attorneys fees. However, under certain circumstances, a prevailing defendant may recover its reasonable attorneys fees. Under really, really bad circumstances, willful infringement may lead to criminal sanctions including fines and imprisonment, in addition to the remedies described above. The above is intended to merely outline in broad terms the remedies available to persons whose copyrightable property has been infringed. However, the bringing of any litigation is not a decision to be taken lightly. It is a complicated, costly and at times an exhausting exercise, and should taken only after full consultation between the artist and intellectual property counsel.
Travel + Leisure: Quintessential NEW ENGLAND
Quintessential New England Tranquil Seaside Getaways to Urbane Revelry by Linda Kavanagh
We New Englanders sure do like our change of seasons. Vibrant, crisp autumn days, winter’s anticipated snow day school cancellations, spring time’s changing of the guard when the purple crocuses seem to always pop up prematurely, and those summer months that scream for coastline road trips. So, with a few new destinations to check out and some tried and true destinations to revisit, Venu Magazine hits the road this summer for a quintessential New England retreat. Ocean House
Set atop the saltwater bluffs of Watch Hill, Rhode Island, the stunning AAA Five Diamond and Relais & Châteaux property, Ocean House, was introduced to this mostly seasonal seaside township. Reopened in June of 2010, the original dwelling was built in 1868 and now stands as a time piece replica with its stately charm and modern day opulence. Smack-dab in the middle of New York and Maine, the Ocean House has already made a name for itself as a high-end meeting and event space for work and play. Our recent visit proved to illustrate both sides of this picturesque location. The approach along Watch Hill Road and Westerly Road, past the gorgeous Victorian summer homes, sets the tone for good things to come. One can’t help but to be immediately taken with the grandeur of
the Ocean House. And with genuine hospitality at the forefront, we are greeted by name the moment we pull into the circular cobblestone driveway. We are then whisked away to our room with a glass of champagne in hand. They did, indeed, have us at “hello”. Guest rooms are bright and airy and chockfull of great food, beverage, and comforting amenities. Plush furnishings, soft Frette linens and towels, and a wonderful deep soaking tub are comforting features. High-tech touch pads for all your informational needs, HD flat screen TVs in the bedroom and bathroom, and an iPod docking station and complimentary high-speed wireless internet access keep you wired for sound and connected to the outside world beyond the Great Gatsby movie you’ve just entered into. In keeping with the luxe accommodations is the hotel’s premiere bar and restaurant, Seasons. The u-shaped mahogany wood bar overlooks the magnificent stone fireplace and the exhibition kitchen, where chefs attend to their stations in military fashion. Our bartender Jordan shakes up top shelf martinis while sommelier Jonathan Feiler chooses the perfect white Bordeaux, the 2010 Chateau Magneau Graves Blanc. The dining room exudes the softer, more feminine side of Seasons with its white table linen, beige wicker chairs and soft textiles, accented by hanging blue glass lantern-like fixtures, all wrapped in panoramic views of the Atlantic Ocean. The menu is tagged as farm-to-table, but its seasonal and daily developed dishes hold more than just a sustainable notion. The presentation is pristine, but don’t let that fool ya. The flavor palate is well developed. Go with the chef’s tasting menu with wine pairings and enjoy the royal treatment. Some faves include; seared tuna with ponzu, fennel, radish, green apple, and monkfish liver; potato and spring
garlic soup with local trout, American caviar, sour cream, and alliums (edible flowers); pressed foie gras with ginger cake, rhubarb, citrus, and radish; roasted scallops with ricotta gnocchi, spring vegSEASONS, At the Ocean House etables, carrots, and English peas; smoked New England family farms beef served with fingerling potatoes, ramps, king trumpet mushrooms, and chimichurri; and a dark chocolate and Grand Marnier soufflé. Need we say more? The Ocean House has several dining options, multiple patios and an indoor lap pool that opens up onto a sunning area overlooking the dunes. The private beach with beach butlers is easily accessible to hotel guests via a wooden walkway from the house. There’s more… The OH! Spa is the only Forbes Five Star spa in the northeast and the OH! Salon prepares guests for their close-ups. Events are a common occurrence, from intimate rehearsal dinners to lavish weddings, to corporate meetings and company clambakes. Fully equipped meeting rooms and break out rooms are in session all year round. But on this particular road trip, it’s all about the luxurious accommodations, breakfast in bed, lazy beachy days, cocktails by the fire, a five-star meal, and living in the lap of luxury – and the Ocean House delivers just that. www.oceanhouseri.com
For all you city slickers out there who prefer vivacity over relaxation, hit the Mass turnpike to Boston, the largest city in New England. Settle in to Kenmore Square’s Hotel Commonwealth, a wonderfully situated Victorian-meets-Federalist style hotel at the intersection of Beacon Street and Commonwealth Avenue. Enjoy the fervor of local Red Sox fans parading
in and around Fenway Park, and stroll the tony shops and eateries along Newbury Street. Hotel Commonwealth is comprised of 150 spacious rooms with fully loaded amenities and comforts. The hotel is also home to the high octane American Brasserie, Eastern Standard. Slightly masculine, and a wonderful combination of old world charm and modern day influences, Eastern Standard is a throwback to an era gone by, where 3-martini lunches still happen and deals are made. The focal point of the room is the 46-foot long white marble bar. Eastern Standard’s high ceiling accentuates the chatter in the room and plush red leather banquette seating throughout creates dining pockets for diners to sink in and decompress. The menu is bold and hearty, with some added icy raw bar seafood thrown in for good Beantown measure. A classic French style salad, frisée aux lardons with a poached egg, shows off a bit with added toasted hazelnuts and lightly pan fried sweetbreads. We fought over the last bite of their popular, perfectly seasoned steak tartare and ordered an extra helping of the fried Brussels sprouts. Scampo Portion sizes are generous so best to order a bunch of things and pass them around the table. We created our own version of surf-n-turf with local cod baked with herbed breadcrumbs, served with braised cabbage and fried zucchini, and paired it with a wonderful, slightly charred, grilled rib eye steak with red onion and pine nut salad and a silky potato purée. All of this wrapped up energy spills out onto Commonwealth Ave in the warmer months, creating an even stronger social anchor for this urban neighborhood. www.hotelcommonwealth.com www.easternstandardboston.com
Fairly new on the Boston scene is chef Lydia Shire’s eclectic Italian restaurant concept Scampo, located in the architecturally stunning Liberty Hotel. Placed on Charles Street at the foot of Beacon Hill, the 300-room luxury hotel houses an array of nightlife hot spots including; CLINK, Alibi, Liberty Bar, Catwalk and the more sophisticated, Scampo. Scampo is fun. The music is loud, the staff is friendly and stealth, the décor is playful (comic book posters line the exposed brick walls) and the kitchen and antipasti bar are in full view. Rotund hanging copper light fixtures illuminate above the u-shaped bar which boasts bright orange leather back seats. The menu touches upon Italian / Mediterranean notes, with a bevy of global influences. We heard about the lobster pizza days before we arrived. Once there, it all made sense. Sweet lobster atop a chewy thin crust, with just enough smoked mozzarella cheese and roasted garlic, elevated this talked about pie to decadent status. Perfect while sipping a crisp, grassy 2009 Verdicchio, Casalfarneto is calamari fritto with shishito peppers and pungent pepperoncini with a spicy lemon aioli. Crossing continents, tandoori fired sea scallops with whipped white eggplant is a pleasant sweet versus smoky combination, and from the mozzarella bar (changing constantly), the Iberico ham with warm mozzarella and black truffle carpaccio served with toasted white shokupan bread (Japanese sandwich bread) is beautifully presented, but quickly dismantled. Fresh fish, chops and steak preparations are creative, but be sure to experience at least a fork full of Scampo’s signature spaghetti with cracklings and hot pepper. Al dente house made pasta, pork fried goodness and chili pepper…you do the math. www.scampoboston.com
Travel + Leisure: Quintessential NEW ENGLAND
The Gallery at The Historic Museum of Natural History represents the latest and most complex collaboration between RH Creator and Curator Gary Friedman and Design Architect James Gillam of Backen, Gillam & Kroeger Architects, a firm that was selected for Architectural Digest’s list of the World’s Top 100 Architects and Designers and is led by noted architect, Howard Backen.
A fun section of the Back Bay neighborhood lies on Stanhope Street, where there’s a fabulous array of ethnic restaurants and late night revelry. A true standout is the Asian inspired Red Lantern, a funky restaurant and lounge that puts you into sensory overload. The design is over the top and striking upon entry through the 20-foot Asian ceremonial black lacquered doors. Black wood furnishings, red leather seating, Japanese lanterns, and artistic nuances throughout the large space frame the open kitchen, sushi counter and custom communal table. The music is pumping, the bartenders are jammin’ and the food keeps coming. Creative sushi rolls are sweet and savory combinations, as seen with the “green tea tuna” filled with torched tuna, granny smith apple, and wasabi tobikko. Dim sum, noodles, wok fried and wood-grilled specialties highlight Japanese, Chinese, Thai and Mongolian food cultures, and cocktails follow suit, ranging from an extensive sake selection to more exotic and intoxicating scorpion bowls and aromatic and fruit infused martinis such as the Orange Blossom made with Belvedere, Lillet Blanc, lychee syrup, and orange flower water. From what I can remember, Red Lantern is a lot of fun…. www.redlanternboston.com
Lots of great things are happening in the Back Bay neighborhood of Boston, including Restoration Hardware’s newly introduced Gallery at the Historic Museum of Natural History. This retail giant has taken their home design concept to new heights – literally. The 40,000-square-foot landmark building, designed in 1862 by architect William G. Preston, was one of the first buildings to be erected in Boston’s Back Bay. The restored and reconceptualized brick façade building, courtyard and gardens are framed by Berkeley, Boylston and Newbury Streets. The striking interior centers around the grand atrium and the reinterpreted 1892 traction and counterweight steel-
caged glass elevator which shuffles guests between the three levels of home design nirvana. The RH Gallery is a dramatic work of art, which will no doubt solidify RH’s prominence within the retail world. One can’t help but to stand in awe of the countless hanging crystal chandeliers, vaulted goldcoffered ceiling, imposing mirrored archways, and furnishings befitting a French country palace. Each level provides a new experience, from the trickling fountains in the Conservatory and Park with reproduction heritage olive trees, a 24-foot illuminated steel Eiffel Tower discovered
majestic 230-room, waterfront hotel has a historic Bostonian style to it and houses the popular meeting place, Rowes Wharf Bar, as well as the highly acclaimed restaurant Meritage. A summer time highlight is Boston Harbor Hotel’s “Summer in the City Entertainment Series 2013”. The season long series includes Rat Pack Mondays, Summer Soul Tuesdays, Country Pop Wednesdays, Blues Barge Thursdays, and Music & Movie Fridays. Guests can bring their own picnics and chairs or dine alfresco at the hotel’s Sea Grille restaurant. This free entertainment series runs from June ‘til August, and includes scenic Boston sunsets and peaceful views of the harbor and the yachts that grace the waterways. www.bhh.com
at the Paris flea market, to the first Masonry Napa Valley wine bar outside of its original Yountville, California. The Clubroom floor, which boasts Billiards, Music, Library, and Cinema motifs, are all bursting with antiques and collectors’ items, old and new. Words on a page will not do this retail work of art justice. This is truly a must see destination while in Boston. www.restorationhardware.com
Boston Harbor Hotel
With so many places to play in and around the city, let’s not forget that Boston is a coastline city and home to wonderful harbor side locations such as the beautiful Boston Harbor Hotel at Rowes Wharf. This
Looking for a sweet treat? Boston business women gone rogue, Courtney Forrester, has you covered at her Back Bay and Harvard Square cupcake oasis, SWEET. These freshly baked, hand crafted mini cakes of all flavors are topped with generous slatherings of creamy frosting. Seasonal flavors rock out along with any-day favorites such as; Madagascar vanilla bean cake with vanilla or chocolate buttercream; Organic Karat made with crushed pineapple, topped with cream cheese frosting; and Boston Cream Pie covered with chocolate ganache and a frosting “cherry”. The bakery’s décor and packaging are just as sweet and stylish as the cupcakes. www.sweetcupcakes.com
Bistru du Midi
No need to leave the neighborhood or grab a taxi, walking distance from RH is the Heritage on the Garden retail, residential and dining haven which is home to European fashion luxury brands such as Hermes, Anne Fontaine, and Sonia Rykiel. A featured restaurant is London-based MARC Restaurant Group’s Bistro du Midi. Bistro du Midi’s contemporary, bi-level space looks out over a bustling Boylston Street. The menu is a fresh approach to Provençal cuisine, presented by Executive Chef Robert Sisca. Classic foie gras torchon and mussels marinière share the stage with more adventurous dishes such as squid ink tagliatelle with Spanish octopus and a braised lamb neck with goat cheese polenta and morels. Boston Harbor Hotel www.bistrodumidi.com
Travel + Leisure: Southern Charms
Photo: Courtesy of Spring Island
Spring Island, South Carolina to Savannah by Cindy Clarke
American history is written in the wind in the Old South. It whispers tales of plantation soirees and seductions, of live oaks draped in Spanish moss standing sentinel for a hundred years, and sportsmen who share their playgrounds with wildlife equally at home in wooded forests, salt marshes and wild flower fields.
hat the storied breezes find their way north carrying neighborly invitations to head south is no surprise. Boundaries of past conflicts are indistinguishable now, especially when it comes to flights of fancy in natural wonderlands like Spring Island, South Carolina. No matter where you come from, the southern lifestyle inspires images of gentility. Think languid afternoons cooled by soft breezes and romantic notions of gentlemen tipping their hats to ladies dressed in their feminine best, gracefully fanning away the heat under parasols, silk and decorous, mint juleps in hand, on wide shady porches that look out over settings straight from movies like Gone with the Wind.
