The art world’s Gordon Gekko

F R I D AY- S U N D AY, F E B R U A R Y 5 - 7, 2 0 1 0

Wine: The best of Christmas drinking European Web habits revealedWine: The chilled pleasure of Eiswein Travel: Stockholm’s island landscape

The art world’sGordon GekkoA former corporate raider shakes up the market

Above, Jean Willi’s ‘OP-ART-ertieverkalkig,” (Pfluderi Clique) (1967) at MuseumTinguely in Basel; bottom, Lady Gaga will start her U.K. tour in Manchester.

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Amsterdamphotography“Hatra: City of the Sun God” show-cases photographic documentation ofthe ancient city in Iraq.

Allard Pierson MuseumUntil Feb. 28% 31-20-5252-556www.allardpiersonmuseum.nl

Antwerpart“Rubens Revealed—Fury of the Brush”presents findings of extensive re-search on paintings from the Rubenscollection of the Koninklijk Museumvoor Schone Kunsten.

Koninklijk Museum voor SchoneKunstenFeb. 13-April 4% 32-3238-7809www.kmska.be

Baselart“Fasnacht & Art & Tinguely” displaysart and props from 100 years of BaselFasnacht, a carnaval celebrated tomark the end of winter.

Museum TinguelyUntil May 16% 41-61-6819-320www.tinguely.ch

Berlincurrency“Strong Women-in Miniature Form”

explores the portrayal of women oncoins from Antiquity to the present day.

Pergamom MuseumUntil Dec. 31% 49-30-2090-5577www.smb.spk-berlin.de

Bilbaophotography“Schommer Retrospective 1952-2009”shows 100 images by Spanish photog-rapher Alberto Schommer.

Museo de Belles Artes de BilbaoFeb. 8-May 16% 34-94-4396-060www.museobilbao.com

Copenhagenart“Colour in Art” examines color sys-tems used by 20th-century artists inmore than 100 works of art, includingeight paintings by Kandinsky.

Louisiana Museum of Modern ArtUntil June 13% 45-4919-0719www.louisiana.dk

Hamburgart“Genuine Illusions: Illusion and Realityin Art” showcases drawings, paint-ings and sculptures devoted to trick-ing the eye, including work by LucasCranach, Claes Oldenburg, JasperJohns and Janet Cardiff.

Bucerius Kunst Forum

Feb. 13-May 24% 49-40-3609-960www.buceriuskunstforum.de

art“Pop Life: Warhol, Haring, Koons, Hirst,…” explores Andy Warhol’s statementthat “good business is the best art”with work by Tracey Emin, Keith Har-ing, Damien Hirst, Takashi Murakamiand others.

Hamburger Kunsthalle-Gallery ofContemporary ArtFeb. 12-May 9% 49-40-4281-3120-0www.hamburger-kunsthalle.de

Londontheater“A Man of No Importance” is a musi-cal based on the book by Terrence Mc-Nally about a Dublin bus conductorwith music by Stephen Flaherty. It isdirected by Ben De Wynter.

The Arts TheatreFeb. 10-Feb. 27% 44-845-0175-584www.artstheatrewestend.com

photography“Deutsche Börse Photography Prize2010” shows work by the four artistsshortlisted for the prize.

The Photographers’ GalleryFeb. 12-April 18% 44-845-2621-618www.photonet.org.uk

music“ABBAWorld” is an interactiveexhibition about the Swedishpop band ABBA presenting25 rooms of memorabilia, mu-sic, footage and images.

Earls Court ExhibitionCentreUntil March 28% 44-1159-1290-00www.abbaworld.com

Luxembourgart“Everyday(s)” exhibits contem-porary art on the theme ofeveryday life, with work byBruno Baltzer, David Bestué& Marc Vives and others.

Casino LuxembourgForum d’Art ContemporainUntil April 11% 352-2250-45www.casino-luxembourg.lu

Lisbonart“In the Presence of Things”displays 71 paintings fromthe 17th and 18th centuries,including work by JuanSanchéz Cotán, PieterClaesz, Rembrandt and Fran-cisco de Goya.

Museu CalousteGulbenkianFeb. 12-May 2% 351-21-7823-000www.museu.gulbenkian.pt

Madridphotography“Saved Art” presents archivephotos and video projectionsdocumenting the fate of fa-mous works of art during theSpanish Civil war.

Museo Nacional del Prado- Paseo del PradoUntil March 21% 34-91-3302-800www.museodelprado.es

Manchestermusic“Lady Gaga - The Monster Ball Tour”starts the U.K. tour of the GrammyAward-winning pop singer.

Feb. 18 M.E.N. Arena, ManchesterFeb. 20-21 The O2, DublinFeb. 22 The Belfast Odyssey ArenaFeb. 24 Liverpool Echo ArenaFeb. 26-27 The O2, London(continues into March)www.livenation.co.uk

Munichart“Maharaja: The Splendour of India’sRoyal Courts” explores the culture ofmaharajas through Indian and West-ern works.

Kunsthalle der Hypo-KulturstiftungFeb. 12-May 23% 49-89-2244-12www.hypo-kunsthalle.de

art“Peter Loewy: Drawings” presents por-trait photography created from close-ups and distortions of drawings bythe German photographer.

Pinakothek der ModerneFeb. 9-April 11% 49-89-2380-5360www.pinakothek.de

Parisphotography“Lisette Model” showcases 120 im-ages of New York in the 1940s by theAustrian-born American photographer.

Jeu de Paume—ConcordeFeb. 9-June 6% 33-1-4703-1250www.jeudepaume.org

art“C’est la Vie! Vanity, From Caravaggio to

Damien Hirst” displays 150 art piecesrepresenting vanity objects, includingearly mosaics from Pompeii.

Musée MaillolUntil June 28% 33-1-4222-5958www.museemaillol.com

art“The Image Factory” presents 160 orig-inal objects from different historicaland ethnical backgrounds around theworld, illustrating totemism, natural-ism, animism and analogy.

Musée du Quai BranlyFeb. 16-July 15% 33-1-5661-7000www.quaibranly.fr

Rotterdamart“Inside out: Museum Boijmans Van Be-uningen on Show” showcases master-pieces by artists such as Frans Halsand Jacob van Ruisdael alongside mod-ern work by Giorgio Morandi andFrank Stella.

KunsthalFeb. 6-May 24% 31-10-4400-301www.kunsthal.nl

Zurichdesign“Global Design” traces the effects ofglobalization on the world of designsince the 1970s, following develop-ments in architecture, graphics, media,fashion, product and industrial design.

Museum of DesignFeb. 12-May 30% 41-43-4466-767www.museum-gestaltung.ch

Source: ArtBase Global Arts News Ser-vice, WSJE research.

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W12 Friday - Sunday, February 5 - 7, 2010 | W E E K EN D JOU R NA L

Contents3 | Fashion

And the Oscar nominees wear...

4 | Food & Wine

The debate over molecular gastronomy

Wine: A frosty night for Eiswein

5 | Travel

Stockholm’s 30,000 islands

8 | Sport

Golf: The politics of the sport

6-7 | Cover story Art

The Gordon Gekko of the art world

10 | Top Picks

De Stijl works in London

Lundquist’s ambiguity

Blending folk with modern

Collecting: Madrid fair spotlights L.A. artists

11 | Books

What’s in a name?

12 | Time Off

Questions or comments? Write to [email protected] include your full name and address.

Barbara Tina Fuhr EditorElisabeth Limber Art director

Brian M. Carney Books page editor

COVER , A s h e r E d e l m a n i n f r o n t o f J a m e s N a r e s ’ ‘ R i d e t h e R i d e , ’ ( 2 0 0 0) .

P h o t o g r a p h b y E t h a n H i l l f o r T h e Wa l l S t r e e t J o u r n a l .

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Our arts and culture calendar

‘Gaddi’ (Thron) Maharaja: the Splen-dour of India’s Royal Courts, Munich.

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Asher Edelman with Edouard Manet’s ‘Berthe Morisot on a Divan’

Dance Number / by Todd McClary

THE JOURNAL CROSSWORD / Edited by Mike Shenk

Last Week’s Solution

WSJ.com

Crossword onlineFor an interactive

version of The Wall Street Journal Crossword,

WSJ.com subscribers can go to

WSJ.com/WeekendJournal

Across 1 Cabo San Lucas

setting 5 Toy plane makeup 10 Mother’s mother,

informally 16 Shatner novel

“___War” 19 Cursor target 20 Modern

memo

21 Requiring fewer hints

22 Reba McEntire’s “___ Survivor”

23 Partner of 114-Across

26 Popcorn gift container

27 Madonna’s “La Isla ___”

28 ___ Ration (bygone dog food brand)

29 Molasses-flavored pie

31 Purel target 33 Partner of

100-Across 37 Like some

skating outfits 41 Message for

a pen pal?

42 It may be knitted 43 Partner of

93-Across 46 Common

miniature golf course feature

48 Bullet, for one 49 “Tell It to My

Heart” singer Taylor

50 Unfailingly

52 Blogger’s revenue source 53 Continental Congress VIP 56 Pastel shade 58 Fabergé egg recipients 59 Asian celebration 60 Story with cliffhangers 62 Sweet substitute 64 Noticed 66 Maxim demonstrated

by the partnered answers in this puzzle

71 Entr’___ 72 Tabloid twins surname 73 Maker of small engines 76 Network that debuted

with “Star Trek: Voyager” 79 Stilettos, e.g. 82 Schoolwork stickers 84 “Zorba the Greek” setting 85 Ipanema locale 86 Christopher of

“Law & Order: SVU” 88 City name on the

Wizard of Oz’s balloon 90 Presidential address part 91 Book of Judges strongman 93 Partner of 43-Across 97 Indigo plant 98 Way to order shots? 99 Charade 100 Partner of 33-Across 105 Put ___ appearance 106 Largest of the Galápagos 107 Folded fast food 109 Seat belt sounds 113 Hardly 114 Partner of 23-Across 119 Arena cry 120 Ducks 121 1966 role for Michael Caine 122 Someone to root for 123 Casting need 124 Bank, e.g. 125 Amendment votes 126 Without a date

Down 1 Lettuce variety 2 Height: Prefix 3 Couple 4 Like NRA foes 5 “Know this ___” 6 Latin lover’s word 7 Pleasant diversion 8 Site of a hit song’s

instrumental version, maybe

9 Without a date 10 Come by 11 Fan’s cheer 12 Simile center 13 Big name in burlesque 14 Phifer of “ER” and

“Lie to Me” 15 Crime that may cause

an alarm 16 Retaliation 17 Expressionist painter of

“Grosse Sonnenblumen” 18 2009 awards

show disrupter 24 Shrek creator William 25 Lab vessel 30 Gamblers’ haunts, briefly 32 Olympics award 34 Senseless situation? 35 Raise 36 Sides in a

long-running battle 37 Cineplex quaffs 38 Crumble away 39 Saudi’s neighbor 40 Fog machine material

44 “Fear and Loathing ___ Vegas”

45 Around 46 Honeycomb, e.g. 47 Element of many

murder mysteries? 51 Colossal 54 2000 Kyocera

acquisition 55 Armstrong moniker 57 Abbey attire 61 Triangular sail 63 Common place? 65 Haing S. ___

(Oscar winner for “The Killing Fields”)

67 Hull feature 68 Office pool picks 69 Expressway entrance 70 Pushkin’s “Eugene ___” 74 Boys’ school jackets 75 Protective bank 76 Polaris’s place 77 “Für Elise,” for one 78 Put up 80 Mundane

81 Patronizing types 83 Harry Belafonte’s

daughter 87 Grumpy comment

to an alarm clock 89 Model employers 92 Hardly a neatnik 94 ___ 300 (short-lived

Apple laptop) 95 “Thereby hangs ___” 96 High points 98 Group founded

by Bill W.’s wife 101 Gas, for one 102 Branch of the U.N.? 103 Caress alternative 104 Diplôme issuer 108 Does in 110 CBS-owned tech

review site 111 Colleague of Ellen,

Randy and Simon 112 Factory overhead? 115 Went underground 116 Creator of NASA 117 Leb. neighbor 118 Contend


1The Hamilton CaseBy Michelle de Kretser2003Conflicted, painfully snob-bish Sam Obeysekere would

rather be “under an imperialisticyoke than put trust in a fellowwho went about in sandals.” Sam,an Oxford-educated Ceylonese law-yer, lives in colonial duality: a privi-leged member of the local aristoc-racy in 1930s Sri Lanka who playscricket and attended a school“founded in 1862 by an Anglicanbishop on the pattern of Eton andRugby” and yet can be called a “nig-ger” on the streets outside his club.He makes a name for himself with alocal murder case involving a Brit-ish (read: white) tea-plantationowner. All this against a compli-cated, almost gothic backdrop offamily dysfunction: not one buttwo smothered babies, glamorousmothers and sisters slowly goingmad in evening gowns, the deep jun-gle always just outside. “The Hamil-ton Case” is an extraordinary, dizzy-ingly evocative portrait of Sri Lan-ka’s colonial past, where “the Brit-ish had entered the country’s blood-stream like a malady which provesso resistant that the host organismadapts itself to accommodate it.”

2China to MeBy Emily Hahn1944

The people in EmilyHahn’s frank and unapolo-

getic memoir, “China to Me,”seem like characters in a NoëlCoward play, making an entrance,uttering their bon mots, thensweeping off stage. The palmyworld of 1940s prewar Shanghaiand British-governed Hong Kongis rendered in swish dinner par-ties and horse races attended bydashing expatriates knocking backchampagne. Hahn, an Americanwriter who cared not a whit forpublic opinion, kept gibbons for

pets and had a baby out of wed-lock with a married British intelli-gence officer. (“I don’t know why Ihave always had so little con-science about married men,” shewrites languidly.) Cut to the warand the horror; she describes it allwith appropriate solemnity butnever loses the tone of a su-premely acerbic society gadaboutconfiding in you at a cocktailparty.

3The Necklace of KaliBy Robert Towers1960

For a refreshing, re-fracted perspective on co-

lonial India—that of a U.S. StateDepartment officer in the days“when the weird old body of theBritish Raj was at last thrashinglike some foundering dinosaur to-wards extinction”—read RobertTowers’s “The Necklace of Kali.”Consulate Visa Officer John Wick-ham is part of what is called the“Jungly Wallah” set: “a shiftingpopulation of rich Indians, Per-sians, Armenians, poor but inge-nious White Russians . . . and as-sorted American and Britons,”who take their name from theclub they all frequent. Wickham isa complicated, principled man,whose dealings with people fromall strata of society mirror the un-easiness of a country on the cuspof a bloody independence.

4Sea of PoppiesBy Amitay Ghosh2008

Amitay Ghosh uses avast and vibrant canvas

for “Sea of Poppies,” the first in atrilogy that is still being written.Set in the years before the OpiumWars in the mid-19th century,when Britain was making a for-tune from poppy crops in India,the story opens in the port city ofCalcutta and brings together char-

acters that include a low-caste gi-ant who runs away with a widow;a mulatto sailor with “skin thecolor of old ivory”; and Paulette, aFrench orphan. These people willmeet as they gradually make theirway to the Ibis, a triple-mastedschooner that is being prepped totake indentured workers to Mauri-tius, off the African coast. Ghoshrevels in the joy of language—“aschuckmuck a rascal as ever you’llsee: eyes as bright as muggerbees,smile like a xeraphim”—but he isalso a splendid storyteller. In thelast pages, the Ibis is being tossedby a mighty storm, the charactersgrowing desperate. I was desper-ate, too, for the next book.

5A Many-Splendored ThingBy Han Suyin1952

“You can’t be both eastand west at the same

time,” says British foreign corre-spondent Mark Elliott to the beau-tiful Eurasian doctor Han Suyin.But of course she can, in roiling,postwar colonial Hong Kong,where people “circulate among thebridge and mahjong tables.” InHan’s semiautobiographical novel“A Many-Splendored Thing,” thewidowed doctor embarks on adoomed, short-lived affair withthe dashing—and married—jour-nalist. The starry-eyed quality oftheir infatuation leads to occa-sional sentimentality: “Mark and Ihad many friends, and one of themwas the moon.” But the book is aninvaluable—and startlingly mod-ern—record of a certain time andplace, thanks to Han’s razor-sharpeye for the hypocrisies of the colo-nial order, as when a society ma-tron remarks that “Hong Kongwould be a wonderful place ifthere were not so many Chinese.”

Ms. Lee’s novel, “The PianoTeacher,” was recently publishedin paperback.

Daniel Pink is one of the moreenergetic members of the growingtribe of business writers-speakers-bloggers who, like the ubiquitousMalcolm Gladwell, plunder thework of economists, scientists andpsychologists to attack well-estab-lished business assumptions. Mr.Pink is known forpublic presenta-tions in which hedelivers a consis-tently upbeat mes-sage: that the mis-erable age of 20th-century manage-ment is over, that the tyranny oforganizational charts and spread-sheets is behind us, and that weare now entering more sun-splashed climes, where creativityflourishes and businesses treat em-ployees as human beings, not ma-chine parts.

It is a message we would alllove to believe. With “Drive: TheSurprising Truth About What Moti-vates Us,” Mr. Pink tries to jolly usall along toward accepting it. Hesets up the following history. Firstcame Motivation 1.0, during whichwe were stirred by nothing butour urges—grunting, hunting and

procreating in caves. Next cameMotivation 2.0, during which wemade calculations based on re-ward or punishment. Economic de-velopment depended on manipulat-ing our desires and fears to ex-tract performance.

And now we are reaching Moti-vation 3.0, a higherplane where peoplewrite Wikipedia en-tries for the fun ofit, go on “vocationvacations” to tryout professions dif-ferent from their

own, and spend a lot of time think-ing about the purpose of theirwork. Science, Mr. Pink says, hasshown that we are motivated asmuch intrinsically, by the sheerjoy and purpose of certain activi-ties, as extrinsically, by rewardslike pay raises and promotions.

The science that Mr. Pink is re-ferring to rests largely on thework of Edward Deci and RichardRyan at the University of Roches-ter and Mihaly Csikszentmihalyi atClaremont Graduate University.These three researchers havefound that we do our best workwhen motivated from within,

when we have control over ourtime and decisions and when wefeel a deep sense of purpose. Un-der such conditions, we canachieve real mastery over what-ever it is that we do.

