The 1930s was a decade of political and social upheaval in the United States, and the art and visual culture of the time reflected the unsettled environment. Americans searched for their cultural identity during the Great Depression, a period marked by divisive politics, threats to democracy, and intensified social activism, including a powerful labor movement. Featuring more than 100 works from The Met collection and several lenders, this exhibition explores how artists expressed political messages and ideologies through a range of media, from paintings, sculptures, prints, and photographs to film, dance, decorative arts, fashion, and ephemera.
Highlights include paintings by Georgia O’Keeffe, Charles Sheeler, and Stuart Davis; prints by Elizabeth Olds, Dox Thrash, and Riva Helfond; photographs by Walker Evans and Dorothea Lange; footage of Martha Graham’s dance Frontier; and more, providing an unprecedented overview of the era’s sociopolitical landscape.
Ben Shahn’s (1898-1969) “Welders” (1943) was painted in 1943 when the United States government focused on defense efforts during World War II, it gradually disbanded Works Projects Administration (WPA) projects officially closing the WPA in 1943. Many former WPA artists went to find employment through other public ventures. Shahn worked for the graphics division of the CIO-PAC the United States’ first political action committee, which had been set up to sidestep new restrictions on the financial contributions unions could make to political campaigns. “Welders” which invokes racial solidarity in the work force, was reproduced as a poster that read, “for full employment after the war, register to vote.”
The Museum of Modern Art, New York, purchase 1944.
“Lower echelon” Bordeaux continues immigrating to Canada holding its own against “value” reds from Argentina, Chile and Spain. Bordeaux has a grand reputation and huge prices for its top “first growth” wines that has a few wine consumers running merely hearing the word “Bordeaux”. Most of the “lower echelon” wines are fairly good to excellent. Let the 1% revel in high-cost status grape juice if that is what they want.
In this case we try a Château La Gorce 2018 Médoc. The blend of Cabernet Sauvignon and Merlot are blended after separate fermentation and then the wine is aged in oak barrels for 12 months before bottling.
Aroma: We have a “burly Bordeaux” with power and muscle nowhere elegant and dainty. Let’s call it firm. Blackberry, cassis, black cherry and a hint of dark chocolate.
Palate: Dusty tannins. Power simmering with every sip. Big time Fifth Avenue swaggering blackberry waiting for a Mercedes limousine outside the private residences of the Plaza. Residual sugar congregates at the tip of the tongue. Full bodied but not a hot finish.
Palate: I may have YMCA cost but those big fat rich New York capitalists can guzzle their Château De La Snob at Porterhouse or Per Se at the Time Warner Centre at Columbus Circle but just let’s have some fun at Angelo’s Coal Fired Pizza on 3 West 57th 6 minutes away from all the pretentious shenanigans at The Plaza.
Bordeaux for the masses? : Photo Robert K. Stephen
Food Pairing: A nice spicy pizza at Angelo’s please.
The 1930s was a decade of political and social upheaval in the United States, and the art and visual culture of the time reflected the unsettled environment. Americans searched for their cultural identity during the Great Depression, a period marked by divisive politics, threats to democracy, and intensified social activism, including a powerful labor movement. Featuring more than 100 works from The Met collection and several lenders, this exhibition explores how artists expressed political messages and ideologies through a range of media, from paintings, sculptures, prints, and photographs to film, dance, decorative arts, fashion, and ephemera.
Highlights include paintings by Georgia O’Keeffe, Charles Sheeler, and Stuart Davis; prints by Elizabeth Olds, Dox Thrash, and Riva Helfond; photographs by Walker Evans and Dorothea Lange; footage of Martha Graham’s dance Frontier; and more, providing an unprecedented overview of the era’s sociopolitical landscape.
In “One Third of the Nation” (1939) Louis Guglielmi (1906-1956) responded to the horrific living conditions, mass poverty and general social unease brought about by the Great Depression with this work. Its title refers to President Franklin Roosevelt’s second inaugural address in which he declared, “I see one third of the nation ill-housed, ill-clad, ill-nourished…The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little.” In the painting, coffins litter the city block lined with lifeless tenements, and a funeral wreath adorns the building at center.
