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Joseph Wippler

Don P Lives Acrylic on canvas 2011 Publishers Note by Mike Marcus Felber .................................................................. 1 Transition by Larry Grossberg .................................................................................. 4 What is Art? Or, Whither Goes the Whipperpool? by Mike Marcus Felber .......... 5 Masters of Art: The Deep Connection Between Patron and Artist by Cindy Horowitz .... 8 Cauldron Visions: Hells Kitchens Fabled Past by Larry Grossberg ................... 12 On and Off the Walls of the 9th Avenue Saloon by James Humphrey .............. 14 Leaving New York by Adam Felber ........................................................................ 19 A New Community by Mike the Felbs Felber ....................................................... 20 What You Know by Josh Medsker .......................................................................... 22 West Side Neighborhood Alliance by Matthew Abuelo & Vivian Riffelmacher ... 26 The Peace Caravan by Marla Mossman ................................................................. 28 Public Laundry by Tsila Nagar & Ofer Caspi ........................................................... 32 HK Theatre Arts Draws Huge Response by Paul Pierog ..................................... 34 Finding Victorine by Tricia Sellmer ....................................................................... 38 Hothouse of the Black Orchid by J B Pravda ....................................................... 40 176 Irving Avenue by David Pambianchi .............................................................. 44 Fountain Gallery by Matthew Abuelo & Vivian Riffelmacher ................................ 50 The American Dream by Lourdes Ramirez ........................................................... 53 Through the Looking Glass Darkly: Ye Olde Hells Kitchen by Paul Pierog ..... 54 Not Your Ordinary Times Square Bard by Mike Marcus Felber .......................... 57 Spray It, Dont Say It by Shalini Adnani ............................................................... 72 International Women Artists Salon by Sarah Moore ....................................... 76 A Silenced Artist by Estelle Levy ........................................................................... 90 A Spiritual Center for the Soul and The Arts .................................................... 97 Medicine Show Theatre in HK by Chris Brandt ...................................................102 The Quiet Still of the Night Late by Frank Boros ...............................................126

The (Hells) Kitchen Sink

Memorable Poetry 1999 by Joyce Andrea ...................... 16 Timeless Soul by Pariah ................................................... 19 HK Sunset by Mary Clark .................................................. 22 HK Summer & Winter by Mary Clark ............................... 27 Letters to Icharus by Alison Milonakis ............................. 43 Let Us Discover by Joyce Andrea ...................................... 60 Energy by Pariah ............................................................... 75 Michelle by Shane Cherry ................................................. 85 Birth by Joyce Andrea ....................................................... 91 Ceci Est Mon Combat by Shalini Adnani ......................... 17 Silent Closet by Giovanna Sun ......................................... 18

.
Klone Killa.......................... 21 Brian Adam ....................... 24 Gloria Adams...................... 30 C J Rosenthal ..................... 48 Giorgio Casu ....................... 56 Stevenski Brewster ............ 58 Scott Goodwillie ................ 62 Wen Chi Chen .................... 65 Ken Vallario ....................... 68 Yu Zhang ........................... 74 Celeste Duboise ................. 79 Maura McGurk ................... 83 Heidi Russell ...................... 87 Ravot Studios ..................... 88 Leonardo Pereznieto .......... 91 Valentine Aprile ................. 92 Julie Mardin ....................... 96 Tatiana Korinfsky ............... 98 Sir Alex Schloss .................. 99 Eva Mueller ...................... 104 David Scalza ..................... 106 Joseph Wippler ................ 118 Flora Stienne ................... 119 Boo Lynn Walsh ............... 120 Dianna Becerra ................ 120 Dmitri Strizhov ................ 122 Jill Slaymaker ...................124 Bonnie Stoltzmann ..........127 Martine Phoenix ..............128

Featured Artists

Poetry

Short Stories

Interview with Yuka Hasegawa by Shalini Adnani...... 66 Theatre Review

Tennessee Williams One Arm by Shalini Adnani ........ 36 Taste of Broadway by Carliss Retif Pond ......................... 75

Book Review

Event: Celebrate! HK: ArtiST 11 Festival ...108

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Green Angelique oil on canvas, 2008

C. J. Rosenthal

Transition
by Larry Grossberg

ne of the most difficult transitions in what we recognize as the Contemporary Seven Arts, (art, artisan, dance, music, theater, poetry, and writing), is emerging from the shadows to a functional existence, or in rare instances, the spotlight. Almost all of those in the Seven Arts can recant the myriad of challenges and difficulties that has confronted them in these modern times: holding down multiple jobs and the endless hours of experimentation or rigorous training. In addition, they share stories of encounters with rejection, or the frustration of dealing with the long road and limited entry to being recognized in their field of endeavor. Over the years, the sacrifices to
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find success are many. The latent circumstances of the industry, where there are so many aspiring individuals seeking an ever narrowing economic entrance, has shunted even the most talented aside. It has forced some to give up because, either they cannot find the recognition to further their career, or the human toil over the years, they must choose to find another way to survive. If this process was based on Darwinian selection, the survival of the fittest or those best adept to the environment, it would be an acceptable compromise. However, the Seven Arts is not totally based on that scientific premise, but more so on the stroke of genius, which is a gift from the Universe that sometimes must be nurtured to survive, so as to leave no Rembrandt, or Picasso behind.

At the Edge recognizes this phenomenon and exists to support those aspiring souls and struggling artists. In this frame of reference, the Edge and HKAA will join hands with the emerging artist and increase their opportunities for recognition through the marketing of those gifts in furtherance of their careers.

A POEM
Timeless Soul
Hot fast cars, rock and roll bars, exotic minds feeling insane. blue nights-street lights, jungles heat ooze flames red fright.

What is Art? Or, Whither goes the Whipperpool?

I started & run HK: ArtiST from 09, background in Social Work, teaching, art, Anthropology, sales, activism. Passionate about Art, Philosophy, Delta/deep blues, Surrealism, Tao n Zen, nature, kids/animals, politics, the Feminine Divine + the worldwide absurd/sublime.
by Mike Marcus Felber

s there a way to truly define Art beyond the most reductive & bloodless terms? Can we grasp what it is on any level beyond the sub or transcendent consciousness? Even, nay especially the most Profound human expression eludes; may skitter away when attempted to be possessed or even mentally grasped. Like its close cousins & partners in humanizing crime, Truth & Beauty: the highest, most universal, infinitely moving tributes to it are like Dry Bones, its elusive essence makes even the loveliest words seem but a pale, insubstantial, banal mockery of something far beyond capturing with even discursive thought. Like the proverbial Fin-

ger Pointing at the Moon, only crudely alluding to the subtleties intrinsic to the endlessly alluring living texture, smell & taste of life itself. And yet...Is this exquisite symphony of feeling more than a heart string plucking indulgence? What does it mean, DOES it need to signify more than the concepts & raw aesthetics & emotions? What is the value & ultimate import above pleasure, in reflecting our inner & life conditions, or merely a didactic screed or educational public service? How much can any individual vision mean beyond the Eternal Verities? Is it enough that finally all art has to offer is that it endures in our collective mind? It is too easy to try to answer. Though I sense

that its highest realms somehow effectively are alchemical: they fuse & transmute the base passions by providing a sublime loss of personal Ego through empathy & an unknowable cocktail of the intensely personal & the limitless mystery of the mythical. Brute, petty & narcissistic impulses soften & bend toward a sort of DNA nucleic fusion, a reintegration of the soul. Immense immersion in the minutia of the sensual moment, closely observed & felt detail yields a Holy Trinity of the fierce, joyous, & melancholy. Ultimately they are, become, or always were & are recognized at last as one. PRIMAL passions are no longer enthralled with a narrow, Hungry Ghost clinging to ourselves alone. Compassion & empathy becomes our selfish pleasure, yet somehow a more natural seeming passion. It is like stumbling upon a homecoming to what & where we had hardly perceived lost, owe ourselves, & inevitably flowers to find nourishment from Love rather than mere survival.

Artist Unknown
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allels yet flies far above selfish desire? Perchance you are alone & contemplating some art, when you achieve a Fully Present, alert & relaxed state of mind that is a Sea of Feeling akin to a separate sense organ, a Thing Alive. Carried away & back to a feeling so exotic yet strangely familiar, like a reclamation of a lost or never known birthright. A Keyhole into what cannot be defined, but is arguably a part of what we call the Divine. A deep immersion in anothers visions is the purifying balm for our otherwise limitless Fears. The irony is not obscure, but bears celebrating: the way to our greatest happiness & knowledge of the Self is through opening to all else. So ethically & ecstatically, arguably a metaphysical & not exclusively Christian principal is: the Kingdom of God is Within. Maybe something like music almost slides sideways into your mind, insinuating itself with a seduction of all defenses against those spirit killing layers of numbness we know not even enfold us. Or a drama, a most Less abstrusely: how of- effecting literary pasten have you felt an in- sage, dance that strikes us choate stirring that parsee What is Art? page 6

What is Art?

magic in What Is, just as Hungry Ghosts, these continued from page 5 there is Essential truth in Birds of Appetite, know well-rendered Artifice. not what they crave; what to the core. Like a Siren Whether they are ran- could possibly fulfill them Song, a Supra-alluring domly created by nature should they abandon the Muse & Lover in one, call- is almost academic. If grasping. Their hedonising us home to the ach- only in effect or in spiri- tic, amoral or even unething dream like longing of tual fact, we have con- ical means are the same unsurpassed nuance & tinual access to some- raw material as builds power. The external trig- thing infinitely nuanced & a Buddha, though ignogers stimulating & echo- Great: a Gate-less Gate. rantly pursuing through ing our dormant inner Whether we be a mur- unskilled means a central Still Small Voice, encompassing everything from indulgence to conscience. But what is this desires nature & its destination, this other category of almost baseless drive? Do these streams of feverdreams mean anything at all? Instincts are infused perhaps only as a mechanistic solution to problems of sur- Michael Marcus Felber King Hussein of Jordan Pastel Drawing, 1980 vival. And it has been credibly said that the development of derous animal seeking aspiration-towards more the aesthetic sensibility is only to avoid pain & feel than they can imagine secondary & coincidental good, or the most hate- is yearned for. Only the to natural selection. So less Saint: all beings seek alchemy of the Grace of our finest internal find- happiness & to avoid suf- Epiphany, often partly & ings of a refined mind- fering. Does not the most hard earned through or set might be accidents of sadistic criminal & seem- a long hard slog of spirievolution. How can we ingly hopeless junkie not tual discipline, can contrust that these so close- ALSO be blindly Slouch- vert desperate unquenchly held intimations from ing Towards Bethlehem, able craving into a Holy the ever multiplying & their secret hearts crav- Yearning. The Eros of it inextinguishable Voice of ing a Quenching of the contained within a matrix Muse originates from a Soul? Although its sub of gratitude, the ability devoutly wished for eter- rosa source & ultimate to find exquisite the sennal, internal guide? We satisfaction he cannot but suality of desire held in need not: there is enough dimly perceive. These the excruciating delight
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of immersion in a liminal state. Savored by & for itself, regardless of; nea even in itself felt as being, Fulfillment. Ah, but one can live for the sublime moments when the that obscure object of desire is unmasked. Nothing is sought but authentic experience, yet everything is effortlessly gained. Inexpressible interlocking of the internal & the worlds depth. The very particular thing, is seen unfiltered, absent a veil of preconceptions & our perceived needs obscuring all. The sign & symbol easily weaved, dance & merge- Mahamudra. Gobsmacked by the Zen emptiness, immediacy & ironic richness of Just So. Becalmed & yet alert beyond prior measure, an unfamiliar altered state yet more real, only feeling like a Fever-Dream. Selfsaponified then purified by Waves of Love. A bliss previously only peripherally glimpsed, felt fleetingly in fantasy, though held in a Deep Peace. Escape is now only dignifying, signifying our opening into a higher state of consciousness A breakthrough in incontinued on next page

Toni Silber-Deleriv
Manhattan Roof

What is Art?

continued from page 6

ner space to life as it isessentially the opposite of a psychotic break. It was always there, mirroring the concept of God within nearer than our your own heartbeat, closer than your very breath. Perfectly overwhelmed by a sometimes slowly detonating rhythmic undertow of an unnameable passion: being precisely the absence of striving to get or to manipulate the world. Bliss, tears, goose bumps within, complete
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surrender. Relaxation, melancholy as rapture, & matchless compassion are each acutely felt yet cohabiting as a single, innocent beast. Playfulness, delight & gratitude is Resurrected as our forgotten, deathless fate & legacy. High on the Wonder of Thusness, Koans of non, but not irrational, feeling spontaneously emerge & are intuitively answered. The Realm of Pure Feeling is the thing, our most ennobled literature only a pale imitation of our Buddha nature. Its definition & fulfillment? One who

is Awake. We may say, dazed & amazed, something akin to Whither goes the Whipperpool? Knowing & rejoicing that there is no answer beyond the unfolding lushness of the question itself, leading us into peerless just Being. Dead theory reinvigorated-no longer but bloodless second hand routine. Being Life & Art as one. Art serves to express this state & stage we rarely reach. Truth, Aesthetics, the Good-all Platonic ideals effortlessly elide in an unnameable transpar-

ency, a meditative transcendence absent need or ability to ever be meaningfully defined. Nothing can be added nor subtracted. Form is Emptiness, Emptiness is Form, yet unlike allegedly for East & West, Ever the twain shall meet. Art is often indirection & a symbolic construction or lie that speaks to a more essential reality. Intensely personal, we embrace & adore others, often in a communal setting resembling a cathedrals worth of worshipful immersion in the now, in symphony & sympathy, in shedding of defenses, in Love. We come back for the Obscure Object of Desire, that unpredictable epiphany of exceeding our prison of ordinary perception. Wraith-spirit slumbering until the Phantom of Art raises it Phoenix like amongst us for our enraptured enlightenment. Our better angels are an anti-narcotic. We sense when mirth, poise & said connecting Flow is forced & unreal. Much better when we are un-posed Cool Incarnate: Well & authentically Entaowed. We need not give it a rigid didactic interpretation. Although critical thinking dictates that our most elevated & enlightened states can be carried & clarified in so many contexts,
see What is Art? page 15