The modernworkplace, Mr.Pink laments, istoo often set upto deny us thisopportunity.Firms that hopeto optimize effi-ciency by mak-ing their employ-ees clock in andout, attend com-pulsory meet-ings, and receivepay for perform-ance are de-moti-vating throughexcessive con-trol. What theyshould be doing,he argues, is giving workers thechance to do their best work bygranting them more autonomy andhelping them to achieve the mas-tery that may come with it.

Mr. Pink cites an Australiansoftware firm, Atlassian, that al-

lows its programmers 20% of theirtime to work on any software prob-lem they like, provided it is notpart of their regular job. The pro-grammers turn out to be muchmore efficient with that 20% of

their time thanthey are withtheir regularwork hours. At-lassian creditsthe 20% withmany of its in-novations andits high staff re-tention. Compa-nies as large asGoogle and 3Mhave similarprograms thathave producedeverythingfrom GoogleNews to thePost-It note.

Relatedly,Best Buy has implemented a “re-sults oriented work environment”at its corporate headquarters inRichfield, Minn., to improve mo-rale and lower turnover. Thismeans that salaried employees putin as much time as it takes to dotheir jobs, on their own schedule.If they need to duck out to take achild to the doctor, they don’thave to ask. It is assumed thatthey will do their work in theirown time. The hope is that, insuch an environment, workers willfeel more inclined to contribute tothe company’s well-being thanthey would if they were simplygrinding out hours for a paycheck.

From these and other scattereddata points, Mr. Pink rustles up histrend. Is it plausible? It is easy tofind fault with some of his claims.Mr. Pink cites research showingthat artists do better work forthemselves than on commission.So much for the Sistine Chapel. Hewrites in favor of companies thatallow employees more say in theirfirms’ charitable giving. But whydon’t these firms drop the pater-nalism altogether and simply givethe money to their employees aspay, trusting them to do their bestwith it? And one has to wonderwhether Mr. Pink’s flexible, mean-ingful-work model is widely appli-cable or something that only se-lected companies will be able toadopt.

What is more, the truths thatMr. Pink cites are not nearly as“surprising” as he claims. They areto be found in centuries of philoso-phy, in the Pre-Socratics, in Plato,in “Walden.” Yes, indeed: Beyondserving our basic needs, moneydoesn’t buy happiness. We need agreater purpose in our lives. Ourmost precious resource is time.We respond badly to conditions ofservitude, whether the lash of thegalley master or the more subtleenslavement of monthly pay-checks, quarterly performance tar-gets and the fear of losing healthinsurance. Work that allows us tofeel in control of our lives is betterthan work that does not. Nonethe-less, these lessons are worth re-peating, and if more companiesfeel emboldened to follow Mr.Pink’s advice, then so much thebetter.

Mr. Delves Broughton is the au-thor of “Ahead of the Curve: TwoYears at Harvard BusinessSchool” (Penguin).

77Business Bookshelf / By Philip Delves Broughton

77Five Best / By Janice Y.K. Lee

More Than A Paycheck

By Jan Morris

So that strange old geniuswhat’s-his-name has left us at last—you know who I mean, what was hisname, you know, the man whowrote “The Catcher in the Rye”?

Ah, there we go. How often ithappens, does it not, that we re-member the name of a book whenwe momentarily forget the name ofits author? It only goes to showwhat skill and artistry can go intothe titling of literary works. Some-times, of course, straightforward,self-explanatory titles are the mosteffective. Shakespeare never put aline wrong, when he named hisplays, and Dickens didn’t do badlyeither, when he plumped simply for“Oliver Twist.” No book could bemore graphically introduced thanthe book of the Apocrypha titledsimply The Rest of Esther.

But sometimes the more ob-scure or enigmatic the title, the bet-ter it is remembered. When Alex-ander Kinglake called his ultimatemasterpiece of travel writingEothen, he must have realized thathardly anybody would understandwhat it meant, but it has kept hisbook in print for 166 years. BruceChatwin knew just what he was do-ing when he omitted a questionmark from his title “Why Am IHere.” And when it comes to obscu-rity, what about John Masefield’sODTAA (meaning “One DamnThing After Another”), or “SevenPillars of Wisdom,” or for that mat-ter “The Catcher in the Rye” itself?What Catcher did J.D.Salinger—that’s the name!—have in mind? Iam re-reading the book now, and Idon’t know yet…

Who can doubt for a momentthat authors themselves chose allthese canny titles? Hardly an editoron earth would have left outChatwin’s question mark. Most pub-lishers, especially of the academickind, are very heavy-handed title-writers, and go in for colonic thingslike “Fire and Destiny: PatrimonialCustom in Nineteenth Century Mon-golia,” or “Hungry Armies: Medi-eval Victualling Systems Reconsid-ered.” It’s fine when Isaac Waltonsubtitles “The Compleat Angler” as“A Discourse of Rivers, Fish-ponds,Fish and Fishing,” but disastrouswhen the University Press of SouthMiddlesboro tries to emulate him.

Publishers’ instincts of salesman-ship are certainly not infallible, as Iknow from experience. Fifty yearsago I wrote a book about Venice.When it was published in London Inamed it simply “Venice,” and it hasbeen providing me with a modestprivate income from that day to this.In America they renamed it “TheWorld of Venice,” and for several de-cades it has not earned me a cent.

And to get back to “The Catcherin the Rye,” with its unforgettable ti-tle and its still irresistible text. Yes-terday I came across an examinationpaper about it. “Question One,” itsaid. “What is the significance of thebook’s title?” Well, this morning Igot to page 180 and discovered whatthe significance is; but I’m tellingyou, based as it is upon the misquota-tion of a poem by Robbie Burns, it’s avery quintessence of obscurity.

“The Catcher in the Rye,” I amtold, has so far sold 65 million cop-ies. It only goes to show. . . .

Ms. Morris is a writer in Wales.

DriveBy Daniel H. Pink

(Riverhead, 242 pages)

A ‘Rye’ ByAny Other

Name

Novels Set in the Colonial East

v Books

W E E K EN D JOU R NA L | Friday - Sunday, February 5 - 7, 2010 W11

Photo illustration by Angela Calderon/ The Wall Street Journal

Photos: Associated Press

Sandra Bullock’shuge fan base and girl-next-door image have made her a potent fashion seller. Here, she arrives at last month’s Golden Globes in a Bottega Veneta gown.

Penelope Cruzhas high shopper appeal. At the Screen Actors Guild, she wore a dress by L’Wren Scott.

Maggie Gyllenhaal’sinsider choices make her a fashion darling but could alienate some consumers. She wore iconoclastic Roland Mouret to the Golden Globes.

Carey Mulligan tops many designers’ wish lists for her risk-taking and love of fashion. But these same factors may make her less widely influential. She wore a Nina Ricci gown to the Golden Globes.

Meryl Streep’s maturity and

pristine fashion choices may

appeal to the huge over-40

market. She arrived at the Screen Actors Guild wearing

a spring Balenciaga

gown.

WITH THE ACADEMYAward nominations outthis week, fashion design-

ers are already jockeying to dressthe stars for their big night. Butrather than trying to pick the Os-car winners or the most fashion-able celebrities, designers shouldbe asking another question: Whowill be the most effective at get-ting viewers to buy the clothesthey see on the red carpet?

Among this year’s nominees,the “best seller” award is likely togo to a nominee whom few in thefashion world are discussing: San-dra Bullock. At StyleSpot.com, aLos Angeles-based Web site thatlinks red-carpet photos to storesthat sell the looks, Ms. Bullock’s Vi-vienne Westwood dress at the Peo-ple’s Choice Awards ranked amongthe top of all red-carpet appear-ances this year in inspiring viewersto “click through” to retail sites.

One lesson: It isn’t pure chicthat moves clothes. “For the mostpart, celebrities that drive salesaren’t necessarily the ones thatget nominated” for awards, saysLily Hollander, editorial directorof StyleSpot.com. The 45-year-oldMs. Bullock has a down-to-earthimage that means millions ofwomen relate to her.

By contrast, with her Best Ac-tress Oscar nomination for “An Ed-ucation” this week, Carey Mulliganhas dozens of fashion designers vy-ing to lend her baubles and gownsfor the Oscars. The young actresswith the pixie haircut is known asa sophisticated dresser. “CareyMulligan will be the most watchedon Vogue.com,” says HamishBowles, Vogue’s European editor atlarge, recalling a sparkling Pradadress the actress wore recently.

But despite Ms. Mulligan’s fash-ion credibility, she may not be thesavviest choice for product place-ment. At StyleSpot.com, Ms. Mulli-gan isn’t one of the stars whomoves the most viewers to buyclothes. Ms. Mulligan wasn’t avail-able to comment.

Celebrity placement is morevoodoo than science, but amongthis year’s nominees, other Oscarsales influencers may include plus-sized Gabourey Sidibe and the clas-sic Meryl Streep. Ms. Sidibe, thestar of “Precious,” is “an alternateparadigm for the red carpet, butshe can carry these very strongcolors,” Mr. Bowles says.

And Ms. Streep’s maturity anddemure style choices may appealto women over 40, who spendmore on fashion than other demo-graphic groups.

Among top StyleSpot.com sell-ers who aren’t current Oscar nomi-nees, Kate Hudson and Drew Barry-more are in a sweet spot—fashion-able, and young enough to inspireInternet shoppers, yet not soyoung that they’re attracting teensor college-aged women, who don’thave a lot of money for clothes.

A number of sites track whatcelebrities wear so that viewerscan copy the styles. But red-car-

pet photos are at the heart ofStyleSpot’s strategy. The site,which launched last year, links ce-lebrity red-carpet photos to onlineretail stores from Barneys to Ama-zon.com. StyleSpot’s database com-piles images from red-carpetevents and organizes them bystar, event, and designer brand.The site, which estimates itsunique monthly audience ataround 10 million people, earnsrevenue as a percentage of saleswhen consumers click on a photoand purchase the related item.

Red carpets have become a pri-mary marketing channel for fash-ion. The Academy Award nomi-nees’ photos will be plasteredfrom Boise to Budapest after theMarch 7 awards show, which willbe watched by something north of35 million television viewers—andseen on a gazillion blogs. It’s anirresistible advertising medium. InLos Angeles, designers employ VIPhandlers, who work to get the de-signers’ clothes on celebrities whomight be photographed in them.

The fashion industry does thisbecause it works. After SiennaMiller wore Thakoon’s spring bust-ier jumper to the premiere of thefashion documentary “The Septem-ber Issue,” every store thatbought the piece sold out, says aspokeswoman for designer Thak-oon Panichgul.

Yet success, for a designer, is adelicate balance of star power andtiming. After Jessica Alba pre-sented an award at the People’sChoice awards last month, herBurberry Prorsum knotted plat-form sandals generated the mostclick-throughs to retail sites ofany red-carpet appearance thisseason on StyleSpot.

Unfortunately for Burberry,those spring-season shoes won’t beavailable in stores for anothermonth. So shoppers had to settlefor similar looks offered on the siteby Robert Clergerie and Callisto.

Of course, there are ancillarybenefits. High-profile fashion pub-licist Karla Otto, who recentlyopened a Los Angeles VIP office,says any appearance by an A-Listactress “sells product from cloth-ing to accessories and, if the con-sumer can’t afford the attire, theymight buy the fragrance or thebeauty products.”

Brands’ publicists fire offpress releases the minute theirstar steps outside. During lastSunday’s Grammy Awards, EmilioPucci announced that singer/ac-tress Fergie appeared in its bluestrapless dress, while JudithLeiber announced she carried aLeiber clutch. Each time Fergiewore Missoni in Cannes lastweek, the brand shot out a re-lease. “I hope that others willbe influenced by her great per-sonal style,” said designer An-gela Missoni in an email.

Nothing is too minor formention. Stylist MarkTownsend announced that heset actress January Jones’shair in a French twist for theGolden Globes, blow dryingher hair “with a roundbrush” and securing “itwith about 10 bobby pins.”He also named hair prod-

ucts and prices: Moroccanoil Treat-ment, $39 (Œ28) for 3.4 fl. oz.

Dressing Angelina Jolie, AnneHathaway and Kyra Sedgwick inone-of-a-kind vintage gowns hasrubbed off in sales of totally unre-lated clothes, says Juliana Cairone,owner of the New York vintage bou-tique Rare. “They are not lookingfor the same item,” she says, “theyjust want something from us.”

Having jealously noted thesebenefits, menswear labels arestarting to go after male artists.At last week’s Grammy’s, membersof Kings of Leon appeared in Burb-erry and John Varvatos.

So who’s the Oscars’ ActorMost Likely to Sell Fashion—theman with Ms. Bullock’s combina-tion of attractive looks and guy-next-door accessibility?

No, not Jeremy Renner, the sexystar of “The Hurt Locker.” Thestreet money’s on Best SupportingActor nominee Woody Harrelson.

Jockeying to dress the starsAs Oscars approach, designers vie to grab the right celebrities

On StyleCHRISTINA BINKLEY

v Fashion


London: Tate Modern has awhopper of a show, with a title tomatch its size: “Van Doesburg andthe International Avant-Garde: Con-structing a New World.” Thoughthis is the first major exhibition inthe U.K. dedicated to the Dutch art-ist Theo van Doesburg (1883-1931),its early Modernist scope is largerthan the one man, who worked inpractically all the art forms extantin his lifetime. His real importancewas as the founder of the magazineand movement called De Stijl.

Examples are exhibited of vanDoesburg’s contributions to paint-ing, architecture, design, typogra-phy, poetry, art criticism and pub-lishing. But more important, and of-ten artistically superior, are the ex-hibits of work by others he influ-enced. Van Doesburg believed inan abstract, geometric art, depen-dent on horizontal and verticallines, at first shunning the diago-nal—to the point that this becamea matter for arguments that werealmost theological.

He also went through a period ofexcluding all but the primary colors.This of course brings to mind Piet

Mondrian (1872-1944). Mondrian’spaintings, scattered through themore than a dozen rooms of thisvast show, leap off the walls, despitebeing hung with many painters whoadopted the same format, geomet-ric means and media.

To my eyes it is obvious thatMondrian is better than other, simi-lar De Stijl artists, such as VilmosHuszár, Karl Peter Röhl, WalterDexel, Peter Keler and van Does-burg himself. But there is more tothis exhibition than these paintings—breathtaking compositions instained glass, Bauhaus designs, andwonderful De Stijl furniture, espe-cially the large group by GerritThomas Rietveld. There are exam-ples of terrific commercial and pop-ular art, and excursions into Dada,Constructivism, film and musicalcomposition; also some sensationalmodels and interior designs—evena lip-smacking menu for the CaféAubette cinema-dance hall in Stras-bourg, on which van Doesburg col-laborated with Sophie Taeuber andHans Arp. —Paul Levy

Until May 16www.tate.org.uk

Indian exhibit blends folk-art traditions with modern imaging

Vast offering of De Stijl art in London

Theo van Doesburg’s ‘Simultaneous Counter-Composition’ (1929-30).

Revelatory Lundquist retrospective looks at ambiguity

Evert Lundquist’s ‘The Axe’ (1974).

London: The Saatchi Gallery,that perfect blend of art and com-merce, has found its ideal theme inits current show, “The EmpireStrikes Back: Indian Art Today.”

As the mobile phone has spreadacross the Indian subcontinent and

PCs are common, an emerging high-tech culture has led to enclaves ofwealth and entrepreneurship. This inturn has led to a lively art world,where folk-art traditions collide withthe computer-generated image; reli-gious icons fuse with new materials;

andtherelationshipbetweentheeco-nomic climate and the art world is ex-pressed in political, stereotype-bust-ing, gender-conscious works of art.

The show’s 11 large galleries fea-ture works owned by Charles Saat-chi and created by 24 living artists

of Indian or Pakistani origin, someof whom live and work in Americaor Britain. The quality is variable,but at its considerable best—as inAtul Dodiya’s homage to the latepainter Bhupen Khakhar—it hassome of the resonances of great In-dian art of the past.

I particularly enjoyed gallery 8,with Subodh Gupta’s paintings andsculptures of stainless steel andbrass kitchen utensils, and BhartiKher’s collage of candy-colored, feltbindis (the spot on the foreheadworn by married women). Gallery10 has three impressive, huge worksand one small one by Jitish Kallat.The four-meter high “Eruda” is ablack lead-covered sculpture of oneof the boy booksellers who work attraffic lights on the streets of Mum-bai. Though most have never beento school and are illiterate, they en-gage in authoritative conversationsabout the books they’re selling.

While at the Saatchi Gallery, becertain to see Richard Wilson’s mas-terpiece, “20:50,” which floods partof the lower ground floor with apond of reflective, used engine oil. —Paul Levy

Until May 7www.saatchigallery.com

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ARCO, WHICH takes placein Madrid Feb. 17-21,

will kick off 2010’s major in-ternational contemporary-art fairs and will spotlightartists from this year’sguest city, Los Angeles.

The first two days of thefair are restricted to profes-sional visitors such as collec-tors and museums. They canbuy before doors open to thegeneral public Feb. 19.

“There is a lot of curiosityat this fair as Spain’s artscene grows steadily, butwithout frenzy,” says VictorGisler of Zurich’s Mai 36 Gale-rie. Mr. Gisler, a veteran par-ticipant, says he will bringalong the works of artists re-ceiving increasing attentionin southern Europe, includ-ing those of technically versa-tile German photographerThomas Ruff and Americanpainter Glen Rubsamen withhis mysterious, emotionallandscapes silhouetting shift-ing trees and lamp posts.

Some 220 European,American, South Americanand Asian galleries with workfrom around 3,000 artistswill exhibit at this year’s fair.

ARCO usually features aguest country, but for thefirst time this year the orga-nizers have invited a guestcity—Los Angeles, describedby curators Kris Kuramitsuand Christopher Miles as a“21st century metropolis”with a dynamism, energy andcreative diversity that hassituated it at the forefront ofthe world’s art market.

Seventeen guest galleriesfrom Los Angeles will be fea-tured. The Margo Leavin Gal-lery will include works by78-year-old John Baldessari,the Californian concept andmixed-media exponent whowas awarded the Golden Lionfor his life’s work at the Ven-ice Biennale in 2009 andwhose major works now sellin the six digits. On displaywill be Mr. Baldessari’s “AgavePlant,” (1999/2008), a largeprint with colorful acrylicpaint depicting the succulentplant that thrives in Mexico.