When I ventured south earlier this spring, preconceived visions in hand, I did find the graceful Antebellum mansions I expected, enormous white pillars and all. Magnolias, fragrant and elegant, had blossomed as if on cue and horse-drawn carriages, still plodding along the city streets of Savannah and Charleston, carried my thoughts right back to scenes I had imagined. But I found something unexpected while I was there, an island, only five miles long and two miles wide, protected and perfectly hidden from the rush of life around it, dressed in sensibilities of an era long gone that evoked undeniable southern charm. It totally charmed me. Gated and private with a single paved road, Spring Island sits at the end of a long causeway, where houses, thoughtfully tucked into the wooded landscapes, seem purposely built for entertaining. That is another of my foregone impressions of the south, a place where parties and houseguests donâ&#x20AC;&#x2122;t need a special occasion and invitations come in hand-addressed notes that are still personally delivered and graciously accepted. No matter that I arrived at this wondrous place in the middle of the night, my flight from New York having been delayed for hours by an inconvenient snowstorm, I was greeted with polite and genuine warmth by Jim, my driver, who was summoned to the airport past midnight to fetch me for the hour drive to a residentâ&#x20AC;&#x2122;s guest house. Tired as I was, I did not tire of his stories about the history of the places I was
Photo: Courtesy of Spring Island
about to discover firsthand. He was a wealth of knowledge about the landowners who settled here, British royalty Lord Colleton, the infamous Indian trader John Cochran, Sea Island cotton magnate George Edwards, William Copp livestock farmer and Elisha Walker, passionate quail hunter. Ruins of the magnificent tabby mansion and out buildings stand today as reminders of days past when these lands flourished as a sea cotton plantation. e drove through neighboring Callawassee Island, speed limit 27 mph, en route to the gatehouse for Spring Island. The darkness draped our car with a cloak of midnight black. The island eschews lights, bothers the wildlife I was told. I saw eyes glowing from the side of the road, some high up, the deer here aren’t afraid of cars said Jim so you have to be extra careful driving, and some closer to the ground, raccoons Jim explained. I felt my heart quicken with delight as I learned that the animals, not the cars, ruled the road. My sister met me with a glass of wine. Having spent three weeks here already, she was comfortably in sync with the unabashed hospitality that spread through this community like one big all-embracing smile and didn’t mind that it was close to 3 am. She bubbled with plans for the weekend, having filled my dance card with a plethora of residentonly delights. First up was a croquet tournament, seriously a step back in time, and a tour of the fitness center, an immaculate state-of-the-art gym, eye-candy for fitness buffs that overlooked a swimming pool and the river beyond. Next a visit to the educational nature center, a visual catalog of the creatures of this great maritime forest, would reveal the four-footed, furred, feathered, finned and reptiled locals who thrive in the woods, salt marshes and ponds. I was fascinated by the fox squirrels, super-sized tree climbers who donned reddish brown, black and striated coats that were arguably more stylish than their grey brethren up north. I paid scant notice to the snakes, several poisonous, but I did pause at the armadillo, a curious sight considered a garden pest here. Birds of all size and manner, owls, hawks, migrating shorebirds and colorful songbirds, perfectly posed and stuffed in flight, gave insights to the vast array of birdlife that flourished naturally in this coastal reserve. An abundance
Photo: Courtesy of Spring Island
Photo: Courtesy of Spring Island
of nesting boxes, planted by residents, ensured the annual return of bluebirds, long considered harbingers of happiness. Set amidst the wooded plots of the 200+ nature-loving homeowners are ponds, saltwater nurseries for shrimp, crab, oyster and sea trout, and freshwater playgrounds for largemouth bass, bream – and alligators. A stop at the shrimp pond, tended to by avid fishermen who relish fresh seafood, hinted at the sustainable ecological practices that residents here hold dear, and a later walk on footpaths that threaded between picturesque ponds and neighboring homes took me a little too close to the alligators that lay submerged in the reeds. I made a point of asking about the danger that lurked in the pond waters or on shore where the gators like to sun themselves, only to be assured that part of the beauty of this place was the freedom to co-exist peacefully with nature. A golf cart ride, gamely offered by a longtime resident who shared our New England ties, confirmed the residents’ commitment to living >
Photo: Courtesy of Spring Island
Travel + Leisure: Southern Charms
Photo: Courtesy of Spring Island
as one with nature. The stunningly designed 18-hole Arnold Palmer golf course shared the sand pits and water hazards with migrating herons, egrets, eagles, pelicans – and more alligators. Then there were the horses, beautiful high stepping steeds who promised a great ride along trails that meandered through thousands of acres of wonderland. Who wouldn’t love it here? Whether you were a golfer, equestrian or weekend quail hunter, Spring Island is a gift, heaven sent. Even my sister, who is not a golfer, an equestrian or a hunter, found paradise here. Why? “It’s the people and their appreciation of the beauty of nature,” she said. “Everyone is truly happy just to be here.” Then it hit me. Houses built to entertain. Welcomes warm and all embracing. Nature, naturally inviting. This is where the term southern hospitality lives on.
had a chance to experience it firsthand at an impromptu luncheon my sister orchestrated during my 36-hour weekend. Heartfelt hellos and handshakes with the residents turned into extended invitations to meet their family in places we frequented… Massachusetts, Long Island, Connecticut… and those I had not yet visited… Montana, and Savannah. Upon hearing that we were stopping in Savannah en route to our flight back home, one of the ladies we met at lunch insisted we call her sister, Susan, when we arrived in Savannah. Even though we were short on time, we did call her and we were promptly invited to lunch. Unbeknownst to us, her sister Susan was a culinary celebrity, a vivacious one-of-a kind treasure who has Savannah society eating out of her hand… literally. As Savannah’s most coveted caterer, Susan Mason is a chef for the stars and the Old Guard. She has the unique ability to please palates at the city’s most important soirees with her fabulous cooking while becoming the life of the party itself. Her goal: to pull off a party that is both delicious and gorgeous. Her recipes, whether for the table or for the soul, are gems of the southern lifestyle. (See her famous Tomato Pie recipe here; and savor it!) I have always maintained that the magic of travel is found in the people you meet on your journey. Susan Mason, noted author of the perfectly presented Silver Service cookbook, and a popular TV personality – you may have seen her on Paula Deen’s southern cooking show – turned our impromptu lunch into a festive occasion. She regaled us with stories about her adventures and her star clients, Tom Hanks, Ben Affleck, Julia Roberts and Oscar de la Renta among them. After lunch, Susan breezed us past storied city mansions steeped in history, revealing more intimate tales about the parties, people and passion found behind the most elegant doors, to her own Victorian townhome, nondescript on the outside, a treasure trove on the inside. Old spaces house new flavors in Savannah, and Susan’s house was living proof of that. Original oils lined the soaring walls of her two-story nest, each hand painted for Susan by students of the Savannah School of Design and
each visually capturing the fabulously fun and tastefully talented charms of its owner. Her bookcases overflowed with fascination, her kitchen exuded creativity. True to her southern heritage she surrounded herself with beautiful things that she treasured. But it was her dining room tables, round, cheerful and impeccably dressed with party-ready place settings that impressed me most. The best parties, she explained, whether grand or intimate, are all about the connections you make with the guests. A round table inspires wonderful conversation all around, without leaving anyone out. I got the feeling that Susan was invited to cater parties not just for her cooking, but for her ability to charm everyone she meets with her spirited personality and unabashed southern hospitality. And I found myself charmed yet again.
Susan’s Tomato Pie (Serves 6-8)
I served this at an out of town luncheon for a wedding when the groom was from New York City. 20 guests asked for the recipe and I envision all those tomato pies being served all over Manhattan. 1 9-inch shell, precooked and cooled 2 tablespoons Dijon mustard 4 tomatoes, peeled and sliced Salt and pepper to taste 4 ounces white cheddar cheese, grated 4 ounces cheddar cheese, grated ½ cup mayonnaise 1/3 cup parmesan cheese Preheat oven at 350 degrees. When pie shell has cooled, spread the piecrust with Dijon mustard. Layer sliced tomatoes, salt and pepper and cheeses. End with cheese. For top layer, mix mayonnaise and parmesan cheese together, spread on top of pie and bake until bubbly, about 20 minutes. Serve at room temperature.
Learn more about Susan Mason at www.susanmasoncatering.com and take a virtual trip to Spring Island at www.springisland.com 44
Travel + Leisure: Golf Down Under
Australia: Golf Down Under
With animated cities and sweeping natural landscapes, Australia has all the makings of a distinctly unique holiday destination. And this holds true whether or not youâ&#x20AC;&#x2122;re up for tee! Writer Bobby Harris
Barnbougle Dunes, Hole 15
Travel + Leisure: Golf Down Under
hamilton Island Golf Club, Hole 16
ustralia is considered the sixth largest nation in the world, and it’s also the only country to govern an entire continent. Encompassing approximately the same size as that of the 48 mainland states of America, it ironically has the lowest human population density: only about two people in every square kilometer. But, Australia is far from wanting in interesting sights. Quite the opposite, actually, as it offers myriad places of interest to appeal to just about any kind of traveler – from the easy-going and laidback nature lover, to the fun-loving and trendy partygoer. Oh, and yes, this country-continent also draws many golf enthusiasts to its shores – with very good reason. At the mere mention of Australia, many images immediately come to mind, and without a doubt, the Great Barrier Reef would be on most people’s list. And why wouldn’t it be? This spectacular site is known as the world’s largest reef system, stretching over an area of about 344,400 square kilometers. The Great Barrier Reef is so big that it can be seen in outer space. Now, if you want to take a detour and step on dry land (at least part of the time), there’s Tasmania to lure you. An archipelago of over 300 islands, it offers more than a handful of national parks and reserves, perfect for taking a welcome retreat back to nature. If you’re more of a city person, Australia doesn’t disappoint either. Sydney, the country’s capital, has a lively arts and culture scene, with the internationally-renowned Sydney Opera House as one of its most popular attractions. Melbourne likewise has plenty to offer, from food and wine to shopping places.
Great Barrier reef, Australia
The interesting play of contrasts from its varied geography to its myriad lifestyle scene seems to extend to its golf courses. Australia has some of the most beautiful courses around, and it’s no surprise why it is frequented by golfers around the word. Here are just four of the tee venues you might want to keep a tab on:
Barnbougle Dunes Located in Tasmania, Barnbougle Dunes seems to hint of the island state’s penchant for nature. This golf course, found on the
The Cut Golf Course
surprisingly, holds the same appeal as the rest of the place does. The landscape changes from lush bushlands to impressive limestone quarries, making the play more challenging and interesting. www.joondalupresort.com.au
Joondalup Resort, Hole 8
North East coast, is set against the backdrop of long stretches of coastlines, lush wilderness, and cool climate. Barnbougle Dunes also mirrors the charms of coastal courses which are associated in Scotland and Ireland, and even at a glance, the inspiration is well worth it. The Dunes is voted Australia’s number 1 Public Golf Course; it is number 7 in the world’s public access course; and if that isn’t enough, it landed as the 35th best course on the planet. www.barnbougledunes.com.au
Joondalup Resort Well-appointed rooms and suites, a number of fine restaurants and cafes, and a host of different facilities. With all these at hand, Joondalup Resort establishes itself as one of the must-see destinations north of Perth – after all, it is just 25 minutes away by car. Apart from its close proximity to white sand beaches of the Sunset Coast, it also prides itself with having kangaroos freely roam the area, and an animated wild floral setting. The golf course, not
Barnbougle Dunes, Hole 8
Opened only in 2005, The Cut Golf Course is steadily making a name for itself. It was recognized in 2008 by Australian Golf Digest Magazine as the number 1 golf course, and at present it remains to be one of the top 10 courses in the country. That’s quite unusual for a golf course that is fairly new, but The Cut continuously proves that it deserves the recognitions it receives. The golf course is set against a backdrop of ocean-front dunes, and it features stunning views along the coast scattered among its strategically-placed 18 holes. Playing at The Cut can be synonymous to redefining one’s perception of this classic game: a beautiful background combined with the vivid imagination of its designer. www.the-cut.com.au
Hamilton Island Golf Club
Hamilton Island Golf Club is serenely situated just at the edge of The Great Barrier Reef, making it capture some of the most breathtaking sceneries nature has to offer. Aside from this distinct advantage, Hamilton is likewise regarded as the only championship golf course in the country. It was designed to cater to people of all levels in golf, from beginners and resort guests, to serious enthusiasts and professional golfers. But perhaps just as important as its design is the rugged natural beauty surrounding it, with terrains and beaches encompassed in its scenery that accounts for a memorable experience – even outside the golf course. www.hamiltonislandgolfclub.com.au
APPETITE: Bar Sugo
The Little Restaurant That Could Bar Sugo Redefines a Neighborhood Throughout much of the 20th century, the restaurant industry was primarily a chef-run industry. The chef’s inspiration was the foundation for top restaurants throughout the world. Talented culinary artists were highly regarded and the food service industry would forever be changed. Alas, where there is prestige, money follows, and the latter part of the 1900’s brought an influx of enchanted investors and proprietors who wanted in on this glamorized occupation. What ensued was a tug-of-war between chefs and owners. Creativity, quality, and priority lines were crossed, and ultimately, the customer suffered. Welcome in the 21st century and the changing of the guard. Chefs are taking back the industry! It’s an applauded trend and these young breakaway chefs are becoming wiser and more fearless with every year that passes. One of last year’s most talented, and highly anticipated break out chefs was Pasquale Pascarella, affectionately known as “Pat”. Over the last 10 years, fans have followed this intrepid chef to such popular Connecticut
restaurants as Stamford’s Bella Luna, Grand and Saltwater Grille. His Italian roots have always shined through, along with his French Culinary school techniques and noticeable respect for quality ingredients. This past November, 2012, Pat introduced his family table to the public in the form of Bar Sugo, a charming Italian wine bar and eatery located in the up and coming Wall Street neighborhood of Norwalk, Connecticut. Pat recruited his family and friends to build out the petit space along with him. From the classic European red and white checkered floor tiles, to the coffered metallic ceiling panels and handcrafted wine wall, Bar Sugo is truly a home grown restaurant. Pat’s mom Gina is accredited with being the inspiration for her son’s ambitious meatball portion of Bar Sugo’s Italian trattoria style menu. Cards on the table, Bar Sugo is not a traditional Italian restaurant. Yes, there’s house made pasta and hand filled ravioli, those traditional and not-so traditional meatballs, and everyone’s
go-to antipasti complete with salumi, artisan cheese and “damn hot peppers”. There are even five types of mozzarella to choose from and the chef’s signature brick oven pizza to savor. But that’s as much tradition as guests are going to experience. With a strong foundation in place, the menu then takes seasonal and whimsical turns through more exploratory ingredients, food preparations and flavor profiles. “I always knew what type of restaurant I would have, “says Pat, “A small menu that featured dishes from my childhood, along with recipes that continue to evolve. Small plates, a killer wine list and cocktail program, and great music. This is how I like to dine out.” While Pat says he is thrilled with the response to his little restaurant in the rough, Bar Sugo’s customers have [pleasantly] surprised this passionate chef with their enthusiasm and hunger for more. More untraditional dishes such as; prosciutto wrapped truffle fries; Moroccan influenced grilled calamari with harissa, chick peas and chorizo; pork belly with stewed green beans, burrata and mint oil; and swordfish crudo with preserved oranges, lemon vincotto and caviar. These dishes are classic illustrations of a chef who is unafraid of contrasting flavors and textures. Vibrant salads draw upon the chef’s more conservative side, although the sheer combination of locally grown produce, fresh herbs, dairy, and a special knack for creating light and flavor-
Written by Linda Kavanagh
Photographs by Tom McGovern Photography
Bar Sugo should not be thought of as a farm-totable restaurant, but simply known as a restaurant that enjoys preparing dishes with fresh, locally grown and produced, seasonal ingredients. ful dressings, fakes out even the most conscientious of herbivores. Slow roasted tomato confit takes on a silky sweet corn crema, a slight chewiness with fava beans, a little salt from speck, and a semi-sweet accent with vincotto dressing. A wild mushroom salad with quinoa and goat cheese is made into a meal with the addition of a perfectly cooked duck egg and a drizzle of truffle oil. The chopped kale with gorgonzola, corn, pine nuts and buttermilk dressing is in sharp contrast to the Sport Hill Farm lettuces with beets, tofu, and buffalo mozzarella, but both count for more than your daily allowance of the good stuff. Bar Sugo should not be thought of as a farm-to-table restaurant, but simply known as
a restaurant that enjoys preparing dishes with fresh, locally grown and produced, seasonal ingredients. Bar Sugo’s price points, attitude, and portion sizes are not of the FTT variety, but instead, are geared to support their customers’ food lifestyle, as well as the farmers’ livelihood. “If my customers can’t afford to eat here, then I can’t afford to support the farmers,” says a matter-of-fact chef, “We make it work here and strive to be accessible to everyone.”
