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Wednesday 5 February 2014
Discover Local Artists
Fourteen south Florida artists will exhibit their latest ceramic works at “SoFlo: On and Off the Wall” at the Art Gallery at Eissey Campus at Palm Beach State College February 18 to March 21. The opening reception will be from 5:30 to 8 p.m. on February 18.
Jupiter resident Chris Riccardo’s latest series of work is based on his long-time admiration of the Chinese war horses that were produced during the Tang Dynasty. He admires the Sancai glaze technique and has tried to emulate that.
“The idea that these horses were mass-produced hundreds of years ago instantly drew me to today’s mass-produced Chinese horses that we all know and love, My Little Ponies,” he says.
As he researched more about the Pony phenomenon, he came across a group of people who call themselves, Bronies.
Tang Brony, priced at $4,500.
“This subculture is made up of mostly men who find the series, My Little Pony, and the actual pony characters both happy and joyful and in some instances sexually attractive.
“So, I have tried to incorporate the history of the Tang horses with aspects of today’s mass produced toys and I hope to delve deeper into the Brony world which will be reflected in the new work to come.”
An interest in objects that serve a specific purpose motivates Justin Lambert of Jupiter to make functional pottery. He is also interested in how pottery can inherently initiate a certain situation with a single user and companion.
“It is through the grouping of particular pots that I am able to suggest a special moment to occur,” he said. “It is the interaction of my pots that lead to certain scenarios alluding to the ideas of companionship and solitude.”
Anagama fired stoneware plate $90
Anagama fired stoneware jug, $80
Groupings of bottles or cups invite the viewer to slow down and take notice of the subtle diversities in form and the infinite variety of surface texture and color attainable through wood and soda firing.The scale of his work brings the viewer in close to examine the subtleties of form and surface, and creates a more intimate experience through its utilitarian qualities.
“The firing process I choose provides a direct interaction between the clay and the user,” he said. “My work is not covered with any glaze, rather the firing itself glazes the work, enriches the surface and brings out intrinsic color from the clay.” His investigation into high alumina clay bodies in both wood and soda firing leads his research. He reduction-cools these kilns to achieve deeper colors. The process allows him to explore a “palette somewhat unknown. Frosty, dry, movement rich glazed surfaces provide information for future work, and my careful analysis of surface to form integration provide insight to new formula’s and firing schedules.”
Victoria Rose Martin
For Lake Worth resident, Victoria Rose Martin, the making of art is a spiritual thing.
“While sculpting, I zone out and it’s as if I make a connection to another place and time. In the small faces I can see members of my family, people and places, and even myself. The work tends to be whimsical or dreamlike with a slightly dark under current,” she said. “I want my pieces to evoke emotion.
“My sculptural forms are hand built using earthenware clay, and no two figures will ever be alike. The surfaces are decorated with stamped words, geometric shapes, and a variety of finishes, including oxides, underglaze, and glaze.”
Skipper and Peg, ceramic and wood, $425
SoFlo is a group of artists and educators working at institutions from Jupiter to Miami. The exhibitors are Deborah Adornato, Shannon Calhoun, Angi Curreri, Angel Dicosola, Nazare Feliciano, Rebeca Gilling, Bryan Hiveley, Judith Berk King, Justin Lambert, Victoria Martin, Chris Riccardo, Bonnie Seeman, Gerbi Tsesarskaia and Karla Walter.
The exhibit will feature 40 pieces of sculptural and functional work, each offering a perspective of current trends in south Florida. Both the reception and the exhibit are free and open to the public. Artwork will be available for purchase. Prices range from $200 to $6,000.
The gallery is located in the Palm Beach Gardens campus’ BB building, Room 113 and hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday and 9 a.m. to 8 p.m. Tuesday. For more information, call Art Gallery Specialist Karla Walter at 561-207- 5015 or email email@example.com.
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Friday 31 January 2014
I wrote this feb 2014 for the coastal star. would like to do an update…
Yes, it is possible to buy a home on the water and near the beach for around $40,000. If…
…If are over 55 years old, don’t have a pet, can get through the screening, have cash, don’t mind small spaces and don’t need to rent.
For those who can and do, they reap the rewards. They end up sitting poolside watching boats go by on the Intracoastal. Or they are at the beach taking a breather, because, well, the beach is just there.
Tropicana Gardens, at 4001 S. Ocean Blvd., a co-op with 65 units ranging in size from 350 to 700 square feet does have a few units for sale. Studio #106 is priced at $34,000 through Diane Duffy of Illustrated Properties. Studio #209 and a one-bedroom unit #210 are offered for sale together for $80,000 through Victoria Corsel, a realtor with Lenson Realty, Inc. And there are others.
“We do have a lot of restrictions, which won’t meet people’s needs,” said Peggy Beutel, president of the Tropicana Gardens Homeowners Association. “But having restrictions makes living here so nice. Because we don’t allow renting, for example, we know everyone.
“On the positive side, we have no assessments and aren’t planning any, our maintenance is caught up, and they just gave us a $22,000 reduction on our insurance because our building is so sound.”
This really is home sweet home, not an investment, she added. “My husband Al and I bought our unit ten years ago.
“We have a one bedroom, about 550 square feet, but that’s big enough for us. We paid $40,000 back then and it’s probably worth around that much today.”
To clarify, there are difference between condos and co-ops. Often co-ops are land leases and things might change when the lease comes up. So, ask about that.
Maintenance fees vary, and also, do ask about past, present and future assessments.
For example, unit #109 at the Dune Deck, 3610 S. Ocean, is a short sale, with an asking price of $99,000. There are issues, says listing agent Roger Basso with Jeffrey Ray & Associates. A $1.5 million loan to make repairs – some of them structural – is in the process of being paid off, costing each unit’s owner around $18,000 to $25,000 depending on square footage. Another $1.6 million assessment needed for more structural repairs is, as of this writing, under discussion.
“Some owners are walking away and there are foreclosures in that building,” he said.
On the other hand, “the majority has made repairs since the hurricanes, so they are in better shape than they were before and that’s making them more desirable,” said Courtney Fallon of Scott Gordon Realty Associates, Inc.
Now, here’s information for those with a pet, younger than 55, or want the option of renting: On the strip from The Ritz Carlton north to Sloan’s Curve, 235 units sold in the past year and 46 percent of them were less $200,000 according to the Regional MLS, Fallon reported.
“There are some nice deals out there,” noted Jennifer Spitznagel, broker of Manatee Cove Realty Inc. “We are at historic lows for this area. Prices have rolled back to 2001-2002 prices.”
