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CONTRIBUTORS
When a friend calls to announce he is staging an
impromptu tarot card reading at a country and western
bar for charity that evening, there is nothing to consider.
This is an opportunity to dress like Stevie Nicks on a Sunday
night at a saloon named Horseshoe. A genuine reason to
unearth the moonstone cuffs and velvet cape, a chance
to let loose among strangers (not on stage) and feel just
like a white-winged dove—this is pure magic, frankly.
The nostalgia of these things stays on only for the night
ABIGAIL R. ESMAN is an award-winning freelance writer based in
New York and the Netherlands with over 20 years of experience
writing on art and design. A contributing editor at Art & Auction‚ her
articles and essays have also appeared in Vogue‚ Esquire (Holland‚
Town & Country‚ Artnet.com‚ Art & Antiques‚ Artnews‚ and more.
In addition‚ her reporting on post-9/11 politics in Europe for Salon.
com‚ The Christian Science Monitor‚ Foreign Policy‚ and The New
Republic has received worldwide attention; her book on the
subject‚ Radical State‚ will be published in May‚ 2010 by Praeger.
SAXON HENRY‚ a journalist with a passion for design and
architecture‚ has written for The New York Times and an array of
shelter publications. A contributing editor to Miami Magazine‚
she also writes for Delta Sky‚ Latitudes and Cayman Airways Skies.
Her book Four Florida Moderns has just been released by W.W.
Norton & Company‚ and an article surveying Miami’s avant-garde
architectural heritage will be published in The Collection‚ a new
luxury travel magazine from British Airways.
because now is not the time. Winter is the season hot and
heavy on memories and slipping back, but summer wants
nothing of it. Summer jumps into a cab and says, “Take me
anywhere!” with the impetuous wave of the hand.
A fever with a capricious side. We’ll take it, and we have,
acquiescing to a hot-blooded epiphany that sounds like
ANASTASIA KRUGLYASHOVA is a Chicago-based multi-lingual
international journalist specializing in art and style. Upon completing
her MA in Art History at Richmond University in the UK‚ she worked for
the BBC for several years before moving to New York to join the staff
of Louise Blouin Media‚ the world’s premier art publishing group.
She currently divides her time between freelancing and translating
the works of Russian authors into English.
a double-dare from a highly convincing co-conspirator:
“Why not?” So why not deviate from the regular plan,
detour slightly from the expected moves; why not visit a
set created by a Hollywood production designer instead
of a home; why not devote a spread to unconventional
wedding gifts rather than engraved practical ones, and
MICHAEL SLENSKE covers art, fashion, music and occasionally
politics and has written for Men's Journal, The New York Times, and
The Atlantic. He also writes regularly for the websites of Interview,
Art In America, GOOD, and ArtInfo.com. His dog, Paris, is a black
lab named for the city, who curled up on the couch with him when
he reviewed the Rose C'est Paris film.
linger over the slow churned, art-erotica of Paris as distilled
by the sensational Bettina Rheims and Serge Bramly and
not apologize for it. I can think of no good reason.
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JUDITH TURNER-YAMAMOTO Art historian, critic, award-winning author, curator, and features writer, Judith Turner-Yamamoto’s articles
and reviews have appeared in such publications as Elle, The Boston
Globe, Finnair Blue Wings, The Los Angeles Times, Travel & Leisure,
Southern Accents, and City. She was a collaborative partner in
developing “Invitation to Helsinki,” a program building relationships
between Washington, DC and Helsinki. She is projects director for
the Global Tree Project, an international art initiative that seeks
to open and affirm connections between audiences and the
natural world and is at work on First Japanese, a memoir of a
global romance.
EDITOR IN CHIEF
CARLOS BARBOSA Production Designer Carlos Barbosa hails
from Bogotá, Colombia. As a trained architect, Carlos started his
professional career in New Orleans as staff designer for the 1984
Louisiana World’s Exposition. Recruited by architect Charles
Moore’s Los Angeles firm of MRY, brought him to Los Angeles where
the world of designing for the silver screen became a daily reality.
His first credit was for Roger Corman’s film Ultraviolet, and the rest
is history. Today Carlos’ work as a production designer includes
24,
Lost and CSI-Miami among many others.
