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In

this Back to School issue of Princeton Magazine, we are pleased to celebrate Princeton Universityâ&#x20AC;&#x2122;s new President Chris Eisgruber on our cover.

Trained as a legal scholar, the Universityâ&#x20AC;&#x2122;s new leader enjoys political theory, and is a fan of the movie Lincoln.

He talks of Princetonâ&#x20AC;&#x2122;s interest in online education and how

 â&#x20AC;¨â&#x20AC;Šit

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;typiďŹ es

 â&#x20AC;¨â&#x20AC;Šthis

 â&#x20AC;¨â&#x20AC;Šweighing

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šwhatâ&#x20AC;&#x2122;s

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 â&#x20AC;¨â&#x20AC;Šwhatâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Š doable, and coming up with workable solutions for the immediate future.â&#x20AC;? He also discusses government surveillance, a hope for a less polarized Congress, and other topical subjects.

Another school-related article in this issue is our story about painter Mel Leipzig, who recently retired after 45 years of teaching at Mercer County Community College.

Quite a few readers have suggested we do a story on Mel and I am pleased that we are able to celebrate the career of this well-loved teacher. His fans will be pleased to learn that since his retirement from teaching, he is now able to produce up to 17 paintings a year!

Many people know someone who was painted by Mel Leipzig and even more people know someone who was photographed by Pryde Brown, the subject of another article in this issue. In the 42 years of operating studios in Princeton, she has photographed countless babies, graduates, newlyweds, and family portraits. In fact, she photographed my daughter, as a toddler, 23 years ago, in a small garden on Chambers Street. I just discovered that she also photographed my business partners, Bob and Barbara Hillier, about 25 years ago, in their then newly built home on the Delaware River. Pryde moved her photography business to her 50-acre farm in Ringoes where she talks fondly about raising 10 children there, including ďŹ ve

 â&#x20AC;¨â&#x20AC;Šdaughters

 â&#x20AC;¨â&#x20AC;Šwho

 â&#x20AC;¨â&#x20AC;Šhave

 â&#x20AC;¨â&#x20AC;Šbecome

 â&#x20AC;¨â&#x20AC;Špublished

 â&#x20AC;¨â&#x20AC;Šauthors.

A promising new artist in our community is 19-yearold singer/songwriter Bailey Outerbridge. You may not recognize her name now but you will eventually. This past June, she was the opening act for a Beach Boys concert and the year before opened for Natalie Cole. Leading up to that point, she sang with Princeton Girlchoir, studied piano at Westminster Conservatory, and just completed her ďŹ rst

 â&#x20AC;¨â&#x20AC;Šyear

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šcollege.

 â&#x20AC;¨â&#x20AC;ŠDespite

 â&#x20AC;¨â&#x20AC;Šall

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šearly

 â&#x20AC;¨â&#x20AC;Šsuccess,

 â&#x20AC;¨â&#x20AC;ŠBaileyâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Š mother, Phoebe, describes her daughter as a â&#x20AC;&#x153;normal college student.â&#x20AC;?

Finally, our Last Word interview is with Christopher Reeveâ&#x20AC;&#x2122;s son Matthew, who talks about his work at the Christopher & Dana Reeve Foundation and his fatherâ&#x20AC;&#x2122;s many ties to Princeton. The images accompanying the interview show all three of Chrisâ&#x20AC;&#x2122;s children. Itâ&#x20AC;&#x2122;s a pleasure to see how they have grown into such handsome and accomplished young adults.

Bob Hillier and I hope you enjoy this issue of Princeton Magazine and wish all the students returning back

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šschool,

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šsuccessful

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šfun-Â­ďŹ lled

 â&#x20AC;¨â&#x20AC;Šyear.

Best regards,

Lynn Adams Smith Editor-In-Chief

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thoughts into mathematical models,â&#x20AC;?

Hirschman declares that â&#x20AC;&#x153;mathematics has not quite caught up with metaphor or languageâ&#x20AC;&#x201D;both are more inventive!â&#x20AC;?

B63 C<7D3@A7BG¸A >C0:7A63@ 0g AbcO`b ;WbQV\S` rinceton University Press celebrated its 100th anniversary in 2005 with the publication of A Century in Books, which showcased 100 volumes that â&#x20AC;&#x153;best typify what has been most lasting, most

 â&#x20AC;¨â&#x20AC;ŠdeďŹ

 â&#x20AC;¨â&#x20AC;Šning,

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 â&#x20AC;¨â&#x20AC;Šabout

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 â&#x20AC;¨â&#x20AC;Š publishing,â&#x20AC;? according to the introduction by outgoing director Walter Lippincott, who was succeeded in March of that year by the current director Peter J. Dougherty. The cochair of the search committee at the time was University Provost Christopher Eisgruber, the Universityâ&#x20AC;&#x2122;s newly installed twentieth president and the subject of this issueâ&#x20AC;&#x2122;s cover story. What the provost said about the new director eight years ago could be said by the president today, that heâ&#x20AC;&#x2122;s looking forward to working with Dougherty â&#x20AC;&#x153;to sustain the healthy relationship between the Press and the University.â&#x20AC;?

Cited

 â&#x20AC;¨â&#x20AC;Šamong

 â&#x20AC;¨â&#x20AC;ŠDoughertyâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;ŠqualiďŹ

 â&#x20AC;¨â&#x20AC;Šcations

 â&#x20AC;¨â&#x20AC;Š in 2005 were his previous 13 years with the Press â&#x20AC;&#x153;as a brilliant editor of books about economics.â&#x20AC;? Itâ&#x20AC;&#x2122;s no surprise, then, that Princeton has just published Jeremy Adelmanâ&#x20AC;&#x2122;s outstanding biography Worldly Philosopher: The Odyssey of Albert O. Hirschman, which should receive serious attention from prize committees

 â&#x20AC;¨â&#x20AC;Šwhen

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šbest

 â&#x20AC;¨â&#x20AC;Šnon-­ďŹ

 â&#x20AC;¨â&#x20AC;Šction

 â&#x20AC;¨â&#x20AC;Šworks

 â&#x20AC;¨â&#x20AC;Š of 2013 are chosen. Certainly no one could imagine otherwise after reading the in-depth review in the June 24 New Yorker, where Malcolm Gladwell suggests that â&#x20AC;&#x153;Adelman brilliantly and beautifully brings Hirschman to life, giving us an unforgettable portrait of one of the twentieth centuryâ&#x20AC;&#x2122;s most extraordinary intellectuals.â&#x20AC;?

As Adelman makes eloquently clear, Hirschman, a longtime Princeton resident who died at 97 last December, was a great deal more than an economist or a social scientist. Hirschmanâ&#x20AC;&#x2122;s working devotion to language and literature is stressed throughout the book, where every chapter is headed by an epigraph from the work of Franz Kafka.

Hirschmanâ&#x20AC;&#x2122;s father Carl, a surgeon, used to read him Kafkaâ&#x20AC;&#x2122;s stories, and the eventual author of Exit, Voice, and Loyalty (Harvard Univ. Press 1970) shared his fatherâ&#x20AC;&#x2122;s fondness for â&#x20AC;&#x153;Investigations of a Dog,â&#x20AC;? which, as Adelman observes, â&#x20AC;&#x153;pointed to some of the foibles that accompany closed certainties, a style that would yield a lifelong imprint [for Hirschman].â&#x20AC;? And should you happen to be a mathematically challenged English major whose acquaintance with economics is pretty much limited to reading Paul Krugmanâ&#x20AC;&#x2122;s column twice a week, you will feel like applauding until your hands ache when, after being chided by colleagues â&#x20AC;&#x153;for not putting his

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 â&#x20AC;¨â&#x20AC;ŠUniversity

 â&#x20AC;¨â&#x20AC;ŠPress

 â&#x20AC;¨â&#x20AC;Š book to win a Pulitzer Prize was George F. Kennanâ&#x20AC;&#x2122;s Russia Leaves the War (1957), which also won a number of other honors, not least the National Book Award. There are interesting parallels in the careers and accomplishments of Hirschman and Kennan. Both men were dramatically and productively engaged in the history of their time, particularly during the war years 1938-1948. Both eventually transcended their roles in the world, Kennan the diplomat-historian, Hirschman the economist-philosopher whose missions for the World Bank to El Salvador and Ecuador, Ethiopia, Uganda and Nigeria, India and Thailand suggest a peripatetic life in the world not unlike Kennanâ&#x20AC;&#x2122;s tours of duty for the State Department. Doubtless Hirschmanâ&#x20AC;&#x2122;s story would make a more exciting

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šlmâ&#x20AC;&#x201D;he

 â&#x20AC;¨â&#x20AC;Šfought

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;ŠSpain

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šhelped

 â&#x20AC;¨â&#x20AC;Š artists and intellectuals escape from Occupied Franceâ&#x20AC;&#x201D;but in the end he, like Kennan, found a home at the Institute for Advanced Study, and published with Princeton University Press (The Passions and the Interests in 1977 and Shifting Involvements in 1982). Both men settled down to live out their lives in Princeton, Hirschman on Newlin Road, Kennan on Hodge. From the point of view of their biographers, both men also had extraordinary wives. As Adelman movingly acknowledges, Sarah Hirschman, who died in January, guided him â&#x20AC;&#x153;through memories of a life she shared with a remarkable, complicated man,â&#x20AC;? giving him access to personal letters and diaries (â&#x20AC;&#x153;a biographer could only dream of such companionshipâ&#x20AC;?). As for Annelise Kennan, who died in 2008, John F. Gaddis simply said: â&#x20AC;&#x153;Annelise had her way with this book, and that is why I have dedicated it to her memory.â&#x20AC;?

E=@2A /<2 >71BC@3A In another recent Princeton Press book, Mute Poetry, Speaking Pictures ($22.95), Leonard Barkan, a professor of Comparative Literature at Princeton, explains the relationship between poetry and painting as ultimately â&#x20AC;&#x153;an expression of desire: the painter longs for the rich

 â&#x20AC;¨â&#x20AC;ŠsigniďŹ

 â&#x20AC;¨â&#x20AC;Šcation

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šlanguage

 â&#x20AC;¨â&#x20AC;Šwhile

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Špoet

 â&#x20AC;¨â&#x20AC;Š yearns for the direct sensuousness of painting.â&#x20AC;?

Barkan focuses on the period from antiquity to the Renaissance in his quest to understand why painters sometimes wish they were poets and why poets sometimes wish they were painters. As he explains in a video on the Press !

website (http://press.princeton.edu/titles/9832. html), the image of the painting used for the cover, Caravaggioâ&#x20AC;&#x2122;s Matthew and the Angel, which was destroyed during the bombing of Berlin, shows St. Matthew being inspired to write the gospel. The placement of the angelâ&#x20AC;&#x2122;s hand on St. Matthewâ&#x20AC;&#x2122;s, as if actually guiding it, illustrates Barkanâ&#x20AC;&#x2122;s theme, the act of writing merging with Caravaggioâ&#x20AC;&#x2122;s act of painting; that, and the fact that the calligraphy, in Hebrew, was â&#x20AC;&#x153;exquisitely perfect,â&#x20AC;? made it an eloquently representative image. His previous book was Michelangelo: A Life on Paper (Princeton 2010).

in small towns. Topics covered include the symbols and rituals of small-town life, the roles of formal and informal leaders, the social role of religious congregations, the perception of moral and economic decline, and the ways residents in small towns make sense of their own lives.

Wuthnow also tackles issues such as class and

 â&#x20AC;¨â&#x20AC;Šrace,

 â&#x20AC;¨â&#x20AC;Šabortion,

 â&#x20AC;¨â&#x20AC;Šhomosexuality,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Š substance abuse. His other books include Red State Religion: Faith and Politics in Americaâ&#x20AC;&#x2122;s Heartland and Remaking the Heartland: Middle America since the 1950s (both Princeton).

2/@9 ;/BB3@ According to Nature, in Heart of Darkness: Unraveling the Mysteries of the Invisible Universe (Princeton 2013), Princeton University astrophysical sciences professor Jeremiah Ostriker and science historian Simon Mitton â&#x20AC;&#x153;seamlessly blend historical narrative with

 â&#x20AC;¨â&#x20AC;Šlucid

 â&#x20AC;¨â&#x20AC;ŠscientiďŹ

 â&#x20AC;¨â&#x20AC;Šc

 â&#x20AC;¨â&#x20AC;Šexplication,

 â&#x20AC;¨â&#x20AC;Šfrom

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šdeeps

 â&#x20AC;¨â&#x20AC;Š of classical time to the data-fuelled hyperdrive of the past 50 years.â&#x20AC;? Kirkus Reviews describes how â&#x20AC;&#x153;with infectious enthusiasm, diagrams and even a little high school math, the authors deliver the available answers along with the increasing

 â&#x20AC;¨â&#x20AC;Šconfusion.

 â&#x20AC;¨â&#x20AC;ŠA

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šne

 â&#x20AC;¨â&#x20AC;Šintroduction

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Š cosmology but rich enough to inform readers familiar with introductions.â&#x20AC;?

Robert Wuthnowâ&#x20AC;&#x2122;s new book SmallTown America: Finding Community, Shaping the Future (Princeton $35) is about factory workers, shop owners, retirees, teachers, clergy, and mayorsâ&#x20AC;&#x201D;residents who show neighborliness in small ways, but who also worry about everything from school closings and their childrenâ&#x20AC;&#x2122;s futures to the ups and downs of the local economy. Drawing on more than 700 interviews in hundreds of towns across America and three decades of census data, Wuthnow, a professor of Social Sciences at Princeton, shows the fragility of community

<3E @3:3/A3A Some other interesting new titles from Princeton University Press are Italo Calvino, Letters 1941-1985, selected with an introduction by Michael Wood; The Muslim Brotherhood: Evolution of an Islamist Movement by Carrie Rosefsky Wickham; and Shaping Jazz: Cities, Labels, and the Global Emergence of an Art Form by Damon J. Phillips. Jill Leporeâ&#x20AC;&#x2122;s The Story of America: Essays and Origins (Princeton 2012) has been shortlisted for the PEN/DiamonsteinSpielvogel Award for the Art of the Essay.

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The Foundation of Morris Hall/St. Lawrence Inc. PRESENTS

The Foundation of Morris Hall/St. Lawrence Inc. Presents

The  Best  of  Broadway

Benefit Concert

WITH

WITH SPECIAL GUESTS

JODI BENSON

& SAL VIVIANO WITH SPECIAL GUESTS

Saturday,

DEBBIE September 29, 2012GARY

CHRISTIANNE

NOLL

GRAVITTE 8:00 PM MAUER Patriots Theater at the Trenton War Memorial, Trenton, NJ

Tickets: $35-$85. Visit www.thewarmemorial.com or call 609-791-9451

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Patron tickets, including a Champagne Reception with Peter Nero, Ms. Benson and Mr. Viviano can be purchased by calling 609-896-9500, ext. 2215, oratjmillner@slrc.org.

Patriots Theater the Trenton War Memorial, Trenton, NJ

Tickets: $35-$90, by calling 877-987-6487, www.slrc.org 8/10/2012 10:25:46 AM or www.warmemorial.nj.gov

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Patron tickets, including a Champagne Reception with Maestro Nero, Ms. Noll, Ms. Gravitte and Mr. Mauer can be purchased by calling 609-896-9500, ext. 2215, or jmillner@slrc.org.

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IDEALIST AND PROBLEM SOLVER

EISGRUBER IS PRINCETON UNIVERSITY’S NEW PRESIDENT

BY ELLEN GILBERT PHOTOGRAPHY BY BENOIT CORTET

20

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PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

C

hristopher Ludwig Eisgruber’s recent appointment as the 20th president of Princeton University was greeted with cheers and glowing descriptions of his superlative qualifications and readiness for the job. On this particular afternoon early in his tenure, though, he goodnaturedly allowed as how the the task at hand—posing for a number of photographs—was new and perhaps a little uncomfortable for him.

Eisgruber is nothing if not an eventempered man, though, and this was evident as the photographer clicked away.

Gamely following instructions, he looked this way and that, assumed a variety of expressions, and worried, after being asked to pose yet again with his hand inside his jacket as if reaching for his phone, that the image might evoke associations with Napoleon. Eisgruber is very tall and very pragmatic, though; comparisons are highly unlikely.

“We have hit a home run with President Eisgruber,” Jeffrey A. Kehl, ’70, was quoted as saying when the appointment was announced.

Kathryn Hall, chair of Princeton’s Board of Trustees and the presidential search committee, reported that, following a six-month search, Eisgruber was the unanimous recommendation of the 17-member search committee. "From the start we heard that Chris would be a very strong choice, and this was confirmed and supported with compelling evidence month after month, comment after comment, meeting after meeting,” said Sociology Department Chair and search committee member Miguel Centeno.

Shirley Tilghman, Eisgruber’s immediate predecessor, observed that, "We have in Chris the leader we are going to need for the next decade or so. I don't think we could be in better hands.”

A physics major at Princeton, the Lafayette, Indiana, native spent two years at Oxford as a Rhodes Scholar; he went on to receive a law degree from the University of Chicago. After clerking for U.S. Court of Appeals Judge Patrick Higginbotham and U.S. Supreme Court Justice John Paul Stevens and teaching at New York University Law School for 11 years, he joined the Princeton faculty in 2001 as the director of the Program in Law and Public Affairs and the Laurance

S. Rockefeller Professor of Public Affairs in the Woodrow Wilson School of Public and International Affairs and the University Center for Human Values. A renowned constitutional scholar, he examined the Supreme Court appointments process, religious freedom and the constitution in his most recent work. His wife, Lori A. Martin, is a securities litigator with the firm of WilmerHale. They live in Princeton with their 14-year-old son, Danny, a freshman at Princeton High School.

PRACTICAL SOLUTIONS Eisgruber describes himself as “a constitutional lawyer or a constitutional theorist. What excites me intellectually is studying the U.S. Constitution, constitutionalism more generally, and religious freedom. For me, that sits at the intersection of political theory and law.”

He is, as a result, very comfortable hanging out with lawyers, as well as political theorists, and it is probably no coincidence

courses online last year. The results were encouraging, and five more will now follow. “It’s an important experiment in how we go about developing capacity on this campus to be ready to move in whatever direction is best.”

Striking a balance is also an important consideration with respect to government surveillance, an issue that has been on Eisgruber’s mind “for a long time.” Shortly after 9/11, he and another constitutional theorist, Larry Sager, co-authored a piece called Civil Liberties in the Dragon’s Domain. He readily acknowledges that “we are living in perilous times” that call for some government protection. “On the other hand,” he continues, “we also know, from experience, that in difficult times and even at other times, governments overreach, and even good people in government overreach. So the question Larry and I asked in this article was, ‘how do you set up institutions that are on the one hand, able to give the government the flexibility it needs in order to protect us, but on the other hand, also protects the civil liberties that we care about so deeply.’”

