All posts tagged Rouses Point

Rouses Point to host Astaire & Rogers show
by Robin Caudell
Press-Republican, Out & About, Jul 13, 2006 

ROUSES POINT – Get dressed to a T, in black and white, for the “Fred Astaire & Ginger Rogers Show” opening tonight at NORTE MAAR in Rouses Point.

“It’s a big formal evening with festive attire,” said Jason Andrew of NORTE MAAR. “Some people will wear white shirts and a black tie. Some people are going to be really dressing up. We will have a movie going. We will have three waiters running around.

“It’s taken a long time to get this photography exhibition and film series but the wait was worth it… I have loved Fred Astaire and Ginger Rogers as a duo. A lot of people love that time period. It was such a great period in Hollywood with the black-and-white films and musicals.”

The timing was right for the show to coincide with Fete De Danse 7:30 p.m. on July 27.

“We wanted to pair the two together. Ginger Rogers and Fred Astaire dancing together is a magical experience.”

The exhibition features 23 RKO Pictures still images starting with Astaire (Fred Ayres) and Roger’s (Honey Hale) first film “Flying Down to Rio.” The 1933 film was Roger’s 20th and Astaire’s second and launched their stardom as a duo. The exhibition includes stills from “Top Hat,” “Swing Time,” “Shall We Dance” and their last film, “The Barkleys of Broadway.”

“The images people will see at the show will trigger memories of seeing these images in newspapers and movie houses. It’s been quite a feat getting them together. Some are from private collections and from the British Film Archives.

“‘Top Hat’ was set in London. When it opened in London, they did a lot of advertising and press shots. A lot of these institutions collected the photography. You get to see the two slide, turn twist and laugh. It’s really terrific.”

The exhibition features memorabilia including original movie scores by Irving Berin and Avon porcelain statuettes depicting the pair tossing a cane between them.

Andrew has researched great stories that accompany the exhibition including the “Blue Dress Incident.” Bernard Newman, the famous Hollywood dress designer, met with Rogers to discuss the color and shapes of the various dresses she was to wear in “Top Hat” (1935).

“‘Tell me what kind of dress you want to wear and what color you’d like,’ he asked. Ginger replied, ‘I want a blue dress. A pure blue iwth no green in it at all. Like the blue you find in the paintings of Monet. I would love the dress to be made of satin with myriads of ostrich feathers, low in teh back and high in the front.'”

When the dress appeared, all the camera men, technicians, Astaire and the director, Mark Sandrich, tured their heads to watch the blue apparition go by.

“What is it? A bird? A plane? ‘No, it’s Ginger’s dress!’ ” Almost immediately there was a knock at Ginger’s dressing room door. Mark Sandrich wanted to speak to Ginger… alone. He told her the dress wasn’t right for the scene – many insist that Fred didn’t want to eat feathers. So Sandrich asked her to wear the white dress from a previous movie. ‘They won’t remember it, Ginger’ he said. This statement stunned Ginger. She was broken-hearted, disappointed and angry! They insisted that she wear another dress. ‘Why don’t you just get another girl,’ was Ginger’s reply. There was quiet on the set.”

The next day Astaire slipped her a note:

“Dear Feathers. I love ya!”

“She went on to wear the dress, and wore it for the famous scene where the couple danced ‘Cheek to Cheek.’ The dress was beautiful, flowy. It worked amazing with the shooting. And that’s how Ginger got her nickname Feathers.”

At today’s opening, boas, top hats and dress canes are welcome.

“We’ll see what happens,” Andrew said. “We do these things up here in Rouses Point. IT’s a long way to drive but we always do something fun and spontaneous, so it’s always worth it when you get here. We’re having the opening a little later because we want it to be a little darker out, more in the evening.”

A Celebration of Dance

A Celebration of Dance
by Amy Colgan-Niemeyer
North Countryman, Jul 1, 2006 

Rouses Point, NY – If you thought you’d have to travel to New York City or London to experience top notch dance instruction and performance, think again. For the month of July, Rouses Point will host SummerDance: RP06, a celebration of art and performance presented by Norte Maar, and organization based there whose mission in part is to present and promote the arts in rural locations.

An exhibition entitled “Nureyev: Photographs of a Dancer” runs from June 26 – Aug. 6 at the Julian Scott Memorial Gallery, Dibden Center for the Arts, Johnson, Vt. with an opening reception to be held on July 8 from 6 to 8 p.m., but events kick off in Rouses Point beginning July 6 with Fred Astaire and Ginger Rogers Show, a photography exhibit and film series celebrating the famous dance duo.