Meanwhile, the SteveTurner Gallery will includethe work of 36-year-old Ea-mon Ore-Giron, whose paint-ings and installations mixSouth and North Americancultures. His “Diana” (2008),made from a Diana Ross al-bum sleeve, will be priced at$3,500 (Œ2,507).

Madrid fairto spotlightL.A. artists

‘Agave Plant’ (1999/2008) byJohn Baldessari. Price on request.

CollectingMARGARET STUDER

v Top Picks

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Stockholm: At first glance,“Torso,” a 1961 painting by Swedishartist Evert Lundquist, seems to bean early modernist update on an oldEuropean tradition. With a cen-trally placed, sketchy motif—possi-bly a sculpture on a table, or a nudewith her arms behind her—thepainting has a haunting stillnessthat reminds us of Jean-SiméonChardin. But our modernist eye de-ceives us. “Torso” has led a doublelife. Lundquist also exhibited thepainting turned on its side, therebyseeming to create a different work,called “Still Life,” with a differentmotif, this time of an apparent tablesetting. “Torso,” in its upright posi-tion, is one of many ambiguousworks on display in a revelatory Lun-

dquist retrospective at Stockholm’sModerna Museet.

At the peak of his career in the1950s and ’60s, Lundquist (1904-94)was Sweden’s best-known painter.But a rather old-fashioned view ofthe artist’s work allowed manySwedes to dismiss Lundquist—oreven forget about him entirely. TheModernaMuseetshowseekstoredis-cover and reinterpret the artist’swork by emphasizing the role thatimprovisation and randomnessplayed in his technique.

Fond of thick applications ofpaint, Lundquist was capable of aspontaneity that recalls America’sJackson Pollock rather than Eu-rope’s Old Masters. The catalog re-counts a story of Lundquist walking

around a museum show before anopening with tubes of paint, chang-ing canvasses at the last minutewith only the help of his fingers.

Lundquist is a near-abstract art-ist, and his best paintings maintaina tantalizing tension between arichly textured abstract backgroundand a figurative motif. His bestworks—like “The Axe” (1974)—arevariations on the theme of a figura-tive object trapped in an abstractcanvass. Only very late in life, whenhe was nearly blind, did the motif it-self emerge as dominant, like in his1988 painting “The Cup,” in which awhite cup rises out from its sea-green surface. —J.S. Marcus

Until April 11www.modernamuseet.se

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Bharti Kher’s ‘An Absence of Assignable Cause’(The Heart) (2007).

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W10 Friday - Sunday, February 5 - 7, 2010 | W E E K E N D JOU R NA L

By Javier Espinoza

FOR YEARS, so-called molecu-lar gastronomy, an avant-garde culinary movement

best known for its gels and emul-sions and its wild chemical experi-ments with food, has teased the pal-ates of diners.

With Spain’s Ferran Adrià—oftenregarded as the founding father ofthe movement—announcing re-cently he will shut down his restau-rant El Bulli in 2012 for a couple ofyears to revisit his approach to cook-ing, the state of molecular cuisine isonce again brought to the forefront.To be sure, Mr. Adrià isn’t closingdown the restaurant for lack of de-mand. El Bulli continues to receivemore than one million requests forits 8,000 reservations annually; allbookings for the year are snatchedup in one day in mid-October whenreservations are opened.

But will freeze-dried foie grasandatomized martinis establish them-selves as a lasting trend?

Both Mr. Adrià and his Britishcounterpart Heston Blumenthal,have distanced themselves from theterm molecular gastronomy. In ajoint statement a few years ago, to-gether with American restaurateurGrant Achatz, the chefs said: “Theterm ‘molecular gastronomy’doesn’t describe our cooking, or in-deed any style of cooking.”

Their efforts to reject the termhasn’t deterred critics, and fansalike, from voicing their opinions.“The type of cooking that is based onexperimenting with chemicals toproduce meals is merely part of an in-dustrial process in a time when peo-ple are looking for quality productsthat have an intimate relation withtheir surroundings, with the earth,”said top Catalan chef, Santi Santama-ría, one of the most vocal opponentsof molecular gastronomy.

“The way I see it, [molecular gas-tronomy] is a byproduct of a sick so-ciety,” said the three-star Michelinchef, who has been in the industryfor almost three decades. In hisview, those using chemicals to ex-periment with food are just “play-ing with food.”

ButMr.Adriàisdismissive.“Ifyoudon’t like a certain type of cuisine,then pursue your own,” he says. “Atthe end of the day, a restaurant is ademocratic place. If you don’t like thefood they serve, then don’t go there.”

The celebrity chef explains thathe is now in a “rupture period” andis working on developing “a new for-mat” in modern cuisine. “I want tocreate something more beautiful,”Mr. Adrià adds without going intomuch detail. “If I knew what it isthat I am creating, then it wouldn’tbe new,” he explains.

For designer Rabih Hage, Mr.Santamaría’s views couldn’t be fur-ther away from his own experienceafter trying Mr. Adrià’s food twice.“Adrià’s cuisine is all about original-ity of the taste and authenticity asan experience,” he says. “His foodhas humor; it tells you a story.”

HélèneDarroze,atwo-starMiche-lin chef, who is now working at theConnaught in London, also believesMr. Adrià’s cuisine has high-stan-dard culinary merits and othersshouldn’t be too dismissive of it. “Idon’t know if molecular gastronomyis here to stay or not. But even if it’snot your own way of cooking, there isa lot of creativity and a lot of work in-volved,” Ms. Darroze adds. “Youcan’t just say that this is nothing andit’s too chemical.”

Fergus Henderson, a chef andfounder of the St. John restaurant inCentral London, is another outcast ofthe gastronomic movement. “My ap-proach to cooking couldn’t be moredifferent. Once you kill an animal, thegastro possibilities are huge. There isa great deal of things you can do witha pig’s tail or head, with tripes or kid-

neys,” says the author of “The WholeBeast: Nose to Tail Eating.”

Somehave,however,founda mid-dle ground. Simon Rogan, a one-starMichelin chef and owner ofL’Enclume in Cumbria, in the NorthWest of England, says his restauranthas seen “crazy times” during thepast, referring to his experimentwith chemical processes. But sincethe spring of 2009, Mr. Rogan tookthe conscious decision to take hiscooking to a more “natural form.”

“We still use certain pieces oftechnology and ingredients [such astransglutaminase, and Xanthamgum] in our foods, but there is lessmocking around. We are going backto the focus of being able to use an in-gredient in its purest form,” he says.“With molecular gastronomy wewere trying to be too clever and werestarting to be out of touch.”

Jun Tanaka, a British Japanesechef, thinks molecular gastronomyhas acquired a poor reputationamong some because of bad imita-tions. “To do it properly, you have tounderstand the science behind thefood,”says Mr. Tanaka, who is the ex-ecutive chef at Pearl Restaurant &Bar in London.

Butwillmoleculargastronomyde-fine the new generations of chefs?Mr. Tanaka doesn’t think so. “Chefswill move away from molecular gas-tronomy. Things will go back to beingmore about the produce, aboutthings being natural.”

DRINKING NOW

Künstler, Hölle, RieslingVintage: 2002

Price: about £55 or Œ63

Alcohol content: 6.5%

For the uninitiated the first sip

of Eiswein can surprise, with its

scintillating acidity. This example has

a powerful citrus kick that gives way

to a burst of stunning, fresh acidity

with notes of honeyed apricot.

The state of molecular cuisine

Top, fennel flowers in tempura from Ferran Adrià’s El Bulli; above, roast bonemarrow and parsley salad from Fergus Henderson’s restaurant St. John.

FOR ERNST LOOSEN the callcame at 3 a.m. “It was my chief

viticulturalist,” says one of Germa-ny’s most talked about winemakers.“We knew from the forecast that thefrost was coming, but that night thetemperature had dropped suffi-ciently. ‘This is it,’ he told me on thephone. ‘We start picking in an hour.’”

By 4 a.m. on Dec. 17, Mr. Loosenhad raised his team of pickers. Theirdestination was Erdener Prälat, asouth-facing vineyard planted on astep of red slate soil whose vinesstretch steeply down toward thebanks of the Mosel in Germany.

Together, under the artificialglow of generator-powered lights,the team agloves to avoid frostbiteand clutching secateurs they beganharvesting the compact bunches oftiny, frozen Riesling grapes. By 10a.m. they had finished. By that time,Mr. Loosen admitted, it had becometoo foggy to continue and the tem-perature wasn’t cold enough.

If you have ever wondered whythe price of vintage Eiswein can costas much as £50 for a small bottle—now you know. Welcome to Germa-ny’s Eiswein harvest of 2009, wherepicking starts in the middle of thenight at temperatures around minus 9Celsius. This is winemaking in the ex-treme, where the effort that goes intomaking it probably justifies its eye-wa-teringly high price. That, and the un-usual, scintillating experience one feelswhen sipping a chilled glass of Eiswein.

Sweet wine is still hopelessly un-fashionable. In Sauternes, the appella-tion to the southeast of Bordeaux,where chateaux such as Yquem, Ray-mond-Lafon and Rieussec producegloriously thick, heavy wines withdried-fruit flavors and earthy notes,they complain that “everyone lovessweet wine but nobody buys it.”

Perhaps we have forgotten thedelights of a glass of chilled sweetwine with a Roquefort salad, spicedshrimp or steamed salmon and gin-ger. With Eiswein the experience iseven more intense. The frozengrapes impart a clean, pure, racy char-acteristic as the acidity darts downthe tongue, refreshing the palate.

It’s as if the wine has imbued theanxiety and tension manifest in itsproduction. Making Eiswein isfraught with difficulties. The condi-

tions have to be just right and thetemperature has to fall to as low asminus 8 Celsius, which means that inGermany, it can’t be made every year.

The process is relatively straight-forward. After the main harvest asmall percentage of Riesling grapesare left on the vine until they shrivelinto small parcels of soggy, brownmush. Then the waiting game begins.Long-range weather forecasts will bestudied and lucky charms consultedwhile the winemakers sit patiently,waiting for the temperature to reachthe right level. What the winemakersare hoping for is a punishing frost tofreeze the grapes. As a rule ofthumb, the colder the temperatureduring the harvest, the higher the fi-nal sugar concentration can be ob-tained at pressing. As water freezesat a higher temperature than grapejuice it encapsulates the golden,sweet goo into a frozen pellet.

Once picked, the frozen grapesare transported to the winerywhere they are gently pressed. Thesweet juice, high in sugar and acid-ity, is then run off and fermented.

Fortunately, 2009 for the Mosel,as for most wine-growing regionsthroughout Europe, is shaping up tobe a very good year.

“It was really a great Eiswein har-vest because we got just the rightmix of frost and temperature,” saysMr. Loosen. “For me the perfect Eis-wein is always harvested beforeChristmas and this year everythingworked out perfectly.”

Despite Germany’s historical as-sociation with Eiswein—it is said thetechnique was discovered in its val-leys in the late 18th century after anearly frost caught many winemakersby surprise—the unreliability of itsharvest has opened the door to a ma-jor competitor.

Canada now produces more Eis-wein (they refer to it as ice wine)than any other country in the worldas its winters are reliably long andcold. Stylistically, they are a littlemore forward than their counter-parts in Germany with more tropicalfruit on the nose and a fuller flavor.This is because unlike Germany,where most ice wines are madefrom Riesling, in Canada they aremade from a grape variety known asVidal. There is still limited availabilityin Europe but Inniskillin, JacksonTriggs and Mission Hill are all worthseeking out.

Meanwhile, of the Eisweinsmade in Germany, Helmut Dönnhoff,Dr. Loosen and Weingut Künstlerare welcome in my cellar anyday.

A frosty night for Eiswein

WineWILL LYONS

St.J

ohn

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v Food & Wine


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By J.S. MarcusSandhamn, Sweden

ANDERS ANDERSON IS in agood position to judge whento visit the Stockholm Archi-

pelago: The economist bought hisown small island in 2004. “I thinkwinter is the best time,” he says, in-voking the iridescent sea and reflec-tive snow cover. “You have light ev-erywhere.”

Others might prefer the summerand the 12 extra hours of daylight,but Stockholmers and a growingnumber of foreign visitors are find-ing the chain of 30,000 islands just asintriguing in winter, when outdoorsaunas, ideal ice-skating, hiking andpervasive quiet more than make upfor the unavoidable darkness.

With some islands just bigenough to stand on and others nearlyas large as the center of Stockholm,the archipelago was once a roughandremotehome to farmersandfish-ermen. Long an inspiration to Swed-ish artists and writers, the areachanged in the middle of the last cen-tury, when tens of thousands of ordi-nary Swedes began to summer here.Now, as expensive year-roundhomes replace seasonal shacks,Stockholmers are discovering thear-ea’s off-season pleasures and prop-erty values are skyrocketing.

For Mr. Anderson, a 43-year-oldStockholmer, the archipelago is fullof ABBA memories. He’s the son ofStig Anderson, the Swedish rock im-presario and the music group’s lyri-cist in its crucial early years, and hespent his childhood summers onViggsö, a small island where manyABBA songs were composed. In coldwinters like this one, he says, hetakes a ferry to a nearby islandcalled Grinda, and enjoys makingthe rest of the journey on foot.

ABBA fans closely associate thearchipelago with Viggsö, where allfour members of the group sum-mered in the 1970s. “The first ver-sion of ‘Dancing Queen,’” recalls Mr.Anderson, “was performed on a fewpots” in the kitchen of his family’ssummer house.

There are no significant tides inthe Stockholm Archipelago, and only

the barren outer islands are exposedto rough sea winds. During a visitthis January, the wooded hills aboveSandhamn, an upscale village harboron the island of Sandön, shimmeredwhite; days’ worth of snowfall envel-oped towering evergreen trees. Withhardly a boat to disturb them, thecalm waters between the nearby is-lands were like mirrors, and, onceyou left the village behind, you couldhear only your own footsteps.

Sandhamn, considered by manySwedes as a symbol of the area’s re-cent makeover, is about two hoursfrom Stockholm by bus and a year-round ferry. Home to the Seglarho-tellet, a 79-room year-round hoteland harborside spa, Sandhamn isalso the perfect base to enjoy theislands’ unique winter atmosphere.More cozy than luxurious, the ho-tel’s hodgepodge of charming build-ings, constructed around a century-

old yacht club, includes a grand up-stairs bar with views over the wa-ter. The hotel offers winter week-end spa packages starting at 2,245Swedish kronor (Œ220) per person,per night (meals and spa treat-ments included), and some roomshave saunas. There are also suitesand apartments.

Sandhamn, like so many towns inthe archipelago, has a literary con-nection—this one to the frequentsummer visitor Stieg Larsson, thelate author of the “Millennium”crime trilogy, which begins with“The Girl With the Dragon Tattoo.”Mr. Larsson gave Mikael Blomkvist,one of the trilogy’s main characters,a summer house in the village. A col-league, Stockholm-based journalistKurdo Baksi, recalls that Mr. Lars-son, who suffered from insomnia,would stay up all night in Sandhamn,working on all three books at once.

The writer most closely associ-

ated with the archipelago, the pio-neer of modern drama AugustStrindberg, infuriated Kymmendö is-landers after he “poorly disguised”them in a novel, says Erik Höök, se-nior curator at Stockholm’s Strind-berg Museum. Another Strindberghaunt, the resort of Dalarö, is reach-able by commuter train from Stock-holm and is a convenient place toget a taste of the archipelago. An ex-cellent 62-room year-round hotel—The Smådalarö Gård, situatedaround a restored 200-year-oldmanor house—offers winter week-end packages, with quayside saunafacilities, allowing for rapid cool-downs in the Baltic, as well as an out-door Jacuzzi. The January-Marchpackages are 2,395 kronor for twopeople (including some meals).

Stockholm has had an especiallycold winter this year, and on week-end winter mornings, archipelagoferrieshave been filledwith day-trip-

ping ice skaters. Armed with skipoles, used to test the stability of theice, and with long-distance skatesthatstrap onto hiking boots,the skat-ers usually plan their trips at thevery last minute, says professionalguide Ylva Schöldberg. She leadsgroups out to the archipelago duringskating season, which lasts intoearly March. Conditions change, shesays, even hour to hour, due inpart tothe salt in the water—which cancause the surface to melt. Fallingthrough the ice is quite common, Ms.Schöldberg says, and her backpack,always filled with an entire changeof clothes, also acts as a flotation de-vice. (On the Web, friluftsframjan-det.se offers information in Swedishon archipelago day-trips from Stock-holm for experienced skaters.)

The cold will long outlast thedarkness, as the winter daylightgrows by around 30 minutes everyweek. In April comes the reopeningof Oaxen Krog (oaxenkrog.se), a res-taurant on the small island ofOaxen, near the chain’s southern-most edge. Amphibious plane andŒ95 taxi rides are favored ways toreach the eatery, a bastion of sea-sonal organic cuisine and the firstSwedish restaurant to win a regularplace on the S. Pellegrino World’s 50Best Restaurants List, sponsored bythe mineral-water concern. A fewyears ago, Oaxen Krog’s owners,chef Magnus Ek and his wife, AgnetaGreen, refitted an antique Dutch ca-nal boat that now serves as one thearchipelago’s best hostelries.

After Christmas the restaurantshuts down and the boat, whichstays open as an inn, comes intoStockholm, but the pair don’t en-tirely abandon the archipelago. Win-ter is one of the best times of the yearon the islands, Mr. Ek said on a sunnyJanuary day in Stockholm’s inner har-bor. “The snow, the ice, the calm-ness,” he said. “It’s so beautiful.” —J.S. Marcus is a writer

based in Berlin.

Stockholm’s 30,000-island smorgasbord

GETTING AROUND:Year-round ferries with terminalsaccessible by bus and commutertrain reach most popular islands.Call the tourist office at% +46-8-100-222;on the Web, visitskargarden.se

HOTELS:Seglarhotellet,% +46-8-574-504-00;www.sandhamn.com.Smådalarö Gård,% +46-8-501-551-00;www.sjonaramoten.se/smadalaro

Skaters exploring the StockholmArchipelago; top, the beach atSandhamn; right, Seglarhotellet.