And another thing, distressed properties are hard to find on the strip, she added, noting a short sale at Southgate, 3605 S. Ocean Blvd, #439, which is listed for $89,900 by Anthony Petrollia, Jr., a realtor with Re/Max Services. Another Southgate property, bank-owned unit #139, where mold remediation work has just been completed, is listed for sale for $79,100 by Barbara Lilley, a realtor with True Blue Realty Inc.
Satu Barish, a realtor with Coastline Realty agrees. “Foreclosures and short sales? I’ve been looking. You can’t buy them.
“Foreclosures get multiple offers and one of my clients offered $10,000 more than the asking price and didn’t get it.”
To compare with other coastal areas, there’s nothing for sale under $100,000 on the ocean in Highland Beach, and there’s only one unit for sale in Briny Breezes under $100,000 — K-27 Juniper, for $64,900.
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Sunday 26 January 2014
Luxury + Uncategorized
For $42,000, you can feel like a frog. All you have to do is own a Quadski.
Half ATV (all-terrain vehicle), half PWC (personal watercraft; think Jet Ski), the four-wheel, motorcycle-like amphibian, built by Gibbs Sports Amphibians Inc., goes up to 45 miles an hour on land and in the water.
A fun toy, it was meant to be enjoyable and easy to use, said Graham Jenkins, Gibbs Sports’ head of public relations and marketing and son of one of the founders. “And we were not trying to build the fastest thing, because the Quadski is the fastest thing. We are pretty happy about that.”
There are other amphibians, he said. But they are speedy either on land or in the water, not both, which makes Quadski an amphibian of a different color, so to speak.
“It handles very smoothly,” Jenkins said. “It’s got a good center of gravity and wider wheelbase, so it’s smoother than an ATV, and it can handle off-road conditions — hills, gravel, dirt, etc. — without trouble.”
He can attest to that because he’s ridden it over the 5-mile track at the company’s test site in Stuart. (Gibbs Sports is headquartered in Michigan.)
Easy to handle
“I am not a light guy, and going around corners on an ATV, it was incredibly easy to tip over. When I got on the Quadski, I did not have a problem. Each time I went around the track, I got going faster and faster. It’s a very forgiving machine, with a good suspension; I didn’t feel like I was being kicked by a mule.”
Some particulars: the 1,300-pound, 10.5-foot-long Quadski draws power from a BMW K 1300 Motorrad motorcycle engine capable of producing 175 horsepower. The engine is mated to a five-speed transmission with an automatic clutch. The craft can carry up to 260 pounds.
Jenkins enjoyed the water experience, too. “I am not an outdoor kind of guy. But I spent a lot of time on the Quadski in the water and had a lot of fun, stopping only because the sun went down. Then, when I was finally finished, I was able to drive the Quadski back onto land and into the trailer. Done. Finished. No dragging out of the water. It was so easy.”
The Quadski came after another invention, the boat/car Aquada. That, too, was conceived by New Zealander and entrepreneur Alan Gibbs. Why did he invent such a vehicle?
Explained Jenkins: “Because in the 1990s, he lived in a tidal area and got fed up while waiting for the tide to come in to launch his boat.”
Then Gibbs met engineer/entrepreneur Neil Jenkins (who came from Nuneaton, England, and now lives in Orchard Lake, Mich.). The two started working on the amphibian car.
They built 30 Aquadas. But they put the project on the back burner because the process to satisfy all three regulatory agencies (Environmental Protection Agency, National Highway Traffic Safety Administration, Coast Guard) to make the craft road-legal has been a long process.
However, the company was able to meet EPA, Consumer Product Safety Commission and Coast Guard criteria, as well as California Air Resources Bureau standards, for the Quadski.Gibbs and Jenkins had started developing it in 2007, announced it in 2012, and began selling the craft in 2013.
The two have also noted an interest in other amphibian vehicles — part of their larger Amphitrucks line — which they plan to develop as emergency vehicles for first responders.
The Quadski has been popular, Jenkins said. Gibbs Sports has sold about 1,000 of them and plans on producing 3,000 to 4,000 this year. Yacht owners particularly enjoy them and often have them custom-painted to match their boats.
Saving the best for last (and guessing what it might feel like to kiss a frog), here’s an explanation of Quadski’s land/water transitional phase.
“If you are on land and you start to drive the Quadski into water, it feels incredibly strange. You are floating. Then you press a button, the wheels fold up, disengage from the engine, and off you go,” Jenkins said.
“The other way around, just make sure you are floating before you put the wheels down,” he said. “There’s nothing else quite like the feeling. It’s a very strange thing that takes the mind a little while to get used to.”
Quadskis are carried by Riva Motorsports in Pompano Beach and Cycle Springs Powersports in Clearwater.
Christine Davis has learned that she’s a boating enthusiast, much to her surprise. If you manufacture or want to purchase a really cool craft, email her at firstname.lastname@example.org. She’d love to know about it, write about it and come along on a test drive.
Written for palm beach daily news
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Sunday 26 January 2014
“I have to lay down the laws and keep people in line.”
“I’m fortunate to have a good group. When I come across someone good, I stick with them. There’s a valid reason for that: I know what that person is capable of.”
“Say ‘yes’ to one and ‘no’ to another, and you have an issue.”
This might sound like Downton Abbey’s Mr. Carson talking about managing his staff, but it’s not. These quotes are from Francisco Chadinha, captain of the 200-foot superyacht Diamonds Are Forever, who was discussing his crew.
The ultra-luxurious Diamonds Are Forever was designed by Azimut-Benetti, with interiors by Evan K. Marshal. It contains an owner’s apartment, three double cabins, a twin cabin, a VIP apartment, and crew quarters that can accommodate 15.
He and his crew love to watch Downton Abbey, especially since they enjoy a distant connection. The yacht’s hostess, Kirstin Podmore, has a sister who used to be an au pair at Highclere Castle, where Downton Abbey is filmed.
And, most certainly, Chadinha and his crew can relate. “What’s said by the captain filters through the service areas,” observes Chadinha. “And the whole daily operation and maintenance of Downton Abbey is run exactly the same way as on the yacht.”
The “rules” are similar, too. For example, the Tom-Branson-and-Lady-Sybil liaison would not be considered a good idea on board, Chadinha notes. “There’s no mingling. There’s a line. Do not cross it. Staff or guests. When mingling develops into marriage, there’s friction.”
Mr. Carson is exemplary in his position as butler, Chadinha says, and that’s the way it should be. “Much is learned by observing your mentors. It’s a little like teaching a child how to have manners. You have to respect your elders.
