VENÜ #23 Mar/Apr/May 2014

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Contemporary Culture

March/April/May_2014

$5.99

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Contemporary Culture

March/April/May_2014

Spotlight 16 JOHN SHEARER

Portraits “That Tell A Story”

Events + Gatherings 20 Parties, Art Exhibitions & Activities

Travel + Leisure 28 SOUTHEAST ASIA:

Finding Enlightenment, Along the

South China Sea

Style 32 ARCHITECTURE:

Beaux-Arts New York, A monumental

style of architecture

Wine & SPIRITS 35 Spiked-Seltzer:

Breaking new ground in the gluten-free

alcohol beverage industry

Appetite 36 The New 42:

Still unrivaled atop The Ritz-Carlton, Westchester

Features 38 Doing Big Things With Small Boats,

Charting Life-changing voyages out

of Alexandria, Virginia to Mystic,

Connecticut COVER STORY: 42 Photographer David LaChapelle,

From Celebrity to Refinery

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ON THE COVER: Celebrities or imposing oil refineries, fine art photographer David LaChapelle treats his subjects with iconic reverence as he skillfully orchestrates images of astonishing clarity, colorful vitality, and lyric expression.

Boudoir PM, Oil On Canvas, 20" x 24"

JULIE LEFF FLORALS . ABSTRACTS . PORTRAITS

www.julieleff.com

203.434.8655

julie@julieleff.com

BROOKRIDGE DRIVE, Greenwich, CT Luxurious Retreat with In-Town Convenience and Back Country Privacy This magnificent stone and shingle residence, bordered by an enchanting brook, was custom designed and built with superb quality and craftsmanship.

Offering exceptional luxury and privacy on one of the most beautiful in-town streets, the stunning architectural style of its gracious façade is complemented by a 9,800+SF state-of-the-art interior resplendent with European-inspired appointments, handcrafted mantels, paneled wainscoting, coffered ceilings, herringbone pattern oak floors, intricately detailed millwork and ceiling medallions.

Sensational, granite-appointed gourmet kitchen with large center-island is superbly equipped with top of the line appliances. Luxurious comfort is afforded in the sublime master wing comprising a sitting room with wet bar, hexagonal bedroom chamber with tray ceiling, cove lighting and marble fireplace, two custom fitted walk-in closets and exquisite, mosaic-inlaid honed marble bath with barrel-vaulted ceiling, Palladian window, steam shower, whirlpool tub, separate his/her vanities and water closets, one with a bidet.

There are five marble or stone fireplaces, formal and informal powder rooms, four en suite bedrooms, and an extensive garden level encompassing spectacular entertainment areas including recreation and media rooms, a wine cellar and elegant tasting room.

A long Belgian block-lined drive approaches a formal front courtyard overlooking the rushing streams of Brother’s Brook. The high, very private 1.54 acre setting is accentuated by beautiful landscaping, extensive native fieldstone walls and perennial gardens.

Only 45+ minutes from Manhattan, Greenwich is considered one of the nation’s most prestigious residential areas. Don’t miss the opportunity to own this fabulous home!

Denise Rosato

The “Go-to-Gal” for Greenwich Real Estate Call Today 203-622-4000 denise@therelocationgroup.com The Real Estate market is constantly changing and Denise is the “Go-to-Gal” who keeps you well informed as she truly has a pulse on the market. Her in-depth real estate knowledge along with strong work ethic inspires everyone. Work with a knowledgeable agent!

The Relocation Group is licensed in both CT & NY serving on the Westchester Board of Realtors, Greenwich Board of Realtors, Consolidated Multiple Listing and New Canaan Multiple Listing Services. Denise is a member of the National Association of Realtors & Connecticut Association of Realtors.

Contemporary Culture

March/April/May_2014

Indulge 49 Motoring:

Prestige and Refinement, Audi

introduces the A8 and S8 – Delivering

exceptional performance, innovation

and craftsmanship 51 Yachting:

Lürssen’s Quattroelle, A successful

combination of elegance and sporty

looks 53 Decorative Arts: On the block - Declaration of intent, Grand Watermelon Indeed, Abstract

as Folk

Art + Objects 55 Venü Magazine’s marketplace for

furniture, lighting, textiles, jewelry,

art, antiques and accessories

Gallery + Museum Guide 62 Gallery and Museum listings in Connecticut and New York

Pulse 68 INTERVIEW: Visionary jazz guitarist Pat Methany

brings Unity Band world tour close

to home 70 Music:

Meet The Prettiots – New York’s

no-nonsense ukulele wielding ‘It Girls’ 72 ART:

28 Chinese 76 THEATER:

From Broadway Cast to Broadcast TV!

Film + Entertainment: 78 Fox on Film: Peter Fox reviews,

The Wolf of Wall Street

Society 80 The Daisy Column: Miami society, The powerful, The chic, The unique

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CONTEMPORARY CULTURE

Showcasing Contemporary Culture without any contrived formality.

VENÜ is as a fresh yet discerning guide to contemporary culture. 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.

WANT IN?

Get Featured in Venü If you’re an artist with some work to exhibit, an entertainment coordinator with an event coming up, or a business with some exciting news or a new product launch get in touch. We’re eager to feature interesting content that’s sure to entertain our readers. editorial@venumagazine.com

Advertise in Venü It’s a dirty word to some folks, but it’s what ensures that every issue of Venü remains available to our loyal readers. If you understand the value of marketing and promoting your business, contact us for a media kit.

1.203.333.7300 advertising@venumagazine.com

We Want You!

Contributors Wanted Artists, designers, photographers, writers, illustrators, etc., if you’ve got it, flaunt it! We’re interested in hearing from all of you that have some great things to share...

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CONTEMPORARY CULTURE//MAGAZINE CONTEMPORARY CULTURE//MAGAZINE

...Get in touch!

President, Creative Director J. Michael Woodside Vice President, Executive Director Tracey Thomas Senior Arts Editor Philip Eliasoph Film & Entertainment Editor Peter J. Fox Decorative Arts Editor Matthew Sturtevant Florida Content Editor Daisy Olivera Copy Editors Cindy Clarke, Marc J. Miller Publisher Venü Media Company Art, Design & Production Venü Media Company Contributing Writers Susana Baker, Cindy Clarke, Phillip James Dodd, Laura Einstein, Peter Fox, Nancy Helle, Mike Horyczun, Ryan Odinak, Daisy Olivera, William Squier, Anna Stodart, Matthew Sturtevant Business Development Shelly Harvey/Connecticut, Liz Marks/New York Advertising Sales Gregory Finke, National Accounts Manager 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 Tel 203.333.7300 Fax 203.333.7301 Advertising Inquiries advertising@venumagazine.com Editorial Contribution editorial@venumagazine.com Subscriptions Call 203.333.7300 or email subscribe@venumagazine.com

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 creative’s) to submit photos, features, drawings, etc., but we assume no responsibility for failure to publish submissions.

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SPOTLIGHT: John Shearer

Clockwise from the left: The Kennedy family at the funeral of JFK, November, l963, LOOK magazine; Joe Frazier and Muhammad Ali before “The Fight of the Century”, 1971, LIFE magazine. Muhammad Ali in training, skipping rope, 1971, LIFE.

Portraits “That Tell A Story” Passionate about telling a story, John Shearer’s photos give us lasting memories.

by Nancy Helle

P

ortraits “That Tell a Story” are the specialty of John Shearer, an extraordinary photographer who has won over 175 awards since 1962 when he began his career as a staff photograher with LOOK magazine. At age 17, he was one of the youngest photographers ever hired by a national publication. He covered civil rights marches and race

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riots in the south and his legendary photograph of the Kennedy family at JFK’s funeral in l963 with Jackie, Caroline and little John John, saluting as his father’s coffin was being taken from the church, was one of the most widely displayed images throughout the country.

When LIFE magazine recruited him in 1969, he was the second African American

Shaping culture through art.

Discover Lyme Academy College of Fine Arts, located in picturesque Old Lyme, Connecticut, home to America’s oldest art colony. Visit us during our upcoming events and experience the exceptional caliber of work our students produce by focusing on the techniques of representational art.

UPCOMING EVENTS:

Inside My Studio - Artist Lecture Series Jean Potter, Artist, Art Educator and Gallery Manager Friday, March 28 Reception 6pm, Lecture 7pm Jonathan Isleib, Residential, Interior, Landscape and Furniture Design Friday, April 18 Reception 6pm, Lecture 7pm

ArtsBall in Bloom

Student Scholarship Fundraiser Saturday, June 7, 5:30 to 11pm

Call 860.434.5232 for more information about these events and to learn about our nationally accredited college offering Bachelor of Fine Arts degrees as well as three-year and post-baccalaureate certificates, continuing education and pre-college courses, and community programs.

Lyme Academy College of Fine Arts

@LymeAcademy

84 Lyme Street, Old Lyme, CT 06371 | lymeacademy.edu

SPOTLIGHT: John Shearer

photographer on staff; the first was his hero and mentor Gordon Parks, a good friend of his father. Among Shearer’s classic picture stories for LIFE are the “Fight of the Century” between Joe Frazier and Muhammad Ali in l971 and The Attica Prison riots in 1972 which won him the Photographer of the Year award.

Shearer’s haunting images of these historic events are on display at The Lionheart Gallery of Pound Ridge, NY in “Chasing the Light”, an exhibition opening Saturday, March 1 from 3 p.m. to 6 p.m, and continuing through April 13. An artist talk will be given by Shearer on Sunday, April 16 at 3 p.m. The exhibition includes many other “portraits that tell a story” as well as some western desert landscapes.

A Katonah resident, born to an artistic father - creator of the Quincy cartoon character - and a mother who was a criminal lawyer, Shearer has always been interested in people. He makes it a point to connect with his subjects on a personal level – a remarkable talent because he is only with them for very short periods of time. From Parks he leaned

Above, The Funeral of Martin Luther King, Jr., Atlanta, April 9, 1968, LOOK magazine; left: John Shearer covering the Attica Prison riots, Attica, NY, September, l972, LIFE magazine

the value of writing as well as photographing a story, and he is also a noted director, children’s book author, lecturer and professor.

Passionate about telling a story with his photos, he seeks an opening image that will draw in the viewer and a closing image that will leave a lasting memory. His work has been exhibited at MOMA, The Metropolitan Museum of Art, the Whitney Museum of American Art, IBM Galleries and Eastman Kodak. He was senior lecturer and founder of the Photograhy and Design Program at Columbia University’s School of Journalism from 1972- 1986.

The Lionheart Gallery is open from Wednesday through Saturday from 11 a.m. to 5 p.m. and Sunday from 12 to 4 p.m.

27 Westchester Avenue, Pound Ridge. (914) 764-8689. www.thelionheartgallery.com

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Come enjoy a Night in the Garden of Art. This year’s glittering gala at Lyme Academy College of Fine Arts, in Old Lyme, Connecticut, home to America’s oldest art colony, will be infused with mystery and intrigue as guests experience a tantalizing cross-pollination of gardens and art, both ancient and modern.

Saturday, June 7, 2014 5:30 to 11 pm

Cocktails, hors d’oeuvres, auctions, dinner and dancing Lyme Academy College of Fine Arts One hundred percent of the net proceeds of the ArtsBall will fund student scholarships.

For information about tickets and sponsorship or patron opportunities, please call 860.434.3571 ext. 125 or visit lymeacademy.edu Lyme Academy College of Fine Arts

@LymeAcademy

84 Lyme Street, Old Lyme, CT 06371 | lymeacademy.edu CONTEMPORARY CULTURE//MAGAZINE

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events + gatherings

By Ryan Odinak

FCBuzz

Executive Director, Cultural Alliance of Fairfield County

FCBuzz’s Mother Ship – The Cultural Alliance of Fairfield County!

Top left; CAFC’s Board President, Elisabeth Morten, presenting at the Arts & Economic Prosperity Meeting at the Fairfield Theatre Company. Below left; Patrons of Arts & Culture learning about the Cultural Alliance of Fairfield County. Below center; Staff from member organizations gather for January 2014 workshop Collaborate! How Cultural Nonprofits Can Best Work Together on a Project

As readers of Venü Magazine, we hope that by now you have made the connection between the FCBuzz you see on this page and FCBuzz.org, the great arts and culture website that we remind you about at the end of each article. Normally I am busy chocking this page full of great things to do in Fairfield County. However, this month I want to share some news with my readers and shine a light on the mother ship of FCBuzz.org— the Cultural Alliance of Fairfield County.

This will be the last FCBuzz article that I will pen for Venu. After six years as the executive director of the Cultural Alliance, I am resigning to pursue my own creative endeavors—writing being one of them—and to rebalance my work life. So I wanted to take this opportunity to feature the Cultural Alliance of Fairfield County.

Established just six years ago, the Cultural Alliance has grown into a multi-faceted service organization serving arts and culture nonprofits, artists and creative businesses throughout Fairfield County. Our mission is to

provide marketing support, professional development and advocacy to over 250 members. What we do is not flashy—you will not see the Cultural Alliance in a rehearsal space, on a symphony stage, or in a darkroom. We are the support behind the scenes and our members agree that we are a vital part of our thriving arts and culture community. We are a vehicle for cooperation, collaboration and learning.

The Cultural Alliance’s operations have grown from two part-time workers in a one room office in Fairfield, to a staff of seven full and part-time employees in a new home in Norwalk’s historic Mathews Park. Here we work throughout the year to bring services and programs to the arts and culture sector.

We strive to get to the heart of what the sector needs to remain strong—like advocacy. For over a year, we worked with Americans for the Arts to produce a report on the economic impact of the arts in Fairfield County. This report helped make the case that “art works.” It’s a business that has a positive effect on our communities, bringing not only cultural benefits, but a significant economic impact as well.

Our Executive Directors Network and Marketing Roundtable are highly valued as being a place where professionals in the arts and cultural sector can come together to

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.

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Cultural Alliance’s new home in the Gate House at Mathews Park

learn and build working relationships. Our semi-weekly professional newsletters for organizations and artists are regarded statewide as excellent sources of information. The multitude of workshops we have presented over the past six years for both nonprofits and artists, have taught everything from how to create a website, to how to design programs that engage communities, to how to build relationships with businesses.

Arts and culture play an essential role in our lives from childhood through our senior years. They bring us together and create strong, cohesive communities. The organizations, artist and creative businesses that make up the membership of the Cultural Alliance produce the experiences you all enjoy.

We are dedicated to keeping our members healthy and keeping Fairfield County a thriving, desirable place to live, work and play.

So think of the Cultural Alliance the next time you’re at a concert of your favorite band or orchestra, watching your child’s school play, or attending a lecture at your library. The Cultural Alliance may be behind the scenes, but now and then it deserves a big shout out! Parting is a little sad, but I am proud of what the organization has become. See you around Fairfield County—I’ll still be using FCBuzz. org to find great things to do!

29TH PALM BEACH INTERNATIONAL

March 2O-23

OVER 600 BOATS ON DISPLAY

Along the Intracoastal Waterway in Downtown West Palm Beach is The Scene for one of the greatest gatherings of water craft from 10’ to over 200’. See the finest new & pre-owned yachts, the latest marine electronics, accessories and supplies all in the most beautiful boat show setting in the world. It’s fun for the whole family. Attend the IGFA School of Sportfishing seminars, fishing activities for the kids, enjoy the live music, fashion shows, food, and drinks!