Masters of Art: The Deep Connection Between Patron and Artist

by Cindy Horowitz

very so often, there comes a moment in my life when my desire to create wanes. Perhaps my emotions are repressed, for I have been all too busy living life, immersed in the worries and responsibilities of adulthood, and forgot how to feel. I see Georgi Kandalakis work: emotion and desire are transferred from hand, to paintbrush, to canvas, through my eyes, and into my core. I see the world through a fresh perspective, and

marvel at his endless capacity for imagination. To whom does this emotion and energy, that reaches me from the canvas, really belong? The artists incentive to create is motivated by something greater than him, Michael Perkovic, a patron. The patron pushes the artist, not only to expose the emotion at the depths of his soul, but also instills his own wants and desires in the artwork. Paint me King Takes Queen or Paint the Sun. The small request has larger implications for so-

Georgi Kandelaki New York Abstract 2011

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ciety. Down the line, art-lovers will see the products of Georgi Kandelaki in museums and galleries. The artwork, while it is the sole product of the master of the hand, is guided by Perkovic. By way of influence, the Georgi Kandelaki Cross 2011 patron too the neighborhood was is a master of rife with gang violence. art. The art that the paThey met after Kandelaki tron commissions is the moved to Hells Kitchen in artwork that will be dis2005. When Perkovic beplayed as the hallmarks gan to commission Kanof culture and class for delakis work, the artists years to come. forged a spiritual alliance, The artist has a reciprothe one inspiring the othcal effect on the patron. er. As his patron, PerkovPerkovic says,I did not ics energy, passion, and paint for 15 years because grace is reflected in Kanthe intensity made me delakis work. Like grasptoo nuts. I wanted to be a businessman, a person continued on next page of historical consequence, and going crazy prevents you from accomplishing that. After sponsoring Georgi and closely collaborating on the paintings he did for me, I was inspired to paint. Perkovic was born in Hells Kitchen in the 1970s, when Georgi Kandelaki Adriatic Champagne
2009

Masters of Art

continued from page 8

ing a flash of lightening, Perkovic seeks and seizes timeless moments. God gives us all the tools to express loving life. We are all immortal in Christ. Yellows, holy crosses, and soldiers on horse in battle are all themes in Kandelakis paintings, themes which can very well describe Perkovics charisma, dedication to God, strength of character, and business acumen. If you go through life graciously, you will see the moments of possibility, says Perkovic. A brief introduction through a mutual friend was a moment in time that has changed

their artistic styles forever, and has forged a divine partnership. Georgi Kandelaki, whose family greatly influenced the Soviet ruler Leonid Ilyick Brezhnev, descends from a long line of master artists. He was born in the Republic of Georgia, formerly the Soviet Union, to renown artist and highly influential father, Vladimir Kandelaki, who taught him the family craft. His early works reflect his fathers teachings and experience. Together, the father and sons paintings are so valuable that people have gone to great criminal lengths to gain access to their fortune. Kandelaki was kidnapped during the Georgian civil

Michael Perkovic Eagle Eye 2010

war, and luckily, returned safely to his family. Vladimir Kandelaki holds one of the greatest collections of privately held medieval armor in the world in his homeland of Georgia. When attempting to
Michael Perkovic

ship it to the United States, the Georgian government seized it and declared it a national treasure. The armor is housed in a private museum and is valued at about one billion dollars.
continued on next page

Mary Blessing the World 2010

Michael Perkovic
Daisies 2010
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also emotionally While he started at John momentum. The Medici and spiritually. I Jay College with the inten- family alone reshaped all gave him advice tion of becoming a F.B.I of Italy, transforming the that was so on agent, his course of life dwellings of the country point that I felt changed when he enrolled into works of art through like we were do- at Long Island Univer- the fusion of architecing it together... I sitys C.W. Post campus, ture, fresco paintings, and decided to hit the where he studcanvas myself, ied philosophy, says Perkovic. modern dance, Watching, work- and ballet. study ing with, in short, His philosobeing in the pres- of ence of Kandelaki, phy and art inspired Perkovic forged an unto paint with a d e r s t a n d i n g stronger tech- of the power Goergi Kandelaki Money Tree 2009 art. nique ...learning behind Masters of Art from a master pre- Perkovic says, Vladimir Kandelaki Pegasus 1993 continued from page 8 pared me far better than The Pope encouraged and pushed Mi- sculpture. These unseen any art school. Due to their effect on the Perkovics early artistic chelangelo. Picasso, his influences shape history art world and society, the influence was Brother wife. Every artist has a through great artists, paintings have attracted Reynolds from Sacred force behind him, help- they are authorities in lots of attention from varHeart Grammar School. ing to mold his art and ious circles. That Georgi continued on next page and Vladimir Kandelaki were exhibited at the United Nations in 2002 is no coincidence. The exhibit, which drew more than 15 ambassadors, is a testament to the power and intrigue of the artists. Georgi Kandelaki worked as a professional boxer briefly in his 20s, and went on to be mentored by Frances Grill, who helped him develop his photographic expertise. Grill discovered personalities like Julia Roberts, Naomi Campbell, Grace Jones, and Isabella Rossellini. Still, Kandelaki returned to his painting. Perkovic not only supported and motivated Kandelaki financially, but Georgi Kandelaki Golden Road 2011
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Masters of Art

continued from page 10

and of themselves. Thus, the master influences the patron, but the patron inspires and motivates the master. Commissioning and funding the arts is a bi-product of successful work and industry. Michael Perkovics work in films such as Tears For Sale by Luc Besson, in architecture, and in the fine wine trade all interconnect and are done with an alchemical passion. Money for art does not just materialize without substantial effort in industrious endeavors that bring wealth. Money is an extension of human endeavor and attention, it motivates human beings to act. Perkovic says, It is tangible inspiration, but a road Michael Perkovic on which philosophical and emotional inspiration travel from the patron to the artist. To view the work of Georgi Kandelaki, please contact Michael Perkovic at Mega1film@yahoo.com or view Michael Perkovics private collection of Art on Facebook: Perkovic Art. You may also view the trailer for Tears for Sale on youtube at:http://www.youtube.com/ watch?v=ZgGCH_E5yXE
Georgi Kandelaki
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Snail in the Storm 2010

One Man Attack 2009

Cauldron Visions: Hells Kitchens Fabled Past

by Larry Grossberg

ells Kitchen, also known as Clinton, is a Manhattan neighborhood that extends from the edge of Chelsea at to 59th Street and from 8th Avenue to the Hudson River. The aura has been extended to Sixth Avenue, as the suburban border. The neighborhood was considered to have a gritty reputation and depressed real estate prices until the early 1990s. It then exploded with expensive high rises and the striking skeleton frame of the Hearst and Time-Warner building at the edge of Central Park with its twin monolith, that, from certain angles, if observed from 58th Street, seem to make the building appear that it has just one dimension, an edge. The rough and tumble days on the West Side figure prominently in Damon Runyons stories and the childhood home of Marvel Comics Daredevil. Various Manhattan eth-

nic conflicts formed the basis of the musical and film West Side Story and over ten novels have been based on Hells Kitchen. Not to mention that the careers of a plethora of actors, writers, and directors started out here, due to its proximity to the Broadway theaters. The individuals date as far back as the late George Raft, James Cagney, Alice Faye, Charlton Heston, James Dean, Bob Hope and Jerry Orbach, my beloved neighbor, who I can always spot walking a block away because of his familiar limp. Let us not forget those screen stars whose careers have now spanned two generations and have used Hells Kitchen as a stepping stone to palaces in the Hills of Hollywood; Tom Hanks, Bruce Willis, Chevy Chase and John Goodman who lived on Ninth Avenue. Robert De Niro, who now resides in Tribeca, starred in Hells Kitchens author Mario Puzos blockbuster series, The Godfather.

We have also been home to the reborn star Mickey Rourke, whose family had a summer place on Fire Island and with whom I had spent some beach sand. We have made a home proudly for Madonna, Alicia Keys, John Michael Bolger, David Blaine, Sylvester Stallone, Jerry Seinfeld and Larry David. Larry Davids neighbor, Kenny Kramer, lived across the hall and became the inspiration for the Cosmo Kramer character on Seinfeld and Soup Nazi, the soup kitchen that Jerry Seinfeld made famous, on 55th Street off of Eighth Avenue. Then there are past politicians and boxers, like the famous James J. Braddock (Cinderella Man) on West 48th, just a few blocks from the Madison Square Garden venue where he fought. The infamous Boss Tweed lived on West 51st Street and some infamous gangsters: Owney Madden, Vincent Mad Dog Coll,
continued on next page

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Hells Kitchen

continued from page 12

James Coonan and Mickey Featherstone upon whose reputations several movies were based. We even were home to Typhoid Mary (Mary Mallon) who shared an apartment in Hells Kitchen with her boyfriend between jobs as a cook during the 1900s. Of course, there have been many more personalities who resided and still do in the eclectic neighborhood. The old timers like me wouldnt think twice about having a cold beer on a summer night rub-

comment made in 1835, by Davy Crockett who said, In my part of the country, when you meet an Irishman, you find a first-rate gentleman; but these are worse than savages; they are too mean to swab hells kitchen. He was referring to the Five Points, a violent section of Manhattan fought over by a half a dozen gangs. No one can pin down the exact origin of the label, but some refer to an article in the New York Times (1881) when a reporter went to the West 30s with a police guide to get details of a multiple murder there.

bing elbows at the corner bar with someone from the notorious Westies. It was a murderous Irish mob controlled by Michael Mickey Spillane, the boss of Hells Kitchen, which was aptly named way before he got there. Several different explanations exist for the original name. An early use of the phrase appears in a
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ery ethnic cuisine known to man. On Restaurant Row, on West 45th street, every brownstone has a restaurant at street level, from the famous Joe Allens, where I would be unceremoniously seated a table away from Woody Allen or Al Pacino dining alone, to the Russian extravaganza the Firebird. Ninth Avenue is also noted for its many ethnic restaurants. Every May, the annual Ninth Avenue Associations International Food Festival stretches through the Kitchen from 37th to 57th Streets with hundreds of booths offering food from local restaurants and a bevy of merchandise. Hells Kitchen has stuck as the name of the neighborhood even though real estate developers have offered the alternatives of Clinton and Midtown West or even the Mid-West. Unfortunately, those alternative names do not conjure up the cultural history from He referred to a particu- passed, the transition in the days of Five Points, larly infamous tenement Hells Kitchen has been ex- Tin Pan Alley, Broadway at 39th Street and 10th traordinary, Times Square hits, famous residents, Avenue as Hells Kitchen. is the center of the planet or the legacy of exciteThe most common ver- with the largest influx ment that was generated sion traces it to the story of tourists in the world. in Hells Kitchen, which of Dutch Fred the Cop, a Broadway is the center has evolved with every veteran policeman, who of live theater, and the decade. with his rookie partner, restaurants are so plentiwas watching a small riot ful and diverse that Ninth on West 39th Street near Ave alone, from 42nd St to 10th Avenue. The rookie 57th St, must have almost is supposed to have said, ten per block sporting ev-

This place is hell itself, to which Fred replied, Hells a mild climate. This is Hells Kitchen. Hells Kitchen has been home to the Bud Freidmans Improv, Birdland, Madame Tussaud, Lee Strasbergs Actors Studio, and Russian Tea Room among hundreds of other famous tourist destinations. The 1950s Tin Pan Alley located on the Westside in midtown birthed some of the most famous Rock n Roll music of our era. That was then, exciting, interesting, dangerous, and forbidden. As time

On and Off the Walls of the 9th Avenue Saloon

This long-time Hells Kitchen watering hole has become an exhibition venue, and its storied past includes the one about Michael Jacksons quick (ahem) visit
by James Humphrey

CONTACT TK FOR EXHIBITING INFO at www.9thavesaloon.com

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Photography by Anthony Leyro for Images 4 Your Mind, LLC-Anthony Leyro Director of Photography for Artists In The Kitchen.Org

he 9th Avenue Saloon, located on the avenue just around the corner from 46th Streets Restaurant Row and cross the street from Justin Timberlakes popular Southern Comfort barbecue restaurant, has been part of Hells Kitchen landscape for more than 50 years. Formerly known as Cleos, the outside of the Saloon is almost invisible to the throngs of tourists hurrying by on their way Broadway shows. But the unassuming little bar has a rich local history that now includes a little culcha. Once you step inside and let your eyes adjust to the bars perpetual twilight, you notice something you dont expectart. Of course, the bar has many of the usual things one finds in a neighborhood dive: a long oak bar, draught beer, a digital jukebox, and a few red-eyed regulars who open and close the place. Whats unusual is the ever-changing display of art gracing the long, exposed-brick wall. Paul Holditch is a veteran Saloon bartender who, for a lark on his 40th birthday, decided to show his black and white photography there. Holditchs exhibit started a trend, and now, seven years later, the Saloon has become a sought-after

venue for local artists to display (and often debut) their work. The empty brick wall just spoke to me, Holditch says. Art should be available to everyone, everywhere, so why not show it here? A recent exhibition at the Saloon of the late painter Robert Gables work was mounted courtesy of the Metropolitan Community Church (MCCNY) and Bradley Curry, a regular patron of the bar who works for the church. MCCNY, an LGBT church, had acquired a series of paintings from Gables estate. About a dozen canvasses sold in less than a montha record for the Saloon, which doesnt take commissions from sales. The money went on to help fund MCCNYs food pantry and homeless youth program, two of the churchs social services that directly benefit residents of Hells Kitchen. Gary Reynolds is the Saloons general manager. We love to give back to the neighborhood by showcasing local artists, Reynolds says. But when the Metropolitan Community Church approached us to partner with them to raise money for heir programs, it resonated even deeper with us, and, apparently with our patrons. Philip Martoglio has been an artist for 30 years and has lived in Hells Kitchen his entire life. He has exhibited his magic realism work at the Saloon four times, twice in solo shows. This past spring, the Saloon mounted Martoglios Monsters, a series of large-format, acrylicon-canvas portraits. The nearphotorealistic portraits, painted

from headshots, contain signature Martoglio twists: a small elf sitting next to one face, a boll weevil next to another, and fireworks and bubbles on a third, which, dear reader, happens to be a portrait of me. It represents your intelligence and dreams, Martoglio says. I see the Saloon as a place where people gather to share ideas, relax, and have fun, Martoglio says. Ive always felt it was a terrific venue to try out new things, see how people react and talk about the art. Having this space available pushes me to do work I otherwise might not have done. Knowing my work will be seen is a powerful incentive, and Im very grateful for that. Michael Marsanico is a commercial illustrator who also lives in Hells Kitchen. His small-format, penand-ink-on-paper drawings comprise the current show at the bar. Marsanicos work is precise, exacting, and use subtle shading of light and shadows. And its true, Michael Jackson did drop by the Saloon one day a few years agoif you dont believe me, drop in sometime and ask the bartender, Joe, who was working that day. Hell tell you all about MJs pit stop. See, at the 9th Avenue Saloon, you never know whos going to stop in to have a drink, enjoy the art or use the bathrooom. But everyone is always welcome, so we hope to see you soon.