“When I was a deckhand, I was lucky to learn from the right captains. If you have a bad leader, you will get bollixed up,” he says.
Like an estate, the yacht must be kept tidy and well-maintained, and the process of keeping it that way must be discreet. Aboard Diamonds Are Forever, “Most of the work gets done in the evening, after the charterers are asleep. Our owner doesn’t mind if we continue to work while he’s on board, but charter clients don’t like that.
“We get a feeling for what time they wake up, and arrange our schedule around that. We do shifts — beginning very early with the crew member whose job it is to get the boat ready.”
Like grand estates, circulation patterns are separate for crew and guests. Stairs on the port side are designated for crew, while stairs on the starboard side are for guests. “And except for the service staff, crew stays clear of the pool deck,” Chadinha explains.
“But the crew does play a tremendous part in creating the atmosphere. If your crew doesn’t jell and work as a team, the guests will feel the resulting conflict and politics. It’s noticeable. In the past, they’ve come to me about it.”
While the crew sets the tone, the owner or guests call the shots, Chadinha adds. “Too many ‘no’s’ is a bad thing. They hate ‘no’s.’ You have to be diplomatic. For my part, it’s important to be a can-do captain, relocating the boat and giving the owner and charterers what they want.”
But the crew members do have some impact, notes his wife, Chief Steward Lylani (they married in January, kind of like John and Anna Bates, but without the drama). “Not in all cases, but I find that the crew does have the ear of the owner.”
If you have a happy crew, you have a happy owner, explains Mark Lacey, captain of the Arianna, a 164-foot Delta superyacht that can accommodate 12 crew and 12 guests. “The crew affects guests’ and owners’ experience more than anything. A good chef, good food, and the way it’s served go a long way, too.
“We use cameras in the dining room to see when to serve. Guests don’t want to feel like they are being stalked, and the crew must provide service without hovering. A huge amount of the job is about being discreet,” he says.
“It’s the owner’s boat. He pays us. It’s not part of our job to know his life. We have to be friendly and personable, but not too personal. We must be attentive, know where the line is, and don’t step over it.”
Good communication among crew members is important, too, Lacey adds. “To be aware of guests’ needs, we have to know where our guests are and what they are doing.
“For example, the chief officer will call us at intervals when he is bringing charterers back from the beach, letting us know how close they are to returning. That way, as soon as the charterers step onboard, we are there with a towel and a drink.”
When David Clarke served as build captain for the 240-foot Laurel, he was given latitude to incorporate design and layout elements with the crew in mind. Laurel has room for 17 guests and 25 crew.
Like Downton Abbey, “There are underground passageways, service entrances and guest entrances. Even on a large estate, you never see the grocery car or the provisioning vehicle show up at the front door,” Clarke notes. “The garbage is never at the front. We designed Laurel the same way.”
On Laurel, the service entrance is on the port side, which leads to the crew area and the tank deck. The tank deck (on the lowest level) houses freezers and refrigerators, the laundry room, dry-goods storage rooms and the waste-management room. The tank deck and lower corridor also handle the flow of the crew.
“A crew member can move from bow to stern without going on deck or to the guest area. Although we had 20 or more crew, you don’t see them,” Clarke says.
Crew quarters are forward, while the owner’s stateroom is midship. “This gave crew full access to the boat, and allowed us to move throughout the yacht without being seen, too,” he says.
Laurel has two galleys. Owners and guests congregate in the guest galley, which also serves as the place for the executive chef to discuss menu and event planning, since it’s a better place to meet than the full working galley.
Notes Clarke: “If you go to one of those beautiful old restaurants in Italy, they have the show galley, where you can see the chefs cooking. The ‘grunt work’ is done in the lower galley.” Same with Laurel. And there are lifts to move the food from one deck to another, too.
Clarke, like Downton Abbey’s Mr. Carson, believes in keeping things shipshape: “My grandfather said, ‘Plan your work. Work your plan,’ and I’m a fifth-generation captain. We put equipment in places where it’s going to be used. Everything has its place on board, and it should be cleaned and put back after it’s used.
“We have an amazing amount of stuff, and if it isn’t put back, it takes too much time to find it. If the owner says, ‘Where’s the water-ski rope?’ at 11, and you take 45 minutes to find it, that only gives him 15 minutes to water-ski before lunch at noon.”
Laurel was sold in March; Clarke had worked for the previous owners for 10 years. Many of his crew were long-time, too. “Like Downton, we were a family,” he says. “We were employed to complete a task, and the owner was happy with the outcome. It was a two-way street. The owner and crew enjoyed each other and the boat. It just worked.”
After leaving Laurel — and based on his many years as captain — Clarke launched his new business, Superyacht Operating Systems (SOS). It’s an online database of operational policies and procedures that ensure safety and efficiency.
written for palm beach daily news: http://www.palmbeachdailynews.com/news/news/local/superyacht-captains-take-lessons-from-downton-abbe/ncYM3/
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Monday 9 December 2013
Discover Local Artists
Li Hongbo, Bust of Marseilles, Eli Klein Gallery
Hongbo's paper sculpture, Bust of Marseilles
Click here to watch how it works
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is to him an endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering. The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance.
U joo Lim and Hee Young, Nice Engine
A married couple Korean U joo and Lim Hee Young , are engaged in quite an original artistic work. They exercise their imaginations through a variety of forms of visual expression, including kinetic sculpture, drawing.
Click here to see video
Tony Oursler, Variant Love Finds a Way
I can’t even explain this. It’s like a multi-screen movie theater, with different movies going at the same time, but each movie screen is the size of a postage stamp.
Can’t find a video of this particular piece, however, here’s his youtube page.
Tapes, Installations: 1977-1989
Tony Oursler is known for his fractured-narrative handmade video tapes including The Loner, 1980 and EVOL 1984. These works involve elaborate sound tracks, painted sets, stop-action animation and optical special effects created by the artist. The early videotapes have been exhibited extensively in alternative spaces and museums, they are distributed by Electronic Arts Intermix. His early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. In these projects, Oursler experimented with methods of removing the moving image from the video monitor using reflections in water, mirrors, glass and other devices. For example, “L-7, L-5″, exhibited at the Kitchen NYC 1983, used the translucent quality of video reflected on broken glass.
Oursler began working with small LCD video projectors in 1991 in his installation “The Watching” presented at Documenta 9, featuring his first video doll and dummy. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Oursler then produced a series of installations that combined found objects and video projections. “Judy”, 1993, explored the relationship between multiple personality disorder and mass media. “Get Away II” features a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt direct address.