A key variable in that scenario, he says, is Congress, which has, unfortunately “not been as aggressive as it should be about limiting the Executive. At times, Congress has been too willing to hand the Executive a blank check and the question then becomes whether the Judiciary is able to interpose limits. But judges rightly feel, although they’ve intervened sometimes, that their capacity to make those trade-offs is itself limited.”

The answer, Eisgruber says, is “a less polarized Congress; one that is, on the one hand, really willing, to take responsibility for these choices but on the other hand able to recognize how hard choices are.

We have a government that presupposes and depends upon having a vigorous, effective, and public-spirited Congress, and if you don’t have that, you can’t have the president and the Judiciary substituting for that.”

The current polarization among both engaged citizens and elected officials worries Eisgruber, and he’s made that known to his students. He says that given the name of a Justice and his or her position on the question of abortion, “I can give you the Justice’s position on

“OUR NEW PRESIDENT DISPLAYS AN ANALYTICAL MIND. HE UNDERSTANDS PRECEDENT, BUT ISN'T BOUND BY IT.” Frank W. Gobetz that he loved the movie Lincoln.

“Here is this extraordinarily thoughtful leader and this terribly difficult time, on the one hand steadfastly focused, and values and goals of the highest order, but also making choices about compromises. Lincoln was a great lawyer, as well as a constitutional theorist,” Eisgruber enthuses.

Eisgruber’s training as a legal scholar dovetails nicely with his administrative philosophy. The University’s approach to the recent wave of interest in online education, as he tells it, typifies this weighing of what’s ideal with what’s doable, and coming up with workable solutions for the immediate future.

“What we have done here at Princeton is to approach online education in an exploratory way,” he says. “We made a determination a year or so ago that what was happening was both interesting and might improve the education of our students by putting some courses online.” Considerations about “putting information beyond our gates” also figured into the decision to put five

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

| 21

affirmative action, gun control, tuition vouchers, most issues about federalism, campaign finance regulation, and gay rights. The easiest way to predict how a Justice will vote is by knowing the president who appointed him, knowing he or she will vote with that party’s platform.

That’s a very depressing statement to be able to make.”

BROADENING THE BOOKSHELF

Shirley Tilghman (left) and Kathryn Hall (right) listen to Eisgruber (center) address questions at a media conference in the Faculty Room of Nassau Hall, surrounded by portraits of University presidents and other important figure's from the school's past.

PHOTO: PRINCETON UNIVERSITY, OFFICE OF COMMUNICATIONS, DENISE APPLEWHITE (2013).

Eisgruber has asked the incoming freshmen class to read Kwame Anthony Appiah’s book, The Honor Code: How Moral Revolutions Happen.

22

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PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

Eisgruber reports being “startled” when then-President Shirley Tilghman asked him to be provost in 2004, worrying that the responsibilities of the job—the provost serves as chief academic and chief budgetary officer of the University, under the president—would take him away from the teaching and writing he was very happily engaged in. His passionate belief in Princeton University’s ethos, particularly its commitment to providing a strong liberal arts education, along with a conversation with colleague Neil Rudenstine, convinced Eisgruber to take the job.

Rudenstine, who served dean of students, dean of the college, and provost at Princeton, and was president of Harvard University from 1991 to 2001, pointed out that the “beauty” of university administration lies in the fact that “your bookshelf becomes broader, rather than just deeper.” Rudenstine was right: as a result of becoming provost, Eisgruber says that he “learned what I might not have learned if I focused only on my field.”

The interdisciplinary lessons began early. Soon after Eisgruber became provost, Princeton Neuroscience Institute Co- Director Jonathan Cohen “came into my office and gave me a one-hour tutorial in neuroscience, with the goal of convincing me that this was a time when Princeton had to do something,” Eisgruber reports.

“One of the things we did early on was to bring in a review team of scientists to tell us about the right way to set up an institute,” he says. Even before President Obama’s recent call for more concerted and intensive “brain mapping” research, neuroscience was being described as “the heartbeat of hallway debate”; the thing that kept things humming. The review team’s recommendations included keeping the Psychology and Neuroscience Departments together, and faculty in both disciplines concurred. Tilghman, a molecular biologist, was already on board, and Eisgruber was convinced. The result is the new Princeton Neuroscience Institute

and Department of Psychology, a 200,000 square foot complex designed by architect Jose Rafael Moneo at the southeast corner of Poe Field. It will house state-of-the-art labs, faculty offices, and classrooms. “Of course it would have been much less expensive to split departments,” says Eisgruber now, “but I’m very glad we did it the right way. It’s a beautiful building.”

(See Princeton Magazine article on brain mapping, July 2013.)

PRESSURES ON ACADEMIA Eisgruber’s use of the word “exceptional” to describe the current scene in higher education has more to do with unusual challenges, than with the wonderful things it’s doing for students. He is more concerned with the anxieties associated with the current pressure families face in paying for college, and the ability of colleges— Princeton included—to respond in optimal ways to a quickly changing environment. Articles in mainstream media that express anti-academic sentiments don’t help.

“You see articles running regularly even in places like the New York Times, asking whether or not it’s worth it to go to college,” Eisgruber complains. “It’s not what the Times, in particular, should be saying. The economic evidence of a college degree, including a liberal arts education, is stronger than it ever has been. The true value of a liberal arts education isn’t reducible to an economic value. What’s important is that it prepares students for a meaningful life, including a vocation.”

Eisgruber is careful to acknowledge that The American Academy of Arts and Sciences was “right to sound an alarm” with the release of its recent report, “The Heart of the Matter,” an account of what commission members identified as the neglect of the humanities and social sciences in American education in favor of hard sciences and career preparation.

“Here at Princeton, though,” he is quick to add, “I think the humanities and the social sciences are very strong and deeply valued.” Eisgruber also cites Richard Arum and Josipa Roksa’s book, Academically Adrift, as a source of misinformation that attracted “a lot of attention.” Subtitled “Limited Learning on College Campuses,” the book suggests

that at many colleges, “including good colleges,” there is a lack of evidence that students are learning. “One of the messages that didn’t come out in that book is that students are learning more in traditional liberal arts programs than in business programs, which is exactly the opposite of the kind of emphasis that you hear from state legislatures right now,” Eisgruber observes.

While championing the liberal arts, Eisgruber has no truck with “great books” defenses like The Closing of the American Mind, Allan Bloom’s 1987 description of “How Higher Education Has Failed Democracy and Impoverished the Souls of Today's Students.” “There are a lot of things in that book that were heavily ideologically tinged,” he is quick to point out. He finds Bloom’s passion for liberal arts learning “entirely respectable and admirable,” but takes issue with the “kind of exclusivity” promoted by the book.

“A lot of it was directed at groups and studies that we worked very hard to include, and there were a lot of prejudices

job at the time, and I was commuting into N.Y. I think this is a wonderful community, where lots of the best things that happen are because of the intersection of the town and the University. My sense here—as a person living in town, as an employee of the university, and as a parent of a child in the schools—is that most people feel the same way.” The Eisgrubers enjoy eating out (Conte’s is a particular favorite) and Eisgruber suggests that “if there’s an agora in town, a kind of a public square, it’s Small World Coffee.

You go there and you meet everyone.”

ETHICAL CONCERNS Eisgruber has asked the incoming freshmen class to read Kwame Anthony Appiah’s book, The Honor Code: How Moral Revolutions Happen, and it is clearly something he is happy to talk about. “This particular book is splendid in a lot of different ways,” he says.

Appiah is a member of both the Department of Philosophy and the University Center for Human Values.

The book’s erudition and readability, Eisburger says, reflect Appiah’s wide-ranging accomplishments; he is, for just one example, a philosopher who also writes mystery novels. The book draws on history and philosophy from different areas of the world, and Eisgruber appreciates the questions it asks about what it means to live a good life, and which ideas about honor can promote a good life.

“I think he’s right,” says Eisgruber.

“I’m very excited about this project—this idea of having freshmen and the larger community reading a book that provides ethical ground for having a conversation.

In this time when all of us come from different perspectives, religious and otherwise, it’s wonderful to be able to have conversations where we can refer to a common text.

“This is what ought to happen on college campuses,” he adds. “You ought to have conversations that connect the classroom, but also transcend the classroom; that go on in dining halls, and dorm rooms, and elsewhere, about what it means to lead a meaningful life.”

“YOU HAVE TO BE ABLE TO IDENTIFY WITH AND THINK AND CARE ABOUT EVERY UNIT OF THE UNIVERSITY.” Chris Eisgruber that were unnecessarily and indefensibly yoked to liberal arts, which should be very inclusive.”

TOWN/GOWN THAW Eisgruber predicts a “warming” trend in relations between the University and the municipality during his presidency “I think we’ve been through what has obviously been a difficult set of arguments about the train station,” he observes. He himself is “very enthusiastic about that project,” and believes that “when it is complete it will be a wonderful thing both for the University and for the town.” The patient pragmatist is evident, though, when he observes that we “are years away” from that ideal.

Eisgruber and his family enjoy both aspects of the community. He and his wife support McCarter Theatre, and their son Danny plays in the Dillon and Little League baseball teams. “I’m someone who moved here with my wife before I became an employee of this University,” he points out. “We came here for Lori’s

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

| 23

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 â&#x20AC;¨â&#x20AC;Š Division decisions in the State of New Through our demonstrated skill inside Jersey. Mr. Hartmann and the remainder and outside of the courtroom, we have of the PR&A Family Law Attorneys have earned the respect of judges, adversaries, participated in countless trials and have and, most importantly, our clients. In fact, perfected the skills necessary to conduct four

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The Wooden Door, 1990, Acrylic on Canvas, 70â&#x20AC;? x 30â&#x20AC;?

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nterviewed at home in Trentonâ&#x20AC;&#x2122;s quiet and leafy Glen Afton district, surrounded by stacks of paintings, some

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnished,

 â&#x20AC;¨â&#x20AC;Šothers

 â&#x20AC;¨â&#x20AC;Šin-­progress,

 â&#x20AC;¨â&#x20AC;Š Mel Leipzig is almost giddy with the prospect of doing nothing but painting from now on. Not that he didnâ&#x20AC;&#x2122;t love teaching, but at 78, itâ&#x20AC;&#x2122;s time to focus all of his energy on his art. Currently, he has ten works on the go, and is traveling hither and thither to sites in New Jersey and beyond, to the homes of his sitters.

As if to provide contrast to Leipzig and his bubbling energy, Gatto, the artistâ&#x20AC;&#x2122;s contented cat, watches from a favorite spot on the back of the sofa.

Leipzig paints his subjects in their own environments. In the case of the portrait of Rush Holt that heâ&#x20AC;&#x2122;s working on, this means the Congressmanâ&#x20AC;&#x2122;s home, his

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠJunction

 â&#x20AC;¨â&#x20AC;ŠofďŹ

 â&#x20AC;¨â&#x20AC;Šce,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Š ofďŹ

 â&#x20AC;¨â&#x20AC;Šce

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;ŠWashington,

 â&#x20AC;¨â&#x20AC;ŠD.C.

 â&#x20AC;¨â&#x20AC;ŠThe

 â&#x20AC;¨â&#x20AC;Šresult

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Š triptych of images. Almost all of his work is

 â&#x20AC;¨â&#x20AC;Šdone

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šsitu

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Šacrylics

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Šfour-­foot-­ square canvases that he takes along in one of two white vans. These days, heâ&#x20AC;&#x2122;s doing a lot of diptychs and triptychs and working fast.

A generous teacher with a sunny dispositionâ&#x20AC;&#x201D;undaunted even by recent skin surgery to his nose as seen hereâ&#x20AC;&#x201D; Leipzig is considered one of the nationâ&#x20AC;&#x2122;s ďŹ

 â&#x20AC;¨â&#x20AC;Šnest

 â&#x20AC;¨â&#x20AC;Šrealist

 â&#x20AC;¨â&#x20AC;Špainters.

 â&#x20AC;¨â&#x20AC;ŠHis

 â&#x20AC;¨â&#x20AC;Špeers

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Š Edward Hopper, Ben Shahn, Alex Katz, Larry Rivers, and Philip Pearlstein.

His work is direct and unsentimental.

Art

 â&#x20AC;¨â&#x20AC;Šcritic

 â&#x20AC;¨â&#x20AC;ŠBurton

 â&#x20AC;¨â&#x20AC;ŠWasserman

 â&#x20AC;¨â&#x20AC;Šcalls

 â&#x20AC;¨â&#x20AC;Šhim

 â&#x20AC;¨â&#x20AC;Š â&#x20AC;&#x153;New Jerseyâ&#x20AC;&#x2122;s greatest living painter.â&#x20AC;?

He takes the accolade with characteristic difďŹ

 â&#x20AC;¨â&#x20AC;Šdence.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;As

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šfriend

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šmine

 â&#x20AC;¨â&#x20AC;Šonce

 â&#x20AC;¨â&#x20AC;Š

said, sometimes the parade passes your house and sometimes it doesnâ&#x20AC;&#x2122;t. The main thing is just doing your work.â&#x20AC;?

Although heâ&#x20AC;&#x2122;s lived in Trenton for more than half of his life, Leipzigâ&#x20AC;&#x2122;s accent is still pure Brooklyn. He was born and raised there, a Jewish boy whose parents hoped heâ&#x20AC;&#x2122;d become a rabbi. But Leipzig knew, he says, from the age of ďŹ

 â&#x20AC;¨â&#x20AC;Šve,

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šall

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šwanted

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šbe

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Šartist.

 â&#x20AC;¨â&#x20AC;Š His talents were not hard to spot and he garnered

 â&#x20AC;¨â&#x20AC;Šmany

 â&#x20AC;¨â&#x20AC;Šawards.

 â&#x20AC;¨â&#x20AC;ŠWhen

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Š student at James Madison High School, he got a scholarship to study on Saturday mornings at the Museum of Modern Art.â&#x20AC;&#x153;It was always something I had to do. Art is a calling and work is a form of pleasure for an artist. Thatâ&#x20AC;&#x2122;s not to say itâ&#x20AC;&#x2122;s easy. Itâ&#x20AC;&#x2122;s not.â&#x20AC;?

Even in his teens, Leipzig was a realist portrait painter, drawn also to writing

 â&#x20AC;¨â&#x20AC;Šprose

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Špoetry.

 â&#x20AC;¨â&#x20AC;ŠWhen

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Š graduated high school, he went to Cooper Union, New York Cityâ&#x20AC;&#x2122;s free art school, from 1953 to 1956. At that time, the art world was dominated by abstract expressionism, and Cooper Union was no exception. â&#x20AC;&#x153;I did well; my work in 2-­dimensional

 â&#x20AC;¨â&#x20AC;Šdesign

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šacceptable,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Š he says modestly. Leipzigâ&#x20AC;&#x2122;s natural bent toward realism was against the prevailing trend and yet he learned something from each of his teachers at Cooper Union.

Drawing

 â&#x20AC;¨â&#x20AC;Šteacher

 â&#x20AC;¨â&#x20AC;ŠSidney

 â&#x20AC;¨â&#x20AC;ŠDelevante

 â&#x20AC;¨â&#x20AC;Š encouraged his students to read their own

 â&#x20AC;¨â&#x20AC;Špoems

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šclass.

 â&#x20AC;¨â&#x20AC;ŠPrintmaker

 â&#x20AC;¨â&#x20AC;ŠWill

 â&#x20AC;¨â&#x20AC;Š Barnet taught him to do woodcuts.

Russian-­born

 â&#x20AC;¨â&#x20AC;Špainter

 â&#x20AC;¨â&#x20AC;ŠMorris

 â&#x20AC;¨â&#x20AC;ŠKantor

 â&#x20AC;¨â&#x20AC;Š wouldnâ&#x20AC;&#x2122;t

 â&#x20AC;¨â&#x20AC;Šlet

 â&#x20AC;¨â&#x20AC;Šhim

 â&#x20AC;¨â&#x20AC;Špaint

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šgure,

 â&#x20AC;¨â&#x20AC;Šso

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Š did still lifes instead. Kantor taught him

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Details from the Michael Graves Series (FROM LEFT) Panel 1, 2009/10, Acrylic on Canvas, 48â&#x20AC;? x 36â&#x20AC;?

a

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 â&#x20AC;¨â&#x20AC;Šhard

 â&#x20AC;¨â&#x20AC;Š time

 â&#x20AC;¨â&#x20AC;Šat

 â&#x20AC;¨â&#x20AC;ŠYale,

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šdestroying

 â&#x20AC;¨â&#x20AC;Špaintings

 â&#x20AC;¨â&#x20AC;Š one

 â&#x20AC;¨â&#x20AC;Šafter

 â&#x20AC;¨â&#x20AC;Šanother.â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šacknowledges.

 â&#x20AC;¨â&#x20AC;Š â&#x20AC;&#x153;Albers

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šopposed

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šrealism,

 â&#x20AC;¨â&#x20AC;Šbut

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šdid

 â&#x20AC;¨â&#x20AC;Š

34 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

!

Panel 2, 2009/10, Acrylic on Canvas, 48â&#x20AC;? x 36â&#x20AC;?

his

 â&#x20AC;¨â&#x20AC;Špaintings

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;Šdo

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;ŠMCCC

 â&#x20AC;¨â&#x20AC;Šcolleagues.

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Š Heâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Špainted

 â&#x20AC;¨â&#x20AC;Šmore

 â&#x20AC;¨â&#x20AC;Šthan

 â&#x20AC;¨â&#x20AC;Š100

 â&#x20AC;¨â&#x20AC;Šcollege

 â&#x20AC;¨â&#x20AC;Šfaculty

 â&#x20AC;¨â&#x20AC;Š and

 â&#x20AC;¨â&#x20AC;Šstaff

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šmyriad

 â&#x20AC;¨â&#x20AC;Šroles,

 â&#x20AC;¨â&#x20AC;Šshowing

 â&#x20AC;¨â&#x20AC;Šeach

 â&#x20AC;¨â&#x20AC;Š surrounded

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šitems

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šcontexts

 â&#x20AC;¨â&#x20AC;Š most

 â&#x20AC;¨â&#x20AC;Šimportant

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šthem

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Štheir

 â&#x20AC;¨â&#x20AC;ŠofďŹ ces

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Š homes,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šwork

 â&#x20AC;¨â&#x20AC;Šsettings

 â&#x20AC;¨â&#x20AC;Šlike

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šcollege

 â&#x20AC;¨â&#x20AC;Š cafeteria

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šmailroom.

