In an unusual joint venture with Volkswagen, the aging Park Hotel last year commissioned 21 art-ists, illustrators, graphic designers, graffiti writers and other forward-looking creators to decorate its 61 rooms. The result is the Hotel Fox, a visually dazzling — though not always comfortable — array of fantasylands and dreamscapes. Designed in styles as diverse as Japanimation, neo-Baroque pastiche, fractal-like abstraction and Pop Art flamboyance, the rooms often playfully blur the line between sleeping and waking. On the periphery of the historical city center, the Fox is also roughly a 10-minute walk to Tivoli amusement park, Central Station, Norreport train station and other points of interest. Rooms come in small, medium, large and ex-tra large. My room was No. 510, a small room de-signed by a German illustrator, Birgit Amadori, and nicknamed King’s Court 2. Lining the walls were pictures of regally attired humanoid creatures with playfully monstrous heads — Medusa-esque, squid-like, flame-engulfed. Like a 19th-century dollhouse, its furniture included tufted armchairs and Gothic electric candelabras. According to the plaque on the door, the room was “designed to soothe thoughts.” The design was partly a triumph of style over substance. About the size of a cruise-ship cabin, the room had a single bed and a chintzy little desk that could hold only the small flat-screen TV and a simple phone. Though the room had a high-speed Internet connection, the lack of a desk chair meant that I had to lie in my narrow bed to use my laptop. Untouched by the commissioned artists, the ge-neric industrial tiles and fixtures recall an American college dormitory. Mine had only a shower with an unmountable, hand-held sprayer. The lone serving of Hotel Fox combination shampoo and shower gel came in a packet like airline salad dressing. The stiff towels seemed washed once too many times.

On an August morning, the breakfast area was abuzz with cool kids: Japanese rock fans in plat-form boots; tattooed artists; hip German parents with fuchsia hair; and media types in rectangular glasses and old-school Adidas sneakers, carrying laptops. Don’t expect a spa or fitness center to pamper your body or pump it up. You can, however, rent an iPod and a bicycle, both nice touches. Also solid is the free breakfast, which includes smoothies, sugary crepes, sandwiches, yogurt, granola, fruit juices, coffee and tea. The bar (a k a the lobby on Thursday to Saturday) has D.J.’s

Copenhagen: The Hotel Fox

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Adrian Arleo . . . . . . . . . . . . . . p 7

HIGHLIGHT ARTICLE

Film in Toronto . . . . . . . . . . . . p 6

The Hotel Fox . . . . . . . . . . . . . p 1

Chauvet Pont-d’Arc . . . . . . . p 4-5ARTIST PROFILE

Top 10 Cities for Art Lovers . . p 2

Chief EditorTrey RiedmayerGC 207 • FALL 2010

Expedia: Traveling Arts 100 Travel Places RdClemson, SC 290901.800.456.78901.864.123.4567

For educational use only. Not intended for distribution. Any trade names are registered trademarks of the respective manufacturers.

CAPTION Each room at The Hotel Fox has its own inspiration and artistic touch.

Article by SETH SHERWOOD

1. Berlin In the 15 years since the fall of the Berlin Wall, the German capital has reinvented it-self as a leading European arts venue, with superlative new architecture and cutting-edge exhibits.

2. Chicago They might call it the Second City, but Chi-cago is second to none when it comes to its lively arts scene. The Art Institute of Chicago alone is reason enough for art enthusiasts to let the wind blow them towards this Midwest center.

3. Florence It’s easy to be overwhelmed by all the art in Florence – frescoes, paintings, sculpture, al-tar pieces, you name it, abound in Michelan-gelo’s hometown – and no self-respecting art lover would miss a visit to the birthplace of the Renaissance art movement.

4. London The London art scene is a lot like the city itself: a hodgepodge of traditional and mod-ern, majesty and tawdry. This fascinating mix is bound to tantalize with over 200 art ven-ues offering something for every taste.