Signature works have been his talking lights, such as Streetlight (1997), his series of video sculptures of eyes with television screens reflected in the pupils, and ominous talking heads such as Composite Still Life (1999). An installation called Optics (1999) examines the polarity between dark and light in the history of the camera obscura. In his text “Time Stream”, Oursler proposed that architecture and moving image installation have been forever linked by the camera obscura noting that cave dwellers observed the world as projections via peep holes.
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Sunday 8 December 2013
Discover Local Artists
This year, I went to see Art Basel. Not to write about it, but, I couldn’t help myself. As I learned more about what I saw, I wanted to share the information.
Walking-around-time was limited, and I could not talk to gallery owners who were busy talking to real customers. So here’s what drew my attention, coupled with bits of bios cut and pasted from here and there….
Wade Guyton\Kelley Walker at Green Naftali Gallery
Guyton and Walker are two New York artists who collaborate to deliver visual pop and sculpture.
“One day, we were approving the tufting designs and mattress tape for our prototypes, the next day this old family from New Jersey that made them was out of business—100 years, then two mattresses with us and gone. They made them by hand and we haven’t found anyone with comparable skills. Who knew buttonless tufting was such a rarified technique?”
In any case, just because they will be featured in a gallery doesn’t mean they aren’t still suitable for sleeping or hanging out on. Or, as Guyton\Walker says, “They’re meant for use! Meant for life!”
Nir Hod, Once Everything Was Much Better Even The Future, Paul Kasmin Gallery
The sculpture consists of a moving scale model of an oil pumpjack encased within a large globe of oil, creating a world suspended in time, where the contradictions inherent in oil production and consumption peacefully coexist, while also alluding to the nostalgic scenes often depicted in snow globes. Hod, from Tel Aviv, lives and works in New York.
Once Everything Was Better
Globe by James Naras at Paul Kasmin Gallery
James Naras was born in London; lives and works in New York. His paintings and projects seek to capture the very moment of their own creation. They are most frequently made in a single brushstroke, recording a gestural passage of time and motion across the canvas. Using brushes of his own design, he repeatedly creates and erases his strokes until he feels he has made one that represents a precision of balance between intent and improvisation.
Nares’ films and videos reference many of the same preoccupations with movement, rhythm and repetition, while also ranging further afield in their scope. To see this in motion, click here.
Richard Wentworth, Local Produce Animal Vegetable Mineral, Peter Freeman Gallery
Wentworth lives and works in London. His work encircles the notion of objects and their use as part of day-to-day experiences. By transforming and manipulating industrial and/or found objects into works of art, Wentworth subverts their original function and extends our understanding of them by breaking the conventional system of classification. The sculptural arrangements play with the notion of ready-made and juxtaposition of objects that bear no relation to each other.
Local Produce Animal Vegetable Mineral
Will Cotton, Sweet, Scott Campbell Galleries
In 1996, Will Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works.
Erika Verzutti; Venus Major, Venus Yogi, Venis Aluna; Galerie Peter Kilchmann
Erika Verzutti is interested in the formal qualities of things found in nature, and her work reveals the beauty and symbolic power of common objects with enigmatic properties. The intuitive and material qualities of Verzutti’s sculptures, collages, drawings and paintings recall the mid-20th-century Neo-Concretist movement in her native Brazil, which rejected mechanized and overly intellectual approaches to art making in favor of a sensual, intuitive relationship between the artist and the object.
Venus Major, Venus Yogi, Venis Aluna
Tony Tasset, Snowman with Scarf, Kavi Gupta
Mixed-media Chicago artist Tony Tasset sends up Americana and the American dream in his sardonic, psychedelic sculptures, installations, films and photographs, which he describes as “Pop Conceptual.” These include a giant Paul Bunyan with uncharacteristically drooping shoulders; trompe l’oeil snowmen and smashed jack-o-lanterns; abstract compositions on panel of colored blotches spilling from various consumer products and fast foods; and a grotesque, cartoonish figure composed of hotdogs. Citing Norman Rockwell and Walt Disney as influences, Tasset aims to tap into and twist iconic American imagery, asking: “Could I take something that’s so banal, so quoted, that everybody has kind of made, and could I treat it like a Giacometti? Could I give it that pathos and existential angst?”
Snowman with Scarf
Rashid Rana, Notions of Narration II – Transiliteration Series at Chemould Prescott Road
The work titled, Notions of Narrations II is a continuation of Rashid Rana’s most recent “Transliteration Series.‟ In this series, Rana selects a random image from one time and place in history, cuts it into pieces and reassembles it together, forming another image from another time and place. By doing so, he creates an unusual relationship between both, a method which he refers to as visual transliteration.
In Notions of Narrations II, a famous painting by Rubens, Rape of the Daughter of Leucippus has been digitally sliced and its micro fragments scrambled in mixed order. The macro image is not easily recognizable as a known image in this case; however, the emblematic figurative objects within it hint towards a bold narrative involving the entanglement of both violent and carnal acts. Although the original image Rana uses is from an older period in time, it is not dissimilar to modern notions of the same. The process of pixilation aids in transcending the immediate/local link, thus, a relationship is established between both the composite image and constituent fragments.
a section of Notions of Narration
Shilpa Gupta, I look at things With Different Eyes From Yours, Chemould Prescott Road
Soap, microphones, sign hoardings, books: these are some of the familiar materials that Shilpa Gupta uses to engage audiences with wider and deeper issues. The artist also has a background in graphic design, and she has an ability to transform mundane imagery into something more profound. In her 2009 work Threat, Gupta created a sculpture with 2,400 bars of soap, engraved with the word ‘Threat.’ The audience was invited to take a bar of soap away and use it, washing away any trace of any imagined threat by the end of the exhibition. Fear is a tool often used to manipulate groups of people in power struggles, and Gupta’s works often harness participation and interactivity, shaking up our ideas about why we are asked to act the way we do.
In this piece, which includes a print on a mirror framed by an embroidered curtain on a metal rod, I took away an image of myself with my friend Mike, standing in the background…
I Look At Things With Different Eyes From Yours
A Gentile Carioca
Paulo Nenflídio, White Noise
Paulo Nenflídio constructs absurd machines and sound sculptures. His work hovers at the interface of art, dream and science. In a symbiosis of elements taken from everyday contexts, digital technology and art historical references, the artist has devoted himself to interdisciplinarity.
“I am more interested in the intricate social relationships, the exchange of behaviors that in time serves to alter our perception of the quotidian, the every day,” said Brazilian-based artist Laura Lima. She is primarily concerned with the human body, using it to question our relationship to the objects, people, and society and raising questions about the tensions between the individual and the collective body.