Leipzig

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šrevered

 â&#x20AC;¨â&#x20AC;ŠďŹ gure

 â&#x20AC;¨â&#x20AC;Šat

 â&#x20AC;¨â&#x20AC;ŠMCCC

 â&#x20AC;¨â&#x20AC;Š where

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Špassion

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šteaching

 â&#x20AC;¨â&#x20AC;Šhas

 â&#x20AC;¨â&#x20AC;Šbrought

 â&#x20AC;¨â&#x20AC;Š out

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šbest

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Šstudents,

 â&#x20AC;¨â&#x20AC;Šmany

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šwhom

 â&#x20AC;¨â&#x20AC;Š have

 â&#x20AC;¨â&#x20AC;Šgone

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šprofessional

 â&#x20AC;¨â&#x20AC;Šcareers

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š arts.

 â&#x20AC;¨â&#x20AC;ŠBeing

 â&#x20AC;¨â&#x20AC;Špainted

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;ŠLeipzig

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šseen

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Š enormous

 â&#x20AC;¨â&#x20AC;Šprivilege.

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;I

 â&#x20AC;¨â&#x20AC;Šlove

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šcollege,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Š Leipzig

 â&#x20AC;¨â&#x20AC;Šsays,

 â&#x20AC;¨â&#x20AC;Šnoting

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šdoes

 â&#x20AC;¨â&#x20AC;Šnot

 â&#x20AC;¨â&#x20AC;Š know

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šanother

 â&#x20AC;¨â&#x20AC;Špainter

 â&#x20AC;¨â&#x20AC;Šwho

 â&#x20AC;¨â&#x20AC;Šhas

 â&#x20AC;¨â&#x20AC;Šmade

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Š colleagues

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šstudents

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šmain

 â&#x20AC;¨â&#x20AC;Šfocus

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Š or

 â&#x20AC;¨â&#x20AC;Šher

 â&#x20AC;¨â&#x20AC;Šwork.

 â&#x20AC;¨â&#x20AC;ŠAt

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Štime

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Šretirement

 â&#x20AC;¨â&#x20AC;Š in

 â&#x20AC;¨â&#x20AC;ŠMay,

 â&#x20AC;¨â&#x20AC;ŠCollege

 â&#x20AC;¨â&#x20AC;ŠPresident

 â&#x20AC;¨â&#x20AC;ŠPatricia

 â&#x20AC;¨â&#x20AC;ŠC.

 â&#x20AC;¨â&#x20AC;Š Donohue

 â&#x20AC;¨â&#x20AC;Šexpressed

 â&#x20AC;¨â&#x20AC;Šdeep

 â&#x20AC;¨â&#x20AC;Šgratitude

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Š pride

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;ŠLeipzig

 â&#x20AC;¨â&#x20AC;Šhad

 â&#x20AC;¨â&#x20AC;Šchosen

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šspend

 â&#x20AC;¨â&#x20AC;Š his

 â&#x20AC;¨â&#x20AC;Šprofessional

 â&#x20AC;¨â&#x20AC;Šlife

 â&#x20AC;¨â&#x20AC;Šat

 â&#x20AC;¨â&#x20AC;ŠMercer,

 â&#x20AC;¨â&#x20AC;Šwhere

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Š was

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šrecipient

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šcollegeâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Š Distinguished

 â&#x20AC;¨â&#x20AC;ŠTeacher

 â&#x20AC;¨â&#x20AC;ŠAward,

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Š1980.

 â&#x20AC;¨â&#x20AC;Š Because

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šstudied

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Šabstract

 â&#x20AC;¨â&#x20AC;Š painters,

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šsays,

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šdoes

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šlot

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthings

 â&#x20AC;¨â&#x20AC;Š that

 â&#x20AC;¨â&#x20AC;Šrealist

 â&#x20AC;¨â&#x20AC;Špainters

 â&#x20AC;¨â&#x20AC;Štypically

 â&#x20AC;¨â&#x20AC;Šdonâ&#x20AC;&#x2122;t

 â&#x20AC;¨â&#x20AC;Šdo.

 â&#x20AC;¨â&#x20AC;Š Occasionally

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šdistorts

 â&#x20AC;¨â&#x20AC;Šperspective

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Š invariably

 â&#x20AC;¨â&#x20AC;Šuses

 â&#x20AC;¨â&#x20AC;Šwhite

 â&#x20AC;¨â&#x20AC;Špaint

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šmost

 â&#x20AC;¨â&#x20AC;Šrealists

 â&#x20AC;¨â&#x20AC;Š eschew.

 â&#x20AC;¨â&#x20AC;ŠHe

 â&#x20AC;¨â&#x20AC;Šthinks,

 â&#x20AC;¨â&#x20AC;Štherefore,

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šhimself

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;Š a

 â&#x20AC;¨â&#x20AC;Šrealist

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šsubject

 â&#x20AC;¨â&#x20AC;Šmatter,

 â&#x20AC;¨â&#x20AC;Špainting

 â&#x20AC;¨â&#x20AC;Šscenes

 â&#x20AC;¨â&#x20AC;Š of

 â&#x20AC;¨â&#x20AC;Ševeryday

 â&#x20AC;¨â&#x20AC;Šlife.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;One

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šthings

 â&#x20AC;¨â&#x20AC;Šabout

 â&#x20AC;¨â&#x20AC;Š realism

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Ševerything

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šup

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šgrabs

 â&#x20AC;¨â&#x20AC;Š because

 â&#x20AC;¨â&#x20AC;Ševerything

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Špaintable,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šsays.

 â&#x20AC;¨â&#x20AC;Š His

 â&#x20AC;¨â&#x20AC;Šsubjects

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šnot

 â&#x20AC;¨â&#x20AC;Šhard

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šcome

 â&#x20AC;¨â&#x20AC;Šby.

Panel 3, 2009/10, Acrylic on Canvas, 48â&#x20AC;? x 48â&#x20AC;?

Until 1995, Leipzig painted students, friends, or family members in or around Trenton. In 1995, he expanded to painting others, many of whom were artists, with their families, either in their home, studio, or workplace. Itâ&#x20AC;&#x2122;s his rule to always pay his sitters for the hard work of posing and also for the use of their space. The going rate is $25 an hour. Some, such as Rush Holt and New Jersey State Museum Curator Margaret Oâ&#x20AC;&#x2122;Reilly, refuse any compensation because of their positions as state employees. And some, such as the staff and regulars at the Trenton restaurant Settimo Ciela (Seventh Heaven), refuse simply because they feel honored to be portrayed. â&#x20AC;&#x153;If you are in one of my paintings it means I like you. I canâ&#x20AC;&#x2122;t paint people I donâ&#x20AC;&#x2122;t like,â&#x20AC;? says the artist. Itâ&#x20AC;&#x2122;s telling that Trenton Mayor Tony Mack is not one of his subjects. Leipzig is both saddened and heartened by the state of his hometown. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve lived in Trenton more than half of my life and I love this city. My children were born here and I donâ&#x20AC;&#x2122;t believe itâ&#x20AC;&#x2122;s a lost cause,â&#x20AC;? he says. While the cityâ&#x20AC;&#x2122;s dysfunctional governance is depressing, Leipzig is heartened by the people there, especially the young artists. He was amazed by the quality of work he saw in judging a recent show there. â&#x20AC;&#x153;These young people are gutsy. They want an ArtBlock in Trenton near Perry Street

Panel 4, 2009/10, Acrylic on Canvas, 48â&#x20AC;? x 36â&#x20AC;?

and I applaud them for that. People like Leon Rainbow and Will Kasso are at the forefront of helping to build up Trenton.â&#x20AC;?

Although his style has often been described as â&#x20AC;&#x153;photorealist,â&#x20AC;? he doesnâ&#x20AC;&#x2122;t work from photographs. â&#x20AC;&#x153;I feel the use of photography would dilute the intensity of the feeling I am seeking.â&#x20AC;? And he has always worked with a limited palette, usually about eight colors. Starting in 1990, he reduced this further to four colors; a dark red, a dark cobalt blue, a yellow and a white; acrylic paints, which are brighter and more intense in color than oils. He works directly from life like Edouard Manet, the artist he most admires.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;Manet

 â&#x20AC;¨â&#x20AC;Šknew

 â&#x20AC;¨â&#x20AC;Šhow

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šdo

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;at

 â&#x20AC;¨â&#x20AC;Š painting without traditional techniques of shading. When I lived in Paris I saw almost

 â&#x20AC;¨â&#x20AC;Šall

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Šwork.

 â&#x20AC;¨â&#x20AC;ŠGreat

 â&#x20AC;¨â&#x20AC;ŠďŹ gure

 â&#x20AC;¨â&#x20AC;Š painting is always integrated into its background,â&#x20AC;? he says, and Manet and Degas are the masters.

Leipzigâ&#x20AC;&#x2122;s focus on context began in 1991 when he painted his son and daughter

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Štheir

 â&#x20AC;¨â&#x20AC;ŠgrafďŹ ti-­

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šposter-­ covered rooms. He felt compelled to include all the richness of texture, color, and meaning revealed by their personal environment.

Such â&#x20AC;&#x153;epiphanies,â&#x20AC;? as he calls them, come around every decade or so and keep his work fresh. In 2008, he changed his approach to working directly with paint on

canvas, like his favorite Manet, cutting out the need for the sketches. His recent work is some

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Šbest,

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šsays,

 â&#x20AC;¨â&#x20AC;Šsingling

 â&#x20AC;¨â&#x20AC;Šout

 â&#x20AC;¨â&#x20AC;ŠďŹ ve

 â&#x20AC;¨â&#x20AC;Š panels of the Princeton architect Michael Graves that capture the architect in one room ďŹ&#x201A;anked

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;Šother

 â&#x20AC;¨â&#x20AC;Šrooms

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;Šhome

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šthen

 â&#x20AC;¨â&#x20AC;Š by exteriors of his garden.

He has painted a series of portraits of architects, including Robert Venturi and Denise Scott Brown; scenes in his sonâ&#x20AC;&#x2122;s tattoo shop; scenes of family and friends in Cape Cod where he goes each summer; of professionals associated with his beloved city of Trenton like Dan Bischoff of The Star-Ledger, Newark and Dan Aubrey at U.S.1 Weekly and of artists in their studios, including Harry I. Naar of Rider University, fellow realist painter George Nick and photographer Aubrey J. Kauffman of the Mason Gross School of the Arts at Rutgers.

A time lapse video of Leipzig at work on Kauffmanâ&#x20AC;&#x2122;s portrait can be seen on YouTube.

With no time for memoir writing, Leipzig must let his paintings serve that purpose. Henrik Ibsen once said â&#x20AC;&#x153;If I cannot be myself in what I write, then the whole is nothing but lies and humbug.â&#x20AC;? Substitute â&#x20AC;&#x153;paintâ&#x20AC;? for â&#x20AC;&#x153;writeâ&#x20AC;? and this might have been said by Leipzig himself. He is a great admirer of the Norwegian dramatist and has painted actors in scenes from Hedda Gabler, Peer Gynt, and A Doll House. Heâ&#x20AC;&#x2122;s also written and lectured on Ibsenâ&#x20AC;&#x2122;s work.

j 35

/C5CAB A3>B3;03@ ! >@7<13B=< ;/5/H7<3

(ABOVE) Judy Brodsky & Michael Curtis, (diptych), 2013, Acrylic on Canvas, 48â&#x20AC;? x 36â&#x20AC;? and 48â&#x20AC;? x 48â&#x20AC;?

Currently, Leipzig is producing up to 17 paintings a year as opposed to the three or so he managed when he was teaching. Elected to the National Academy of Design in 2006â&#x20AC;&#x201D;â&#x20AC;&#x153;If you live long enough, they get around to you,â&#x20AC;? he laughsâ&#x20AC;&#x201D;heâ&#x20AC;&#x2122;s had more than 40 one-man shows and his work is in the permanent collections of the Whitney Museum of American Art, the National Academy Museum, the Cooper-Hewitt Museum, the New Jersey State Museum, the Yale University Art Gallery, the Jane Voorhees Zimmerli Museum, and the White House Collection. Locally, Leipzig has had shows at the Pennington School, Rider University, Richard Stockton College and the West Windsor Arts Council. Almost every museum in New Jersey has one of his paintings. He is represented by Gallery Henoch in New York City (www.galleryhenoch.com).

Whatâ&#x20AC;&#x2122;s next? Perhaps an exhibition of paintings of women artists. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve noticed that women artists often use themselves as subjects, at least more often than men do, and some like Frida Kahlo, paint themselves almost exclusively.â&#x20AC;? To date, heâ&#x20AC;&#x2122;s painted about 20 women artists including Audrey Flack and Judy Brodsky. That would be an exhibition to look forward to. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve

 â&#x20AC;¨â&#x20AC;Šadmired

 â&#x20AC;¨â&#x20AC;ŠMelâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Špaintings

 â&#x20AC;¨â&#x20AC;Šever

 â&#x20AC;¨â&#x20AC;Šsince

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šsaw

 â&#x20AC;¨â&#x20AC;Šthem,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Š says artist and printmaker Judy Brodsky, Distinguished Professor Emerita in the department of visual arts at Rutgers. â&#x20AC;&#x153;His art practice is fascinating. Heâ&#x20AC;&#x2122;s made representation totally contemporary. Art historians in the future will be analyzing his iconography in detail because itâ&#x20AC;&#x2122;s so revealing of this era. And Mel himself is such a giving personâ&#x20AC;&#x201D;a born teacher.â&#x20AC;?

This fall, Leipzig will unveil recent Trenton-inspired paintings and he is currently working on a painting of MCCCâ&#x20AC;&#x2122;s Fashion Design Program, centered on its downtown Trenton campus. The exhibition will feature his Rush Holt and Settimo Cielo triptychs as well as a triptych on the Newark Star Ledger. The unveiling will take place in Trenton,

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šcourse,

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Špart

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šcelebrate

 â&#x20AC;¨â&#x20AC;Šthe

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 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Š time,â&#x20AC;? he says, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ll include a diptych of the Trenton-based painters,

36 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

!

(BELOW) Joshuaâ&#x20AC;&#x2122;s Room, 1991, Acrylic On Canvas, 60â&#x20AC;? X 66â&#x20AC;?

Geoff Dorfman and Tracey Jones.â&#x20AC;? Chances are heâ&#x20AC;&#x2122;ll get it done. As artist and ArtNews writer Gerry Haggerty, who sat for Leipzig in 2006, points out, â&#x20AC;&#x153;Mel achieves much of what he achieves through tenacity.

Itâ&#x20AC;&#x2122;s an act of will, of indomitable will, to get these things done.â&#x20AC;?

But perhaps the last word should be Leipzigâ&#x20AC;&#x2122;s: â&#x20AC;&#x153;All I want to do is paint. Art is life-giving. Everyone should do something creative for the sake of their sanity.â&#x20AC;?

Masters is Westchester and Fairfield Countiesâ&#x20AC;&#x2122; premier day and boarding school for Grades 5â&#x20AC;&#x201C;12.

Located on 96 beautiful acres in Dobbs Ferry, NY, Masters is just 35 minutes from New York City.

Transportation options available.

To find out more about how our distinctive Harkness teaching methodology develops the complex skills required for success in a complex world, please visit us, call 914-479-6420 or email admission@ mastersny.org.

JOIN US FOR AN ADMISSIONS EVENT MIDDLE SCHOOL Tuesday, October 22 at 1:00 pm

Saturday, November 9 at 1:00 pm UPPER SCHOOL

Thursday, October 24 at 7:00 pm Saturday, November 9 at 3:00 pm

Scan here to learn more.

49 Clinton Avenue, Dobbs Ferry, NY 10522 www.mastersny.org phone 914-479-6420

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BLAIR ACADEMY Blair Academy has offered a superior college preparatory education since 1848. An outstanding academic program and a faculty fully invested in knowing each student and creating individualized learning opportunities are hallmark features of the school. Traditional sports, plus golf, skiing, squash and crew are offered.

â&#x20AC;¨â&#x20AC;ŠIn

â&#x20AC;¨â&#x20AC;Šaddition,

â&#x20AC;¨â&#x20AC;ŠBlair

â&#x20AC;¨â&#x20AC;Šboasts

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â&#x20AC;¨â&#x20AC;Šnotable

â&#x20AC;¨â&#x20AC;ŠďŹ ne

â&#x20AC;¨â&#x20AC;Š and performing arts program featuring theatrical productions, instrumental and choral ensembles, architecture and media studies. Blair is situated on 425 hilltop acres just 65 miles west of New York City. Visit us soon!

Open House: October 12, 2013

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VIGOR not

RIGOR Consider The Pennington School if you can think for yourself, like to be creative, have fun, and believe that the arts, athletics, and service are just as important as academic excellence.

We are an extraordinary, diverse, and empowering community.

Talk with us.

OPEN HOUSE Sunday, October 20, 2013, 2 pm to 4 pm Grades 6â&#x20AC;&#x201C;12 coeducational, day and boarding

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609 737 6128 | admiss@pennington.org | www.pennington.org

Starting in September

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â&#x20AC;&#x153;BABY & MEâ&#x20AC;?

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Inspired learning...Inspired lives

Mindful Parenting with your Baby from Birth-14 Months

Wednesdays 9:00-10:30 AM Register online by visiting princetonmontessori.org Click on Mommy & Me under Programs

Princeton Montessori School Infant - 8th grade Teaching Children the Way They Learn Best

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Tours on Thursdays 9:00 AM or by appointment www.princetonmontessori.org

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October  20                                                                               November  2  November  2 1:00-­â&#x20AC;?â&#x20AC;&#x2018;4:30  p.m.

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Visit  mountsaintmary.org  to  pre-­â&#x20AC;?â&#x20AC;&#x2018;register   for  both  events!  Â

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1645  Route  22  at  Terrill  Road    Watchung,  NJ  07069  A Catholic, independent, college preparatory school for young women in grades 9-12

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After graduating from Stuart Country Day School of the Sacred Heart, Caroline McCarthy received degrees in History of Science and Creative Writing from Princeton in 2006.

Since then, she has built a reputation as a rising star, earning her the #1 spot on Forbes’ Tech’s Twenty Most Media Connected Writers in 2010, and landing her on the 30 Under 30 in Media list in 2012.

