March 24, 2005
Eric Orr
by Liberation Iannillo
Though graffiti has its roots in Philadelphia, by the early 70’s New York City was ground zero for this wild new form of expression. In 1971 The New York Times spoke with an artist from Washington Heights by the name of TAKI 183. Working as a messenger he frequently tagged the subways while out making deliveries. Though he wasn’t the first graffiti writer, he brought attention to this new subculture of artists. With New York City quickly becoming saturated with graffiti, the writers welcomed the challenge of finding new ways to stand out in the crowd. One of these artists was Eric Orr.
“I started writing in ’73, ’74 with a guy named Iron Mike. At that time everybody was a writer, there was so much going on, there were so many tags, so many burners, top-to-bottoms, and full cars. I did my share of tagging inside the trains and I filled in for a couple of people but I just wanted to do something a little bit different.”
After graduating high school in 1979, Orr received a scholarship to the Art Students League in New York City where he studied graphic design. He also studied at the School Of Visual arts where his class was given a project that required them to redesign the Scholastic Magazine logo. “Everybody put their designs up and it was hundreds of scholastics done in so many different ways,” says Orr, “that was a turning point for me. You could actually take one word and do millions of renditions and every one of them is good.”
“That’s where I came up with the idea of doing an icon,” says Orr. “I didn’t want a name because everybody had names, some had names and characters. They were taking characters from the cartoons we grew up on. Nobody took the actual icon as their nom de plume.” That’s when Eric came up with the idea for his “Robot Head” character, whose name was given by the late, great Keith Haring.
By 1984 both Keith and Eric had claimed the New York City subway system as their own public canvas, though they had yet to meet. Using only chalk, they filled the dank subways with their user friendly icons while taking notice of each others work. “I was going downtown one night and I saw his radiant baby and dancing dog drawings (in the subway) and I was like, man he’s on to something,” Eric says, “It’s different and it’s simple. I love simplicity.”
The two finally met at The Roxy during a break-dance competition that Swatch had sponsored. “I walk in and I’m wearing a new t-shirt I had just printed with my icon on it,” Orr recalls. “So I’m hanging out, the music is going, it’s that whole 80’s atmosphere. Then I see this figure coming walking towards me and I was like ‘yo, who’s this cat coming up on us?’” It was Keith Haring. “He was the one who named my character, he said, ‘you’re the guy that does that robot head!’” Haring joked that Eric was taking up his space and told him how much he had liked his work. Keith was leaving shortly for Milan but suggested they go out and work together when he returned. “When Keith came back I got a phone call and he said ‘are you ready to do some work?’ I met him at Astor Place and we ended up doing thirty stations together. And that’s how I got noticed.”
Eric began designing logos for people in the music industry like close friend Jazzy Jay. “I started doing logos for rappers,” says Eric. “I didn’t leave the graffiti thing behind, I just made it work for me in another way.” Over the past ten years, Orr has made a name for himself as a graphic artist boasting an impressive list of clients including Afrika Bambaataa, The Cosby Show, Public Enemy, Fat Joe and Jive Records.
Recently he was included in Tag The System’s group show along with Futura 2000, Lady Pink and Mars 1. Soon Eric will be heading to San Francisco where he’ll be painting a room in the Hotel Des Arts, a hotel opened in 2004 that features rooms painted by well known artists. His busy agenda also includes a show in Sydney, Australia with Jeremyville and Scratch Worldwide Media group show in March.
“For any young artist coming up, you can’t just sit there and hope that somebody’s going to discover you. Anybody you know that’s famous, it’s not by accident. It’s never by accident. You have to do your homework.”
On The Web | www.bravemind.com/ericart/ericartindex.html
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March 17, 2005
Versani
by Mikal Saint George
Versani is as much a state of mind as it is a design concept. Pieces are bold without being overbearing. Gemstones, be they garnets or diamonds, are luxurious but not ostentatious. It is rare to find an emporium in the elitist land of Soho where you can purchase a snakeskin and sterling silver choker for you rock star boy/girlfriend, a turquoise pendant for your mother and a custom designed platinum and diamond engagement ring all in the same place. Welcome to Versani.