What is Art?

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from ascetic or poetical devotion to certain ironically disciplined orgiastic connections. Animating energy from the Wild & Dionysian, impulses harnessed & transformedthe Left Hand Path. Dissolving these Ego barriers through creativity originates from the same William Loeb G1 Digital Photo 2011 wellspring of sublime inSender, to the so person- of Faith, Hope & Justice spiration. In these illual Self that is also larger are purified & honored sion-obliterating, effecthan one life. The Mascu- by divestment from all tively Zen Moments, we line principle of compas- desperation, every even are suddenly fully Alive & sionate action, subsumed inchoate need: growth Present, before the veil of in & celebrating the lim- through a giving up, away cynicism, calculation, & itless Feminine Beauty from petty personal gain. attempted manipulation & Divine Wisdom of Just Which after all amounts of reality to suit us again to only a unity in that Being. falls hard. But always we Trust that a Holy Trinity most ill-used & betrayed may learn to Return to

4 letter word. Still so perfect that to have it savored unsullied, we dare not speak its name. When there was, dream of mine; You dreamed of me. from Attics of my Life no

by the Grateful Dead

Namaste. Michael Marcus Felber Founder & Prez. ArtistsintheKitchen.org View Sponsor/Media Kit link for Business Plan, Press Releases, Videos, + At the Edge genesis, ethos, ad rates, demographics...Also see HK: ArtiST Guild Social Media: facebook, twitter, tumblr & flickr. 212-582-2990

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Leaving New York

by Adam Felber

true, eventually.Leaving New York, though, thats decided to move to Los a giant challenge. PsychoAngeles using the same logically, that is. Physiold well-trodden arithme- cally too, but rush hour tic that writers have em- eventually ends. But LA is ployed since before I was full of New York expatriborn: Theres more work ates, bitching and moanthere, and therefore I will ing and willfully clinging work more if I am there. to their previous identity Which turned out to be like they had some kind

A POEM
Timeless Soul from REFLECTIONS OF EXISTENCE
by Pariah Restless nights creep into my soul prodding for meaning, feeling, deepness so cold dawn creeps through the darkness, relentless and free freedom in life, freedom in death, spirits roaming endlessly. Giving birth theres fires flashing, angels smiling, demons in the wings craving your sweet blood and innocence of mind, feel the pain that stings rolling hills, virgin thrills sweeping thru your flowing veins. Hot fast cars, rock and roll bars, exotic minds feeling insane. Blue nights-street lights, jungles heat ooze flames red fright. shooting star shooting down at me, magic dust full of eyes that see deep inside not breaking stride, running so fast-out run the tide dont care if its the mother load rotting souls in six foot holes cant escape the bell that tolls cool winds now blowing-all cancer and sins of past life sowing peace of the still, fog filled night over comes all feelings and sight new life upon us, searching vainly thru a timeless forest eyes open wide- is this really a new ride? will you see me thru this one, or is it my fate to decide is it the life of a good soul- or will it be slow suicide..
19 | At the EDGE

of urban phantom limb syndrome. Me, I enjoy enjoying where I am, so I wanted to get over it, get past my chauvinism, my bone-level conviction that I was leaving my treasured Greatest City in the World for a land of stupidity, superficiality, and greed.Thats kind of true of LA, by the way. But its not so bad. And Im not a New Yorker anymore. It took less than a year, and my transformation was completed by a bodega on 45th and 8th. It was June, and Id been flown back to NYC to do the improvised musical Id helped create and which was still running at the venerable Dont Tell Mamas on Restaurant Row. I couldnt have been happier after months of anonymous struggle in the artless land of naked entertainment mercantilism, I was back where I belonged, in the real City.A heavy spring rain was falling as I got off the

subway, and I needed a bottle of water. And maybe some throat lozenges too, because the rain was really kind of cold, truth to tell. As I walked into my favorite old pre-show bodega, I chastised myself for not bringing a spare pair of socks, something that any New York performer remembers to do on a rainy night. I then realized that Id slightly overshot the bottled water, and began to turn around.And I couldnt. The small backpack I was wearing made me too thick to rotate in the aisle, forcing me to walk all the way around the aisle in a circle in order to navigate back to the water. A simple, 20-second maneuver that Id had to perform countless times in my decade of living in the City. No problem. Only this time, it made me mad. Livid. Outraged. What kind of barbarians
see Leaving NY page 23

Cynthia Reed Subway Series 4 Digital Photo 2011

Leaving NY

continued from page 19

live in a place where aisles are not spacious enough to turn around in!? Where cold water falls from the sky and pools up on the street!? Were we savages, reduced to a state of shitty, soggy-footed, aislecircling endless inconvenience!? What the fuck, New York how DARE you!?The feeling lasted maybe ten seconds. And then I bought my water, headed for the theater, and had a great time with my old cast-mates during the show and long into the night. But I did so with the acute knowledge that even though I still loved

heaping plateful of energy and possibility that is handed to you every time you walk out your door in New York just doesnt exist here. But if you look around, there are plenty of hidden treasures and opportunities. And New Yorkers. Lots of New Yorkers. Most of whom say theyd move back in a heartbeat, and are lying. Theyve gone soft, Cynthia Reed Subway Series 3 Digital Photo 2011 just like me, and secretly, New York more than any there in the heart of Hells when they drive through city on Earth, I was no Kitchen, my old stomping 70-degree sunshine in longer a New Yorker. I grounds.I like Los Ange- February on their way to was something else. And les. Like a lot of American buy a bottle of water in an that something was a to- cities, it doesnt give you aisle that you could plautal wuss, too.Its better any kind of life. You have sibly stage a production that way. The Band-Aid to construct one of your South Pacific in, they had been ripped off, right own. The complimentary know it.

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West Side Neighborhood Alliance (WSNA)

by Matthew Abuelo
and Vivian Riffelmacher

or the second year in a row West Side Neighborhood Alliance (WSNA) is donating space at 500 West 52nd street for Hells Kitchen artists to show their work for the 2011 Studio Tour. WSNA is a memberbased community organization affiliated with the not-for-profit Housing Conservation Coordinators (HCC). With its main offices now located at 777 10th Avenue, HCC has been a bullwark in the fight to preserve affordable housing in Hells Kitchen since it first formed in 1972, offering legal representation for tenants, community organizing, installation of energy efficient systems through their Weatherization Program, and technical training cours-

es. WSNAs origins can be traced back to the campaign against the now notorious West Side Stadium which area residents organized to defeat in 2005. Backed by Mayor Bloomberg, the massive $2.2 billion dollar project development originally planned for the Hudson Railyards site, was loudly promoted by then Deputy Mayor Dan Doctoroff as a new home for the New York Jets and a possible venue for the 2012 Olympics. For west side residents, already familiar with the overburdened, congested transit hubs of the Lincoln Tunnel, Penn Station and the Port Authority bus terminal, the project was a potential disaster. Websites were set up and venues were organized in order to bulldoze the project through Albany

and down the throats of those whose lives would be dramatically affected if not ruined outright by having an ocean of international citizens flooding the streets, with all the attendant trash, noise and a security situation which could have easily gotten out of control. It seemed like such a great idea for everyone who didnt live there. Thankfully lawmakers decided to side with the community rights groups, a rare loss for Mayor Bloomberg. The organizers at HCC found themselves with a suddenly galvanized community and quickly realized this victory could lead to a real movement, not only to protect their neighborhoods, but improve conditions as well. John Raskin, then the Director of Organizing for HCC, recognized the

potential of creating an organization around this success. WSNA went on to lead the fight to stop Illegal Hotels (the practice of renting commercial hotel rooms in residential buildings) and spearheaded the re-zoning of 11th Avenue and the development of the Hudson Railyards. More recently WSNA has strengthened relations with The Real Rent Reform Campaign, or R3 for short, to help save and strengthen New York Citys rent protection laws due to expire June 15th. WSNA, and other R3 housing groups are sending members on buses to Albany to lobby the state Senate. For more information on this campaign along with WSNA as a whole go to the website http://westsideneighborhoodalliance.wordpress.com

KCTidemand
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Marla Mossman

Mingsha Sand Dunes, Dunhuang, China 2011

The Peace Caravan

By Marla Mossman

see that my role as a photographer, artist and organizer is to bring peace by raising the awareness of the many diverse traditions practiced by people living along the Silk Road. Our media today is focused on taking too many photographs of war. The Peace Caravan Project has a different mission to illuminate the beauty of our differences, sharing in the knowledge of our one humanity. The images capture people going about their daily lives and remind us that even though we are all different, we can share similar loves, fears, hopes and dreams. Thereby, accepting our similarities, as well as preserving our inherent differences allows for a new way to peace to reveal itself. Avidly interested in promoting arts and education, I began the Peace Caravan Project in 1996 to inform

and inspire others to achieve understanding and acceptance of the individuals living along the Silk Road. It is intended to honor their customs by providing a peace-building network of information for individuals to share and exchange ideas and traditions they have embraced for over 2,500 years. The Peace Caravan Project documents locations of historical and religious significance to explore my heritage, spirituality and connection to Buddhism, Judaism, Christianity, Hinduism, and Islam. During my quest, I travel from Jerusalem, Israel to Xian, China by car, foot, horse, donkey and camel. The Silk Road captures my imagination as a series of intersecting caravan trails originating from southwest China, that traverses Central Asia, through the lowlands of Mesopotamia to Jerusalem the Mediterranean, and ultimately Rome. Merchants traveled these ancient

paths; laden with silk from China, spices from India and furs from the steppes of Kazakhstan, exchanging goods and materials. Yet it was the interchange of their cultural ideas, and philosophies that influence our lives today. I have been to the Silk Road region six times. Most recently in May June 2011 returning to China where I traveled the Northern and Southern portions of the Silk Road in the remote Xinjiang Province of the Uyghur Autonomous Region. In 2008 I traveled to the Middle East departing from Istanbul, Turkey traveling overland through Syria and Jordan to Jerusalem, Israel documenting the Mediterranean terminus of the ancient trade route and desert origins of the three great religions. In 2005 I went to Afghanistan working with the Ministers from the Department of Transportation and
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31 | At the EDGE

Tsila Nagar

Hands Return 2011

Public Laundry
By Tsila Nagar & Ofer Caspi

n her latest exhibition, Paper Weights, artist Tsila Nagar surpasses her exasperating habitual manner to speak about personal issues and to address even socio-political issues through her personal prism, and she jubilantly pulls out the big guns, throwing also her clueless husband in the mix, integrating him and their relationship into her moot as it is subject matter. Her husband well, that would be me. I leave it to Tsila to present the case. Anyway, she has some explaining to do. The show is a one sided dialog about relationships. The starting point is my personal relationships with Ofer, my husband, and my very subjective thoughts and state of mind corresponding with the dialog. The fact that Ofer and I, both originally from Israel, have been living in New York for the last few
32 | At the EDGE

years had a lot to do with my motivation to use our relationship in my work. When one lives in a foreign country, the core relationship becomes a gravitational force it becomes more intense and it gives all the other stuff a new meaning too. Suddenly your partner becomes your family, your friends and your foe. Since I discuss couples relationships the conversation revolves around issues such as jealousy, power struggles, division of responsibilities, mental territorial invasion, blurring the boundaries, competition, and cooperation. Ofer Dancing: A series of six oil drawings on unstretched canvas portrays Ofer, my husband, dancing naked with a bed sheet. In those six drawings Ofer hovers, no land under his feet, moving in midair as if nothing is holding him. His body gestures, his facial expressions seem teasing. The viewer gets

a glimpse into some kind of private intimate moment: either someone who playfully poses for the camera which is held by someone he knows closely or someone who dances naked in front of the mirror. In both cases the situation is spontaneous, not formal, forced or set. The drawings are depicted on canvas that is primed only with a clear medium. The figures are drawn with pencil, and much diluted oil paint, allowing the canvas to be the dominant skin color. The sheet is also drawn with diluted oil paint and pencil, but while the figures highlights are left to be bare canvas, here the highlights are painted with light pinkish heavy oil paint and flowers are etched into the heavy color. The canvas is deliberately left unstretched with ripples, a fact that echos the bed sheet movement and stresses its lack of abilcontinued on next page