Caroline began her career blogging about digital advertising, social media, entrepreneurship, and innovation which led to a position as a columnist for CNET.com in 2007. She has appeared on national TV and radio as a commentator on digital media, including NBC’s Today, CBS’ The Early Show, NPR’s Talk of the Nation, as well as CNBC, Fox Business, BBC America and G4.

It’s hard to imagine that in 9 short years, Caroline went from a Stuart graduate to a leadership role at Google, but that’s exactly what she did. By 2011, she was Managing

Stuart is an independent K-12 school founded in 1963 just for girls. We believe that in

Editor of Google’s Think Quarterly journal.

developing the mind, body and spirit together, a Stuart education produces young women

And in 2012, she became a Google+

leaders who think critically, creatively and ethically. Our challenging curriculum takes

Marketing Manager, working with some of the and math—as well as the arts, humanities and athletics. Our graduates go on to become Being a Stuart graduate means you carry with you a responsibility for challenging your community and yourself. Caroline serves as Vice Chair of the board of directors at students to improve their schools through technology. She is a global ambassador for Ladies Trekking, which connects women who love the outdoors with causes in the places where they climb, and in 2013, Caroline climbed Mt. Kilimanjaro.

Wednesday October 16, 6–8 PM Thursday November 7, 9 AM–2 PM Sunday January 12, 1–3 PM

THINK. LEAD. CHANGE.

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T

he James A. Michener Art Museumâ&#x20AC;&#x2122;s current exhibition of sculpture, furniture, monoprints, and jewelry by the life-­long

 â&#x20AC;¨â&#x20AC;Šexperimenter

 â&#x20AC;¨â&#x20AC;ŠHarry

 â&#x20AC;¨â&#x20AC;ŠBertoia

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Šexcellent

 â&#x20AC;¨â&#x20AC;ŠďŹ t

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Š the Doylestown museum. Bertoia was a colleague of many of the craft and design artists whose work is in the Michenerâ&#x20AC;&#x2122;s permanent collection. Described as a man ahead of his time, Bertoia (1915-1978) experimented with space and sound.

In his Bally, Pa. studio, he created â&#x20AC;&#x153;sonambientâ&#x20AC;? or tonal sound sculptures and designed furniture for Knoll, Inc. â&#x20AC;&#x153;There is a great synergy between his work and our holdings,â&#x20AC;? says Michenerâ&#x20AC;&#x2122;s Director Lisa Tremper Hanover.

Born in 1915 in San Lorenzo, Italy, Bertoia came to the United States at the age of 15 to visit his older brother and stayed on.

 â&#x20AC;¨â&#x20AC;ŠHe

 â&#x20AC;¨â&#x20AC;Šlearned

 â&#x20AC;¨â&#x20AC;Šart,

 â&#x20AC;¨â&#x20AC;Šdesign,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šjewelry

 â&#x20AC;¨â&#x20AC;Šmaking,

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šhigh

 â&#x20AC;¨â&#x20AC;Š school and then at the Art School of the Detroit Society of Arts and Crafts, now the College for Creative Studies. In 1937 he received a scholarship to the Cranbrook Academy of Art where he learned about Walter Gropius, Edmund N. Bacon, and the groundbreaking work of Ray and Charles Eames whose wedding rings he would design and make too. For a time, he worked in their California studio.

In fact, Bertoia worked with many of the 20th centuryâ&#x20AC;&#x2122;s major architects: Eero Saarinen, Henry Dreyfuss, Roche & Dinkeloo, Minoru Yamasaki, Edward Durell Stone, and I.M. Pei, among others. In 1956, he received the AIA Craftsmanship Award, followed by the Criticâ&#x20AC;&#x2122;s Award in 1968.

At the invitation of the Knoll furniture design company, he moved to eastern Pennsylvania in 1950. There he designed, among other pieces, a series of wireframe chairs that became icons of the modern furniture movement. The â&#x20AC;&#x153;Bertoia Diamond Chairâ&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;uid

 â&#x20AC;¨â&#x20AC;Šsculptural

 â&#x20AC;¨â&#x20AC;Šform

 â&#x20AC;¨â&#x20AC;Šmade

 â&#x20AC;¨â&#x20AC;Šfrom

 â&#x20AC;¨â&#x20AC;Šmolded

 â&#x20AC;¨â&#x20AC;Šlattice

 â&#x20AC;¨â&#x20AC;Šwork

 â&#x20AC;¨â&#x20AC;Š of welded steel. He described the chairs as â&#x20AC;&#x153;mainly made of air, like sculpture. Space passes right through them.â&#x20AC;?

Made by hand and produced with varying degrees of upholstery, the chairs were an immediate commercial success and earned the artist money enough so that he could devote himself exclusively to sculpture, marrying his experiments with metal to his love of music. â&#x20AC;&#x153;Tonalâ&#x20AC;? works of steel, copper, and brass rods capped with cylinders or drops of metal might vary in size from a few inches up to 19 feet and swayed to emit sounds according to the

 â&#x20AC;¨â&#x20AC;Šweight,

 â&#x20AC;¨â&#x20AC;Šlength,

 â&#x20AC;¨â&#x20AC;Šthickness,

 â&#x20AC;¨â&#x20AC;ŠconďŹ guration,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šmaterial

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Štheir

 â&#x20AC;¨â&#x20AC;Š composition. The possible permutations are endless.

Bertoia performed with his pieces in a number of concerts, and produced ten albums, all titled â&#x20AC;&#x153;Sonambient.â&#x20AC;? Many of his pieces can be seen today at his home and studio maintained by his son, Val Bertoia, also an artist. Occasional symphonic musical performances are held there and recordings made by Bertoia are included in the Michener installation.

To coincide with the exhibition, independent scholar Mary Thorp, who has been cataloguing Bertoiaâ&#x20AC;&#x2122;s sculptures and organizing exhibitions of his work since 1998, will give an overview of his art on Tuesday, September 17, from 1 to 3PM. The artistâ&#x20AC;&#x2122;s daughter, Celia Bertoia, who is writing a biography of her father, will share behind-the-scenes stories on Friday, October 4, from 2 to 3PM. Harry Bertoia: Structure and Sound, continues through October 13 at the James A. Michener Art Museum, 138

48 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

South Pine St., Doylestown, Pa. For admission and hours, call 215.340.9800 or visit www.michenerartmuseum.org.

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Two exhibitions showcase the eclecticism and broad range of the Princeton University Art Museum this fall. Shared Vision: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography runs through September 15 and is followed by The Itinerant Languages of Photography from September 7 through January 19, 2014.

The latter sets out to examine photographs as both disembodied images and as physical artifacts across time, space, and the boundaries of visual art, literature, and cinema. The culmination of a three-year interdisciplinary project, the exhibition will trace historical continuities from the 19th century to the present with juxtapositions of images from archives in Spain, Argentina, Brazil, and Mexico. You will see works by modern and contemporary photographers such as Joan Fontcuberta, Marc Ferrez, Rosâgela Renno and Joan Colom.

(ABOVE) Harry Bertoia Diamond Chair. (BELOW) Harry Bertoia (1915-1978), Untitled, c. 1970s, Ink on paper, 22 x 27 inches from the collection of Celia Bertoia. !

(TOP LEFT) Harold Edgerton, American, 1903â&#x20AC;&#x201C;1990: Milk Drop Coronet, 1957.

 â&#x20AC;¨â&#x20AC;ŠChromogenic

 â&#x20AC;¨â&#x20AC;Šprint,

 â&#x20AC;¨â&#x20AC;ŠThe

 â&#x20AC;¨â&#x20AC;ŠSondra

 â&#x20AC;¨â&#x20AC;ŠGilman

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠCelso

 â&#x20AC;¨â&#x20AC;ŠGonzalez-­Falla

 â&#x20AC;¨â&#x20AC;ŠCollection

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠPhotography.

 â&#x20AC;¨â&#x20AC;ŠCourtesy

 â&#x20AC;¨â&#x20AC;ŠMIT

 â&#x20AC;¨â&#x20AC;Š Museum. (TOP RIGHT) Loretta Lux, The Drummer, 2004.

 â&#x20AC;¨â&#x20AC;ŠIlfochrome

 â&#x20AC;¨â&#x20AC;Šprint.

 â&#x20AC;¨â&#x20AC;ŠThe

 â&#x20AC;¨â&#x20AC;ŠSondra

 â&#x20AC;¨â&#x20AC;ŠGilman

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠCelso

 â&#x20AC;¨â&#x20AC;ŠGonzalez-­Falla

 â&#x20AC;¨â&#x20AC;ŠCollection

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠPhotography.

 â&#x20AC;¨â&#x20AC;ŠCourtesy

 â&#x20AC;¨â&#x20AC;ŠYossi

 â&#x20AC;¨â&#x20AC;ŠMilo

 â&#x20AC;¨â&#x20AC;ŠGallery,

 â&#x20AC;¨â&#x20AC;ŠNew

 â&#x20AC;¨â&#x20AC;ŠYork.

Shared Vision features over 100 images from the past 100 years of photography in a collection of vintage and contemporary selections over forty years in the making. Considered among the top photography collections in the world, it includes Diane Arbus, Henri Cartier-Bresson, Rineke Dijkstra, Walker Evans, Robert Frank, Helen Levitt, AndrĂŠ KertĂŠsz, Robert Mapplethorpe, Richard Misrach, Vik Muniz, Man Ray, Andres Serrano, Cindy Sherman, Garry Winogrand and Francesca Woodman, among others.

Fans of Andy Warhol will recognize Sondra Gilman as one of his oft-photographed subjects. Gilman and Gonzalez-Falla reside in New Yorkâ&#x20AC;&#x2122;s Upper East Side where their townhome is ďŹ lled

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Šphotographs,

 â&#x20AC;¨â&#x20AC;Špaintings,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šsculptures.

 â&#x20AC;¨â&#x20AC;ŠIn

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Šonline

 â&#x20AC;¨â&#x20AC;Š interview for New York Social Diary, Gilman explained how she

 â&#x20AC;¨â&#x20AC;Šcame

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šcollect

 â&#x20AC;¨â&#x20AC;Šphotography

 â&#x20AC;¨â&#x20AC;Šrather

 â&#x20AC;¨â&#x20AC;Šthan

 â&#x20AC;¨â&#x20AC;Špaintings.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;I

 â&#x20AC;¨â&#x20AC;Šhad

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Š epiphany,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šshe

 â&#x20AC;¨â&#x20AC;Šsaid.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;I

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠďŹ ne

 â&#x20AC;¨â&#x20AC;Šart

 â&#x20AC;¨â&#x20AC;Šmajor

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šphotography

 â&#x20AC;¨â&#x20AC;Šjust

 â&#x20AC;¨â&#x20AC;Š didnâ&#x20AC;&#x2122;t exist.â&#x20AC;? At MoMA, she saw a show by the French pioneer of documentary photography Eugène Atget. She bought three of his

 â&#x20AC;¨â&#x20AC;Špieces

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Š$250

 â&#x20AC;¨â&#x20AC;Šeach.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;Everybody

 â&#x20AC;¨â&#x20AC;Šthought

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šinsane.

 â&#x20AC;¨â&#x20AC;ŠThis

 â&#x20AC;¨â&#x20AC;Š was in the mid-70s when you couldnâ&#x20AC;&#x2122;t give away a photograph.

Nobody was buying photos then. Nobody!â&#x20AC;? Her response to the work

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Švisceral.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;My

 â&#x20AC;¨â&#x20AC;Šstomach

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;ipped

 â&#x20AC;¨â&#x20AC;Šover,

 â&#x20AC;¨â&#x20AC;Š[those

 â&#x20AC;¨â&#x20AC;Šimages]

 â&#x20AC;¨â&#x20AC;Š touched

 â&#x20AC;¨â&#x20AC;Šsomething

 â&#x20AC;¨â&#x20AC;Šso

 â&#x20AC;¨â&#x20AC;Šdeep

 â&#x20AC;¨â&#x20AC;Šinside

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šme

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šhadnâ&#x20AC;&#x2122;t

 â&#x20AC;¨â&#x20AC;Ševen

 â&#x20AC;¨â&#x20AC;Š known existed.â&#x20AC;?

Shared Vision, which is organized by the Museum of Contemporary Art Jacksonville in collaboration with Princeton University Art Museum, explores key themes and subjects, including landscape, portraiture, childhood, constructed photography, abstraction, the object and urban scenes. Seminal works such as Man Rayâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Portrait of Meret Oppenheimâ&#x20AC;?

(1933), Henri Cartier-Bressonâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Rue Mouffetardâ&#x20AC;? (1954) and a classic typological grid by Bernd and Hilla Becher (1965â&#x20AC;&#x201C;73) share space with Sally Mannâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Jesse at Fiveâ&#x20AC;? (1987), a 1993 image from Hiroshi Sugimotoâ&#x20AC;&#x2122;s series Seascapes and a 2004 large-format photograph of urban renewal in China by Edward Burtynsky.

Shared Vision: The Sondra Gilman and Celso GonzalezFalla Collection of Photography, also features an exhibition catalogue with selected images, as well as entries by curators Ben

 â&#x20AC;¨â&#x20AC;ŠThompson

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠPaul

 â&#x20AC;¨â&#x20AC;ŠKarabinis,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;Šinterview

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š collectors. For information and hours, call 609.258.3788 or visit: www.artmuseum.princeton.edu. =B63@ /@3/ 3F6707BA

West Windsor Arts Council in the Princeton Junction Firehouse, 952 Alexander Road. Second Annual Faculty Summer Exhibition features two-dimensional works in paint, pen and ink, and multimedia, by Priscilla Algava, Hong Lu, Donna Payton, Aparajita Pooja Sen, and Adam Recktenwald through September 6. For more information and gallery hours, call 609.716.1931 or visit: www.westwindsorarts.org.

Jane Voorhees Zimmerli Art Museum on the Rutgers campus at 71 Hamilton St., New Brunswick. Works by French artist Henri-Gabriel Ibels (1867-1936), through September 8; Leningradâ&#x20AC;&#x2122;s Perestroika: Crosscurrents in Photography, Video, and Music, through October 13 (closed during August).

For admission and hours, call 732.932.7237, ext. 610 or visit: www.zimmerlimuseum. rutgers.edu.

(RIGHT) Flying Saucer by Donna Payton at the West Windsor Arts Council.

j 49

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52

|

PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

| 53

When Bailey Outerbridge was nine years old, she performed a song by her idol, Norah Jones, during a talent show at Princeton Junior School. The audience was stunned.

“Everyone’s jaws dropped. No one could believe the sound that was coming out of her mouth,” recalls Bailey’s mother, Phoebe. “We had always seen her talent, but this was when others started to realize it, too.”

A decade has passed since that auspicious musical debut. Bailey, who sang with the Princeton Girlchoir in seventh grade and studied piano at Westminster Conservatory, has gone on to record and release three of her own songs.

On the Bermuda John Lennon Tribute album, she did a cover version of the Beatles’ song Revolution. Most recently, she has been the opening act at concerts by Natalie Cole and The Beach Boys.

With such impressive credentials, one might expect at least a measure of attitude.

But this fresh-faced teenager is gracious and welcoming, thanking an interviewer

54

|

PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

for talking to her before the interview has even begun. On a recent summer afternoon, mother and daughter sat in the living room of the 200-year-old Pennington farmhouse they share with Bailey’s father, architect Andrew Outerbridge, her younger sister, and two dogs.

Surrounded by family pictures, across the room from the Steinway baby grand piano where she first began to compose her songs, Bailey is clearly at home.

“I’ve stayed pretty grounded,” says the singer/songwriter. “My family is really involved, so that’s probably why.

My parents have always been really supportive. They’ve been by my side the whole time.”

There is music in Bailey’s family history. Her maternal grandparents were in a cappella groups; her grandfather was a member of The Tiger Tones while a student at Princeton University. Bailey began writing songs when she was eight.

“I was 13 when I started recording in a neighbor’s basement,” she recalls. “Then I went to Sonic Boom studios in Red Bank,

and I still record there. I did my songs Circus and All a Blur there.”

The singer/songwriter, who describes her sound as “indie pop with a little country,” still counts Norah Jones as a major influence on her style. “I’ve listened to her since I was little,” she says.

“I have maybe a similar, lower register voice, with a jazzy sound. I’m also inspired by Sara Bareilles, Ingrid Michaelson, and Jack Johnson.” Her mother reminds her, “What about Coldplay?” Bailey nods. “Yeah, Coldplay a little bit. But recently, more influence has come from a kind of islandy sound.

And country, too—the storytelling.”

After Princeton Junior School, Bailey attended Princeton Day School before transferring to Taft, a boarding school in Connecticut. She will begin her sophomore year at Gettysburg College, where she is an English major, this fall.

“Knowing how to write is very important,” she says of her decision to focus on English rather than music, “especially for what I do.”

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

| 55

It was her family’s roots in Bermuda that helped launch Bailey’s career in a professional direction. “My dad is Bermudian, and we have a lot of family there,” she says. “The name ‘Outerbridge’ is like ‘Smith’ in Bermuda. We go there all the time.” The gorgeous cliffs and turquoise waters of the island form a backdrop for the video Bailey made two years ago of her song Circus. It was directed by one of her cousins, Bayard Outerbridge. She has many fans and a lot of support from Bermuda press and radio stations, and she gave a solo concert there this past July.

A friend from Andrew Outerbridge’s Bermuda youth is Janice “Jan” Roeg, a well-known manager of rock and roll musicians who worked with Atlantic Records founder Ahmet Ertegun for many years. Roeg had retired from managing musicians when, a few years ago, Outerbridge approached her about his daughter. A bit reluctantly, she agreed to take a copy of Bailey’s tape.

“I was hesitant at first to get involved with any new artist, because I had retired from management,” Roeg says. “I was so heavily entrenched in rock and roll that it took its toll on me. But I said I’d take a listen. It takes me some time to take a listen, because usually when you get something from a friend, it’s not good. So I took my time. I also wanted to know about the background. Is it going to be difficult? Would I have a hard time with this girl?”

When Roeg finally plugged in to Bailey’s music, she was amazed. “This girl got my attention, because she is extremely talented,” she says. “She’s cut above the rest. She’s an extraordinarily talented and exceptional songwriter. How do I know? I know. You just have that inner musical sense that this girl has got something to say. She’s as beautiful on the inside as on the outside. She’s a terrific person. But most of all, she’s a brilliant songwriter. And you cannot make it in the music business unless you write songs.”

Roeg agreed to take Bailey on.