Born and raised in Liberia designer Ara Mansour began as a dental technician and switched gears into jewelry design. Originally the collection was designed mostly for men. This is evidenced by heavy links and chains adding a generally masculine, almost gladiator like effect to many pieces. There is also the unexpected and liberal use of materials such as wood, exotic leathers and denim that further add to the overall aggressive feel of many of the pieces
Of course, in the urban warfare that is fashionable New York, gender lines were quickly blurred by femme fatales that could easily flatten any man. As sisters started doing it for themselves with Versani, a women’s collection was born. Today many pieces are completely interchangeable among sexes and all retain the same strong, almost armor-like signature style of Versani while remaining eminently wearable.
A trip to the newly expanded flagship Versani store on Mercer Street (there are also locations on Mulberry Street in Manhattan as well as South Beach in Florida) is like a journey to an exotic oasis where treasure seems to flow from the very walls. An eclectic symbiosis of styles, incorporating soothing Asian influences juxtaposed against rustic, free-form natural elements with just the right amount of gleaming 21st century technology. The space is as much a part of the Versani experience as the transforming precious metals and jewels.
The ingratiating staff – many of whom look as if they belong on a runway in Milan – know their product and have an innate sense of what will work for each client. Consultations with the designer and custom designs are available and there is talk of a possible house-wares collection and even a clothing line in the future. Price points range from $20.00 – $25,000.00 so break a 50 or break the bank, just have some fun!
- Mention that you read about Versani in Trigger Magazine and receive 10% off your next purchase.
On The Web | www.versani.com
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March 15, 2005
Amos Badertscher
Illegal To See:
A Portrait Of Hustler Culture By Amos Badertscher
Leslie-Lohman Gallery
March 15th - April 23rd, 2005
by Dennis Spafford
A monk asked Kegon, "How does an enlightened one return to the ordinary world?" Kegon replied, "A broken mirror never reflects again; fallen flowers never go back to the old branches."
-Zen Koan
Perhaps this Zen Koan used for meditation will make more sense after you see the Amos Badertscher exhibition which is currently being shown at the Leslie-Lohman Gallery in Manhattan. With terrible accuracy, Amos Badertscher succeeds in conveying one of the saddest realities in our society and enables us to experience a unique brand of compassion.
The exhibition showcases Badertscher's collection of photographs that he made of male prostitutes from the Baltimore area between the early seventies until recently. Written on the borders of each photograph is a brief history of whom the picture is of. It is the combination of these images along with learning a piece of their story that we the viewer are pulled into the lives of these lost boys.
"Danny L. (born 1982) has been petty much on the streets, using drugs + hustling men. Probably from the age of 10 or 12. Today, this is his sole employment. He has had throughout the years, several girlfriends (some also on heroin) and two sons, one born in 2000 and one in 2001. Despite this arrangement, Danny freely admits his bisexuality and his attraction to men and some male peers. Immature, impractical and emotionally fragile, he has lived at countless locations since 15 and has attempted suicide a number of times, particularly when his girlfriend threatens to leave him.
Sexuality is totally fluid and he prefers older men who will ensure continuing shelter and drugs."
-Danny Summer 2001, Silver gelatin print, 2001, 10" x 8"
And it is here, inside this dark vacuum we find ourselves peering into, that we truly (perhaps for the first time for many) understand what it must be like to be in their shoes. This frightening reality check gives us a completely different perspective on what it must be like to be a hustler, and crushes any superficial fantasies one mind may have had.
Yet with this fresh consciousness, we must also examine the nature and content of these photographs. As amazingly honest and telling these photographs are, it is also important to understand the motives of the artist.
Badertscher makes it quite clear, through his photographs, that he has a sexual interest in young boys. It does not take a great imagination to presume that he was in fact a customer of these boys. This having been said, it is by no means meant to render the boys victims of Badertscher. Rather because of circumstances of varying degrees, these boys sold sex for money or drugs, and Amos Badertscher was their client who also paid the boys to pose nude for photographs. Under this light, which is non-art historical and non-interpretative, we might be able to view these photographs differently. The question we must ask ourselves is; Are these photographs Art or child pornography? While pondering this question also take note that Badertscher never had an exhibition until 1995. 20 plus years of photographs which were never intended to be shared, never meant to illuminate an unknowing public. This fact alone might lay bare Badertscher’s motives in some people's minds.
It is my belief nonetheless, that his collection of photographs are a chronicle of a world invisible to mainstream society, but even more so a vehicle of self-fulfillment and sexual domination for Badertscher over his subjects.