And work, it does. On any given day or night, Bar Sugo’s customer profile is varied and one of the few places where all ages can be seen enjoying the penne with oxtail ragu, pancetta, broccoli rabe, and toasted breadcrumbs. Adventurous palates indulging in the beef tongue with a fried egg, garlic aioli, and 12-year-old balsamic share the dining room with simpler tastes enjoying their margherita pizza with mozzarella di bufala, basil and Frantoia olive oil. Interns from nearby Diageo vie for bar stools alongside hedge fund execs, and first dates are just as much of a nightly occurrence as milestone birthday celebrations are. Music fluctuates between Rat Pack remixes, soulful riffs, and pop culture icons. A social energy ensues nightly. Restaurant employees in and around Fairfield County have made Bar Sugo their night-off playground. Plates are passed, wine is poured, and while you are a guest at Bar Sugo you are a part of Chef Pascarella’s inner circle.
Bar Sugo is located at 102 Wall Street, Norwalk, Connecticut - Reservations 203.956.7134 - www.barsugo.com
WINE + SPIRITS
They’re Real, Honest!
It’s Pure Pinot Noir at Laetitia Vineyard & Winery
get asked all the time how much Syrah is in our Pinot Noir,” said Eric Hickey, President and Winemaker at Laetitia Vineyard & Winery on California’s Central Coast. “Yes, our Pinots have a purplish hue to them. But no, we don’t put Syrah in our Pinot.” The real reason behind the dark robe on Laetitia Pinot Noir is anthocyanin, a compound that develops in the skins of fruit under certain levels of stress and sun exposure, producing a rich blue pigmentation. “Being so cool and coastal, we do very aggressive leafing, even compared to our neighbors in Edna Valley and Santa Maria,” said Hickey of Laetitia’s estate vineyard, situated only a few miles from the ocean. “If you visit the vineyard just after fruit set in May or June, we’ve almost totally leafed it to expose the fruit to more of the sun because we only get cool sunshine. High heat will actually reduce color, but because we have that cool sunshine, our grapes get phenolics that are a little more advanced than elsewhere.” Hickey likens the way grapes color to the way people tan in the sun. “It’s like fair skin. The earlier in the year I’m exposed to the sun, and the more regularly that sunshine hits me, the less burnable my skin becomes. The same is true for our Pinot Noir grapes.” Despite 2011 being a challenging year across California for growers and farmers of all crops, Laetitia Pinot Noir from that year still show the brand’s signature purple hue. “We look on the bright side when it comes to tough vintages,” said Hickey. “Years like two-thousand eleven force us to be extremely diligent about our farming, sorting, and managing the good fruit we’re able to get. To me, that was a vintage worth working for, because the wines are showing the benefits of everyone’s hard work.” The 2011 Whole Cluster Pinot Noir and 2011 Reserve du Domaine Pinot Noir will be released this spring, as well as Laetitia’s latest singlevineyard offerings: 2010 La Coupelle Pinot Noir, 2010 Les Galets Pinot Noir, and 2010 La Colline Pinot Noir. Since 1982, the Laetitia Vineyard & Winery has produced elegant wines that champion the exceptional character and diversity of the Arroyo Grande Valley AVA. Originally founded by an established French Champagne house, the Laetitia estate carries on in the longstanding traditions of Burgundy and Champagne with a focus on small-lot Pinot Noir and sparkling wines. Valuing legacy, balance, innovation, and sustainable practices from harvest to glass, the Laetitia team works meticulously from vintage to vintage to ensure that every bottle of Laetitia wine is as expressive as the land from which it originates. For more information about Laetitia Vineyard & Winery please call 805-481-1772, 1-888-809-VINE, or visit www.LaetitiaWine.com. Laetitia Vineyard & Winery is located at 453 Laetitia Vineyard Drive, Arroyo Grande, CA 93420.
Photo: Peter Massini, petermassini.com
Planting Seeds for an Oyster Bar hoping to make waves in the oyster industry By Cindy Clarke
he seed about a party boat was first planted in my imagination by a retired sea captain when I was luxuriating on a beach in St. Thomas. He was describing his ideas for launching a new business venture, transforming a renovated workboat into a dining and entertainment venue for the yachting crowd in the Caribbean. He wanted to cruise from port to port, enticing sailors and landlubbers alike with a fine dining experience at sea, adding onboard music and movies to the mix to make it an evening to remember. No coaxing needed, I loved the idea immediately, dreaming of starlit nights under sail, seafood, freshly caught and perfectly prepared, wines bountiful, beer plentiful, movies classic with that old Hollywood magic, and camaraderie warm and welcoming with like-minded revelers. Wouldn’t it be great if there were someplace like that in Connecticut I mused? Enter Jean Paul Vellotti, New England born, Connecticut raised, an editor and photographer by trade, an oysterman by chance and a boat lover by design. He had a vision similar to the one that my sea captain sailed by me on a tropical isle but with a Long Island Sound
twist. Growing up in Rowayton, he used to watch oyster boats pull into the river, bringing their day’s catch to the seafood shacks that lined the dock. Local residents lined up there too, eager to take home the bounty of the sea, clams, lobsters and mussels among them, for their dining pleasure. Oysters draw their flavor from their environment. I’m told that the same oyster will taste completely different depending on where it grows, tidal flow, water salinity, and food source. Connecticut oysters are the pearl of our area waterways. Thanks to the cold waters and the briny salinity of the Sound, shellfish have provided sustenance, economic and culinary, to Connecticut since the 1700s when industrious colonists harvested them from their then-abundant natural beds. While many people think of Connecticut as the nutmeg state, it is also internationally renowned for its oysters, claimed by aficionados as the “world’s best.” Move over Mystic, Bluepoint, Saddle Rock, Great White. Make room for the Norwalk-native succulent Copps Island oysters that are commanding top billing at seafood restaurants like Westport’s The Whelk, and others notable eateries along the shore and across the > CONTEMPORARY CULTURE//MAGAZINE
globe, and give credit to the die-hard oystermen of the Connecticut coast, like Norm Bloom whose immediate family has been actively farming Long Island oysters for three generations, but whose roots in the business go back even further. Son Jimmy, who has been actively involved in the family business since he was just six years old and is already a noted celebrity in the industry, and daughter Jeannie, home from college and happily taking the plunge as a shellfish devotee, are now getting ready to take the helm, both of whom share a love of oystering with their dad and granddad. We were oystering when nobody else was, admitted Norm Bloom, in one of several newspaper stories I read about his business. In person, he talks about the changing tides of his chosen profession, citing overfishing, weather-induced warm water and parasitic plagues as obstacles that sent many of his competitors off to distant shores. A fisherman at heart, he stayed with his oysters, breeding hardier parasite-resistant oysters in
natural foods chain when he “climbed aboard a derelict boat to get a better perspective.” He got the shot that he was looking for but it also gave him a new, ultimately history-making, perspective he hadn’t considered before stepping aboard. “Upon returning to shore, I learned that boat, the Laurel, arguably the oldest oyster boat in Connecticut, was about to be sent to New Jersey for a date with a crushing machine. “ It was unthinkable that such a historic vessel was slated for destruction so Jean Paul did the one thing any true fisherman would have done. He bought her. He has spent the past two years, scraping, sanding, painting, caulking and replacing her wooden deck, dreaming of restoring her to the beauty of a boat she once was. The Laurel was built in 1891 and worked as one of Connecticut’s premier oyster boats until leaks and disrepair sidelined her on shore in recent years. Vellotti is determined to make her seaworthy once more but
“Upon returning to shore, I learned that boat, the Laurel, arguably the oldest oyster boat in Connecticut, was about to be sent to New Jersey for a date with a crushing machine.” protected off-bottom nurseries in Connecticut and then returning them to clean-shell beds for completion of their growth to market-size oysters. If you’ve ever seen mountains of empty oyster shells towering over the shore near boats worn with work and character, these, I learned, will be returned to the bottom of the Sound to serve as recycled cribs for a new generation of oysters. The shells are usually replanted in the sand beds in July in time to lure the free-swimming larvae of baby mollusks to make themselves at home in them for the next three to five years. During the growing period, the oysters are usually transplanted to deeper water so they can develop in less crowded surroundings. Then, they are moved again to shallower, nutrient-rich waters where they can feed and grow ever larger. Buoyed by his enthusiastic determination and increasingly successful aquacultural innovations, Norm Bloom’s business is enjoying a welcome resurgence with the growing popularity of today’s sea-to-table sensibilities. He has a fleet of oyster boats, each one named for a maritime family whose legacy that helped shaped Connecticut’s thriving oyster trade, that cull his seabeds for the most succulent stock. He only markets perfectly shaped oysters that are raised in controlled environments, free from pollution and predators, including starfish that seem to love these tasty bi-valves as much as we humans do. It was one of his old oyster boats that caught of the eye of Jean Paul Vellotti. He was on location at an oyster house taking pictures for the
Photo: Peter Massini, petermassini.com
with a different mission. Yes, she will still be in the oyster business, but if Vellotti’s vision materializes, she will be Connecticut’s first working oyster bar, where oyster-loving patrons can sample succulent treats, have a beer or two and learn a bit about the history of oystering in Connecticut – aboard the little boat that was once one of the best in the fleet. Like growing oysters from seeds, it takes time to nurture a new idea and even more time to restore and retrofit a new boat but we latched on to his idea of a floating oyster bar like those baby oyster seedlings do in Norm Bloom’s underwater nurseries and are willing to wait until the boat and the bar are able to take off on their own. After all, freshly harvested oysters are both delicious and one of the most nutritionally well balanced natural foods. Ideal for low-cholesterol diets, they contain protein, carbohydrates and lipids and are an excellent source of vitamins A, BI, B2, B3, B12, C and D and zinc. And perhaps most tempting of all, six raw medium oysters are only 57 calories. What’s not to love? Until the Laurel makes her comeback as Connecticut’s most historic oyster, Norm Bloom has made us an offer we can’t refuse. His love of oysters and the waters in which they live has helped him captain environmental initiatives dedicated to preserving and protecting Connecticut’s marine life, like Long Island Sound Keeper educational outreach program, and monitoring water quality through Harborwatch, part of Westport’s Earth Place important conservation projects and headed up by tireless clean water advocate Dick Harris. As a part of his mission to keep the Sound healthy and oyster lovers happy, he invites small groups to come aboard with him for an educational sailing tour of the Sound, stopping at Copps Island to scoop up some of his signature oysters and savor a delicious fresh-from-the-Sound taste treat that I promise will be the best oystering experience you’ll ever have. Give him advance notice and he’ll be waiting at the dock aboard one of his hardworking oyster boats. His fee? A donation to Harbor Watch at www.earthplace.org/page/ harborwatchor and Long Island Sound Keeper at www.soundkeeper.org will be more than enough to keep Norm And Son supplying the customers around the globe with the world’s best oysters.
Sailors and seafood lovers can place orders for fresh clams, oysters and lobsters for pick up all year round by calling Norm Bloom & Son in Norwalk at 203.866.7546 or ordering online at www.normbloomandson.net
The interior design worldâ&#x20AC;&#x2122;s fascination with the equestrian lifestyle: A perfect match By Tamara Matthews-Stephenson
s a busy interior designer and writer, I often muse about the leaders in the interior design world, the brands making new products, and all the exciting events that surround the industry. I have noted recently an increase in the interior design industryâ&#x20AC;&#x2122;s fascination with the equestrian lifestyle. This trend is not surprising to me, since the equestrian world offers a perfect tonic of old fashioned tradition, attention to detail, and quality products surrounding horses and the sport, but in a relaxed, elegant manner. The majestic animals add another beautiful aesthetic. It is no wonder these two ideologies marry well and find their way into our homes. Since my eighteen year old daughter has been in Kindergarten, she has competed in the Hunter Jumper division at horse shows. Over the thirteen years Gabby has been enamored with horses, we have traveled to hundreds of competitions from sleepy towns in Kentucky to the booming showgrounds in Wellington, Florida for both local and national competitions. In the horse world, there is a great deal of attention paid to the meticulous detailing of tack and grooming at competitions. Many industry brands offer impeccably hand-crafted and detailed products for
both the horse and rider. Likewise, when training a horse, the rider must pay close attention to the slightest commands, and the smallest movement of the hand or leg can make the difference in communicating to a highly trained horse. With the equestrian worldâ&#x20AC;&#x2122;s gorgeous animals, pastoral settings, high-quality tack and handsome outfits from tall boots to cap and English jacket, it is no surprise the interior design world has taken notice. In recent years major fashion and design brands have launched home products with equestrian motifs. For quite some time, Ralph Lauren Home Collection has showcased tabletop fabric and accessories inspired by horses and the sports involving the animal. Hermes, which began as a French saddle maker in 1837, also produces home collections with tabletop items and cashmere throws. This year, Hermes launched a complete home fabric and wallpaper collection in the United States. Through interior designers and select stores, the collection is now available by the yard for upholstery, drapery and wall application. There are many quintessential Hermes patterns and colors taken from their scarves, and some are mannered after the equestrian world. > CONTEMPORARY CULTURE//MAGAZINE
I have also recently noted at large, national competitions many interior design shops and boutiques setting up shop to sell home products to equestrians. At Long Island’s famous Hampton Classic Horse Show that takes place annually in a farmer’s field in Bridgehampton, equestrians from all over the world convene for the last bit of summer. Under the large tents, there are many rings erected for viewing, with several competitions happening simultaneously. One area that continues to flourish with popularity at the Hampton Classic, cascading down long rows leading to the schooling and show rings, houses the boutiques by local and national vendors who sell their products to the spectators attending. From jewelry to cars, there is much to buy, and over the few years I have noticed more home products at the event. Over a decade
ago, Roberta Freymann, known for her exotic summer tunics, jewelry and fashion, began her start on the road to retail success by selling her products each summer at the Hampton Classic boutiques. Now with a flourishing retail business and several locations, she also sells a home collection of brightly colored bed linens, throws and pillows. There are many home design “pop up” shops appearing on the horse show circuit. Last year Gabby qualified to compete in the Junior Hunter Division at the oldest horse show in the country, The Devon Horse Show. Located on the middle of a bustling country fair setting, complete with cotton candy and a Ferris wheel, Devon is located in Pennsylvania’s historic Main Line area. Devon has been drawing top competitors from around the world since 1896, and it is now an internationally recognized USEF A-rated show. Spending time at Devon makes you feel as if you have stepped back in time, and showcases Americana style in a bustling environment. The outdoor ring is a wood outdoor arena painted in a soothing seaside blue patina. I was happy to note many gorgeous “pop up” shops settling in for the season. National brand Anthropology created a quaint, specialty store selling dishes, pillows and other home accessories. They even sold one-of-a-kind vintage furniture at the shop. Anthropology also paired with local garden shop Terrain in Glenn Mills, Pennsylvania to bring a home and garden boutique to the show grounds. Terrain exhibited a lovely mix of garden, equestrian accessories and furniture all stylized together in a way that makes you want to run home and “nest.” Terrain sells their wares at their boutique in Westport, Connecticut and offers selections online. In the middle of this busy fair, Trove created a country cabin where visitors could take respite and buy their home products. Another place featuring home design shops this past winter during the equestrian circuit was the Winter Equestrian Festival in Wellington, Florida. While walking the expansive world-class property with many outdoor rings and a gorgeous Grand Prix ring which had been recently refurbished, I noted the new walkways were dotted with home design specialty shops selling items from furniture to books and art, many with equestrian motifs. At Highpoint Furniture Market in North Carolina, I had the opportunity to talk with interior designer Julie Browning Bova, debuting new pieces from her furniture line to the design industry. Much of her furniture from the Julie Browning Bova Home Collection for Stanford Furniture has equestrian-inspired detailing. As a busy mom of four children, an equestrian herself, she sat ringside for years watching her daughter compete on horses. While inspired by a pair of her father’s Gucci loafers, Bova incorporated bits of this craftsmanship into her furniture collection. Her new Yonkers ottoman has detailed stitching, buttons and a new tight saddle seat leather chair with hand rubbed leather. With these new additions, Bova now has a 60 piece collection. I personally love everything horse-related from framed antique equestrian prints to pillows, and I recently designed a handsome pair of throw pillows for a client’s sofa utilizing Clarence House’s fox hunt fabric. Even if you do not ride horses, there is an undeniable collective fascination with this gorgeous animal and the Hunter Jumper sport. It appears I am not alone in my interest for all things equestrian, and now more than ever there are many products offered to bring a little bit of the horse world into our homes.