Involved with children’s charities, for which she produces benefit concerts, Roeg introduced her new client to Dana’s Angels Research Trust (DART), which funds research into Neimann-Pick Type C, a rare genetic metabolic disorder. As her senior independent study project at Taft, Bailey decided to hold a concert and donate the proceeds to DART. Then, she was signed to appear in fundraising concerts Roeg had organized–one with Natalie Cole last year, and the second with The Beach Boys, this past June, both

56

|

Bailey Outerbridge backstage with Mike Love of The Beach Boys.

in Stamford, Connecticut.

“These artists like Natalie Cole and The Beach Boys don’t allow just anyone to open for them,” Roeg says. “Bailey wasn’t just placed there with them. She was accepted.”

Bailey was appropriately star-struck to be sharing a stage with these music legends. But they quickly put her at ease.

“Natalie Cole was really nice,” she says.

“She is so talented. But she wasn’t as chatty as The Beach Boys. You’d never know they were these huge stars. Bruce Johnston gave me a lot of advice on what to do in college. And to see them play... they sound exactly the way they did years ago. They’re amazing. They were on their feet the whole time.”

Not surprisingly, Bailey is susceptible to nervousness when she performs, especially in the company of big stars. “I get really bad stage fright,” she says. “When I opened for Natalie Cole, I was backstage and there were Kathie Lee and Frank Gifford (who hosted the concert). I felt so out of my league. But once I was out on stage, and in the moment, I was okay. It’s just such an amazing feeling.”

Talking to Bailey, it seems that she derives as much pleasure from the process of writing a song as she does from singing it. “I definitely love just creating things,” she says. “There’s just nothing like having the finished product of a song. I get into a zone when I’m doing it. Then, knowing it is written and finished, that’s my favorite thing. There’s something about making something on your own, and storytelling, that’s just amazing. It’s a way to express yourself.”

When she arrived at college last fall,

PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

Bailey didn’t tell any of her classmates about her musical accomplishments. But thanks to the Internet, word soon got out.

“I didn’t really talk about it when I got to school. Once some of my friends found out, though, they were really supportive.

It was okay.”

Bailey has spent this summer working on a demo CD, to be used to shop for labels and production deals. She is hoping to have it released this fall. Her parents continue to support her efforts, while maintaining a normal life at their home. “She’s had incredible opportunities,” says Phoebe Outerbridge.

“We’re trying to let her spread her wings and go her own way. But what’s nice is that Bailey is realistic. It’s important to her to get an education. Nobody can rely on being a pop star. She’s basically a normal college student.”

Meanwhile, Roeg ruminates on how to best present the young singer she describes as “like a diamond buried very deep in a big beach” while allowing her to maintain somewhat of a normal life. “I’m very, very careful about how I have her portrayed,” she says. “She is very grounded, and that’s a tremendous asset.

The family is wonderful, too. I struck a pot of gold, musically, with them. Bailey rejuvenated my desire to continue with the music business.”

Had she met Bailey eight years ago when she was working for Atlantic Records, Roeg would have brought her right to the big boss, Ertegun. “She would have been signed in a minute,” she says.

“She is the real deal. Whether God shines the light on her and she becomes a fabulous success story, we just don’t know that yet.”

58 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

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On

the section of East Nassau Street that lies between Olden Street and Princeton Avenue, a striking dichotomy is at work. There is lively street life on the north side, where Small World Coffee, Nassau Street Seafood, Blue Point Grill, and Tiger Noodles draw a steady stream of customers to outdoor tables and sidewalk benches.

The south side tells a different story.

Dominated by the two low, sprawling buildings most recently occupied by the Olive May food store and West Coast Video, this valuable chunk of real estate has sat mostly empty for the past few years. Other than two residential tenants and

 â&#x20AC;¨â&#x20AC;Špatrons

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠCrossďŹ

 â&#x20AC;¨â&#x20AC;Št

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Štness

 â&#x20AC;¨â&#x20AC;Š center currently in the old Olive May store at number 255, there is little pedestrian

 â&#x20AC;¨â&#x20AC;ŠtrafďŹ

 â&#x20AC;¨â&#x20AC;Šc.

The situation may change soon. A land use ordinance was passed late last year allowing

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šgreater

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šexibility

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šwhat

 â&#x20AC;¨â&#x20AC;Š is permitted to occupy those properties.

Site plan review and zoning hearings on requests for variances to that ordinance are scheduled for late this summer and early in the fall, and could advance the situation further.

To understand the present and contemplate the future of this unique stretch of Nassau Street, it is useful to visit its past. Starting in the 1920s, the street

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šhome

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šnumerous

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šlling

 â&#x20AC;¨â&#x20AC;Š stations, garages, and automobile dealerships. The Sunoco and Gulf stations on the south side of the roadway are the last bastions of what was known as â&#x20AC;&#x153;Gasoline Alley.â&#x20AC;? While some of the old parking garages and dealerships have been

 â&#x20AC;¨â&#x20AC;Šturned

 â&#x20AC;¨â&#x20AC;Šinto

 â&#x20AC;¨â&#x20AC;ŠofďŹ

 â&#x20AC;¨â&#x20AC;Šce

 â&#x20AC;¨â&#x20AC;Šor

 â&#x20AC;¨â&#x20AC;Šretail

 â&#x20AC;¨â&#x20AC;Šspace,

 â&#x20AC;¨â&#x20AC;Šold

 â&#x20AC;¨â&#x20AC;Š

ďŹ

 â&#x20AC;¨â&#x20AC;Šlling

 â&#x20AC;¨â&#x20AC;Šstations

 â&#x20AC;¨â&#x20AC;Šhave

 â&#x20AC;¨â&#x20AC;Šeither

 â&#x20AC;¨â&#x20AC;Šdisappeared

 â&#x20AC;¨â&#x20AC;Šor

 â&#x20AC;¨â&#x20AC;Š been adapted to other uses.

The building at 259, most recently West Coast Video, was originally Sylvesterâ&#x20AC;&#x2122;s Garage. The Bratman family bought it in 1964, operating Viking Furniture there until 1983. Since then, the site has been occupied by Wawa, Eckerd Drugs, and the video store, which closed in

 â&#x20AC;¨â&#x20AC;Š2005.

 â&#x20AC;¨â&#x20AC;ŠNext

 â&#x20AC;¨â&#x20AC;Šdoor,

 â&#x20AC;¨â&#x20AC;Šnumber

 â&#x20AC;¨â&#x20AC;Š255

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Š home to a Dodge dealership, the Arthur Turney Motor Company, Peck Motors, and Princeton Volvo before eventually becoming Davidsonâ&#x20AC;&#x2122;s Market, then Wild Oats Market, and most recently, Olive May. â&#x20AC;&#x153;You can still see the Dodge Brothersâ&#x20AC;&#x2122; emblem on the front of the building,â&#x20AC;? says Bill Shields, the former Fire Chief of Engine Company Number One on

 â&#x20AC;¨â&#x20AC;ŠChestnut

 â&#x20AC;¨â&#x20AC;ŠStreet

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šan

 â&#x20AC;¨â&#x20AC;ŠunofďŹ

 â&#x20AC;¨â&#x20AC;Šcial

 â&#x20AC;¨â&#x20AC;Š neighborhood historian. Shields, 64, grew up on Charlton Street, across from St. Paulâ&#x20AC;&#x2122;s Catholic Church. â&#x20AC;&#x153;There were car dealerships and gas stations and garages all up and down,â&#x20AC;? he says. â&#x20AC;&#x153;But there

 â&#x20AC;¨â&#x20AC;Šwere

 â&#x20AC;¨â&#x20AC;Šalso

 â&#x20AC;¨â&#x20AC;Šdoctorsâ&#x20AC;&#x2122;

 â&#x20AC;¨â&#x20AC;ŠofďŹ

 â&#x20AC;¨â&#x20AC;Šces,

 â&#x20AC;¨â&#x20AC;Šgrocery

 â&#x20AC;¨â&#x20AC;Š stores, barber shops, barsâ&#x20AC;&#x201D;it wasnâ&#x20AC;&#x2122;t just Gasoline Alley. It was a real neighborhood where all of these people contributed a lot to the town. It was all locals. Back then, you didnâ&#x20AC;&#x2122;t have a lot of choices for certain offerings. So you went to one place to get your hair cut, another to get a beer. But it was all in this little area.â&#x20AC;? â&#x20AC;&#x153;It was sleepy,â&#x20AC;? recalls attorney Robert Bratman, 52, who grew up working in his fatherâ&#x20AC;&#x2122;s Viking Furniture store. â&#x20AC;&#x153;It wasnâ&#x20AC;&#x2122;t vibrant. I remember the Pink Elephant Bar across the street. There was a Greek diner where the seafood place is now, and another diner. I always remember that as

October 29-November 4, 1961

Map of Princeton, N.J. indicating the section of Nassau Street commonly known as â&#x20AC;&#x153;Gasoline Alley.â&#x20AC;? Town Topics December 2-8, 1956.

j 59

/C5CAB A3>B3;03@ ! >@7<13B=< ;/5/H7<3

Edâ&#x20AC;&#x2122;s Service Station, 1932, image courtesy of the Historical Society of Princeton.

young kids, weâ&#x20AC;&#x2122;d go to either the diner or the Carousel, which was also there.

I even have recollections of a 35-cent cup of coffee.â&#x20AC;?

Gasoline Alley began to take shape in

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š1920s.

 â&#x20AC;¨â&#x20AC;ŠA

 â&#x20AC;¨â&#x20AC;ŠďŹ lling

 â&#x20AC;¨â&#x20AC;Šstation

 â&#x20AC;¨â&#x20AC;Šstood

 â&#x20AC;¨â&#x20AC;Šwhere

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Š Jayâ&#x20AC;&#x2122;s Cycle is now. Kurkjianâ&#x20AC;&#x2122;s Garage, built for 50 cars, was at 252 Nassau, now home to Tigerlabs and before that, Princeton Review. Another garage on Pine Street, built in the twenties, burned down. According to the Historical Society of Princeton, the original Gulf station was built with a masonry veneer to harmonize with the many Collegiate Gothic buildings at Princeton University.

Shields recalls a lively childhood populated with various neighborhood characters. â&#x20AC;&#x153;Behind the Mobil station was an old house occupied by an elderly woman,â&#x20AC;? he says. â&#x20AC;&#x153;Some people said she was an actress. She was a recluse. The place was overgrown with trees, and she had pigeons everywhere. Kids would go over there and look, like it was haunted. After she passed away, the house burned down.â&#x20AC;?

There was George Mulherne, who had Mulherneâ&#x20AC;&#x2122;s Sunoco. â&#x20AC;&#x153;He whistled all the time,â&#x20AC;? Shields says. â&#x20AC;&#x153;He was like an icon down there. He was very friendly.â&#x20AC;?

On

 â&#x20AC;¨â&#x20AC;ŠMaple

 â&#x20AC;¨â&#x20AC;ŠStreet,

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠofďŹ ce

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠDr.

 â&#x20AC;¨â&#x20AC;Š

60 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

Rampona was a frequent destination. â&#x20AC;&#x153;There were two of them. One was an eye doctor, the other was a physician,â&#x20AC;?

Shields says. â&#x20AC;&#x153;Everybody in the neighborhood went to these two guys.

One was there and the other was up on Nassau.â&#x20AC;?

November 28, 1963

Shields remembers patronizing the Jack and Jill milk store on the street; the local luncheonettes and the waitresses who worked in them. â&#x20AC;&#x153;There was a little park on Pine Street. There were other !

parks, too,â&#x20AC;? he says. â&#x20AC;&#x153;There were a lot of young kids in the area. It was a great place to grow up. Each park had their own little group and you were part of that crew.â&#x20AC;?

Everyone in that end of town went to Charlie LaPlacaâ&#x20AC;&#x2122;s barber shop to get their hair cut. They might have stopped in at the hobby shop next door. â&#x20AC;&#x153;There was a general store owned by Jimmy the Greek,â&#x20AC;? Shields continues. â&#x20AC;&#x153;Where Hoagie Haven is now, there was always a front window display during football season with the Princeton tiger and the mascot of whoever Princeton was playing. Everything you wanted, you could get in that general neighborhood,â&#x20AC;? he says. â&#x20AC;&#x153;It was a down home place, with a lot of local color. Everybody knew everybody.â&#x20AC;?

According to Jack Morrison, whose JM Group owns Blue Point Grill, Nassau Street Seafood, and other properties in the area, that neighborly feeling continues today. â&#x20AC;&#x153;The striking difference between activity in the center of town and here is that itâ&#x20AC;&#x2122;s clearly neighborhood/local here,â&#x20AC;? he says. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s a bond down here. Itâ&#x20AC;&#x2122;s like SoHo in New York, or better yet, like Williamsburg. Itâ&#x20AC;&#x2122;s a neighborhood.â&#x20AC;?

Over the past two years, residents and business and property owners have been actively involved in determining just what direction its future should take. There has been particular interest in the two empty

October 15, 1970

November 19-25, 1961

May 27-June 2, 1956

March 11-17, 1956

properties at 255 and 259 Nassau.

The Carnevale family owns 255. A proposal that would allow them to turn the

 â&#x20AC;¨â&#x20AC;Šproperty

 â&#x20AC;¨â&#x20AC;Šinto

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šbank,

 â&#x20AC;¨â&#x20AC;ŠofďŹ

 â&#x20AC;¨â&#x20AC;Šces,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Š14

 â&#x20AC;¨â&#x20AC;Š more residential units is set to go before Princetonâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;ŠSite

 â&#x20AC;¨â&#x20AC;ŠPlan

 â&#x20AC;¨â&#x20AC;ŠReview

 â&#x20AC;¨â&#x20AC;ŠAdvisory

 â&#x20AC;¨â&#x20AC;Š Board this month and the Zoning Board of Approval soon after. Bratman says interest

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Špicking

 â&#x20AC;¨â&#x20AC;Šup

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šnumber

 â&#x20AC;¨â&#x20AC;Š259,

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Š which

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šleased

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠRite

 â&#x20AC;¨â&#x20AC;ŠAid

 â&#x20AC;¨â&#x20AC;Šchain

 â&#x20AC;¨â&#x20AC;Š through

 â&#x20AC;¨â&#x20AC;Š2015

 â&#x20AC;¨â&#x20AC;Šbut

 â&#x20AC;¨â&#x20AC;Šhas

 â&#x20AC;¨â&#x20AC;Šsat

 â&#x20AC;¨â&#x20AC;Šempty

 â&#x20AC;¨â&#x20AC;Šsince

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š closing

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠWest

 â&#x20AC;¨â&#x20AC;ŠCoast

 â&#x20AC;¨â&#x20AC;ŠVideo. â&#x20AC;&#x153;Merchants

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šlooking

 â&#x20AC;¨â&#x20AC;Šnow

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š economy

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šbetter,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;Šsaid.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;Some

 â&#x20AC;¨â&#x20AC;Šhigh-­ end

 â&#x20AC;¨â&#x20AC;Šhamburger

 â&#x20AC;¨â&#x20AC;Šplaces

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šcouple

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š retail

 â&#x20AC;¨â&#x20AC;Šmerchants

 â&#x20AC;¨â&#x20AC;Šhave

 â&#x20AC;¨â&#x20AC;Šexpressed

 â&#x20AC;¨â&#x20AC;Šinterest.

 â&#x20AC;¨â&#x20AC;Š Right

 â&#x20AC;¨â&#x20AC;Šnow,

 â&#x20AC;¨â&#x20AC;Šweâ&#x20AC;&#x2122;re

 â&#x20AC;¨â&#x20AC;Šbeautifying

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šredoing

 â&#x20AC;¨â&#x20AC;Š the

 â&#x20AC;¨â&#x20AC;Šspace,

 â&#x20AC;¨â&#x20AC;Šcleaning

 â&#x20AC;¨â&#x20AC;Šit

 â&#x20AC;¨â&#x20AC;Šup

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Špreparing

 â&#x20AC;¨â&#x20AC;Šit

 â&#x20AC;¨â&#x20AC;Š for

 â&#x20AC;¨â&#x20AC;Šrental.â&#x20AC;?

The

 â&#x20AC;¨â&#x20AC;Štwo

 â&#x20AC;¨â&#x20AC;Šbuildings

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šbisected

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;Š a

 â&#x20AC;¨â&#x20AC;Šlot,

 â&#x20AC;¨â&#x20AC;Šowned

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠUniversity,

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Š situation

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šhas

 â&#x20AC;¨â&#x20AC;Šposed

 â&#x20AC;¨â&#x20AC;Šsome

 â&#x20AC;¨â&#x20AC;Šchallenges.

 â&#x20AC;¨â&#x20AC;Š Both families have been paying hefty taxes

 â&#x20AC;¨â&#x20AC;Šwhile

 â&#x20AC;¨â&#x20AC;Štrying

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šmarket

 â&#x20AC;¨â&#x20AC;Štheir

 â&#x20AC;¨â&#x20AC;Š languishing properties. They have made frequent

 â&#x20AC;¨â&#x20AC;Šappearances

 â&#x20AC;¨â&#x20AC;Šbefore

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Štownâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Š governing body over the past few years, asking

 â&#x20AC;¨â&#x20AC;Šthem

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šimplement

 â&#x20AC;¨â&#x20AC;Šzoning

 â&#x20AC;¨â&#x20AC;Šchanges

 â&#x20AC;¨â&#x20AC;Š that

 â&#x20AC;¨â&#x20AC;Šwould

 â&#x20AC;¨â&#x20AC;Šremove

 â&#x20AC;¨â&#x20AC;Šsome

 â&#x20AC;¨â&#x20AC;Šrestrictions

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Š what is permitted. Passage of the land use ordinance

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šarea

 â&#x20AC;¨â&#x20AC;Šlast

 â&#x20AC;¨â&#x20AC;ŠDecember

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Š one

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠBorough

 â&#x20AC;¨â&#x20AC;ŠCouncilâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Šlast

 â&#x20AC;¨â&#x20AC;Š acts

 â&#x20AC;¨â&#x20AC;Šbefore

 â&#x20AC;¨â&#x20AC;Šconsolidation

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠBorough

 â&#x20AC;¨â&#x20AC;Š and

 â&#x20AC;¨â&#x20AC;ŠTownship.

 â&#x20AC;¨â&#x20AC;ŠIt

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Švariances

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Š ordinance,

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠOlive

 â&#x20AC;¨â&#x20AC;ŠMay

 â&#x20AC;¨â&#x20AC;Šsite,

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š Carnevale family hopes to have approved by

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šmunicipality

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šupcoming

 â&#x20AC;¨â&#x20AC;Šhearings.

Neighborhood residents have also

 â&#x20AC;¨â&#x20AC;Švoiced

 â&#x20AC;¨â&#x20AC;Štheir

 â&#x20AC;¨â&#x20AC;Šopinions

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š subject.