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AYEAR AGO this month, youmay recall, the celebrityWeb site TMZ blew the lid

off a major, golf-related scan-dal—or so it thought. Under theheadline “Bailout Bank Blows Mil-lions Partying in L.A.,” it breath-lessly revealed that NorthernTrust, despite having accepted$1.6 billion in U.S. government

Troubled Asset Relief Programfunds three months earlier, wasentertaining clients at the PGATour event it sponsors, the North-ern Trust Open. Within hours, pun-dits from Bill O’Reilly of Fox Newsto Maureen Dowd of the New YorkTimes were decrying such excess,particularly the party at whichSheryl Crow sang, in a time of fi-nancial crisis. Members of Con-gress released letters demandingrecourse. Golf in general, alreadysuspiciously regarded by many,was stigmatized.

The Northern Trust Open re-turned this week to the RivieraCountry Club in Los Angeles, andguess what? Advance ticket saleswere up 35% and hospitality sales—that would be those big tents usedfor corporate entertaining—are up50%. The golf isn’t bad, either. PhilMickelson, Padraig Harrington andSteve Stricker are in the field.

“Some of the maelstromaround the tournament actuallyhelped it grow,” said Kelly Man-nard, Northern Trust’s chief mar-keting officer. “People read theheadlines and said, ‘Oh, that’s ter-

rible,’ but when they peeled backthe layers of the onion and startedasking the right questions, theysaw how this thing benefits busi-ness and how it benefits the com-munity.” The company attracted“millions of dollars” in new busi-ness as a result of last year’sevent, Ms. Mannard said, andcouldn’t accommodate all theticket requests it received from cli-ents wishing to attend this year.(Northern Trust repaid the TARPloan last summer, providing tax-payers a profit of $133 million.The company always maintained itnever needed the funding but tookit as a kind of confidence-buildingfavor to regulators.)

The Northern Trust Open’smini-resurgence in a still-diceyeconomic environment may besomething of a special case. Thesponsoring company’s clients, pri-marily high-net-worth individuals,would presumably not be thetypes to be dissuaded from enjoy-ing a golf tournament by populistranting about the game’s sup-posed elitist values. There is alsothe matter of Jerry West, theformer Los Angeles Laker’s star,now 71 but still a local hero, whoagreed last spring to become theevent’s executive director. By allaccounts his energetic efforts, in-cluding a recent publicity stunthitting wedge shots through oneof the “O”s in the famous Holly-wood sign, have been effective.

But Mr. West’s involvementspeaks directly to one of the keyarguments that both the PGA Tourand the broader golf industryhave been making recently intheir stepped-up battle to counterthe game’s perception problem:

the positive economic impact golfhas on local communities. Mr.West’s oft-stated motivation fortaking the gig, and working ashard at it as he has, is to boostthe money it raises for Los Ange-les charities. The tournament his-torically has channeled more than$1 million each year to SouthernCalifornia philanthropies, but ithas underperformed tournamentsin other cities like Dallas, whichlast year raised $4.4 million. Mr.West wants to change that.

Last week at the PGA Merchan-dise Show in Orlando, a coalitionof golf organizations opened an-other front in the perception wars.The group, called “We Are Golf,”represents club pros, course super-intendents, course owners andclub managers, and aims to con-vince U.S. policy makers in Wash-ington that golf is an important,job-creating industry that ought tobe supported, not denounced.“Right now, it’s considered politi-cally risky to raise your hand inWashington and say that you sup-port the golf industry. Thatshouldn’t be,” said Joe Steranka,chief executive of the PGA of Amer-ica, one of the coalition partners.

Golf’s politically toxic status isa long time in the making. Thelow point, Mr. Steranka said, mayhave come during the JackAbramoff lobbying scandals fiveyears ago, with widespread re-ports of lavish, mostly free golftrips to Scotland arranged for Con-gresspeople and staffers by thesubsequently convicted Mr.Abramoff. The bad vibes surround-ing the Northern Trust Open lastyear revived the negative image.“Emotions were running high be-cause of the economic situation.In the heat of the moment state-ments were made that broughtback old stereotypes of golf as anelitist undertaking, but nothingcould be farther from the truth,”said Mr. Steranka. Among the fig-

ures golf leaders like to trot out isthat 70% of rounds played in theU.S. are on public courses andthat the median cost per round in2008 was $28. Most golfers don’twear fancy pants.

But the We Are Golf initiative’scentral point is that golf is respon-sible for roughly two million jobsin the U.S. paying $61 billion inwages. Most of those jobs areworking-class. PGA-certified pro-fessionals at golf course typicallyearn in the high five-figures, Mr.Steranka said, but the 40 or soother employees at a typicalcourse—the maintenance workers,the shop assistants, the cooks andwaitresses in the grill room—earnmuch less. Then there are the lo-cal small businesses that providegoods and services to golfcourses: the painters and plumb-ers, the beer truck drivers, the flo-rists, vending-machine operators,the golf-cart repairmen.

The golf industry first realizedit had a political problem in 2005when, after Hurricane Katrina dev-astated the gulf coast, golf courseswere lumped with massage par-lors and casinos as businesses ex-plicitly prohibited from receivingdisaster relief funds. Golf’s powerelite, led by PGA Tour Commis-sioner Tim Finchem, converged onWashington in April 2008 for thefirst National Golf Day, to lobbyfor better treatment. But when theAmerican Recovery and Reinvest-ment Act, a.k.a. the stimulus bill,passed last year, it included mostof the same exclusions for golfthat the Katrina bill had.

“There are many members ofCongress who absolutely love golf,but as of today, the industry lacksa bench of champions,” said DavidMarin, a principal at the PodestaGroup in Washington that We AreGolf has hired to make its case.Mr. Marin said the strategy willfocus on “changing the narrative”about golf by introducing new sto-

rytellers: instead of golf legends,men and women whose jobs de-pend on the game even if theythemselves don’t play. He alsohopes to better organize the eco-nomic information about golf sothat politicians can more easilyjustify supporting the industry totheir constituents.

“Golf needs a seat at the tablewhen legislation that affects it is con-sidered,” Mr. Marin said. “But for thetime being we’re playing defense.Perceptions that are this deeplyrooted won’t change overnight, orin a month, or even in a year.”

The perceptions and politics of golf

CityLocal

currency Œ

Tokyo* ¥586,830 Œ4,639

Rome Œ5,472 Œ5,472

Paris Œ6,215 Œ6,215

Frankfurt Œ6,925 Œ6,925

Brussels Œ7,870 Œ7,870

London £8,696 Œ9,951

ArbitrageOlympics tour package for the opening ceremonies

Note: Prices of a round-trip business-class air ticket to Vancouver, plus two nights at a four-star hotel (Feb. 11-13, per person, double occu-pancy) and opening-ceremony ticket, plus taxes, as provided by agents in each city, averaged and converted into euros. * Opening-ceremony ticket not included. Ic

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ust before the most prestigious U.S.art fair, Art Basel Miami Beach,opened in December, an energetic70-year-old man named Asher Edel-man marched through the local con-vention center to the booth of a Zur-

ich gallery. He was accompanied by a dozenU.S. marshals. As onlookers whispered, themarshals seized four paintings by Yves Klein,Fernand Léger, Joan Miró and Edgar Degasworth around $15 million (Œ10.75 million).

Mr. Edelman goes to great lengths to pro-tect his art interests. He had gotten a U.S. fed-eral court order to confiscate the Zurich gal-lery’s inventory as potential compensation fora $750,000 Robert Ryman painting that the gal-lery, called Gmurzynska, had borrowed fromhim and, he says, accidentally damaged.

Within 48 hours, Mr. Edelman got hismoney and the gallery got back its art. Peter R.Stern, a lawyer for Gmurzynska, says that thegallery’s insurer had been in the process of dis-puting the claim for the damage and the gal-lery didn’t know that a court order had beenissued for the work in the meantime. “Asheruses unusual tactics, but he gets it done,” Bar-rett White, director of New York galleryHaunch of Venison, says of the incident.

Mr. Edelman, the former corporate raiderwho helped inspire the character of GordonGekko in the 1987 film “Wall Street,” has takenup a new position: art financier. After navigat-ing the art world for decades as a collector, mu-seum director and gallery owner, Mr. Edelmanrecently set up his own firm, Art Assured Ltd.,to arrange art investments.

The field of art backing is a financial WildWest these days. When the recession upendedthe art market a year ago, a number of tradi-tional institutions like banks and auctionhouses pulled back from loans and other fi-nancing deals based on the expected sellingprices of fine art. An aggressive set of bou-tique lenders and financiers have stepped in tofill the gap. The most prominent art lenders op-erate as blue-chip pawnshops, doling outquick cash to collectors, dealers and artists inexchange for the right to sell the borrowers’

artworks if their loans aren’t repaid.These lenders provide some much-needed

liquidity in a market where art values haveplunged and credit has stalled in the past year.But this arena can be bare-knuckled, with inter-est rates on one-year loans sometimes topping20% and defaulted payments sometimes lead-ing to public court battles—as was the case lastyear when New York-based Art Capital Groupsued photographer Annie Leibovitz for default-ing on her $24 million loan. The two sides laterreached an agreement to extend the loan.

Mr. Edelman is a new player in the field ofart finance, but his plans are ambitious and hisbrash approach is drawing attention in thetight-knit art world. Going beyond art lending,he says he intends to stake money on artworksbound for auction, a niche only a few finan-ciers have even explored.

Before the recession, Sotheby’s andChristie’s routinely secured commissions toauction works using a financial bet called aguarantee: The house would promise to pay aseller an agreed-upon price for an art work un-less bidders offered more. In exchange, thehouse got a sizable chunk—up to 40%—of anyadded profits if the winning bidder paid morethan the guaranteed price.

By the time art prices reached their peak in2007, some auctioneers had guarantees on upto half the works in their priciest sales of mod-ern and contemporary art. When the crisis hitjust over a year ago, Christie’s and Sotheby’slost a combined $63 million from guaranteedart that went unsold. Today, the auction-houseguarantee has all but disappeared, the auctionhouses say, though a handful of dealers will oc-casionally stake a single painting at auction.

Mr. Edelman plans to step into that void.When a seller consigns a work to auction, Mr.Edelman’s firm, Art Assure, will pledge to buythe piece if it doesn’t sell for an agreed-uponminimum price. In exchange, the seller willpay the firm a fee of about 5% to 10% of thework’s guaranteed price.

Unlike the auction houses, Mr. Edelmansays he is willing to stake a vast array of lower-priced objects—a $55,000 Modernist work on

paper, say. Auction houses have traditionallyfocused on guaranteeing their sales’ big-ticketlots, which are most likely to be bid up. Mr.Edelman says that smaller-ticket items repre-sent an untapped market—opening up manymore potential clients to him—and he expectsto profit from the greater volume of works.

Some in the art world say the plan has thepotential to lubricate the entire market by con-vincing more collectors to funnel art into auc-tions without fear that their pieces will go un-sold and lose value. “Businesses like Asher’scould be tapping into a new leverage businessbased on a potential collateral pool worthtens of billions,” says Marc Porter, Christie’schairman. The plan is also creating some con-troversy in the art world. Auction houses dis-close in their catalogs when they’ve provideda guarantee for a particular work, becausethey have a stake in its sale—in a sense, theyare partial owners.

But there is no disclosure process for awork that has been privately guaranteed, andMr. Edelman says he wouldn’t rule out biddingon a work he had guaranteed if a client otherthan the seller asked him to buy it. Collectorscould wind up bidding against him, not realiz-ing that he stands to profit from the piece sell-ing well. Mr. Edelman says that he wouldn’tbid up a work simply to inflate the sale price.

Rival lenders say Mr. Edelman should dis-close which works he may be staking and alsobidding on. Disclosure would help to “keep theplaying field even,” says Andrew Rose, presi-

dent of Art Finance Partners, so that collectorsknow when a rival bidder is also a seller with avested interest. Mr. Edelman says his idea is le-gal, doesn’t require any public disclosure andcould benefit the entire market by convincingmore collectors to trade works.

Marc-André Renold, the director of the Art-Law Centre at the University of Geneva, saysthat offering to guarantee works across a rangeof lower prices and qualities is “a risky ven-ture.” To succeed, Mr. Edelman will need asteady supply of cash to cover his bets. And if hehas to step in and buy art that he’s guaranteed,he’ll have to find a way to offload those samepieces in the private marketplace—offeringgoods that have already been widely shopped.

Mr. Edelman says he can’t discuss the par-ticulars of his financing while he’s still secur-ing investors, but people familiar with thematter say his new firm has raised $12 millionfrom American and Swiss investors and hopesto double its backing by year’s end. Moreover,Mr. Edelman says he hopes to offset some ofhis risk by asking a bank to cover part of hisstake. Mr. Edelman plans to roll out the firm’s

first guarantees by May.“I used to do options conversions tables as a

kid,” he says. “So anyone who competes with meon this has to know I’ll take it to the razor’s edge.”

Mr.Edelmanhas set up shopin theNewYorkUpper East Side brownstone he shares with hiswife, Michelle,andthe youngestof hisfour chil-dren. The setting is cozier than the black-lac-quered corner office in Manhattan where hespentthe 1980sbuying and breakingup compa-nies ranging from Canal-Randolph to technol-ogy companies like Telex and Datapoint. Art,thenas now,pops up everywhere. Hehas hung ared and orange abstract by Peter Halley in hisdouble-height dining room and positioned aGreek marble gravestone fragment in the livingroom beneath a silvery cardboard wall relief byFrank Stella. He also runs a gallery out of hishome, Edelman Arts, where he shows artistslike Jackson Pollock.

Gmurzynska isn’t the first business part-ner he has dueled with over matters of art andmoney. When a gallery he ran with dealerHeidi Neuhoff went bankrupt a year ago andthe court needed to divide their assets, Mr.Edelman, through his lawyer, told U.S. bank-ruptcy court judge James Peck that he sus-pected Ms. Neuhoff of hiding gallery assetsthat should be used to pay off creditors, ac-cording to court transcripts. Ms. Neuhoff de-nied any wrongdoing. When Mr. Edelman’slawyer pressed the matter in court again lastspring, court transcripts state that JudgePeck said Mr. Edelman’s claim appeared to be

“motivated by pure vindic-tiveness.” Mr. Edelmansays he didn’t act out ofspite. Ms. Neuhoff hassince paid off her portionof the debts in the bank-ruptcy case, according tocourt documents; Mr. Edel-

man’s bankruptcy case is still proceeding.Born in 1939 in New York, Mr. Edelman

split his childhood between the wealthy sub-urbs of Long Island and the Las Vegas Stripwhere his father owned real estate. His intro-duction to art came through monographs ofImpressionist and Old Master artists that hebought at age 12 and still keeps in his library.After college, Mr. Edelman worked at CarterBerlind Potoma & Weill, an investment bank.In 1969, he struck out on his own and began toscour for sagging companies, proposing waysto boost their value by selling off their lessprofitable parts. By the 1980s, he was consid-ered a pioneer of leveraged buyouts, acquiringcompanies largely through borrowed money.He also began cultivating his passion for art.Art dealer Mary Boone says Mr. Edelman’schauffeur-driven Jeep was regularly spottedoutside SoHo galleries in the mid-1980s.

When Stanley Weiser, the screenwriter ofOliver Stone’s “Wall Street,” caught a glimpseof Mr. Edelman’s living quarters in a magazinein the 1980s, he retooled his script so that the1987 film’s corporate raider collected art as

well. “The sophisticated part of Gekko, hishome and the auctions and that veneer of cul-ture—I modeled all that on Edelman,” Mr.Weiser said. Director Oliver Stone and actorMichael Douglas also shadowed Mr. Edelmanat work when preparing for the film.

Mr. Edelman’s life took a turn the sameyear the movie was released, when he, to-gether with the Montreal-based DominionTextile Inc., made a bid to take over the textilegroup Burlington Industries Inc. In an unprec-edented ruling, a federal judge in Greensboro,N.C., halted the takeover, ruling that a formerBurlington executive had probably passed con-fidential financial data to the bidders. Mr.Edelman denied that he had done anythingwrong and was never charged with insidertrading, but the takeover was blocked.

In another case, the U.S. Securities and Ex-change Commission complained that hehadn’t divulged his growing stake in anothercompany, Datapoint, quickly enough. He set-tled the matter without admitting or denyingwrongdoing by paying the commissionaround $484,000. In 1988, he resettled in Swit-zerland, because he had “virtually given up onWall Street,” he says.

It was in Lausanne on the shores of Lake Lé-man, that Mr. Edelman realized he could re-align his career in the art world. He rented anempty dye factory and hired a local curator,Chantal Prod’Hom, and for the next five yearshis Museum of Contemporary Art produced

shows featuring work by Robert Mappletho-rpe, Damien Hirst and Matthew Barney. Mr.Edelman says he helped fund the museum byauctioning off a third of his art collection, in-cluding a $3 million Jasper Johns.

Since his return to the U.S. in 2001, Mr. Edel-man has operated two galleries; Edelman Arts,opened in 2008, is the latest. Mr. Edelman isjoining a rare segment of the art industry—artfinancing—that hasn’t slowed down. Art Capi-tal Group expects to dole out as much as $300million worth of new art-backed loans thisyear, up from $120 million last year and $60million five years ago. Citi Private Bank said itstop clients also increased their borrowingagainst their collections to as much as $100million last year, up from a typical maximumloan of $20 million a decade earlier.

Mr. Edelman, seeing an opportunity, sayshe began approaching investors last fall aboutstarting his own art-financing firm. Unlike theother firms already in the art-financing arena,he plans to make private guarantees on auc-tioned works a centerpiece of his business.

Mr. Edelman’s confidence in the art marketis unflappable. Some of his ideas filter into thememos he regularly sends to 3,000 finance andart mavens. In a January memo last year, hewrote, “Art, like gold, has an intrinsic value.…Icannot identify a time in modern history thathas not served as a store of value when no oth-ers have been available or sustainable.” —James Oberman contributed to this article.

The artof the sellAsher Edelman, a former corporate raider,is shaking up the market with brash tactics ‘Asher has unusual tactics, but he

gets it done,’ an art dealer says.

Left, Asher Edelman in his home in New York with art he is selling; above ‘Untitled (Two Women),’(c. 1955) by Willem de Kooning; right, ‘Widow’s Watch’ (1995) by George Condo.