Albert Einstein, 1946
PHOTO ODYSSEY Eyewitnessing Photographs from Nazism to Mid-Century New York by PHILIP ELIASOPH, Senior Arts Editor
In his lifelong Navigating From Germany’s Weimar republic through the Third Reich’s first
days of terror, tacking to the halcyon 1930s in Paris before the war, and eventually disembarking in New York City, photographer Fred Stein captured an eyewitness account of the 20th century. Innovative and influential, his indelible contributions are now emerging from the shadows as a clearly defined vision of artistic genius. Fortunately, a revival of interest in his career is offering the art world a well deserved second look. Along the way, he managed to evoke the face of history while memorializing the faces who shaped history. If Marcel Proust captured “Things of Remembrance Past,” a Stein photograph transcends the zeitgeist into the living presence of the person or place depicted. Equipped with his sturdy but flexible Leica, and later adapting a square format Rolleiflex, Stein (1909-1967) forged a monumental visual legacy. Reviewing his portfolios featuring the cultural milieu — of high art and fashion to raw, unglamorous scenes – spanning his years in Germany, Paris, and New York, my mind’s eye is transported to the texture, aroma, and embodiment of places near and far. Instead of faded, nostalgic images – we are confronted with an omni-voyant, sharply delineated unraveling of an era now extinct. Always spontaneous and consistently expressive, Stein snapped in tune with the giants of his era – Henri Cartier-Bresson, Andre Kertesz, Philippe Halsman. Penetrating beyond mere exterior likeness, as a true portrait artist he deciphered the enigmatic personas of world leaders, literary giants, artistic pioneers, along with anonymous lovers in Paris or street waifs in Manhattan. “One moment is all you have,” Stein once explained. “Like a hunter in search of a target, you look for the one sign that is more characteristic than all the others. The job is to sum up what a man is, according to your understanding of him. The painter has the advantage here, since he can work toward this objective through several leisurely sessions; the photographer as only one, and that one as brief as a split second.” Stein handled his camera with nearly flawless virtuosity. With spot-on clarity and precision, illumination and shadow streams across the pictorial surface. Instinctively, the complicated design of a Hollywood light-stage or film-noir exterior is captured. The aesthetics of a snapshot transform humble street vendors or a gritty shoeshine stand into heavenly visions from the palettes of Rembrandt or Vermeer. A homecoming of sorts will celebrate his return to his native Germany this November as the Jewish Museum of Berlin presents over 200 photographs to honor his distinguished artistic achievement. Audiences flocking to Daniel Liebeskind’s post-modernist museum – an icon of symbolic forms retracing Germany’s labyrinth as a twisted path from its downfall to its current resurgence – will finally see his work repatriated. In sync and historic context with other photographic documentary exhibits examining Germany’s genocidal ‘past’ versus its return to sanity, Stein’s exhibit is a painful, if not obligatory moment of reconciliation. As both loyal son and spirited advocate, Peter Stein has taken up the mantle of his father’s legacy. He has worked as director of photography on over 50 feature productions and is Head of Production at NYU’s Tisch Graduate Film Program. “I feel it is critically important now, with all the difficulties of the world, that people see the photography of Fred Stein, hear his story, and realize the remarkable truth that no matter how bad things became, he always retained his humanism and a feeling for beauty.” >
1. Notre Dame, Paris, 1938 2. Le Corbusier, 1937 3. Shopkeeper, New York, 1946 4. Georgia O’Keefe, 1961 5. Hellen Keller, 1955 6. Foley Square, New York, 1948
1. Marquee, New York, 1947 2. Bonwit Teller Window, New York, 1947 3. Eleanor Roosevelt, 1958 4. Cour du Louvre, Paris, 1937 5. Fountain, Paris, 1935 6. Frank Lloyd Wright, 1952
Born in Dresden, his father was an eminently educated and respected rabbi, Dr. Leopold Stein and his mother Eva Wollheim was a religious educator. Brilliant, studious, and socially conscious, young Fred attended law school at the University of Leipzig. Despite excellent academic records, he was denied admission to the bar in 1933 the very year when Nazi hoodlums seized control of Germany’s political life. Rejected from gaining a law license due to “racial and political reasons” the atmosphere of personal freedom deteriorated dramatically by the summer of 1933. Using the pretext of a honeymoon with his new wife Liselotte (Lilo) Salzburg, the young couple escaped west to Paris. His mind was set free adopting a new profession: photography. Within a few years -- their Jewish friends and family members would find any such travel privileges impossible. The cattle wagons would eventually be loaded with human slaves headed east for the Dantesque Inferno of Hitler’s Final Solution. As if the curtain was about to fall on the “once upon a time” magical world of the City of Light, Stein was the right man at the right place documenting Paris before its fall into abject degradation under its Nazi sturmfurhrers after 1940. Its medieval monuments are perfect backdrops for young women wearing the latest fashion. The eternal presence of Notre Dame or the Louvre is contrasted with transitory light filtering across its sweeping plazas, lamp posts and bending trees. Fortunately, Fred and Lilo made another escape from the expanding Third Reich, boarding the SS Winnipeg in 1941 from the Port of Marseilles in transit the USA. On the last leg of this peripatetic journey, the gifted shutterbug was destined to observe America flexing it muscle at mid-century. Arriving in Manhattan, his final phase explodes with the energetic dynamism of Gotham at mid-century – a photographer’s dream. New York’s narrow streets, tall buildings, and deep shadows mark a time and place that later film makers like Eli Kazan, Martin Scorsese, or Francis Ford Coppola would exploit in their searing imagery. During his final years in New York Stein developed a truly international vision. An innately German sense of formality, was layered with French artistry, and lastly, an American sense of humor, relaxation, and exuberance reaches its fruition. “Bonwit Teller” (1947) bridges the real and surreal of Dali-esque mannequins while “Foley Square” captures the anonymity of Edward Hopper’s lower Manhattan streetscape. Sharing a deeply abiding social consciousness, Stein joined the Photo League, a cadre of left-leaning photographers including Aaron Siskind, Ruth Orkin, and Weegee (Arthur Fellig). Using their camera as a weapon against racism, fascism, and crony-capitalism, their daring exploits were highlighted in a recent exhibit at New York’s Jewish Museum called “The Radical Camera.” Senator McCarthy’s goon squad of anti-communist paranoiacs forced their dismantling in 1951 under the threat of un-American activities. History has proven that nothing could have been more patriotic – Stein and his photographer colleagues were exposing underlying truths protected by artistic freedom. Fascist street thugs in Germany and bullying demagogues during the ‘red scare’ 1950s were best exposed with Stein’s straight-up images. One might argue that Stein’s intellectuality mixed with his creative passion most effectively in his unique portrait photographs. Eleanor Roosevelt’s compassion, Helen Keller’s courage, Frank Lloyd Wright’s hubris, or Georgia O’Keeffe’s mystery, are the secret undercurrents of these pictorial characterizations. This is the rare gift in a Fred Stein image – an ability to entwine the subject with the photographer in a melodious duet of almost perfectly pitched interactivity. “These photographs should be seen by people from all walks of life,” Peter Stein concludes, “not just the artistic elite.” Gazing at Fred Stein’s iconic, soulful portrait of Professor Albert Einstein, the joys and sorrows of the 20th century are reduced to one instant click – a snapshot of the universe. For additional information please visit a wonderful, user-friendly website with a complete portfolio and overview of his prolific career at www.FredStein.com. Philip Eliasoph, PhD, is Professor of Art History at Fairfield University and an elected member for the American Section of the Association Internationale des Critiques d’Art. He is an expert on the social history of American art and Nazi and Fascist era art and propaganda; information at: www.PhilipEliasoph.com
You knew him by his pen name -- Lorenz Josef – and have read his masterfully written reviews of some of the tastiest cars this side of heaven, often with an introductory history lesson on each marque for the uninitiated. Words: Frank Anigbo His first article for Venü Magazine was published in issue #5 (Jan/Feb 2011) and covered the svelte Fisker Karma. For the following issue of this magazine he brought us the technocrat McLaren MP4-12C, followed by the brutish Ferrari GTO, then the rampaging Lamborghini Aventador, through a list of the most prestigious, exclusive and exciting automotive offerings money can buy; though, in the case of the Aston Martin One-77 reviewed in issue #13, money alone isn’t enough, you need deep connections to get one of only 77 made. His name was Werner Pfister and all of us at Venü Magazine are deeply saddened to tell you that he passed away on the morning of March 24, 2013 after a long battle with cancer. He was renowned for his broad and deep automotive knowledge, and considered a foremost authority on vintage Ferraris amongst collectors and enthusiasts. Werner Pfister was born in 1950 in Grossheubach am Main, a small market town of about three thousand inhabitants not far from Frankfurt, Germany, to Willi and Marianne Pfister. Along with his older brother, Wolfgang Robert (Bob), the family immigrated to America in 1958 and settled in the New York neighborhood of the Bronx. His affair with the motorcar began in the ‘60s when, as a teenager, his father, who owned a Volkswagen repair shop in Manhattan, made Werner and his brother Bob work weekends and summer vacations as apprentice mechanics -- as a convenient way of keeping the boys out of trouble. Unknown to their father, though, his well-intentioned attempt to keep his young sons safe had unwittingly sparked an interest in motor racing that the two
teenagers secretly translated into drag racing with older brother Bob’s VW Notchback 1500 S. Their successes, initially kept a secret from their parents, were such that automotive magazines of the day wrote about their exploits. To maintain a competitive car, Werner delved deeper into the mechanics of the VW than their father would have permitted on customer cars. At first he rebuilt the Notchback’s engine, and soon learned enough to move on to big block Chevrolet engines as his racing interests and growing connections led to the world of hot rods and seriously powerful cars. With his interest in cars firmly established, Werner attended Bronx Community College where he earned an Associate Degree in Mechanical Engineering with the intention of pursuing a career that had everything to do with cars. But it didn’t turn out that way, at least not for a while. He needed a job after marrying in 1971, and through family connections, went to work for the insurance firm, Fireman’s Fund, in White Plains, New York. By 1978 he had received a promotion and transfer to the company’s San Francisco home office where he was to remain until 1983, after which he returned to New York to work for Fireman Fund’s parent company, American Express. By all measure of career success, Werner Pfister was as successful as could be imagined. He was an executive for a major corporation and had an office on the 51st of 52 floors of New York’s World Trade Center. But there was one measure by which he would be considered a failure. Werner still harbored a >
Photo: Courtesy of Bob Pfister
throbbing passion for cars and it seemed to him that his professional life, as impressive as it appeared to everyone, was a waste of talent and passion for the only thing that really mattered. For most of us, it almost always proves a fool’s errand to dare trade a comfortable life of financial security to chase a career with ‘dream’ as the better part of its name. But for Werner, dream had nothing to do with intent, and his intent was to live life to the fullest – on his own terms.
His name was Werner Pfister and he was renowned for his broad and deep automotive knowledge, and considered a foremost authority on vintage Ferraris amongst collectors and enthusiasts.
Photo: Jason Thorgalson Photography
As his brother (who remained a mechanic) said to me on a recent Sunday morning, hesitantly searching for the right words, “Werner didn’t spend time working on cars like I did, he spent most of his working life in an office environment. So when he said he was getting out of the rat race to do something that involved cars, well, he shocked everyone.” In 1986, without lining up a new job, Werner Pfister walked away from an executive position at American Express in search of a career in auto sales or race car engineering. Through what seemed like divine providence, Werner soon found a new beginning by way of a tip from his brother about a Nissan dealership in Danbury Connecticut run by one Bob Sharp, a race car driver whose partner was one Paul Newman – yes, that Paul Newman. Werner applied for a salesman position at Bob Sharp’s home office in Wilton [Connecticut] and was hired to work at the other location, the one that sold Ferraris! It was 1987 and Werner Pfister was a novice Ferrari salesman. Like most of his previous endeavors, it did not take long for that to change – the novice part, that is. Werner learned so quickly and was so effective that when Bob Sharp gathered his troops one February morning in 1988 to announce that the dealership had been sold to Richard Koppleman, founder of Miller Motorcars in Greenwich, Connecticut, Werner needn’t worry about a job as his place was secured by his already established reputation. The most effective people are those who have no real understanding of job titles, they just have a way of injecting themselves into gaps that need filling. That was Werner Pfister and this philosophy, or disregard for titles and confinement, led him to take on the responsibility of running Miller Motorcars’ race team for the Ferrari Challenge series, a gentleman racing program launched by the Ferrari factory in 1994. This was in addition to organizing and running Miller Motorcars’ presence at some of the country’s most prestigious sports car and motorsports gatherings, selling some of the world’s greatest cars, advising clients such as Ralph Lauren and Tommy Hilfiger on the purchase of rare vintage Ferraris, judging at several top Concours d’Elegance, and running Miller Motorcars’ sponsorship of numerous charity events, including the Ferrari Club of America’s Concorso Ferrari held each June in Hartford, Connecticut. His tenure a Miller Motorcars in Greenwich, a purveyor of Ferrari, McLaren, Aston Martin, Bugatti, Maserati and several other high-end makes, saw him reach
the position of Sales Manager. He left Miller in 2011 due to failing health. I never actually met Werner, but from his legend I have come to know him as a renaissance man for whom the pursuits of a single lifetime were not nearly enough. His brother Bob told me that Werner’s house is full of paintings -- copies of great paintings developed from sketches he made during frequent museum visits, and original compositions. As Bob described his work, I imagined him at the MET, sitting quietly on a bench, studiously examining a Rembrandt, perhaps a Picasso, a Renoir or Modigliani, noticing every line, brush stroke and nuance in color and light, a skill he had honed over years of judging hand-built cars with the expert eye of a master artist. I imagined him making marks on a sketch pad, his movements deliberate and sure, with the hands of a man who was keenly aware of his own strengths and his weaknesses, determined never to permit selfdoubt to get in the way of self-determination. He wrote for Velocetoday.com, an online car magazine I myself have read for a few years. He wrote, of course, for Venü Magazine as well, though under his nom de plume so that he may have the freedom to extol the virtues of McLaren, Lamborghini and Bugatti while avoiding the jealous wrath of Ferrari with whom he was most associated. In truth, Ferrari and McLaren and Bugatti follow his love for aspects of motoring that may be hard for the average European exotic car fan to understand. Werner’s affair with the automobile is much more eclectic than that of most people. Amongst his interests were the Bonneville Salt Flats and its hero, Craig Breedlove, the exploits of Mickey Thomson and “Big Daddy” Don Garlits of drag-racing fame. Other loves included the Beetles, his drum set and American history, especially American Civil War history. His brother Bob told me that on more than one occasion Werner dragged the entire family – Bob’s too – to famous civil war battlefields at Gettysburg, Pennsylvania and Manassas, Virginia. He never lost his love for NASA and space exploration, and kept the letters he received as a young boy when it was still possible to write letters to astronauts and expect a letter with photos in return. You would be forgiven to imagine that a man who regularly dealt in some of the most desirable automobiles the world has ever known, was close friends and trusted ally of celebrated and influential collectors, was renowned for his encyclopedic knowledge of Ferrari -- surely the man himself must have owned one or two of these rare cars to which he devoted much of his life. You’d be wrong. He only ever loved Volkswagens that deeply, the make with which he spent his youth, the starter of a passion that never dimmed. For his personal transport, he drove a humble VW Jetta. I think about it now and realize it should not surprise me at all. Everything I know about Werner Pfister speaks of a man of great modesty and intelligence, a man who understood that a passion is felt most intensely when its greatest prize is left unconsummated.