But the condemnation of Amos Badertscher is not my objective. Unwittingly he shares with us the secret sexual lives of a gay subculture. These boys were and are products of a society which deems them perverse. Desperate and alone these boys peddled their young bodies for drugs nobody cared if they used, they sold their innocence for comforts no one offered. Amos Badertscher bared witness to their lives (as well as giving them means to survive upon) and if it were not for him, their faces and their stories would have faded into oblivion. It is through his pictures that we see the face of the hopeless.
This exhibition has the power to enlighten the ignorant, yet at the terrible cost of excepting with complete responsibility and understanding what the photographs really are of.
Leslie-Lohman Gallery
127-B Prince Street, New York, NY
www.leslielohman.org
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March 13, 2005
David Hochbaum
by Jessica Cogan
He belongs to an artists’ collaborative called Goldmine Shithouse. He’s played in a band named Murder Baby. He creates collages of demons, monsters, angels and disembodied human parts. He collects ladders. And he has a cat with whom you should avoid eye contact.
David Hochbaum is one strange fuck. But aren’t most of the people worth knowing?
David lives and works in the East Village creating a surreal world of fantastic constructions in his multimedia pieces. Never boring, always complex and original, David’s pieces invite long study. They are an amalgam of wood, metal, photographs, oil, acrylics, varnishes, pencil and ink. Thematically, they contemplate religion, sex, science and the occult. They reflect the influence of mythological imagery, astronomy, history and icons both religious and secular.
“There are so many influences I can hardly begin to list them,” David explains. “I can say I love German woodcuts, illuminated manuscripts, the Dutch Masters and medieval grotesque, classical German horror film makers. I can’t limit my inspiration to these though. There is so, so much more.”
Beginning with photographs, usually of people he knows, Hochbaum layers images and words in ink, oil and varnish on wood. His subjects often become hybrid creatures - humans blended with horses, fish, birds. “I like to cross the lines between creatures to make mythological icons.” The mythological icons often exist alongside Christian ones – saint- and angel-like characters make frequent appearances.
David’s been accumulating these visions since his childhood. He was raised just outside of New York City by immigrant parents, Polish hippies, to be exact. “They were less hokey than American hippies, I think,” he says. “More drugs. More blood sausage and sauerkraut.” His father, a photographer himself, often took him into the city to hang out with hippy friends. David’s mother introduced him to the city’s museums and galleries. As a teenager, David found escape from high school in exotic New York - an easier place to be an oddball.
His early interest in art blossomed while attending the School of the Museum of Fine Arts in Boston. There he worked with photography and discovered that photos can be more interesting when embellished – so he began painting them. His experimentation with collage is what was ultimately most satisfying, finding it “simple and immediate.”
In 1995, David moved to New York to continue his work, exploring combinations of media and imagery. After a pair of painful breakups, David and fellow art school grad Travis Lindquist got together one night to drink and draw. It was so cathartic, they decided to do it again. Soon they were joined by Colin Burns and began meeting every Saturday night. Each artist would contribute his own ideas and inspirations to a piece and amazing work would take shape. Other artists and friends began coming by, contributing and dropping in and out of the communal project. But David, Travis and Colin were the core. “I don’t know how to explain how we work so well together,” David says. “All I know is that we clinked instead of clanged.”
The trio call themselves Goldmine Shithouse (GMSH). And as their magic is in the doing as much as the finished product, GMHS routinely takes up residence for 7-10 days in a gallery to share the process of their collaborative creation. The gallery pays for the supplies, the food, the drugs, and the booze. In return, GMSH lives in the space, creating an atmosphere of energy and excitement – and producing 40-70 finished pieces.
The result is work that is paradoxical: funny and dark, accessible and obscure, beautiful and odd, classical and pop. Their compositions combine drawing, painting, photography and graphics. And people are drawn to the contradictions in the work, especially when they’ve witnessed its genesis.
For the individual artists involved, GMSH has been an inspiration. David explains the work as therapeutic – “like Yoda for art.” It allows the artists to take risks collectively that they may not individually. “The work is more spontaneous and organic. We take more chances.”
Both David and GMSH have shows scheduled for this year, and they’re sure to draw big, curious crowds. As part of the collaborative or alone, David Hochbaum offers those who see his work an opportunity to visit a dark, crazy, funny, beautiful world. And you couldn’t find a more suitable tour guide.