The Metropolitan Museum of Art, New York, Gift of New York City
Inspired by stories by the writer and director’s grandfather the award winning “Nisei” follows the journey of two Japanese American brothers during World War II, John and Minoru Miyasaki. Although many Japanese Americans were interned in “segregation camps” John and Minoru volunteered to join the 442nd Regimental Combat Team an all Japanese American unit that sacrificed everything, to prove loyalty to a country that did not want them. Can you imagine the emotional difficulties these Nisei (second generation Japanese Americans) faced balancing their Japanese heritage against their insistence in proving their loyalty to the United States. The 442nd fought in Italy and Minoru paid the supreme price.
The 442nd called for 1,500 volunteers but close to 10,000 Nisei volunteered. The 442nd based on its size was the highest decorated unit in United States military history. Fifty-five years after the war 20 Nisei in the 442nd were awarded the Medal of Valour.
Nisei shows with two other shorts on 29November 2023 at the Crescent Theatre in Beverly Hills California. After the shorts are screened there will be a Q&A with filmmakers moderated by Renee Tajima-Peña.
“Nisei” was written and directed by Darren H. Rae.
What is the annual Wine and Travel Week? A conference and a key wine tourism event bringing together influential professionals and decision makers from around the world. It is a week of intense networking for vendors seeking to sell wine tourism products and buyers that are in the market to buy wine tourism products. It is expected there will be some 30 journalists present with proven wine tourism experience including knowledge of the global wine tourism market. Appreciation and the understanding of gastronomy is essential.
Where and when? The 2024 Wine and Travel Week will be held in Porto, Portugal on 18-25 February.
There will be a Wine and Travel Week Talk. There will be an internationally recognized expert who will address a topical issue pertaining to the wine tourism business and debate it with exhibitors, buyers and the media.
Photography by Fabrice Demoulin
There will be wine and food experiences: There will be lunches, dinners and parties in Porto 18-20 February. The goal is bonding and networking. Expect food prepared by top Portuguese chefs and at least 10 Portuguese wines per meal.
Dinner at The Azores Wine Company on Pico Island in the Portuguese Azores: Photo Robert K. Stephen
There will be B2B Meetings: International exhibitors and buyers will be set up for 40 pre-scheduled meetings. All those responsible for wine tourism projects, agents and tour operators, tourist entertainment companies, specialists, associations and other professionals in the field will be able to participate. Special care has been taken regarding hosting of visitors, the choice of venues and selection of attendees, making this a global event dedicated to luxury wine tourism perfect for positioning projects and brands.
Photography by Fabrice Demoulin
There will be post Porto tours of Portugal’s wine tourism centres: Planned in detail with Portuguese wine tourism regions these programmes explore the cross-selling between wine and activities that mark the identity of each region. Choices between The Azores, Alentejano, The Algarve, Central Region, Lisbon, Porto and North Portugal and Madeira. Prepare yourself for an intense experience that transcends a glass of wine. A tremendous opportunity to network and bond and meet tourism and regulatory officials, chefs, tour operators, media representatives and visit cultural sites. Buyers and media representatives will be asked to make two choices as to their preferred destination. If you are going to the Azores as I did last year be prepared for several flights but you will be rewarded to lush and spectacular scenery, luxury accommodations and seafood excellence. The “side trip” will be 2-3 days and will be conducted with small groups. There were 10 in mine.
Landing on Pico Island in Portuguese Azores: Photo: Robert K. Stephen
There will be a massive wine show called Essência do Vinho in Porto from 23-25 February: Essência do Vinho predates Wine and Travel Week held since 2004 this event brings together producers from all of Portugal’s wine regions, promoting a programme of 40 plus themed masterclasses and experiences bringing an international delegation of on and off trade professionals to Porto’s Palácio da Bolsa a UNESCO World Heritage site and perhaps one of Porto’s most emblematic building. I was enthroned in a ceremony here becoming a knight in the Order of Brotherhood and where I learnt that Vintage Port paired with Portuguese ox should be shared with the world! The general public may attend by paying admission.