2013 Agera R THE RESULT OF KOENISEGG’S ENDLESS PURSUIT OF PERFECTION
he Agera R name set the tone for the new project. Agera R means “to take action” in Swedish. It is also short for the ancient Greek word Agera Rtos which means “ageless”. These are both suitable meanings for a car that is building the future of Koenigsegg. Although sharing the same values and philosophies as previous Koenigsegg models, the 2013 Agera R takes the Koenigsegg experience to a completely new level. Similar to all previous Koenigsegg hypercars, the new Agera R is the brainchild of Christian von Koenigsegg, and sets new benchmarks for hypercars when it comes to control, handling, speed, comfort, practicality and sheer driving enjoyment, while combining these features with clean, efficient and beautiful design. Agera R is the only roadster Hypercar with a detachable and stowable hardtop, thereby offering the best of two worlds. This, in combination with a large amount of luggage space, truly combines extreme performance with everyday usability, and it is available in left or right-hand drive, but
it also features new and unique solutions to enhance performance and visual appearance even further, such as: visible carbon on the front bonnet and bumper, new front side winglets, revolutionary Aircore carbon fiber wheels, new Aero exhaust, increased power and a raised RPM limit. Koenigsegg was the first Hypercar manufacturer to take steps toward green technology with the release of the biofuel CCXR in 2007. The Agera R, based on the highly competitive Agera, follows in the footsteps of the CCXR as it also runs on E85 biofuel. Among the many differences to the standard Agera, the Agera R has an upgraded fuel and engine management system with enough flow capacity to generate 1140hp and 1200Nm of torque on E85 and E100 biofuel. As there is less energy content per given volume in these biofuels compared to normal petrol, the fuel system has to manage a flow that is similar to a 2000hp petrol engine, which means that the Agera R’s return-less fuel system has the highest capacity of any car presently in production.
In order to give the Agera R maximum flexibility when it comes to power delivery, Koenigsegg has implemented the latest technology when it comes to turbo materials and design. This reduces the inertia of the turbine wheel and axle and therefore gives improved response. The design The Agera R is designed with a minimalistic “less is more” philosophy in mind. This philosophy dictates that the shape of the car has to be purely functional, with no added features except for those needed to meet regulations, or enhance safety, ergonomics, practicality or aerodynamics. The philosophy is, the car will be as beautiful as it is purposeful. A good analogy is the evolution of the dolphin, a species that has had to meet similar criteria in order to reach its present configuration through the evolution of nature. The Agera R’s proportions are handsome. It´s compact and muscular. Its timeless, efficient and distinctive shape is a testament to good design. The original >
shape and concept of the Koenigsegg CC, created over 15 years ago, is still valid, fresh and highly competitive today. The Agera R manages to stay true to the philosophy, shape and size of the original CC. At the same time it looks, feels and performs like something belonging to the future. The interior The Interior of the Agera R is truly minimalistic and efficient in the purest Swedish sense. There is nothing in the interior merely to add visual drama; everything is there for a functional purpose. This is the essence of beauty as it follows the same less-is-more philosophy that typifies every engineering aspect of the Agera R. Only materials deemed worthy by Koenigsegg are allowed in the interior. The only materials you get to touch and see inside the Agera R are aluminium, carbon fiber, precious metals, alcantara and aniline leather. All switchgear is original and features wonderfully unique solutions. For example, the Koenigsegg Ghost light, which makes solid aluminium buttons gleam with LED powered symbols that appear as if out of nowhere. It is a world first in the car industry. The illumination shines through the billet aluminium buttons and surfaces by way of almost invisible micro holes, creating excellent visibility of the symbols as well as a very clean and stylish appearance that is framed by an allnew carbon fiber center console and tunnel assembly. The new, lightweight, full carbon airbag steering wheel incorporates many vital functions directly in front of the driver. As with the CCX, the shifting paddles are mounted directly on the steering wheel to enable shifting without taking your hands off the steering wheel during hard corner-
ing. The central, high-definition touch screen infotainment system provides control for audio functions, satellite navigation, Bluetooth phone and secondary functions such as performance meters and telemetric data. The exceptionally comfortable carbon seats are great for long journeys but also give excellent lateral support when needed, and they can be heated as an option. The aerodynamics The Aerodynamics of the Agera R have been honed and perfected over many years in order to ensure the best possible results. The two large side air intakes greatly add to the Agera RÂ´s high speed stability as they ensure that the pressure point of the car is behind the mass centre of the car. This gives the car greater directional stablity with increasing speed. This is a cru-
cial safety feature when it comes to driving at extreme speeds. Great care has been taken to ensure that the car remains stable during high speed braking. The front splitter and rear diffuser have been designed and optimized with this in mind. For maximum performance and safety, it is important that the downforce stays as constant as possible, even in yaw situations. The rear diffuser was developed and evaluated specifically to give substantial down force even at wide yaw angles. Dynamic rear wing The Hypercars of today generate massive amounts of downforce at low to medium speeds and less down force at very high speeds. This is so as to avoid overloading the tires and creating too much drag. Most hypercars are fitted with heavy, hydraulically
feel and keenness is affected by the rotational mass, as the rotational mass acts as a gyro, counteracting turning. Simply put, reducing the rotational mass not only gives less unsprung weight and a lighter car, but it also increases the dynamic power that goes into the ground while accelerating or braking. Reducing the rotational mass gives similar effect as equipping the car with larger brakes and more horsepower on top of saving weight and improving handling. The Aircore Carbon Wheel is a fantastic solution for overall driving performance. Koenigsegg has truly reinvented the wheel.
causes a venturi effect from the air rushing past the pylon, evacuating hot engine bay gases, reducing pressure in the engine bay and increasing the flow of cooling air through the side radiators. This also means that the pressure under the car is reduced, giving more low drag down force.
operated wings and flaps to cater for this need. Following the “less is more” philosophy, Koenigsegg, has designed a dynamic system to address this issue. The most visual and obvious part of this system is the new dynamic rear wing. The wing changes its angle of attack, not with the help of hydraulics, but with the pressure of the wind. It is therefore dynamically controlled by the vehicle speed, or wind resistance, at any given moment in time and thus compensates for either a headwind or tailwind at the same given speed. This is an intelligent way of dealing with adaptive aerodynamics as the system becomes lighter, less complex and more intuitive compared to heavy and complex hydraulic systems. An additional feature of the adaptive wing is that the pylons for the wing also act as air extrusion channels. The air channels go from the engine bay to the back of the pylons, thereby creating an air passage. This
Aircore Carbon fiber wheels The 2013 Agera R features the world’s lightest and strongest Hypercar wheels, developed and produced by Koenigsegg. What makes this wheel unique is that the spokes and center part of the wheel are completely hollow and made out of carbon fiber, in one piece, together with the rest of the wheel. This design demanded that Koenigsegg come up with a solution of producing a one-piece hollow carbon construction. The only metal part in the Koenigsegg Aircore carbon fiber wheel is the checkvalve for filling up the tire. Apart from this tiny part, the whole wheel is made completely from carbon fiber. Given its unique design, the wheel’s strength is much higher than any forged aluminium wheel, and delivers a weight savings of around 40%. This drastic weight reduction delivers enhanced performance benefits. Everyone understands that unsprung weight should be kept at a minimum in order to have maximum performance. What is not so well understood is that the rotational mass should also be kept to a minimum. Every time the car accelerates or brakes this rotational mass works against the objective of quick acceleration or short braking distance. In addition, the steering
The engine Koenigsegg differs from other low volume hypercar manufacturers in that they develop and produce their own engines in-house. Most observers and/or competitors consider this to be more or less impossible, or way too expensive to even consider. Koenigsegg has proved them wrong, year after year. Not only are the engines developed in-house, they also have class-leading characteristics in many important areas. They are the lightest and most compact hypercar engines in the world, complete with flywheel, clutch, dry sump system, Inconel exhaust manifold and turbo. The low engine weight is quite astonishing as the Agera R engine also has class-leading power and torque characteristics. The Koenigsegg 5 liter V8 bi-turbo engine develops more than 960 hp on 95 octane regular fuel. The Agera R has over 1000 Nm of torque from 2500 rpm and 1100 nm from 3500 to 6000 rpm, showing great flexibility. These are extraordinary numbers considering the size and reliability of the engine and they are obtained with no sacrifice of either drivability or flexibility. This is truly downsizing without compromise. These characteristics make it one of the most flexible and easy-to-use hypercar engines in the world. Koenigsegg engines also meet all required emission standards around the world. This is nothing short of astounding, given their size and power output. The Inconel/Titanium patent-pending exhaust system is a key element in the Agera R achieving its remarkable emissions and power levels. The exhaust system uses a completely new principle created by Christian von Koenigsegg. The new technology drastically reduces back-pressure and gives earlier catalytic light-off than any other turbo exhaust system. At the same time, the acoustics of the exhaust have been examined carefully in order to maintain Koenigsegg’s typical, thunderous growl.
Jewel of The White-Blue Fleet GRIT, FREEDOM AND A SPORTING SPIRIT FOR THE ITAMA 62’
tama, a brand of the Ferretti group which is renowned for its famous open yachts, symbols of the nautical Made in Italy, presents Itama 62’, the reinterpretation of the well-known Itama FiftyFive, the most performing model of the fleet. Contemporary design, brightness and exploitation of spaces are the innovative elements of the new yacht branded Itama. Designed by architect Marco Casali in close collaboration with AYT, the research and design center of the Group, and the team of architects and designers of Centro Stile Ferrettigroup, Itama 62’, 19.03 meters long, has an engine that takes 2 MAN V12
of 1360 horsepower (1000 kW) capable of reaching a maximum speed of 40 knots and a cruising speed of 37 knots. Moreover, the famous range of the 20° deep V-hull that is a distinctive feature of the Itama yachts, guarantees an unparalleled seaworthiness thanks to a higher bow and a markedly slender stern. Finally, the lamination process of the hull of Itama 62’ is enhanced by the use of aramid fibres which are able to offer further stability and sturdiness to the boat at sea, even at high speeds. The Itama 62’ proceeds in the direction that the shipyard has successfully embarked in recent years, paying particular attention
to solutions that make the best use of the volumes, improving the living conditions on board while optimising space and the free experience of sailing. The new style shows in its spacious cockpit that, besides a wide sundeck, has an unfolding outdoor table and a comfortable sofa next to the piloting area that has a front seat and a chaise-longue. Similarly, with respect to its immediate predecessor, developments are significant starting with the stern, where the inclination of the transom was modified so as to obtain new dynamics for the external lines that do not come from the previous formal features. Other novelties of this model are
the retractable telescopic gangway, integrated in the hull, and the beach platform at the stern, which can be lowered to launch the tender. Moreover the stern space is now used as a large garage for water toys and the shower which can be more easily accessed and used. Itama 62â&#x20AC;&#x2122; still has all the important stylistic and technological details that characterize the new boats of the Itama range: the glass windshield that, besides providing further impetus to the profile of the boat, ensures total protection in the cockpit, the dashboard, of which the trimmings are made of carbon steel while the steer-
ing wheel is made of stainless steel and teak. Lastly, the electric awning allows one to easily access the outdoors from the completely sheltered saloon, to fully enjoy life on board. The standard layout of Itama 62â&#x20AC;&#x2122; has 3 cabins and 3 en-suite bathrooms as well as a comfortable dinette with kitchen. The crew cabin, which is optional, has a separate entrance at the stern so as to ensure maximum privacy on board. Along side the classic distribution of on board spaces, one can immediately notice the new aesthetic developments that make use of unusual colors, refined woods and un-
paralleled brightness. The meticulous stylistic research and the use of lacquered white add brightness to the interior, providing an immediate sense of freedom. This increasingly contemporary note can also be seen in the fittings chosen to furnish below deck: the predominance of white, the sofas and the wider windows, make the interiors airy and marine, hinting the classic style of a Mediterranean boat, in which lie the origins of the brand. Below deck, the large living spaces are immediately noticeable upon entering the airy dinette with its C-shaped sofa, opposite the kitchen that is equipped with a fridge, >
“Restyling without making complete changes is certainly a difficult task for a designer. The work that needed to be carried out on Itama 62’ was “restyling without making complete changes” and an excellent result has been achieved, giving the newborn a more aggressive look, more functionality and more luminosity indoors while remaining faithful to the classic style that has made the Itama brand famous.”
– Norberto Ferretti –
a hob with four burners and an electric oven, offering maximum comfort on board. The master cabin, in its classic position on the bow, and the full beam guest cabins, situated at the stern, are large and spacious, with comfortable wardrobes, soft carpets and elegant leather furnishings adorning the bed frame and the wall partitions. All the cabins have an en-suite with a separate comfortable shower box and floors covered with elegant teak which contrasts well with the light colours of these rooms. It is worth mentioning the bathroom of the master cabin which is larger and more spacious than that on boats of the same category and is enriched by the refined mosaic wall of the shower box. Satisfied, Marco Casali, yacht designer of Itama, comments: “We are very proud of the work that has led us to the realization of Itama 62’. Working on the unique traits that make the brand increasingly recognizable, designing them again according to the ship owners’ needs and improving them, making Itama 62’ a model with a contemporary
style, has been an interesting and stimulating process”. The brand manager of Itama, Giuseppe Mazza, concludes by saying that “Presenting the Itama 62’ at a show such as the International Boat Show of Genoa indicates
the determined will of the company to develop the Itama range with renewed proposals and to continue along the lines followed in recent years so as to make the most of living space and to offer more exciting and new experiences to Itama fans.”