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W6 Friday - Sunday, February 5 - 7, 2010 | W E E K E N D JOU R NA L W E E K EN D JOU R NA L | Friday - Sunday, February 5 - 7, 2010 W7

ust before the most prestigious U.S.art fair, Art Basel Miami Beach,opened in December, an energetic70-year-old man named Asher Edel-man marched through the local con-vention center to the booth of a Zur-

ich gallery. He was accompanied by a dozenU.S. marshals. As onlookers whispered, themarshals seized four paintings by Yves Klein,Fernand Léger, Joan Miró and Edgar Degasworth around $15 million (Œ10.75 million).

Mr. Edelman goes to great lengths to pro-tect his art interests. He had gotten a U.S. fed-eral court order to confiscate the Zurich gal-lery’s inventory as potential compensation fora $750,000 Robert Ryman painting that the gal-lery, called Gmurzynska, had borrowed fromhim and, he says, accidentally damaged.

Within 48 hours, Mr. Edelman got hismoney and the gallery got back its art. Peter R.Stern, a lawyer for Gmurzynska, says that thegallery’s insurer had been in the process of dis-puting the claim for the damage and the gal-lery didn’t know that a court order had beenissued for the work in the meantime. “Asheruses unusual tactics, but he gets it done,” Bar-rett White, director of New York galleryHaunch of Venison, says of the incident.

Mr. Edelman, the former corporate raiderwho helped inspire the character of GordonGekko in the 1987 film “Wall Street,” has takenup a new position: art financier. After navigat-ing the art world for decades as a collector, mu-seum director and gallery owner, Mr. Edelmanrecently set up his own firm, Art Assured Ltd.,to arrange art investments.

The field of art backing is a financial WildWest these days. When the recession upendedthe art market a year ago, a number of tradi-tional institutions like banks and auctionhouses pulled back from loans and other fi-nancing deals based on the expected sellingprices of fine art. An aggressive set of bou-tique lenders and financiers have stepped in tofill the gap. The most prominent art lenders op-erate as blue-chip pawnshops, doling outquick cash to collectors, dealers and artists inexchange for the right to sell the borrowers’

artworks if their loans aren’t repaid.These lenders provide some much-needed

liquidity in a market where art values haveplunged and credit has stalled in the past year.But this arena can be bare-knuckled, with inter-est rates on one-year loans sometimes topping20% and defaulted payments sometimes lead-ing to public court battles—as was the case lastyear when New York-based Art Capital Groupsued photographer Annie Leibovitz for default-ing on her $24 million loan. The two sides laterreached an agreement to extend the loan.

Mr. Edelman is a new player in the field ofart finance, but his plans are ambitious and hisbrash approach is drawing attention in thetight-knit art world. Going beyond art lending,he says he intends to stake money on artworksbound for auction, a niche only a few finan-ciers have even explored.

Before the recession, Sotheby’s andChristie’s routinely secured commissions toauction works using a financial bet called aguarantee: The house would promise to pay aseller an agreed-upon price for an art work un-less bidders offered more. In exchange, thehouse got a sizable chunk—up to 40%—of anyadded profits if the winning bidder paid morethan the guaranteed price.

By the time art prices reached their peak in2007, some auctioneers had guarantees on upto half the works in their priciest sales of mod-ern and contemporary art. When the crisis hitjust over a year ago, Christie’s and Sotheby’slost a combined $63 million from guaranteedart that went unsold. Today, the auction-houseguarantee has all but disappeared, the auctionhouses say, though a handful of dealers will oc-casionally stake a single painting at auction.

Mr. Edelman plans to step into that void.When a seller consigns a work to auction, Mr.Edelman’s firm, Art Assure, will pledge to buythe piece if it doesn’t sell for an agreed-uponminimum price. In exchange, the seller willpay the firm a fee of about 5% to 10% of thework’s guaranteed price.

Unlike the auction houses, Mr. Edelmansays he is willing to stake a vast array of lower-priced objects—a $55,000 Modernist work on

paper, say. Auction houses have traditionallyfocused on guaranteeing their sales’ big-ticketlots, which are most likely to be bid up. Mr.Edelman says that smaller-ticket items repre-sent an untapped market—opening up manymore potential clients to him—and he expectsto profit from the greater volume of works.

Some in the art world say the plan has thepotential to lubricate the entire market by con-vincing more collectors to funnel art into auc-tions without fear that their pieces will go un-sold and lose value. “Businesses like Asher’scould be tapping into a new leverage businessbased on a potential collateral pool worthtens of billions,” says Marc Porter, Christie’schairman. The plan is also creating some con-troversy in the art world. Auction houses dis-close in their catalogs when they’ve provideda guarantee for a particular work, becausethey have a stake in its sale—in a sense, theyare partial owners.

But there is no disclosure process for awork that has been privately guaranteed, andMr. Edelman says he wouldn’t rule out biddingon a work he had guaranteed if a client otherthan the seller asked him to buy it. Collectorscould wind up bidding against him, not realiz-ing that he stands to profit from the piece sell-ing well. Mr. Edelman says that he wouldn’tbid up a work simply to inflate the sale price.

Rival lenders say Mr. Edelman should dis-close which works he may be staking and alsobidding on. Disclosure would help to “keep theplaying field even,” says Andrew Rose, presi-

dent of Art Finance Partners, so that collectorsknow when a rival bidder is also a seller with avested interest. Mr. Edelman says his idea is le-gal, doesn’t require any public disclosure andcould benefit the entire market by convincingmore collectors to trade works.

Marc-André Renold, the director of the Art-Law Centre at the University of Geneva, saysthat offering to guarantee works across a rangeof lower prices and qualities is “a risky ven-ture.” To succeed, Mr. Edelman will need asteady supply of cash to cover his bets. And if hehas to step in and buy art that he’s guaranteed,he’ll have to find a way to offload those samepieces in the private marketplace—offeringgoods that have already been widely shopped.

Mr. Edelman says he can’t discuss the par-ticulars of his financing while he’s still secur-ing investors, but people familiar with thematter say his new firm has raised $12 millionfrom American and Swiss investors and hopesto double its backing by year’s end. Moreover,Mr. Edelman says he hopes to offset some ofhis risk by asking a bank to cover part of hisstake. Mr. Edelman plans to roll out the firm’s

first guarantees by May.“I used to do options conversions tables as a

kid,” he says. “So anyone who competes with meon this has to know I’ll take it to the razor’s edge.”

Mr.Edelmanhas set up shop in theNewYorkUpper East Side brownstone he shares with hiswife, Michelle,andthe youngestof hisfour chil-dren. The setting is cozier than the black-lac-quered corner office in Manhattan where hespentthe 1980sbuying and breakingup compa-nies ranging from Canal-Randolph to technol-ogy companies like Telex and Datapoint. Art,thenas now,pops up everywhere. Hehas hung ared and orange abstract by Peter Halley in hisdouble-height dining room and positioned aGreek marble gravestone fragment in the livingroom beneath a silvery cardboard wall relief byFrank Stella. He also runs a gallery out of hishome, Edelman Arts, where he shows artistslike Jackson Pollock.

Gmurzynska isn’t the first business part-ner he has dueled with over matters of art andmoney. When a gallery he ran with dealerHeidi Neuhoff went bankrupt a year ago andthe court needed to divide their assets, Mr.Edelman, through his lawyer, told U.S. bank-ruptcy court judge James Peck that he sus-pected Ms. Neuhoff of hiding gallery assetsthat should be used to pay off creditors, ac-cording to court transcripts. Ms. Neuhoff de-nied any wrongdoing. When Mr. Edelman’slawyer pressed the matter in court again lastspring, court transcripts state that JudgePeck said Mr. Edelman’s claim appeared to be

“motivated by pure vindic-tiveness.” Mr. Edelmansays he didn’t act out ofspite. Ms. Neuhoff hassince paid off her portionof the debts in the bank-ruptcy case, according tocourt documents; Mr. Edel-

man’s bankruptcy case is still proceeding.Born in 1939 in New York, Mr. Edelman

split his childhood between the wealthy sub-urbs of Long Island and the Las Vegas Stripwhere his father owned real estate. His intro-duction to art came through monographs ofImpressionist and Old Master artists that hebought at age 12 and still keeps in his library.After college, Mr. Edelman worked at CarterBerlind Potoma & Weill, an investment bank.In 1969, he struck out on his own and began toscour for sagging companies, proposing waysto boost their value by selling off their lessprofitable parts. By the 1980s, he was consid-ered a pioneer of leveraged buyouts, acquiringcompanies largely through borrowed money.He also began cultivating his passion for art.Art dealer Mary Boone says Mr. Edelman’schauffeur-driven Jeep was regularly spottedoutside SoHo galleries in the mid-1980s.

When Stanley Weiser, the screenwriter ofOliver Stone’s “Wall Street,” caught a glimpseof Mr. Edelman’s living quarters in a magazinein the 1980s, he retooled his script so that the1987 film’s corporate raider collected art as

well. “The sophisticated part of Gekko, hishome and the auctions and that veneer of cul-ture—I modeled all that on Edelman,” Mr.Weiser said. Director Oliver Stone and actorMichael Douglas also shadowed Mr. Edelmanat work when preparing for the film.

Mr. Edelman’s life took a turn the sameyear the movie was released, when he, to-gether with the Montreal-based DominionTextile Inc., made a bid to take over the textilegroup Burlington Industries Inc. In an unprec-edented ruling, a federal judge in Greensboro,N.C., halted the takeover, ruling that a formerBurlington executive had probably passed con-fidential financial data to the bidders. Mr.Edelman denied that he had done anythingwrong and was never charged with insidertrading, but the takeover was blocked.

In another case, the U.S. Securities and Ex-change Commission complained that hehadn’t divulged his growing stake in anothercompany, Datapoint, quickly enough. He set-tled the matter without admitting or denyingwrongdoing by paying the commissionaround $484,000. In 1988, he resettled in Swit-zerland, because he had “virtually given up onWall Street,” he says.

It was in Lausanne on the shores of Lake Lé-man, that Mr. Edelman realized he could re-align his career in the art world. He rented anempty dye factory and hired a local curator,Chantal Prod’Hom, and for the next five yearshis Museum of Contemporary Art produced

shows featuring work by Robert Mappletho-rpe, Damien Hirst and Matthew Barney. Mr.Edelman says he helped fund the museum byauctioning off a third of his art collection, in-cluding a $3 million Jasper Johns.

Since his return to the U.S. in 2001, Mr. Edel-man has operated two galleries; Edelman Arts,opened in 2008, is the latest. Mr. Edelman isjoining a rare segment of the art industry—artfinancing—that hasn’t slowed down. Art Capi-tal Group expects to dole out as much as $300million worth of new art-backed loans thisyear, up from $120 million last year and $60million five years ago. Citi Private Bank said itstop clients also increased their borrowingagainst their collections to as much as $100million last year, up from a typical maximumloan of $20 million a decade earlier.

Mr. Edelman, seeing an opportunity, sayshe began approaching investors last fall aboutstarting his own art-financing firm. Unlike theother firms already in the art-financing arena,he plans to make private guarantees on auc-tioned works a centerpiece of his business.

Mr. Edelman’s confidence in the art marketis unflappable. Some of his ideas filter into thememos he regularly sends to 3,000 finance andart mavens. In a January memo last year, hewrote, “Art, like gold, has an intrinsic value.…Icannot identify a time in modern history thathas not served as a store of value when no oth-ers have been available or sustainable.” —James Oberman contributed to this article.

The artof the sellAsher Edelman, a former corporate raider,is shaking up the market with brash tactics ‘Asher has unusual tactics, but he

gets it done,’ an art dealer says.

Left, Asher Edelman in his home in New York with art he is selling; above ‘Untitled (Two Women),’(c. 1955) by Willem de Kooning; right, ‘Widow’s Watch’ (1995) by George Condo.

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W6 Friday - Sunday, February 5 - 7, 2010 | W E E K E N D JOU R NA L W E E K EN D JOU R NA L | Friday - Sunday, February 5 - 7, 2010 W7

By J.S. MarcusSandhamn, Sweden

ANDERS ANDERSON IS in agood position to judge whento visit the Stockholm Archi-

pelago: The economist bought hisown small island in 2004. “I thinkwinter is the best time,” he says, in-voking the iridescent sea and reflec-tive snow cover. “You have light ev-erywhere.”

Others might prefer the summerand the 12 extra hours of daylight,but Stockholmers and a growingnumber of foreign visitors are find-ing the chain of 30,000 islands just asintriguing in winter, when outdoorsaunas, ideal ice-skating, hiking andpervasive quiet more than make upfor the unavoidable darkness.

With some islands just bigenough to stand on and others nearlyas large as the center of Stockholm,the archipelago was once a roughandremotehome to farmersandfish-ermen. Long an inspiration to Swed-ish artists and writers, the areachanged in the middle of the last cen-tury, when tens of thousands of ordi-nary Swedes began to summer here.Now, as expensive year-roundhomes replace seasonal shacks,Stockholmers are discovering thear-ea’s off-season pleasures and prop-erty values are skyrocketing.

For Mr. Anderson, a 43-year-oldStockholmer, the archipelago is fullof ABBA memories. He’s the son ofStig Anderson, the Swedish rock im-presario and the music group’s lyri-cist in its crucial early years, and hespent his childhood summers onViggsö, a small island where manyABBA songs were composed. In coldwinters like this one, he says, hetakes a ferry to a nearby islandcalled Grinda, and enjoys makingthe rest of the journey on foot.

ABBA fans closely associate thearchipelago with Viggsö, where allfour members of the group sum-mered in the 1970s. “The first ver-sion of ‘Dancing Queen,’” recalls Mr.Anderson, “was performed on a fewpots” in the kitchen of his family’ssummer house.

There are no significant tides inthe Stockholm Archipelago, and only

the barren outer islands are exposedto rough sea winds. During a visitthis January, the wooded hills aboveSandhamn, an upscale village harboron the island of Sandön, shimmeredwhite; days’ worth of snowfall envel-oped towering evergreen trees. Withhardly a boat to disturb them, thecalm waters between the nearby is-lands were like mirrors, and, onceyou left the village behind, you couldhear only your own footsteps.

Sandhamn, considered by manySwedes as a symbol of the area’s re-cent makeover, is about two hoursfrom Stockholm by bus and a year-round ferry. Home to the Seglarho-tellet, a 79-room year-round hoteland harborside spa, Sandhamn isalso the perfect base to enjoy theislands’ unique winter atmosphere.More cozy than luxurious, the ho-tel’s hodgepodge of charming build-ings, constructed around a century-

old yacht club, includes a grand up-stairs bar with views over the wa-ter. The hotel offers winter week-end spa packages starting at 2,245Swedish kronor (Œ220) per person,per night (meals and spa treat-ments included), and some roomshave saunas. There are also suitesand apartments.

Sandhamn, like so many towns inthe archipelago, has a literary con-nection—this one to the frequentsummer visitor Stieg Larsson, thelate author of the “Millennium”crime trilogy, which begins with“The Girl With the Dragon Tattoo.”Mr. Larsson gave Mikael Blomkvist,one of the trilogy’s main characters,a summer house in the village. A col-league, Stockholm-based journalistKurdo Baksi, recalls that Mr. Lars-son, who suffered from insomnia,would stay up all night in Sandhamn,working on all three books at once.

The writer most closely associ-

ated with the archipelago, the pio-neer of modern drama AugustStrindberg, infuriated Kymmendö is-landers after he “poorly disguised”them in a novel, says Erik Höök, se-nior curator at Stockholm’s Strind-berg Museum. Another Strindberghaunt, the resort of Dalarö, is reach-able by commuter train from Stock-holm and is a convenient place toget a taste of the archipelago. An ex-cellent 62-room year-round hotel—The Smådalarö Gård, situatedaround a restored 200-year-oldmanor house—offers winter week-end packages, with quayside saunafacilities, allowing for rapid cool-downs in the Baltic, as well as an out-door Jacuzzi. The January-Marchpackages are 2,395 kronor for twopeople (including some meals).

Stockholm has had an especiallycold winter this year, and on week-end winter mornings, archipelagoferrieshave been filledwith day-trip-

ping ice skaters. Armed with skipoles, used to test the stability of theice, and with long-distance skatesthatstrap onto hiking boots,the skat-ers usually plan their trips at thevery last minute, says professionalguide Ylva Schöldberg. She leadsgroups out to the archipelago duringskating season, which lasts intoearly March. Conditions change, shesays, even hour to hour, due inpart tothe salt in the water—which cancause the surface to melt. Fallingthrough the ice is quite common, Ms.Schöldberg says, and her backpack,always filled with an entire changeof clothes, also acts as a flotation de-vice. (On the Web, friluftsframjan-det.se offers information in Swedishon archipelago day-trips from Stock-holm for experienced skaters.)

The cold will long outlast thedarkness, as the winter daylightgrows by around 30 minutes everyweek. In April comes the reopeningof Oaxen Krog (oaxenkrog.se), a res-taurant on the small island ofOaxen, near the chain’s southern-most edge. Amphibious plane andŒ95 taxi rides are favored ways toreach the eatery, a bastion of sea-sonal organic cuisine and the firstSwedish restaurant to win a regularplace on the S. Pellegrino World’s 50Best Restaurants List, sponsored bythe mineral-water concern. A fewyears ago, Oaxen Krog’s owners,chef Magnus Ek and his wife, AgnetaGreen, refitted an antique Dutch ca-nal boat that now serves as one thearchipelago’s best hostelries.

After Christmas the restaurantshuts down and the boat, whichstays open as an inn, comes intoStockholm, but the pair don’t en-tirely abandon the archipelago. Win-ter is one of the best times of the yearon the islands, Mr. Ek said on a sunnyJanuary day in Stockholm’s inner har-bor. “The snow, the ice, the calm-ness,” he said. “It’s so beautiful.” —J.S. Marcus is a writer

based in Berlin.

Stockholm’s 30,000-island smorgasbord

GETTING AROUND:Year-round ferries with terminalsaccessible by bus and commutertrain reach most popular islands.Call the tourist office at% +46-8-100-222;on the Web, visitskargarden.se

HOTELS:Seglarhotellet,% +46-8-574-504-00;www.sandhamn.com.Smådalarö Gård,% +46-8-501-551-00;www.sjonaramoten.se/smadalaro

Skaters exploring the StockholmArchipelago; top, the beach atSandhamn; right, Seglarhotellet.