The author being enthroned as a knight in the Order of Port Brotherhood at “The Bolsa” in Porto
Media invitation requires registration: Some 30 media representatives will be selected to cover the event. Journalists who have an absolute passion for the world of travel and travel linked to wine tourism particularly experiential travel have a leg up to be “accepted”. This would be considered a press trip with flights, meals and accommodations provided at no cost to a media representative. If you have been on wine-based press trips you realize no amount of money can buy an experience like this. You will have access to B2B meetings, lunches, dinners and parties. Accommodation included. You will also be able to book meetings directly with exhibitors and buyers, have presence on app lists with links to your website (s). You may also have access to the massive Essência wine show in Porto on 23-24 February.
What an evening with s singing winemaker on Pico Island!: Photo Robert K. Stephen
Wine tourism buyers require registration: Basically entitled to same benefits as media representatives.
Wine tourism vendors require registration: Vendors who can offer products with character and culturally immersive moments based on territory, heritage, wine and gastronomy.
Wine tourism exhibitors require registration: A fee is payable of 2,600€. Access to B2B meetings, lunches, dinners and parties with special hotel rates offered.
For my article on what wine tourism is you can check it out herehttps://www.winetravelweek.com/article/o-que-e-o-enoturismo-en .
The concept of wine tourism involves more than simply visiting a winery sampling wines and perhaps taking a tour of the vineyard and the cellars. Pardon my triteness but if you visited a few wineries have you visited them all? Terribly boring and repetitive after a time. Wine tourism necessitates businesses, tourist authorities, restaurants, wineries, providers of accommodation and governments work in tandem in order that these separate components firstly realize they must work together to create a symbiotic relationship and then draw up and execute an action plan. For example you visit a winery what better way to truly discover wines than consume wine with food. Does the winery have a restaurant, bistro or some light snack area? Are there restaurants close to the winery offering a gastronomic experience? Are there recognized “tourist sites” nearby? Are the wineries offering experiences such as musical events or offering specially catered events prepared by local chefs. Yoga or painting classes in the vineyard? Virtual cooking lessons including pairing of wines with the food being prepared? Each one of the gastronomic, touristic, governmental and winery components are in a symbiotic relationship as each benefits from wine tourism.
I attended the initial Wine and Travel Week in Porto, Portugal last February and had the opportunity to see how wine tourism works in theory and practice. There were regional Portuguese and international exhibitors. The concept of wine tourism is simplistic isn’t it! The difficult part is to establish it and that requires vision, a will to work in a symbiotic relationship and governmental funding.
Upon my return from Porto when visiting winery websites in the EU, Chile and Argentina I noticed many wineries have a tab to click “Wine Tourism” where they describe what wine, gastronomy and accommodations are available at the winery or nearby. They may offer linkages to tours of the area or offer them to patrons. I fail to see that tab in any convincing fashion in Canadian winery websites. The wineries are aware of the advantages of symbiotic touristic relationships but is there any vision to drive awareness into a unified approach?
And I don’t hear much about provincial or federal governments providing much funding to promote Canadian wineries abroad. Niagara wineries in Ontario are proximate to Niagara Falls, gastronomic establishments and numerous historical sites all solid selling points. At Wine and Travel Week I was taken in a group of 10 from Porto to Pico Island in the Azores. Eight were tour operators who looked at me in a puzzled fashion as I took notes on wines tried at Pico Island wineries. They happily drank (no spitting!) the wine. All they were interested in was there local wine and what were the local sites and what quality were the accommodations and what was a tourist to do to have fun! They asked why if Canada has such tremendous sights and a significant amount of wineries why weren’t there any Canadian exhibitors taking advantage of a rich base of tour operators to sell Canadian wine tourism. I ask myself why it is easier for me as a wine writer in Toronto to secure press trips to the EU to discover Euro wine tourism than it is to secure a funded invitation to the Okanagan a fantastic wine producing region. The answer I received, “No money”.