 â&#x20AC;¨â&#x20AC;ŠThree

 â&#x20AC;¨â&#x20AC;Šyears

 â&#x20AC;¨â&#x20AC;Šago,

 â&#x20AC;¨â&#x20AC;Šthey

 â&#x20AC;¨â&#x20AC;Šdid

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Š comprehensive

 â&#x20AC;¨â&#x20AC;Šsurvey

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š224

 â&#x20AC;¨â&#x20AC;Šregistered

 â&#x20AC;¨â&#x20AC;Š voters in surrounding Borough neighborhoods.

 â&#x20AC;¨â&#x20AC;ŠOne

 â&#x20AC;¨â&#x20AC;Šhundred

 â&#x20AC;¨â&#x20AC;Šeighteen

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š them endorsed a â&#x20AC;&#x153;neighborhood vision documentâ&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Šdelivered

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠBorough

 â&#x20AC;¨â&#x20AC;Š Council

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;ŠSeptember

 â&#x20AC;¨â&#x20AC;Š2011,

 â&#x20AC;¨â&#x20AC;Šdetailing

 â&#x20AC;¨â&#x20AC;Š their

 â&#x20AC;¨â&#x20AC;Šdesire

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šmixed-­use

 â&#x20AC;¨â&#x20AC;Špublic

 â&#x20AC;¨â&#x20AC;Šspace

 â&#x20AC;¨â&#x20AC;Š that would make the south side of the street

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Špedestrian-­friendly,

 â&#x20AC;¨â&#x20AC;Šcommunity

 â&#x20AC;¨â&#x20AC;Š destination.

Residents

 â&#x20AC;¨â&#x20AC;Šwho

 â&#x20AC;¨â&#x20AC;Štook

 â&#x20AC;¨â&#x20AC;Špart

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š survey

 â&#x20AC;¨â&#x20AC;Šhave

 â&#x20AC;¨â&#x20AC;Šcontinued

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šstay

 â&#x20AC;¨â&#x20AC;Šabreast

 â&#x20AC;¨â&#x20AC;Š of

 â&#x20AC;¨â&#x20AC;Šdevelopments

 â&#x20AC;¨â&#x20AC;Šthrough

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šcommunity

 â&#x20AC;¨â&#x20AC;Š mailing

 â&#x20AC;¨â&#x20AC;Šlist

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šcounts

 â&#x20AC;¨â&#x20AC;Šsome

 â&#x20AC;¨â&#x20AC;Š200

 â&#x20AC;¨â&#x20AC;Š members.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;This

 â&#x20AC;¨â&#x20AC;Šparticular

 â&#x20AC;¨â&#x20AC;Šneighborhood

 â&#x20AC;¨â&#x20AC;Š is

 â&#x20AC;¨â&#x20AC;Švery

 â&#x20AC;¨â&#x20AC;Šsavvy

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šactive,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šsays

 â&#x20AC;¨â&#x20AC;ŠMartin

 â&#x20AC;¨â&#x20AC;Š Schneiderman,

 â&#x20AC;¨â&#x20AC;Šone

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šfour

 â&#x20AC;¨â&#x20AC;Šwho

 â&#x20AC;¨â&#x20AC;Šhelped

 â&#x20AC;¨â&#x20AC;Š craft

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šproposal

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠBorough

 â&#x20AC;¨â&#x20AC;Š Council.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;Our

 â&#x20AC;¨â&#x20AC;Šhomes

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Švery

 â&#x20AC;¨â&#x20AC;Šclose

 â&#x20AC;¨â&#x20AC;Š to

 â&#x20AC;¨â&#x20AC;Šeach

 â&#x20AC;¨â&#x20AC;Šother.

 â&#x20AC;¨â&#x20AC;ŠFolks

 â&#x20AC;¨â&#x20AC;Šhere

 â&#x20AC;¨â&#x20AC;Štalk,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Š reasonable,

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šmost

 â&#x20AC;¨â&#x20AC;Špart.

 â&#x20AC;¨â&#x20AC;ŠThatâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Šwhat

 â&#x20AC;¨â&#x20AC;Š

October 14, 1987

September 23, 1965

62 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

weâ&#x20AC;&#x2122;ve

 â&#x20AC;¨â&#x20AC;Šdone

 â&#x20AC;¨â&#x20AC;Šhere

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šlong

 â&#x20AC;¨â&#x20AC;Štime,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šitâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Š been

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šnice

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šgood

 â&#x20AC;¨â&#x20AC;Šneighborhood

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Š that

 â&#x20AC;¨â&#x20AC;Šreason.â&#x20AC;?

The

 â&#x20AC;¨â&#x20AC;Šorganization

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠFuture

 â&#x20AC;¨â&#x20AC;Š held

 â&#x20AC;¨â&#x20AC;Špublic

 â&#x20AC;¨â&#x20AC;Šworkshops

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šarea

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Š experts

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šurban

 â&#x20AC;¨â&#x20AC;Šdesign

 â&#x20AC;¨â&#x20AC;Šspecialists.

 â&#x20AC;¨â&#x20AC;Š They

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Šalso

 â&#x20AC;¨â&#x20AC;Šcommissioned

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šstudy,

 â&#x20AC;¨â&#x20AC;Šwhich

 â&#x20AC;¨â&#x20AC;Š was

 â&#x20AC;¨â&#x20AC;Šcarried

 â&#x20AC;¨â&#x20AC;Šout

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠSurvey

 â&#x20AC;¨â&#x20AC;Š Research

 â&#x20AC;¨â&#x20AC;ŠAssociates. â&#x20AC;&#x153;They were looking at the whole site based on what had been there and based on

 â&#x20AC;¨â&#x20AC;Šwhat

 â&#x20AC;¨â&#x20AC;Šthey

 â&#x20AC;¨â&#x20AC;Šwere

 â&#x20AC;¨â&#x20AC;Šconcerned

 â&#x20AC;¨â&#x20AC;Šmight

 â&#x20AC;¨â&#x20AC;Šbe

 â&#x20AC;¨â&#x20AC;Š there

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šfuture,â&#x20AC;?

 â&#x20AC;¨â&#x20AC;Šsays

 â&#x20AC;¨â&#x20AC;ŠLarry

 â&#x20AC;¨â&#x20AC;ŠHugick

 â&#x20AC;¨â&#x20AC;Š of

 â&#x20AC;¨â&#x20AC;ŠPSRA.

 â&#x20AC;¨â&#x20AC;ŠThe

 â&#x20AC;¨â&#x20AC;Šorganization

 â&#x20AC;¨â&#x20AC;Šconducted

 â&#x20AC;¨â&#x20AC;Š a poll of 652 neighbors in the area. â&#x20AC;&#x153;It was

 â&#x20AC;¨â&#x20AC;Šclear

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Šthey

 â&#x20AC;¨â&#x20AC;Šwanted

 â&#x20AC;¨â&#x20AC;Šsomething

 â&#x20AC;¨â&#x20AC;Š that would serve the neighborhood. They mostly wanted a food market of some kind

 â&#x20AC;¨â&#x20AC;Šbecause

 â&#x20AC;¨â&#x20AC;Šthey

 â&#x20AC;¨â&#x20AC;Šlost

 â&#x20AC;¨â&#x20AC;Šone,

 â&#x20AC;¨â&#x20AC;Šbut

 â&#x20AC;¨â&#x20AC;Šthey

 â&#x20AC;¨â&#x20AC;Šwere

 â&#x20AC;¨â&#x20AC;Š willing

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šaccept

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šsort

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šmixed

 â&#x20AC;¨â&#x20AC;Šuse

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š the property with the understanding that you have to make things work. People were

 â&#x20AC;¨â&#x20AC;Špractical

 â&#x20AC;¨â&#x20AC;Šabout

 â&#x20AC;¨â&#x20AC;Šit.â&#x20AC;?

While

 â&#x20AC;¨â&#x20AC;Šneighbors,

 â&#x20AC;¨â&#x20AC;Šbusiness

 â&#x20AC;¨â&#x20AC;Šowners

 â&#x20AC;¨â&#x20AC;Š and

 â&#x20AC;¨â&#x20AC;Šproperty

 â&#x20AC;¨â&#x20AC;Šowners

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November 19-25, 1961 !

The North End Bistro introduces true bistro-style eating to Princeton.

A wonderful new space for comfort food and uncommon hospitality in the middle or the end of a tough day. We offer simple, home cooked meals that are robust, earthy and slow-cooked; our menu is built around foods that are simple and fresh, using all-natural and locally sourced ingredients to produce delicious, healthy and comforting meals.

Since 1966

Where

 â&#x20AC;¨â&#x20AC;ŠEvery

 â&#x20AC;¨â&#x20AC;ŠHour

 â&#x20AC;¨â&#x20AC;Šis Happy

 â&#x20AC;¨â&#x20AC;ŠHour 609.921.8555 248

 â&#x20AC;¨â&#x20AC;ŠNassau

 â&#x20AC;¨â&#x20AC;ŠSt.

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;˘

 â&#x20AC;¨â&#x20AC;ŠPrinceton www.IvyInnPrinceton.com

Hours of Operation: 11:30 to 10 pm 7 Days a Week

Now Serving Lunch & Dinner â&#x20AC;˘

 â&#x20AC;¨â&#x20AC;ŠNEW

 â&#x20AC;¨â&#x20AC;ŠDeck

 â&#x20AC;¨â&#x20AC;ŠOutside â&#x20AC;˘

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â&#x20AC;˘

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 â&#x20AC;¨â&#x20AC;ŠTable â&#x20AC;˘

 â&#x20AC;¨â&#x20AC;ŠJuke

 â&#x20AC;¨â&#x20AC;ŠBox

Outdoor Dining & Free Parking in Rear 354 Nassau Street, Princeton (609) 683-9700 www.northendprinceton.com

Introducing

Union Center National Bankâ&#x20AC;&#x2122;s New Private Banking & Lending Branch Office

Located at 344 Nassau Street in Princeton, NJ. /

Private Banking

/

Commercial, Consumer, and Real-Estate Lending

/

Investments*

Mark S. Cardone, First SVP Private Client Division & Independent School Specialist 908.206.2860 mcardone@ucnb.com

Erez Hevroni, VP Private Bank Manager 609.924.2015 ehevroni@ucnb.com

Member FDIC

WWW.UCNB.COM

1.800.UN.CENTER

NASDAQ:CNBC

*Investments in non bank deposit products are Not Bank Guaranteed, Not FDIC Insured and May Lose Value.

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elements & Mistral. Try them both.

How did elements get its name?

You can’t have great cooking without great elements— the ingredients. End of story. Must be great.

Yet elements doesn’t parade its sources like some restaurants.

For us, it’s always been a given, not a gimmick. Trust us on the sourcing, and let us pay attention to the taste. That’s the

I hear you’ll be doing some renovating?

Actually, we’ll close for a week around Labor Day. We’re setting. We’ll also be adding some more approachable items to our menu and shortening our midweek dinner service. These modest changes will make elements more suitable for private business events and for the frequent diner.

OK, the elevator door is closing. What do you tell someone to sum up elements?

Like our menu, elements is always changing.

You can order a la carte during the week Our new bar will be awesome, and weekend elements, our goal is to give you

Mistral – what’s the name about?

The Mee-strahl’ is a wind that blows through and brings a change. And that’s what we’re doing for Princeton!

Mistral – why not “elements downtown?”

Mistral is also about quality ingredients but we handle them to create a more casual dining experience. These are plates you want to hand to the other person at the table and say “try this, and let me try yours.” There’s a range of influences, and you bring your own wine, and you make the experience something lighthearted, and it reflects you. That’s all part of why it’s BYOB. Tell me more about this ‘breath of fresh air.”

Well, where else in Princeton are you going to find a head chef who lived a big chunk of his life in Japan, and another chef with time in Egypt and Pakistan?! That world view shows up in our food. It’s authentic, not trendy.

The menu items start out with the meat. Are vegetables important here, too?

People are kind of meat-centric. That’s OK, we want the food to be very approachable. But the vegetables and herbs…they transform! Beef roasted with root vegetables vs. beef caramelized with tomato paste and served in a bean ragout. Two totally different “beefs.” (He chuckles.)

Mistral – the one-minute version.

BYOB, bring friends, bring an appetite for good food, listen to the music, feel it, taste it. Be open to something new and delicious, Princeton!

Did I mention BYOB?

SEPTEMBER OFFER GET A FREE DESSERT. Try both restaurants Sunday-Thursday in September, lunch or dinner.

Check your receipt for a code to enter when you reserve on Open Table for the second restaurant.* elements 163 Bayard Lane, Princeton, NJ 08540 | Mistral 66 Witherspoon Street, Princeton, NJ 08542 elementsprinceton.com | 609.924.0078 mistralprinceton.com | 609.688.8808 *Minimum order one entrée per person at each restaurant. Free desserts not to exceed number of diners at first restaurant.

Meals must be consumed Sunday-Thursday. Offer exp. Sept 30, 2013.

ELE189 TT ad_scott.indd 1

8/8/13 5:21 PM

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PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

A inPlace the Country BY

PHOTOGRAPHY BY

ILENE DUBE

ANDREW WILKINSON

After maintaining a photo studio in Princeton for more than 40 years–where she made portraits of President Clinton, Bill Bradley, Rush Holt, and hundreds of families, politicians and professors–Pryde Brown has brought her business home.

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

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I

t smells like summer in the country. Two black labs greet a visitor—these beloved animals get extra credit for keeping the deer off the day lilies that stretch their unabashedly orange blooms toward the sky.

Out on the deck, overlooking the Alexauken Creek Valley in West Amwell, Pryde Brown has set the chairs to face the view: wide open land on the horizon, a ridge of trees defining a meadow just before another ridge. “I’m so lucky,” she says. Massive trees cast a cooling shade on the house and stone patios, surrounded by potted begonias. Brown apologizes for the plants she didn’t put in this year because she was visiting daughter Jenny McPhee in London.

On a clear day, you can stand on the roof and see the Empire State Building, says Brown. And on the Fourth of July, there are fireworks. Little towns on the ridge each sending up a display of light.

There have been parties here, including the weddings of some of her children, and fundraising affairs for Rep. Rush Holt.

“I’m the luckiest person,” she says again.

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PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

“When you think it’s the end of one thing, it is often the beginning of something else.”

After her marriage to John McPhee, journalist and author of The Pine Barrens, ended in divorce, Brown moved to this piece of paradise in 1972 with second husband Dan Sullivan. The couple was able to acquire the 50 acres with two cottages and a house with a 1920s hunting cabin at its core when “no one wanted to live in the country, and the house needed a lot of work,” she says. They added a bedroom wing, a mammoth deck, glass-enclosed dining room, kitchen and three sleeping lofts. Today the “hunting cabin” is a rambling home, with terracotta and heart-pine floors, antiques and wooden shelves to display hand-wrought pots, a Haitian art collection and of course Brown’s black-and-white photographs of families.

A Hasselblad camera is propped on a red velvet daybed looking out a window at the property, preserved by D&R Greenway Land Trust in 2002—it abuts the 425-acre Alexauken Creek Wildlife Management Area. An acquaintance cycles by for a visit, and Brown welcomes

him. In a T-shirt and jeans, Brown, who offers a glass of cool water from her well, looks ageless.

With McPhee, Brown had four daughters, and Dan Sullivan, who counseled Brown during her divorce, came with five of his own children.

Together they had daughter Joan Sullivan, and the compound accommodated all 10 children. There were sheep and horses and chickens and geese, and always a donkey.

On her blog, daughter Jenny refers to it as a “pseudo-commune.”

“It was a gorgeous setting and I have used it in novels,” says daughter Martha McPhee, who was stirred to become a novelist while growing up here. “My mother and father and stepfather all inspired me to become a writer. My father by watching him—I admired him so much. My mother was always telling us how important it is to express yourself and look at the world visually, observe the details.”

On the Ringoes farm, they were surrounded by colorful details. The 10 kids brought friends who lived in the cottages, and later the cottages were rented to new “characters.”

“You couldn’t not become a writer with my stepfather in your life, he was so eccentric—a lapsed Jesuit, poker player, philosopher, therapist and Texan. He’s the most autobiographical character I’ve used,” says Martha. In her novel Bright Angel Time, Sullivan’s turquoise Cadillac becomes a turquoise camper in which the blended family travels west. When you have 10 children, and five of them are writers, and you encourage them to observe the details, your personal ones will get out there.

“When my parents were married they led a very conventional life. My mother stayed at home and sewed matching dresses for the four of us,” says Martha.

Then Sullivan entered their lives. A Gestalt therapist who’d studied philosophy at Notre Dame and the Sorbonne, he stayed at home with the children while Brown worked in her Princeton studio. “He organized sit-ins and offered group therapy–he could not have been more unconventional,” says Martha, who has re-interpreted Sullivan through a fictional lens.

Growing up, Martha loved the animals, especially the chickens. “I loved collecting the eggs–each was a prize, and it was like Easter every day–and I loved cooking and baking with them,” she says, adding that her children, 9 and 13, also loved the animals which Brown has given up because of the expense and work involved. She and Martha often talk about bringing them back.

A TIME TO REAP THAT WHICH IS PLANTED A year ago, Brown closed her Princeton photography studio, but continues her portrait business from Ringoes. The Ridgewood native has been making photographs since her father gave her a Kodak Brownie for her seventh birthday.

As a French major at Sweet Briar College, she spent her junior year in France with a Bolsey 35 millimeter, also a gift from her father. Her first photographs were published in the English edition of the The Crofter and The Laird by John McPhee. The family lived on the Island of Colonsay for six months in 1967, where the McPhee ancestors were shepherds. While McPhee was researching his book, about the history, legends, and people of this sparsely populated island of the Inner Hebrides, and the girls were going to school, Brown began writing her own book about three girls on an island in Scotland. She read it aloud to them when they were small.

“My original dream was to be a AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

| 69

writer,” says Brown. “I wanted it so much I married a writer.” After having so many children, she never found the time or space to finish her novel–although her daughters have fulfilled her writing ambitions many times over.

In 1971 Brown and a partner bought a photography studio on Tulane Street, and in 1981 Brown opened her own studio on Chambers Street, specializing in hand-printed black and white archival photographs. She later moved it to 195 Nassau Street. Eight of the 10 children worked with her in the studio, although Martha recalls that she didn’t like working there. “I was jealous that her work took her away from me. Now I finally enjoy her and don’t compete with the studio. My friends from Princeton High School all loved to work with her and I’m very proud of her.”