Public Laundry

continued from page 38

ity to hold the figure. There are many imperfections in the Ofers different body representations, mostly in the depiction of the legs they are too small, too thin, and too flat which make the man even less stable. But Ofer doesnt care; he directs a cocky look to the viewer. Is he really so light? Are his lightness, blithe manner and freedom a source for strength or weakness? How does he perceive his body? Is he aware of it? As in many other works, I suggest that there is more than one answer. The Hands Return: A wall installation of circled oil drawing combined with floral fabrics portrays a woman meditating in a lotus position with her eyes open while ten strangers hands are fondling different parts of her body. The hands stretch out within long sleeves made of floral fabrics that run on the wall in straight lines. Through the simple composition of a circle and an object at its center, The Hands Return brings up the seemingly contradicting coexistence of pleasure, uplifted spirit and humiliation. In this work these opposites become almost interchangeable. While being the center of attention, an elusive fine line distinguishes
33 | At the EDGE

between positive meditation and tranquility, and negative invasion and harassment. The work examines borders, confinements and definitions: do the invading hands become part of the female body? How, if at all, does she defend herself against them? Does she define herself

my husband, Ofer. Dont jump to conclusions, bear with me: The woman depicted in the center bears striking resemblance to me and the hands are based on Ofers. The colorful floral sleeves are a nod to Ofers extravagant shirt collection. His zeal for fashion and

Tsila Nagar Ofer Dancing 2011

with the hands or without them? The hands invade and harass but at the same time they support, holding the floating figure in midair. The installation deals with invasion and harassment and the complexity of the attitude of the individual, mainly women, and also society in general, to this matter. Here again my starting point is my personal life and my relationship with

fancy wardrobe has always been a sore ground for tension between us, as I see his insatiable shopaholicism as narcissistic self- enslaving which drains up the household income and take over all attention. Thats the invasion, harassment part, on a minute scale; and yet I always examine and ask myself the question: do I like some aspects of Ofers obsession? Do I

also get something out of it? This personal amusing anecdote serves as a diving board to a much more serious subject of abuse, invasion and harassment. The work suggests that crudely classifying things only as right or wrong and ignoring the multi layers of an issue will not get it solved. To stress the idea visually the piece puts together a serious, possibly unsettling situation with a flat and playful design. The colorful fabrics steer the viewer into the decorative territory and the composition is flag-like for example the flag of Macedonia, the flag of the United Kingdom, the flag of Japan. Beside the contradicting aspect, the flag-like design may be declaring: thats my flag. Whose Breasts Are These? A sculpture combined with a painting. The sculpture is made of plastic bottles, expanding foam, newspapers, tape and Papier-mch pulp and the painting made of oil on canvas and a pair of pantyhose popping out of the canvas. The work portrays a standing man showing off his breasts that actually belong to the women depicted in the painting behind him. The work blurs the borders of image and identity: what happens to your individuality when
see Public Laundry page 36

HK Theatre Arts Draws Huge Response

to do horror, be another of Santo Tomas, an older Freddy Kreuger. People university than Harvard, wo hundred theater call me snake, cobra, poi- she jumped ship to sing people, varied in age, son...Lucifer. When hes for Sound Waves Sextet type and experience, re- not frightening people, on the H.M.S. Westerdam, sponded with letters and Eddy does stand-up at the Holland American Lines, where she met a trompictures/resumes to Back- New York Comedy Club. stage and The West Side There was a time when bonist Michael Turnfull, Story announcements of performers came from the her current boyfriend. a cooperative theater/me- midwest, not the Far East, Together, they rented a dia network with a home base at Our Neighborhood Center and a private announcement/message hotline. Seventy five artists attended the three brainstorming meetings June 28 and 29 scheduled at Our Neighborhood Center by Hells Kitchen Theatre Arts (HKTA) director Paul Pierog. Theres so much energy and talent that Im only surprised nobody has capBonnie Stoltzman Hugh Oil on Canvas 2011 italized on it sooner, said Jody Jincks, an actress, before leaving for a month in to find fame and fortune 1980 Volvo in California Europe and then perform- in New York: Desiree, or and searched through fifing Cecily in Oscar Wildes Desiree Dulay, has come teen states for a year for The Importance of Being from the Philippines. a place they might like to Earnest at the Weston Whats wrong with you? stay forever. After they Playhouse in Vermont. was the parental response had rejected most of the Shell be back in Septem- to dark-eyed young De- United States, their search ber and will focus in on sirees innocent statement. ended when the Volvo was forming HKTA projects Do you mind if I become towed away in New York with schools and children. a singer? When she was and they decided to save Who Are We? Where Do sixteen, her computer the $250 towards their teacher propositioned her first months rent. This is We Come From? Performance artists come to join him in auditioning the place for me, Desiree to NYC from vastly differ- for a popular pop music realized. ernt places and each must institution in the Philip- Eight months later, Defind an individual route as pines, and she got the part. siree is a diva of the Thai an artist, so what they have Music Making Company is clubs, the Asian-looking most in common are that sort of the McDonalds of girl who sings the English their stories are so unique. popular music in the Phil- songs at Seeda Thai and Small-faced Eddy Boyle ippines. In her sophomore Shangrila Grill of Hells has a distinct individual year of further computer Kitchen interspersed with vision for himself. Id like studies in the University Thai songs to computerby Paul Pierog

ized musical accompaniment. Desiree sings one Thai song but doesnt understand the Thai language. Weighing one hundred pounds, Desiree is making a big impression. Her signature song is Somewhere in Time, theme from a 1980 Christopher Reeve movie that is so continually popular in the Philippines that a Filipino wrote the lyrics to it. Desiree will share those lyrics and that song in her rendition at Hells Kitchen Jam at the Skyline Hotel Ballroom adjacent to Roberts Restuarant on August 17, 1995. Desiree is just beginning to get noticed: Andrea Leigh, one of the important performers living at Manhattan Plaza on West 42nd Street, was noticed in Chekhovs The Seagull at The Muse Theater by classic American actor Al Pacino, who invited her to audition for the role of Lady Anne for his documentary film on Richard III, for Salome in his Broadway production of Oscar Wildes Salome, and invited her to play opposite major novelist Norman Mailer in a staged reading of On the Money. When she played in Thornton Wilders The Long Christmas Dinner at The Neighborhood Playhouse, she was noticed by Joanne Woodward, important actress and wife of Paul Newman, who invited
see Huge Response page 43

34 | At the EDGE

37 | At the EDGE

Tricia Sellmer

Detail of Victorine Meurent 1927 Pastel drawing

Finding Victorine
by Tricia Sellmer

ho is Victorine Meurent? What did she represent? Why is her name so important? Why should we even care? Since 2007 I have been not only her passionate advocate but also an art sleuth who has attempted to restore her dignity and uncover her role art history. I first stumbled upon the name, Victorine Meurent, while reading Ross Kings The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. Intrigued with the snippets of information about this remarkable face that changed the Western art world, I set out to find more about who she was, how she lived and what happened to her. I started to dig. I found out that she was connected to the infamous douard Manet who, in 1863 painted two paintings, Le Djeuner sur lherbe and Olympia.
38 | At the EDGE

Victorine Meurent was his model and his muse. She posed nine times for him. Yet Victorine, the face and the undeniable presence on the canvases, was dismissed, discarded. She was labeled a drunk and falsely accused of being a prostitute. Her body was ridiculed. She endured cruelty, humiliation and character assassination. Victorine Meurents contributions to Manets artistic notoriety were essentially erased. No, I thought. You can not just discard someone, someone whose eyes follow you, are on you, do not leave you, especially when you move around Manets space in Paris Muse dOrsay. I returned to Manets masterpieces and studied Olympia. Victorines eyes met mine and locked on. I introduced myself as a fellow artist but one who works in a different century. After an intense period of exploration and uncovering the details of her life, and after walking in her

boots and tracing her Parisian footsteps, I maintain that Manet painted Olympia. But it was indeed Victorine Meurent who created Manet. Facts reveal that Victorine Meurent was not a prostitute but rather an artist in her own right. In contemporary terms she could be any number of young women attempting to navigate through the quagmire of todays tough art world. She was strong, resilient, resourceful and talented. And she could read and write during a time when women of her class within the bourgeois Parisian society were not encouraged to educate themselves. Victorine Louise Meurent was born on February 18th, 1844 in the heart of Paris at 39 rue de la Folie Mericour in an apartment within a six-storey building that housed the Brasserie du Prince Eugene and apartments of one or two continued on next page

Victorine

continued from page 38

rooms. Today 39 rue de la Folie-Mericourt is known as rue Poincourt. Her father, Jean Louis Etienne Meurent, was an engraver. Her mother, Louise Therese Lemeore, may have been a milliner. Victorines Uncle Louis-Jean Meurent, a sculptor, lived at 7 rue Burg in the Montmartre district. On December 15th, 1861, Victorine started working as an artists model (modele-occasionnel) in Thomas Coutures studio. She was paid twenty-five francs a month and was employed on a month to month basis. It is likely that Victorine met Manet in the spring of 1862 while modeling and studying in Coutures studio. Not only did she model for Manet but she also sat for Alfred Stevens, Norbert Goeneutte, Toulouse-Lautrec and Degas. Victorine turned her apartment at 1 Boulevard de Clichy into a professional, working artists studio and sold her paintings in commercial galleries. She also played two instruments, the guitar and the violin. Records indicate that Victorine was one of the first women to enroll at the Academie Julianne, a prestigious art academy that still has ties to professional Parisian art schools. She was admitted
39 | At the EDGE

Tricia Sellmer Paris, Shadows

into at least four salons. In one salon her work hung in the same room as Manets. In another salon Victorines work was accepted but Manets Documents suggest that Victorine traveled to New York in the early 1870s. When she returned to Paris she was dropped from Manets circle of friends. Abandoned by Manet and his art cronies, perhaps because of jealousy, her success as an artist, and her more realistic approach to portrait painting, Victorine would go from caf to caf playing her violin for money. In 1903, at age fifty-nine Victorine Meurent was admitted to the Socit des Artistes Franais with the support of the societys founder, Tony Roberston. Victorine knew love. She had developed a love affair with the Belgium painter, Alfred Stevens, which lasted from the mid-1860s through to at

letters and include her in on-going discussions in my two book-clubs. In 2009 I created a place setting and sent it to Judy Chicago so that Victorine could join the women at the iconic banquet, The Dinner Party. I stitched her a pillow to rest her weary head. And I have written and hand-printed a book in an edition of twenty-five, entitled Erased. A copy of Erased least the mid-1870s. In now is in the hands of the 1906, Victorine moved to Canadian National LiColombes, a suburb that brary in Ottawa, Canada. is approximately 6.6 ki- Often I hear Victorine lometers northwest of whisper, keep going TriParis, and shared a lov- cia, keep going. There is ing relationship and home much to be done for other with her life partner, Ma- women who, through cirrie Dufour, a piano teach- cumstances beyond their er, who was eleven years control, lost their presyounger. Although Vic- ence and lost their voice. torine was perhaps one Sellmer, Tricia. Detail of the most recognized charcoal drawing on pamodels among nineteenth per titled Holey Slippers century French painters, and Contented Cat, 2007 she always listed her occupation as an artiste- Tricia Sellmer is a multimedia Canadian artist peintre (artist-painter). Victorine Louise Meurent and art sleuth. She probes died on March 17th, 1927 hidden and obscure narat 7:00 P.M. Marie Du- ratives, often with a focus four died five years later. on the domestic lives of In 2004, one of Victorine women and in parMeurents paintings, Les ticular those lives that been silenced. rameaux was purchased have for 4,000 euros by a pri- Her work hangs in vate collector, from an public and private collecauction house. Les rame- tions throughout North aux now hangs in the Mu- America and Europe. see dArt et dHistorie in www.triciasellmer.com. Colombes. During my exploration Victorine became my friend. I have written her

Hothouse of the Black Orchid

by J B Pravda

renchmen liken it to lightning, a coup de foudra. Never sure of why or how, it didnt seem to matter. Debts needed payment, Karma & Company, collector. No clear memories clouded the scenery of floating people and events. Mostly self-delusion or illusion, with allusions to confusions of old standing. But they couldnt persist. Prostrate was the condition without intermission. Naive thinking and wise meanderings had brought about the present filled with empty things. Such a thing was she, darkest of the minions of his nature, manifesting in strange sinews of weakness on a street of reams to come. Clad in striped culpability hip to ankle, aging pulchritudes shallow prison, Geisha pallor served to enthrall that part of dalliance makes for bloodless terror. Booted though bootlessly bereft of soul he, at the corner of indecision and peril, poised to shed the faint glimmerings of poise itself. Kept, a sham of essential manhood, within a silken shroud, beclouded of mind, of sentience itself save carnalitys version-he would wear this mark willingly. Sterility

knew contagion there, at the pulsing death of conscience. Actually, theyre Western boots he corrected; the rock-steering siren had dared to consign his lizard-skin Eighties power footwear to some knockabout cowboys wardrobe. Oh, I stand corrected she oozed, surveying him for potential potential. A chance encounter, she sauntering toward him and their mutual friend, his hostess, a matronly castoff from a former nightclub mogul gone to some government hotel for transgressions reminiscent of that favorite battering ram of the Sovereign, the power to tax, the power to destroy; apparently, he had given certain authorities particular relish in demonstrating its verity. A pedestrian venture to the corner deli for milk had launched a brand of chaos theretofore unknown to mere disorder; he was to be librettist to her psyches cacophony. Somehow surviving in a nuclear winter-like cloud he had carried with him ever since being overcome at Ground Zero by the Dissolution Bomb, Marsden found himself in Manhattan on some hopeless business his failing law practice held onto by sheer force of habit.