Four pieces by Laura Lima
Accumulation of Disorder by Lionel Smit at Cynthia-Reeves
Smit’s reference to the end of the world can be understood as an end of ‘the-world-as-we-know-it.’ His use of the same face repeated, once again repatriates original identity. Smit’s work indicates this model crisis, this state of the accumulation of disorder, as the end of the individual remodeled in the wake of global consumerism. Smit’s work signifies identity and the human condition surpassing time and history.
Accumulation of Disorder
Enrique Gomez De Molina
There was quite a crowd in this booth. Here’s why.
Enrique Gomez De Molina is a taxidermy artist from Miami, Florida. He gained recognition for his taxidermy for a few reasons. He created very unusual creatures when he mixed parts from several animals. And more notably, De Molina was sentenced for wildlife smuggling and is currently in prison.
De Molina used connections he had in several countries worldwide to illegally acquire and import both living and dead animals. He acquired animals that were on the endangered species list to create his art. In addition to a 20-month jail sentence, De Molina also received a $6,000 fine, one year’s probation, and he must forfeit all smuggled wildlife in his possession.
Jennifer Trask, Double Blossom Queen Anne’s Lace Object, Sewing needles, python and rattlesnake ribs, Lisa Sette Gallery
“My curiosity about the intrinsic nature of things, of materials and my interest in biology is paramount. What is written in the bones? Meaning, what desires, ideals, motivations do we carry silently?”
Double Blossom Queen Anne’s Lace Object
Angela Ellsworth, Seer Bonnet XIX, 24,182 pearl corsage pins, fabric, steel, wood at Lisa Sette Gallery
Angela Ellsworth is an American multidisciplinary artist whose paintings, drawings, installations
and performances explore the female body in its various contexts and constraints. Her work considers subjects such as physical fitness, endurance, social ritual, religious tradition, performance art and American Colonial history. Ellsworth’s ‘seer bonnets: a continuing offense’ (2009-2010) refers to her rejected Mormon heritage presented through a series of antiquated pioneer women’s bonnets, constructed out of thousands of pearl-tipped corsage pins embedded into fabric with their points directed inwards. the small, fetish-like objects not only refer to the tradition of craft work in the home – women’s work – but also stand as disembodied memorials to the lives suffering cruelty, submission and control.
Robert and Shana Parkeharrison, Thief of Paris, Edelmangallery
“We create works in response to the ever bleakening relationship linking humans, technology and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand.
“Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations, this work attempts to provide powerful impact both visually and viscerally.”
Thief of Paris
Hans Breder, Cuilapan, Ethan Cohen New York
A co-founder of the Intermedia Program at the University of Iowa in the late 1960′s, Hans Breder was a teacher. He was also artist Ana Mendieta’s lover (1948-1985). He took many of the photographs documenting her early performances in Mexico and elsewhere, images that are among the strongest in her Whitney retrospective. Indeed, a full understanding of Mendieta’s career must take into account the collaborative aspect of that early work.
That said, there’s clearly a difference between the two artists. Several photographs from Breder’s ”Ventosa” series (1973), for which Mendieta served as a model, are at Algus, and one is at the Whitney. In them, she lies nude in the surf on a beach in Mexico, holding a large polished steel mirror that hides her torso but reflects her lower body, leaving her figure truncated, headless and composed of four splayed legs. Breder has since made other photographs using mirrors; examples at Algus date from this year. Also, he photographed women in a wooded section of Iowa where he documented several of Mendieta’s performances.
Zhao Kailin, Cloud, Eli Klein Gallery
Zhao Kailin’s more recent work has concentrated on depicting beautiful, introspective young women, most of whom are Asian and dressed in traditional Chinese attire. Several feature females with musical instruments. These paintings capture the essential aura of young women suspended between the innocence of childhood and the smoldering sexuality of womanhood, evoking a sense of longing, dreams and desire.
“Every painting I do involves personal stories and memories,” Zhao explained. “I am always striving to communicate not only the beauty and unspoken personal narratives of these women, but also the inherent beauty of Chinese culture and life.”
Pedro Friedeberg, Gold Side Table, Todd Merrill 20th Century Studio Contemporary
“I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
“My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
“I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
“I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.”
Arno Elias, Tembo 5, Modernbook Gallery
Arno Elias was born in Paris, France. He is a multi-talented musician, painter and photographer, known for his compositions of Buddha Bar music. His creative talents did not stop at his musical career, but continued to his artistic career, leading him into the world of painting and photography. Studying the European contemporary artists from the 60s and 70s and the American Pop Art movement inspired Elias.
His focus is to travel the world and continue the journey. He is particularly passionate about endangered species and the lives of indigenous people, who are connected to the environment and depend upon its natural resources for survival.
Mark Jenkins, High Noon, Fabien Castanier Gallery
Mark Jenkins is a sculptor and installation artist whose work focuses on urban themes and often locates itself within this physical context. The artist invented the technique of casting objects using packing tape and plastic wrap. With it he has created a range of characters from clear ducks, dogs and babies to clothed hyper-realistic anthropomorphic beings molded from his own body and that of his partner Sandra Fernandez. He describes his work as “absurdist” and with the idea to “to create situations that turn the world into a stage.” He currently lives in Washington, DC.
And some other sights…
a tight-rope walker
a person being painted
Carol finding a Banksy?
and someone asleep
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Thursday 5 December 2013
The vintage house at 4 Golfview Road, landmarked in May 1997, is better than it was when it was new. A Mediterranean-style with all the accoutrements – stucco façade, barrel-tile roof, touches of wrought iron and Cuban tile – it even has a polygonal tower. The parcel, Lot #4, was bought in 1922 by the Golf View Development Company, a partnership between architect Marion Sims Wyeth and builder Harry Raymond Corwin. Their endeavor to build single-family homes on the street is said to have been financed by Edward F. Hutton. In 1921, Hutton and Marjorie Merriweather Post built their estate, Holgarcito, on the south side of the road.
Currently, another “Marion” has added touches to 4 Golfview. Marion Hugh Antonini with his wife, Penelope, bought the home seven years ago. Now completely renovated, surely Wyeth would be impressed.
Click on image above to see more photos
But since the Antoninis have begun restoring the Maurice Fatio-designed Casa Eleda, they’ve listed their furnished home with four bedrooms, four bathrooms, two half-baths, and 4,480 square feet inside and out with Jim McCann and Alison Newton, realtors with the Corcoran Group, for $12.995 million.