West Palm Beach is easy to access with FBOs and the Palm Beach International Airport just minutes away.

Consider Palm Beach County for your next getaway and enjoy the great nightlife, hotels, spas and beaches.

Owned & Sponsored By:

Presented By:

Sponsored By:

Great Hotel Deals, discount tickets and all the details: www.showmanagement.com (800) 940-7642

events + gatherings

Nile Rodgers and Gay Tice

Kicking Off Fairfield’s 375th Anniversary with the Fairfield’s Rockin’ Top Ten Exhibit

T

Chris Frantz’s drums from his Talking Heads days, alongside Tina Weymouth’s guitar from the Tom Tom Club

o kick off Fairfield’s 375th Anniversary, The Fairfield Museum and History Center presents a new exhibition Fairfield’s Rockin’ Top Ten, sponsored by First Niagara Bank, Deej and Deborah Webb and WPKN Radio. For more than 75 years, some of American most renowned musicians have called Fairfield and surrounding communities home. Many have created some of their best work here.

Fairfield’s Rockin’ Top Ten on view through April 28th, celebrates 10 musicians who have helped create our communities musical legacy and features rare photographs, music videos and iconic artifacts from a diverse list of artists, including: Nick Ashford & Valerie Simpson, The Remains, Leonard Bernstein, David Brubeck, Jose Feliciano, Chris Frantz & Tina Weymouth, Richard Rodgers, Nile Rodgers & Bernard Edwards, Keith Richards and Donna Summer. The ten musicians were chosen because they were significant artists with recording careers going back at least 25 years (a criteria used by the Rockin Roll Hall of Fame) and had homes or lived in the Fairfield area (including Westport, Weston, and Wilton).

For more information about the exhibit and other upcoming events, please call 203-259-1598 or visit our website at www.fairfieldhistory.org

Nile Rodgers and Jose Feliciano

Chris Frantz, Tina Weymouth, Nile Rodgers, José Feliciano, Chip Damiani, musician and producer Robert Steven Williams, Fairfield Museum Executive Director Michael Jehle

Deborah Webb, Rafael Ferrer Tina Weymouth and Chris Frantz of the Talking Heads.

Nile Rodgers and Chris Frantz CONTEMPORARY CULTURE//MAGAZINE 23 On display José Feliciano, “cuarto” guitar used to record his classic, “Feliz Navidad”

“Chip” Daniani of The Remains, who opened for the Beatles US Tour

Photographs: Chad Anderson

events + gatherings

Kelly Downey, Tracey Thomas, Igor Cok, Geoff Thomas, Reina Lima

Nick Daly and Maria Kreyn

David Foox, featured artist & Phillipe Artus Hoerle, host of party

Miami Art Week/Art Basel 2013

Venü Magazine celebrated the paintings and artwork of David Foox, aboard the megayacht, “Bad Girl” in Miami Beach, hosted by Phillipe Artus Hoerle. David Foox was Venü’s cover/feature story for the November/December 2013 issue #21, which was also found throughout Miami and at the fairs. Venü Magazine was media partnered with: Art Miami, Context and Miami Project; Plus at David Foox’ solo painting event held at the Soho Beach House, Miami.

David Foox

Natasha Berg & Kelly Downey

Venü Magazine’s Tracey Thomas with Captain Don Anderson, of the mega-yacht, Bad Girl

Venü Magazine’s Tracey Thomas with Captain Don Anderson, of the mega-yacht, Bad Girl

Valerie Veatch and guest

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Photographs: Keziban Berry

CONTEMPORARY CULTURE//MAGAZINE

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Travel + Leisure: SouthEast Destination ASIA NorwaY

Photographs by Adam Allegro

Food for thought... at a street market in Hanoi

Finding Enlightenment Along the South China Sea

A

by Cindy Clarke

ccording to Buddhist teachings, Buddha means “enlightened one.” It’s a distinction that ordinary mortals can aspire to and even attain if they faithfully follow the teachings of the very first Buddha, who sought spiritual enlightenment through the denial of worldly pleasures. While I didn’t exactly deny myself of any worldly pleasures on my recent trip to Southeast Asia with Tauck, I did find enlightenment, even a hint of nirvana, along the way.

Buddhism is a lifestyle philosophy that is more about happily surviving, than materialistically thriving. Buddhists are mindful, not wasteful; grateful, not greedy; and they are infinitely tolerant of so many things others couldn’t or wouldn’t naturally abide. Buddhists believe in the sanctity of the moment, not in the promise of what comes next. To them, nirvana is not something attained only in the afterlife. It exists, I’m told, in the quality of the moment.

During my three-week odyssey to Singapore, Vietnam and Hong Kong, where Buddhism is commonly practiced, I experienced a new perspective and understanding about the heart of a people all-too-often historically and horribly repressed. Their “when life hands you lemons, make lemonade” attitude made it easy for me to imagine that Buddha could be walking among us at any given moment in unexpected places.

The first stop on my journey inward was Singapore, where I arrived surprisingly intact after a 23 ½ hour journey that sped me across the international date line and moved the clock ahead 13 hours. That I could survive a marathon of flights and join 30 other travelers upon my arrival for a festive dinner and

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Ferris wheel ride over the city was my first, albeit shallow, enlightening discovery. Many more unexpected revelations would follow, becoming more eye opening with the passing.

Singapore is surreal, a Jetson-inspired city of modern architectural triumphs, steel trees and biospheres of nature. Here too is glamour, played out in an elite procession of pay-for-the-privilege of owning ($100K and up), getting a permit (another $90+K for 10 years only) and driving Porsches, Lamborghinis, Mercedes and BMWs that cruise along impeccably maintained streets, lined with luxury boutiques and grand hotels favored by the very rich and famous. I stayed in one of the city’s signature icons, the tritowered Marina Bay Sands Hotel that literally tops any other hotel experience around, thanks to its 150-meter long infinity edge swimming pool that crowns the ship-shaped rooftop sky park on the 57th floor. Bars and restaurants aside, getting high takes on a new definition up there. The hotel is a key part of Singapore’s convention destination aspirations, and fronts an opulent casino and underground shopping mall that harken to an upscale Las Vegas. It’s hard to believe that you’re in a tiny Asian nation far from anywhere when you see all the technological and indulgent innovations at work everywhere you look, along with designer dressed men and women in the latest haute couture.

But venture outside and you’ll find authentic glimpses of traditional culture, contained in small neighborhoods ethnically populated, in Chinatown, India town and Arab street; restaurants serving up specialties of the sea that are swimming in a tank mere moments before they’re floating on your plate; and

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Travel + Leisure: SouthEast ASIA

in temples and museums, chronologically designed to pay tribute to centuries of artistic achievements past. Explore as you wish because your safety is virtually assured in Singapore. It’s a lawful place, almost impossibly so, with zero tolerance for drugs, disarray, dishonesty or disgusting habits of any kind. On a walk through the tight streets of Chinatown, I happened upon a merchant selling fragrances of all scents and brands at discount prices. “Are they the real deal?”

I asked as if I would get an honest answer. Taken aback, the vendor replied that they do not sell designer fakes in Singapore, “It is strictly forbidden.” In a country that even forbids chewing gum without a doctor’s prescription, I believed him, made my purchase and left, enlightened again and smelling ever sweeter, all the while smiling at the carefully controlled locals, who, I was convinced, may have harbored not a few aspiring Buddhas in their midst.

V

ietnam sailed into view a few days into my voyage on the South China Sea in the form of fishing boats, battered and blue, tossed about like bath toys by large swells created by a monster typhoon that had barreled through these waters not more than 48 hours before. I was settled in my cabin aboard Tauck’s elegant yacht, Le Soléal, my balcony affording me salt-weathered oceanfront delights that buoyed my spirits and sometimes settled my stomach. I was excited to see what waited on the horizon. Shaky moments notwithstanding, my two days at sea were passed in blissful reverie as the yacht’s oh so French crew baked, sautéed, and poured culinary treats and wines that nourished me, body and soul. Was this nirvana?

If not, it was pretty darn close.

We sailed up river and docked in Ho Chi Minh City, Saigon to most of us, early on the morning of day five in time to see the port city wake up to a new day. War-tainted images from the 1960s clouded my view as I walked off the boat, my own proverbial boots on the ground in a place I never thought I would be free to explore. Most of what I saw was nothing like I had envisioned from grainy TV footage of American GIs fighting an unpopular war, with the exception of a few buildings indelibly burned into my memory. They included the Reunification Palace where some 50+ years ago the eyes of the world watched a helicopter lift off our troops and South Vietnamese allies to safety as they fled from the North Vietnamese tank that crashed through the front gate. I saw both tank and helicopter frozen in time on the grounds of what was now the city’s most popular tourist attraction. And I listened as several of my veteran traveling companions wondered out loud why we would spend so much time in a place where we officially lost a losing war.

Saigon streets today swarm with cyclos, masked riders fashionably attired, zipping to and from work en masse, along with the errant farmer or two, cone

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hatted, oversize woven baskets precariously balanced and bulging with fruit, bread, even caged hogs and large appliances, as they maneuver their motor bikes to market. I shuddered to think what would happen if we were to attempt to cross the street, but, I was informed, all we needed to do was keep calm and walk on. The riders move past, not into, you deftly, swiftly, without hesitation or an accidental hit. We gamely opted out of venturing into the fast lane to test out that theory, instead choosing to wander through a bewildering maze of live snacks, jewelry, dish towels, dolls, toaster ovens and TVs in the packed Ben Thanh market where anything and everything is for sale.

We anchored next in picturesque Nha Trang. We went inland by small boat and bus for a glimpse of village life, in a land where ancestral lives are honored eternally at in-home shrines and families live with their aging loved ones in three-story homes just one-room wide. The elderly are revered in Vietnam, taking their rightfully earned place at the head of the family and cultural table.

It was humbling to see the care and courtesies extended to the older generation, who lived out their days without fear of being alone. Children are equally cherished, precious gifts that ensure families’ futures. We danced and sang with a schoolyard full of kindergarteners, their joy at our visit beaming across their faces. I was interested to hear that the government is now stepping in to provide milk to schools, a dairy product in scant supply, in an effort to help their physically small population grow a bit taller. That the Vietnamese people are commonly lactose intolerant is another issue altogether.

Photographs by Adam Allegro

From left to right: Faces of the future on a street in Hoi An; Hong Kong nights; Duck herding in rural Vietnam; Guarding a water buffalo in a Hoi An rice field.

B

ack in the United States, I often crave Vietnamese fare. By nature lighter and deemed healthier than its Chinese counterpart, it is characterized by its fresh ingredients, minimal use of oil, and reliance on herbs and vegetables. Shrimp paste and fish sauce commonly flavor pho noodle soups and stews, sticky rice is ever present, and fresh fruit is a favorite dessert. I couldn’t wait to savor their culinary specialties in their own country.

But wait, I was advised, before dining out on my own. Because of a long history of poverty and warfare, the locals are apt to eat things you may have never considered edible; everything is game in Vietnam. It is always wise to inquire where the dish came from and what it was made of, because (forgive me, Tom Hanks) their food could be like a box of chocolates, you never know what you are going to get. Come to think of it, I hadn’t seen many living creatures on our countryside excursion, save the one tethered steer I saw being closely guarded by a farmer, and a few small dogs sitting obediently, some chained,

Everywhere our ship docked I sensed it, the resiliency of a people who survived the unthinkable and thrived in spirit, facing adversity with a calm determination to find the bright side and carry on unfettered by their challenges. on the stoops of their owner’s home. I heard birds, choruses of them, nesting unseen in huge cement towers built to provide them safe harbor next to the waterways they frequented, and where their empty nests were collected, packaged and sold as the coveted ingredient for bird’s nest soup.

I had my chance at long last to feast on a banquet of local specialties prepared from familiar ingredients at a riverfront restaurant that wowed with regional ambiance and cuisine. And it was nirvana in a parade of plates of steaming vegetables, spiced chicken, sticky rice, noodles, dumplings and local La Rue lager. The restaurant was tucked at the end of a private road outside of the picture book town of Hoi An, a World Heritage Site. Hoi An is an ancient port city of infinite charm where life has changed little over the centuries. Temples, pagodas, teahouses and merchants’ homes line narrow streets with a plethora of shops selling treasures, hand made, and clothing, custom tailored. The covered crimson red Japanese bridge was a must see, having been in existence since the 16th century. We saw it from a distance. Floodwaters rushed through town fed by a heavy soaking rain, remnants of the area’s recent typhoon, prompting our hasty exit. While we ran for cover, a rainbow came out, not skyward, but on the

backs of bicyclists and motor bikers who had donned ponchos of pink, green, purple, yellow and blue, brightening an otherwise dreadfully soggy day. Their houseboats too were painted in colors of the sea and sky, and while they were designed to blend in with the water, to my eyes they were a statement of hope and harmony in a place where fortunes were few and hard to come by.

Everywhere our ship docked I sensed it, the resiliency of a people who survived the unthinkable and thrived in spirit, facing adversity with a calm determination to find the bright side and carry on unfettered by their challenges.

I was impressed. Would I find Buddha here? We languished happily in Ha Long Bay, a geologic wonderland of limestone beauties on the bay, where floating villages include a schoolhouse, a store and homes of contented boat people who welcomed us with oar-powered sampan rides and a meal of fresh fish, fruits, and more sticky rice. We walked along wind-swept China Beach, renowned as the oceanfront R & R destination for American GIs in the Vietnam War, now a getaway destination for summering Russians, drinking in the surf, sand and warm hospitality of its residents. We visited workshops staffed by victims of Agent Orange who smiled shyly as they thoughtfully crafted things of beauty in silk embroidery, lacquered trays and jewelry, finely made and precious in substance and style. And we went inside temples where all religions were welcomed under the one knowing eye of a beneficent being.

In Hanoi, once enemy territory for Americans, front line battles of old were long over. We paid our respects at Ho Chi Minh’s tomb, strolled through the Temple of Literature and lunched in official Vietnamese splendor at the elite Press Club, before boarding six-passenger golf carts for a wild ride through streets equally bold and amazingly old, named in the traditions of the 13th century trade guilds that claimed them and the wares they sold. We ended our visit at the Hoa Lo Prison, infamously known as Hanoi Hilton, a prison camp of endless wartime atrocities. It was here where I discovered too just how resilient we were. We stood in the cell where John McCain was imprisoned for 5 hard years, socialist Vietnam propaganda playing on the TV screen over head, and realized how enlightened we had all become after living through the aftermath of questionable wars fought in far off lands.

Leaving Vietnam behind, we cruised a rough sea en route to Hong Kong, a land of plenty and ex-pats. Our Kowloon Harbor hotel fronted a seaside promenade of art and heart, played out in boardwalk sculptures and a light show that once again illuminated my thoughts about these Asian countries. Shops brimming with jade and jewels mingled with stalls of genuine fakes of any brand you could think of, giving “made in Hong Kong” real meaning. We lived and ate like royalty here in this city of the future, agreeing that China was no longer a world away but a big part of our world.

I found myself enlightened once again as I boarded my flight back to the U.S. wondering how many times I may have passed Buddha during my travels.

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STYLE: ARCHITECTURE

Photographs by: Jonathan Wallen

Designed by David Easton, this Library is fabricated by SYMM using English Oak.