Joseph Baron Pravda Quotlitfinal

He was essentially broke, staying with a friend of his first-strike opposite. At 130 pounds, he was a wizened wanderer in the marginal territory known as anorexia, a selfimposed result of foolish guilt over the end of a relationship best described as having all the romance, and convenience, of incest. She, his latest experiment in self-delusion, he would learn on first glance at her cold hands and the scars seeming to attach them to her slender forearms, was mere days from her latest attempt at murder for one. Two runaways, as in trains, sharing the same track.

In an ever-expanding universe, where degree and speed of seperation of material clusters within it seemed to continually grow, they were colliding, neither one seeming to regard antimatter and its dramatic potential as anything other than their mutual agent of wishedfor demise, an end that just didnt matter. Supernovas are so rare that they are historys evidence of the Godforces effectuation of seeming major policy decisions, the subject of both, way beyond mortal ken. Personal histories arent too different among the willingly forgetful, major events
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Hothouse

continued from page 40

keeping their faint glow. Abandonment was the theme of theirs, differing only in its direction. For Layana, if that was her name, it had begun with a refugee mother, living in the camps of Albania after Hitlers suicide whose putative husband had disappeared, feared dead, officially; he had been a freedom fighter and the result of his alleged heroism had been squalor for his fellows. No matter, she had found another, also a fighter, Jimmy. The child learned quickly and well about Mars progeny, his transience, especially while next to you, loving you. Her philosopher stone was cold, strange alchemies having taken their fractal course in spacetime; It came to rest in grateful substitution for what others called a heart. Im very fond of you . Was the refrain of Its keeper; no prizer of love and its trappings, amusement was her revenue and expenditure, and a profit was always shown. That sounds a lot like how I feel about dogs and baby ducks Marsden riposted, feeling the sting of a rehearsed parry. Damned by the faintest praise, a final thrust was called for. I suppose youre right .. after all, it is a four-letter
41 | At the EDGE

word , a palpable strike, was feeling captivity with despite her having been strange detachment. The very much en garde. reflective ceiling helped Is my young stud angry promote the sensation, with me, dar-ing? She the observer becomnever used the l, like ing the observed, only in some failed Garbo im- a way that would cause personator; he concluded Siddharta himself to adathat it must have been mantly declare Buddhism those years in London, a fraud. Risking that conboth as a child taught to jured possibility, I am the haunt the reflection enemy, and, of my relater, on flection ran Half Moon koan-like through his Street. maddenThe door ing brain. closed auA neural tomatically, storm rein seemgurgitated ing emularandom tion of its phrases momenand images tary, now without d e p a r t e d Joseph Baron Pravda Clarkean Cosmos any corpasserby. relation Staring into the silvered-rectangle of except, maybe, that they glass suspended direct- lived, however briefly, in ly above him, like some the same head. Dreaming. Clarkean monolith for The necktop dreamtrack cosmic voyeurs, he was went as follows: How can aware of his absurdity: a I observe my own dreams? kept man of a keeper of There is no I, except the bipedal specimens, the one I have created thats sole attraction of a pri- right, so I=I proves this vate zoological experi- refractive theory-a taument in which the subject tology that he was certain was both wild and docile, had occurred to him alone Barnums freakish per- in all space-time. mutation, extrapolated What the! Marsden from all the blind alleys screamed, head butting and detours for destruc- the silhouette hovering tive work he loosely re- blurrily over him. Oh, sorry dar Layana garded as his-itslife. Six months since the elec- started. trical voltage from be- She rubbed her forehead low had discharged and routinely, he was strangefound him its target, he ly numb.

Come join me in my bath, hmmmm? was the onesize fits all reprise; he preferred to engage on dry land, shaking off the pale overture of appeasement. Where have you been? was his complaint, treated by her as a greeting. Are you sure you wont join me she Dopplered her voice warping with departing distance en route to her elaborate inverted ablutionary altar. As they lay there that night, their psyches inhabited variant universes: hers on a haj to mercenary Mecca, his a dead end designed by Mobeius himself, with a proposed exit under construction by Sartre & Co. If you leave me, Ill die, you know he heard her ultimatum clearly, though her overhead reflection was immobile and asleep. Was it a waking dream? Did you hear me, daring? ; he decided to reply in his head only: Yes, yes, but what made you say such a thing? After all I have given you, you would abandon me, just like that; I know I have not seemed too attentive but its only my function, you seemost of them only want passive enjoyment, to view my petals her eyes were now open, yet her mouth did not seem to move. Were both dreaming the
see Hothouse page 42

Hothouse

continued from page 41

same dream was his best surmise. And, by the way, that is a very colorful rationalization, dare-ing mine he added sardonically. Now her mouth was moving in the reflection: Do you know about orchids, dar-ing? It is said that there are 25,000 natural species, prized all over the world for their beauty and variety more than any other flower, and the rarest of all is black .or, should I say, is thought black, no ones even seen one in years she was now sitting up, her naked too symmetrical breasts casting vibrating shadows across the bed as she spoke-her reflection above remained immobile. Reason had failed him along with the usually unreliable data from his eyes-his pulse was way up. He would try again to locate the time/space he used to know: Where do

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42 | At the EDGE

word for queer. Dar-ing, you mock me; thats was only when you angered me, silly boy. You see, the orchids male comp one nt s orc h i s means testes, my loveare carefully enclosed so as to avoid self-pollination, unique among the flora of the world; no, w .. they guard their man very closely, so as to spread their true essence everywhere among other partners, all in the name of beauty was her latest trancelike offering, again, not reflected below, but only in her reflection. Youre starting to scare me he blurted, seeking eye contact, having gently pressed her head against the pillow behind her; he found no dark pupils, only spaces where her eyes should be. Are you alJoseph Baron Pravda Los Eph right .Layana .whats hapfor the genitals.. she in- pening? he pleaded. formed, her reflection Moments passed; he above only growing haz- glanced upward to see her ier, somehow darker. ersatz reflection, a prodiDoes that include mal- gious dark floral presenakas like me? he teased, tation, seemingly growtrying to cut the tension ing larger by the minute. with his reference to their You see, dar-ing, my pollinius, you must be with me, enclosed within my petaled Hair Salon structure, for beau Manicure tys sake.. her mouth Pedicure Full Body Massage had become a vortex Facial and more... of four petals unfold502 9th Avenue & 38th Street ing. He looked again at NY, New York 10018 the mirror aboveit Phone: (212) 792 6999 had become somehow Open Daily 9:30 am to 7:30 pm convex, with latticewww.bebablue.com like architecture, en-

you get all this? his peripheral vision now confirming the disparity between the mirror and its subject. The botanical gardens in London are spectacular, dar-ing; the curator was a business friend, an admirer, you know, and taught me all about them, the orchids .the Greeks named them, theyre very life-enhancing, especially

compassing now the entire space that used to be their bedroom suite. His body from his feet to his waist had become enshrouded by a cocoonlike casing; he struggled to move his legs and knew that he had none. Well awaken, together, now! he urged upon her, now looking at her former head upon that pillow and seeing a shadow from above; the labellum of her floral display, now nearing the top of the warm greenhouse the room had become, cast a eerie headlike shadow. Come..come into my bosom. Her now disembodied dulcimer voice had become a high-pitched siren song. The room was now completely dark, or was it that he had no eyes with which to see; he ceased to perceive, only to sense his envelopment within something greater, something in charge. The throng was growing for the annual orchid show in Her Majestys Royal Aboretum; of particular note this year was, for the first time in modern memory, on display an oversized orchid, a rare Black Orchid, more robust than any other species there evinced.

Huge Response

continued from page 34

her to audition for the legendary Hells Kitchen collective, The Actors Studio. She became a member in 1988, and she is workshopping the role of Nora in Ibsens A Doll House there under the guidance of Ellen Burstyn. Andrea recently appeared in Hells Kitchen in a staged reading of Party Line directed by Paul Pierog, where she continues being noticed by many fans and enthusiasts. HKTA New Projects HKTA operates through self-initiated projects developed by members in cooperation. Actress Carol Strauss, who once played a talking Christmas tree at Trump Castle in Atlantic City, is organizing Hot Skills. The Acting For The Camera Workshop for actors getting together to drill and ocntinually work at on-camera performance. Pina Sbrocca, who originated a one woman show in San Francisco, Cappuccino With Mussolini, is a clown and a professional crisis counselor who is helping organize the Performer Basic Support Network. Director Paul Pierog is producing Hells Kitchen... On-Stage/On-Camera/On Paper Jeanne Ryan and MaryElle Turner are developing a sti-com, Diner NYC, for cable production in August-September. Parts available soon...Also,
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HKTA reading/prodution plans for Jeanne Ryans full-length play, I Never, interconnecting womens struggles 1930 to 1990s, a yuppie vs. grandmother exploration, with 15 characters...Also, Jeanne Ryan reports that Mary-Elle Turners new Generation X type play/screenplay is really good...Producer/ Director Ramon Ramos, barber at Hair Renovation on Ninth Avenue had a success with Ladies Inside Out, a lip-sync show, in July at Lincoln Square Theatre....Jennifer Capri from West 51st Street appears July 13-August 13 as Mildred Miller in Eugene ONeills Ah, Wilderness!, a once -shocking drama of relationships set in the 1930s at Oasis Theatre on East 9th Street. I play a 15 year-old flirtatious, curious young girl who doesnt know how to love--yet! Jennifer, 24 years old is learning a lot from the plays director, Oasis Artistic Director Brenda Lynn Bynum. As a young actress, I feel inspired by her dedication and passion for the theater. Useful Information Manager Janine King invites Hells Kitchen artists to write for an information bulletin describing Artists Feder Credit Union, which she compares to a little bank that serves only artists and art organizations. It does not provide checking, ATMs or credit cards; it does provide Ferally insured savings and a wide range of credit services.

The lending power of the credit union is based on savings. Artists should consider placing their savings in an institution that serves them at rates similar to commercial banks. Direct inquires to Manager Janine King, Artists Community Federal Cerdit Union, 155 Avenue of the Americas, NYC NY, 366 5669. For information about HKTA or tickets for Hells Kitchen Jam, call the hotline: 874-7900 ext 1229

Public Laundry

continued from page 36

all sounds too much like artsy passive-aggressive whining and bitching to me: Oh poor me, Ofer is stealing away my spot-light; hes calculatedly and cold-heartedly stifling my personality, preventing it from shining through Well. If this is what it takes in order to yield such an outstanding exhibition, so be it. Tsila: Here, youre doing it again.

A POEM

LETTER TO ICHARUS
by Alison Milonakis Partnered in exile, I fashioned you into an angel, before you arose, whispered the sun cannot be touched. Ancient tempest in the sky a beautiful fury, furnace in the blue, shell ignite and devour. Heaven bound, you fled, unlearned in youth, fleeting, I foresaw your fate, couldnt smile, while shepherds stood in awe, watching us from below. Though dying to touch heaven, the celestial, winged as you were, would not allow admittance banished you to the sea. I miss your existence, unscathed, arrived in Sicily, wept at the alter, kneeling, offered my wings to Apollo. I name this land Icharia Land of my stolen child. No longer a God or untouched, ever your creator, I watch your last feathers float eternal at sea its me who is the fallen one, I melt more with each day.

176 Irving Avenue

or my arms were purple Ill pay for it. and punched-up from the I dont want you to pay manhunt version of hide for it. continued from page 44 and seek, I could always Refusing to use foul lanopen for the watermelon make my way back to the guage, my father put a man. He sometimes gives safety of my dads store. curse on thieves in Italfree slices from his horse Every inch filled with ian. So after a pause, drawn cart. something, the grocery building steam, StramaAs you grew older, you made its profits in pen- ledissa, fired my father. graduated from stoop nies, a few pennies on This signal sent my uncle ball (bouncing a ball off a can of tuna or tomato Louie hurdling over the concrete steps), or box sauce, a few cents on bananas and onions toball (played between sidewalk squares of cement), to stick ball in the street with manhole covers and car tires for bases. Hit the ball onto the roof and you are out. Hard to find a decent schoolyard wall to play handball, dad on occasion made time to drive to a good park for picnics, to play catch and mushroom-pick, mind the Poison Ivy. The candy store was king. Seventy five cents buys an official stick-ball bat, re- Rafael Martinez The Big Kahuna Watercolor 2011 placing an assortment of corn flakes, vanilla cream ward the entrance as cusbroom and mop handles. soda, ice cream, peaches, tomers cleared the main Nothing compares to A- detergent, cherries in aisle. Angelo, dont kill creams, hot dogs, comics, brandy, and anything you him! my mother or Aunt and baseball cards, except, could stuff on the shelves. Jean shouted. The usual maybe a trip to a real ball- It slowly adds up until routine, my uncle would game. Dont hang out on ends meet. Bills, inven- swing open the door as my the wrong stoop too long tory, stock, orders, rent, dad rounded the counter, or some woman will toss a food, and the rest of life, and the astounded culprit pail of water out the win- demand a tremendous (collared by the jacket and dow while shouting, why amount of work over long pants), flew out like a bird, dont you the hell move hours. but landed like a heavy along! Ignorant of ethics, un- sack of potatoes onto the Of course, there lurked concerned with the labors sidewalk. My uncle closed the bully and had-to-play- of others, the occasional the door. My dad returned to-fit-in idiocy games like shoplifter puts a drain on the Twinkies to the shelf knuckles and manhunt. your efforts. A young man and went back to work beBut whether my knuck- tried to sneak a package hind the register. les glowed red (beaten of Twinkies into his jacket After this minor delay, raw with the deck after pocket. sanitation, police, firelosing this card game),
45 | At the EDGE

men, construction, workers from every occupation await lunch heroes piled high with cold cuts such as roast beef, turkey, Mortedella, and cheeses like Swiss, Muenster, Provolone, dozens of choices, mustard or mayonnaise on Italian or French bread with a pickle, lettuce and ripe beefy tomatoes from the backyard, not legal, but so delicious you could eat them like apples. And at days end, the ends of left over meats go to the cats out back and the supply rooms very own feline. A good mouser is a stores best friend. I never liked breakfast. I knew my mom would sneak an egg into my chocolate milk to compensate, but I could not taste it so I did not mind. Grandma even tried serving hotdogs, which worked for a few days until she swept and discovered that I would eat the middle and drop the buns behind the couch. One morning, a new commotion took place downstairs. A gang leader drove up with his followers after he received the usual special exit for attempting to steal a six pack of Balentine beer. Im going to break up the block, he said, and mistakenly thought. The law functioned differently in those days. My dad grabbed him, wrapped the
see 176 Irving Avenue page 47