5. New York In a city where everything is larger than life, one shouldn’t expect anything less from its art collections. Numerous museums bring their own distinct flavor to the cosmopolitan New York art scene.

6. Paris Where to begin in a city that is a work of art in itself? An art-lover’s dream come true, Par-is’ many museums house some of the world’s most coveted works of art, ranging from fine antiquities to cutting-edge contemporary creations.

Top Ten Cities For Art Lovers

CAPTION The New York skyline is a magnificient sight filled with many skyskrapers and illuminated archictecture.

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Vacations aren’t always about getting some R&R. In fact, visiting a city with a vibrant arts scene can be just as rejuvenating. Our top cities for art lovers are bound to stimulate even the most blasé of world travelers, as they’re home to dozens of world-class institutions with influential collections of old and new masters. That said, our list also pays homage to a charming colonial town known for teaching people how to create their own works of art – we figure that, after seeing everything else on our list, you’ll be ready to make your own artistic statement.

did you know?. . . in 1962 Leonardo DaVinci’s Mona Lisa was valued at $100 million?

Who knows what it would be worth today!

. . . Picasso’s Full Name Has 23 Words: Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad

Martyr Patricio Clito Ruíz y Picasso

. . . Art has surpassed the stock market in appreciation over the past twenty years

. . . Most couples do not agree on artwork for their home, initially.

. . . Picasso’s first word was “pencil”.

7. Rome Rome wasn’t built in a day, and neither were its stellar art collections, which showcase works spanning more than two millennia, from ancient B.C. sculptures to abstract modern installations.

8. San Miguel de Allende Unlike the other cities on this list, San Miguel de Allende, a beautiful colonial town set in the mountains outside of Mexico City, isn’t renowned for its art collections per se, but rather, as a stellar place to create art itself.

9. Vienna Vienna is one of the great art capitals of Eu-rope, thanks, in large part, to the mighty House of Habsburg, Austria’s ruling family from 1282 to 1918, whose members invari-ably controlled extensive lands – and amassed their artistic bounties.

10. Washington, D.C. It’s not all about politics in the US capital. Venerable art institutions like the National Gallery, Freer Gallery of Art, the Corcoran, and the Phillips go toe to toe with national sights like the Lincoln Memorial and White House.

5 Facts you may not have known about ART

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continued...and signature cocktails, like the Glitterati (gin, rose syrup and champagne; 95 kroner). Despite some flaws, the Fox is a welcome experiment and even a decent value for Co-penhagen. True, the bathrooms won’t win any awards, and the small rooms (945 kro-ner) are tiny. But the avant-garde décor, cen-tral location, robust breakfast and hip night scene are all appealing. It’s probably worth paying extra for a medium (1,120), a large (1,320) or an extra-large (1,620) room, un-less you race horses for a living.

RESERVATION INFO:Phone: +45 33 13 30 00Central reservation: +45 33 95 77 55 Email: hotel@hotelfox.dk

Hotel Fox

CAPTION Several rooms located in the Hotel Fox in Copenhagen.

popular hiking trail. But there, behind the fallen rocks, they were sure there was something more… They dug a passage, crawled through it, and soon found themselves at the edge of an obscure shaft. They did not have the equipment necessary to continue. By the time they got back to their cars, night had already fallen. They gathered up the essential tools, hesitated for a moment, and then returned to their discovery. They descended with their speleological ladder and discovered a vast chamber with a very high ceiling. It was filled with magnificent, glittering concretions. They progressed in a single file line toward another chamber as big as the first one, and there ad-mired the unexpected geological wonders that surround-ed them. They also saw animal bones scattered on the

floor. They explored almost the entire network of chambers and galleries, and on the way back out, Éliette saw an amaz-ing sight in the beam of her lamp: a small mammoth drawn with red ochre on a rocky spur hanging from the ceiling. “They were here!” she cried out, and from that instant they began searching all of the walls with great attention. They discovered hundreds of paintings and engravings.

