Oceans, rivers, fish and whales — see them pictured on buttons at the New Jersey State Button Society (NJSBS) Show and Competition, set for Saturday, May 12, 9 a.m. to 4 p.m. Button collectors will also enter competitions featuring baskets and buttons made from celluloid and black glass.
The show will be held at the Union Fire Company fire hall, 1396 River Road (Route 29), Titusville, NJ 08560, and there is plenty of free parking. Admission is $2 for adults, free for juniors to age 17.
This show and sale of collectible clothes buttons attracts antique enthusiasts, quilters, crafters, re-enactors, and those seeking special buttons to wear. The day’s activities include a button raffle and a forum on how to put together a winning entry for the state competitions.
Members of the NJSBS share an interest in studying, collecting, and preserving clothing buttons, both old and new. The NJSBS was founded in 1941, at a time when a nationwide interest in button collecting was surging. Many authors of classic books on button collecting come from New Jersey.
The Union Fire Company & Rescue Squad building is located at the intersection of Route 29 and Park Lake Avenue in Titusville, opposite the Delaware River and D&R Canal State Park (with easy access to the canal park), a half mile north of Washington Crossing State Park in Hopewell Township, and some five miles south of Lambertville and New Hope, PA. Contact 732-356-4132. email, firstname.lastname@example.org, or visit http://newjerseystatebuttonsociety.org.
Princetonians taking a stroll in the warmer weather in April might notice some unusual activity on Palmer Square. A swarm of volunteers and artists have descended on an empty storefront at 19 Hulfish Street, taking a ‘blank canvas’ of a retail shop and transforming it into an amazing, eclectic art gallery filled with a myriad of life and color.
The short-term pop-up art gallery – called ArtJam 2018 – brings together professional artists, undiscovered artists who have experienced homelessness, and the community at large.
As a volunteer, I visited this week during gallery set up, and I can sincerely say I was “blown away” by the quality and quantity of beautiful art.
But buying cool art is not all ArtJam offers. Purchases of art at the gallery support HomeFront’s ArtSpace – a innovative therapeutic art program. ArtJam provides a double-dip experience. You can feel good twice because you are buying art you love and supporting a cause you can believe in.
Now in its ninth year, ArtJam has grown to over 100 participating artists, from Princeton and beyond. Original works by highly renown artists including Judith Brodsky, Jon Sarkin, Cynthia Groya and Gordon Gund are in the exhibition. Pieces from these professional artists are displayed alongside the works of HomeFront clients who have limited means but enormous talents.
Another cool feature is the “buy from the wall” aspect – when you buy an item, you can take it home immediately. The gallery continues to display a rotating collection of art for sale and will be hosting musicians, demos and meet-and-greets with the artists through April 29.
A wide variety of mediums are included — paintings, pottery, glassworks, jewelry, sculpture, and hand-sewn items from SewingSpace, another HomeFront art program.
Since its founding years ago, HomeFront (https://www.homefrontnj.org/) has worked to end family homelessness in Central New Jersey by breaking the cycle of poverty. HomeFront has developed a sophisticated network of supportive housing and social services for very low-income families.
ArtSpace (https://www.homefrontnj.org/artspace) often opens doors to new ways of thinking for HomeFront clients, fostering their creativity, self-esteem, and confidence, and helping to set them on a path to achieve independence. The artists learn to reveal their voice and feel joy in their accomplishments. Also offered is experience in entrepreneurial skills, empowering the artists to see value in their work as it is admired and purchased by others. ArtJam is one way for them to exhibit and sell their work.
We all have a story to tell but sometimes we need help telling it.
I’m looking forward to a four-session workshop with Eileen Sinett on Wednesday nights in April. If you want to take your communication skills up a couple of notches, consider joining me at the Four Points of Connection workshop starting April 4. Sinett will also offer a one-day version on May 9.
Honing my speaking skill is a theme for me this year. In January I joined a small group of women at Princeton Theological Seminary for a Women’s Voices workshop with Nancy Lammers Gross. Half of us weren’t preachers; we all connected with each other as well as with our vocal chords. Lammers Gross repeats it on May 8 and 9.