On The Web | www.davidhochbaum.com
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March 5, 2005
10 Questions With Skewville
1. Where did you guys come up with the concept for the airborne kicks?
The Urban Legend of tossing dogs is decades old. We flung up our old kicks just like everyone else growing up in New York, it was all about representing your 'hood. As we got older, we knew about the myths of hanging sneakers - like they represent where drugs were being sold or where someone has died. It was the fact that it was undefineable that intrigued us to continue our childhood mission.
2. Have you ever injured anyone, yourselves included, in the launching process?
So far, Droo was the only one wounded by this mission: Once when I was in Amsterdam I kept missing this really high wire in front of a coffee spot. The kicks kept hitting some motor bike in the corner. After 7 times, a foreign dude barged out cursing and from about 10 feet away nailed me in the face with a Lungie - It did hurt a little.
3. How long does it take to fabricate a typical pair?
No pair is typical. The manufacturing of hand crafted wooden dogs is a selective process. Each edition is created for a special mission. Most are silk-screened on wood for mass tossing, some are stenciled for specific countries. And then there's the rare custom made one-of-a-kinds.
4. What do you look for when choosing a location?
Location. Location. Location. It means jack shit if there are no wires around. But usually the right spot has something our shoes can hang off of like tree branches, lamp poles, flag poles or even signage. “For us,” says Ad, “tossing sneakers is more about letting people know that Skewville have been here.”
5. How did your dogs find their way to Africa?
Droo's wife is from South Africa, so he’s been there a few times already. You’re allowed 70lbs of luggage each on the flight. His bag was all wood. “I hit Cape Town, Joberg and Durban – twice,” Droo says. Her Father has a sick machine shop where he made the first all metal editions. So he smuggled back 70lbs of metal.
6. If you could target a celebrity home, who’s would it be and why?
It’s more about public spaces, celebrities live hidden in the hills. Maybe they’ll see the many pairs we hung on Melrose Ave. - when their noses are up in the air.
7. What do you find to be most inspiring about New York City?
The competition here is very inspiring. Everyone is trying to out-do everyone else by putting stickers over tags and throw ups over stickers and then wheat pastings over that. Our philosophy has always been to go beyond. We’re most inspired by NYC when we leave it. It’s amazing how many people from around the world want to live in NYC. As native New Yorkers we realize the grass is always greener but the truth is the hype is right!
8. Now that The Gates has warmed people up to the idea of public art, can we expect to see dogs in Central Park?
There isn't a fine line between street art and the fine art world. The media has jumped hard on the street art bandwagon lately. By the way, we threw our dogs in the park about 3 years ago. We’re now more about expanding the meaning of Skewville beyond our sneaker missions. New works include urban installations with new materials and applications, like the development of our stamp technology.
9. Have you had any run-ins with any goons from Bloomberg’s ‘Vandal Squad’?
The vandal squad's job is to catch toy taggers. Our stuff is way over their heads.
10. Disregarding the law altogether, is there anything else you’d like to throw at power lines?
No, we are gonna keep it real. We’ve been chucking shoes for years. However, we like it when other people throw things up in the sky. It shows the movement is growing. In Seattle someone threw up stuffed animals after we hit the area. In New York, we spotted computer mouses, plastic alligators and even red bull cans chucked on lines.
On The Web | www.whendogsfly.com
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Ellie Covan - Dixon Place
Interview by Mikal Saint George
Photos by Evan Sung
For more than 18 years, Dixon Place has been a burgeoning artist’s fantasy playground. Part 19th Century Parisian salon, Part 20th Century bohemian, beatnik crash pad and now poised to be a 21st Century powerhouse, Dixon Place has managed to defy description while simultaneously defining the downtown theatre scene in its purest most elemental form. Dixon Place is a laboratory for artistic experimentation, a Petrie dish for creative ingenuity, a public microscope to study embryonic work and most importantly, an incubator to nurture the frailest of artistic endeavors, passions and creative visions.
The undisputed Queen of this Bowery empire is Ellie Covan. She has lovingly transformed her living room into the launching pad for the likes of John Leguizamo, cultural icon Eve Ensler, downtown fixture and HBO star Reno and the legendary and now international phenom that is Blue Man Group, just to name a few.