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AYEAR AGO this month, youmay recall, the celebrityWeb site TMZ blew the lid

off a major, golf-related scan-dal—or so it thought. Under theheadline “Bailout Bank Blows Mil-lions Partying in L.A.,” it breath-lessly revealed that NorthernTrust, despite having accepted$1.6 billion in U.S. government

Troubled Asset Relief Programfunds three months earlier, wasentertaining clients at the PGATour event it sponsors, the North-ern Trust Open. Within hours, pun-dits from Bill O’Reilly of Fox Newsto Maureen Dowd of the New YorkTimes were decrying such excess,particularly the party at whichSheryl Crow sang, in a time of fi-nancial crisis. Members of Con-gress released letters demandingrecourse. Golf in general, alreadysuspiciously regarded by many,was stigmatized.

The Northern Trust Open re-turned this week to the RivieraCountry Club in Los Angeles, andguess what? Advance ticket saleswere up 35% and hospitality sales—that would be those big tents usedfor corporate entertaining—are up50%. The golf isn’t bad, either. PhilMickelson, Padraig Harrington andSteve Stricker are in the field.

“Some of the maelstromaround the tournament actuallyhelped it grow,” said Kelly Man-nard, Northern Trust’s chief mar-keting officer. “People read theheadlines and said, ‘Oh, that’s ter-

rible,’ but when they peeled backthe layers of the onion and startedasking the right questions, theysaw how this thing benefits busi-ness and how it benefits the com-munity.” The company attracted“millions of dollars” in new busi-ness as a result of last year’sevent, Ms. Mannard said, andcouldn’t accommodate all theticket requests it received from cli-ents wishing to attend this year.(Northern Trust repaid the TARPloan last summer, providing tax-payers a profit of $133 million.The company always maintained itnever needed the funding but tookit as a kind of confidence-buildingfavor to regulators.)

The Northern Trust Open’smini-resurgence in a still-diceyeconomic environment may besomething of a special case. Thesponsoring company’s clients, pri-marily high-net-worth individuals,would presumably not be thetypes to be dissuaded from enjoy-ing a golf tournament by populistranting about the game’s sup-posed elitist values. There is alsothe matter of Jerry West, theformer Los Angeles Laker’s star,now 71 but still a local hero, whoagreed last spring to become theevent’s executive director. By allaccounts his energetic efforts, in-cluding a recent publicity stunthitting wedge shots through oneof the “O”s in the famous Holly-wood sign, have been effective.

But Mr. West’s involvementspeaks directly to one of the keyarguments that both the PGA Tourand the broader golf industryhave been making recently intheir stepped-up battle to counterthe game’s perception problem:

the positive economic impact golfhas on local communities. Mr.West’s oft-stated motivation fortaking the gig, and working ashard at it as he has, is to boostthe money it raises for Los Ange-les charities. The tournament his-torically has channeled more than$1 million each year to SouthernCalifornia philanthropies, but ithas underperformed tournamentsin other cities like Dallas, whichlast year raised $4.4 million. Mr.West wants to change that.

Last week at the PGA Merchan-dise Show in Orlando, a coalitionof golf organizations opened an-other front in the perception wars.The group, called “We Are Golf,”represents club pros, course super-intendents, course owners andclub managers, and aims to con-vince U.S. policy makers in Wash-ington that golf is an important,job-creating industry that ought tobe supported, not denounced.“Right now, it’s considered politi-cally risky to raise your hand inWashington and say that you sup-port the golf industry. Thatshouldn’t be,” said Joe Steranka,chief executive of the PGA of Amer-ica, one of the coalition partners.

Golf’s politically toxic status isa long time in the making. Thelow point, Mr. Steranka said, mayhave come during the JackAbramoff lobbying scandals fiveyears ago, with widespread re-ports of lavish, mostly free golftrips to Scotland arranged for Con-gresspeople and staffers by thesubsequently convicted Mr.Abramoff. The bad vibes surround-ing the Northern Trust Open lastyear revived the negative image.“Emotions were running high be-cause of the economic situation.In the heat of the moment state-ments were made that broughtback old stereotypes of golf as anelitist undertaking, but nothingcould be farther from the truth,”said Mr. Steranka. Among the fig-

ures golf leaders like to trot out isthat 70% of rounds played in theU.S. are on public courses andthat the median cost per round in2008 was $28. Most golfers don’twear fancy pants.

But the We Are Golf initiative’scentral point is that golf is respon-sible for roughly two million jobsin the U.S. paying $61 billion inwages. Most of those jobs areworking-class. PGA-certified pro-fessionals at golf course typicallyearn in the high five-figures, Mr.Steranka said, but the 40 or soother employees at a typicalcourse—the maintenance workers,the shop assistants, the cooks andwaitresses in the grill room—earnmuch less. Then there are the lo-cal small businesses that providegoods and services to golfcourses: the painters and plumb-ers, the beer truck drivers, the flo-rists, vending-machine operators,the golf-cart repairmen.

The golf industry first realizedit had a political problem in 2005when, after Hurricane Katrina dev-astated the gulf coast, golf courseswere lumped with massage par-lors and casinos as businesses ex-plicitly prohibited from receivingdisaster relief funds. Golf’s powerelite, led by PGA Tour Commis-sioner Tim Finchem, converged onWashington in April 2008 for thefirst National Golf Day, to lobbyfor better treatment. But when theAmerican Recovery and Reinvest-ment Act, a.k.a. the stimulus bill,passed last year, it included mostof the same exclusions for golfthat the Katrina bill had.

“There are many members ofCongress who absolutely love golf,but as of today, the industry lacksa bench of champions,” said DavidMarin, a principal at the PodestaGroup in Washington that We AreGolf has hired to make its case.Mr. Marin said the strategy willfocus on “changing the narrative”about golf by introducing new sto-

rytellers: instead of golf legends,men and women whose jobs de-pend on the game even if theythemselves don’t play. He alsohopes to better organize the eco-nomic information about golf sothat politicians can more easilyjustify supporting the industry totheir constituents.

“Golf needs a seat at the tablewhen legislation that affects it is con-sidered,” Mr. Marin said. “But for thetime being we’re playing defense.Perceptions that are this deeplyrooted won’t change overnight, orin a month, or even in a year.”

The perceptions and politics of golf

CityLocal

currency Œ

Tokyo* ¥586,830 Œ4,639

Rome Œ5,472 Œ5,472

Paris Œ6,215 Œ6,215

Frankfurt Œ6,925 Œ6,925

Brussels Œ7,870 Œ7,870

London £8,696 Œ9,951

ArbitrageOlympics tour package for the opening ceremonies

Note: Prices of a round-trip business-class air ticket to Vancouver, plus two nights at a four-star hotel (Feb. 11-13, per person, double occu-pancy) and opening-ceremony ticket, plus taxes, as provided by agents in each city, averaged and converted into euros. * Opening-ceremony ticket not included. Ic

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By Javier Espinoza

FOR YEARS, so-called molecu-lar gastronomy, an avant-garde culinary movement

best known for its gels and emul-sions and its wild chemical experi-ments with food, has teased the pal-ates of diners.

With Spain’s Ferran Adrià—oftenregarded as the founding father ofthe movement—announcing re-cently he will shut down his restau-rant El Bulli in 2012 for a couple ofyears to revisit his approach to cook-ing, the state of molecular cuisine isonce again brought to the forefront.To be sure, Mr. Adrià isn’t closingdown the restaurant for lack of de-mand. El Bulli continues to receivemore than one million requests forits 8,000 reservations annually; allbookings for the year are snatchedup in one day in mid-October whenreservations are opened.

But will freeze-dried foie grasandatomized martinis establish them-selves as a lasting trend?

Both Mr. Adrià and his Britishcounterpart Heston Blumenthal,have distanced themselves from theterm molecular gastronomy. In ajoint statement a few years ago, to-gether with American restaurateurGrant Achatz, the chefs said: “Theterm ‘molecular gastronomy’doesn’t describe our cooking, or in-deed any style of cooking.”

Their efforts to reject the termhasn’t deterred critics, and fansalike, from voicing their opinions.“The type of cooking that is based onexperimenting with chemicals toproduce meals is merely part of an in-dustrial process in a time when peo-ple are looking for quality productsthat have an intimate relation withtheir surroundings, with the earth,”said top Catalan chef, Santi Santama-ría, one of the most vocal opponentsof molecular gastronomy.

“The way I see it, [molecular gas-tronomy] is a byproduct of a sick so-ciety,” said the three-star Michelinchef, who has been in the industryfor almost three decades. In hisview, those using chemicals to ex-periment with food are just “play-ing with food.”

ButMr.Adriàisdismissive.“Ifyoudon’t like a certain type of cuisine,then pursue your own,” he says. “Atthe end of the day, a restaurant is ademocratic place. If you don’t like thefood they serve, then don’t go there.”

The celebrity chef explains thathe is now in a “rupture period” andis working on developing “a new for-mat” in modern cuisine. “I want tocreate something more beautiful,”Mr. Adrià adds without going intomuch detail. “If I knew what it isthat I am creating, then it wouldn’tbe new,” he explains.

For designer Rabih Hage, Mr.Santamaría’s views couldn’t be fur-ther away from his own experienceafter trying Mr. Adrià’s food twice.“Adrià’s cuisine is all about original-ity of the taste and authenticity asan experience,” he says. “His foodhas humor; it tells you a story.”

HélèneDarroze,atwo-starMiche-lin chef, who is now working at theConnaught in London, also believesMr. Adrià’s cuisine has high-stan-dard culinary merits and othersshouldn’t be too dismissive of it. “Idon’t know if molecular gastronomyis here to stay or not. But even if it’snot your own way of cooking, there isa lot of creativity and a lot of work in-volved,” Ms. Darroze adds. “Youcan’t just say that this is nothing andit’s too chemical.”

Fergus Henderson, a chef andfounder of the St. John restaurant inCentral London, is another outcast ofthe gastronomic movement. “My ap-proach to cooking couldn’t be moredifferent. Once you kill an animal, thegastro possibilities are huge. There isa great deal of things you can do witha pig’s tail or head, with tripes or kid-

neys,” says the author of “The WholeBeast: Nose to Tail Eating.”

Somehave,however,founda mid-dle ground. Simon Rogan, a one-starMichelin chef and owner ofL’Enclume in Cumbria, in the NorthWest of England, says his restauranthas seen “crazy times” during thepast, referring to his experimentwith chemical processes. But sincethe spring of 2009, Mr. Rogan tookthe conscious decision to take hiscooking to a more “natural form.”

“We still use certain pieces oftechnology and ingredients [such astransglutaminase, and Xanthamgum] in our foods, but there is lessmocking around. We are going backto the focus of being able to use an in-gredient in its purest form,” he says.“With molecular gastronomy wewere trying to be too clever and werestarting to be out of touch.”

Jun Tanaka, a British Japanesechef, thinks molecular gastronomyhas acquired a poor reputationamong some because of bad imita-tions. “To do it properly, you have tounderstand the science behind thefood,”says Mr. Tanaka, who is the ex-ecutive chef at Pearl Restaurant &Bar in London.

Butwillmoleculargastronomyde-fine the new generations of chefs?Mr. Tanaka doesn’t think so. “Chefswill move away from molecular gas-tronomy. Things will go back to beingmore about the produce, aboutthings being natural.”

DRINKING NOW

Künstler, Hölle, RieslingVintage: 2002

Price: about £55 or Œ63

Alcohol content: 6.5%

For the uninitiated the first sip

of Eiswein can surprise, with its

scintillating acidity. This example has

a powerful citrus kick that gives way

to a burst of stunning, fresh acidity

with notes of honeyed apricot.

The state of molecular cuisine

Top, fennel flowers in tempura from Ferran Adrià’s El Bulli; above, roast bonemarrow and parsley salad from Fergus Henderson’s restaurant St. John.

FOR ERNST LOOSEN the callcame at 3 a.m. “It was my chief

viticulturalist,” says one of Germa-ny’s most talked about winemakers.“We knew from the forecast that thefrost was coming, but that night thetemperature had dropped suffi-ciently. ‘This is it,’ he told me on thephone. ‘We start picking in an hour.’”

By 4 a.m. on Dec. 17, Mr. Loosenhad raised his team of pickers. Theirdestination was Erdener Prälat, asouth-facing vineyard planted on astep of red slate soil whose vinesstretch steeply down toward thebanks of the Mosel in Germany.

Together, under the artificialglow of generator-powered lights,the team agloves to avoid frostbiteand clutching secateurs they beganharvesting the compact bunches oftiny, frozen Riesling grapes. By 10a.m. they had finished. By that time,Mr. Loosen admitted, it had becometoo foggy to continue and the tem-perature wasn’t cold enough.

If you have ever wondered whythe price of vintage Eiswein can costas much as £50 for a small bottle—now you know. Welcome to Germa-ny’s Eiswein harvest of 2009, wherepicking starts in the middle of thenight at temperatures around minus 9Celsius. This is winemaking in the ex-treme, where the effort that goes intomaking it probably justifies its eye-wa-teringly high price. That, and the un-usual, scintillating experience one feelswhen sipping a chilled glass of Eiswein.

Sweet wine is still hopelessly un-fashionable. In Sauternes, the appella-tion to the southeast of Bordeaux,where chateaux such as Yquem, Ray-mond-Lafon and Rieussec producegloriously thick, heavy wines withdried-fruit flavors and earthy notes,they complain that “everyone lovessweet wine but nobody buys it.”

Perhaps we have forgotten thedelights of a glass of chilled sweetwine with a Roquefort salad, spicedshrimp or steamed salmon and gin-ger. With Eiswein the experience iseven more intense. The frozengrapes impart a clean, pure, racy char-acteristic as the acidity darts downthe tongue, refreshing the palate.

It’s as if the wine has imbued theanxiety and tension manifest in itsproduction. Making Eiswein isfraught with difficulties. The condi-

tions have to be just right and thetemperature has to fall to as low asminus 8 Celsius, which means that inGermany, it can’t be made every year.

The process is relatively straight-forward. After the main harvest asmall percentage of Riesling grapesare left on the vine until they shrivelinto small parcels of soggy, brownmush. Then the waiting game begins.Long-range weather forecasts will bestudied and lucky charms consultedwhile the winemakers sit patiently,waiting for the temperature to reachthe right level. What the winemakersare hoping for is a punishing frost tofreeze the grapes. As a rule ofthumb, the colder the temperatureduring the harvest, the higher the fi-nal sugar concentration can be ob-tained at pressing. As water freezesat a higher temperature than grapejuice it encapsulates the golden,sweet goo into a frozen pellet.

Once picked, the frozen grapesare transported to the winerywhere they are gently pressed. Thesweet juice, high in sugar and acid-ity, is then run off and fermented.

Fortunately, 2009 for the Mosel,as for most wine-growing regionsthroughout Europe, is shaping up tobe a very good year.

“It was really a great Eiswein har-vest because we got just the rightmix of frost and temperature,” saysMr. Loosen. “For me the perfect Eis-wein is always harvested beforeChristmas and this year everythingworked out perfectly.”

Despite Germany’s historical as-sociation with Eiswein—it is said thetechnique was discovered in its val-leys in the late 18th century after anearly frost caught many winemakersby surprise—the unreliability of itsharvest has opened the door to a ma-jor competitor.

Canada now produces more Eis-wein (they refer to it as ice wine)than any other country in the worldas its winters are reliably long andcold. Stylistically, they are a littlemore forward than their counter-parts in Germany with more tropicalfruit on the nose and a fuller flavor.This is because unlike Germany,where most ice wines are madefrom Riesling, in Canada they aremade from a grape variety known asVidal. There is still limited availabilityin Europe but Inniskillin, JacksonTriggs and Mission Hill are all worthseeking out.

Meanwhile, of the Eisweinsmade in Germany, Helmut Dönnhoff,Dr. Loosen and Weingut Künstlerare welcome in my cellar anyday.

A frosty night for Eiswein

WineWILL LYONS

St.J

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v Food & Wine


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Photo illustration by Angela Calderon/ The Wall Street Journal

Photos: Associated Press

Sandra Bullock’shuge fan base and girl-next-door image have made her a potent fashion seller. Here, she arrives at last month’s Golden Globes in a Bottega Veneta gown.

Penelope Cruzhas high shopper appeal. At the Screen Actors Guild, she wore a dress by L’Wren Scott.

Maggie Gyllenhaal’sinsider choices make her a fashion darling but could alienate some consumers. She wore iconoclastic Roland Mouret to the Golden Globes.

Carey Mulligan tops many designers’ wish lists for her risk-taking and love of fashion. But these same factors may make her less widely influential. She wore a Nina Ricci gown to the Golden Globes.

Meryl Streep’s maturity and

pristine fashion choices may

appeal to the huge over-40

market. She arrived at the Screen Actors Guild wearing

a spring Balenciaga

gown.

WITH THE ACADEMYAward nominations outthis week, fashion design-

ers are already jockeying to dressthe stars for their big night. Butrather than trying to pick the Os-car winners or the most fashion-able celebrities, designers shouldbe asking another question: Whowill be the most effective at get-ting viewers to buy the clothesthey see on the red carpet?

Among this year’s nominees,the “best seller” award is likely togo to a nominee whom few in thefashion world are discussing: San-dra Bullock. At StyleSpot.com, aLos Angeles-based Web site thatlinks red-carpet photos to storesthat sell the looks, Ms. Bullock’s Vi-vienne Westwood dress at the Peo-ple’s Choice Awards ranked amongthe top of all red-carpet appear-ances this year in inspiring viewersto “click through” to retail sites.

One lesson: It isn’t pure chicthat moves clothes. “For the mostpart, celebrities that drive salesaren’t necessarily the ones thatget nominated” for awards, saysLily Hollander, editorial directorof StyleSpot.com. The 45-year-oldMs. Bullock has a down-to-earthimage that means millions ofwomen relate to her.

By contrast, with her Best Ac-tress Oscar nomination for “An Ed-ucation” this week, Carey Mulliganhas dozens of fashion designers vy-ing to lend her baubles and gownsfor the Oscars. The young actresswith the pixie haircut is known asa sophisticated dresser. “CareyMulligan will be the most watchedon Vogue.com,” says HamishBowles, Vogue’s European editor atlarge, recalling a sparkling Pradadress the actress wore recently.

But despite Ms. Mulligan’s fash-ion credibility, she may not be thesavviest choice for product place-ment. At StyleSpot.com, Ms. Mulli-gan isn’t one of the stars whomoves the most viewers to buyclothes. Ms. Mulligan wasn’t avail-able to comment.