A window detail taken from inside the Model Room of The New York Yacht Club, on 44th Street. Warren & Wetmore (1898 – 1901)

BEAUX-ARTS New York A Monumental Style of Architecture

BY PHILLIP JAMES DODD

I

n the history of the United States, the Gilded Age - a term first coined by Mark Twain - is associated with an era of unparalleled growth, prosperity and cultural change. Mansions in Newport, F. Scott Fitzgerald’s The Great Gatsby, and the creation of the modern metropolis that we now recognize as New York City. Spanning from the 1880’s to the 1930’s, this period is also fittingly referred to as the American Renaissance.

The word renaissance simply means “rebirth” in French. It’s earliest manifestation, the Italian Renaissance of the 15th and 16th centuries, marked the transition from the Dark Ages to a more modern and enlightened Europe. At the center of this rebirth was a renewed interest in the culture of classical antiquity, technological advancement (sometimes new, and sometimes rediscovering techniques not used since ancient Roman times), and a concentration of wealth amongst the ruling elite – Barberini, Medici, Farnese and Borgia.

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Fast forward some three hundred years, and 4,000 miles across an ocean, we find a nation experiencing a similar transition – an American Renaissance. This was an era of vast immigration from Europe, and with the advent of the industrial revolution, it represented a transition from a rural society to an urban nation. Nowhere was this change more evident than in New York where in the space of 70 years the city’s population exploded from 123,000 in 1820 to over 2 million in 1890. And just like in the Italian Renaissance, New York was ruled by an elite group. These were the titans of American finance and industry whose unprecedented, and unchecked, power and wealth was supreme in the land - Astor, Carnegie, Morgan, Rockefeller, and Vanderbilt. To this wealthy elite, it was not enough that the city merely be the nation’s financial capital. Their collective dream was to create a new city, a new metropolis that would also become the nation’s cultural capital.

Simply put, their dream was to create a new Paris on the Hudson – and to do that they needed an architecture rich in grandeur, full of historical reference, and dripping in embellishment, to flaunt their wealth and power to the world. Enter the Beaux-Arts style.

The Beaux-Arts style came to The United States, and in particular to New York, at precisely the right moment. Although the phrase is nothing more the French for “fine arts’, it has come to identify a particularly monumental style of architecture that can be found in many of New York’s greatest landmarks. It is fair to say that these buildings have elevated themselves to become not just monuments located within New York City, but monuments of New York City. They were intended to be a testament to their age – to the bankers and industrialists that commissioned them, the architects that designed them, and the technological advancements of the day that allowed architecture to reach for

A view of ramps leading to the lower level at Grand Central Terminal, at 42nd Street and Park Avenue.

Warren & Wetmore (1904 – 1914)

STYLE: ARCHITECTURE

the stars – both physically and metaphorically. Grand Central Terminal, The New York Public Library, The Metropolitan Museum of Art, The Flatiron Building, The Woolworth Building and numerous others.

In the next several issues of Venu, we will we will take a closer look at a number of these landmarks. Accompanied by sumptuous images by renown architectural photographer Jonathan Wallen, we shall take a glimpse inside these architectural masterpieces, learn a little about the people who designed them, and tell the fascinating stories that each of them share – some scandalous, some mere rumor, and some so notorious that have become intertwined with the story that continues to be New York City.

But to understand these buildings, we must understand the Beaux-Arts a little better. Americans had turned to Paris for instruction in the arts as early as the Napoleonic era, and in time Paris was to supplant London and Rome as the principal training ground for those who would be architects, artists or sculptors.

By the 19th century the epicenter of this training was the venerable Ecole des Beaux-Arts in Paris. Training at the Ecole emphasized the classical architecture of Ancient Greece, Imperial Rome, the Italian Renaissance, and French and Italian Baroque and Rococo design. This often resulted in an eclectic amalgamation of classical historical styles – which in time would become distinctly American, as this nation sought to create its own architectural identity. With the training also came a knowledge and an understanding of the art of architecture, and the collaborative integration of the arts - with architects, artists and sculptors working side-by-side together on projects. As John Ruskin preached, “no person who is not a great sculptor or painter can be an architect. If he is not a sculptor or a painter he can only be a builder.” This was fundamental to the Beaux-Arts way of thinking, and it is this artistic collaboration that historian Henry Hope Reed believes is the reason why New York, in particular, adopted the Beaux-Arts style. “What draws us to these buildings and monuments, what commands our wonder, is embellishment. It is the key element in bringing visual delight to our great city.” This visual delight helped create the civic pride, ceremony and high drama that the city’s elite demanded.

This visual delight told visitors that this was no sleepy little hamlet – but that this was New York City.

It all started with Richard Morris Hunt, designer of the Metropolitan Museum of Art and the pedestal on which the Statue of Liberty rests. Hunt was the first American to study at the Ecole des Beaux-Arts, both before and after the Civil War, and was quickly followed by Henry Hobson Richardson - best known for working in the Romanesque style and designing Trinity Church in Boston. Then next, and perhaps most importantly, Charles Follen McKim – founding partner of the great architectural firm of McKim, Mead and White, who together with his partner Stanford White are arguably the two people most responsible for introducing the Beaux-Arts style to America and New York City. The Metropolitan Club, The University Club, The Washington Memorial Arch, the City Municipal Building, The Morgan Library, The Brooklyn Museum, the campus of Columbia University, the

Photographs by: Jonathan Wallen

Although the phrase is nothing more the French for “fine arts’, it has come to identify a particularly monumental style of architecture that can be found in many of New York’s greatest landmarks.

Top, A detail within the Entrance Hall of The University Club, located on the corner of 54th Street and 5th Avenue. McKim, Mead & White (1896 – 1899). Top right, The entrance façade of The Century Association, on 43rd Street. McKim, Mead & White (1889 – 1901). Bottom, The Washington Memorial Arch, located in Washington Square on the campus of NYU. McKim, Mead & White (1889 – 1905).

long gone original Madison Square Garden (which was actually located in Madison Square), and perhaps the grandest of all of the Beaux-Arts buildings - Pennsylvania Station (sadly demolished in 1963) - were all penned by these two architectural heavyweights.

By the 1890’s Americans made up the largest foreign contingent studying architecture at the Ecole. During these years a whole generation of future great American architects passed through its design studios: John Carrere (who together with Thomas Hastings was responsible for The New York City Library), Ernest Flagg (architect of the Singer Building), and Whitney Warren (principal of Warren and Wetmore, the architects of Grand Central Terminal). Absent from this list is the great Stanford White, who although did not attend the Ecole, made sure make that his son attended and received the education that he did not.

When asked about the influence of the BeauxArts in the architectural legacy of New York, Charles McKim responded, “by conscientious study of the best examples of classic periods, it is possible to con-

ceive a perfect result suggestive of a particular period for a particular place.” And that’s just what they did.

With the city as their canvas, the Beaux-Arts style as their medium, and the Ecole trained architects as their brush, Astor, Carnegie, Morgan, Rockefeller, and Vanderbilt would indeed flaunt their wealth to the world, and create their Paris on the Hudson.

Phillip James Dodd is a well regarded expert on classical architecture and interiors, whose designs can be found in Manhattan, Greenwich and Palm Beach. He is also the author of the highly acclaimed The Art of Classical Details.

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WINE + SPIRITS

SpikedSeltzer

Breaking new ground, Gluten-Free Alcohol

S

SpikedSeltzer

pikedSeltzer is breaking new ground in the gluten-free alcohol beverage industry. While technically a beer, SpikedSeltzer sure doesn’t taste like one. It’s incredibly light and dry, with an all natural lime flavor that’s perfectly crisp, not sweet or overpowering.

Since SpikedSeltzer does not contain barley, wheat or sorghum, it’s 100% gluten-free. This genius new cocktail is made by cold-brewing a blend of natural sugars to dryness for a taste somewhere between a vodka soda with lime and sparkling wine.

Inspired by his daily rowing on the clear waters of the Saugatuck River in Connecticut, fifth-generation brewer Nick Shields saw the possibility of creating something that would be simple and light - a compliment to the active lifestyle that he lives with his family.

Utilizing his decades of winemaking, and background in Food Science, Nick spent the next year refining the recipe at his home in Westport, CT. Over 80 small batches later, SpikedSeltzer West Indies Lime was ready for the bottle. Nick then partnered with his good friend and finance veteran, Dave Holmes, to build a company around this amazing idea. After an overwhelmingly positive launch at the Greenwich (CT) Food and Wine Festival in 2013, SpikedSeltzer was finally relseased into the world... Nick and Dave reside with their families

in Westport, CT and Rowayton, CT respectively. When not pouring samples, Nick and Dave might be rowing on the Long Island Sound or piloting Cessnas across it.

SpikedSeltzer is currently sold in Connecticut, New York and Florida and is growing quickly, thanks to the great reception of its many supporters. In the coming months two more flavors will be released - Indian River Grapefruit and Valencia Orange, both flavored with all-natural, locally sourced, cold-pressed fruit. SpikedSeltzer is currently sold in a clear glass 12 ounce bottle, with quotes found under the twist-off cap. If you’d like, you can submit your own message on the “Caps” section of the website - the Company will put it on the next production! SpikedSeltzer will be available in cans this summer. A list of retail stores can be found on the company website at www.spikedseltzer.com/retailmap.

At SpikedSeltzer we believe that simple and natural is just better. As always, have Fun and please drink responsibly, and enjoy!

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APPETITE: The New 42

42’s North Dining has a new vibe

Chef/Restaurateur Anthony Goncalves

Third time’s the Charm at the new 42 Still unrivaled atop The Ritz-Carlton, Westchester Written by Cindy Clarke Because we’ve covered 42 in Venü twice before, we knew we were in for a feast that defied comparison when we returned to Anthony Goncalve’s restaurant for a Chef’s Choice dinner. What we didn’t expect was the complete transformation of the formerly formal upscale dining room into an intimate “welcome to our home” eatery where the chef was apt to join you at the table. 42 still reigns unrivaled over the White Plains skyline from its coveted perch atop the The Ritz-Carlton, Westchester; the views outside are as jaw dropping as ever. But it’s what’s inside that gets your appetite revved up for an experience that is as fresh and expressive as its art-inspired décor.

42’s South Dining Room

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A brilliant collection of boldly colored graphics, free spirited and provocative, and hand-painted by a little known talented artist, Elizabeth Bannelos, who is more than ready for her close-up, hint at the creativity gone wild culinary adventures that have evolved since we were last here. Gone is the over-the-top 13+-course gourmet tasting menu that, not surprisingly, never failed to effectively silence every insatiable critic. In its place, a menu of small plates with big attitudes has taken over.

Take the “Eat Me With A Fork” roasted pepper brioche soup that sent our spoons back to the cutlery drawer. Or the spicy candy pork belly that married bacon with fruit to sweeten our palates for more unexpected taste sensations. Our bone marrow, smoked and roasted to perfection, was dressed with Calabrian spiced pickled mushrooms, our garlic shrimp arancini rice balls flirted with a seductive scallion aioli, and the calamari, accented with cherry pepper caramel, grilled octopus and a tater tot, was like “a party in my mouth” exclaimed one of us. The fried lobster, bedded on creamed

Small Plates with Big Attitudes

spinach, and dusted with a tease of piri piri powder, sultry peppers from Africa and a yucca chip, actually broke the rules of self-control as another one of us almost burst out in a happy song.

Had he come by our table at that moment, Chef Anthony would probably have loved to hear us in party mode sing for our supper. He is all about giving into your passion and thinking out of the box. He is known for drawing his inspiration from his family’s traditional cooking, adding his own interpretation, reinventing it and giving it a kick to make it his own.

And he is a huge fan of music… and parties.

He told us that he now caters intimate kitchen dinners at “43,” designed for private glass-walled parties of four, to the tunes of the greatest rock and roll bands, because, cooking, like music, “is all about expressing ourselves.”

“There’s something about having people join you in the kitchen as you cook, music playing, that elevates the entire experience to a new level,” explained Anthony, his love for what he does blanketing his words. “You can feel your guests’ excitement when you let them become a part of the process. We show them how we cook,

Photographs by Bryan Bedder

Portuguese Fried Chicken (Thigh, Garlicky KALE, Cheddar Cheese GRITS, Tomato HONEY)

Halibut Socorrat (Saffron, Shrimp Chourico, Scallops,Clams, Parmesan)

The views outside are as jaw dropping as ever. But it’s what’s inside that gets your appetite revved up for an experience that is as fresh and expressive as its artinspired décor.

let them see what goes into the dish and when, and then serve it to them right there. It’s an odyssey of food and fun that’s more like a journey than a dinner out. It’s a trip for everyone!”

Speaking of odysseys, this maverick “maestro” chef plans to expand on his music-themed culinary repertoire by bringing in A-list DJs to spin the platters for partygoers while he serves up pleasure filled cocktails and plates like the ones we sampled. Which is music to our ears after enjoying his newest creations.

Get in the mood with the cocktail creations expertly stirred and shaken by 42’s impressive 23-year-old bar keep, who concocted a festive drink, pretty in pink with Brazilian rum, infused with

The Mezzanine Lounge’s “HER” series

by Artist Elizabeth Banuelos, and a commissioned Kurt Kobain art tabletop, by artist Jenna Morello

beet juice and a secret house 7 spice. Next, think Iberian pork chops with citrus pear mostarda and duck “steak” fried rice topped with a perfectly poached egg for the carnivores in our crowd; parsley cavatelli, homemade and kissed with butternut squash Bolognese and pecorino flakes, and Halibut Soccarat, with saffron shrimp chourico, scallops and clams for our vegan buddy. Then take a “Time Out” as you sip a thyme-flavored grappa with notes of lime syrup and ginger.

Add in some of the most tantalizing baked goods we have ever succumbed to, from our starter basket of fresh-baked, handcrafted artisanal breads to desserts that showcased the talents of former “Top Chef Just Desserts” contestant Melissa Camacho, including a decadent white chocolate panna cotta with kaffir lime curd, cornmeal pound cake and coconut sorbet, “42’s Best,” a s’more tart of graham cracker sable, hickory ganache and chocolate soufflé and “The Bar,” three deconstructed candy bars that redefine snickers, milky ways and Reese’s peanut butter cups. Breakfast lovers shouldn’t miss Melissa’s melt-in-your mouth bite-sized jelly donut desserts, powdered and perfected to prove to her old TV show judges that she can compete with and conquer the best of them; hands-downs, mouths-full, she got our vote.

And so does Anthony Goncalves’ newest direction in dining.

“I started out in this business mirroring what the top chefs in Europe were doing. And I loved surprising my guests with textures and tastes that took dining to new heights. But as a father and family man, I treasure those moments around the dining table, where everyone comes together to enjoy the experience. Dining is a real family affair and at the end of the day, it’s about the meal and the memories that you share.”

Teamwork is key to the new 42, because as Anthony readily admits, it takes the talents of each one of his 42 family to create the experience he wants to deliver to his guests. Along with their creative cookery under menu headings like “Shares” (for starters), “Split” (for family-sized pasta plates), “Graze” for salads, “Follow” (for entrees), “Sides” of cheddar grits and manchego herb fries, and “Seafood” fresh from the sea and shell, you can “Enjoy” (daily specials) old-time favorites every day of the week.

We went back to 42 on a Wednesday, but didn’t get to “Enjoy” the special of the day.