Buttons are full of mysteries, says Cynthia Bartlett, newly elected president of the New Jersey State Button Society (NJSBS). “I am amazed that after 30 years, I am still curious about buttons, still looking for clues to how each was made.”
The NJSBS will present its Show and Competition on Saturday, September 9, 9 a.m. to 4 p.m. at the Union Fire Company fire hall, 1396 River Road (Route 29), Titusville, NJ 08560, and there is plenty of free parking. Admission is $2 for adults, free for juniors.
Members of the 76-year-old society like to study, collect, and preserve clothing buttons, both old and new. Eager to share their knowledge with those just beginning to collect, they will present a 1 p.m. program entitled “Nancy Drew Button Mystery: clues to materials and histories.“For details contact Cynthia Bartlett at 1-732-356-4132 or email@example.com, or visit http://newjerseystatebuttonsociety.org.
The show attracts antique enthusiasts, quilters, crafters, reenactors, and those seeking special buttons to wear. Anyone who pays the $10 membership fee may enter the NJSBS competitions, which are judged by popular vote. The button artwork category will appeal to quilters, and crafters might choose button wearables or button jewelry. One competition category honors the memory of the late John Sagi; another honors the late button author Anne Flood. Featured will be buttons that show animals, Santa Claus images, and even carrots.
The Union Fire Company & Rescue Squad building is located at the intersection of Route 29 and Park Lake Avenue in Titusville, opposite the Delaware River and D&R Canal State Park (with easy access to the canal park), a half mile north of Washington Crossing State Park in Hopewell Township, and some five miles south of Lambertville and New Hope, PA.
Now edited — I have removed the itinerary from Princeton Comment as of 8-28-17
THIS JUST IN – last minute chance to go to Bali on an insider tour led by Kathleen Winn. A friend who went on this tour last year is “wildly enthusiastic” and she lives in Princeton, hence my excuse for putting it up on Princeton Comment. It’s a last minute chance, if interested contact KathyWin1@verizon.net
From my friend: I’m sure you recall how wildly enthusiastic I was about my trip last August/September. A very similar trip is going this year, again with Indonesia expert / private guide ( with no personal profit -only a love of the the country). Several people just had to drop out for medical reasons, opening up their spaces. The trip costs ~$2,700 including local flights (Bali-Flores round trip), the boat trip – all but airfare , which is about $1,100 right now. Most such trips are double or more, without the personal home visits and connections that are part of Kathy Winn’s trip.
What I found most meaningful were Buddhist Hindi and other ceremonies/visits. It brought far greater understanding of people with different traditions, cultures and religions.
Looking back can be so much fun, especially when your past can encourage someone else’s future. Léni Paquet-Morante, an artist who has kept touch with me over several decades, called with her latest news. I took vicarious joy in what she is doing now.
Morante had been busy with raising three children, volunteering in their schools, rehabbing an historic house, and supporting the successful career of her sculptor husband, G. Frederick Morante. In 1984 they met at the Johnson Atelier, where she did bronze, copper, and clay sculpture. I wrote about her husband’s work for U.S. 1 Newspaper in the late ’80s. His Daedulus remains one of my favorite pieces, and his ‘Relative’ is one of the large bronzes that J. Seward Johnson commissioned for Grounds for Sculpture.
Thirty years later (can it really be that long ago?) I am retired, Fred is on the staff at the Digital Atelier, and Leni has turned the page in her career. With her children grown, she carved out a space next to the kitchen for her studio and declared independence from cooking dinner.
Leni has a solo show opening Wednesday, July 5, at Princeton University’s 113 Dickinson Hall, called “Atmosphere, Place an Time,” described as “paintings that represent familiar local landscapes but which also hint at something more complex.” Best of all, she has an artist residency award at the Lacawac Field Sanctuary in Lake Ariel, PA, and will have two weeks of focused studio and plein-air work next October.
I smiled and smiled when Leni spoke of being recognized with a two-week residency because in 1980 — at almost exactly the same point in my career, I had had a similar opportunity. I landed an NEA Fellowship to a dance critics workshop at the American Dance Festival at Duke University in Durham, North Carolina. Along with a dozen journalist from around the country, I took movement classes, saw concerts, wrote reviews, and was totally immersed in dance.