And, the Summer Conservatory of Dance, in its third year here in the North Country, runs for two weeks in July, giving aspiring dancers the opportunity to study with top dance instructors alongside top dancers. These professional dancers are invited by Norte Maar to spend the summer in Rouses Point.

“The experience that we offer is very unique,” said Jason Andew, Director of Norte Maar, who is very active in having artists meet artists. “A very European-style training where all the dancers will train together. It gives the aspiring younger dancers the opportunity to study in a very intense environment.”

A variety of classes are available including those on conditioning, ballet technique, character, partnering and pointe. Faculty this year includes master teachers Julia Gleich of London, Ernesta Corvino of New York City and other guests.

“It will be something very modern,” Andrew said.

Although there are dance schools in the area, Norte Maar fills a void for those dancers who want to become professionals.

“We can get them connected into different kinds of art worlds. We help them branch off into a career in dance,” Andrew said. “We firmly believe that any young dancer that’s got that kind of aspiration can become very great.”

“I hope that the people will take advantage of it,” he added. “The Conservatory’s a very, very special opportunity for a lot of people [in the North Country].”

in addition, a summer dance concert, the Fete de Danse, presented by Norte Maar in affiliation with the Rouses Point-Champlain Historical Society, will return for its third year. Gleich Dances Contemporary Ballet of London, Burklyn Ballet Theatre of Johnson, Vermont, Andrew J. Nemr, tap dancer and founding member of Savion Glover’s TiDii of New York City, Racoco Productions, also of New York, City, which presents unique theatrical experiences that combine dance, theater, everyday objects and other forms of entertainment and expression, and the Bernadette Short School of Irish Dancing of Montreal will be featured as well as others yet to be announced.

“This ballet program that he puts together…there’s little different types of things going on,” said Historical Society president, Geri Favreau. “And some of it is fun and some of it is very elegant and it’s just, it’s different.”

The partnership between Norte Maar and the Rouses Point-Champlain Historical Society was born when Andrew bought a house in the village and sought to become involved with the local social groups.

“The Historical Society, I really fell in love with because their mission was to preserve the North Country,” Andrew said. “Primarily they were interested in trying to renovate the local D&H Railroad Station.”

“One of our dreams is that we want to be able to have the [Station] restored and make it a village museum,” Favreau said. “And that’s going to take a lot of money.”

All the proceeds from the Fete de Danse concert in years past have gone to that restoration project. And this year is no different.

“Our real heart is in the North Country,” said Andrew, who lives in New York City. “These professional artists all get together and we kind of just relax and talk about ideas and try new things and do experimentations. Rouses Point is such a beautiful little village near the lake that we can experience all kinds of outdoor activities and still get a place away from the noisy city.”

In return, the Historical Society does a lot of ground work for the event, including soliciting sponsors, helping to build the stage, putting up posters, assisting with publicity, and throwing the after-show party, where those who attend the Fete de Danse get a chance to meet the performers.

“We make a lot of the food ourselves,” Favreau said. “It’s very, very nice. We’ve had a lot of very nice compliments on it.”

Although the Society is historical rather than cultural, Favreau said, “We say we’re making history by doing this, so it really kind of does fit into our mission.”

The SummerDance:RP06 wraps up with the Wal-Mart Ballet’s performance of La Sylphide.

“I think that ballet itself is a very inaccessible art form,” Andrew said. “It’s very rarified and it lends iteself to the major cities where there’s a lot of culture, so it’s the way of the Norte Maar making dance and ballet more accessible to general audiences.”

Although the various aspects of SummerDance:RP06 have been brought to Rouses Point in past years, Andrew said, “This is the first year that we’ve done it where it’s all under one big title. We decided that it would be quite special to be able to put it all under one big event.”

Much of the funding for SummerDance:RP06 comes from Friends of Norte Maar.

“I call them the Devine Group,” Andrew said. “A group of individuals from all over the world that have for a very long time been involved in one way or another with supporting the kind of events that I myself have done and now Norte Maar.”

 

Happy Feet and Historical Fundraisers
By Keshia Clukey, Contributing Writer
Jill – a magazine for today’s women, Jun 26, 2006 

Norte Maar specializes each year in presenting as well as encouraging the arts in the North Country. Director Jason Andrew stated, “You can do it, we can help you!” He eagerly described the company as a way to connect artists with other artists as well as venues to display their talents.