Wednesday, it turns out, is Spaghetti & Meatballs night, which only means one thing. You just may see us sitting around the table with Anthony and his 42 family as we share what undoubtedly will be the most memorable spaghetti dinner we’ve had in a long time.

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FEATURE

Building small boats at the Alexandria Seaport Foundation means building better lives for everyone involved.

Doing Big Things With Small Boats

Charting Life-changing voyages out of Alexandria, Virginia to Mystic, Connecticut and beyond

By Cindy Clarke

I

t was the tidy floating office – a handcrafted deck barge, picture-perfect post and beam woodworking shop below, soaring loft office above, sitting prettily along the Old Town Alexandria waterfront – that first drew us to the Alexandria Seaport Foundation. Peering in the windows, we saw the bones of a small boat, ribs fanning out in the precisely bowed fashion of a little nautical gem. From our vantage point it looked to be patiently awaiting the finishing touches of a master boat builder who would one day, soon, it appeared, set her afloat in the river out back. We wanted to know more. Little did we imagine that it would take us on a whale of a voyage rife with maritime history, linking a legacy of mariner traditions from south to north, past to present, with seafaring lore, ocean conservation and historic preservation efforts aboard one of the most impressive wooden boats to ply the waters today.

Great stories are found everywhere. They are born in the places that intrigue us, nurtured by the people who impress us, and retold time and time again, becoming richer and more enthralling with the telling.

Such is the crux of this mariner’s tale, a happenstance meeting about a hands-on project destined to change lives and perspectives, not just in the small riverside city of Alexandria where it found its legs, but seaward, charting a 39

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course from Virginia to New England with a sense of seamanship and purpose that speaks volumes about our nation’s maritime legacy.

The Alexandria Seaport Foundation helps at-risk and disadvantaged youths improve their lives through boat building apprenticeship programs, on-the-water conservation and project-based academic instruction. The organization started as a local community outreach group. But as its programs grew so did its aspirations. It was founded in 1982 to honor Alexandria’s maritime culture through a tall ship sailing program and boat building classes. Its focus expanded to include river-related environmental programs and small boat building apprenticeship programs. In 2013, under the leadership of Executive Director Mari Lou Livingood, the foundation launched STEM on the Potomac, an on-the-water program to teach science, technology, engineering and math and connect urban students with the natural resources of the Potomac waterway.

Everything about their programs is hands-on and heartfelt. Kids find their center as they saw, secure, sand, stain, paint and polish raw wood into seaworthy vessels, sleek and sturdy, capable of ferrying able-bodied crews of wannabe sailors, scientists, engineers, environmentalists and more from shore to sea and back again, safely. Mentors, men and women of fascinating backgrounds, mili-

FEATURE tary, professional and corporate ranks included, voluntarily share leadership skills and career guidance as they work together, side by side, reseeding river beds, crafting small boats and promising futures from traditions, centuries old.

For the past year, they have been hard at work building a whaleboat for Connecticut-based Mystic Seaport’s Charles W. Morgan, the very last wooden whale ship in existence. The story of its place in New England whaling history, along with the Foundation’s efforts to navigate in a new era of conservationinspired causes, represents a growing wave of initiatives designed to restore our waterways to be as rich, healthy and abundant as they once were. This includes identifying and supporting ways to protect marine life, promote sustainable fishing practices, stop pollution and champion responsible stewardship among boaters, industry and the general public.

One might think that building a whaleboat is counter to everything that today’s ocean conservationists are all about. After all between the 18th and 19th centuries, the world’s once healthy population of whales was virtually decimated in order to keep lamps lit, machines oiled, women corset thin and whalers exceedingly rich. Yet, in spite of its horrific methods, industrial whaling was a powerful force in the evolution of our country, fueling not just the American economy, but launching a maritime culture steeped in stories of human drive, perseverance, success and failure.

The morality of our whaling history is not in question here, but it does play a powerful role in the thought process behind the organizations participating in the relaunching of the famous Charles W. Morgan whaleship, a National Historic Landmark. Say the folks involved in this far-reaching restoration saga, it not only enables like-minded groups to pass on traditions, knowledge and boat building skills, it represents an extraordinary opportunity to help our country remember and learn from its maritime past, salvaging the good from the not-so-good while charting a new course that raises awareness about natural and national resources that ultimately benefit us all.

The folks in Alexandria have been captaining this movement for decades, preserving the past to serve the present in many different ways. Its Old Town waterfront is a living museum of historic warehouses, townhouses and cobbled streets that date back to the late 1700s when George Washington was president and Alexandria’s port was the fifth busiest in the United States. Today you’ll find a new generation of mariners here, honing their craft, sharing passions and honoring pastimes important for the future, including replicating an opentopped, 30-foot whaleboat plank by plank, to exacting historic specifications for her summertime journey aboard the Charles W. Morgan. She will be one of seven boats enlisted for this honorary voyage, carrying with her the hopes and handiwork of the ship builders and young apprentices who built her.

Proud to be partnered with Mystic Seaport for this new chapter in whaling history, Duncan Blair, Co-chairman of the all-volunteer Alexandria Seaport Foundation Board of Directors, said that the combined efforts of the volunteers and apprentices who worked together on this project are living testimony to the power of community in effecting change and progress.

“When you witness, as I have, the transformation in the young people who have apprenticed in our programs, the experience has not only been positive and life changing for them, it has personally rewarded me with a depth of pride and satisfaction that is hard to put into words.” He added that the organization now has the unique opportunity to make its community story an integral part of the Charles Morgan story, a veritable fish tale (my words, not his) that is going to really make waves in the eyes of the nation.

Board member and longtime Foundation volunteer David Helgeson, a naval architect and marine engineer by trade, has been on board the whaleboat project from its blueprint days, remarking at how functionally beautiful and detailed it is in every regard and how it was built without waste of any kind.

“Everything on the boat has a function,” he told me, from the oar fittings to the harpoonist’s stand. He remarked that this kind of design foresight and discipline speaks volumes about the skills of mariners and sets a great example for young people considering a maritime career.

Everyone at the Foundation savored this project he admitted, telling me how the apprentices, many of them juveniles who faced daunting real-life challenges in high school or at home, beamed with pride when working on the boat.

“I have seen the young men who have worked on the whaleboat stand up in front of a room full of strangers and inspire them with unexpected poise and public speaking skills as they described, in depth, the history of whaling and the big picture importance of this voyage. No notes, no hesitation, just unbelievable pride,” said David. One of those young men also painted a mural-like Photo: Mike Lauterborn portrait of the Charles Morgan and a painting of a dory boat that impress with 41

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a stylized realism that shows just how much of a positive impact the boat building school has had on under-supported youth in Alexandria.

Before the Foundation’s whaleboat heads north, Director Mari Lou Livingood plans to first introduce it on Capitol Hill, where it will formally take its place in the living maritime history that is being reborn in Alexandria, Virginia.

The Charles W. Morgan is getting ready for her close-up too. She will return to the waters she called home for some 80 years, from 1841 to 1921, on her 38th voyage in July 2014. She will set sail from the Mystic Seaport in Connecticut to New Bedford, Massachusetts, dropping anchor at seven of her old haunts in between and relying on Mother Nature to provide the wind power she needs to navigate out at sea.

Onboard she will carry history and promise instead of a cargo of whale oil. Her crew will be armed with cameras, paintbrushes and pens, intent on harpooning stories, statistics and sightings of whales and marine life with an eye towards their preservation not their destruction. Her mission is to engage waterfront communities with their maritime heritage, raise awareness about the changing perceptions of whales, and further research about these gentle giants, whaling and whaling peoples. Like those voyages of centuries past, dreams of striking it rich will keep spirits buoyed, senses heightened, but it is the essence of those wishes – passing on tales, tools and techniques, gifts from the past to secure our present; ensuring sustainable fishing practices; promoting conservation; and showcasing the power of community collaboration – that will ensure treasures beyond compare.

One of the dedicated men behind this modern-day saga is Matthew Stackpole, whose own family legacy of whale-time lore dates back generations to Nantucket, once the global headquarters for whale oil between 1750 and 1850.

Stackpole, whose father was the curator of the Mystic Seaport Museum and author of the whaling anthology, The Sea Hunters, and The Charles W. Morgan, The Last Wooden Whaleship, a noteworthy book earning recognition as the

Clockwise from top left: Alexandria Seaport Foundation apprentice Anthony Ness putting the finishing touches on the history-making whaleboat; the Charles Morgan drawing crowds at Mystic Seaport; the Charles Morgan in all her glory; putting the heart back in the Charles Morgan’s historic core; building small boats makes a big impact in Alexandria, Virginia; it’s all hands on deck, from blueprints to boat building, at the all-volunteer Alexandria Seaport Foundation.

definitive history of the ship, was born in Nantucket and grew up in Mystic, with the venerable Charles Morgan in his “backyard.” He played on the ship’s riggings, explored every nook and cranny above and below deck and dreamed of voyages they could share at sea. When he was tapped to join the team responsible for the restoration efforts of this historic vessel at the Mystic seaport address she’s called home since she was towed there in November of 1941, he was overjoyed and committed to the mission with the steadfast dedication of the salt-weathered mariners who came before.

“This project is personal, not because of my own family history with the Charles Morgan, but also because of the human part of this story and the lives it has and will touch,” he said, expressing his awe and appreciation for the hundreds of people who have come together to rewrite 250 years of history, becoming part of its legacy in the process. Her restoration was much like an archaeological dig, he told me, explaining how they uncovered ceiling planking and futtocks not seen since the ship was built, by hand, in 1841. The shipwrights who worked on her crafted and placed over 300 new futtocks in ribbed frame of the ship, each weighing in at a hefty two to five hundred pounds,

ensuring the structural integrity needed for her next history-making voyage.

“We employed tools and techniques from the past to carry her into the present,” he said, adding that this experience enables so many to feel a real part of something bigger than themselves.

“She is the last of her kind in the world, the one lucky survivor from a fleet of 2,700 whaleships. In 1941, she found a safe harbor at Mystic Seaport, one of the world’s only preservation shipyards, where more than have 20 million visitors have walked on her decks. When she at long last heads out to sea in July, she will take on a very different role than what she was originally intended for.”

She will be carrying a chosen few hundred voyagers, citizen mariners all, a few days at a time, for the experience of a lifetime and Matthew Stackpole will be part of the crew as the ship’s honored historian.

Mystic has played an important part in Connecticut’s economy since the 1600s when it was a center of shipbuilding. More than 600 vessels were constructed along the Mystic River between 1784 and 1919, with a good number of them built by five generations of the Mallory family. Charles Mallory, Fairfield County shipping magnate and owner of the Delamar hotels in Greenwich and Southport, Connecticut, sits on the board of trustees for the museum.

We asked him how he felt, as a direct descendant of ship builders who changed the course of Connecticut history, about the Charles Morgan’s new mission.

“The Charles Morgan project symbolizes all that is good about our world today. It stands for the resiliency of our great maritime resources, when thoughtful, mindful action is taken to ensure their survival. It evokes a sense of community, not just in Mystic or even in Connecticut, but throughout our nation in the places where all our volunteer boat builders and visitors to the Seaport reside. It pays tribute to our seafaring history and the hard-earned legacies of people who navigated tough times to give them, and ultimately all of us, a future full of promise. And equally important, it lets us learn from the past, our mistakes as well as our achievements, so that we can move forward with a renewed sense of purpose and pride.”

The word is getting out to ocean conservationists too who share the excitement and awareness this project brings. Among all their philanthropic work, ocean conservation remains a particular passion for David and Susan Rockefeller. David keeps watch on what goes on above the water with Sailors for the Sea, the non-profit organization he founded in 2004 “to educate and engage the boating community in the worldwide protection of the oceans.” Susan, through her work with Washington, DC-based Oceana, her documentary films, and her company, Susan Rockefeller, dedicated to the design and manufacture of seainspired jewelry and products that elevate, educate and raise global awareness about ocean protection and conservation, dives in to protect the natural treasures that swim below.

They believe in heartfelt causes that make changes and change outcomes to the keep the world vibrant, health and safe for all living things.

“We work to promote mindfulness, encourage creativity and honor traditions that inspire a lasting legacy of thought and deed for the next generation,” said Susan, delighted to learn that so many people have participated in the Charles Morgan restoration.

“We are all in the same boat together and we are always interested in creating a sturdy platform from which to talk about what is meaningful in our world and to promote opportunities that nurture learning and fulfill potentials.

Those of us who have navigated the past have a responsibility to share our experiences and wisdom with those just starting out so that together we can chart a course for the future. There’s a lot to be gained from sharing knowledge and strength between the generations. Mentors have the unique ability to guide and nurture the visions and passions of emerging young leaders who in turn have the strength and stamina to put them into action and see them to fruition. When you work together, anything and everything is possible.”

Susan Rockefeller, a tireless advocate for protecting what is precious, is oft quoted for her statement “small ripples create big waves of change.”

As founder of Sailors for Sea, David Rockefeller has made it his mission to galvanize the sailing and boating community around ocean health issues through core programs that connect knowledge with action. The Alexandria Seaport Foundation “does big things with small boats.” Mystic Seaport “strives to inspire an enduring connection to the American maritime experience.” Happily, we sense a unified all hands on deck theme here that is catching sail from Alexandria, Virginia, to Mystic, Connecticut and beyond.

We’re proud to be aboard.

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Cover Story

David LaChapelle: From Celebrity to Refinery 43

By: Laura G. Einstein CONTEMPORARY CULTURE//MAGAZINE

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Cover Story

David LaChapelle, Land Scape Green Fields, 2013, chromogenic print, 72 x 74 5/8 inches 182.9 x 189.5 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

David LaChapelle, Gas Am Pm, 2013, chromogenic print, 50 x 72 3/16 inches, 127 x 183.4 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

W Whether they are über celebrities or imposing oil refineries, fine art photographer David LaChapelle treats his subjects with iconic reverence as he skillfully orchestrates images of astonishing clarity, colorful vitality, and lyric expression. The message is decisive and bold yet it conveys the soft reveries of friendships lost through untimely deaths and once beautiful landscapes that have been debased by America’s lust for power and industry.

In his work from the 1980s, LaChapelle, a Manhattan resident at the time, delved into themes of religion, sex, death, politics, money and consumption. Since moving to Hawaii in the late 1990s,

LaChapelle – living on an organic farm that was formerly a nudist colony on the coast of Maui – has changed his focus to concentrate on the raping of our beautiful landscapes by private interests. The subjects have changed but LaChapelle’s reverence for them whether human or manmade remain strong, compelling, and evocative. Whether figurescape or landscape – his intentions remain similarly focused.

The title of LaChapelle’s current exhibition at the Paul Kasmin Gallery in New York City is, Refineries and Gas Stations on view from January 17, 2014-March 1, 2014. Noteworthy is the consistent size of the chromomeric prints – each at a monumental size of 50” x 70” – which intensifies the staggeringly impressive scenes that he creates.

This has been his chosen size since the late 1980s.

Portraiture was LaChapelle’s bread and butter during his early years in Manhattan. His images are notably color-saturated, glossy, and even then, larger than life. La Chapelle’s preferred process in the 1980s was cibachrome – a positive print process known for its sharpness and rich color saturation. Cibachromes are made from transparencies.