Perhaps my next step is to determine what funding is available to Canadian wineries from governmental authorities to promote Canadian wine tourism abroad.
Seeing the promo material for “The Job of Songs” and the words “traditional Irish music” I experienced very Canadian flashbacks of television shows “Don Messer’s Jubilee” and “The Pig and Whistle”. Teen PTSD!
Forcing myself to watch this Irish documentary was not easy. It took me three days of “yes watch” and “no watch”. As the credits rolled it was more like “glad I watched”.
The documentary focuses on the music and musicians of Doolin, County Clare in Western Ireland a picturesque small town situated near the famous Cliffs of Moher. Initially minutes with interesting musicians and that awful foot tapping of what the uninitiated may label as “Irish Pub Music”. However the musicians of Doolin go beyond what I dare say most ignorantly but from the heart this is music addressed to the many tourists that visit the Cliffs of Moher sort of like a bus tour of Americans in from Dublin.
Thankfully the music shifts from rollicking pub music to a more soulful style of music and we hear fascinating story of the musician’s memories, aspirations, and fears. Music is music isn’t it? Well sort of right? These Irish musicians could be members of The Grateful Dead in human terms. What comes out of their mouths and from their instruments may be different but in a soulful impact to their audience the job of music weaves its spell. Given a different musical bent I can easily picture Jimmy Hendrix playing the acoustic guitar in a Doolin County Clare pub. Am I confusing you? If I am not confusing you then you will transcend musical styles and penetrate the soul of musicians. And if you love Irish music revel in this film.
Although many talented and insightful music rolls toward you one number knocked me right over somewhat like the extreme left wing of Irish “traditional music” was a ballad by Katie Theasby. Move over Adele and Petula Clark be aware Katie has arrived in town. Pure Irish soul! Papa’s Got a Brand-New Flute!
This skillfully layered documentary was directed by Lila Schmitz and Anika Kan Grevstad.
“Because he knows you have to laugh at the things that hurt you just to keep yourself in balance, just to keep the world from running you plumb crazy. He knows there is a painful side: he knows my thumb smarts and his girlfriend has a bruised breast and the doctor is losing his glasses, but he won’t let the pain blot out the humor no more’n he’ll let the humor blot out the pain”.
Ken Kesey, “One Flew Over the Cuckoo’s Nest”, 1962.
The Danish film “Rose” is an epic physical and spiritual journey of Inger (Sofie Gråbøl) on a bus trip from Denmark to Paris. Inger is institutionalized with schizophrenia but she is sufficiently functional (if not driven) to travel with her sister Ellen (Lene Marie Christensen) and husband Vagn (Anders W. Berthelsen) on a group coach tour to Paris from Denmark.
What follows on the screen is a riveting journey of mystery, suspense and disappointment for Ellen, Inger, Vagn and the entire group of coach passengers. The louder your anguish manifests itself near the conclusion of the film the more successful it is and considering the director is Niels Anders Oplev of The Girl with a Dragon Tattoo success is not surprising. You will be up and down with a full range of emotions to the point you must concede this film, just under two hours, is indeed an epic.
Inger’s mental illness is accepted by just about all the coach passengers except for the prig Andreas (Soren Malling) a tiresome, misguided and weak moralizer. But Inger can be charming and witty at times and paranoid at other times. Sofie Gråbøl delivers a masterful performance as Inger.
Learn about what triggered Inger’s schizophrenia. See sisterly love clash with an overbearing and protective mother. Question why children may accept mental illness and try and pierce it and form a bond with a mentally ill fellow human being. Who exactly is Rose in the film and is she killed off by the demon Goldensun? And finally the obsession of Vagn to visit Princess Di’s underpass crash is crucial to the fate of Inger.
And finally enjoy the sights of Paris. On my last two visits to Paris I stayed at a friend’s condo just around the corner from the Pont de l’Alma underpass where Princess Di uttered her last words. Having been to all the tourist spots in Paris and of course Versailles I felt strangely at home in a Paris outside the tourist enclaves and the film has me aching to return.
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