Eldest daughter Laura McPhee, who studied with Emmet Gowin at Princeton University, went on to pursue her own career as a photographer.

In more than 40 years of operating the studio, Brown photographed President Clinton, Bill Bradley, Rush Holt and other politicians, professors, writers, musicians and actors. Her photographs have appeared in The New Yorker, New York Magazine, More, Self, Real Simple, Elle, Harper’s Bazaar, New Jersey Life, Time, Newsweek and The New York Times.

“She supported us with her work as a photographer,” recounts Martha. Until a year ago, Brown was working six days a week to photograph weekend weddings.

A FAMILY OF WRITERS Pryde met John through her brother, a classmate of McPhee’s at Princeton University. They lived in a townhouse basement in Brooklyn Heights the first year of their marriage, not far from the hospital where Pryde was born. She feels a special affinity for that borough, where daughter Joan lived while heading a school in the South Bronx.

When asked about her writer daughters, Brown goes into the house, then makes two trips back with armloads of books. What did she put in the Kool-Aid to churn out five published authors? “She encouraged me to become a writer, believing in me and telling me I could do it when I really thought I couldn't,” says Martha. “She always said to all of us that we could do anything.

That gave us freedom and confidence.”

Laura, born in 1958, lives in Boston where she teaches at Massachusetts College of Art, and has collected her

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(CLOCKWISE FROM TOP LEFT): An American Voter by Joan Sullivan, Bernini and the Bell Towers by Sarah McPhee, Girls by Jenny, Laura and Martha McPhee. A Man of No Moon by Jenny McPhee and Bright Angel Time by Martha McPhee.

photographs in three books, most recently one about the Sawtooth Mountains of Idaho. Her large landscapes are beautiful to the eye, but closer study reveals the damage that has come to the land through human intervention. She shoots with a view camera, using 8-by-10-inch negatives, and her prints are often 6-by-8 feet.

Sarah, born in 1960, is a professor of art history at Emory University and has written books about Bernini. Jenny (born 1962)–the London-based daughter–is a novelist whose most recent book is A Man of No Moon. Martha was born in 1964– she has published four novels–and Joan Sullivan (“She’s not a McPhee,” notes Brown of her fifth writer daughter), born in 1973, wrote about the campaign of Bill Bradley in An American Voter.

The sisters have even collaborated with each other. Martha and Jenny translated Crossing the Threshold of Hope, written by Pope John Paul II, from Italian to English, and Laura, Jenny and

PRINCETON MAGAZINE AUGUST/SEPTEMBER 2013

Martha published Girls: Ordinary Girls and Their Extraordinary Pursuits. “We drove across America to talk with girls– girls from a variety of landscapes and communities and backgrounds,” they write. “...we wanted to look at ordinary girls and record both visually and verbally the extraordinary things that girls do and the drives and desires that lead them to do those things.”

Writing literary works is difficult, says Brown. “It doesn’t make the kind of splash that popular novels do. Joan is a very accomplished writer, but has chosen, for now, to pursue a different path. She founded the Bronx Academy of Letters in the South Bronx for underprivileged students, and her graduates have gone on to Ivy League schools. She subsequently became the Deputy Mayor of Education for the city of Los Angeles, and she continues to be involved in school reform. She and her partner have just brought Brown’s newest granddaughter into the world.

Pryde Brown and partner Elaine Miller at their photo studio.

Laura, and Jenny McPhee.

(TOP):

The Sullivan children include Danny, Mary, Carrie, Henry and Tony.

Whether at home or in her studio, Brown, who specializes in portraits, is a connoisseur of family. A series on mothers and children reveals the deep love she has for her own children. Her subjects never look posed. It is as if Brown were part of the family, just one with a very good eye and a practiced hand.

Reflecting on the evolution of the medium, Brown says “With digital cameras, everyone can be a photographer.

They’re easy to handle, the pictures are sharp, and if you have an eye you don’t have to go to school for it.” But back in the 1970s, Brown found a niche with clients who wanted archivally printed black-and-white portraits, shot with her two-and-a-quarter inch Rolleiflex, that they could pass down through the generations. As the demand for color increased, that too became part of her repertoire. In more recent times, she has had someone do the printing for her.

(BOTTOM): Pryde

and a young Laura McPhee.

UNDER THESE BIG OLD TREES In spring 2012, Brown decided that after 42 years of operating studios in Princeton, the time was right to move her business to the Ringoes farm. She pulls out an old New Jersey history book. It shows that this land had been purchased from Chief Himhammo in 1729. Arrowheads and other Native American artifacts have been found here. “You buy a house to live in and then you discover just how extraordinary the place is,” she says.

The Alexauken Creek valley supported some of West Amwell's early industries. Traces of old dams and mill races are still to be seen at spots along the creek, where water tumbles across rock ledges on its course to the Delaware. The valley was a refuge for Continental Army troops during the Revolution.

About that Haitian art: When Brown and Sullivan traveled to Haiti in the early ‘70s, they became fascinated by the artwork. Sullivan was especially interested

(RIGHT): Martha,

in Haitian religion. “The artwork has primitive subject matter–zebras, fruit growing from a tree—but one can’t say the art is primitive,” says Brown. “There are ideas here. Look at this coiled up fish with a lobster in the middle holding a flower in its claw over prickly pears.”

Sullivan and Brown traveled to Haiti three times, once taking the children.

Sullivan then opened a Haitian art gallery in New Hope, Pa., that he ran for seven years in the ‘70s.

Mexico, Jamaica, London, Paris and Italy are among some of the other places Brown has visited, instilling a love for travel in all her children, but she always enjoys returning home. There are two little bamboo chairs on the deck, waiting for her granddaughters’ visits. “I’m so lucky I can spend time here in good health,” says Brown, before packing her bags to visit yet another grandchild in a far flung place. “I’m so fortunate to sit under these big old trees in a place where the view is so calming.”

AUGUST/SEPTEMBER 2013 PRINCETON MAGAZINE

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 â&#x20AC;¨â&#x20AC;Š Aquinnah at the western tip of the land mass, descendants will share accounts of how their ancestors taught the English to hunt whales and how a few among them rose to become ship captains. You may also learn about the deadly diseases brought by European settlers, to which their people had no immunity, and how King Philipâ&#x20AC;&#x2122;s War (1675-1676) reduced their numbers even further. One story leads to another, although each one is imparted without rancor.

 â&#x20AC;¨â&#x20AC;ŠIf

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šthen

 â&#x20AC;¨â&#x20AC;Šinspired

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šread

 â&#x20AC;¨â&#x20AC;Š Geraldine Brooksâ&#x20AC;&#x2122;s best-selling Calebâ&#x20AC;&#x2122;s Crossing: A Novel, you will learn how one

 â&#x20AC;¨â&#x20AC;Šsachemâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Šson

 â&#x20AC;¨â&#x20AC;Šbecame

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šrst

 â&#x20AC;¨â&#x20AC;ŠIndian

 â&#x20AC;¨â&#x20AC;Š graduate of Harvard College in 1665. And Jill Leporeâ&#x20AC;&#x2122;s prize-winning In the Name of War will

 â&#x20AC;¨â&#x20AC;Štell

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Šhow

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠEnglish,

 â&#x20AC;¨â&#x20AC;Šat

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šrst

 â&#x20AC;¨â&#x20AC;Š friendly with the Wampanoag, became their deadly enemies.

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 â&#x20AC;¨â&#x20AC;Š If

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Švisit

 â&#x20AC;¨â&#x20AC;ŠOak

 â&#x20AC;¨â&#x20AC;ŠBluffs

 â&#x20AC;¨â&#x20AC;Š(often

 â&#x20AC;¨â&#x20AC;Šreferred

 â&#x20AC;¨â&#x20AC;Š to

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;Šâ&#x20AC;&#x153;OBâ&#x20AC;?)

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šwant

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šdiscover

 â&#x20AC;¨â&#x20AC;Šmore

 â&#x20AC;¨â&#x20AC;Š about its African American community, there is Jill Nelsonâ&#x20AC;&#x2122;s Finding Marthaâ&#x20AC;&#x2122;s Vineyard: African Americans at Home on an Island to impart the backstory. Even the Vineyardâ&#x20AC;&#x2122;s name is the subject of speculation

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šperhaps

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šctionalization.

 â&#x20AC;¨â&#x20AC;Š It

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šsaid

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šcaptain,

 â&#x20AC;¨â&#x20AC;ŠBartholomew

 â&#x20AC;¨â&#x20AC;Š Gosnold, sailed his ship, the Concord, to the northernmost tip of Chappaquiddick in 1602 and named the island for his infant daughter and mother-in-law.

And, if you talk to the friendly yearround residents, they will tell you about encounters past and present with those who have made the Vineyard legendary.

You will hear about Ulysses S. Grant and his prodigious consumption of alcohol, James Cagney, Lillian Hellman, a more down-to earth Jackie Kennedy who relaxed on the island, and scores of others coming up to the presentdayâ&#x20AC;&#x201D;encounters with an ever-chatty Bill Clinton, a circumspect Meg Ryan, and of course the Obama familyâ&#x20AC;&#x2122;s annual summer visits. Everyone agrees that Steven Spielbergâ&#x20AC;&#x2122;s Jaws was what really !

put the Vineyard on the tourist map, no matter how many celebrities had already discovered the beauty of the place before the

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šlmâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;Šrelease.

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;Š B63 >/AA/53 /<2 53BB7<5 /@=C<2 You

 â&#x20AC;¨â&#x20AC;Šcan

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šy

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šisland

 â&#x20AC;¨â&#x20AC;Šyear

 â&#x20AC;¨â&#x20AC;Šround

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Š several different carriers. The airport is conveniently situated at the approximate center of the Vineyardâ&#x20AC;&#x2122;s 100 square miles.

Ferries

 â&#x20AC;¨â&#x20AC;Šply

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šwaters

 â&#x20AC;¨â&#x20AC;Šfrom

 â&#x20AC;¨â&#x20AC;ŠRhode

 â&#x20AC;¨â&#x20AC;ŠIsland,

 â&#x20AC;¨â&#x20AC;Š Hyannis, and other ports and offer a good alternative if you have no yacht of your own. The Steamship Authority is a particularly good choice with its frequent service from Woodâ&#x20AC;&#x2122;s Hole, only seven miles away.

 â&#x20AC;¨â&#x20AC;ŠIt

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Šnot

 â&#x20AC;¨â&#x20AC;Šinexpensive,

 â&#x20AC;¨â&#x20AC;Šbut

 â&#x20AC;¨â&#x20AC;Štaking

 â&#x20AC;¨â&#x20AC;Šyour

 â&#x20AC;¨â&#x20AC;Š vehicle on board and disembarking at either Oak Bluffs or Vineyard Haven in season (mid May â&#x20AC;&#x201C; mid October) will allow you greater freedom to explore. The trip is short (45

 â&#x20AC;¨â&#x20AC;Šminutes),

 â&#x20AC;¨â&#x20AC;ŠefďŹ

 â&#x20AC;¨â&#x20AC;Šciently

 â&#x20AC;¨â&#x20AC;Šmanaged,

 â&#x20AC;¨â&#x20AC;Šusually

 â&#x20AC;¨â&#x20AC;Š smooth, and you will not fully understand the character of the island unless you can navigate its roads and explore its diversity.

The Vineyardâ&#x20AC;&#x2122;s busses offer a reasonable but

 â&#x20AC;¨â&#x20AC;Šfar

 â&#x20AC;¨â&#x20AC;Šless

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šexible

 â&#x20AC;¨â&#x20AC;Šalternative.

 â&#x20AC;¨â&#x20AC;ŠAll

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š

the islandâ&#x20AC;&#x2122;s roads are two-lane; there is always something to see; and drivers are surprisingly polite on roadways with a speed limit of 35 to 40 miles per hour.

Bikes come in handy, as wellâ&#x20AC;&#x201D;rented or transported from the mainland. Another much smaller ferry resembling a barge will carry you in a few minutes, with or without your car or bike (for which you will pay extra) to â&#x20AC;&#x153;Chappy,â&#x20AC;? formally known as Chappaquiddick. Now there is a storied placeâ&#x20AC;&#x201D;the scandal of Senator Edward Kennedyâ&#x20AC;&#x2122;s headline-making and nearly career-killing accident and Mary Jo Kopechneâ&#x20AC;&#x2122;s tragic drowning seem never to fade from memory or local folklore.

B63 >3@A=</:7B73A =4 B63 B=E<A If the several island towns were characters in a novel, each would have a distinctive part to play. Edgartown, founded as Great Harbour, was not known by that name until 1671, when it was incorporated.

Its character is rather patrician. Todayâ&#x20AC;&#x2122;s visitor will discover a stately place overlooking

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šharbor

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šlled

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Špleasure

 â&#x20AC;¨â&#x20AC;Š boats. The streets are lined with elegant homes, the front façades of which are largely white clapboard with windows shuttered in dark green. Many properties

are fronted with beautifully constructed low

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šeldstone

 â&#x20AC;¨â&#x20AC;Šwalls,

 â&#x20AC;¨â&#x20AC;Šbehind

 â&#x20AC;¨â&#x20AC;Šwhich,

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Š summer,

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Šwill

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šprofusion

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Š hydrangeas and roses, along with other perennials. The perfection and uniformity of block after block is impressive but also predictable. Shopping and dining are at the high end of the islandâ&#x20AC;&#x2122;s range.

Compared to Vineyard Haven and Oak Bluffs, Edgartown is not only like your cultured rich uncle but also preppy (there is a Lily Pulitzer shop, for example).

There are very good restaurants, including Lâ&#x20AC;&#x2122;Etoile and DĂŠtente, as well as excellent old timers such as the Atlantic, with its proximity to the water. The Harbor View, a beautifully refurbished nineteenthcentury hotel on North Water Street, is one of the best places to stay on the Vineyard. Here you will discover a diverse clientele, friendly service, decent restaurants, large well-decorated rooms with balconies, a beautiful swimming pool, and an extensive veranda on which you can relax in a turquoise rocking chair, sip a drink, nibble on an appetizer, share stories, and watch the sun go down. You can

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Šbed

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šbreakfasts

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šother

 â&#x20AC;¨â&#x20AC;Šinns,

 â&#x20AC;¨â&#x20AC;Š but you will not do better.

Oak Bluffs has an entirely different personality and a different part to play.

Once a Methodist camp meeting ground,

its tents were replaced during the Victorian era with cottages resembling miniature San Francisco houses. Painted in a wild variety of colors, with elaborate barge boarding and porch railings, oddly shaped windows, and tiny front yards, the cottages march on by the dozen, seemingly without end. Compared to Edgartown, this is a lower middle class and working-class community, down to earth, full of variety, and not a bit stuffy.

The oldest continuously operated carousel in the country can be found off Circuit Street, the main drag. Shops may appear somewhat run down by comparison to Colonial Edgartown but they are fun.

Restaurants here speak to a strong sense of community rather than exclusivity but some higher end places such as Slice of Life and Sweet Life CafĂŠ (the names alone speak worlds) have opened recently, changing the mix. There is a strong African American presence in Oak Bluffs, although diversity is one of the things the island is known for overall. For over a century this has been a safe haven for black artists, a place to relax, comingle, and create.

Vineyard Haven is the more bohemian and artsy town, representing the family member who breaks away to do his or her â&#x20AC;&#x153;own thing.â&#x20AC;? Occupying a prominent

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vehicle over the sandy roadsâ&#x20AC;&#x201D;this is an enjoyable, informative, and even amusing safari illuminated byâ&#x20AC;&#x201D;what elseâ&#x20AC;&#x201D;more stories.

Inland is yet another character, West Tisbury. There is a state forest, a wonderful place to eat called State Road Restaurant, serving primarily locally grown products; a funky fun clothing store called Bananas (which has a yearround branch in Vineyard Haven); and Polly Hill Arboretum, which was created by a legendary amateur horticulturalist, Polly Hill (1907-2007), who taught the experts a thing or two about growing plants. The grounds here are extensive, beautiful in all seasons, and marked by the

 â&#x20AC;¨â&#x20AC;Šsame

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šeldstone

 â&#x20AC;¨â&#x20AC;Šwalls

 â&#x20AC;¨â&#x20AC;Šout

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šwhich

 â&#x20AC;¨â&#x20AC;Š the bank in Vineyard Haven and the fences in Edgartown were built. Inland is rural, bucolic, and restfulâ&#x20AC;&#x201D;a place apart.

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spot is Carly Simonâ&#x20AC;&#x2122;s store, Midnight Farm, with its Boho Chic pricey offerings to enliven your houseâ&#x20AC;&#x2122;s dĂŠcor and to diversify

 â&#x20AC;¨â&#x20AC;Šyour

 â&#x20AC;¨â&#x20AC;Šwardrobe.

 â&#x20AC;¨â&#x20AC;ŠYou

 â&#x20AC;¨â&#x20AC;Šwill

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Š other home furnishing shops, such as the Beach House nearby. Here too is the islandâ&#x20AC;&#x2122;s biggest and best bookstore, the storied Bunch of Grapes. Decades old, it moved from a house on a side street to occupy an open and airy spot on Main.

As in Edgartown, which has its smaller Edgartown

 â&#x20AC;¨â&#x20AC;ŠBooks,

 â&#x20AC;¨â&#x20AC;Šhere

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Šwill

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Š section

 â&#x20AC;¨â&#x20AC;Šreserved

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šguides

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šlocal

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šora

 â&#x20AC;¨â&#x20AC;Š and fauna, mystery series that are island based, and many local histories. Both shops have inviting sections for children and friendly and knowledgeable staff.

Not to be missed in Vineyard Haven is the Bank of Marthaâ&#x20AC;&#x2122;s Vineyard/A Division of Sovereign Bank with its massive ďŹ

 â&#x20AC;¨â&#x20AC;Šeldstone

 â&#x20AC;¨â&#x20AC;Šwalls

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šshape

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠGreek

 â&#x20AC;¨â&#x20AC;Š cross, overhanging Asian red tile roof, and domed lobby, dating back to 1905.

The bankâ&#x20AC;&#x2122;s brochure and friendly tellers will give you the full story of this arts and crafts inspired building. Moxie, also on Main Street, offers an excellent menu and friendly service with free conversation, including how it was resurrected years

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after

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šre

 â&#x20AC;¨â&#x20AC;Šbrought

 â&#x20AC;¨â&#x20AC;Šit

 â&#x20AC;¨â&#x20AC;Šdown.

 â&#x20AC;¨â&#x20AC;ŠThe

 â&#x20AC;¨â&#x20AC;Šfamed

 â&#x20AC;¨â&#x20AC;Š Black Dog Tavern, down by the water, offers souvenirs and edibles.