The Discovery On Sunday, December 18, 1994, Jean-Marie Chauvet led his two friends, Éliette Brunel and Christian Hillaire, on the Cirque d’Estre to-ward the cliffs. A faint air current emanating from a small opening at the end of a small cave had attracted his atten-tion and he now wanted to satisfy his curiosity once and for all. All three had a passion for speleology and had long stopped counting their discoveries. It was late in the af-ternoon and the small cavity into which they penetrated was already known since it was situated very close to a

Highlight ARTICLE

Preservation After initial proceedings begun in the very first days, the cave was officially designated as an Historic Monument on October 13, 1995. Also in 1995, the state began taking measures to expropriate the cave from its three recognized owners. The state became owner of the cave on February 14, 1997. The first measure of protection consisted of 24-hour sur-veillance of the entry by local police. Soon after, a solid door and simple alarm system were installed while awaiting the intervention of Commander Cadias, who is responsible for the security of Historic Monuments with the Ministry of Culture. A large-scale operation was subsequently undertak-en to equip the cave with a reliable protection system. Today the cave is under permanent audio and video surveillance,

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and a complex protocol is followed before each entry. The authorized persons are obliged to follow a strict set of proce-dures requiring them to wear a special suit and shoes that have not been in contact with the exterior. In this way, all biologi-cal exchanges with the cavity are avoided as much as possible. Inside the cave, a system of climatological and biochemical surveillance has been installed by the Laboratoire Souterrain du CNRS de Moulis and the Laboratoire de Recherche des Monuments Historiques. This system continually regulates the hygometry and temperature within the cave, as well as the bacteriology and growth of concretions.

Finally, a program of adapting the area around the cave, and the paths of access inside, is currently in progress.

authentication When we examine a paint-ed line through a magnifying device, we realize that although it appears to be continuous and intact to the naked eye, it in fact contains miniscule areas of missing material that have been removed by erosion. A recently painted line would be much more coherent and continuous. As for engraved lines, their interiors are clear, sharp and white when fresh. After thousands of years on a cave wall, they become covered with micro-crystals. Even without these methods of authentica-tion, the animal representations were beyond suspicion due to their quality and naturalism. For them to be fake, we would have to imagine a modern artist who was not only a mas-ter at animal representation, but who also had a profound knowledge of prehistoric art and of the animals of the time. Finally, even the nature of the floors prohibited any suspicion of fraud. They were strewn with cave bear bones, including

several dozen identifiable skulls. Nothing had been touched. The art of the Chauvet-Pont-d’Arc cave is thus authentic beyond a shadow of a doubt.

visitation A visit to the exhibition is possible within a programme of events or can be seen during your free time. Take the time to experience the magnificence of this cave and you will surely not regret it.

For more information contact: Bruce Beasley bbeasley@chauvet.org

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CAPTION Left: Pieces of work found inside the cave. Below: The cave is divided into many sections such as the one shown below.

The Toronto International Film Festival (TIFF) opened last month in a new location down the road from the Art Gallery of On-tario. Bridging the divide between art and film, the 153,000 sq. ft TIFF Bell Lightbox includes two galleries and five cinemas.One of the first exhibitions to be held in the new premises will be “Tim Burton”, opening

26 November. The exhibition, consisting of drawings, paintings, storyboards and pup-pets from the director’s body of work, drew more than 800,000 visitors when it opened at the Museum of Modern Art in New York last November. The building, which cost C$140m to build, was designed by Toronto architectural