I had the opportunity to sit down with the unassuming doyenne over Chai tea and hand rolled cigarettes to discuss the long, strange journey that has lead to Dixon Place as well as art, literature and well-appointed 16th Century dungeons!
Mikal Saint George: How did Dixon Place get its start?
Ellie Covan: It started in Paris, in 1985. I had been traveling in Morocco, then I was in Spain for a few months and then I went to France and naturally I ended up in Paris. Of course, I didn’t know anybody there and I didn’t have any money left or a place to stay. Through a series of good fortune I wound up meeting an American businessman that had just moved into this apartment and he was going to New York on business for the whole summer. He said, “Well, I just moved in and everything is in boxes but if you want to stay here for free, it’s fine. The only thing I ask is that you do not let anyone come in here.”
No problem, I don’t know anybody anyway! Within a week I ran into Carol Lipton, this American ex-patriot designer that I had known in New York and I told her where I was staying. She came over and just thought the place was fabulous. She wanted to invite some people over and since I had no money she said they would all bring food. She invited five women and twelve people showed up, all of whom were involved in the arts. One was an art historian, another was an art critic, there was a curator, a gallery owner, a painter...they were all visual artists. They all brought lots of food and wine and we had a great time! I mean it was Tuesday night in the middle of the summer and there was nothing to do any way!
They began asking me what I was doing – they all spoke English. I said I was performing but I’m writing now and I just wrote my first short story. They all said “read it - read it- read it!” French people have this reputation amongst Americans of being stand-off-ish or arrogant, but that’s not really true at all, especially when it comes to the arts and performing. I read the story and they thought it was really great, of course I thought it was fabulous! They all said “lets do this again next week!”
They all came back the next week with food and wine but this time with about twenty-five people! I frantically wrote another short story. There were no performers, or even writers there, mostly visual artists. I read my story and everyone loved it. Then the following week about forty people showed up!
MSG: That’s quite a growth spurt in a very short period of time!
EC: Well there was nothing to do since most Parisians leave in August. But these artists and gallery people were still there. Maybe they went away on weekends but this was a Tuesday night, there was nothing to do. So it quickly grew just as a result of word of mouth.
I should also point out that I was a recluse, an artist / performer, but a total ant-social person. When I was in college I never lived on campus or even near campus. I lived way out in the country, alone in a cabin. In New York, before I left for Morocco, I was living in this loft on the Gowanus canal in the middle of all these burned out projects. I had one friend, I just wasn’t a social person. So suddenly now being at the center of this scene was the last thing I expected.
These people all knew one another. It’s not like I was really throwing a party, it was more of a salon where this American woman would read stories.
MSG: What were the stories about?
EC: It was my first time writing stories, I didn’t have any money or know anybody. Even all of these people, I only saw them on Tuesday night! So here I was in this apartment – Oh! I didn’t describe the apartment! That’s the reason why it’s called Dixon Place!
It was a 16th Century building with only two floors but high ceilings. On one side of the building was this Contessa and she had the whole side of the building across the courtyard. Above me was Andy Warhol’s apartment.
My apartment had these gorgeous French doors that opened right into the courtyard, this gorgeous jungle-like courtyard. It was just beautiful. The guy who actually owned the apartment – the American businessman who was letting me stay there just rented it – the owner’s name was Dixon. I never got to meet him. All the furniture in the apartment was Dixon’s and it was all very heavy, baroque and dark with lots of velvet. The only light coming in was from the courtyard. There were all these built in bookshelves filled with books, not first editions but from the 1950's, leather bound books. It turns out that Dixon was from a wealthy San Diego family and he and his mother owned a small publishing house called Dixon Place. San Diego is quite conservative but there is also a wealthy, leftist cultural elite and that is where Dixon was coming from. So they had this small press and they published all these beautiful books of ex-patriots, like Henry Miller.
The French people who came over on Tuesday nights were the one who began calling it Dixon Place. That’s how the name came about.
Now underneath the apartment, if you went out into the courtyard there was little door and stairway. This was the basement of the apartment and everyone had to go down and see what I called The Dungeon. Now, I never knew Dixon but I figured out a lot by being there! He was gay and he was in his 60's. It was a very dark, musty basement. All the stuff on the walls were antique torture devices. Not that there was anyone one really being chained to the walls and tortured but more evocative of the feeling of a dungeon. They were all real antiques. Then there was this beautiful inlaid bed that was surrounded by drapes. It was the most incredible space and everyone was really impressed. Keep in mind, I didn’t know this guy, he didn’t know I was showing this space! I had said I wouldn’t have anybody in the apartment let alone the basement!