46 | At the EDGE

176 Irving Avenue

continued from page 47

car antenna around his neck and then dented the fender with troublemakers head. Charlie rushed from the candy store with a baseball bat and the funeral parlor emptied out. By the time the police arrived, the parlors immaculate white walls sparkled with spattered crimson and lined up gang members, making it easy for the police to clean up, so to speak. Back then, business transactions often consisted of hand shakes, store credit, special deliveries, favors and trust, yet as always, people remain an enigma. As the neighborhood evolved, morality changed, not necessarily for the better. After relocating, one loyal customer would come from way out on Long Island, calling in for a large order of imported goods unknown to the supermarkets. Another customer, after friendship and buying onthe-cuff for many years, will make a large purchase just as they move to rip you off for a few hundred dollars, one familys price for integrity. But most detrimental to a neighborhood remains the exodus of its sense of community, often with the departure of the families that originally built it. When citizens no longer
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hold the community together, either by leaving or losing the will to preserve it, security takes on new forms. Individuals must fend for themselves. Where fists and the occasional knife once defined violence, enters the gun. Shoplifting takes a back seat to robbery. Time for us to move. A .32 revolver soon lays in wait, hidden below paper bags behind the counter and frozen foods, while the hunting shotgun sleeps at home. And if you find yourself across the store, you know where the large Parmesan cheese machete resides, hopefully appearing only to cut a few pounds of cheese, grated, no extra charge. Hopping onto a spring rocking horse, having your grandfather dazzle you with his pocket watch in exchange for being spoon fed, or shutting off the black and white television after the Million Dollar Movie fades into distant memory. No sense in protecting what is no longer worth keeping: two weeks after my father sold the store and retired, the new Korean owners introduction to America was robbery at gunpoint, twice. Candles, icons, and incense for sale, the grocery became a church. Presently, a Laundromat owned by a Polish woman. But the neighborhood begins to bounce back.

C J Rosenthal

A Portrait of Samuel Beckett Oil on Canvas 2010

The nearby parks have long since been cleared of heroin addicts. The renovated, safer and cleaner playgrounds have fresh paint with some tossed in new trees here and there as well. You can buy a cell phone through the window where the candy store once kept pretzels or eat pastries at the funeral parlor, that is, the Spanish caf-bakery. With the passing of generations and passing onto generations, few can think back without wonder at the circumstances that brought them to their present. For most, the concept of time moves forward, regardless of wealth or fame, as we imagine

ourselves and our families with a life that holds something better, perhaps in a place with more to offer than we experienced. We hope for time, time to notice not just the gum spotted sidewalks and grungy street cleaners, to smell the seldom-washed tenements and pavements after a torrential downpour, an open sky with shadows of clouds passing overhead, seasonal greens and white snow, sunlight on autumn leaves, yellows, oranges, browns and reds, and at any time, the laughter on childrens faces anywhere.

Fountain Gallery
by Matthew Abuelo and Vivian Riffelmacher

une 2011 marks Fountain Gallerys 11th Anniversary as the premier venue in New York City that represents artists with mental illness. Fountain Gallery is positive proof that artists with mental illness can collaborate with the Hells Kitchen and wider arts community of New York, and make a contribution to the Citys cultural life. Fountain gallery was founded in June of 2000 when the founders realized that there was a plethora of artistic talent in the community of Foun-

Ingvild_Waerhaug Oceans of Love Watercolor 2009

Ingvild_Waerhaug Moments of Peace Watercolor 2009 50 | At the EDGE

tain House. Mr. Bowman, the director, originally joined Fountain House as a volunteer, and contributed his organizational background. The artists have taught me everything about art and running a gallery as a business, says Mr. Bowman. He has fused both skill sets to run the premiere art venue for artists with mental illness. Fountain gallery promotes the careers of the artists, and in the process, challenges the stigma associated with mental illness. Fountain Gallery was founded to fulfill two key objectives: to provide a space where artists with mental illness would be taken seriously as professionals and to create a community where they could support one another as they launched or returned to their art careers. I love working with artists. Most

of them are uncensored in the way they communicate on paper and in person. I like the raw sensitive nature of the artists, their worldview, and self-expression, says Mr. Bowman. Mr. Bowman works with a community of people who are accessing their talents through a different ability. Someone with a mental illness may be able to tap into a creative ability that someone without mental illness wouldnt be able to. I am happy to have had this opportunity to lead this group of people and such an organization in a way that is successful. Anyone that comes through and works with us goes away with a positive experience, says Mr. Bowman. Fountain house creates art, a strong relationcontinued on next page

Fountain Gallery

continued from page 50

ship, and a strong community. Hells Kitchen is not known is as the epicenter of the art world. It is sandwiched between 57th Street and Chelsea, but Hells Kitchen definitely houses a lot of art and certainly has a history of being artistically focused. It has been a great community to thrive in for

Fountain Gallery. Fountain Gallery believes that art can change attitudes. Of course, without artists there is no art, and artists need support. That is why Fountain Gallery works diligently to advance the careers of its artists in the larger art world. It places more emphasis on their art than on their illness, highlighting their creative potential rather than their

limitations. This has proved a successful strategy. Fountain house artists have blossomed and grown, and so has the audience for them and their work. Please feel free to visit Fountain Gallery in person or visit its website to learn more: www.fountaingallerynyc.com.

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Through the Looking Glass Darkly; Ye Olde Hells Kitchen (1995)

Theres a Lot to Look Forward to Within Hells Kitchen in 1995

here were various creative groups, places and projects alive and active in Hells Kitchen in 1995, including Hells Kitchen Arts, Hells Kitchen Theater Artists, The West Side Story (a newspaper) and Our Neighborhood Center (a gathering place). Hells Kitchen Arts Walking Tour You will sleep until noon on Saturday, May 6, resting yourself to dance all night: Allowing two hours to shower and prepare your face, you dash to Roberts Restaurant for Hells Smorgasbord, a mix of music, art, alcohol, vittles and uncivilized conversation with unlikely, unexpected people (Dinner & Dancing $25 9-midnight as well). Youll stroll outside to look south at a north wall, a madcap mural of spray painting by Hells Kitchen artists running amuck through the neighborhood. Reentering Roberts, youll complement the artists whose works clutter the walls of several local restaurants this month. Already drunk, youll start buying paintings to clutter the walls of your apartment for next month. Youd never bought so many paintings. You pop in at the cute Viva Galeria, then cut down to The Red Room at the Market Cafe to catch the distinctive Rican poetry of Pedro Pietro once a strong voice of the Young Lords now a strong voice of his own with the idiosyncratic John Ford Noonan of A Coupla White Chicks Sittin Around Talkin
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Photography by Anthony Leyro for Images 4 Your Mind, LLC-Anthony Leyro Director of Photography for Artists In The Kitchen.Org

by Paul Poerog (not your president)

fame. You will regularly visit The Red Room for the Thursday evening poetry series. You hurry up to Worldwide Plaza, where you relax at a tranquil outdoor table, listening to a jazz combo and sipping a rum jam made with ginger juice or a seven ounce martini. You enter the lovely New World Grill. to restore your energy ingesting grilled salmon with blood orange citrus

sauce and asparagus. Because you may now decide to rest here forever, you rent a two bedroom investor-owned penthouse for $2800 a month, while saving money at the $2 admission Odeon Cinemaplex. Now its time for a variety-filled allnighter at 517 W. 45th Street. The
continued on next page

Photography by Anthony Leyro for Images 4 Your Mind, LLC-Anthony Leyro Director of Photography for Artists In The Kitchen.Org

loft of eight windows offers one dollar wines, drinks or drafts, soothcontinued from page 38 ing jazz and art to view inner courtyard, redolent or to buy for prices up to with the odor of the oper- $8,000. You elect to buy, ating French bakery, Food exceeding your budget by Attitude, is redesigned $1,000. All night then you into an eccentrically so- dance. On the roof sculpphisticated environment ture garden, you watch with reflective surfaces, the May 7th sunrise. xeroxed photos of archi- Looking at good art altectural details next to ways makes people feel real architectural details and a place where audience members can attach personal objects for display on a wall. You feel delightfully strange in this unreal real world, adjacent to an operating pottery factory, Millennium Clayworks, in an old boiler room, where potter Robert Bachler personally throws you a bowl for your break- hungry, so restaurateurs fast oatmeal. You return in Hells Kitchen will whet to the front sidewalk so the appetite with walls of you can enter a magnifi- local artist works. If art cent antique elevator with was food. you might be paintings placed horizon- looking at a banana split tally up the shaft. You are at The Good Diner, a desurprised to be on one sign showcase written up of the best free art rides in twenty international in Manhattan, almost as magazines, moving your thrilling as rollerblading eyes past Mikes Famous through the Guggenheim no bean Killer HQ Chili, art museum. You will roll- Mikes Famous home erblade down the ramp made Grilled lamb sauof the Guggenheim art sages, Mike s Moms fruit museum the next Sunday. flan at Mikes American Hugo Martinezs spacious Bar and Grill, and criti55 | At the EDGE

Hells Kitchen 1995

cally analyzing a crisp pipette of John Dory on a raft of Asparagus and Salsify with Bouillabaisse broth from chef Frank Coel at Michael Younge s Druids. (EI Deportivo is displaying a classic collection of rice and beans still lives.) (EI Deportivo esta exhibiendo una coleccion de arroz y gallinas/gulo.)

the nature of spring in the garden of hell. Time for dancin. On Sunday, May 21. Sandy Evangelista, a flight attendant and the assistant dance teacher to dance master Robert Audy on 57th Street, will rethink and redance the music of John Kander to the 1992 Lisa Minnelli movie, Stepping Out. In this diverse program Sayaka will present a light and pretty dance to John Sebastian Bach, the Demonettes will haunt the dance floor, five year old Bernice Veloz from P.S. 152 will perform in Dalys La Panamena Torres Ballet Flamingo and sixteen year old tap dancer Nick Faugno will prove once again that he has the fastest feet in town. Youll dance along the sidewalk home. Theatre occurs with a reading of A Portrait Of A Nude by Paul Pierog, a self-exploration by a successful woman artist, Howard Pfanzers Party Line, a dating phone fantasy, and Greg Youngs Unbrellaed, a psychosexual ghost story at the Mask Theatre on May 23
see Hells Kitchen 1995 page 60

Over the month of May, you will discover new art. Sculptor Tom Janusz creates primeval stone monuments, Phase 2 animates calligraphy, Peter Lowenthal visualizes his own earthy, imaginary peasant community, CoCo mutates letters and words with images of Puerto Rican history and FLINT 707 distills the quality of undulation in a violently dancing woman. You are continually surprised that such creative discovery is

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64 | At the EDGE

Yuka Hasegawa

I was a student at FIT. Someone who works for Barneys started lookcontinued from page 66 ing at my outfit who told style and craftsmanship me to stop by and show and asked me to draw her my work. Everything something for First Lady. I wore I made in class. I I was surprised but quick- kept thinking of what to ly drew something. Then bring, I just knew I loved she took me to her office, all forms of creation. I

ATE: Do you like wearing hats? YH: I have a hard time finding my size so started making them for myself. What other forms of creation do you like? I love cooking, I made a sculptures, magnets, pillows. I dont like too much

In Japan they conform so much, they dont understand. A painter should paint, a chef should cook, a sewer should sew. They thinks its unprofessional to dabble in different artistic venues and try new things. Its unprofessional and flakey. ATE: Does every hat have a character that inhabits it? YH: I dont want to characterize the hats I make. Everywoman has different aspects; their skin and color is different. So its actually more exciting to see what characters and types of people choose my hat and how they wear it. I sometimes make customs hats, my hats are lucky. One girl I made a hat for was waiting for me downstairs with the hat I made for her. She got so flattery after flattery and finally one man approached her and spoke to her about her stunning hatone year later they got married. Another girl stopped by the Prada store where an old man admired her hat and dress paying thousands of dollars upfront to take a picture of her ensemble. ATE: Timeless art or eraspecific and trendy art? YH: Timeless. I see some beauty, any antique. I dont follow at all fashion trends
continued on next page

love cooking, so I thought maybe I could make hats in the kitchen while I cooked. Hats are great to make in kitchen while cooking and are fast. So I bought hats. I was not aware Barneys was such a big department, so I put the hats in garbage bag and as I walked towards my meeting the security ATE: Why did you get in- guard almost kicked me out because I looked like volved in hat design? YH: I was showing my some bum. paintings at a gallery, pulled out an acceptance sheet and immediately accepted me and demanded I go to class right away. I walked into a room filled with sewing machines. I felt like I was in a Chinese factory and was so lost! But eventually I learned sewing skills that were necessary there.
70 | At the EDGE

processing; I like when I can see an end resolution quickly so I love making them. I make jewelry, accessories, and all sorts of things I can get my hands on. ATE: Do you prefer the Japanese or American artistic world? YH: New York is easier because they admire talent. I dont differentiate painting, cooking. I am more focused in creation.