Celebrity placement is morevoodoo than science, but amongthis year’s nominees, other Oscarsales influencers may include plus-sized Gabourey Sidibe and the clas-sic Meryl Streep. Ms. Sidibe, thestar of “Precious,” is “an alternateparadigm for the red carpet, butshe can carry these very strongcolors,” Mr. Bowles says.

And Ms. Streep’s maturity anddemure style choices may appealto women over 40, who spendmore on fashion than other demo-graphic groups.

Among top StyleSpot.com sell-ers who aren’t current Oscar nomi-nees, Kate Hudson and Drew Barry-more are in a sweet spot—fashion-able, and young enough to inspireInternet shoppers, yet not soyoung that they’re attracting teensor college-aged women, who don’thave a lot of money for clothes.

A number of sites track whatcelebrities wear so that viewerscan copy the styles. But red-car-

pet photos are at the heart ofStyleSpot’s strategy. The site,which launched last year, links ce-lebrity red-carpet photos to onlineretail stores from Barneys to Ama-zon.com. StyleSpot’s database com-piles images from red-carpetevents and organizes them bystar, event, and designer brand.The site, which estimates itsunique monthly audience ataround 10 million people, earnsrevenue as a percentage of saleswhen consumers click on a photoand purchase the related item.

Red carpets have become a pri-mary marketing channel for fash-ion. The Academy Award nomi-nees’ photos will be plasteredfrom Boise to Budapest after theMarch 7 awards show, which willbe watched by something north of35 million television viewers—andseen on a gazillion blogs. It’s anirresistible advertising medium. InLos Angeles, designers employ VIPhandlers, who work to get the de-signers’ clothes on celebrities whomight be photographed in them.

The fashion industry does thisbecause it works. After SiennaMiller wore Thakoon’s spring bust-ier jumper to the premiere of thefashion documentary “The Septem-ber Issue,” every store thatbought the piece sold out, says aspokeswoman for designer Thak-oon Panichgul.

Yet success, for a designer, is adelicate balance of star power andtiming. After Jessica Alba pre-sented an award at the People’sChoice awards last month, herBurberry Prorsum knotted plat-form sandals generated the mostclick-throughs to retail sites ofany red-carpet appearance thisseason on StyleSpot.

Unfortunately for Burberry,those spring-season shoes won’t beavailable in stores for anothermonth. So shoppers had to settlefor similar looks offered on the siteby Robert Clergerie and Callisto.

Of course, there are ancillarybenefits. High-profile fashion pub-licist Karla Otto, who recentlyopened a Los Angeles VIP office,says any appearance by an A-Listactress “sells product from cloth-ing to accessories and, if the con-sumer can’t afford the attire, theymight buy the fragrance or thebeauty products.”

Brands’ publicists fire offpress releases the minute theirstar steps outside. During lastSunday’s Grammy Awards, EmilioPucci announced that singer/ac-tress Fergie appeared in its bluestrapless dress, while JudithLeiber announced she carried aLeiber clutch. Each time Fergiewore Missoni in Cannes lastweek, the brand shot out a re-lease. “I hope that others willbe influenced by her great per-sonal style,” said designer An-gela Missoni in an email.

Nothing is too minor formention. Stylist MarkTownsend announced that heset actress January Jones’shair in a French twist for theGolden Globes, blow dryingher hair “with a roundbrush” and securing “itwith about 10 bobby pins.”He also named hair prod-

ucts and prices: Moroccanoil Treat-ment, $39 (Œ28) for 3.4 fl. oz.

Dressing Angelina Jolie, AnneHathaway and Kyra Sedgwick inone-of-a-kind vintage gowns hasrubbed off in sales of totally unre-lated clothes, says Juliana Cairone,owner of the New York vintage bou-tique Rare. “They are not lookingfor the same item,” she says, “theyjust want something from us.”

Having jealously noted thesebenefits, menswear labels arestarting to go after male artists.At last week’s Grammy’s, membersof Kings of Leon appeared in Burb-erry and John Varvatos.

So who’s the Oscars’ ActorMost Likely to Sell Fashion—theman with Ms. Bullock’s combina-tion of attractive looks and guy-next-door accessibility?

No, not Jeremy Renner, the sexystar of “The Hurt Locker.” Thestreet money’s on Best SupportingActor nominee Woody Harrelson.

Jockeying to dress the starsAs Oscars approach, designers vie to grab the right celebrities

On StyleCHRISTINA BINKLEY

v Fashion


London: Tate Modern has awhopper of a show, with a title tomatch its size: “Van Doesburg andthe International Avant-Garde: Con-structing a New World.” Thoughthis is the first major exhibition inthe U.K. dedicated to the Dutch art-ist Theo van Doesburg (1883-1931),its early Modernist scope is largerthan the one man, who worked inpractically all the art forms extantin his lifetime. His real importancewas as the founder of the magazineand movement called De Stijl.

Examples are exhibited of vanDoesburg’s contributions to paint-ing, architecture, design, typogra-phy, poetry, art criticism and pub-lishing. But more important, and of-ten artistically superior, are the ex-hibits of work by others he influ-enced. Van Doesburg believed inan abstract, geometric art, depen-dent on horizontal and verticallines, at first shunning the diago-nal—to the point that this becamea matter for arguments that werealmost theological.

He also went through a period ofexcluding all but the primary colors.This of course brings to mind Piet

Mondrian (1872-1944). Mondrian’spaintings, scattered through themore than a dozen rooms of thisvast show, leap off the walls, despitebeing hung with many painters whoadopted the same format, geomet-ric means and media.

To my eyes it is obvious thatMondrian is better than other, simi-lar De Stijl artists, such as VilmosHuszár, Karl Peter Röhl, WalterDexel, Peter Keler and van Does-burg himself. But there is more tothis exhibition than these paintings—breathtaking compositions instained glass, Bauhaus designs, andwonderful De Stijl furniture, espe-cially the large group by GerritThomas Rietveld. There are exam-ples of terrific commercial and pop-ular art, and excursions into Dada,Constructivism, film and musicalcomposition; also some sensationalmodels and interior designs—evena lip-smacking menu for the CaféAubette cinema-dance hall in Stras-bourg, on which van Doesburg col-laborated with Sophie Taeuber andHans Arp. —Paul Levy

Until May 16www.tate.org.uk

Indian exhibit blends folk-art traditions with modern imaging

Vast offering of De Stijl art in London

Theo van Doesburg’s ‘Simultaneous Counter-Composition’ (1929-30).

Revelatory Lundquist retrospective looks at ambiguity

Evert Lundquist’s ‘The Axe’ (1974).

London: The Saatchi Gallery,that perfect blend of art and com-merce, has found its ideal theme inits current show, “The EmpireStrikes Back: Indian Art Today.”

As the mobile phone has spreadacross the Indian subcontinent and

PCs are common, an emerging high-tech culture has led to enclaves ofwealth and entrepreneurship. This inturn has led to a lively art world,where folk-art traditions collide withthe computer-generated image; reli-gious icons fuse with new materials;

andtherelationshipbetweentheeco-nomic climate and the art world is ex-pressed in political, stereotype-bust-ing, gender-conscious works of art.

The show’s 11 large galleries fea-ture works owned by Charles Saat-chi and created by 24 living artists

of Indian or Pakistani origin, someof whom live and work in Americaor Britain. The quality is variable,but at its considerable best—as inAtul Dodiya’s homage to the latepainter Bhupen Khakhar—it hassome of the resonances of great In-dian art of the past.

I particularly enjoyed gallery 8,with Subodh Gupta’s paintings andsculptures of stainless steel andbrass kitchen utensils, and BhartiKher’s collage of candy-colored, feltbindis (the spot on the foreheadworn by married women). Gallery10 has three impressive, huge worksand one small one by Jitish Kallat.The four-meter high “Eruda” is ablack lead-covered sculpture of oneof the boy booksellers who work attraffic lights on the streets of Mum-bai. Though most have never beento school and are illiterate, they en-gage in authoritative conversationsabout the books they’re selling.

While at the Saatchi Gallery, becertain to see Richard Wilson’s mas-terpiece, “20:50,” which floods partof the lower ground floor with apond of reflective, used engine oil. —Paul Levy

Until May 7www.saatchigallery.com

Cour

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Mar

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avin

Gal

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,Los

Ang

eles

ARCO, WHICH takes placein Madrid Feb. 17-21,

will kick off 2010’s major in-ternational contemporary-art fairs and will spotlightartists from this year’sguest city, Los Angeles.

The first two days of thefair are restricted to profes-sional visitors such as collec-tors and museums. They canbuy before doors open to thegeneral public Feb. 19.

“There is a lot of curiosityat this fair as Spain’s artscene grows steadily, butwithout frenzy,” says VictorGisler of Zurich’s Mai 36 Gale-rie. Mr. Gisler, a veteran par-ticipant, says he will bringalong the works of artists re-ceiving increasing attentionin southern Europe, includ-ing those of technically versa-tile German photographerThomas Ruff and Americanpainter Glen Rubsamen withhis mysterious, emotionallandscapes silhouetting shift-ing trees and lamp posts.

Some 220 European,American, South Americanand Asian galleries with workfrom around 3,000 artistswill exhibit at this year’s fair.

ARCO usually features aguest country, but for thefirst time this year the orga-nizers have invited a guestcity—Los Angeles, describedby curators Kris Kuramitsuand Christopher Miles as a“21st century metropolis”with a dynamism, energy andcreative diversity that hassituated it at the forefront ofthe world’s art market.

Seventeen guest galleriesfrom Los Angeles will be fea-tured. The Margo Leavin Gal-lery will include works by78-year-old John Baldessari,the Californian concept andmixed-media exponent whowas awarded the Golden Lionfor his life’s work at the Ven-ice Biennale in 2009 andwhose major works now sellin the six digits. On displaywill be Mr. Baldessari’s “AgavePlant,” (1999/2008), a largeprint with colorful acrylicpaint depicting the succulentplant that thrives in Mexico.

Meanwhile, the SteveTurner Gallery will includethe work of 36-year-old Ea-mon Ore-Giron, whose paint-ings and installations mixSouth and North Americancultures. His “Diana” (2008),made from a Diana Ross al-bum sleeve, will be priced at$3,500 (Œ2,507).

Madrid fairto spotlightL.A. artists

‘Agave Plant’ (1999/2008) byJohn Baldessari. Price on request.

CollectingMARGARET STUDER

v Top Picks

MoM

a

Stockholm: At first glance,“Torso,” a 1961 painting by Swedishartist Evert Lundquist, seems to bean early modernist update on an oldEuropean tradition. With a cen-trally placed, sketchy motif—possi-bly a sculpture on a table, or a nudewith her arms behind her—thepainting has a haunting stillnessthat reminds us of Jean-SiméonChardin. But our modernist eye de-ceives us. “Torso” has led a doublelife. Lundquist also exhibited thepainting turned on its side, therebyseeming to create a different work,called “Still Life,” with a differentmotif, this time of an apparent tablesetting. “Torso,” in its upright posi-tion, is one of many ambiguousworks on display in a revelatory Lun-

dquist retrospective at Stockholm’sModerna Museet.

At the peak of his career in the1950s and ’60s, Lundquist (1904-94)was Sweden’s best-known painter.But a rather old-fashioned view ofthe artist’s work allowed manySwedes to dismiss Lundquist—oreven forget about him entirely. TheModernaMuseetshowseekstoredis-cover and reinterpret the artist’swork by emphasizing the role thatimprovisation and randomnessplayed in his technique.

Fond of thick applications ofpaint, Lundquist was capable of aspontaneity that recalls America’sJackson Pollock rather than Eu-rope’s Old Masters. The catalog re-counts a story of Lundquist walking

around a museum show before anopening with tubes of paint, chang-ing canvasses at the last minutewith only the help of his fingers.

Lundquist is a near-abstract art-ist, and his best paintings maintaina tantalizing tension between arichly textured abstract backgroundand a figurative motif. His bestworks—like “The Axe” (1974)—arevariations on the theme of a figura-tive object trapped in an abstractcanvass. Only very late in life, whenhe was nearly blind, did the motif it-self emerge as dominant, like in his1988 painting “The Cup,” in which awhite cup rises out from its sea-green surface. —J.S. Marcus

Until April 11www.modernamuseet.se

SMK

Foto

Bharti Kher’s ‘An Absence of Assignable Cause’(The Heart) (2007).

Bhar

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W10 Friday - Sunday, February 5 - 7, 2010 | W E E K E N D JOU R NA L

Contents3 | Fashion

And the Oscar nominees wear...

4 | Food & Wine

The debate over molecular gastronomy

Wine: A frosty night for Eiswein

5 | Travel

Stockholm’s 30,000 islands

8 | Sport

Golf: The politics of the sport

6-7 | Cover story Art

The Gordon Gekko of the art world

10 | Top Picks

De Stijl works in London

Lundquist’s ambiguity

Blending folk with modern

Collecting: Madrid fair spotlights L.A. artists

11 | Books

What’s in a name?

12 | Time Off

Questions or comments? Write to [email protected] include your full name and address.

Barbara Tina Fuhr EditorElisabeth Limber Art director

Brian M. Carney Books page editor

COVER , A s h e r E d e l m a n i n f r o n t o f J a m e s N a r e s ’ ‘ R i d e t h e R i d e , ’ ( 2 0 0 0) .

P h o t o g r a p h b y E t h a n H i l l f o r T h e Wa l l S t r e e t J o u r n a l .

Etha

n H

ill fo

r The

Wal

l Str

eet J

ourn

al

Alphabet soup of El Bulli

Dav

id D

unni

ng

Our arts and culture calendar

‘Gaddi’ (Thron) Maharaja: the Splen-dour of India’s Royal Courts, Munich.

t

El B

ulli

Asher Edelman with Edouard Manet’s ‘Berthe Morisot on a Divan’

Dance Number / by Todd McClary

THE JOURNAL CROSSWORD / Edited by Mike Shenk

Last Week’s Solution

WSJ.com

Crossword onlineFor an interactive

version of The Wall Street Journal Crossword,

WSJ.com subscribers can go to

WSJ.com/WeekendJournal

Across 1 Cabo San Lucas

setting 5 Toy plane makeup 10 Mother’s mother,

informally 16 Shatner novel

“___War” 19 Cursor target 20 Modern

memo

21 Requiring fewer hints

22 Reba McEntire’s “___ Survivor”

23 Partner of 114-Across

26 Popcorn gift container

27 Madonna’s “La Isla ___”

28 ___ Ration (bygone dog food brand)

29 Molasses-flavored pie

31 Purel target 33 Partner of

100-Across 37 Like some

skating outfits 41 Message for

a pen pal?

42 It may be knitted 43 Partner of

93-Across 46 Common

miniature golf course feature

48 Bullet, for one 49 “Tell It to My

Heart” singer Taylor

50 Unfailingly

52 Blogger’s revenue source 53 Continental Congress VIP 56 Pastel shade 58 Fabergé egg recipients 59 Asian celebration 60 Story with cliffhangers 62 Sweet substitute 64 Noticed 66 Maxim demonstrated

by the partnered answers in this puzzle

71 Entr’___ 72 Tabloid twins surname 73 Maker of small engines 76 Network that debuted

with “Star Trek: Voyager” 79 Stilettos, e.g. 82 Schoolwork stickers 84 “Zorba the Greek” setting 85 Ipanema locale 86 Christopher of

“Law & Order: SVU” 88 City name on the

Wizard of Oz’s balloon 90 Presidential address part 91 Book of Judges strongman 93 Partner of 43-Across 97 Indigo plant 98 Way to order shots? 99 Charade 100 Partner of 33-Across 105 Put ___ appearance 106 Largest of the Galápagos 107 Folded fast food 109 Seat belt sounds 113 Hardly 114 Partner of 23-Across 119 Arena cry 120 Ducks 121 1966 role for Michael Caine 122 Someone to root for 123 Casting need 124 Bank, e.g. 125 Amendment votes 126 Without a date

Down 1 Lettuce variety 2 Height: Prefix 3 Couple 4 Like NRA foes 5 “Know this ___” 6 Latin lover’s word 7 Pleasant diversion 8 Site of a hit song’s

instrumental version, maybe

9 Without a date 10 Come by 11 Fan’s cheer 12 Simile center 13 Big name in burlesque 14 Phifer of “ER” and

“Lie to Me” 15 Crime that may cause

an alarm 16 Retaliation 17 Expressionist painter of

“Grosse Sonnenblumen” 18 2009 awards

show disrupter 24 Shrek creator William 25 Lab vessel 30 Gamblers’ haunts, briefly 32 Olympics award 34 Senseless situation? 35 Raise 36 Sides in a

long-running battle 37 Cineplex quaffs 38 Crumble away 39 Saudi’s neighbor 40 Fog machine material

44 “Fear and Loathing ___ Vegas”

45 Around 46 Honeycomb, e.g. 47 Element of many

murder mysteries? 51 Colossal 54 2000 Kyocera

acquisition 55 Armstrong moniker 57 Abbey attire 61 Triangular sail 63 Common place? 65 Haing S. ___

(Oscar winner for “The Killing Fields”)

67 Hull feature 68 Office pool picks 69 Expressway entrance 70 Pushkin’s “Eugene ___” 74 Boys’ school jackets 75 Protective bank 76 Polaris’s place 77 “Für Elise,” for one 78 Put up 80 Mundane

81 Patronizing types 83 Harry Belafonte’s

daughter 87 Grumpy comment

to an alarm clock 89 Model employers 92 Hardly a neatnik 94 ___ 300 (short-lived

Apple laptop) 95 “Thereby hangs ___” 96 High points 98 Group founded

by Bill W.’s wife 101 Gas, for one 102 Branch of the U.N.? 103 Caress alternative 104 Diplôme issuer 108 Does in 110 CBS-owned tech

review site 111 Colleague of Ellen,

Randy and Simon 112 Factory overhead? 115 Went underground 116 Creator of NASA 117 Leb. neighbor 118 Contend


1The Hamilton CaseBy Michelle de Kretser2003Conflicted, painfully snob-bish Sam Obeysekere would

rather be “under an imperialisticyoke than put trust in a fellowwho went about in sandals.” Sam,an Oxford-educated Ceylonese law-yer, lives in colonial duality: a privi-leged member of the local aristoc-racy in 1930s Sri Lanka who playscricket and attended a school“founded in 1862 by an Anglicanbishop on the pattern of Eton andRugby” and yet can be called a “nig-ger” on the streets outside his club.He makes a name for himself with alocal murder case involving a Brit-ish (read: white) tea-plantationowner. All this against a compli-cated, almost gothic backdrop offamily dysfunction: not one buttwo smothered babies, glamorousmothers and sisters slowly goingmad in evening gowns, the deep jun-gle always just outside. “The Hamil-ton Case” is an extraordinary, dizzy-ingly evocative portrait of Sri Lan-ka’s colonial past, where “the Brit-ish had entered the country’s blood-stream like a malady which provesso resistant that the host organismadapts itself to accommodate it.”