For further information: Itama - a Ferretti Group brand Andrea Biondi - email@example.com Tel +39 0543.787511; +39 349 348.7600650 68
by Matthew Sturtevant
INDULGE: Decorative ARts
On The Block:
The Bay Psalm Book. Made In California. All that glitters is sometimes pink. The Bay Psalm Book On 26 November 2013, Sotheby’s New York will auction one of the finest surviving copies of the Bay Psalm Book – the first book printed in what is now the United States of America. The Congregationalist Puritans who emigrated to Massachusetts Bay in search of religious freedom quickly set about to translate and produce a version of the Book of Psalms that was a closer paraphrase of the Hebrew original than the one they had carried from England. The first edition of the resulting Bay Psalm Book was printed in Cambridge, Massachusetts, in 1640, and Sotheby’s will auction one of the 11 surviving copies in the dedicated auction estimated to fetch $15-30,000,000. The present example comes from the collection of the Old South Church in the heart of Boston, Massachusetts – one of two remarkable copies presently in its collection – and the proceeds of the sale will benefit the church’s mission and ministry in the Greater Boston area. David Redden, Director of Special Projects and Worldwide Chairman of Sotheby’s Books Department, commented: “The Bay Psalm Book was not only the first book printed in America, and the first book written in America. This little book of 1640 was precursor to Lexington and Concord, and, ultimately, to American
Revolutionary Books: Property from the Collection of the Old South Church in Boston, Massachusetts, Sold to Benefit its Mission and Ministries.
political independence. With it, New England declared its independence from the Church of England.” Mr. Redden continued: “The Bay Psalm Book is a mythical rarity. Unseen on the marketplace for more than two generations, it has become too rare to collect. Yet here it is today, this modest little book printed in the American wilderness but embodying the values that created our nation: political freedom and religious liberty.” Made in California Bonhams’ Made in California: Contemporary Art auction, held April 2 in Los Angeles, and simulcast to San Francisco, was a resounding success, breaking four world records for works by Ronald Davis, Ed Moses, Hassel Smith and Jack Zajac, and achieving $1.35 million with 90% of lots sold and 94% sold by value. Sharon Goodman Squires, Director of the Made in California: Contemporary Art department at Bonhams said of the sale’s results, “We are extremely pleased with the results of this sale. Contemporary California Art is a dynamic and growing area and Bonhams is proud to be the only international auction house with a dedicated sale category in the area.” The auction’s top lot was Robert Irwin’s oil on canvas painting entitled The Lucky U, 1959, which brought $152,500 (est. $100,000-150,000). It was part of Irwin’s first show ‘Recent Paintings By Robert Irwin’ at the Ferus Gallery in 1959, and reveals the aesthetic as well as
Robert Irwin’s oil on canvas painting entitled The Lucky U, 1959
philosophical musings popular at the time amongst many of the artists at Ferus, including Craig Kauffman, Billy Al Bengston and Ken Price (whose work was also featured in this auction). All that Glitters is Sometimes Pink The Highlight of Christie’s New York Magnificent Jewels sale held April 17th was the The Princie Diamond , an extraordinary 34.65 carat Fancy Intense Pink cushion-cut diamond selling to an anonymous buyer for a world record $ 39,323,750. This historic diamond’s origin can be traced back to the ancient diamond mines of Golconda in South Central India and was first recorded in the holdings of the Royal family of Hyderabad, rulers of one of the wealthiest provinces of the Mughal Empire. First offered at auction in 1960 as “Property of a Gentleman” (later revealed to be the Nizam of Hyderabad himself) the diamond was purchased by the London branch of Van Cleef & Arpels for £46,000. The diamond’s unique name was bestowed at a party at the firm’s Paris store, where it was christened the “Princie” in honor of the 14-year-old Prince of Baroda, who attended the party with his mother Maharani Sita Devi. This is the first time
in more than fifty years that this special diamond has appeared at auction, marking an unprecedented opportunity for collectors of the world’s finest gemstones. François Curiel, Chairman of Christie’s Jewelry Department, commented, “One of the largest and finest pink diamonds in the world, the Princie Diamond carries a fabulous provenance, which brings together the legendary names of Golconda, Nizam of Hyderabad, and the Maharani Sita Devi of Baroda. This rich history, combined with its rare pink hue, conveys a special charm, which will speak to all collectors in the world seeking the best of the best in gemstones.”
Photo: Courtesy of Christie’s Images Ltd, 2013
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A Chinese Coromandel Lacquer Four Panel Screen, Late 19th century 72 1/4” H 64 3/4” W. A Pair of Restoration Gilt Bronze Candelabra, Circa 1825 28” H. One of a Pair of Louis XV Style Walnut Fauteuils, Stamped JANSEN, Circa 1940. A Louis XVI Gilt Bronze Mounted Mahogany Boulliotte Table, Circa 1780 29 1/2” H 32 1/4” dia.
M.S. AntiqueS BY APPOintMent OnLY
Gallery + Museum GUIDE
City Lights Gallery 37 Markle Court, Bridgeport Tel: 203.334.7748 Web: citylightsgallery.org Hours: Wed-Fri 11:30am-5pm; Sat 12- 4pm, or by appointment City Lights Gallery presents local, regional and emerging artists to Bridgeport and its visitors. The gallery hosts various community-based exhibits and events such as: Artists’ Receptions, Arts/crafts classes, Open Studio Workshop, Lunch Time Art Demonstrations, Movie Night Series, Concerts and Music, Private and Corporate Rentals. Housatonic Museum of Art 900 Lafayette Blvd., Bridgeport Tel: 203.332.5052 Web: hctc.commnet.edu/artmuseum Hours: June/July/August, Monday through Friday 8:30am-5:30pm; Thursday evening until 7pm The Museum has one of the most significant collections of any two-year college in the country and includes works by master artists such as Rodin, Picasso, Matisse, Miro and Chagall. Both art enthusiasts and casual observers have the rare opportunity to engage daily with original works of art and artifacts on continuous display throughout the College and campus grounds. The Museum also presents lectures, programs and changing exhibitions in the Burt Chernow Galleries for our students and the community at large, serving as a rich cultural resource for the Greater Bridgeport area.
Brookfield Brookfield Craft Center 286 Whisconier Road (Rte. 25), Brookfield Tel: 203.775.4526 Web: brookfieldcraft.org Hours: Tue-Thur 12-5pm; Fri-Sat 12-6pm; Sun 12-4; Mon & other hours by appt Brookfield Craft Center is recognized as one of the finest professional schools for creative study in America, dedicated to teaching traditional and contemporary craft skills, and fostering the appreciation of fine craftsmanship. Our classes and workshops are taught by nationally acclaimed local and visiting artists who regularly bring their experience and creative energies to our unique institu-
tion. We invite you to be creative, and encourage you to learn and grow within our artistic community of talented faculty, inspired students and generous volunteers and supporters. Students can explore blacksmithing, bladesmithing, ceramics, fused glass, lampworking, jewelrymaking, woodturning, weaving and fiber arts. Other areas of special interest include business, marketing and photography for artists; decorative arts; drawing and painting. (See our calendar for what’s currently available.)
Darien Geary Gallery 576 Boston Post Road, Darien Tel: 203.655.6633 Web: gearygallery.com. Hours: Wed-Sat 9:30-5pm The Geary Gallery is well-known as a preeminent Fairfield County gallery for representational art. Its proprietors, Tom and Anne Geary, are more than art dealers. They are friends to artists, spotting talent and market appeal, and nurturing careers, with a lively schedule of art exhibits that rotate approximately every five weeks. They feature both Connecticut-based artists with national reputations and well-known artists from along the eastern seaboard.
Fairfield Troy Fine Art 3310 Post Road, Southport (Fairfield) Tel: 203.255 .1555 Web: troyfineart.com Hours: Mon-Fri 9:30am to 5pm, or by appointment in your home or office at your convenience. Fine Art Gallery, Exceptional Design, Conservation Framing, Perfect Installation. The Fairfield Museum + History Center, Explore the Past, Imagine the Future 370 Beach Road, Fairfield Tel: 203.259.1598 Fax: 203.255.2716 Web: fairfieldhistory.org Hours: Mon-Fri 10-4; Sat-Sun 12-4
leled access to the very best marine and sporting art available in the market at any time. If you’re looking for something with special personal significance, the gallery will help to arrange a unique commissioned work of art. A special service is also available to help collectors sell work from their collections. Changing exhibitions and opportunities to meet the artists are offered throughout the year.
Greenwich Bruce Museum 1 Museum Drive, Greenwich Tel: 203.869.0376 Web: brucemuseum.org Hours: Tue-Sat 10-5; Sun 1-5; Closed on Mondays and major holidays Consistently voted the “Best Museum” by area media, the Bruce Museum is a regionally based, world-class institution highlighting art, science and natural history in more than a dozen changing exhibitions annually. The permanent galleries feature the natural sciences that encompass regional to global perspectives. Samuel Owen Gallery 382 Greenwich Avenue, Greenwich Tel: 203.422.6500 Fax: 203.422.6501 Web: samuelowen.com Hours: Tue-Sat 10:30-5:30; Sun 11-3; Mondays by appointment Samuel Owen Gallery specializes in paintings, photography and prints by mid-career and contemporary artists, both American and European. The gallery holds regularly scheduled artist receptions which fill to capacity with a colorful crowd. They have been likened to “a little bit of Chelsea on lower Greenwich Avenue” for their world class art and edgy vibe. Samuel Owen Gallery offers custom framing for the art in their collection and your own art. Expert framers will guide you in selecting from a wide range of contemporary frames in high quality woods, welded steel, and Lucite; and traditional frames with and without carving, fine gold and silver leaf, and woods.
Believing in the power of history to inspire the imagination, stimulate thought and transform society. IMAGES 2013 – May 3 - July 21 J. Russell Jinishian Gallery 1899 Bronson Road, Fairfield Tel: 203.259.8753 Fax: 203.2598761 Web: jrusselljinishiangallery.com Hours: Tue-Sat 11am-5pm; or by appt Through close contacts with the world’s top marine and sporting artists developed over 30 years, the J. Russell Jinishian Gallery is proud to be able to offer discriminating collectors unparal-
I’m Busy for the rest of my Life, Peter Tunney, mixed media, 72" x 60"
To be included in the Gallery & Museum Guide call: 1.203.333.7300
Butler Fine Art 134 Elm Street, New Canaan Tel: 203.966.2274 Fax: 203.966.4694 Web: butlerfineart.com Hours: Tue-Sat 10-5pm or by appt.
Fred Giampietro 315 Peck Street, New Haven Tel: 203.777.7760 Web: www.giampietrogallery.com Hours:Tue-Fri 10-4pm, Sat 11-4pm July, Tue-Fri 10-4pm August by appointment only
Located on Elm Street in the center of town, Butler Fine Art specializes in 19th and early 20th century American paintings. Paintings are available for serious buyers as well as beginner collectors. The gallery hosts three to four shows per year.
June 7–29 Riley Brewster: “works” June 7 – 29 in the Project Room - The Self-Portraits of Samuel Rothbort. Opening Reception, Friday, June 7th, 5-8pm. Fine examples of American Folk Art also available for view.
Handwright Gallery & Framing 93 Main Street, New Canaan Tel: 203.966.7660 Fax: 203.966.7663 Web: handwrightgallery.com Hours: Mon-Sat 10-5:30pm Handwright Gallery & Framing provides a full range of framing and installation services for the Fairfield County area. The gallery offers original paintings including watercolors, oils, and pastels along with sculpture from traditional to contemporary. Our gallery represents emerging and award-winning regional artists. Heather Gaudio Fine Art 21 South Avenue, New Canaan Tel: 203.801.9590 Fax: 203.801.9580 Web:heathergaudiofineart.com Hours: Tue-Sat 11am-5pm or by appt. Heather Gaudio Fine Art specializes in both emerging and established artists, offering works on paper, photography, painting and sculpture. The gallery offers a full range of art advisory services, from forming and maintaining a collection to framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. Offering five shows a year, the exhibitions are designed to showcase important talent and provide artwork appealing to a broad range of interests. Silvermine Gallery Silvermine Arts Center 1037 Silvermine Road, New Canaan Tel: 203.966.9700 Web: silvermineart.org Hours: Wed-Sat 12-5pm; Sun 1-5pm Featuring rotating exhibitions of some of the regions best emerging and established artists and a fine crafts shop of local artisans.
Center for Contemporary Printmaking 299 West Avenue, Norwalk Tel: 203.899.7999 Web: contemprints.org Hours: Mon-Sat 9-5pm; Sun 12-5pm The Center for Contemporary Printmaking (CCP) is a non-profit organization dedicated to the art of the print: intaglio, lithography, monotype, silkscreen, woodblock printing, paper works, book arts, and digital arts. CCP is a unique cultural resource, a place to discover, to experiment, to learn. The entire spectrum of printmaking arts is here to be explored through workshops, edition printing with master printers, exhibitions, community programs, and an Artist-in-Residence Program.
Old Lyme Chauncey Stillman Gallery Lyme Academy College of Fine Arts 84 Lyme Street, Old Lyme Tel: 860.434.5232 Fax: 860.434.8725 Web: lymeacademy.edu Hours: Mon-Sat 10-4pm
Untitled, Riley Brewster, oil on canvas, 23” x 22”
Exhibitions, free and open to the public, include a broad spectrum of professional, student and alumni artwork throughout the year. Selected Student Work is on display through 8/24/13. Florence Griswold Museum 96 Lyme Street, Old Lyme Tel: 860.434.5542 For hours, admission, special events visit: www.FlorenceGriswoldMuseum.org “Home of American Impressionism.” Historic boardinghouse of the Lyme Art Colony, modern gallery with changing exhibitions. Gardens and grounds to enjoy.
Ridgefield Profile in Shadow, 1955, Samuel Rothbort, oil on canvas on panel, 24-1/4" x 10"
Norwalk Artists’ MArket 163 Main Street, Norwalk Tel: 203.846.2550 Fax: 203.846.2660 Web: artistsmarket.com Hours: Mon-Sat 9-5pm; Thu 9-8pm; Sun 12-4pm Artists’ Market is an oasis of art, an exciting blend of a gallery, a museum, and a busy framing workshop. Here you’ll find artistic creations in a variety of media: classic contemporary handmade American crafts, exquisite fine art and photography as well as custom framing for those who want to show off something special or preserve heirlooms for future generations.
The Aldrich Contemporary Art Museum 258 Main Street Tel: 203.438.4519 Web: aldrichart.org Hours: Tue-Sun 12-5pm The Aldrich is dedicated to fostering innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking. The Aldrich, which served an audience of over 37,700 in 2011, is one of the few independent, non-collecting contemporary art museums in the United States, and the only museum in Connecticut devoted to contemporary art.