Yuka Hasegawa
continued from page 70

What is the difference, for you, between wearable art and canvas paintings/ visual art? Is one form of art higher than the other? Trends change and I dont listen to them. ATE: Do you have any advice for emerging artists?
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YH: Do what you love. The strongest energy to give to people with emotions people want to pay for real emotions. They can see some creation; I think its more energy than creation. They vibrate with those emotions. Honesty in your work is the best artists should give off emotions and be entertainers. The more real the more entertaining it will

be. In New York they are in such prominent media as, always looking for some- The New York Times, Asahi, Yomiuri Kyoto Newspaper thing new.
Yuka Hagesawa is an up and coming Japanese artists who dabbles in all forms of art. Her wearable art has gained prominence and veneration in the past decade, especially when she won the 2006 Milli Award. She is now a beacon of artistic innovation who transcends time and fashion trend. She has had extensive coverage

and Kateigaho, Mode et Mode, WWD, Britney Spears in NY Post and an article in Paper Magazine with Boy George, a current article in Vanity Fair featuring Yukas hats worn by Scarlett Johansson photographed by Annie Liebowitz, among many others.

I became a member of the International Women Artists Salon in January 2011. Joining the Salon has been nothing short of a miracle. At the Salon gatherings it is so wonderful to be able to share and collaborate with wonderfully creative women. Heidi Russell also constantly informs the members about so many wonderful opportunities. She informs us about all types of artist events that we can enjoy or be a part of. Heidi is the curator of the gallery at Manhattan Theatre Source and she gave me the opportunity to have my first solo show. The show is very successful. I have sold many pieces and have been commissioned to make pieces. And it is because of Heidi that I registered for the Art in the Kitchen show. I am really looking forward to it. Laura H. Cannistraci

Laura H. Cannistraci
Infinity Mixed Media 2010

International Women Artists Salon

by Sarah Moore

n artist can be defined as a painter, a writer, a photographer...the list is endless. Mediums range from spoken word and video to metalwork and yarn. Studios may be stages for some, and sidewalks for others. But what about the artist who is also a paralegal, or who dabbles in cooking along with her curatorial work? Can a woman be an artist if she decides to change career paths at 60? What about the young analyst who might be an amazing dancer if she had the right momentum - is she an artist, or a dilettante? For Heidi Russell the answer is clear: these women are ALL artists. They deserve creative empowerment, opportunities to collaborate, and support for their goals and journeys. All these resources are available in the International Women Artists Salon, an endeavor Heidi has been cultivating for almost five years. The International Women Artists Salon is a diverse group of women across multiple disciplines that maintains a collaborative environment through monthly gatherings, group shows, and a wealth of shared resources and energy. The Salons offerings help each woman develop as an artist, no matter what point she is at in her creative development. Its story is one that begins with Heidis own career change and covers many countries, countless women, and an absolute, undying
76 | At the EDGE

passion to support and promote emerging female artists in their creative journeys. One Womans Transformation Heidis passion for the arts, specifically photography, was apparent at a young age, but it wasnt until recently that she began the journey to embracing her art and, inevitably, the founding principles of the Salon. In 2004, Heidi changed her career path to pursue her passions of photography and international

cultural exchange. Educational travels to Rome and Greece allowed her to delve into being creative fulltime, and in 2005 she moved to New York City to complete her artistic metamorphosis. Her work has since been shown in solo and group exhibitions internationally, and she holds curatorial positions with several NYC arts organizations. Looking back on this evolution, one could say Heidi reached her goals
see Women Artists page 78

77 | At the EDGE

p i p e l i n e . editors, very useful. Ive also Fo u n d i n g met other writers through the She wanted Salon whose work appeals the Salon to bring to me, and it has broadened When Heit o g e t h e r my circle of artist and writer di came friends. women art- Lynn McGee to NYC ists of all she spent disciplines two years to, as she says, support beating the path to learn womens artistry, build about and gain a foothold individual artistic em- in the art community. powerment and collective Manhattan can be daunting enough, but add to that no formal art training, no gallery connections, and no creative management experience and the city quickly goes from swanky metropolis to formidable enemy. I went to everything that was free, she says, chuckling. Lillian Gottlieb Big Purple Shopping Bag Workshops,
78 | At the EDGE

community, and encourage out of the box thinkcontinued from page 76 ing, collaboration, and to embrace a true passion support of one anothers for the arts, and as an in- projects and goals and journeys. dividual she succeeded. One thing I appreciate And so the But as a about the Salon is the op- next stage c r e a t i v e portunity to meet artists in of her creother disciplines. Eventually, c o l l a b o - Id like to collaborate with a ative derator and visual artist, and that kind velopment in a person of project usually germinates began d e d i c a t e d in a social context,Ithe kind I the form find at the Salon. also find to help- the meetings useful in regard of the Ining others, to resources. Recently we met ternational she knew with author and publish- W o m e n ing advisor Carren Strock, there was and I found some of her Artists Samore in the tips about how to approach lon.

Women Artists

gallery openings, museum Fridays...just to get to know the art world but also to elevate myself. It took months of pounding the pavement, but Heidi was able to rustle up the connections and outlets she needed for her artistic endeavors. She also saw the Lillian Gottlieb Nothings Missing need to share this newfound Group meant to congreinformation with others gate global members exlooking to forge a similar tended into Facebook, sopath. One thing I learned cial media outlets, and a was that I wanted to share blog, furthering the reach this info, share these re- of the Salon and its cadre sources. So I thought, of artists. Lets put this together And, true to her mission, and people can tap right this growth is exactly into it. what Heidi envisioned for That came to fruition the Salon. I went from in September of 2008 a desire to maintain my when the International newfound wild and crazy Women Artists Salon was artist feeling and to meet founded. What started other unique, wild and as a small seedling of 18 crazy artists...to balancwomen at the first gath- ing that with my life-long ering has grown to an commitment to helping international assemblage others. The group emof women artists of all braces informality and walks of life and stages of encourages being unconartistic development. The strained and creative growth was organic and la Andy Warhols Factory steady, and monthly Sa- style, but it still enforces lon gatherings expanded a pledge to help foster into collaborative efforts, members growth. group exhibitions, and a Multidisciplinary Action swelling sense of camara- The Salon has been cross derie between the members. The original Yahoo! see Womens Salon page 80

We often need support, even just a friendly ear. continued from page 78 Maybe there is a writer discipline from the start, who wants to pursue her and it continues to grow photography interest but as such to welcome all is really shy or apprecreative forms, including hensive about dipping the what has been traditional- toe in. So there seems to ly considered craft/functional art, comedy, and food and fiber arts. Specific disciplines are encouraged to meet on their own outside the monthly general Salon gatherings. Every time Salon members meet, whether formally or informally, there is a cross discipline representation and discourse that encourages them to develop secret desires to pursue other forms of creative expression, form collaborative projects and alliances, and help open their minds to thinking outside the box for their own specific discipline. The Salons emphasis on working and developing organically also determined its need to cover a Heidi Russell range of art-related fields, which couples with Hei- be a sense of safety and dis firm belief that ANY respect and openness in form of creative expres- these gatherings; there sion is important and de- was no learning curve. serves respect. Each Sa- And when it came to the lon gathering starts with offerings, it was unbea round robin of introduc- lievable. People started tions, so members can say talking about offerings where theyre from, their outside their creative endiscipline(s), needs, and tities: I can help build offerings. Heidi says, I things, Im a masseuse, am continually surprised Im a cook, I can move about how members open things for you. That was up about their needs dur- one of the huge moments ing these intro sessions.
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Women Artists

when I thought, we really have something here. That sentiment is reflected in the experiences of Salon members, or Salonistas. Kelley Donovan, a member since 2009, says,

support one another in return!

When I arrived in NYC I immediately connected with the Womens Artist Salon. I was welcomed from the first meeting. Members even helped me to furnish my apartment since I had nothing but the clothes on my back when I arrived. It has been a great experience to connect with such a lovely and generous group of women and to help and

All Walks of Life Embracing women artists from all backgrounds is a cornerstone of the Salon. Members range from college age to over 70, professional artisans to dabbling artists, self-taught to formally educated. This openness comes, in part, from Heidis own foray into a creative career later in her life. It also stems from the demand for an open forum dedicated to emerging, growing artists. This is not Art 101, and this is not a cooperative limited to advanced, established artists. I see more and more women emerging artists that are seeking support; they have multiple things going on in their [lives], it is hard to focus on nurturing their creative spirit and passions. Couple this with the plethora of information that can be overwhelming and the daunting path to gain exposure, it can be crippling, says Heidi. The Salon has become that open set of arms, that extra push, that collaborative setting needed to get the creative juices flowing and to gain a sense of empowerment. An emphasis on openness further strengthens the need to maintain the Salons informal structure, allowing the members
see Womens Salon page 84

81 | At the EDGE

unheralded and unrecognized. continued from page 80 By the time I came to New commitment and involve- York I was talking like a ment to ebb and flow with feminist even though I their lifestyles. People had never considered mycan come in and out self to be a feminist, recalls Heidi. based on I wanted their own Kudos to Heidi Russell for needs and the vision, the inspiration, to help otht i m i n g , the drive, and the commit- er women says Heidi, ment in her part in develop- believe in w h e t h e r ing and ensuring the Interna- themselves. tional Women Artists Salon they be becomes a huge success. It is I wanted to a f f e c t e d an important part of the in- help them and by fam- ternational art community, find one that was long in comily, health, ing and so important within tap into the c a r e e r , contemporary parameters. i m m e n s e or other Thank you, Heidi. You have p o w e r provided a voice and sought f a c t o r s . to find venues for women art- within, to learn tools M e m b e r s ists from all disciplines. for such can choose Tricia Sellmer discovtheir levels ery and of commitment and participation, nurturement for themresulting in a stress-free selves and link with other women artists to multiply and truly open setting. the effect for the greater For Women, by Women The Salon evolved natu- good. rally to be a womens And in order for me to group, allowing its mem- succeed as a female artist, bers to find a safe, open I needed to open up the place to harbor and sus- dialogue in the art world tain their work. When to be more welcoming for Heidi began the Salon, she women emerging artists. was questioning suppres- There continues to be a sion in general. She found need for this dialogue, to male-dominated view- think differently, to act points in the art world differently, and to work and society to be limiting. within ourselves and with Her travels to Rome and all stakeholders to help Greece opened her eyes change paradigms and to the feminine influences how we interact to forge in history, from goddess healthy relationships and worship to strong women partnerships in all areas leaders to women artists of society including the and muses who contribut- Arts to help communities ed great things to society, see that women artists are yet still oftentimes goes doing amazing things.
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Women Artists

With these goals in mind, the Salon continues to promote women as powerful creators and carriers of their own creative energy. And its success can be seen in the Salons members and the influence Heidi and the group have had on their work and development. One

thinking and seeing. Another member, Helen Galek, says of the group, This Salon not only gives room for all female artists of all disciplines and backgrounds, it also gives them a place to continue to support their sister artists as well as [give] them a non-judgmental

Heidi Russell Self Portrait

member, Ashley Middletown, says, It wasnt until after I met Heidi that I truly felt connected to the arts in New York City. Not only did she develop a Salon of passionate women, but also a bond between those women that is able to generate new ways of

home to share their accomplishments and goals in the making. This intimacy and encouragement are fundamental to the Salon. It throws open the doors to a dialogue on womens place
see Womens Salon page 86

women came to see the couldnt be limited to NYC show specifically and members. continued from page 84 hoped to speak to her. It has since welcomed Both were au pairs from women from across the within the artist community, and it encourages Europe who were looklocal neighborhoods to The Salon is an incredible community of talented female artsee women artists in their ists. In a competitive city and world it is a place to be supported by those who understand live the artist life. By attendelement. ing events one begins to feel that they are not alone. I have Inter(national) Offerings benefited from the Salon and know for certain that I am not the only one. Since its beginnings in Thank you to Heidi whose passion and warmth turned a beauNYC, the Salon has extiful idea into something magical. panded to encompass a Anonymous global community. Heidi saw a need for an international group from the ing for ways to grow their country and abroad, start. The day before one own artistic visions, and including Canada, Parof her art exhibitions in Heidi realized that if she is, Italy, London, and New York closed, two were to form this Salon, it Australia. Maggie Cousins, one of the Salons founding members working in New York on an artist visa, says, For me, as a foreign artist living and working in New York, [the Salon] was a wonderful way to get connected to the art community and other women artists in a welcoming and creative space. As part of my visa requirement, Heidi and the salon have provided me with several opportunities to show in group and solo shows. That has been extremely helpful for me. Even the groups local NYC representatives are international. Women come from Japanese, Chinese, Russian, Egyptian, Spanish, and Chilean descent, among others. Internationally experienced and globally minded Americans bring the Laura H. Cannistraci Dueling Mixed media, 2010 international focus full
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Women Artists

circle. And its that mix of cultures and heritages that allows this group to foster such a wealth of creative cognition and resource sharing. Moving Ahead, Together By creating such a rich community of women artists, Heidi also cemented the workforce that would help her to sustain it. The Salon was a beautiful concept, but in reality it was an organizational challenge to bring together all of her goals and vision for supporting women artists. Organizing everything I learned was hard, there was so much information, says Heidi. And people wanted to contribute but the tools were cumbersome with Yahoo! Groups. So members suggested Facebook. And I delegated that to them, which jumpstarted members contributions to how the salon was developing. Members step forward to contribute their expertise for the Salons greater good and growth when the need arises, from helping to install exhibitions, paint exhibition walls, MC performance events, and organize events to hosting gatherings and documenting member and Salon activity. The Salons growth has since been a group prosee Womens Salon page 89