firm, Kuwabara Payne McKenna Blumberg (KPMB), who also designed the National Ballet School of Canada, the Gardiner Mu-seum and the Canadian Embassy in Berlin. TIFF raised another C$50m for endowment. The Lightbox, which also contains restau-rants, workshops, offices and condos, was conceived as a complex to house all its in-dividual parts. A sleek 42-floor apartment tower rises above the cinemas and exhibition spaces and an outdoor staircase doubles as an amphitheatre inspired by the Casa Malapar-te, a house built on the edge of a cliff on the island of Capri around 1937. In September the Lightbox hosted the world premiere of “Cave of Forgotten Dreams”, Werner Herzog’s 3-D documentary descent into the Chauvet caves of southern France that contain charcoal drawings of animals dating back more than 30,000 years. A retrospective of work by Julian Schna-bel, entitled “Julien Schnabel: Art and Film”, which opened at the Art Gallery of Ontario last month (until 2 January 2011), coincided with the North American premiere of Schna-bel’s new film, “Miral”, at TIFF. The Lightbox’s programme will focus on “as broad a swathe of cinema as possible,” said Noah Cowan, the artistic director of Light-box, “everything from artistically minded Hollywood films to the most difficult avant garde work.”

Art and film brought together in Toronto

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CAPTION Tim Burton on the set of Corpse Bride.

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EDITORS RATING: 8 out of 10 stars

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Adrian ArleoARTIST PROFILE

Adrian Arleo is an extraordinarily imagi-native ceramic artist and her pieces com-municate a sophisticated exploration of the interaction between what is seen and known about the connection between humans and animals—and what is mysterious, unseen, and, perhaps, only intuitable. Arleo’s latest exhibition, featuring all new works, opens Friday, July 23rd, with an artist’s reception from 5–7pm, and runs through August 16th at the Jane Sauer Gal-lery in Santa Fe, NM. The artist hails from Lolo, MT, and her studio, as does her work, reflects her fascination with nature’s many forms. In other words, nature doesn’t stay outside while she creates inside. Her window sills, and every surface within her studio, hold a wild collection of beehives, honey-combs, birds’ nests, rocks, twigs, shells, and other bits and pieces she’s come upon out-doors and brought here to consider further, to inspire. The studio’s windows, doors, and the artist herself are open to life and its con-tinually evolving, ever-changing spiritual in-tersections. Fascinated by “the glimpses we get into what is normally unseeable and mysterious,” Arleo’s newest works hold both interior and exterior surprises. For example, JANUS, cre-ated in January 2010, arose from the mytho-logical Roman God of beginnings, a single

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Adrian C. ArleoSculpture • Ceramic

BORN: 10.11.1965

HOMETOWN: Lolo, MT

EDUCATION: SCAD, GA

CONTACT: aarleo@gmail.com

“Standing Lion.” 2009“Janus.” 2010 “Matrimony.” 2010JSAUER GALLERY JSAUER GALLERY JSAUER GALLERY

ARTIST’S WORK

figure gazing simultaneously backwards and forwards through time. For the artist, each new year brings fresh possibilities and the baby hidden within this piece “represents this vulnerable, blank slate feeling.” A constant theme for Arleo is metamorpho-sis, an exploration of the intersection between man and nature, the shape-shifting thread of relationship that runs constantly between the two. In Standing Lion With Internal Woman, she uses delicate carving, an open fretwork, to allow us glimpses of a mysterious interior. In all of her pieces, the artist provides an in-triguing frame for the viewer’s individual in-terpretation. As Arleo puts it, her lion figures are “a continuation of the running narrative in all my work, that everything is connected, that there is no ‘Other,’ that we are made of the same substances and are all dependent upon the same elemental forces.” Adrian Arleo’s sculpture is exhibited inter-nationally, and is in numerous public and pri-vate collections. Her pieces are richly evoca-tive and narrative. Each creation is a complex combination of clay, glazes, and wax encaus-tic, some including gold leaf, and involves an exceptional degree of craftsmanship. Her work is incomparable and I guarantee that a visit to this exhibition will be rewarding—something you will not soon forget!

Mr. Trey Riedmayer2001 Wharf Landing Ct Charleston, SC 29418 1091023443

Expedia: Traveling Arts 100 Travel Places RdClemson, SC 29090