Gallery + Museum GUIDE
Nuartlink Gallery 19 Post Road East, Westport Tel: 203.858.2067 Web: nuartlink.com Hours: Wed-Sat 11-6 and by appt. Nuartlink gallery focuses on contemporary art providing exposure to emerging and established artists.
Ridgefield Guild of Artists 93 Halpin Lane, Ridgefield Tel: 203.438.8863 Web: rgoa.com Email: email@example.com Hours: Wed-Sun 12-4pm
The Lionheart Gallery 27 Westchester Avenue Scotts Corners, Pound Ridge Tel: 914.764.8689 Web: thelionheartgallery.com Hours: Wed-Sat 11-5pm; Sun 12-4pm
For a complete calendar of events and offerings, please visit our web site at www.rgoa.org.
The Lionheart Gallery is a contemporary art gallery specializing in fine art photography, figurative art, mixed media, printmaking, paintings and sculpture. June 8-July 21: The Eye of Klemantaski - Historic Motor Racing Photography of Louis Klemantaski. June 16-July 21: Oil Paintings by Contemporary Realist painter Celine McDonald. July 27th- September 3: The Adjacent Possible - An exploration of the Available- Oil Paintings by Daniel Charles Feldman and Photogravures by Massimo Marinucci.
Watershed Gallery 23 Governor Street, Ridgefield Tel: 203.438.44387 Web: watershedgallery.com Hours: Tue-Fri 11-6; Sat 11-5; Sun 1-5 Watershed Gallery represents artists from around the world – and around the corner – in a range of media, from painting, printmaking and works on paper, to photography and sculpture. Rotating shows highlight artists who produce abstract and loosely representational art, and who create an emotional connection with the viewer.
Westport Amy Simon Fine Art 1869 Post Road East, Westport Tel: 203.259.1500 Fax: 203.259.1501 Web: amysimonfineart.com Hours: Tue-Sat 11-5:30 and by appt. Amy Simon has extensive experience in the field of contemporary art. After years of working at the Metropolitan Museum of Art, Guggenheim Museum and Marlborough Gallery, she became a private dealer in New York and Connecticut. The gallery specializes in work by mid-career and emerging artists, contemporary blue chip editions and Asian contemporary art. The gallery’s inventory and exhibitions reflect its eclectic interests and expertise in these areas. Amy Simon works with collectors worldwide. It is our mission to introduce clients to work that we are passionate about.
Bits and Pieces I, polychrome white, 2013, approx. 125 x 125 x 15cm Westport Art Center 51 Riverside Avenue, Westport Tel: 203.222.7070 Fax: 203.222.7999 Web: westportartscenter.org Hours: Mon-Fri 10-4; Sat 10-5; Sun 12-4 Curated by Helen Klisser During, “Bird’sEye View” features major contemporary artworks that depict real or imagined landscape from an aerial perspective. From the Andrew and Christine Hall Collection. Westport River Gallery 1 Riverside Avenue, Westport Tel: 203.226.6934 Web: westportrivergallery.com Hours: Wed-Fri 11-4; Sat 11-5; Sun 12-4, or by appointment We offer the best in distinctive European, American & Asian fine art, working with all levels of art collectors, corporate clients and decorators. Artists are selected based on reputation, credentials, style, distinctions. Styles include impressionistic, realistic, abstract & modern. Your hosts are Ken & Pat Warren.
Lionheart:Lionheart Gallery interior, The Sins of Paris, Serge Strosberg
Purchase Neuberger Museum of Art 735 Anderson Hill Road, Purchase Tel: 914.251.6100 Web: neuberger.org Hours: Tue-Sun 12-5pm; Closed Mondays and Holidays Admission: Adults $5, Students $3, Seniors (62+) $3. Westchester County’s premier museum of modern, contemporary, and African art and an integral part of Purchase College. From the mid-century American art and African art that form the core of the collection to the presentation of about ten changing exhibitions each year that range from retrospectives of the work of one artist to thematic surveys of contemporary art to newly-commissioned artist projects, we continue the commitment of founding patron Roy R. Neuberger (1903-2010) by championing the art of our time.
To be included in the Gallery & Museum Guide call: 1.203.333.7300
ANIMAL / VEGETABLE / MINERAL An Artist’s Guide to the World June 7 – September 22 Allison Maletz, Another Monkey Climbing a Coconut Tree (2011), courtesy of the artist ede else, A Basket of Apples (c. 1950), Florence Griswold Museum Anni Albers, GR I (1970), Florence Griswold Museum
Exhibition generously sponsored by Hartford Steam Boiler Inspection and Insurance Company and DECD/Office of the Arts. Media sponsor WSHU Public Radio.
Florence Griswold Museum Home of American Impressionism
96 Lyme Street, Old Lyme, CT 06371 Exit 70 off I-95 860.434.5542 • FlorenceGriswoldMuseum.org
sweet release Kelly Sweet’s forthcoming EP release, Sirens, is a musical mission statement. Exploding with metallic synths and heavy beats, the collection of songs is only strengthened by the alterna-pop star’s all-encompassing voice. Originally from Cape Cod, Sweet landed in Kanab, Utah; a tiny town with only two sets of traffic lights. Though she had this small town to call home, most of her childhood years were spent in transit, gracing the stages of many state fairs across the U.S., filling the occasional support slot while touring with highprofile artists including Paul Simon, or singing the National Anthem in front of thousands at the odd Los Angeles Lakers basketball game. Naming Annie Lennox as one of her main influences, Sirens idles comfortably between the quirkiness of Sia, the innocence of Lykke Li, and the danceready energy of Metric. The EP has been a long time in the making, with the singer/songwriter confessing that she has been building the foundations for the tracks since 2008. “I heard beautiful ambient electronic synths and pads, combined with big beats to fill in the low end. I wanted it to feel warm, and like the music surrounded you.” Sirens takes off with the low and heavy dance track, “Ashes of My Paradise.” Sweet’s voice adds a subtle touch of intensity to the minimalistic drops of bass that encompass the song. As she breathes over the infectious synths and leads us into a fast paced chorus, there is an encompassing darkness hidden in the lyrics that is hard to ignore. “I lost both of my parents to cancer during the making of this new record - my mother in December of 2011, and my father in June of 2012. I was 23 years old and I felt I stood amongst the ash of the dreams of my life. But like a phoenix, I can rise again.” Despite the powerful entrance she makes on the EP, Sweet breaks herself down and offers herself up like an innocent lamb in the
unabashed ballad, “My Amazing Grace.” A tender portrayal of her experiences in love, Sweet confesses, “I am yours and yours alone,” over a vintage hook reminiscent of a Depeche Mode track. She speaks of a creeping lion, which Sweet admits, “represents my own fear and getting lost in everything I was afraid of”. Never one to go quietly, Sweet regains courage once more in the chorus, which to her, signifies the moment in love when “all your fears fall away, and everything is right.”
things in the past can hold you hostage, like you’re trapped behind the bars of your mind... But this EP is the first release of my new sound. Sirens represents, in that case, ‘watch out, here it comes!’” You have been warned.
The EP’s title track concludes the collection perfectly, with the infectious chorus capturing Sweet’s optimism and strength as an artist. The song tells of guilt, and the all too familiar alarm bells that sound when we experience the emotion. But the aptly titled “Sirens” represents Sweet’s true release, and her way of breaking free. “Sometimes,
Photos: Leonardo Canneto
VenuMag.TV Streaming many of the greatest show-stoppers on earth. Yeah, we can’t wait either!
PULSE: FILM + Entertainment
Fox on Film
& Entertainment by PETER FOX: about.me/foxonfilm
Nick Nolte as Donal Fitzgerald, Photo by Doane Gregory, Courtesy of Sony Pictures Classics
“The Company You Keep”
Starring and directed by Robert Redford, with Shia LaBeouf, Julie Christie, Stanley Tucci, Nick Nolte and Susan Sarandon, by Sony Pictures Classics. Rating:
im Grant (Robert Redford) is a public interest lawyer and single father raising his daughter in the tranquil suburbs of Albany, New York. Grant’s world is turned upside down when a brash young reporter named Ben Shepard (Shia LaBeouf) exposes Grant’s true identity as a former 1970s antiwar radical fugitive wanted for murder. After living for more than 30 years underground, Grant must now go on the run. With the FBI in hot pursuit, he sets off on a cross-country journey to track down the one person that can clear his name. In The Company You Keep, Redford, as both actor
and director, turns in his most gripping performance in years. Adapted from a novel by Neil Gordon by screenwriter Lem Dobbs, the films’s heavyweight cast collectively grabs the audience by the throat from the start and does not let go. The film examines the personal price of standing up for one’s political convictions, and the impact of those convictions on the family unit. Shepard knows the significance of the national news story he has exposed and, for a journalist, this is an opportunity of a lifetime. Hell-bent on making a name for himself, he is willing to stop at nothing to capitalize on it. He digs
deep into Grant’s past. Despite warnings from his editor and threats from the FBI, Shepard relentlessly tracks Grant across the country. As Grant reopens old wounds and reconnects with former members of his anti-war group, the Weather Underground, Shepard realizes something about this man is just not adding up. With the FBI closing in, Shepard uncovers the shocking secrets Grant has been keeping for the past three decades. As Grant and Shepard come face to face in the wilderness of the Upper Peninsula of Michigan, they each must come to terms with who they really are.
“I thought it was a good story and it gave you a chance to look inside of an event that is a piece of American history,” says Redford of the film, his first as both actor and director since his 2007 drama, Lions for Lambs. “It truly gets inside how people were living their lives thirty years later… underground and with a false identity. For me it was a bit like Les Misérables, with the character Jean Valjean, sentenced to nineteen years for a loaf of bread,” Redford explains. “He escaped from prison, built a false identity, had a daughter, had a good life, but the pain of that time was always going to haunt him. So how do these people deal with that? Do they change? Do they not change? That was the interesting story to be told. It wasn’t so much about the anti-war movement itself, because that belongs to history.” The film opens with news footage of radical anti-war groups from the late 1960’searly 1970’s who were plotting to blow up buildings in multiple U.S. cities. A second news report follows that attributes responsibility to the same group for a Michigan bank robbery in which a guard was killed. The robbers, led in part by Grant, are still on the run. When Ben Sheppard, played by Shia LeBeouf, gets wind of the story, his pursuit is unrelenting. Seeking to make a name for himself as an investigative reporter and to impress his editor, (Stanley Tucci), Ben plays up his connection to an attractive F.B.I agent, Diana, (Anna Kendrick ) and to Sharon Solarz, (Susan Sarandon), who has been living in hiding in Vermont. Solarz, tired of living on the run, is preparing to turn herself in but is arrested in New York State before she can do so. It is Shepard’s aggressive reporting that exposes the
a bit of both of them there. To me, Ben was an amalgamation of those two men. I pitched that idea to Bob and he was very comfortable with it. Still, Ben’s a complex character and, admittedly, a bit of a famewhore too,” says LaBeouf. “In a sense, he’s living in a turtle shell. He’s all about him. He’s all about making that turtle shell bigger – and it’s all selfpropelled insanity, really. He’s all about getting famous for
ing is ex-lover Mimi Lurie, (Julie Christie), the one person who can clear his name. Her current lover, played by Sam Elliott, and a former cohort turned lumber yard owner, (Nick Nolte) appear sparingly. But it is the powerful , albeit brief, performances of these actors that make the film so gripping. Their limited screen time is not in vain. Redford’s masterful understated direction of the actors is under-
Shia LaBeouf as Ben Shepard, Photo by Doane Gregory, Courtesy of Sony Pictures Classics
Susan Sarandon as Sharon Solarz, Photo by Doane Gregory, Courtesy of Sony Pictures Classics
link between her and Grant, who has been, to this point, a local civil rights lawyer and single father of an eleven year old daughter, who has refused to take on the Solarz case. Ben discovers, just ahead of the Feds, that Grant has no personal records before 1979,
and that his real name is Nick Sloan, one of the Michigan bank robbers. “When I read the script, I saw Ben as an idealist,” says LaBeouf. “I looked at Redford and Dustin Hoffman in All the President’s Men (Alan J. Pakula’s 1976 film on the Watergate scandal); there was
Left to right: Robert Redford as Jim Grant and Jackie Evancho as Isabel Grant Photo by Doane Gregory, Courtesy of Sony Pictures Classics
being the best reporter in the world and he’s got the story… But at the same time his life doesn’t have a lot of love in it. He’s in solitude. He’s the kind of guy who googles himself every night for self- validation. Ben is like that, and then he finds a woman like he’s never known and he chases that dream in the midst.” With the race to clear his name before the F.B.I arrests him now on, Grant begins finding some of his former underground cronies, includ-
stood and respected by his all-star cast. The prison scene between LeBeouf and Sarandon reminds the audience that maintaining a democracy comes with a price, a message that will have audiences talking about this film, which is cinematic storytelling at its best. Redford, LeBeouf and Sarandon as well as the rest of this all-star cast, obviously believe in the message of The Company You Keep. Go see this one.
PULSE: FILM + Entertainment
by PETER FOX
MOVIES NOT MAYHEM
ecent current events have brought Frank Pierson to mind. In his commencement speech to my graduating class at the A.F.I. in 1996, he told us that… “human brains, splattered on the rear window of a car, as the punch-line of a joke, do not make good cinema.” Of course this was a reference to Pulp Fiction, which had, at that time, taken Hollywood by storm. Films begin as words on paper. When those words are refined into a screenplay and then a motion picture, they become powerful. At their best, they become a catalyst for positive change. At their worst, they can cause great harm, even when cleverly disguised as entertainment. Mayhem as cinematic entertainment has become a commodity. Photographed with the leading stars of the day, this madness makes up a large chunk of today’s box office. With increasing frequency, I am handed spec scripts and screener copies of independent films which contain an overwhelming amount of graphic, gratuitous violence of the kind that Frank Pierson abhorred, and urged us graduating fellows not to indulge; with body parts and blood splatter everywhere on the page and screen.