tino, a sculptor and one all corners of the world also have the opportunity the Salons members. to participate and ex- to send their work to N.Y., continued from page 86 And the collective creative change ideas and space. to have it showcased here. She sees an opportunity Its about bridging discicess, and its momentum a way to give back to its I have known Heidi Russell for nearly five years and I am very grateful to call her a friend and members. Salonista Lilmentor. Heidi is so enthusiastic about helping women achieve opportunities and grow within the lian Gottlieb remarks, Art world. I personally am so appreciative of her hard work and dedication to fellow Art Salon members. My experiences in the Salon have helped to nourish me while I have independently Theres nothing quite like worked on various projects. Had I not known Heidi, I would never have known about Women the inspiration and enMaking Movies. Thanks to Heidis emails about various film opportunities for women, I applied ergy that result from the for a grant through Women Make Movies and was presented with a 2011 grant via NYSCA. Now my film is completed and I owe much thanks to not only the organizations listed, but to friendship, interest and Heidi for informing me of such opportunities. Also, I often receive phone calls or emails from acceptance of fellow artHeidi encouraging me on with my work. I have never met anyone so disciplined, with organiists. They motivate me to zational skills and the compassion to encourage help amongst artist vs. competition. It is really a pleasure to meet various women from around the world as we share our ideas, fears, and sucpersevere with my projcesses with one another. This all began with one woman wishing to help other women get more ects, even during those of their art into galleries, into theaters, into office spaces and into the mainstream of society. We times when there doesnt have so much to offer, so much to say -yet I feel we are under-represented in a male dominated world and that can not remain. seem to be a clear path. Valerie King Opening More Doors Heidis goal for the Salon is both individual for women to collabo- plines, challenging paraand collective - it should journey for the Salon is rate cross culturally and digms, changing the way nurture each woman as a far from over. Heidi plans geographically using the we think about things. By unique artist with a sin- to expand the group by growing network avail- bringing art to the masses gular vision as much as it way of a custom-designed able to them. Opportuni- we can better society and instills the importance of online platform to bet- ties range from showing create open lines of disa community, a collabo- ter link members and of- their work in different course. ration, and a constant fer communication tools counties or exchanging stream of inspiration to members globally, and living/working space to The original mission of from fellow artists. The a re-vamped blog that collaborating on projects the salon and the organic Salon grows all the while promotes the artists and and helping each other expansion that has kept Heidi nurtures the artis- fosters self and peer com- learn about one anothers it running from the beginning are still strong. tic spirit in women for mentary on their work. cultures. It is firmly positioned to the greater good of our She is also working tirelessly to get artists from Its about connecting continue its ascension as culture, says Janet Resglobally and act- a resource, a collective environment, ing locally, says learning Heidi. Several and - perhaps most immembers in cities portantly - an open door around the world for women looking to find are meeting lo- their true creative calling. cally, and they

Women Artists

Find Out More About the International Women Artists Salon at http://www.womenartsalon.blogspot.com. For more information on membership and collaborations, contact Heidi at heidirussellglobal@gmail.com

Heidi Russell Self Portrait Red

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A Silenced Artist
by Estelle Levy

amille Claudel (1864 1943) was a young, recognized sculptor who intensely explored the possibilities of sculpture and of love. Her childhood fascination with modeling clay nurtured her quest to become a trained artist. It is said she was both a recognized talent and a physical beauty. Sculpture was her focus at the Academy of Colarossi one of the few art centers then open to women then. She shared an independent studio where Alfred Boucher taught. Boucher asked Auguste Rodin to serve as an advisor to Claudel and her colleagues when he was awarded a Prix de Rome and moving to Italy. After being Claudels advisor for two years, Rodin asked Claudel to become one of his studio assistants. This was a rare opportunity for a woman during the 19th Century. Claudel thereby had the unique and profound chance to learn and express the nu- Edita Rojas Within Acrylic 2011 ances of anatomy. The hands and feet for Rodins Burghers of Calais were modeled by Clau- near the turn of the century: Caudel; she also posed for the Gates seuses dated 1897 and La Vague, of Hell figures. She was deeply 1900. She worked on a new style in love with and had a love affair known as Japonisme. Claudels with Rodin. He was willing to have work fit in with the art of her day. and continue the affair and benefit Unfortunately her mental state from her talent although unwill- showed signs of deterioration. ing to leave his wife. In an effort Though it was her father who ento break away from Rodin and es- couraged Claudels art quest, it was tablish herself as a sculptor in her her mother and her Poet/Ambassaown right, Claudel secluded her- dor younger brother Paul who toself in her studio; she struggled to gether committed Claudel in 1913 to break from her love of him. She Asylum-Evarard City. After a year, wanted to establish her own iden- Claudel was transferred in 1914 tity as a sculptor. She created por- to Asylum Montdevergues near

trayals of the human form which were then deemed too sensual and inappropriate for public showing; her work was panned by the State and the art press of that era. Claudel realized she would never succeed in ousting Rodins wife to become his. Their affair of ten years came to an end in 1898; Claudel never recovered from their separation though her work began to reflect her own identity. Claudels deeply original work was done

Avignon where she died in 1943. During the years Claudel was in Montdevergues, doctors informed Claudels mother and poet/ambassador brother that she could be and should be released; that she did not belong in a mental institution. She was not in fact insane. Separately and together, both decided and both refused to let her be released. Did this mother seemingly devoid of motherly instincts resent her husbands support of his daughters art quest? Did this mother resent her daughters atypical art involvement which in turn prevented Claudel from fitting into her mothers social society? Was younger poet/ ambassador brother Paul a chip off his mothers block? Was his name, status and success reason enough for him decide to have his sister initially committed and later to remain committed forever? Would their shame about her career quest be reason enough for them to insist she remain committed? Would her release have harmed his career, this mothers social standing, their family name? Was the thought of their having to acknowledge her and take care of her after her release reason enough for them to insist she remain committed? Both knew she was not insane; both knew she should have been released; both were told she should be released; both chose to continue her commitment forever until her death. Was this the family values of that era towards women?

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The tradition of acceptance is a central mission of The Actors Temple tocontinued from page 97 day. We welcome people These performers of of all religions, cultures, the past began an asso- and occupations. We enciation with The Actors courage creative artists Temple that continues to to share their talents and nourish artists, as well exhibit their work. And as the synagogue, to this we strive to be a place of true spiritual growth, day. supporting each other in

A Spiritual Center

Off-Broadway theater, and rents space for rehearsals, auditions, and dance classes. Currently, the award winning play, Black Angels Over Tuskegee is playing in repertory with Sams Romance, an interracial love story. We also have events such as a Broadway Benefit, a Comedy Benefit, and a tour of the temple during the year. Membership is only $75 per person. Everyone is welcomed. No one is ever turned away. Please visit us for an event or for a service: on Fridays at 7 PM, Saturdays at 10:30 And we take great pride AM, and on all Jewish in carrying on our show holidays. You will surely business tradition. The be welcome too! temple now is also an our quests to open our hearts and minds to each other and to inspire each other as we learn and grow. We are also a place where people can reconnect with their Jewish roots. Todays congregation is progressive, egalitarian, eclectic, and postdenominational, looking for fresh approaches to enliven worship while maintaining deep connections to our Jewish traditions. We provide community and self-expression, deeds of loving kindness, and caring.

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Dreams Become Reality

Erin Dinan

Medicine Show Theatre in Hells Kitchen

by Chris Brandt

edicine Show Theatre Ensemble moved to 53rd Street and 11th Avenue in 1994, the result of the failure of an architect/partners squat/rehab in the East Village. And in 1998 we moved around the corner to our present home at 549 West 52nd Street. But in truth Medicine Show did not choose Hells Kitchen as much as HK chose us, just as every one of the theatres fourteen homes has. It works this way artists of all kinds find cheap quarters in run-down parts of the city. Pretty soon, the lofts and funky bars become the cool places to hang, the suits realize they can get vastly more space for less money, and presto change-o, the landlords come and throw the artists out, fix up the buildings, make a killing. And the fact that this pattern also kills a lot of the art doesnt faze the
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Broadway version), Inwood, Bedford/Bushwick, L.I.C., Astoria, the South Bronx, or further to see cutting edge, risk-taking theatre. All by way of saying that Medicine Show loves Hells Kitchen, and wants to stay here forever. What we like about the place is that theres an active and vigorous arts community, and also a pretty militant set of community organizations fighting to keep the area from becoming all luxury coops and fancy restaurants. Those have their place, I suppose, but what makes the area distinctive is the many different kinds of mix its home to racial, ethnic, religious, historical, class, educaBut in Manhattan, Hells Kitchen is tional, income. Not to mention that now it, the last area with reason- HK has a wild history, chronicled in able rents that is (relatively) easily art from Damon Runyons stories accessible to the general public. If to West Side Story to Springsteens HK goes the way of the rest, Man- Tenth Avenue Freeze-out, and has hattanites will be forced to trek to been home to countless theatre the Heights (the real ones, not the landlords and the suits, who eventually discover that the funky bars are not really so much to their taste as the fancy new boutique hotels. And of course they can buy the art to decorate their lofts. Meanwhile, the artists move on. In fact, a list of the theatres addresses makes a thumbnail survey of the history of Manhattan real estate since 1970, the year Medicine Show was founded. Westbeth. Soho (three places). Noho (before it had a nickname). Gramercy Park (two places). The Flatiron District. Midtown West (two places). Tribeca. The East Village. And finally, here.
continued on next page

Medicine Show
continued on from page 102

and other artists. We feel right at home here. Seventeen years has been long enough to begin to establish a presence another seventeen and well be in danger of becoming an institution! We salute the beginnings of a Hells Kitchen Arts organization and its studio tours. Last year we were able to participate by hosting performances and exhibitions of visual art works in our lobby. This year our schedule precluded participation, but we look forward to future connection with Mr. Felber and Hells Kitchen Arts. As noted above, Medicine Show was founded in 1970, and has thus just completed its 41st season. It was founded in 1970 by longtime members of the Open Theatre, Barbara Vann and the late James Barbosa. The Ensemble is composed of some 30 performers, directors, musicians, designers, and writers who work as an artistic collective. Medicine Show has been called truly original a way of theatre and inspired (The New York Times, 1973 & 2005); one of the ablest ensembles in this country (Village Voice); a truly heroic theatre company (Cover Maga103 | At the EDGE

zine); a New York treasure (NYC Department of Cultural Affairs); overflowing with humor and imagination (Le Monde, Paris). In addition to performing 6090 times a year, and presenting between 10 and 20 readings in its acclaimed Word/Play writ-

awarded OBIEs.

Erin Dinan Puncture

ers series, Medicine Show has toured campuses in the U.S. and Canada, and performed in and won awards at major festivals on three European tours. Barbara Vann and James Barbosa, co-founders and co-artistic directors until Mr. Barbosas death in 2003, have each been

workshop productions of plays by new writers. In the early 1980s, the Medicine Shows range is company began presentremarkably broad. The ing revivals of obscure or Company has present- lost American musicals ed world premieres of as well; Cole Porters Parworks by Bernard Shaw, is, just presented in June Gertrude Stein, William and slated to come back Bolcom, Kenneth Koch, in September, is the fourArnold Weinstein, Leon- teenth such production. ard Cohen, William SarBesides the Cole Porter, this past seasons mix ranged from a staged radio play version of Milt Gross immigrant classic Nize Baby (CDs available for purchase); to a trio of new one-acts by John Gruen, Dancing Fools; to a Medicine Show specialty a collaboratively created piece, Living With History, based on the writings and friendship of three iconic 20th-century philosophers, Albert Camus, Jean-Paul Sartre, and Simone de Beauvoir, during and after the Nazi occupation of Paris in WWII. Our Jump-Start series presented staged readings of new work by five young playwrights, and Word/ Play, our writers reading series, followed last years oyan; and U.S. premieres trio of Pulitzer Prize winof works by Nobel Lau- ners (Yusef Komunyakaa, reates Dario Fo and Va- Paul Muldoon, John Ashclav Havel. There have bery) with readings by a been some 20 original dozen less garlanded but full-scale theatre works equally interesting writcollaboratively created ers. In addition to all this, by the company as well we collaborated with the as 27 years of the Word/ Metropolis Opera ProjPlay series, and a series ect on three productions, of staged readings and
see Medicine Show page 105

Village

Voice

TRIM LINE

Dimitri Strizhov Holy Trinity 2011 Acrylic 33x44 Private Collection of Michael Perkovic MEGA1FILM@gmail.com

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The Quiet Still of the Night Late

by Frank Boros

encounter that I have. The shrouds that conceal her veiled completion, roductive morning, afternoon, her clandestine message has proearly evening night. The cast duced such an array of discarded away discarded remnants of scribbles and soiled rags and empty cat food containers stained with the remains of washed brushes and mixed colors are still now. Marked with bits of paper for easy reference books are piled atop of fabrics and the remains of Chinese food containers that were once filled with dinner. Romantic rubble surrounds my clearing; my little island of calm allowing me to sit unencumbered by this debris of creation. It was not so this bright sunny morning when Prosperity scampered easily after her unseen muse, while I addressed the canvas with a clean shirt and freshly laundered paint paints. What happened to the clues. It remains every appealday, what have I done to my apart- ing in its incompleteness and I am ment, where is Prosperity, where quiet. am I? What remains ever pres- Amidst this assemblage I have ent is the canvas, the composition found a quiet and gaze at a paintshedding more secrets with every ing that continues to challenge me

by continually revealing more for me to learn. Quiet this night still late in my morning, day, evening. New marks have been added to my visual diary that I wear once cleaned this morning early. The passion remains and this performance is over for the night. And yet I sit on my island of calm and refuse to leave, refuse to abandon what was once so full of the dance of it all. There are shells to be collected and put in my pocket for the promise remains that the dance will continue early and clean and bright. The taste remains, the smell of dried sweat and the debris of my passionate discovery yet to be revealed by this negligee wearing canvas. Every tempting me with but one more view, one more possibility for completion. Still. Quiet. Night, so soft this night on a small island sheltered by the embrace of the seduction of a composition.

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