It was triply sweet.
Barbara Figge at ADF 1960
I could leave family cares behind for three weeks.
It was my second visit to ADF: 20 years before I had gone to ADF when it was at Connecticut College. That summer persuaded me not to a pursue a dance career. Now, three children later, struggling to make my mark as a journalist, I could go back to ADF as a working dance critic.
I returned to my ‘stomping ground.” ADF had moved to my alma mater, Duke University.
So, yes, I can truly rejoice with Leni Morante. She is using every available minute to paint. Right now she has a day job, so she paints on weekends, but in October — I smile and encourage her painting sabbatical. Meanwhile, with vicarious joy, I will admire her work.
“Atmosphere, Place, and Time,” paintings by Léni Paquet-Morante, will be on view starting Wednesday, July 5, at 113 Dickinson Hall. This gallery, curated by Dana Lichtstrahl, is sponsored by Princeton University’s Center for Gender and Sexuality Studies and is open 10 a.m. to 4 p.m. A “meet the artist” reception is Friday, July 14, noon to 2 p.m. Her home-based studio is in Hamilton, NJ. Her portfolio since 1984 includes painting, bronze,copper, and clay sculpture, some of which is represented in NJ corporate collections, private collections locally and internationally, and as public art. A full CV and other works can be seen on her website http://www.lenimorante.com. Requests to meet the artist and/or for additional image files can be made through firstname.lastname@example.org or cell 609-610- 3631.
Something fun to do on Saturday — bring your grandmother’s button box to the New Jersey State Button Society (NJSBS) show and sale on Saturday, May 13, 9 a.m. to 4 p.m. It’s at the Union Fire Company hall, 1396 River Road (Route 29), Titusville, NJ 08560, where there is plenty of free parking. All are welcome; admission is $2 for adults, free for juniors to age 17.
The Union Fire Company, is at 1396 River Road (at the intersection of Route 29 and Park Lake Avenue in Titusville), opposite the Delaware River and D&R Canal State Park (with easy access to the canal park), a half mile north of Washington Crossing State Park in Hopewell Township, and some five miles south of Lambertville and New Hope, PA. There is plenty of free parking. http://newjerseystatebuttonsociety.org.
Jane Austen’s novel “Pride and Prejudice” is set in 1813 Regency England, where passions smolder under the veneer of a determinedly genteel society. As choreographer/librettist Douglas Martin and his team translate that novel, they hit ballet’s sweet spot. Gentility is, after all, basic to classical ballet.
This ground-breaking American Repertory Ballet production, premiered to a packed McCarter Theater on April 21, is a Douglas Martin triumph. No longer do I want to see the movie. Each character portrayed by the dancers is etched in my mind.
Every element of dance theater — character-based movement, mime, juxtapositions, props, exquisitely beautiful designs by A. Christina Gianinni, music played by the Princeton Symphony Orchestra, even a surround-sound score of horses’ hooves and birds singing — helps to tell the story.
With no program synopsis, it helps to know the novel that chronicles the unfolding romance involving the witty and judgmental Elizabeth Bennet and the rich and aloof Fitzwilliam Darcy, though some characters are easy to pick out on stage.
Ballet mistress Mary Barton, wonderful as Elizabeth’s mother, Mrs. Bennet, points to the ring finger of any single man in sight and inserts her dithery head-shaking everywhere she shouldn’t.
Kathleen Moore Tovar, formerly a principal with American Ballet Theater, also shows the young’uns how. As Darcy’s aunt, Lady Catherine, she cuts a skirt-swishing officious swathe, punctuating her snobbish opinions by up-jerking her knee.
Aldeir Montero, new to the company, is obviously Bingley, Darcy’s genial friend. With his every lunge and leap, opening himself to the audience, he exudes friendliness, in contrast to Mattia Pallozzi, who plays Darcy.
At the ball, contemptuously looking over his shoulder, Darcy clings to himself, with one Napoleonic arm in front, the other in back.