For LaChapelle, this process allowed for extremely

“The gallery has worked with David LaChapelle for several years. I first featured his work in an exhibition in 2009 and have now presented four shows with him. I am continually excited by his photographs and look forward to putting together many more exhibitions with him.”

– Paul Kasmin, Paul Kasmin Gallery, New York City 45

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Cover Story

David LaChapelle, Land Scape Riverside, 2013, chromogenic print, 72 x 93 3/8 inches, 182.9 x 237.2 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

David LaChapelle, Gas 76, 2013, chromogenic print, 50 x 66 3/4 inches, 127 x 169.5 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

high-gloss images that take advantage of a silver dye-bleach process that already exists chemically in the paper. Now, LaChapelle makes color prints from a color transparency that involves dyes and emulsion layers of silver salts to create luminous, large-scale prints. He was able to work between the two worlds of commercial art and high art –while his portrait images graced the covers of Vogue, Vanity Fair, GQ, and Rolling Stone, he would simultaneously have an exhibition in a gallery.

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Over his thirty plus year career, LaChapelle has become a master of the staged photographic set.

Using recycled materials, including egg cartons, tea canisters, and hair curlers among other recycled materials, he makes scale models that he then photographs, creating complex orchestrated scenes that he captures through the camera lens. The finished products become mélanges of light, color, and sparkle

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creating highly charged dramatic scenes. It is a daringly told story of the explosiveness of Manhattan and the East Village during the eighties morphing into the excessive entrepreneurial tastes of the oil magnates today.

David LaChapelle, a native of Fairfield, Connecticut, charged onto the art scene as a photographer for the legendary Interview Magazine in the 1980s having caught the eye of its founder, Pop artist Andy Warhol. LaChapelle and Warhol shared a taste for the fashion and celebrity scenes not as commentators or voyeurs but as bold collaborators in the surreal world of the New York art scene during the in your face climate of the eighties. LaChapelle’s figurescapes of icons such as Michael Jackson with white feathery wings attached to his back as he stands on a menacing red devil sadly portends his future.

This hero worship as subject changes into views of landscapes, evidencing through the medium of photography, a sensual, hedonistic view of both human beings and our ravaged landscapes. In addition to Michael Jackson, Courtney Love has collaborated with LaChapelle and remains a good friend as seen in their joint exhibition at the Lyman Allen Art Museum in 2013 titled, Mentoring Courtney Love: David LaChapelle and Courtney Love.

It was not uncertainty or ambivalence that kept LaChapelle in both worlds. LaChapelle was one of the highest paid commercial photographers earning millions of dollars for his advertisements and maga-

Cover Story

David LaChapelle, Gas BP, 2013, chromogenic print, 50 x 79 inches, 127 x 200.7 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

David LaChapelle, Land Scape Kings Dominion, 2013, chromogenic print, 72 x 96 inches, 182.9 x 243.8 cm, edition of 3. Image courtesy of the artist and Paul Kasmin Gallery. © 2013 David LaChapelle Studio.

IMAGES 2014, featuring David LaChapelle: IMAGES 2014 is Fairfield Museum and History Center’s sixth annual juried photography exhibition that celebrates the exceptional work of regional photographers. The show offers two categories -- Professional/Serious Amateur and Student Photographers.

zine shoots. It was his commentary on the East Village of the 80s, alongside Andy Warhol, Jean-Michel Basquiat, Keith Haring, Edie Sedgwick, and Robert Mapplethorpe among others. Last year, Fran Lebowitz stated at a talk in Fairfield, Connecticut, “The brilliant ones died too early. They were the ones who were having the most sex.” LaChapelle is still around to provide his own perspective of this era.

W Writing about LaChapelle’s 1988 exhibition, Your Needs Met, Cookie Mueller wrote in Art and About, “[the exhibition] was announced in the mail by a large card with the image of a child-man wearing a piece of fluff and framed in roses... The work was stylized mythic-religious-poetic: lots of hunks with angel wings in supplicant poses, innocent children and sweet madonnas attempting transcendentalism.”

LaChapelle wings were so ubiquitous in his images that they were considered part of his trademark.

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One piece in particular from this time paid homage to those afflicted with the AIDS virus titled, Angels, Saints and Martyrs, with a monochromatic depiction of naked bodies surrounded by orbs or beams of light defining the shadows, contours, and surface patterns of his nudes. The idea was perhaps to depict his impression of the afterlife as experienced by his less fortunate fellow artists. The work was part of an exhibition titled, David LaChapelle: Early Works from 1984 to 1987 that was shown at Michelman Fine Art in cooperation with Fred Torres Collaborations. This was a combined effort in 2011 with Fred Torres, Rebecca Michelman, Patrick Toolan, and David LaChapelle. These pieces set the tone for LaChapelle’s later work in that they combined his theatrical fantasy sets.

In 2006, LaChapelle decided to minimize his participation in commercial photography, and return to his roots by focusing on fine art photography.

Since then, he has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. He continues to be represented by Paul Kasmin Gallery in New York City.

Paul Kasmin commented on his relationship with David LaChapelle, “The gallery has worked with David LaChapelle for several years. I first featured his work in an exhibition in 2009 and have now presented four shows with him. I am continually excited by his photographs and look forward to putting together many more exhibitions with him.”

Subject categories include Landscape, Portrait, Nature, Abstract and Architecture, plus a new category this year to celebrate the town’s 375th anniversary – Iconic Images of Fairfield.

IMAGES 2014 will also feature the work of internationally renowned photographer and Fairfield, CT native David La Chapelle, known for his hyper-realistic, fine art style work containing profound social messages.

IMAGES 2014 will kick off with a gala preview party on Saturday, May 10th, followed by the public opening on Sunday, May 11th. Tickets to attend the Gala are available online at: www.fairfieldhistory.org/images2014.

IMAGES 2014 will be on view May 11- June 22 In conjunction with the exhibition, Fairfield Museum will be offering programs, lectures and events. For more information about those programs, visit www.Fairfieldhistory.org.

Sponsors for IMAGES 2014 are First Niagara Bank, Southport Galleries, WSHU Radio, Venü Magazine and Fairfield University.

INDULGE: Motoring

Prestige and Refinement Audi Introduces the A8 and S8 – delivering exceptional performance, innovation and craftsmanship

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he flagship Audi A8 model line expands in 2014 to five variants: the A8 3.0T, 4.0T, S8,W12and the new 3.0 liter TDI. Available in normal and long wheelbases, the A8 embodies premium and functional design, progressive technology, and advanced engineering and performance.

Performance The A8 L TDI –the clean diesel version of Audi’s flagship sedan introduced in Spring 2013 –makes a powerful statement in achieving the best fuel economy in its segment with an EPA estimated 24 city/ 36 highway/ 28 combined miles per gallon that exceeds that of diesel and hybrid competitors alike. At the same time, the 3.0 liter V6 turbocharged clean diesel engine generates an impressive 240 hp and 406 lb-ft.of torque, seamlessly launching from 0-60 mph in 6.4 secondsdelivering all of

the efficiency benefits without compromising performance.

The A8 3.0T, the entry to the A8 model line, continues in 2014 with aTFSI® V6 supercharged engine that produces 333 hp and 325 lb-ft. of torque and sprints from 0-60 mph in 5.5seconds.

The A8 4.0-liter TFSI biturbo V8 engine produces an astounding 420 hp and 444 lb-ft. of torque, propelling from 0-60 mph in 4.7seconds/4.8 seconds (normal wheelbase models/long wheelbase models).

The S8 delivers exceptional performancethrough its 4.0-liter twin-turbocharged, direct-injected V8 engine, responsive sport air suspension, and high-performance brake system. Producing a powerful 520 hp and 481 lb-ft. of torque, the S8 seamlessly propels from 0-60 mph in an impressive 3.9seconds and reaches a governed top speed of 155 mph.

The Audi A8 L W12, the pinnacle of the A8 model line, is equipped with a 6.3-liter FSI® W12 engine that delivers 500 hp and 463 lb-ft of torque.

The Audi A8 was the first car in North America with an aluminum body built according to the Audi Space Frame® (ASF) principle.

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INDULGE: Motoring

The Audi A8 flagship sedan exudes modern elegance, luxury and dynamism. With its sweeping lines and uniquely bold Audi Singleframe® grill with angled corners and horizontal chrome struts, the A8 delivers a striking visual statement.

ASF is a high-strength aluminum frame structure into which the panelsareintegrated so that they also perform a load-bearingfunction. The aluminum body is characterized by exceptionalstiffness andsubstantially lower weightfor better performance, efficiency and handling.

Continuing the Audi commitment to deliver impressive performance and improved efficiency, the A8 3.0T, 4.0T and TDI are equipped standard with the convenient and fuel-saving start-stop efficiency system. When the driver presses the brake pedal at stoplights or in other prolonged idle situations, the engine shuts off. When the driver releases the brake pedal, the engine instantaneously starts up again.

The S8 and A8 4.0T feature the innovative Audi cylinder on demand technology that deactivates four of the eight cylinders at lower loads, reducing fuel consumption by up to 10 percent at moderate highway speeds. When the V8 engine switches to four-cylinder mode, the active engine mounts remove any changes in vibration and the active noise cancellation system negates undesirable changes in engine and exhaust sound.

All engines are mated to an eight-speed Tiptronic® automatic transmissionand feature the confidence-inspiring Audi quattro® all-wheel drive system.

Exterior The Audi A8 flagship sedan exudes modern elegance, luxury and dynamism. With its sweeping lines and uniquely bold Audi Singleframe® grill with angled corners and horizontal chrome struts, the A8 delivers a striking visual statement. New for 2014, the Audi A8 Premium package option includes powerful yet efficient full LED headlights that give the A8 a distinctive and unmistakable Audi appearance.

The S8 is differentiated by its S model design elements, including the Singleframe grill with its twin-blade horizontal slat design; lower bumper side air intakes; and lower rear

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center diffuser with platinum surround. The S8 also features alu-optic side mirrors, larger rocker sills, black painted brake calipers with the S8 emblem and standard 21-inch triple-spoke design wheels.

Interior Inside, the spacious A8 features meticulous craftsmanship and modern yet functional design elements. A new Premium package for the A8 3.0T, 4.0T and TDI includes 22-way front seats with ventilation, making any long drive enjoyable. Ventilated and massage rear seats have been added to the Rear Seat Comfort plus package for the long wheel base 3.0T, 4.0T and TDI models, which can be combined with the diamond stitch interior of the Luxury package.

The performance-oriented S8 includes a three-spoke multifunction sport steering wheel with contrast stitching and S8 emblem, shift paddles with aluminum finish, aluminum pedals and a starter button with a red ring.

The S8 also features a lower trim in Brushed Aluminum, Carbon Atlas upper trim, Gray analog clock with white needles, and Alcantara® headliner.

Technology and driver assistance Normal wheelbase models in the A8 model line now have the Convenience package standard and include power door closers, Audi advanced key with foot-operated power trunklid, and Audi parking system plus with rearview camera. All models offer the optional Audi lane assist, which warns the driver by means of vibrations in the steering wheel if the vehicle begins to wander out of its lane.High beam assist automatically adjust high and low beam based on oncoming traffic or traffic ahead.

Audi side assist –which monitors the blind spot areas, as well as fast-approaching vehicles, at a range of approximately 150 ft. to the rear of the vehicle –is standard on S8 and A8 W12 models. The A8 Premium package option also includes Audi side assist.

For the 2014 Model Year, the Driver Assistance and Camera Assistance packages have been combined, including the 360 degree view of the car which offers an impressive birds-eye view of the car and its surroundings using the fore, side and rear cameras to create a flattened image.

All models are equipped standard with the groundbreaking Audi MMI® touch with handwriting recognition. With hard and soft keys, dedicated buttons for commonly-used controls, and a revolutionary touchpad that interprets hand-written inputs, drivers can perform a number of functions–like write the digits of telephone number and the letters of the navigation destination with a finger, or scroll overmaps, all without taking their eyes off the road.

INDULGE: YACHTING

Media/Cinema Room

Main Deck Salon

Upper Deck Salon

Lürssen’s Quattroelle a successful combination of elegance and sporty looks

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uattroelle is Italian for “4 times the letter L” and the 4 L’s stand for Love, Life, Liberty and Luxury.

These four key words express what this jewel of a yacht means to the owner.

The owner, who up-graded from a 60 m Lürssen yacht, has many years of owning and chartering different types of yachts behind him. He required top notch design and engineering as well as seagoing comfort for his family, guests and crew.

Quattroelle is the first Lürssen yacht designed by Nuvolari-Lenard, who were responsible for the exterior as well for the interior design. She is a successful combination of elegance and sporty looks and she is well on her way to become a Classic. The size of the yacht with its massive volumes was a challenge, but with careful volume distribution and a study of proportion, Nuvolari and Lenard nonetheless achieved a sleek appearance of the yacht. The funnel design

reminds us of the air scoop of a formula one car and with its inverted shape creates the distinctive silhouette of Quattroelle. Her six decks offer her 12 guests enormous space for both entertainment and relaxation.

The interior can best be described as “eclectic contemporary”. The comfortable feeling comes from a balanced connection between tradition and the best use of the decorative materials that Europe has to offer. The whole interior is customized, from

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INDULGE: YACHTING

pieces of furniture, hardware to lighting, combining a sophisticated palette of woods, stones and fabrics.

The owner’s captain, Paul Bell and the team around yacht broker Robert Moran of Moran Yacht and Ship supervised the project and brought in their huge spectrum of experience and consolidated knowledge. Moran Yacht & Ship is also the central agent in case you are interested to charter Quattroelle.

In addition to Quattroelle, Lürssen delivers two more yachts: • 85 m Solandge (project Niki) - Her exterior is designed by Espen Oeino and interior by Aileen Rodriguez. Solandge will be an excit-

Guest Room

Owner’s Suite

ing addition to the global charter fleet and represents the very latest in high-end luxury cruising.

• 180 m Azzam - In addition to being the largest yacht in the world with a length of 180 meters and with a top speed of over 30 knots she adds another record in terms of building time: three years following one year of engineering. Her innovative and time-

less design has been developed by Nauta Yachts. The interior decoration was undertaken by the renowned French designer Christophe Leoni who is proud to have been able to realize a sophisticated and luxurious interior in a turn of the century Empire style.

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VIP Suite

About Lürssen Lürssen is the globally leading yacht-builder, based in Bremen, Germany. With a workforce of 1550, Lürssen maintains four stateof-the-art shipyards at Bremen-Aumund, Lemwerder, Rendsburg and Wilhelmshaven.

The privately run company, which remains solely in the hands of the Lürssen family to this day, has earned an international reputation as the specialist in exclusive, custombuilt yachts.

Dining Room

Contact Lürssen Yachts: +49 421 6604 166 yachts@lurssen.com

by Matthew Sturtevant

INDULGE: Decorative ARts

On The Block:

Declaration of Intent. Grand Watermelon Indeed. Abstract as Folk. so well. All of the proceeds benefit one the finest museums in New York City. The board of the museum was here in the room when it sold, and they were thrilled. Carol Ward, President of The Morris- Jumel Mansion, said after the sale, “I am still in a state of shock.

It was so beyond our expectations. This auction quadruples the size of our endowment and ensures that the mansion can serve the public for generations to come”.