MSG: And now you are giving tours!
EC: The last week of the salon readings was on a Tuesday night and I was leaving the next morning at 6AM. I had no more money and the American businessman was moving back in on Wednesday afternoon. I had every intention of cleaning the place and leaving money for the phone and taking full responsibility for everything. A few people were going to stay and help me clean up.
There were two phones in the apartment, one had an answering machine on it and I was not supposed to use that one. He would call in and get his messages. The other I could use to call out but I didn’t know anyone so it really didn’t matter.
Well, on my final night there, the phone with the answering machine rang and someone answered. There were about seventy-five people there. It was so packed that you couldn’t even walk through the apartment. So not only was his phone answered but he realized I had betrayed him and let people into the apartment. He FREAKED out! I got on the phone and started crying, it was terrible.
For the next year he kept calling and harassing me. I kept telling him to send me a bill for anything damaged, I would gladly pay it. But he wouldn’t relent, he called me everywhere, at work, at home. Finally my father said that I should just tell him he was right and that I was wrong. The next time he called I did just that and I never heard from him again!
MSG: Interesting tactic!
EC: I thought I would save up some money and go back to Paris. I was staying with a friend and I got sucked back into New York. My friend Philip who was a hairdresser on East First Street called and said, “The storefront next to mine is available, why don’t you take it and we could all share the back yard.” I had always wanted an East Village storefront to live in! I didn’t know what I was going to do in there but I moved in. I didn’t even do anything to it.
MSG: So this is ’85, ’86? It was a very different neighborhood back then.
EC: It was great, there was this energy and I loved it! I had my parties and Carol came over from Paris and did a showing of her bags. This other artist asked if he could use the space as a gallery, which was the first kind of official event.
MSG: So it kind of evolved on its own?
EC: It was totally organic. I didn’t know anything about business, I learned everything by doing it. People say to me “this is so amazing that you did this!” I just say anyone can do this, any fool who wants to work twenty hours a day! I would make every flyer and I would hand illustrate every program.
One time this young female homeless junkie got in though, the person working the door somehow missed her and she got out with my backpack. A week later she came back and we called the police and they came and got her although we didn’t end up pressing charges. That was the only incident in five years. I was in that location for five years and the door was always open to the street. That was the only time we had a problem.
MSG: That’s pretty damn good considering the area at the time!
EC: Well, everyone knew us, we were part of the neighborhood. People would always come in and say, “wow, this is like an oasis, I can’t believe this is New York City!” It was different then, even the street people were different. If you treated people with respect they did the same.
MSG: So when do you move into the new space on Chrystie Street? Trigger Magazine went to a fundraising event there and we couldn’t believe the space! It seems huge!
EC: We already have kind of outgrown it. We have to sound proof the entire space because there is going to be a full recording studio over the theatre space. We are basically building boxes within boxes in order to sound proof. That takes away a lot of space. We are also going to have a bar and a cabaret space. Then there are the bathrooms and the office space, so it really starts to shrink.
We have done the first phase of construction, all the structural work, all the steel. We did excavation, steel, masonry and concrete. It’s almost a third of the total amount of work and it is the hardest work.
MSG: Do you have an official opening date?
EC: It keeps changing but we would like to open in September. We have pretty much spent all the money we had raised. There is more but it is in the form of pledges over time. We have had donations of equipment, which is valuable and essential, but we still need cash. That is always the challenge. Many foundations won’t give any money until you have already raised like two thirds of the total amount needed. They won’t put money into something unless they see that it will definitely be completed. We are making strides but it is always challenge.
This will be the first real state of the art laboratory theatre. There are many organizations, much larger than us, that have laboratory work or they do development work but that is not their whole mission. It is our whole mission. We will have this theatre completely equipped with the best equipment, the best seating, video, audio, lights, Internet connection, everything. The theatre will be wired to the recording studio upstairs so we can make live CDs. There is just no place like it!
MSG: To say the least!
For further information, upcoming events and performances or to become a part of the Dixon Place Capital Campaign please visit www.dixonplace.org.
Photos: Evan Sung
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