“When we first saw the house, it was unloved,” Penelope notes. But, they saw right through to the heart of the matter, with the help of a great team: architect Jeff Smith, landscape designer Mario Nievera, and builder Jeff Wildes.
“We used the same objectives as Wyeth,” explains Marion, “We wanted to bring the house back and to utilize every space available from a living and entertainment standpoint. The structure was very solid and we knew we could build on it.
“The way Mario designed the gardens encourages you to sit and dine outside. With many outdoor seating areas, the eye is guided out to the gardens. That’s Mario’s genius,” Marion says.
Adds Penelope: “We loved all the vegetation around the house. We knew we wanted to open the home up and let the outside in.
“Mario is very talented. In his new book, Forever Green, our garden is featured as the secluded garden,” Penelope says.
The entry of the front wall, designed by Smith, welcomes one into the courtyard, and it’s easy to see why Nievera would use the word “secluded” to describe the gardens. Incorporated into the wall are two little windows complete with shutters, which offer visitors a secret peak. The front yard is embraced by the main wing, which runs north and south, and a second wing that runs east and west, which together form an inverted L. Sheltered in this space is the Nievera-designed lap pool that also serves as a reflecting pool with fountains emitting the soft soothing sounds of gurgling water. Coquina-stone frames the pool as well as areas of grass. Amidst tropical landscaping to the west of the house are seating areas with outdoor furniture by Janus et Cie. At the back of the house is a patio with a fireplace, an area for grilling, and an outdoor shower conveniently located by the back gate, perfect for rinsing off after coming back from the beach, which is just a block away.
At the crux of the L on the east side of the house is the front door and foyer, a circular space featuring an alcove for sculpture. Going south is the living room and library, a large space with French doors that open to the outdoor areas. The floor is reclaimed antique oak and the color scheme is soft sea-foam, the color palette used throughout. Other architectural features include Venetian plaster finishes on the walls, crown molding, casement windows and a fireplace with an antique stone mantel.
The dining room, just east of the foyer, has stenciled walls, with the reverse pattern used on the tailored drapery. Floors are octagonal Cuban tile, and French doors open onto the pool as well as a dining pavilion.
The doors have side panels of glass. One set of panels was hidden under plaster, Penelope says. “I was going to add them, but when we began to open up the wall, we were surprised to find that they were already there.”
Off of the living room behind the foyer is a stair hall with a powder room. The railing is wrought iron, and the treads are tile framed in wood. The kitchen with a breakfast area and butler’s pantry are off the hallway, as well as a commercial elevator. The island kitchen features custom cabinetry, marble countertops and backsplash, and professional-grade appliances integrated into the cabinetry.
Above the stairway, as well as the second floor hallway, the ceiling is pecky cypress.
Within the footprint over the main wing is a guest bedroom suite with carpeted floors, windows that offer views of Palm Beach’s rooftops and a large Waterworks bathroom. The master suite, over the east-west wing, has French doors that open to a Juliet balcony and casement windows that offer gorgeous views of the pool, patios and gardens. Part of the suite are a large dressing area and Waterworks bathroom, as well as a gym and sitting room, a new area that the Antoninis built over the garage. These new rooms can be used separately from the suite, since they can be closed off and accessed by elevator. The gym, by the way, has wainscoting paneling repurposed from the home’s original wood floors.
Both of these bedrooms have distinctive pecky cypress beamed pitched ceilings.
From the landing and up another set of stairs is a lovely guest suite, which also has a Waterworks bathroom.
Furnishings throughout the house include 18th and 19th century antiques with custom pieces upholstered in fabrics by Kravet, Nancy Corzine, Holly Hunt/Rose Tarlow, and Quadrille’s China Seas collection. Curtains were custom made by Paul S. Maybaum and floor coverings are by Stark.
In the back yard is a guest cottage with French-tile floor and open beamed pitch roof.
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Wednesday 4 December 2013
This mid-1920s Mediterranean-style home at 322 Clarke Avenue has a colorful history. Named Villa Filipponi, it was built for Count Carlo Filipponi and Countess Laurietta Ford von Stresenreuter Filipponi, the grandmother of Palm Beacher, Frank Butler.
Click on the photo above to see flickr photo album.
While the Landmarks Preservation Commission states that the architect of the Mediterranean style home is unknown, it certainly is lovely, featuring handsome architectural details that include a clay-barrel-tile roof, stucco finishes, applied ornamentation, asymmetrical fenestration, wrought-iron balconies, decorative tiles and Corinthian columns. The home received landmark status in 2001.
And the color continues. Marilyn and Emmet Tracy bought the home in 1997 from artist Thomas McKnight and his wife, Renate.
“They lived here for a number of years before they moved to Litchfield, Conn. because he wanted a studio that would give him the room to paint large works,” Emmet Tracy says.
“They made changes to the house as did Patricia Morris and George Gillett when they lived here.”
According to the designation report, extensive work was completed in 1990 by Jeffrey Smith of the Smith Architectural Group: “Smith added a loggia and pool pavilion and a 1,200-square-foot addition to the southwest corner of the building.”
“Renate was so resistant to selling, that the only way he got her to agree was to promise her a plane. She flies down here occasionally, and comes over to see the gardens,” Emmet says, adding she established the gardens, which were designed by Victoria Barton.
“The McKnights knocked down the house next door, which gave them the space for the garden,” Emmet says.
Then the Tracys bought the home, and worked their magic on it. In 2004, they expanded a sitting room, built a pergola, expanded the guest apartment and garage and commissioned Mario Nievera to install brick curved walkways throughout the garden. Marilyn, with New York designer, Charlie Moon, decorated the interiors, and she made design changes and additions to the garden “to the point where it was named to the Smithsonian honor roll of gardens in Spring 2013,” Emmet says.
“It’s a real attraction and it’s been a very satisfying effort for my wife, to bring the transition from what it was when Renate had it.”
“I really love the potting shed and the orchid house,” Marilyn says. “I enjoy orchids, and the way that Mario designed the wind-y paths, there are five places that open up to the center of the garden. I think it’s a wonderful garden.”
Now though, they plan to downsize, and their seven-bedroom, seven-bath, and two-half-bath home with 7,682 square feet inside and out, is offered through Thor Brown, a realtor with Fite Shavell & Associates for $10.895 million.
The covered entry, an addition designed by Smith, leads to the stately foyer and stair hall. To the east is the sitting room and pergola that the Tracys expanded. Features in the sitting room include windows and French doors with fans above that offer views of the garden and a pecky-cypress ceiling with applied molding.
To the west is a two-storied living room with the first-floor hallway and second-floor arcade running along the south side. The first-floor arcade has French doors that opened to a covered loggia, and offer views of the patio and pool.