Declaration of Intent On January 26th, Keno Auctions of New York City sold a highly important and historically significant document entitled Letter from the Twelve United States Colonies, by their delegates in Congress to the Inhabitants of Great Britain. After heated competition between several phone bidders, the gavel dropped at $912,500 (including Buyer’s Premium), well above its presale auction estimate of $100,000 to $400,000. The winning bid of $912,500 was by private collector Brian Hendelson who, shortly after the auction, said “I am very excited about adding this amazing piece of history to my collection. This document was long thought to be lost, but in July 2013 archivist Emilie Gruchow discovered it in the attic of the Morris-Jumel Mansion inside a folder of colonial doctor’s bills tucked away in a

drawer. The document, penned

by Robert R. Livingston, was a final plea for peace by the Continental Congress to the people of Great Britain to avoid the Revolutionary War. It was also a prelude to the Declaration of Independence, which Livingston helped draft with Thomas Jefferson, John Adams and Benjamin Franklin less than a year later.

This working draft fundamentally changes our understanding of the final document which was printed in July 1775 and is complete with fascinating edits, including entire paragraphs crossed out and rewritten in the margins. Scholar Michael Hattem of Yale University stated, the document is “… the missing piece from the culminating moments in which the colonists began to think of themselves not as British subjects, but as American citizens”

Leigh Keno, President of Keno Auctions, said, “I am elated that the manuscript did

(FUN) Convention Rare Currency Auction in Orlando, FL, part of a series of auctions the firm conducted last week that have grossed more than $105 million total, the largest numismatic auction in history.

Grand Watermelon Indeed The rarest and most famous of all U.S. currency notes, the legendary 1890 $1,000 Treasury Note, popularly referred to as the “Grand Watermelon note” — due to the design of the large zeroes on the reversed side of the bill, resembling watermelons — be-

Abstract as Folk A packed salesroom watched as Important American Folk Art from the Collection of Ralph O. Esmeri an achieved $12,955,943 this Saturday at Sotheby’s New York,setting a new record total for any auction of American folk art – a record that had stood at Sotheby’s since 1994**.

Together with the sale of Important Americana, which also featured a number of strong prices for folk art pieces, Sotheby’s Americana Week auctions totaled $18.4 million.

Folk art was at the heart of the

came the single most valuable piece of currency in existence when it sold for $3,290,000 on Friday, Jan. 10, far exceeding its pre-auction estimate of $2 million. It was sold by Dallas-based Heritage Auctions as part of the company’s Florida United Numismatics

offerings lead by a rare Eider drake that fetched a whooping $767,000 which was much more than the anticipated $300-500,000 estimate. The decoy was probably made on Monhegan Island in Maine circa 1900 by an unknown craftsman.

Photographs: Courtesy of Christie’s Images Ltd, 2013 CONTEMPORARY CULTURE//MAGAZINE

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All fractional aircraft offered by NetJets ® in the United States are managed and operated by NetJets Aviation, Inc. Executive Jet® Management, Inc. provides management services for customers with aircraft that are not fractionally owned, and provides charter air transportation services using select aircraft from its managed fleet. Marquis Jet ® Partners, Inc. sells the Marquis Jet Card ®. Marquis Jet Card flights are operated by NetJets Aviation under its 14 CFR Part 135 Air Carrier Certificate. Each of these companies is a wholly owned subsidiary of NetJets Inc. ©2011 NetJets Inc. All rights reserved. NetJets, Executive Jet, Marquis Jet, and Marquis Jet Card are registered service marks. *Advance notice requirement depends on the type of aircraft purchased or leased and on the size of the interest acquired.

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The Beast and His Keeper:

Malcolm Moran April 13 through May 25, 2014

Opening Reception: Sunday, April 13, 2 to 5 pm Refreshments | Admission Free | Free Parking Greenwich and New Orleans artist Malcolm Moran calls on a coterie of beasts to capture a wide range of themes through his original fine art monotypes and monoprints.

Mathews Park | 299 West Avenue Norwalk, CT | 203-899-7999 www.contemprints.org

Malcolm Moran, A Horse and His Ride Returning No. 5, Monoprint

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FINE ANTIQUES AND DECORATIONS FROM THE 16TH CENTURY TO THE PRESENT

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Gallery + Museum GUIDE

CT Bridgeport

City Lights Gallery 37 Markle Court, Bridgeport Tel: 203.334.7748 Web: www.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. _______________________________________

DARien Geary Gallery 576 Boston Post Road, Darien Tel: 203.655.6633 Web: www.gearygallery.com Hours: Wed - Sat 9:30-5:00pm A preeminent Fairfield County gallery for representational art. We are friends to artists, spotting talent and market appeal, and nurturing careers, with a art exhibits that rotate approximately every five weeks.

ESSEX Gallery 19 19A Main Street, Essex Tel: 860.581.8735 Web: www.gallery19essex.com Hours: Wed - Sun 11-5pm Modern art by Judy Friday, Helen Cantrell, photographer Jerry Reed, weaver Stephanie Morton, ceramicist Clare Cunningham thru April 30. May 1: James Reed: Works on Paper and Nancy Lasar: Prints & Paintings, through June 30.

Schelfhaudt Gallery University of Bridgeport 84 Iranistan Avenue, Bridgeport Tel: 203-576-4696 Web: www.schelfhaudtgallery.com The Photo Show: “Emerging Images” Opening Date & Reception, Feb.13, (5:30 - 7:30 ). For more information: mjfoster@bridgeport.edu

Drift (detail), 2012, monoprint

by Nancy Lasar.

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Creating Community: Exploring 375 Years of Our Past Fairfield’s Rockin’ Top Ten – Celebrating musicians who have shaped our musical legacy.

Wonder Women - Honoring our area’s most famous women who forged new avenues of achievement. _______________________________________ Leclerc Contemporary At Fairfield Co. Antique and Design Ctr. 19 Willard Road, Norwalk, CT 06851 Tel: 203.826.8575 Web: www.fairfieldantiqueanddesign.com Hours: Monday-Saturday 10-6, Sun 11-5 and by appointment.

Adieu Mon Amour, 5 ft. x 10 ft. gouache on paper, 2011 by Amy C. Storey

Southport Galleries 330 Pequot Avenue Tel: 203.292.6124 Web: southportgalleries.com Presenting a selection of enduring American Masters and Contemporary artists, we invite new clients and seasoned connoisseurs to explore the values of fine art collecting. _______________________________________ Crow (detail), 2012, lithograph

by James Reed.

Fairfield

Bellarmine Museum of Art (Bellarmine Hall) In the Wake of the Butterfly: James McNeill Whistler and His Circle in Venice January 23 - April 4, 2014

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ON VIEW NOW:

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Fairfield University 1073 N. Benson Road Tel: (203) 254-4046 or 4062 Web: www.fairfield.edu/museum Hours: Mon - Fri, 9:30 - 4:30

Slurry 3055 Congress, 11” x 17” photograph

by Jeff Becker

Believing in the power of history to inspire the imagination, stimulate thought and transform society.

Brand new upscale contemporary art gallery located just off Westport Avenue.

Featuring new art exhibits every 6 weeks.

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. _______________________________________

The Fairfield Museum + History Center Explore the Past, Imagine the Future 370 Beach Road, Fairfield Tel: 203.259.1598 Fax: 203.255.2716 Web: www.fairfieldhistory.org Hours: Open daily 10 am - 4 pm

Thomas J. Walsh Art Gallery (Quick Center) Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940 January 23 – April 4, 2014 Hours: Tue - Sat 11:00-5:00 www.fairfield.edu/walshgallery

Troy Fine Art 3310 Post Road, Southport (Fairfield) Tel: 203.255 .1555 Web: troyfineart.com Hours: Mon - Fri 9:30 am-5 pm, or by appointment in your home or office at your convenience.

Fine Art Gallery, Exceptional Design, Conservation Framing, Perfect Installation. _______________________________________

Gallery + Museum GUIDE

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Gallery + Museum GUIDE

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 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 Web: samuelowengallery.com Hours: Mon-Sat 10:30-6:00; Sun 11-3; Likened to “a little bit Chelsea on lower Greenwich Avenue, Samuel Owen Gallery specializes in paintings, photography and prints by American and European midcareer and contemporary artists. Regularly scheduled artist receptions fill the gallery to capacity with a colorful crowd.

Heather Gaudio Fine Art 21 South Avenue, New Canaan Tel: 203.801.9590 Fax: 203.801.9580 Web: www.heathergaudiofineart.com Hours: Tue-Sat 11am-5pm or by appt Specializing in 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.

New Haven Fred Giampietro 315 Peck Street New Haven, CT 06513 Tel: 203.777.7760 Web: www.giampietrogallery.com Hours:Tue-Fri 10-4pm, Sat 11-4pm Through March 29: Richard Lytle “No Still Life” and Blinn Jacobs “New Work”. Works in the office by Thuan Vu. Opening Reception, Friday, February 28th, 6-8pm.

April 4 – May 10: Chuck Webster and Outsider Art. Opening Reception, Friday, April 4th, 6-8pm. May 16 – June 14: New Work by Artists, Peter Ramon and Michael Angelis. Opening Reception is Friday, May 16th, 6-8pm.

91 Orange Street New Haven, CT 06511 Tel: 203.777.7707 Hours: Wed – Sat 11-6 Through March 1: Works by Don Voisine.

Mach 21 - April 19: New works by Linda Lindroth. Opening Reception is Friday, March 21st, 6-8pm. April 25 – May 24: New Work by Will Lustenader. Opening Reception is Friday, April 25th, 6-8pm. May 30 – June 28: Work by William Bailey. Opening Reception is Friday, May 30th, 6-8pm

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. _______________________________________ Center for Contemporary Printmaking Mathews Park 299 West Avenue Norwalk, CT 06850 Tel: 203.899.7999 Web: contemprints.org Hours: Mon-Sat 9am-5pm; Sun 12- 5pm | Admission Free Dedicated to the art of the original print, the Center annually hosts 4 major exhibitions, a members’ exhibition, artist talks, over 75 printmaking workshops, and programs for schools and colleges. Print studio rental is available for private and corporate functions and to members who work independently. There are some non-paying volunteer/internship positions.

The MONOTHON fundraiser, an annual marathon of printmaking and a gala art auction, takes place in the fall.

Old Lyme

New Canaan

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

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.

Exhibitions, free and open to the public, include a broad spectrum of professional, student and alumni artwork throughout the year. _______________________________________

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. _______________________________________

Florence Griswold Museum 96 Lyme Street, Old Lyme Tel: 860.434.5542 For hours, admission, special events visit: www.FlorenceGriswoldMuseum.org

Red Carpet, Antoine Rose, lambda print face mounted on Diasec, 39” x 52”

Richard Lytle, Scouri, 2013 Oil on canvas, 68” x 56”

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. _______________________________________

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Linda Lindroth, Tower, 2013 Archival print on paper, 55” x 44” _______________________________________

“Home of American Impressionism.”

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

Gallery + Museum GUIDE

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Gallery + Museum GUIDE

Ridgefield The Aldrich Contemporary Art Museum 258 Main Street Tel: 203.438.4519 Web: aldrichart.org Hours: Tue-Sun 12-5pm The Aldrich is dedicated to fostering innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking.

The Aldrich, which served an audience of over 37,700 in 2011, is one of the few independent, non-collecting contemporary art museums in the United States, and the only museum in Connecticut devoted to contemporary art. _______________________________________ Ridgefield Guild of Artists 93 Halpin Lane, Ridgefield Tel: 203.438.8863 Web: rgoa.com Email: rgoa@sbcglobal.net Hours: Wed-Sun 12-4pm For a complete calendar of events and offerings, please visit our web site at www.rgoa.org. _______________________________________ Watershed Gallery 23 Governor Street, Ridgefield Tel: 203.438.44387 Web: watershedgallery.com Hours: Tue-Fri 11-6; Sat 11-5; Sun 1-5 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. _______________________________________

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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. _______________________________________

NY Larchmont Kenise Barnes Fine Art 1947 Palmer Avenue Tel: 914.834.8077 Web: www.kbfa.com Hours: Wed-Sun 12-6pm We are a gallery and consulting firm that represents emerging and mid-career investment-quality artists. Our program includes over thirty artists working in a variety of mediums. The gallery mounts seven exhibitions annually, and participates in art fairs in Miami, Santa Fe and New York.

New Rochelle transFORM Gallery 20 Jones Street Tel: 914.500.1000 Web: www.transformgallery.com Hours: Mon-Fri 9am-6pm, Sat 10am-4pm Housed in a former industrial factory more than six decades old, the transFORM Gallery boasts high ceilings, original windows that drink the natural light, and a spacious lofty quality. Exhibitions organized by transFORM have encompassed all the visual arts: painting, sculpture, drawing, photography, and, of course, the decorative arts. _______________________________________

Pound Ridge The Lionheart Gallery 27 Westchester Avenue Pound Ridge, New York Tel. 914-764-8689 Web. Thelionheartgallery.com Hours: Wed-Sat 11 am - 5 pm; Sun. 12- 4 pm March 1 (opening 3 - 6 pm) – April 13 “Chasing the Light”, historic and contemporary photographs by John Shearer, former LIFE and LOOK magazine staff photographer. Compelling images of American events including the Kennedy Family at JFK’s funeral and other timeless “Portraits that Tell a Story”.

April 19 (opening 5 - 7 pm) – May 31 “Purging Genet”: Large scale color paintings and ink drawings by David Hutchinson, conceptual artist who explores the relationship of word and image, translating “in codes” the writings of Jean Genet, a 20th century French author who challenged our sense of morals.

John Hutchinson, Marche/March, 1999 Ink on Paper, 8.5" x 11" French and English translations

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. _______________________________________

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Interview Visionary jazz guitarist Pat Metheny brings Unity Band world tour close to home

By Mike Horyczun

V

isionary jazz guitarist Pat Metheny has has been redefining the sound and direction of the jazz guitar throughout his career.

His works, ranging from solo guitar and small ensembles to large orchestras, utilize a boundless musical vocabulary that goes far beyond standard jazz, rock and classical definitions. The visionary guitarist, composer and bandleader, who has been an inspiration for a new generation of players, has won 20 Grammy Awards – he’s been nominated for 35. He also has 3 Gold Records and a recent induction into the DownBeat Hall of Fame.

Metheny has sold approximately 20 million albums worldwide, and he just completed his 38th album, “KIN (←→)” on Nonesuch Records, with the Pat Metheny Unity Group, who are currently on a world tour performing across the U.S. and overseas in places like Denmark, Switzerland, Poland, France, and Italy. The Pat Metheny Unity

Group world tour makes an area appearance – and its only stop in Connecticut – at Fairfield University’s Regina A. Quick Center for the Arts at 8 p.m. on Tuesday, March 25, 2014.

Pat Metheny was recently interviewed by Mike Horyczun for Venü Magazine, discussing his music, his influences, and the new record.

Mike Horyczun: Pat Metheny Unity Group’s new recording: “KIN (←→)”: how does this particular project feel, upon completion? The directions and goals you wanted to reach when you started recording, were they met? Did you go beyond them?

Pat Methany: This is such a special group of musicians. From the first notes we played together in early 2012, through the recording and then all the touring that we did to follow, there was an instant Photo: Jimmy Katz

connection that seemed to go beyond the usual kind of thing. We had such a great time together and the consistency of the playing was at a super high level, and we seemed to always get to something night after night.