Austap Kymko, as the black-clad unctuous clergyman Collins, oozes himself from one hilarious misstep to another
but smooths out some of the clumsiness after he marries Elizabeth’s dear friend Charlotte (Shaye Firer).
Gentility does not always prevail. When giddy youngest sister Lydia Bennet (Nanako Yamamoto) runs off with handsome seducer Wickham (Jacopo Jannelli) their bawdy sex scene rips off the veil of decorum and suddenly we seem to be looking at contemporary dance.
When Elizabeth (evocatively danced by Monica Giragosian) refuses Collins, the pragmatic Charlotte literally jumps on his back to claim him.
Mime? Throughout, and often extended into dance. When Elizabeth questions Charlotte about marrying Collins, the friends circle and touch their hands to the brows, then extend their arms out straight, question, answer, question, answer.
Juxtapositions enable insights.
Charlotte, in a not-so-good marriage, parallels the movement of the eldest Bennet sister, Jane (Lily Saito), who has been moping in a house on the other side of the stage, waiting for a suitor who does not arrive.
And an incident with a prop, a teapot, shrinks a storyline when Elizabeth outwits Lady Catherine, who has determined that Elizabeth will not be the one to pour her tea.
Scenic projections and costumes were beyond splendid. One that helped the story line was the headpiece of Caroline Bingley, which made a tall dancer (newcomer Erikka Reenstierna-Cates) an even taller and more formidable opponent to the success of the Bennet women.
There is much excellent dancing in this 140-minute ballet — lots of women on stage at one time, and many chances for men to do double turns and land on one knee.
Music was by composers that were Austen’s favorites (U.S. 1, April 19). Each worked well for that particular dance and was vibrantly played by the PSO, directed by John Devlin. They did not build to the kind of climax that comes with Tchaikovsky ballets, but at moments of high emotion Martin inserted duets by Schubert or Mendelssohn, played by pianist Jonathan Benjamin with either cellist Michael Katz or violinist Grace Park.
The dramatic climax comes, of course, when Jane and Elizabeth get their men. Jane’s longed-for pas de deux with Bingley is simple joy — quick quivering beats with gentle lifts and expansive arabesques.
Elizabeth, in contrast, has spent most of the evening rejecting Darcy. Conflicted, he rarely offers open gestures and his first proposal is, literally, backhanded. With his back to the audience he twists himself into saying, in tightly gripped movement, that he loves her in spite of himself. She flounces off. Then, when she is devastated by the Wickham scandal, Darcy signals his desire to help with an expressive leg movement — an open rond de jambe — and sets out to fix the situation.
Upon his return, as she stretches arms-wide in longing, he catches her in mid air, and she curls her head on his shoulder in delight. Again, she stretches to the nth, and curls around him.
The once haughty Darcy lies down behind her, his head by her knee, in an act of obeisance, and the audience erupts in applause.
(Addendum: In this video of a rehearsal, the first bit is Elizabeth dancing with the dastardly but charming Wickham. In the second, she dances with Darcy after she loves him. In the fourth scene Caroline obnoxiously separates Elizabeth from Darcy.)
Rarely do I venture out of retirement to write a dance review, but a gaping hole needed to be filled. American Repertory Ballet premiered a full-length ballet about the classic novel “Pride and Prejudice,” and the arts editor of U.S. 1 Newspaper, Dan Aubrey, said “We need to review this” so here it is.
If given more space, I would more strongly emphasize that if you like to know what is going on, you need to study the book carefully. So much happens between so many people that it’s hard to follow. I am not a student of Austen, had not paid attention to any of the pre-event publicity, and barely had time to scan SparkNotes and it wasn’t enough. I’d have done better looking at the pictures, on ARB’s Facebook page, of the characters in costume — as pictured above, the Bennett family in the second scene, Mr. Bennet brandishing the invitation to the ball. In the first scene he visited Bingley and Darcy to obtain it. You’d have been quite puzzled by that scene if you didn’t know the story.
Also hard to fit in the assigned space — the real joy of watching these dancers liberated from tape by the Princeton Symphony Orchestra. The production values were fabulous.