Why is this now the trend? Today’s average moviegoer is, male, 16 to 25 years old. Most of them don’t read, have not or will not attend college, and do not know or care about history or the importance of storytellers in any society. They get their information regarding news
of the world in the form of “tweets” or “wall postings” from their handheld devices, to which they cling 24/7, (even while watching a film, in a movie theater). If they work, it is for minimum wage or slightly better. The lower part of the collective mentality of this group is, well, violence. It is also the genre of spec script that Hollywood is buying more than any other kind. Filmmakers, whether they call themselves Producers, Directors or Screenwriters, are custodians of great responsibility, whether they choose to accept it or not. Any film which exhibits a character portrayal that is so graphically violent that it motivates a viewer to commit an act of violence has not only failed its audience, but has damaged that audience and society. The greater challenge is how to reach the core of today’s movie-going public in a way that will leave them inspired to become more than what they are. This is where our modern day screenwriters and directors have, by and large, failed. Most have given up and have caved in, and attempt to write “whatever the gods are eating.” Pierson, later in his speech, spoke to this as well: “But the danger of censorship in America is less from business or the religious right or the selfrighteous left, than to self-censorship by artists themselves, who simply give up. If we can’t see a way to get our story told, what is the point of trying?” It is impossible to ignore the fact that the deranged shooter in Aurora was inspired by a film. It is difficult to understand why the distributors of the new Stallone film
“Movies are more than a commodity. Movies are to our civilization what dreams and ideals are to individual lives: they express the mystery and help define the nature of who we are and what we are becoming. You must become writers with ideas and passion, who write with force and conviction; you must become directors who have minds enriched by your lives and not a library of stunts and special effects. Be critics centered in your feelings and ideas in the culture and society, not in comparing grosses and applauding computer generated ballets of violence. Go and make a cinema and TV that express our history and our ideas, and that foster respect for a civilization in real danger of self-destruction. Be decision-makers with dreams and hopes instead of raw ambition.Tell stories that illuminate our times and our souls. That waken the sleeping angel inside the beast.“ -Frank Pierson, Dean of the American Film Institute, writer of Cool Hand Luke, from his commencement speech at U.S.C, 2003
Bullet To The Head, did not have the courage to change the title of the movie prior to the start of their ad campaign, post Sandy Hook (Newtown, CT), pre-film release. It is disturbing to wonder why there is no balanced debate on the dominance of violent films at the box office anywhere to be found. Whenever the discussion does arise, it defaults to free speech vs. censorship. And yes, it is the writers who now censor themselves, writing what they think will sell, either at the studio level, or even at the independent level, instead of fighting for the better stories, brought to them by better angels. Most of today’s writers cannot remember, (or, choose to forget?) the age when you could walk into a theater and watch Paul Newman in Cool Hand Luke, or Sidney Poitier in To Sir With Love, or even a Hitchcock thriller. What was the effect of watching Janet Leigh in the infamous shower scene from Psycho? Not a single frame of metal puncturing flesh. That would be unthinkable. But it no longer is. And it is hurting our society and damaging our children. What if we stopped supporting these graphically-overthe-top-with-violence films at the box office? No matter what the level of “artistry”? What if we stopped supporting their sponsors? What if aspiring filmmakers fought for stories that matter, that actually have a beginning, middle and end? Stories with a genuine human conflict, i.e., problem of conscience, it isn’t fair, man against the mountain, life or death, stand and deliver, that did not rely on gratuitous splatter to make it’s point? What if the local “B” and “C” horror factories
popping up all everywhere did not give up and sell out to this idea that enough shock value might get them distribution? You get the idea…
The written word is powerful. The motion picture is a hundred times more powerful than the written word. It can be equally uplifting, or destructive. It demands responsibility. There will always be horror films. There can still be great horror films that do not cause harm. Just watch any Hitchcock film. There will always be great films about war. There can still be great films about war that do not cause harm to the psyche, but challenge the viewer to question our surroundings. Just watch The Longest Day, or Gone With the Wind. Censorship is not the solution. But supporting films that respect the intended purpose of cinematic narrative is the beginning of one, as opposed to supporting the out of control mayhem passing itself off in the present day as cinema. “A culture cannot evolve without honest, powerful storytelling. When a society repeatedly experiences glossy, hollowed-out, pseudo-stories, it degenerates. We need true satires and tragedies, dramas and comedies that shine a clean light into the dingy corners of the human psyche and society.” I never thought that I would give Robert McKee the last word, but there... I just did.
PULSE: On Stage
By William Squier
The Finger Lakes Musical Theater Festival A Mecca For Lover’s of Show Tunes, Old and New!
f you’re from the part of New York State that extends from Delaware, Greene and Columbia Counties to the Canadian border and over to Lakes Erie and Ontario, you’re familiar with the word “upstate.” It’s the term that’s been coined to describe everywhere outside of the greater metropolitan area in the state’s southeastern corner. At the heart of upstate New York is Auburn, a charming city that dates back to Revolutionary times and serves as the seat of Cayuga County. Auburn’s long history includes serving as the home of abolitionist Harriet Tubman, Abraham Lincoln’s Secretary of State William Seward
(a character prominently featured in the film Lincoln) and one of the country’s oldest maximum-security prisons. Like much of upstate, however, the area knew its greatest prosperity in America’s earlier years. From the 17th through 19th centuries, New York had the largest and most vibrant economy in the United States. And a great deal of it was generated by upstate businesses. But, after the Second World War industry began to migrate to other parts of the country and the economic outlook ever since has often been less than “up.” Fortunately, the region around Auburn abounds in spectacular scenery that draws
tourists year round. And for visitors that are less interested in nature than they are creature comforts, there are also over 100 wineries that have opened their vineyards to tours, tastings and fine dining. And recently, local entrepreneur, Ed Sayles, added an enticement to the list. He’s working to turn Auburn into a mecca from lovers of musical theater. Sayles is the Producing Director of the city’s Merry-Go-Round Playhouse. The MerryGo-Round opened in 1972 in a 42 year old abandoned carousel building in Auburn’s Emerson Park on the northern shore of Owasco Lake. For the next 38 years the Playhouse provided the area with an annual season of professional
Danny George, Altar Boyz, 2012
Lulu Lloyd, Meredith Beck, Holly O’Brien and Julia Goretsky, The Marvelous Wonderettes, 2011
summer stock. Ed Sayles took charge of theater in 1981 and he immediately began to look for ways to improve and expand the Merry-GoRound’s offerings. In 2004, Sayles oversaw a $2.5 million renovation that bumped the theater’s seating capacity significantly. And he added all the technical bells and whistles, onstage and off, that made it possible to a mount production of just about any Broadway hit that caught his fancy. But, Sayles is also a fan of the annual festivals that are held in New York City to showcase brand new musicals. And he wondered if there wasn’t a way that he could introduce upstate audiences to some of the promising newbies that he’d seen. That’s when he began to think big. Really big. Initially, Sayles’ idea was to join forces with the nearby Auburn Public Theater to explore the possibility of hosting a yearly festival that would
Paige Faure and Ensemble, CABARET, 2012
Julie Cardia and Todd Latimore, Anything Goes, 2011
From the 17th through 19th centuries, New York had the largest and most vibrant economy in the United States. And a great deal of it was generated by upstate businesses. But, after the Second World War industry began to migrate to other parts of the country and the economic outlook ever since has often been less than “up.”
coincide with the Merry-Go-Round’s annual June through September season of productions. “After we finished the renovation of the Playhouse and became, at least in theater terms, very successful, the next move would have been to start an endowment,” he explains. “But, we made a decision to
put that off and throw ourselves into creating a festival because we thought that it would be good for the economic development of the community. Our guess was that the healthier the community was, the healthier the theater would be.” ayles’ inspiration was the neighboring Shaw Festival, which is held in Niagra-onthe-Lake, Ontario. Like the Shaw, each summer’s musical theater offerings would be produced at multiple locations with overlapping schedules that would make it possible for “cultural tourists” to see several shows in a single, short visit. In addition to mounting classic revivals and recent Broadway hits, Salyes was hoping
that his festival could present modern musical theatre in all of its many emerging forms. It was a move that wasn’t completely without precedent, in as much as the Merry-Go-Round Playhouse had a history of dabbling in lesser known works like Church Basement Ladies, I Love You, You’re Perfect Now Change and Do Patent Leather Shoes Really Reflect Up? $300,000 was raised to develop the master plan for the festival that Sayles was hoping to kick off in June of 2011. Among the earliest of ideas generated by the master plan was to refurbish the Schine Theater, a 75 year old Art Deco movie palace located in Auburn’s downtown with a 1,000 seat capacity. But, when renova-
PULSE: On Travel: St.Stage Thomas
tions were estimated at more than $30 million, it was decided that it wouldn’t be a practical way to begin. Instead, Sayles set his sights on the tiny Theater Mack, a former carriage house behind the Cayuga Museum where some of the country’s earliest sound films where shot. For a fraction of what it would cost to rehab the Schine, he was able to convert it into a 100-seat cabaret space. Salyes also envisioned building a brand new state-of-the-art facility that could span the gap between the 199-seat Auburn Public Theater and the Merry-Go-Round Playhouse’s 501 seats. “My model is really Manhattan,” Sayles says. “There are so many great, new things happening in musical theater that even the typical tourist to New York City doesn’t see. Everyone I’ve ever sent to an Off-Broadway or Off-Off-Broadway show has loved it. So, I thought that if we could expose people to a Mini-Manhattan-in-the-Finger-Lakes experience, they would enjoy it and embrace it. You could see a classic Broadway show at the Playhouse; something a little more challenging at a new 300-seat space, like Bloody, Bloody, Andrew Jackson; in the 199-seat space you could see just about anything; and then you could go to The Theater Mack and see shows in very early development – like a backer’s audition!” By 2011, Sayles was able to test the waters by mounting performances of Cooking with the Calamari Sisters, a small musical that had been
developed in Rochester, NY, at the same time that he was running Hairspray and 42nd Street at the Merry-Go-Round. The simultaneous productions proved to be not only manageable, but such a hit with audiences that the Calamari Sisters schedule was extended three weeks to meet the demand for tickets.
Last summer, Sayles ran three smaller shows, including the U.S. premiere of the new musical Fingers and Toes, at the Auburn Public Theater concurrent with the season at the Playhouse. And he unveiled a ambitious ten-week development series dubbed The PiTCH. From June through August, the authors of 20 new
Mick Bleyer and Paige Faure, CABARET, 2012
James Beaman and Julie Cardia, Anything Goes, 2011
musicals took to the stage of the Theater Mack to perform material fromtheir shows and then discuss the work with the festival’s playgoers. “The big surprise last year was the response to The PiTCH,” Sayles reports. “We had no idea what it was going to be. People loved it! It just kept building.” The PiTCH returns this summer from June 13 to August 17 with ten new titles that will test out their material on the festival’s weekend crowds. If the shows that appeared in lastsummer’s series -- including Off With Her Maidenhead, SLAM: The Hockey Rock Opera and That Time We Found a Sasquatch in the Wood – are any indication there ought to be some real surprises. “I’m expecting the second year of The PiTCH to really explode,” Sayles says.
Jenny Long, Brad Nacht, Bryan Plofsky and Michael Muñoz, The Drowsy Chaperone, 2010
Everyone I’ve ever sent to an Off-Broadway or Off-Off-Broadway show has loved it. So, I thought that if we could expose people to a Mini-Manhattan-in-the-Finger-Lakes experience, they would enjoy it and embrace it.
Bruce Warren, The 25th Annual Putnam County Spelling Bee, 2012
n the mainstage at the Merry-Go-Round’s Preston H. Thomas Theatre Sayles is presenting a season of Broadway hits that runs from May 29 to October 3 and includes Singin’ in the Rain, Legally Blonde, Gentlemen Prefer Blondes, CATS and, from Off-Broadway, Hank Williams: Lost Highway.
Downtown at the Auburn Public Theater the featured productions will be The Great American Trailer Park Musical and the premiere of a musical comedy discovered at last summer’s edition of The PiTCH, Neurosis: The Musical. Neuorosis was written by Allan Rice (Book), Ben Green (Music) and Gred Edwards (Lyrics). “Our experience at The PiTCH was fantastic because it gave our show some of its first exposure -- not only to a paying audience, but to their feedback,” Allan Rice recalls. “There’s nowhere to hide. The performance is raw and unfiltered - an excellent setting to see if your story is working.” The Neurosis creative team is looking forward to returning to the festival to help launch their musical. “We plan to be involved as much as three neurotic writers can,” Rice jokes. “We hope to be there throughout the entire rehearsal process, to tweak and tailor the show to our actors’ strengths, and to ensure that the story flows. And we’re looking forward to loitering outside the Harriet Tubman house.”
In 2014 the festival is scheduled to open its fourth theater, the Schwartz Family Performance Center, a multi-purpose educational and performance facility. Sayles is collaborating with the city and Cayuga Community College to create a stage in downtown Auburn that the college can also use during the school year for a technical theater arts program. And their students could potentially find employment at the festival during the summer months. “We’ve designed it to be like the 300-seat spaces that the New York Musical Theater Festival uses.” Sayles notes. “Those are great places to see a show! We decided that would best serve the product that we want to put in there.” “People are gambling with their entertainment dollars,” Sayles concludes. “So, they’re looking for the best odds. With the Finger Lakes Musical Theater Festival, the hotel rooms are inexpensive, the lakes are beautiful, there are all of these wineries, and there are four theaters.”
miami society. the powerful, the chic, the unique
by daisy olivera
Dazzling Vizcaya Luncheon The 5th Annual Vizcaya Preservation Luncheon drew about 300 of Miami’s socially-fabulous ladies in chic, colorful hats to the historic Vizcaya Museum & Gardens. The event was inspired by New York’s Central Park Conservancy “Hat Lunch.” Fernanda Kellogg, Chairman of The Tiffany & Co. Foundation, attended to celebrate completion of the Sutri Fountain restoration, funded by a $500,000 grant from the foundation. Bravo!
New World Symphony Gala
The New World Symphony, celebrated its 25th anniversary with a lavish dinner gala inspired by “West Side Story” at the New World Center on Miami Beach. It featured a look back at NWS’ innovative accomplishments, a multi-media concert and tribute to Artistic Director, 12-time Grammy Award winner, conductor Michael Tilson Thomas. Main sponsor, Harry Winston, showcased exquisite fine jewelry in a special salon at the cocktail reception. The nearly $1.3 million raised will go directly to NWS’ mission of preparing young musicians for careers in professional orchestras, while providing meaningful cultural programs to South Florida. A breathtaking night!.
Photo: Eduardo Ford
Photo: Eduardo Ford
Photo: Eduardo Ford
Top; Philanthropists Adrienne Bon Haes & Marvin Ross Friedman, NWS Trustee Sarah Arison, NWS founder Lin Arison. Left; NWS conductor Michael Tilson Thomas, Gala chairs Sari & Dr. Arthur Agatston.
Photo: Eduardo Ford
Top left; Leslie Bowe, President of Vizcayans & Lydia Touzet, luncheon chair. Top right; Handbag designer Laura Buccellati. Bottom left; Marile Lopez. Bottom right; Criselda Breene, Christina Getty-Maercks.
Natura Bissé at Boca Raton Resort Spa Palazzo A select group of socially prominent New Yorkers and South Floridians enjoyed a weekend of exclusive festivities to celebrate international skin care brand, Natura Bissé at the Boca Raton Resort. The Barcelona-based company teamed up with the resort’s awardwinning Spa Palazzo to feature their distinctive skincare collection of spa products and treatments. Absolute heaven! (It does make a difference). The spa now offers a completely redesigned menu of services, new cutting-edge therapies as well as spa and wedding packages. The very glam sisters, Veronica and Patricia Fisas (their father founded Natura Bissé) flew in from Barcelona with Veronica’s husband Joaquin Serra to host the weekend. The chic crowd included author Jill Kargman and Harry Kargman; Eva JeanbartLorenzotti; Gigi Ganatra and Alex Duff.
Photo: BrandLink Communications
Photo: BrandLink Communications
Left; Owners of Natura Bisse Skin Care, Patricia Fisas, Joaquin Serra, Veronica Fisas de Serra. Top right; Philanthropist Gillian Miniter, Daniela Maron, Director of Communications for C. Wonder.
For more stories about Miami society please visit TheDaisyColumn.com