We all wanted to keep it going, and my sense of it was that we had only scratched the surface of what it might be. And yes, I would say that as it has been from the beginningwith these guys, it goes way beyond what I imagined. As a bandleader for all these years, you have an obligation to the guys you hire to set up a platform for them to do what they do best.

I think if the conception of a band and the music locks with that mandate, this whole other element starts to emerge where the full nature of the music continues to reveal itself as the work progresses. That was the feeling during the recording. I can only imagine where it will go live on this next round of touring.

Can you comment on the title of the recording?

‘Kin’ is a word that implies connection or family or lineage. To me, like the word ‘Unity’, it really fits with what I am shooting for - and not just with this band, in music in general. I like the idea of making connections, finding inclusion and forming a way of thinking about not just the way the people making the music may be connected to each other, but also the way the music that I hope to present has connections with all of the other music I love. And the ‘unpronounceable’ symbol that follows the word, (←→), was something that just sort of popped out that I thought did a good job of indicating that our ‘kin’ is not always behind us chronologically in an ancestral sense - we are also going to be the ancestors for many generations to come. And also musically. So this is a message to those future listeners as well.

When you write, do you work on one piece at a time, or do you have several things going at the same time? And are you always writing?

Writing for me is the hardest part of the whole process, and I really need to set aside a bunch of time to do it. It takes me a long time to settle on things that I like, that have a resonance to me that seems worth investing in. For every one thing that comes out, I have usually rejected four or five others. Sometimes I have a few going at

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Photo: Jeffrey Goritz

‘Band’ to ‘Group’ because it sort of implies a connection with my regular band stuff in style and to differentiate the music and the nature of this project a little bit from the first round. Unity is an especially good word for me, and I can see it working in an expansive way.

You are an inspiration to a generation of guitarists. Who are some of the players who inspire you?

While there are many guitar players I love, I always need to put Wes Montgomery as the major force for me and biggest influence by far.

Of course Jim Hall was huge for me, first as a hero, then as a friend and then as an important collaborator along the way - and I will really miss him. And I always note Kenny Burrell as a big influence and a real favorite of mine.

What’s your take on the state of jazz today? Do you see, hear a lot of younger players carrying the tradition forward?

The instrument itself is in great hands, literally. There are a bunch of younger guitarists who I follow and really admire, and when I hear that they are somewhat influenced by my thing it is really gratifying and very special to me too.

Some names that come to mind are Kurt Rosenwinkel, Mike Moreno and Gilad Heckelsman.

There is also a young Italian guy named Pascale Grasso who is a real favorite of mine.

On other instruments, there are plenty of guys who are making a case for fluency in a similar way that the guys I listed are.

After all you’ve accomplished musically thus far in your career, are there any goals you haven’t reached yet?

I know it sounds odd, but I really feel I am just beginning to get a sense of it all. I feel like I am just starting to figure a few things out. There is an infinity of things to learn and work on.

Photo: Jimmy & Deena Katz

once, or a few fragments at a time that seem to be fighting to become more than just an idea.

Once I am out on the road playing every night, gradually the itch to write new stuff recedes and the focus becomes more on playing whatever the current material is to the best possible level I can night after night, which is a very different and unique challenge in itself.

But, that said, every now and then while warming up I might play something that invokes a feeling or seems to be a valid notion of what might become a piece someday, so I write it down. I have books and books of those scribbled down ideas, and a good idea is always a good idea if it is good. I have gone back to those books 20 years later and found things that were worthy to explore and expand on.

When you complete any studio project, do you look forward to bringing it to the live stage?

It is always a challenge to figure out exactly how to make a new record work live, and each piece seems to have a unique relationship to the band and the audience. Some translate over easily, and others are often really hard. My guess is that these tunes will be fantastic live, and I know that the band will own them in a really deep way.

Pat Metheny Unity Group – can you comment on the new make-up of the band?

The personnel is the same as the earlier Unity Band record - Chris Potter on saxophone, Ben Williams on bass, and Antonio Sanchez on drums, but with the addition of multi-instrumentalist Giulio Carmassi. I changed the name from

The guitar itself. With all you’ve contributed to its sound and design, can you comment on what you find so special about the instrument?

I like the guitar. To me it is attractive because it is so undefined. If you say the word ‘guitar’ to 50 people, they will get 50 different images in their minds.

Because I started out when I was very young as a horn player, I still think ‘in trumpet’. And I write almost everything at the piano - so those instruments are part of my consciousness too. But the thing is, the ideas are the same whether it is ‘in trumpet’, ‘on guitar’, or ‘on piano’. I deal more with conception and ideas first - the way they are executed into sound happens way later. Guitar allows a certain immediacy for me because I have played it so much and for so long, so it is my best translation device.

The Pat Metheny Unity Group performs at 8 p.m., Tuesday, March 25, 2014, at the Regina A. Quick Center for the Arts, located on the campus of Fairfield University at 1073 North Benson Road in Fairfield, Connecticut. Tickets are: $65, $55, and $45. For further information and directions, call (203) 254-4010 or 1-877-278-7396, or visit www.quickcenter.com. Media sponsors: Venü Magazine and WPKN (89.5 FM).

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Music Meet The Prettiots – New York’s no-nonsense ukulele wielding ‘It Girls’ and undoubtedly your next crush

By Anna Stodart Photo: Colin Dodgson

With effervescent melodies faultlessly combined with colorfully up front dialogue, The Prettiots paint an exceptionally vivid portrait of what it’s like to be young and living in New York City.

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rimming with all the charm and innocence of Cher Horowitz in Clueless, but armed with the attitude and precocious wit of Winona Ryder in Heathers, this all girl three-piece arrive with glittering, indie artpop, on their forthcoming EP.

With effervescent melodies faultlessly combined with colorfully upfront dialogue, The Prettiots paint an exceptionally vivid portrait of what it’s like to be young and living in New York City, using unabashed and no-nonsense songwriting as directed by frontwoman Kay Kasparhauser.

Taking a cue from the tongue-in-cheek pop of The Moldy Peaches and the clever love struck lyrics of The Blow, all combined with the ye ye vintage aesthetics of The Shangri-Las, the bands’ sophomore EP bursts with shimmering pop songs about what most pop songs are about.

The Prettiots may write songs about boys and break ups and feeling down and out - or, as Kasparhauser has so affectionately coined it, “the grumpies,” they do so with a flagrant, satirical nod to pop culture. Take track, “Stabler,” for ex-

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ample. ‘Boy you’re my saviour/you’re my Elliott Stabler’ muses Kasparhauser. And yes - she is referring to well known Law and Order: SVU character, Elliott Stabler, who, in Kay’s eyes is “the dreamiest hot-headed former marine the NYPD has ever had.”

Birthed amongst the New York art and music scene, The Prettiots came about after lead singer/songwriter Kay Kasparhauser enlisted friend and drummer, Rachel Trachtenberg (Trachtenberg Family Slideshow Players, Supercute!) and bassist Lulu Prat (Tangiers) to build upon her already weirdly wonderful solo music. Kay, who went to school for fashion and design, has been writing and playing music for several years, after she picked up the ukelele following a foul incident at the beach. “I think I was 17 and I had broken my ankle. I couldn’t do anything fun.”

Growing up in New York, The Prettiots are already well known amongst some of the city’s most influential art, fashion and music circles, and when when they’re not penning music to combine with their gorgeously haphazard lyrics, the girls are modelling, starring in their own

TV show or contributing to Purple Magazine.

The girls’ infectious charm and effortless style has already caught the attention of the likes of New York Magazine and Brooklyn Vegan, who have noted, as individuals and as The Prettiots, their rising It-girl status.

The girls are leading up to release the debut track off the EP, “Dream Boy,” which takes “the joke that is being single in New York City and not knowing what you want but, also know exactly what you want,” without all the Taylor Swift-esque nonsense. “We don’t have to fall in love, we can totally just make out and stuff,” the girls spell out simply over infectious ukulele chords.

Littered amongst the wonderfully flagrant and brazen tales of heartbreak on the EP, you’ll find covers of Misfits and Dolly Parton songs, and a gorgeous tale of unrequited love that turns sour complete with references to Klaus Kinsky and Werner Herzog. And how did the term “The Prettiots” come about, you might ask? A nonsensical Facebook status update from some dude, of course.

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PULSE

Art 28 Chinese

By Susana Baker Installation view, Zhu Jinshi and Liu Wei, 28 Chinese, Rubell Family Collection, Miami.

T

he Rubell Family Collection opened its new exhibition 28 CHINESE to the public during Art Basel Miami 2013.

The show 28 CHINESE represents the works of 28 contemporary Chinese artists, some of whom have never shown in the States before this show. The family’s collection comprises over 150 new works bought by the Rubells during six trips to China during 2001 and 2012.

Chinese contemporary art first came to the attention of Western audiences in the 1990s, primarily through “Cynical Realist” painters who would depict through their works the country’s tumultuous evolution beyond Mao and into capitalism. Artists from this era, including

lAi Weiwei, Zhang Huan and Zhu Jinshi, are featured in the show, but it is the in-between group of Liu Wei, Wang Xingwei, and Qui Zhijie who the Rubells found especially fascinating.

These young painters are recognized among the most important because of the way they think about painting. They represent the first separation from the earlier generation. There is also a younger generation of artists that captured the Rubell’s attention, led by artists He Xiangyu and Wang Guangle, considered the leaders of the abstract group.

To better understand their motivation and the essence of their works, the Rubells visited these young artists in their studios. Through

Liu Wei, Liberation No.1, 2013, oil on canvas, 118 x 212 1/2 in. (300 x 540 cm), Rubell Family Collection, Miami.

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intimate conservations, they discovered that this new generation of evolving artists reflected the voice of a new China. Their work was bold and aggressive unlike what the Rubells had ever seen in the past and just what they were looking for to expand their collection of Chinese art. The expressive modern-day work of 28 upand-coming Chinese artists are at the core of the Rubells’ new exhibit, represented by paintings, photography, sculptures and video installations.

The artists range in age from 58 years old to the youngest artist, 28 years old.

The works are showcased throughout the 28 galleries of the Rubell’s 45,000 square foot, two story Museum in the Miami, Wynwood Arts District. Many of the top artist represented in the show, include established artists like Ai Weiwei, Qiu Zhijie, Zhang Enli and Zhang Huan, along with younger artists like Xu Zhen, Fang Lu and Huang Ran. As you enter the exhibit, you are greeted by a jaw-dropping massive work of Zhu Jinshi titled, “Boat”, 2012. Created from 8,000 sheets of Xuan paper, this very delicate installation doubles as a tunnel for viewers to walk through.

His work previously showed in Shanghai during SH Contemporary as well as Art 13 in London.

Unexpected art encounters continue with the work of He Xingu. He created a larger-thanlife body fiberglass model of Ai Weiwei in a contorted position, lying face down on the cold cement floor with his right palm up, as if he was going to grab the ankle of a passer-by and pull himself up. The work is titled, “The Death of Marat” referring to Jacques-Louis David’s 18th

Zhu Jinshi, Boat, 2012, Xuan paper, bamboo and cotton thread, 590 1/2 x 137 3/4 x 165 3/8 in. (15 x 3.5 x 4.2 m), Rubell Family Collection, Miami.

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Century portrait of the French revolutionary leader murdered in his bath. Xiangu uses this to reflect the political persecution of aggressive, rebellious journalist and artists. The life-size work materializes the renowned artist’s tax evasion case of 2012. Xiangyu dresses Weiwei with the same suit worn by the People’s Representative during the People’s Congress.

Also notable is Ai Weiwei’s work, “Ton of Tea”, 2005, a minimalist sculpture of compressed tea, that smells like real tea leaves. The tea is from the Yunnan Providence of China where the Pu’er tea is famous and expensive. In traditional China, tea leaves were compressed into blocks called bingcha (tea cakes). The tea cakes would be transported by horseback as far as Tibet. Ai Weiwei played out the old tradition with a whole

Page left, top and bottom; He Xiangyu, The Death of Marat, 2011, fiberglass, silicone, fabric, human hair and leather, Ed. 1/3, 13 x 80 1/2 x 33 1/2 in. (33 x 205 x 85 cm), Rubell Family Collection, Miami. Left to right; Installation view, Wang Xingwei and Ai Weiwei, 28 Chinese, Rubell Family Collection, Miami; Installation view, Li Shurui, 28 Chinese, Rubell Family Collection, Miami; He Xiangyu, installation view, 28 Chinese, Rubell Family Collection, Miami, 2013-14; He Xiangyu, installation view, 28 Chinese, Rubell Family Collection, Miami, 2013-14; Installation view, Xu Zhen, 28 Chinese, Rubell Family Collection, Miami; Installation view, Yan Xing, 28 Chinese, Rubell Family Collection, Miami.

ton of tea that he compressed into a single cube.

Asian Art is on the rise and is becoming popular for the Western Collector. The Rubell’s new show, 28 Chinese, not only lays the groundwork for a new generation of Asian Art exhibitions, it chronicles the evolution of China’s contemporary art movement and gives voice to

the visions and talents of the country’s emerging young artists. It is an exceptional showcase of extraordinary new works that should not be missed.

The Rubell Family Collection was established in 1964 in New York City, shortly after its founders Donald and Mera Rubell were married.

It is now one of the world’s largest, privately

owned contemporary art collections. In 1993 the Rubells acquired the 45,000 square foot Drug Enforcement Agency confiscated goods facility and converted it into The Contemporary Arts Foundation created in 1994 to expand the Rubell’s public mission inside the paradigm of contemporary art museum.

About The Author: Susana Baker, award-winning Tourator (tour guide curator) received a proclamation for outstanding community outreach and programs in the arts by Miami Dade County Mayor Gimenez; was recently award by Miami Dade College and Hunter College 100 top Latino in the nation; Creative Founder of The Art Experience #1 in culture and arts on Tripadvisor and visitflorida.com. For a private curation of Wynwood, Design District, gallieries and collections visit www.theartexperiences.com or call 305-767-5000. For art happenings tune in to ART TALK every Tuesday on the Wall Street Network, The South Florida Business Today, 880 AM or www.880thebiz.com Tuesdays 11:30 am, bringing you news “From the Canvas to The Red Carpet.”

Xu Zhen, Empire’s Way of Thinking, 2011, embroidery and plastic on canvas, 106 3/4 x 139 in.

(271 x 353 cm), produced by MadeIn Company, Rubell Family Collection, Miami.

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PULSE

Theater From Broadway Cast to Broadcast TV!

By William Squier

Special holiday programming can be credited with creation of many perennial favorites.

H

istory appears to have repeated itself over the past holiday season when a heavily promoted live broadcast of The Sound of Music attracted just shy of 22 million viewers, many of whom fell into the commercially desirable 18 to 49 year-old category and stayed with the program for the full three hours.

The broadcast of the beloved stage musical was all the more remarkable because it managed to score surprisingly strong ratings despite some fairly harsh assessments of the overall production and the performance of its’ star, country music’s Carrie Underwood, which began popping up on social media well before the show had ended.

But, it’s hardly the first time The Sound of Music has weathered a critical drubbing.

When it debuted on Broadway in 1959, some reviewers dismissed the final collaboration by the legendary Richard Rodgers and Oscar

Hammerstein II, describing it “hackneyed,” “clichéd” and “disappointing.” Audiences disagreed and the musical enjoyed a healthy 1,443 performance run and picked up the Tony Award for Best Musical (in a tie with the Pulitzer Prize winning Fiorello!). It went on to international acclaim when The Sound of Music was made into one of the highest-grossing films of all time and an Oscar winner.