2China to MeBy Emily Hahn1944

The people in EmilyHahn’s frank and unapolo-

getic memoir, “China to Me,”seem like characters in a NoëlCoward play, making an entrance,uttering their bon mots, thensweeping off stage. The palmyworld of 1940s prewar Shanghaiand British-governed Hong Kongis rendered in swish dinner par-ties and horse races attended bydashing expatriates knocking backchampagne. Hahn, an Americanwriter who cared not a whit forpublic opinion, kept gibbons for

pets and had a baby out of wed-lock with a married British intelli-gence officer. (“I don’t know why Ihave always had so little con-science about married men,” shewrites languidly.) Cut to the warand the horror; she describes it allwith appropriate solemnity butnever loses the tone of a su-premely acerbic society gadaboutconfiding in you at a cocktailparty.

3The Necklace of KaliBy Robert Towers1960

For a refreshing, re-fracted perspective on co-

lonial India—that of a U.S. StateDepartment officer in the days“when the weird old body of theBritish Raj was at last thrashinglike some foundering dinosaur to-wards extinction”—read RobertTowers’s “The Necklace of Kali.”Consulate Visa Officer John Wick-ham is part of what is called the“Jungly Wallah” set: “a shiftingpopulation of rich Indians, Per-sians, Armenians, poor but inge-nious White Russians . . . and as-sorted American and Britons,”who take their name from theclub they all frequent. Wickham isa complicated, principled man,whose dealings with people fromall strata of society mirror the un-easiness of a country on the cuspof a bloody independence.

4Sea of PoppiesBy Amitay Ghosh2008

Amitay Ghosh uses avast and vibrant canvas

for “Sea of Poppies,” the first in atrilogy that is still being written.Set in the years before the OpiumWars in the mid-19th century,when Britain was making a for-tune from poppy crops in India,the story opens in the port city ofCalcutta and brings together char-

acters that include a low-caste gi-ant who runs away with a widow;a mulatto sailor with “skin thecolor of old ivory”; and Paulette, aFrench orphan. These people willmeet as they gradually make theirway to the Ibis, a triple-mastedschooner that is being prepped totake indentured workers to Mauri-tius, off the African coast. Ghoshrevels in the joy of language—“aschuckmuck a rascal as ever you’llsee: eyes as bright as muggerbees,smile like a xeraphim”—but he isalso a splendid storyteller. In thelast pages, the Ibis is being tossedby a mighty storm, the charactersgrowing desperate. I was desper-ate, too, for the next book.

5A Many-Splendored ThingBy Han Suyin1952

“You can’t be both eastand west at the same

time,” says British foreign corre-spondent Mark Elliott to the beau-tiful Eurasian doctor Han Suyin.But of course she can, in roiling,postwar colonial Hong Kong,where people “circulate among thebridge and mahjong tables.” InHan’s semiautobiographical novel“A Many-Splendored Thing,” thewidowed doctor embarks on adoomed, short-lived affair withthe dashing—and married—jour-nalist. The starry-eyed quality oftheir infatuation leads to occa-sional sentimentality: “Mark and Ihad many friends, and one of themwas the moon.” But the book is aninvaluable—and startlingly mod-ern—record of a certain time andplace, thanks to Han’s razor-sharpeye for the hypocrisies of the colo-nial order, as when a society ma-tron remarks that “Hong Kongwould be a wonderful place ifthere were not so many Chinese.”

Ms. Lee’s novel, “The PianoTeacher,” was recently publishedin paperback.

Daniel Pink is one of the moreenergetic members of the growingtribe of business writers-speakers-bloggers who, like the ubiquitousMalcolm Gladwell, plunder thework of economists, scientists andpsychologists to attack well-estab-lished business assumptions. Mr.Pink is known forpublic presenta-tions in which hedelivers a consis-tently upbeat mes-sage: that the mis-erable age of 20th-century manage-ment is over, that the tyranny oforganizational charts and spread-sheets is behind us, and that weare now entering more sun-splashed climes, where creativityflourishes and businesses treat em-ployees as human beings, not ma-chine parts.

It is a message we would alllove to believe. With “Drive: TheSurprising Truth About What Moti-vates Us,” Mr. Pink tries to jolly usall along toward accepting it. Hesets up the following history. Firstcame Motivation 1.0, during whichwe were stirred by nothing butour urges—grunting, hunting and

procreating in caves. Next cameMotivation 2.0, during which wemade calculations based on re-ward or punishment. Economic de-velopment depended on manipulat-ing our desires and fears to ex-tract performance.

And now we are reaching Moti-vation 3.0, a higherplane where peoplewrite Wikipedia en-tries for the fun ofit, go on “vocationvacations” to tryout professions dif-ferent from their

own, and spend a lot of time think-ing about the purpose of theirwork. Science, Mr. Pink says, hasshown that we are motivated asmuch intrinsically, by the sheerjoy and purpose of certain activi-ties, as extrinsically, by rewardslike pay raises and promotions.

The science that Mr. Pink is re-ferring to rests largely on thework of Edward Deci and RichardRyan at the University of Roches-ter and Mihaly Csikszentmihalyi atClaremont Graduate University.These three researchers havefound that we do our best workwhen motivated from within,

when we have control over ourtime and decisions and when wefeel a deep sense of purpose. Un-der such conditions, we canachieve real mastery over what-ever it is that we do.

The modernworkplace, Mr.Pink laments, istoo often set upto deny us thisopportunity.Firms that hopeto optimize effi-ciency by mak-ing their employ-ees clock in andout, attend com-pulsory meet-ings, and receivepay for perform-ance are de-moti-vating throughexcessive con-trol. What theyshould be doing,he argues, is giving workers thechance to do their best work bygranting them more autonomy andhelping them to achieve the mas-tery that may come with it.

Mr. Pink cites an Australiansoftware firm, Atlassian, that al-

lows its programmers 20% of theirtime to work on any software prob-lem they like, provided it is notpart of their regular job. The pro-grammers turn out to be muchmore efficient with that 20% of

their time thanthey are withtheir regularwork hours. At-lassian creditsthe 20% withmany of its in-novations andits high staff re-tention. Compa-nies as large asGoogle and 3Mhave similarprograms thathave producedeverythingfrom GoogleNews to thePost-It note.

Relatedly,Best Buy has implemented a “re-sults oriented work environment”at its corporate headquarters inRichfield, Minn., to improve mo-rale and lower turnover. Thismeans that salaried employees putin as much time as it takes to dotheir jobs, on their own schedule.If they need to duck out to take achild to the doctor, they don’thave to ask. It is assumed thatthey will do their work in theirown time. The hope is that, insuch an environment, workers willfeel more inclined to contribute tothe company’s well-being thanthey would if they were simplygrinding out hours for a paycheck.

From these and other scattereddata points, Mr. Pink rustles up histrend. Is it plausible? It is easy tofind fault with some of his claims.Mr. Pink cites research showingthat artists do better work forthemselves than on commission.So much for the Sistine Chapel. Hewrites in favor of companies thatallow employees more say in theirfirms’ charitable giving. But whydon’t these firms drop the pater-nalism altogether and simply givethe money to their employees aspay, trusting them to do their bestwith it? And one has to wonderwhether Mr. Pink’s flexible, mean-ingful-work model is widely appli-cable or something that only se-lected companies will be able toadopt.

What is more, the truths thatMr. Pink cites are not nearly as“surprising” as he claims. They areto be found in centuries of philoso-phy, in the Pre-Socratics, in Plato,in “Walden.” Yes, indeed: Beyondserving our basic needs, moneydoesn’t buy happiness. We need agreater purpose in our lives. Ourmost precious resource is time.We respond badly to conditions ofservitude, whether the lash of thegalley master or the more subtleenslavement of monthly pay-checks, quarterly performance tar-gets and the fear of losing healthinsurance. Work that allows us tofeel in control of our lives is betterthan work that does not. Nonethe-less, these lessons are worth re-peating, and if more companiesfeel emboldened to follow Mr.Pink’s advice, then so much thebetter.

Mr. Delves Broughton is the au-thor of “Ahead of the Curve: TwoYears at Harvard BusinessSchool” (Penguin).

77Business Bookshelf / By Philip Delves Broughton

77Five Best / By Janice Y.K. Lee

More Than A Paycheck

By Jan Morris

So that strange old geniuswhat’s-his-name has left us at last—you know who I mean, what was hisname, you know, the man whowrote “The Catcher in the Rye”?

Ah, there we go. How often ithappens, does it not, that we re-member the name of a book whenwe momentarily forget the name ofits author? It only goes to showwhat skill and artistry can go intothe titling of literary works. Some-times, of course, straightforward,self-explanatory titles are the mosteffective. Shakespeare never put aline wrong, when he named hisplays, and Dickens didn’t do badlyeither, when he plumped simply for“Oliver Twist.” No book could bemore graphically introduced thanthe book of the Apocrypha titledsimply The Rest of Esther.

But sometimes the more ob-scure or enigmatic the title, the bet-ter it is remembered. When Alex-ander Kinglake called his ultimatemasterpiece of travel writingEothen, he must have realized thathardly anybody would understandwhat it meant, but it has kept hisbook in print for 166 years. BruceChatwin knew just what he was do-ing when he omitted a questionmark from his title “Why Am IHere.” And when it comes to obscu-rity, what about John Masefield’sODTAA (meaning “One DamnThing After Another”), or “SevenPillars of Wisdom,” or for that mat-ter “The Catcher in the Rye” itself?What Catcher did J.D.Salinger—that’s the name!—have in mind? Iam re-reading the book now, and Idon’t know yet…

Who can doubt for a momentthat authors themselves chose allthese canny titles? Hardly an editoron earth would have left outChatwin’s question mark. Most pub-lishers, especially of the academickind, are very heavy-handed title-writers, and go in for colonic thingslike “Fire and Destiny: PatrimonialCustom in Nineteenth Century Mon-golia,” or “Hungry Armies: Medi-eval Victualling Systems Reconsid-ered.” It’s fine when Isaac Waltonsubtitles “The Compleat Angler” as“A Discourse of Rivers, Fish-ponds,Fish and Fishing,” but disastrouswhen the University Press of SouthMiddlesboro tries to emulate him.

Publishers’ instincts of salesman-ship are certainly not infallible, as Iknow from experience. Fifty yearsago I wrote a book about Venice.When it was published in London Inamed it simply “Venice,” and it hasbeen providing me with a modestprivate income from that day to this.In America they renamed it “TheWorld of Venice,” and for several de-cades it has not earned me a cent.

And to get back to “The Catcherin the Rye,” with its unforgettable ti-tle and its still irresistible text. Yes-terday I came across an examinationpaper about it. “Question One,” itsaid. “What is the significance of thebook’s title?” Well, this morning Igot to page 180 and discovered whatthe significance is; but I’m tellingyou, based as it is upon the misquota-tion of a poem by Robbie Burns, it’s avery quintessence of obscurity.

“The Catcher in the Rye,” I amtold, has so far sold 65 million cop-ies. It only goes to show. . . .

Ms. Morris is a writer in Wales.

DriveBy Daniel H. Pink

(Riverhead, 242 pages)

A ‘Rye’ ByAny Other

Name

Novels Set in the Colonial East

v Books


F R I D AY- S U N D AY, F E B R U A R Y 5 - 7, 2 0 1 0

Wine: The best of Christmas drinking European Web habits revealedWine: The chilled pleasure of Eiswein Travel: Stockholm’s island landscape

The art world’sGordon GekkoA former corporate raider shakes up the market

Above, Jean Willi’s ‘OP-ART-ertieverkalkig,” (Pfluderi Clique) (1967) at MuseumTinguely in Basel; bottom, Lady Gaga will start her U.K. tour in Manchester.

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tyIm

ages

Amsterdamphotography“Hatra: City of the Sun God” show-cases photographic documentation ofthe ancient city in Iraq.

Allard Pierson MuseumUntil Feb. 28% 31-20-5252-556www.allardpiersonmuseum.nl

Antwerpart“Rubens Revealed—Fury of the Brush”presents findings of extensive re-search on paintings from the Rubenscollection of the Koninklijk Museumvoor Schone Kunsten.

Koninklijk Museum voor SchoneKunstenFeb. 13-April 4% 32-3238-7809www.kmska.be

Baselart“Fasnacht & Art & Tinguely” displaysart and props from 100 years of BaselFasnacht, a carnaval celebrated tomark the end of winter.

Museum TinguelyUntil May 16% 41-61-6819-320www.tinguely.ch

Berlincurrency“Strong Women-in Miniature Form”

explores the portrayal of women oncoins from Antiquity to the present day.

Pergamom MuseumUntil Dec. 31% 49-30-2090-5577www.smb.spk-berlin.de

Bilbaophotography“Schommer Retrospective 1952-2009”shows 100 images by Spanish photog-rapher Alberto Schommer.

Museo de Belles Artes de BilbaoFeb. 8-May 16% 34-94-4396-060www.museobilbao.com

Copenhagenart“Colour in Art” examines color sys-tems used by 20th-century artists inmore than 100 works of art, includingeight paintings by Kandinsky.

Louisiana Museum of Modern ArtUntil June 13% 45-4919-0719www.louisiana.dk

Hamburgart“Genuine Illusions: Illusion and Realityin Art” showcases drawings, paint-ings and sculptures devoted to trick-ing the eye, including work by LucasCranach, Claes Oldenburg, JasperJohns and Janet Cardiff.

Bucerius Kunst Forum

Feb. 13-May 24% 49-40-3609-960www.buceriuskunstforum.de

art“Pop Life: Warhol, Haring, Koons, Hirst,…” explores Andy Warhol’s statementthat “good business is the best art”with work by Tracey Emin, Keith Har-ing, Damien Hirst, Takashi Murakamiand others.

Hamburger Kunsthalle-Gallery ofContemporary ArtFeb. 12-May 9% 49-40-4281-3120-0www.hamburger-kunsthalle.de

Londontheater“A Man of No Importance” is a musi-cal based on the book by Terrence Mc-Nally about a Dublin bus conductorwith music by Stephen Flaherty. It isdirected by Ben De Wynter.

The Arts TheatreFeb. 10-Feb. 27% 44-845-0175-584www.artstheatrewestend.com

photography“Deutsche Börse Photography Prize2010” shows work by the four artistsshortlisted for the prize.

The Photographers’ GalleryFeb. 12-April 18% 44-845-2621-618www.photonet.org.uk

music“ABBAWorld” is an interactiveexhibition about the Swedishpop band ABBA presenting25 rooms of memorabilia, mu-sic, footage and images.

Earls Court ExhibitionCentreUntil March 28% 44-1159-1290-00www.abbaworld.com

Luxembourgart“Everyday(s)” exhibits contem-porary art on the theme ofeveryday life, with work byBruno Baltzer, David Bestué& Marc Vives and others.

Casino LuxembourgForum d’Art ContemporainUntil April 11% 352-2250-45www.casino-luxembourg.lu

Lisbonart“In the Presence of Things”displays 71 paintings fromthe 17th and 18th centuries,including work by JuanSanchéz Cotán, PieterClaesz, Rembrandt and Fran-cisco de Goya.

Museu CalousteGulbenkianFeb. 12-May 2% 351-21-7823-000www.museu.gulbenkian.pt

Madridphotography“Saved Art” presents archivephotos and video projectionsdocumenting the fate of fa-mous works of art during theSpanish Civil war.

Museo Nacional del Prado- Paseo del PradoUntil March 21% 34-91-3302-800www.museodelprado.es

Manchestermusic“Lady Gaga - The Monster Ball Tour”starts the U.K. tour of the GrammyAward-winning pop singer.

Feb. 18 M.E.N. Arena, ManchesterFeb. 20-21 The O2, DublinFeb. 22 The Belfast Odyssey ArenaFeb. 24 Liverpool Echo ArenaFeb. 26-27 The O2, London(continues into March)www.livenation.co.uk

Munichart“Maharaja: The Splendour of India’sRoyal Courts” explores the culture ofmaharajas through Indian and West-ern works.

Kunsthalle der Hypo-KulturstiftungFeb. 12-May 23% 49-89-2244-12www.hypo-kunsthalle.de

art“Peter Loewy: Drawings” presents por-trait photography created from close-ups and distortions of drawings bythe German photographer.

Pinakothek der ModerneFeb. 9-April 11% 49-89-2380-5360www.pinakothek.de

Parisphotography“Lisette Model” showcases 120 im-ages of New York in the 1940s by theAustrian-born American photographer.

Jeu de Paume—ConcordeFeb. 9-June 6% 33-1-4703-1250www.jeudepaume.org

art“C’est la Vie! Vanity, From Caravaggio to

Damien Hirst” displays 150 art piecesrepresenting vanity objects, includingearly mosaics from Pompeii.

Musée MaillolUntil June 28% 33-1-4222-5958www.museemaillol.com

art“The Image Factory” presents 160 orig-inal objects from different historicaland ethnical backgrounds around theworld, illustrating totemism, natural-ism, animism and analogy.

Musée du Quai BranlyFeb. 16-July 15% 33-1-5661-7000www.quaibranly.fr

Rotterdamart“Inside out: Museum Boijmans Van Be-uningen on Show” showcases master-pieces by artists such as Frans Halsand Jacob van Ruisdael alongside mod-ern work by Giorgio Morandi andFrank Stella.

KunsthalFeb. 6-May 24% 31-10-4400-301www.kunsthal.nl

Zurichdesign“Global Design” traces the effects ofglobalization on the world of designsince the 1970s, following develop-ments in architecture, graphics, media,fashion, product and industrial design.

Museum of DesignFeb. 12-May 30% 41-43-4466-767www.museum-gestaltung.ch

Source: ArtBase Global Arts News Ser-vice, WSJE research.

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The art world’s Gordon Gekko

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