Features in the living room include a fireplace with stone mantel and slanted cypress ceiling with stenciling. West of the hallway are the dining room, butler’s pantry and island kitchen, with stainless-steel appliances, granite countertops, tile backsplash and breakfast area with banquette seating.
The dining room has an art niche, small fireplace, walls painted terra cotta, yellow ceiling, antiqued gold woodwork around the casement windows and French doors that lead to a dining patio.
The main foyer opens to a stair hall, with a stone stairway, wrought-iron balustrades and arched glass windows.
Floors throughout most of the downstairs area are Cuban tile.
Upstairs and north of the landing is a guest-bedroom suite, with French doors that lead to balconies. Two charming rooms to the south, which the Tracys use as offices, were McKnight’s office and studio. Features include high-gloss white floors, built-in stucco shelving, skylight, Juliet balcony, stairway to the rooftop, a window seat and touches of pecky cypress.
The second-floor arcade, with one wall lined in bookshelves beneath the windows, leads to the master suite, with a sitting room, bedroom, large bathroom, balconies and arbor. The bathroom has a soaking tub, walk-in shower, marble and coral key stone floor.
Off of the pool courtyard is a dining pavilion as well as garage with second-floor guest apartment.
To the east of the house are Marilyn’s spectacular gardens with specimen trees, the out-buildings she loves, as well as a little hut with a thatched roof for the grandchildren. “Some Washingtonians have grown many feet since we’ve lived here,” Marilyn says.
Note: I don’t know why, but I love this house. Some say Marion Sims Wyeth was the architect, but he is not named in the story because Landmark report states that paperwork cannot be found on this house… If Dr. Curl was still alive, he’d probably know...
I had the pleasure of writing about the gardens a few years ago. Click here to see it.
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Tuesday 3 December 2013
Tis the season to gift shop, and oh what to buy? To get the creative juices flowing, maybe take inspiration from some former Palm Beachers.
How about a new home for your Beloved? In 1902, Henry Flagler built Whitehall for Mary Lily Kenan as a wedding present. With 75-rooms, 100,000-square-feet-plus, electricity, central heat, indoor plumbing, and telephones, the New York Herald noted that Whitehall was “more wonderful than any palace in Europe, grander and more magnificent than any other private dwelling in the world.”
Other gifts Flagler showered upon Mary Lily included Standard Oil stock, a diamond bracelet, a Burmese pigeon’s blood ruby-and-diamond ring and a 60-inch, opera-length strand of perfectly matched natural pearls with a 12-carat diamond clasp that cost $2 million. “According to Tiffany & Co., the necklace is the most expensive piece of jewelry it has ever sold, when corrected for inflation,” says Tracy Kamerer, chief curator at Whitehall.
Flagler frequently purchased wedding gifts, party favors for guests and personal gifts for family members from Tiffany’s. A holiday list from a personal letter details the purchase of “a locket and chain, powder box with puff, two fans, two silver vases, brushes, and an umbrella,” Kamerer says.
A display (at Whitehall) of the Flagler’s affections is a breakfast set of Limoges porcelain decorated with oranges, orange branches and leaves, made by Tressemann & Vogt between 1883 and 1908. “The Flaglers gave the set as a wedding present to Mr. and Mrs. Warren Smith around 1902. Smith was Mr. Flagler’s personal secretary before and while he lived at Whitehall. The set was imported by Greenleaf & Crosby, a jeweler that operated stores in Hotel Ponce de Leon and Hotel Royal Poinciana,” Kamerer says.
When it came to gift-giving, Marjorie Merriweather Post had a generous spirit, says Estella Chung, Hillwood historian and its curator of American Material Culture. But she was surprised about what she uncovered while researching for her book, Living Artfully: At Home with Marjorie Merriweather Post.
“I was anticipating extravagance, but, rather, I found tokens of holiday affections: Christmas wreaths, flowers, napkins, even turkeys,” Chung says.
Lists of gifts given and received are part of the museum’s research archives, she explains. “The lists were very much like accounting ledgers. She managed her homes so beautifully and she was a natural with numbers; the ledgers were an easy way to keep organized.”
Post, like Santa, made her lists, checking them twice. “She kept lists of gifts she received, checking off when she sent a proper thank-you note, and in reverse, checked off if she received a thank-you note.
“Here’s what she received as a holiday gift from Harry Winton. It just reads ‘Harry Winston, box of cheese.’
“And here’s an interesting exchange; she received flowers. She kept floral arrangements in all her homes. She had a green house at Hillwood, and she’d fly the orchids down to Mar-a-Lago in her plane, so flowers were a thoughtful gift.”
Chung notes a gift exchange with Ladybird Johnson: “Marjorie gave a donation to Ladybird’s pet project, a Society for a More Beautiful Capital, and then for Christmas, the First Lady sent Marjorie a basket of baked bread from the White House with peach and pear preserves from the LBJ ranch.”
Post gave subscriptions to the National Symphony, she was one of the main benefactors at that time, and she was generous with her lady friends and staff, says Chung. “She gave them luxurious hosiery after World War II when it was hard to come by and I remember seeing gifts of perfume back and forth.”
Upon interviewing Post’s Mar-a-Lago superintendant, Jimmy Griffin, Chung learned that Post gave a good friend, a socialite who had fallen on hard times, a job as her personal Christmas shopper. “Wherever the woman traveled, she bought gifts that she sent back to Mar-a-Lago. “
These were token-type present: scarves, picture frames, cocktail napkins, fancy paper party hats.
“Closer to the holidays, Marjorie’s friend was given a room to work from at Mar-a- Lago, and she would write up a list of what would go to whom. Then the presents were wrapped and sent.”
Life might have been hard, but Palm Beach’s settlers found time to celebrate the holidays, too. A 1979 Palm Beach Life “PB Dateline” article lists Christmas gifts given in 1891, recorded in an old ledger from Palm Beach’s first store, Edward Brelsford’s general store.
Mrs. F. E. Brown bought herself a pair of shoes for $2.25, and a collar for her husband at $1.25. E.N. Dimick bought currants, candy, shirts, two toilet brushes, one looking glass, one rattle, one violin, a picture frame, three handkerchiefs and a tiny copper kettle. He came back Christmas morning for a belt and a pair of drawers. George Lainhard bought olives, a picture frame, five pounds of flour and a rubber ball. Also that morning, R.R. McKormick bought six cigars and L.D. Hillhouse picked up a box of candy (for his wife?) for 30 cents and a rifle for himself, $16. John Climmson was the last Christmas Day shopper. He purchased candy, drawers, a shirt, coat and vest, socks, shoes, pants, suspenders, buttons, and then, from the look of his bill, went straight to Christmas service, the best-dressed man in church.