The December airing of The Sound of Music was also noteworthy because it marked the first time in more than 50 years that a network had presented a live performance of a musical. But, transplanted stage musicals have found admirers in American living rooms from the earliest days of television. And Carrie Underwood’s bestknown predecessors as Maria Von Trapp starred in live broadcasts that are remembered fondly.

Mary Martin, who originated the role of Maria on Broadway, lives on in kinescopes of the high-flying Peter Pan, which won the actress both a Tony and an Emmy Award for the same performance! Martin’s Academy Award nominated counterpart, Julie Andrews, first stepped before the cameras as Cinderella in Rodgers and

Photo: Courtesy of NBC

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Hammerstein’s only musical written specifically for television when it debuted for a whopping 107 million viewers -- better than half the population of the United States in 1957!

Over the years, televised musicals have roughly fallen into four categories. There have been original musicals, like Cinderella, that were written for home viewing. And then there were small screen adaptations of hit Broadway and Off-Broadway shows like Peter Pan. There have also been presentations of musicals that were shot on location in a theater while they were being performed for a live audience – a staple of PBS’s Great Performances series. And the quirkiest entry involves special musical installments of popular television dramas and sitcoms like this season’s two-hour episode of the cable detective series Psych.

The first category – shows created for broadcast – dates back the farthest to the midforties when the long-defunct DuMont Network presented, The Boys From Boise, a musical comedy about chorus girls stranded in cowboy country. Better known entries include opera composer Gian Carlo Menotti’s Amahl and the Night Visitors, a one-act opera about a visit from the Three Magi that has gone on become a holiday staple in stage performances.

Special holiday programming can be credited with creation of many perennial favorites.

There’s been a glut of adaptations of Charles Dickens’ A Christmas Carol scored by a variety of composers that even includes Bernard Herrmann (best know for providing the films of Alfred Hitchcock with their unsettling music, including the iconic Psycho theme!) But, the most enduring version has to be Jule Styne and Bob Merrill’s Mr. Magoo’s Christmas Carol, a trim retelling that managed to squeeze the plot of the original novella into 53 minutes and still had room for some “backstage” antics that climaxed with the myopic Magoo destroying the show’s scenery!

The debut of Cinderella introduced much of America to Julie Andrews, who was on her way to stardom thanks to the Broadway production of My Fair Lady. Filmed remakes have featured Leslie Ann Warren and the pop singer Brandy in the title role, and the show found its way to the New York stage in a lavish production just last

In the week that followed the initial performance of The Sound of Music, NBC aired an encore presentation that picked up a couple million more viewers and clearly indicated the network’s eagerness to duplicate its’ success. So, there are already serious rumblings about future live television broadcasts of musicals that began on stage.

Photo: Courtesy of NBC

year. Cinderella’s unqualified success proved to be difficult for others to emulate, however, with only occasional exceptions, like Carol Burnett’s three small screen outings in Once Upon a Mattress in 1964, 1972 and 2005. But, most of the made-for-tv tuners were quickly forgotten until Disney’s High School Musical franchise revived the genre in 2006.

The next category -- small screen adaptations – flourished in the 1950’s when there were broadcasts of smash hits like Annie Get Your Gun (1957), Anything Goes (1954, co-starring Frank Sinatra), Kiss Me, Kate (1958) and Wonderful Town (1958). But, the biggest success was the 1955 airing of Peter Pan, which not only boasted the talents of Mary Martin, but comic actor Cyril Ritchard and director/choreographer Jerome Robbins. The musical had actually been sold to

television before it opened on Broadway and it was performed live as soon as it had finished its limited run onstage. 65 million viewers tuned in, so NBC reprised it with the original stars less than a year later and once again in 1960 (when, as it happens, Martin was also appearing on Broadway in The Sound of Music!).

Small screen adaptations have continued until today, with musical like Annie, Bye, Bye, Birdie and Gypsy turning up as star-driven vehicles. But, advances in technology brought about the third category: musicals shot on location in front of a live audience. Stephen Sondheim has scored particularly well in this area with the New York productions of his musicals Sunday in the Park with George (1986), A Little Night Music (1990), Into the Woods (1991), Passion (1996) and Company (2013) all preserved by Public Television as they were enjoyed in the theater.

While it was still on Broadway in 2008, the musical Legally Blonde was filmed for television and shown twice on MTV as a marketing gambit.

The network followed it up with a reality series on which the contestants vied to take over leading role of Elle Woods for what turned out to be the New York production’s last three months.

The final category -- special installments of dramas and sitcoms – has resulted in some truly one-of-a-kind events. Fantasy series have, perhaps, fared best. Xena: Warrior Princess and Buffy the Vampire Slayer, for example, featured Photo: Courtesy of NBC

Photo: Courtesy of NBC

episodes that boasted original songs, vocals largely performed by the shows’ stars and end-results that were embraced by their fans. But, few series genres have been exempt, with the prison drama Oz, the medical dramedy Scrubs, the sitcom That 70’s Show and even the daytime soap opera One Life to Live weighing in with onetime tuners.

By far the riskiest experiment was the 11-episode Cop Rock, a musical police procedural created by Steven Bochco that bowed out after one poorly received season despite the contributions of composers like Randy Newman. The world of New York theater provided a much more natural setting for Smash, but the series, which centered on the creation of a musical about Marilyn Monroe, faired only slightly better than Cop Rock by managing struggle through a second season.

Trey Parker and Matt Stone, the creators of the irreverent cartoon South Park, have an obvious soft-spot for show tunes that has led to many of their program’s song-and-dance sequences, including a wicked send-up of the High School Musical phenomenon. The team eventually brought things full circle by sending The Book of Mormon to Broadway where it continues to be the highest-grossing musical in town.

In the week that followed the initial performance of The Sound of Music, NBC aired an encore presentation that picked up a couple million more viewers and clearly indicated the network’s eagerness to duplicate its’ success.

So, there are already serious rumblings about future live television broadcasts of musicals that began onstage.

Anyone else up for seeing Stephen Colbert play Fagin in Oliver?

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Film + Entertainment

Fox on Film

& Entertainment

by PETER FOX: about.me/foxonfilm

Photo: Courtesy of Paramount Pictures Pictures.

“The Wolf of Wall Street” Directed by Martin Scorsese film. Written by Terrence Winter. Starring Leonardo DiCaprio, with Jonah Hill, Margo Robbie, Kyle Chandler, Rob Reiner and Matthew McConaughey. Running time 181 minutes, a Paramount Pictures release.

Rating:

O

n rare occasions, different worlds will merge in such a way that we are given an opportunity to gain a perspective that most others do not have the chance to see.

In 1988, I had several encounters with Jordan Belfort, the infamous character expertly portrayed by Leonardo DiCaprio in The Wolf of Wall Street. I was working nights as a crap dealer in Atlantic City, N.J. while getting my bachelor’s degree at a small, state college. At the time, I was eight years into the gaming business and thought I had seen it all. That was before I encountered Jordan Belfort for the first time.

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Back in the day, tables were rarely, if ever, reserved for gamblers seeking their own table. But, on this particular evening, an exception was made. Our crew, consisting of a boxman, floorman, and four dealers, waited several hours for the arrival of a party of ten from New York. We’d been instructed to be on our best behavior, that the money-guy/ ringleader, was young, brash, and filthy rich. I came in for work at six p.m. Belfort and his gang arrived around ten.

His entourage was mostly young, mostly loud, and mostly coked-up -to -the -max; the telltale indicators of teeth-licking

and red schnozolas in full bloom.

Belfort took his place next to my second base position and dumped two fists full of hundred dollar bills, pulled from a Louis Vuitton satchel and wrapped in ten thousand dollar packs, down in front of me. I don’t clearly remember the total amount, but do recall that I knew it was enough to pay off my car and four years worth of college tuition in one shot.

The dough was counted and the chips distributed. He instructed the boxman to give each member of his entourage, which took up the entire railing of the crap table, one thousand dollars in chips. As was custom-

ary, I greeted him with a “Hello, how are you tonight?” The woman on his arm was one of the most beautiful women I had ever seen. He deadpanned back at me as if I’d just insulted him by daring to look him in the eye.

The dice were sent out, and as was covered in the film, Jordan starts barking out instructions to his posse as if he were Jim Jones. Instructions such as this: “Okay everyone!

Put down two black chips and say: ‘One sixty two across and all the hard ways five dollars each!” Gleeful, frenzied and on cue, they all barked out the same order at the dealers...

When his girlfriend successfully rolled a front line winner, he shouted: “I’m going to buy this girl a Ferrari!”

This went on for most of the night, and through most weekend nights of that summer, on a fairly regular basis. He never even blinked at losses, and won several hundred thousand dollars on at least one occasion that I remember. But, if there was a “beef” or a “jackpot” situation on the game; (casino-speak for a disagreement between a gambler and casino staff over the validity of a wager), his response was always the same: Explosive anger punctuated by deeply personal insults directed at those of us behind the table.

You can learn a lot about a person by watching their behavior as they play at a craps table.

In the end, he always got his way.

So, when I sat in the theater for the screening of The Wolf of Wall Street, something about this guy seemed very familiar to me. I knew that I’d heard his name before, but couldn’t exactly match the name and the face. It was not until I saw a photo of the man, Jordan Belfort, in a N.Y. tabloid in the media frenzy that followed the release of the picture, along with a phone call to a lifelong friend of mine, now a senior casino executive in Miami, that I was able to put things together.

What does any of this have to do with the film, The Wolf of Wall Street? Here’s what…

Before I answer my own question, let me acknowledge the following:

Martin Scorsese is one of the most highly accomplished filmmakers of all time.

Mr. DiCaprio is at the top of the list of his peers. The film is masterfully written.

Beautifully photographed, expertly edited for both picture and sound, and perfectly scored. (Has Scorsese ever created a work of cinema that did not have an amazing soundtrack?)

However, the film’s structure is nearly an exact template of Goodfellas on nearly every level. If one were to listen to a recording of DiCaprio’s voiceover track of Jordan Belfort and intercut it with Ray Liotta’s voiceover of the Henry Hill voiceover in Goodfellas, it would be difficult to tell the difference, right down to the tone and punctuation of speech. But this is a technical issue. The film’s technical merits and shortcomings are not what is at issue.

Scorsese films rarely, if ever, lack technical excellence.

I am not on a crusade against directors who make pictures in the classic American cinematic motif of the worldview-as-seen-through-theeyes-of the bad guy. It is just that this film spends a total of fifteen seconds (a simple shot of working folks riding home on the subway with the hero cop, excellently and convincingly portrayed by Kyle Chandler) on the victims of Jordan Belfort’s

Photo: Courtesy of Paramount Pictures Pictures.

cocaine and Quaalude-fueled, violent and sinister rape of innocent investors; the majority of whom were either elderly or working class people. To make matters worse, the elongated shots of things like Jonah Hill’s character choking on a mouthful of food, in slow motion, as the luded-up Belfort crawls in slow motion across the floor to attempt to save him, is void of anything heroic. (In the eighties film, The Untouchables, slow motion is employed as the baby carriage free-falls, step by step, down the stairs as the heroes come to the rescue. Will they make it in time?) Over and over again, the film’s vulgar cinematic beats repeat themselves , and the audience, without even knowing anything about Jordan Belfort’s true story, can see the end coming before the film is

half over. It seemed that after that point that the scenes were simply designed to be more visually outrageous than the ones which preceded them.

Most disappointing was Scorcese’s failure to at least pay homage, even in the most minimal fashion, to the victims and their families, most of who are still suffering as a result of Jordan Belfort’s criminal acts.

Shortly after the film’s release, one of the children of an associate of Belfort, Christina McDowell, (her father is Tom Prousalis) sent an open letter, published in L.A. Weekly, to Scorsese and DiCaprio. In part, it reads: “Belfort’s victims, my father’s victims, don’t have a chance at keeping up with The Joneses.

They’re left destitute, having lost their life savings at the age of 80. They can’t pay their medical

Photo: Courtesy of Paramount Pictures Pictures.

bills or help send their children off to college because of characters like the ones glorified in Terry Winters’ screenplay.

Let me ask you guys something. What makes you think this man deserves to be the protagonist in this story? Do you think his victims are going to want to watch it? Did we forget about the damage that accompanied all those rollicking good times?

Or are we sweeping it under the carpet for the sale of a movie ticket? And not just on any day, but on Christmas morning??”

(Republished with permission of L.A.Weekly magazine).

It is not the fault of filmmakers that the world is oftentimes a terrible place, or that Wall Street is filled with more than a few opportunistic crooks. Making a movie about that part of the world is one thing; taking the worst parts of that world and using them for punch lines of visual jokes is another. The age-old, knee-jerk response that the film is simply a mirror of our times does not apply here, as only part of the reflection is explored, while the other, more damaged part is ignored. In the end, the disappointment was not with the film, but with the filmmaker.

Back to my question: What does any of this have to do with the film? Let’s just say: I saw it all coming. But there was more to this story than what Mr. Scorsese chose to show us, and I really wish that he’d chosen to show us the rest of it.

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the

Daisy

Daisy column

miami society. the powerful, the chic, the unique

by daisy olivera

Photo: MannyofMiami.com

Photo: World Red Eye

Top, from left; PAMM Board Chair Aaron Podhurst, trustee Terry Vento, Board Pres. Gail Meyers, PAMM Director Thom Collins.

Left, Kevin Sharkey, Martha Stewart, PAMM Curator Tobias Ostrander, Hertzog and De Meuron Sr. Partner Christine Binswanger.

Bottom left, Jorge Perez and Marc Anthony.

Bottom right, Jayne Abess, Carol Soffer, Susan Magrino, architect Alison Spear.

Jorge, Christina and Darlene Perez, Constance and Mike Fernandez.

Pérez Art Museum Miami: Opening Gala Raises $2 Million

We knew it was going to be the event of the season when word got around that tickets for the Premiere PAMM Gala were soldout in August! Indeed, more than 750 art lovers, collectors, gallerists, artists and other VIPs from around the world gathered to commemorate the opening of the Herzog & de Meuron designed building. The evening honored Darlene and Jorge M. Pérez, (who donated over $30 million in art and cash and for whom the PAMM was named) and began with a cocktail reception in the gallery spaces followed by a seated dinner and dancing in the park. The women were dressed to impress, kicking up the glam factor several notches for this long-awaited event. Guests enjoyed dinner by Stephen Starr (the man behind Morimoto and Buddakan who was named exclusive caterer for the museum) and danced to a private concert by Grammy-award winning, Latin superstar, Marc Anthony. The glittery gala raised more than $2 million for the new museum’s public programming.

Photo: Juan E. Cabrera

Photo: World Red Eye

Photo: MannyofMiami.com

Left, photographer Bruce Weber, artist Michele Oka Doner, Mitchell Wolfson.

Center, Susana Ibarguen and Pres/CEO of Knight Foundation Alberto Ibarguen. Right, PAMM Trustee Walid Wahab and Suzie Wahab.

Photo: Juan E. Cabrera

Photo: Juan E. Cabrera

For more stories about Miami society please visit TheDaisyColumn.com 81

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