The hermit of the cast, the reclusive and somewhat eccentric relative in the tale is Chappaquiddick. Only a few dozen families live here year round and they are a

 â&#x20AC;¨â&#x20AC;Šhardy,

 â&#x20AC;¨â&#x20AC;Šself-­sufďŹ

 â&#x20AC;¨â&#x20AC;Šcient

 â&#x20AC;¨â&#x20AC;Šlot.

 â&#x20AC;¨â&#x20AC;ŠLiving

 â&#x20AC;¨â&#x20AC;Šnearly

 â&#x20AC;¨â&#x20AC;Š entirely off the grid and without even a grocer, they are closest to nature of any of the islandâ&#x20AC;&#x2122;s inhabitants. Salt-water ponds, sandy roads, a lighthouse that has been moved inland due to erosion, seabirds including ospreys, sea otters, and all manner of rare and sometimes endangered

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šora

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šfauna

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šthese

 â&#x20AC;¨â&#x20AC;Š hardy peopleâ&#x20AC;&#x2122;s companions. Just this year a large organic farm was started to help supply food locally. In many ways, these folks most closely resemble the islandâ&#x20AC;&#x2122;s early inhabitants. Old Gay Head in Aquinnah has been designated a

 â&#x20AC;¨â&#x20AC;ŠNational

 â&#x20AC;¨â&#x20AC;ŠNatural

 â&#x20AC;¨â&#x20AC;ŠLandmark

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Š Department of the Interior but in many ways Chappy might as well be too, it is so unspoiled. Also on Chappaquiddick you will

 â&#x20AC;¨â&#x20AC;ŠďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠJapanese

 â&#x20AC;¨â&#x20AC;ŠGarden

 â&#x20AC;¨â&#x20AC;Šcalled

 â&#x20AC;¨â&#x20AC;ŠMytoi.

 â&#x20AC;¨â&#x20AC;Š Trustees of Reservation Natural History Tours can take you in a four-wheel drive

!

The Vineyard is a place to enjoy extensive beaches, to experience every water sport, to hike, to explore, to meet people, to shop, to go birding, to enjoy delicious food, to learn about land preservation, and to experience history. Although it is small in extent, it offers an unusual diversity of people, land, and experience. There are antique, farmer,

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;

 â&#x20AC;¨â&#x20AC;Šea

 â&#x20AC;¨â&#x20AC;Šmarkets

 â&#x20AC;¨â&#x20AC;Ševery

 â&#x20AC;¨â&#x20AC;Šweek

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Š festivals of all kinds throughout the year.

It is a place to which many repeatedly return and by which many are seduced.

While it is one of the most expensive places in the country to live, its lure is so great that visitors and new residents ďŹ

 â&#x20AC;¨â&#x20AC;Šnd

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šway

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šbecome

 â&#x20AC;¨â&#x20AC;Špart

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Štale

 â&#x20AC;¨â&#x20AC;Š that it tells. Its newspaper, the Vineyard Gazette, oversized in its nineteenthcentury format and in publication since 1846, has the widest readership outside of its locale of any regional paper in the country. There is a reason for this.

Marthaâ&#x20AC;&#x2122;s Vineyard is a very special place that makes you want to become part of its story.

Key Websites: www.mvy.com www.mvlandbank.com www.pollyhillarbotetum.com www.thetrustees.org

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Forrestal Village [Ask us how to avoid Route 1!]

116 Rockingham Row 4 Princeton, NJ 08540 609-514-1600 4 www.princetondance.com Please visit our website for Open House schedule.

Photos by Rosalie O'Connor and Melissa Ackerman

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LASIK B R I N G S T H E

TRUE 20/20 E X P E R I E N C E

Thousands of happy people have changed their view with LASIK from Wills Laser Vision at Princeton. We are the areaâ&#x20AC;&#x2122;s only practice offering the newest generation state-of-the-art 100% Blade Free LASIK, the safest most reliable method of vision correction. Thatâ&#x20AC;&#x2122;s right, no cutting and a success rate beyond those of conventional LASIK â&#x20AC;&#x201C; often better than 20/20.

At Wills Laser Vision at Princeton you get the doctors you know and trust from Princeton Eye Group, the premier ophthalmology practice in Central Jersey.

For a complimentary LASIK consult call us at 609-924-9200.

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Stephen M. Felton, M.D., Ph.D. | Michael Y. Wong, M.D. | Richard H. Wong, M.D. | R. David Reynolds, M.D. Anita I. Miedziak, M.D. | Samuel M. Liu, M.D., Ph.D. | John A. Epstein, M.D. | Suzanne K. Jadico, M.D.

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his September Stuart Country Day School of the Sacred Heart celebrates its 50th Anniversary. The building, incorporating many European design and construction techniques, was the creation of architect Jean Labatut and was the only building he ever had built in his entire professional career. Princeton architect J. Robert Hillier, FAIA, fresh out of Princetonâ&#x20AC;&#x2122;s Architectural Program which Labatut led, served as his designer/drafter on the project.

Princeton Universityâ&#x20AC;&#x2122;s Graduate School of Architecture had been turning out distinguished members of the profession for nearly a century. At one point, 17 of Labatutâ&#x20AC;&#x2122;s former students were Deans of Schools of Architecture across the nation. Closely integrated with the Universityâ&#x20AC;&#x2122;s Art History and Archaeology program, the Princeton School of Architecture was founded on the premise that architects should be well-rounded in liberal arts studies and approach their profession as an art.

Throughout the School of Architectureâ&#x20AC;&#x2122;s years, Jean Labatut, or â&#x20AC;&#x153;Labbyâ&#x20AC;? as he was known by his students, was key in the schoolâ&#x20AC;&#x2122;s development. Born in Martres-Tolosane, Haute-Garonne, France, in 1899, Labatut studied architecture at the Ă&#x2030;cole St. Stanislaus, College de Caousoi, LycĂŠe National and the Ecole des Beaux Arts et Science Industrielles. By 1924 Labatut was a practicing architect in his native country.

It wasnâ&#x20AC;&#x2122;t long before his talents were recognized internationally.

 â&#x20AC;¨â&#x20AC;Š

 â&#x20AC;¨â&#x20AC;ŠLabatutâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šassignment

 â&#x20AC;¨â&#x20AC;Šoutside

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠFrance

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Š in Havana, Cuba where he worked as a city planner and designed a memorial plaza celebrating the dictator Fulgencio Batista, which Fidel Castro later had dismantled. The architect was sought after for his talent in urban planning and his knowledge of how cities worked. Consequently, he was invited to serve as a design critic at several architecture programs in the United States, one at Princeton University.

That invitation turned into a long-term assignment with Labatut

 â&#x20AC;¨â&#x20AC;ŠofďŹ cially

 â&#x20AC;¨â&#x20AC;Šjoining

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠPrinceton

 â&#x20AC;¨â&#x20AC;ŠUniversity

 â&#x20AC;¨â&#x20AC;Šfaculty

 â&#x20AC;¨â&#x20AC;Šin

 â&#x20AC;¨â&#x20AC;Š 1928. He served as a professor for almost 60 years, receiving numerous awards from the American Institute of Architects and the Association of Collegiate schools of Architecture, including the Distinction in Education award. For the 1939 Worldâ&#x20AC;&#x2122;s Fair in New York, Labatut designed the fountains and lights to be coordinated

 â&#x20AC;¨â&#x20AC;Šwith

 â&#x20AC;¨â&#x20AC;Šmusic

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šone

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;Šworldâ&#x20AC;&#x2122;s

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šsound

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šlight

 â&#x20AC;¨â&#x20AC;Š installations.

Labatut lived in a small farm on Snowden Lane known as Maybury Hill with his wife, Mercedes, whom he had met in Trenton. They had no children. Each summer Labatut would teach the architectural program at Fontainebleau in France. In the

 â&#x20AC;¨â&#x20AC;Šearly

 â&#x20AC;¨â&#x20AC;Šyears

 â&#x20AC;¨â&#x20AC;Šhe

 â&#x20AC;¨â&#x20AC;ŠďŹ&#x201A;ew

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠEurope

 â&#x20AC;¨â&#x20AC;Šby

 â&#x20AC;¨â&#x20AC;Šdirigible

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šenjoyed

 â&#x20AC;¨â&#x20AC;Štaking

 â&#x20AC;¨â&#x20AC;Š pictures of the landscape from the open windows of the craft. His collection of photos from these trips was extensive. He died in 1986 after a long illness. Since there were no survivors, his estate, including several million dollars he had saved over the years, was left to Princeton University.

Labatutâ&#x20AC;&#x2122;s legacy lives on in the School of Architecture, which continues to attract the brightest talents from around the world and send them into the profession with the special blend of knowledge that he professed. It also lives on in the beautiful building at Stuart Country Day School of the Sacred Heart.

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(TOP) Jean Labatut with Mother Barry, the head of the Sacred Heart order in the U.S. in 1963. (MIDDLE) Labatut (at right) explaining his design for the Stuart School on the hood of a car at the site. (BOTTOM) Labatut outside the school entrance with one of many boulders, the placement of which he personally directed. Images courtesy of Stuart Country Day School of the Sacred Heart.

Cambridge Sc Cambridge School

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(BELOW)

 â&#x20AC;¨â&#x20AC;ŠMatthew,

 â&#x20AC;¨â&#x20AC;ŠAlexandra

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠWill Reeve

been

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šmake

 â&#x20AC;¨â&#x20AC;Šnarrative

 â&#x20AC;¨â&#x20AC;ŠďŹ lms.

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šlike

 â&#x20AC;¨â&#x20AC;ŠďŹ lms

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;Š meet a balance between art and commerce; that are high concept and hugely entertaining, but also offer engaging, well told stories with compelling

 â&#x20AC;¨â&#x20AC;Šcharacters.

 â&#x20AC;¨â&#x20AC;ŠTheyâ&#x20AC;&#x2122;re

 â&#x20AC;¨â&#x20AC;Šhard

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠďŹ nd

 â&#x20AC;¨â&#x20AC;Š these days, and even harder to get made.

Your brother Will is still in college; what type of career does your sister, Alexandra have?

Alexandra

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;ŠSenior

 â&#x20AC;¨â&#x20AC;ŠCounsel

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠU.S.

 â&#x20AC;¨â&#x20AC;Š Senate Judiciary Committee.

Who most takes after your father and in what ways?

We all take after him in our own ways.

We each have our own characteristics that we inherited from him. It is an interesting case study of genetics at work.

Watching

 â&#x20AC;¨â&#x20AC;Šyour

 â&#x20AC;¨â&#x20AC;ŠďŹ lm

 â&#x20AC;¨â&#x20AC;ŠChristopher Reeve: Hope in Motion, I was struck by your fatherâ&#x20AC;&#x2122;s determination and his relentless exercising. It was refreshing to see your family dynamic, the humor, and normalcy of Willâ&#x20AC;&#x2122;s baseball game, Alexandra passing her driving test, and you graduating from Brown. Please comment on that and talk about

 â&#x20AC;¨â&#x20AC;Šmaking

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠďŹ lm.

Despite Dadâ&#x20AC;&#x2122;s injury, and his fame, we were always a pretty normal family. Well, we strived to be anyway. I tried to capture that

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;Šbest

 â&#x20AC;¨â&#x20AC;Šas

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šcould.

 â&#x20AC;¨â&#x20AC;ŠMaking

 â&#x20AC;¨â&#x20AC;Šthe

 â&#x20AC;¨â&#x20AC;ŠďŹ lm

 â&#x20AC;¨â&#x20AC;Šwas

 â&#x20AC;¨â&#x20AC;Š a

 â&#x20AC;¨â&#x20AC;Šwonderful

 â&#x20AC;¨â&#x20AC;Šexperience

 â&#x20AC;¨â&#x20AC;Šthat

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šwill

 â&#x20AC;¨â&#x20AC;Šforever

 â&#x20AC;¨â&#x20AC;Š cherish. Ultimately it just meant that I spent a lot more time with him than I otherwise would have.

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(BELOW)

 â&#x20AC;¨â&#x20AC;ŠAlexandra,

 â&#x20AC;¨â&#x20AC;ŠChristopher,

 â&#x20AC;¨â&#x20AC;ŠMatthew,

 â&#x20AC;¨â&#x20AC;ŠDana

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;ŠWill Reeve, 1996; Matthew and Christopher Reeve in Israel.

How did your relationship with your Dad change after his accident?

That

 â&#x20AC;¨â&#x20AC;Šis

 â&#x20AC;¨â&#x20AC;ŠdifďŹ cult

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Šanswer

 â&#x20AC;¨â&#x20AC;Šsuccinctly.

 â&#x20AC;¨â&#x20AC;Š Fundamentally, prior to his accident we were an incredibly active family. Our interactions were largely centered around doing physical activitiesâ&#x20AC;&#x201D;sailing, skiing, hiking, touch football, soccer, etc. Afterwards we spent a lot more time just talking, and simply being together. Weâ&#x20AC;&#x2122;d watch movies, go to art galleries, museums, and things like that. It became a richer relationship, and much more meaningful.

M

atthew Reeve, son of Christopher Reeve

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šhis

 â&#x20AC;¨â&#x20AC;ŠďŹ rst

 â&#x20AC;¨â&#x20AC;Šwife,

 â&#x20AC;¨â&#x20AC;ŠGae

 â&#x20AC;¨â&#x20AC;ŠExton,

 â&#x20AC;¨â&#x20AC;Š is a Brown University graduate and an independent producer and director. He joined the Board of Directors of the Christopher & Dana Reeve Foundation in 2006 and plays an active

 â&#x20AC;¨â&#x20AC;Šrole

 â&#x20AC;¨â&#x20AC;Šcontinuing

 â&#x20AC;¨â&#x20AC;Šits

 â&#x20AC;¨â&#x20AC;Šmission

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠďŹ nd

 â&#x20AC;¨â&#x20AC;Šcures

 â&#x20AC;¨â&#x20AC;Š and treatments for spinal cord injury.

Your father grew up in Princeton, attended Princeton Day School, and was involved with McCarter Theatre. Barbara Johnson, your grandmother, was a longtime writer for Princetonâ&#x20AC;&#x2122;s community newspaper, Town Topics. Did your father talk about his ties to Princeton and did you ever have an opportunity to visit?

Absolutely. My father often spoke fondly of his childhood there and loved growing up in Princeton. I have visited several times over the years. Not as often as I would have liked, but I certainly have some very fond memories from my time there.

Explain the mission of the Christopher & Dana Reeve Foundation and talk about your involvement.

The mission of the Christopher & Dana Reeve Foundation is twofold. We are dedicated to

 â&#x20AC;¨â&#x20AC;Šfunding

 â&#x20AC;¨â&#x20AC;Šresearch

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;ŠďŹ nd

 â&#x20AC;¨â&#x20AC;Šcures

 â&#x20AC;¨â&#x20AC;Šfor

 â&#x20AC;¨â&#x20AC;Šspinal

 â&#x20AC;¨â&#x20AC;Š cord injury while simultaneously working to improve the quality of life for the millions of people who currently live with paralysis.

To date, how much money from the Foundation has been invested in research for spinal

 â&#x20AC;¨â&#x20AC;Šcord

 â&#x20AC;¨â&#x20AC;Šinjuries

 â&#x20AC;¨â&#x20AC;Šand

 â&#x20AC;¨â&#x20AC;Šhow

 â&#x20AC;¨â&#x20AC;Šclose

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šwe

 â&#x20AC;¨â&#x20AC;Što

 â&#x20AC;¨â&#x20AC;Š ďŹ nding

 â&#x20AC;¨â&#x20AC;Ša

 â&#x20AC;¨â&#x20AC;Šcure?

To date, about $110 million, but I think itâ&#x20AC;&#x2122;s more realistic to think about â&#x20AC;&#x2DC;curesâ&#x20AC;&#x2122; rather than

What

 â&#x20AC;¨â&#x20AC;Štypes

 â&#x20AC;¨â&#x20AC;Šof

 â&#x20AC;¨â&#x20AC;ŠďŹ lm

 â&#x20AC;¨â&#x20AC;Šprojects

 â&#x20AC;¨â&#x20AC;Šare

 â&#x20AC;¨â&#x20AC;Šyou

 â&#x20AC;¨â&#x20AC;Š interested in?

At the beginning of my career I focused my

 â&#x20AC;¨â&#x20AC;Šefforts

 â&#x20AC;¨â&#x20AC;Šon

 â&#x20AC;¨â&#x20AC;Šmaking

 â&#x20AC;¨â&#x20AC;Šdocumentary

 â&#x20AC;¨â&#x20AC;ŠďŹ lms.

 â&#x20AC;¨â&#x20AC;ŠI

 â&#x20AC;¨â&#x20AC;Šstill

 â&#x20AC;¨â&#x20AC;Š love documentaries but my goal has always

88 j >@7<13B=< ;/5/H7<3 /C5CAB A3>B3;03@

a singular â&#x20AC;&#x2DC;cureâ&#x20AC;&#x2122; for spinal cord injury. Itâ&#x20AC;&#x2122;s such a complicated part of the body and each injury is as different as the person who sustains it, that I donâ&#x20AC;&#x2122;t think there will be a â&#x20AC;&#x2DC;one

 â&#x20AC;¨â&#x20AC;Šsize

 â&#x20AC;¨â&#x20AC;ŠďŹ ts

 â&#x20AC;¨â&#x20AC;Šallâ&#x20AC;&#x2122;

 â&#x20AC;¨â&#x20AC;Šmagic

 â&#x20AC;¨â&#x20AC;Š bullet cure. Rather, it will require a combination of treatments. Currently we are seeing incredible results from our locomotor training program, called the NeuroRecovery Network, which is an activity-based therapy where a patient is suspended in a harness, and â&#x20AC;&#x2DC;walksâ&#x20AC;&#x2122; on a treadmill. This reawakens neural pathways and without going too much into the science, the end result is that people are getting out of wheelchairs and walking. But itâ&#x20AC;&#x2122;s not for everyone. So ultimately I think it will be a carefully formulated, individually tailored combination of treatments, including physical-activity-based therapy, and then perhaps some pharmacological, surgical, and (maybe) cellular interventions rather than â&#x20AC;&#x2DC;aâ&#x20AC;&#x2122; cure. And we are getting closer to that goal every day. Itâ&#x20AC;&#x2122;s a matter of â&#x20AC;&#x2DC;whenâ&#x20AC;&#x2122; and not â&#x20AC;&#x2DC;if,â&#x20AC;&#x2122; but frustratingly, it all comes down to funding. The science is way ahead of the money.

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