So Gift Givers, if you don’t have a personal shopper, don’t fret. Whether it’s a mansion or jewels, a thoughtful trinket, a pair of suspenders, an umbrella, or whatever the heart-of-your-heart desires, a shop on the Island (has always had and) will most likely have it, except for maybe the drawers…
This year’s trends:
Taking the temperature of gift giving in general, people are in high spirits for the holidays, according to a report by the American Affluence Research Center. 89% of the women and 72% of men surveyed expect to receive a holiday gift this year. Popular items on their gift lists include some form of currency (gift card, cash or check – 46%). Clothing (36%) comes in second. Books, CDs and DVDs (16%), jewelry (14%), iPad or similar tablet (13%), and sports equipment (13%) also made the wish list.
Spending is “up,” too, according to the Harrison Group and American Express Publishing’s 2013 Holiday Forecast.
Specific holiday spending trends include:
- Total U.S. consumer spending on gifts this holiday season is estimated at $71.3 billion: 7.7% higher than last year’s forecast of $66.3 billion.
- The 90% are expected to spend $50.6 billion, up 7.4% from last year’s forecast ($47.1 billion)
- The Top 10% (affluent and wealthy consumers) are expected to spend $20.7 billion, up 8% from 2012’s forecast ($19.1 billion)
Jim Taylor, vice chairman of the Harrison Group and the study’s director observed, “While holiday shopping will be conservative among the Top 10%, it appears that the 90% are opening their wallets as they return to more traditional holiday spending patterns after a dismal end to last year’s holiday season. The group to really watch is the Core Affluent. They are growing in size, boosting their spend and getting more and more comfortable with luxury brands as they do so.”
Written for the Palm Beach Daily News “Holiday Gift Guide”
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Friday 22 November 2013
It’s all about distinctive architecture – and how it relates to the site, according to the Frisbie family, which, over the years, has built a number of residential properties in Palm Beach, developed on “spec” without specific buyers in mind.
Corcoran Group photo by C.J. Walker
Take their previous residential project, an Italianate house facing the lagoon on the west end of Worth Avenue. With its three stories and narrow façade, it resembles nothing so much as a Venetian canal home.
This time around, their just-completed, $35.9 million house facing the lake in Midtown recalls the look of a stately Island Colonial-style governor’s mansion.
“My husband, Dave (Frisbie), and his brothers, Robert and Rick, have always loved that style, and this is their interpretation of that: mahogany, coquina and white walls,” said Corcoran Group real estate agent Suzanne Frisbie, who has listed the house at 445 Antigua Lane for sale at a price that includes the furnishings.
More specifically, historic Rose Hall Plantation in Montego Bay, Jamaica, served as an inspiration for the house’s design, adds architect Roger Janssen of Dailey Janssen Architects.
“It wasn’t intended to be a copied, but we were inspired by its relationship to the landscape – its main axis, the entrance and its orientation to the primary views – and, secondarily, its material vocabulary of stone, wood, tile,” Janssen said.
The roughly T-shaped house has two main axis: One runs east to west, leading the eye straight from the front door through the house to the Intracoastal Waterway, where there is 173 feet of frontage. The other axis, from north to south, bisects the first and ends south of the house at a massive kapok tree.
In all, the house and its separate guest house have 16,350 square feet of living space, inside and out, along with eight bedrooms, 10 bathrooms and three half-baths. The house stands on a cul-de-sac, four streets north of Royal Palm Way.
“The house is very traditional in its layout,” Suzanne Frisbie said. “You come into a center gallery. You know where you are the minute you walk in. You know how this house is going to unfurl. We love symmetry.”
And repetition, she might easily have added. There are three arched front doors that face three archways leading into the living room, three arched doorways from the living room to the loggia and three arched openings from the loggia to the back yard.
And then, at the end of a vista through the living room south to the library, a bay window frames the kapok tree and the surrounding gardens designed by Chuck Yannette of Parker-Yannette Design Group in Jupiter. The kapok is protected under the town’s historic and specimen tree ordinance.
“This is one of three kapok trees on the island, and, in siting this house on this lot, honoring that tree was very important to us,” Frisbie said.
And for materials, she noted, the white color is contrasted with mahogany crown moldings, wainscoting with raised panels, beams, coffered ceilings and trim, which give the rooms a bright look while emphasizing the fine woodwork.
Also on the south side of the house is the VIP bedroom suite, which has views of the kapok tree and the waterway. The dining room, off the main galley and north of the entry, shares a fireplace with the living room.
Wall of glass doors
The great room, family kitchen, breakfast area, staff kitchen and media room are in the north wing. In the family area, the entire west wall is made up of glass doors that fold back, accordion style, to access the covered loggia and its outdoor fireplace. The space lives like an indoor/outdoor room, with both areas decorated in shades of blue by Sara McCann of McCann Design Group.
“There are ‘hidden’ screens, so that you can be outside and enjoy a gorgeous day,” Frisbie said.
Both kitchens feature custom cabinetry, professional-grade appliances and sumptuous materials: Thassos subway tile, mahogany butcher block and blue Macuaba granite.
Upstairs, the master suite occupies the northwest corner of the home and includes a bedroom, sitting room, terrace and onyx-appointed bathrooms.
A suite of rooms in the northeast section can be used as exercise facilities or to house staff. Also on the second floor are three guest-bedroom suites.
The poolside guesthouse has a game room on the first floor and two bedroom suites above.
Scarce and rare
Frisbie noted that the property is among only 21 lakefront lots with more than 150 feet of frontage between the Royal Park Bridge and the Palm Beach Country Club.
“From the standpoint of scarcity and rarity, what this house has is pretty scarce and pretty rare,” she says.
Each of the Frisbie brothers brings skills to the development team.
“Dave worked for Gerald D. Hines Interests and has built skyscrapers,” his wife said. “He knows work-flow, budgeting, scheduling, sourcing. Robert has a degree in visual studies from Harvard. He’s a student of art and antiquities. Rick is a venture capitalist. The three have been investing in real estate since their days in college.”
Soon, the Frisbie team will be joined by younger family members, whom the family fondly refer to as “the Frislings.” They would be Robert’s daughters, Katie and Franny Frisbie, who have master’s degrees in real estate from Georgetown University.
And together, they’ll work on the family’s next residential projects, which are under development on Brazilian Avenue and facing the inlet on Indian Road.
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