Focusing mainly on the Northen Tier of New York, Norte Maar has become a unique and ever growing organization supporting literary, visual, and performing arts. The name, “Norte Maar”, refers to the North Sea and Dora Maar, who was the wife and inspiration of artist Pablo Picasso.

It offers a number of events throughout the summer beginning with a photo exhibition gesturing the intensity and talent of Nureyev. The gallery will consist of photos from the Robes of Time, some of which have not been seen since 1970. The Ropes of Time is a landmark in not only dance, but also sound because it was the first time recorded music was used in Royal Ballet history. This will be held at the Julian Scott Memorial Gallery in Johnson, Vermont from June 26 through August 5.

Also Norte Maar will be presenting The Fred Astaire and Ginger Rogers Show at 20 Pratt Street, Rouses Point. This show spotlights photographs as well as films of the dance duo. The exhibition will be from July 6 through 31, with the opening reception being on Thursday, July 13 6-8p.m.

Norte Maar will be offering the Summer Conservatory for third time. North Country artists have difficulty securing the connections and funding necessary for the next level of their learning but Summer Conservatory offers a chance. From July 17 to 28 dancers from around the area as well as New York City, and even Quebec, have a chance to study under professional instructors and dance masters. Classes for intermediate to advanced students will be held at the Civic Center, Rouses Point. This year classes will also be offered to adult beginners, a chance to expand their flexibility with a sort of pilates-ballet workout. Master teachers include Julia K. Gleich from London and Ernesta Corvino from New York City.

As if that’s not enough, Norte Maar will hold the third annual Fete De Danse at the Civic Center in Rouses Point on July 27 at 7:30p.m. This concert “has a huge variety”, said Norte Maar President Julia Gleich. “You get a little bit of everything.” With a combination of dancers featuring Gleich Dances Contemporary Ballet of London and and New York City, joined by the Burklyn Ballet Theatre of Vermont, Racoco Productions from New York City, the Short School of Irish Dancing from Montreal, and other guests, the dance concert is sure to be a hit as in previous summers. The proceeds from this event go to the old train station.

Gleich and Andrew do not stop there, but continue with the Wal-Mart Ballet. Also in its third year, the ballet is actually performed right outside of Wal-Mart in the Consumer Plaza, Plattburgh. “Ballet is notorious for being inaccessible”, explains Andrew. With this ballet however, cost and location are not an obstacle. On Saturday, July 29, there will be performances every half hour from 11a.m. to 12 noon, bringing the show to you while you shop. Gleich choreographs the performance with a blend of classic dance mixed with modern dance; this year’s theme is the Romantic ballet  La Sylphide. The event originally began at a downtown festival in New York City. From dancing in a drained pool, to dancing in front of a busy store, the performance begins to grow every year.

The diversity and culture of these events this summer combine to become SummerDAnce: RP06, ” a month-long celebration of art and performance in the Village of Rouses Point” presented by Norte Maar.

For more information visit nortemaar.org or call Director Jason Andrew at (646) 361-8512.

 


Breaking Boundaries, Partners in Crime: an Interview with Julia K. Gleich and Jason Andrew
By Keshia Clukey, Contributing Writer
JILL Magazine, Press-Republican, Jun 26, 2006 

“I exist in a man’s world,” said Julia Gleich, choreographer and director. “Women dominate at lower levels.” Ballet is a world where men more frequently run the show. However, Gleich does not fit into this role.

“She is a thriving, working woman,” said Norte Maar Director Jason Andrew.

Currently, Gleich maintains the role of ballet lecturer at LABAN, London, UK. Not only is she the Director of Choreography at London Studio Centre, London, UK, but she is also the President of Norte Maar. Gleich also runs her own company, Gleich Dances Contemporary Ballet. She is at the very top in her field.

Gleich has a Mathematics and Arts Administration degree along with a Masters Degree in Ballet from the University of Utah. She also studied at The School of American Ballet.

It was at the University of Utah however, where the true story begins with the start of a beautiful friendship. It was there that Gleich and Andrew first met, Julia as his ballet teacher.

Norte Maar Director Jason Andrew grew up in Utah. He had studied ballet when he was younger, but his father did not approve of it. He had only seen real ballet on TV, and his retired dance teacher had no enthusiasm. He ended up falling into his father’s words, “you can’t live and dance your way through life.”

He stopped dancing, but did excel as a track athlete. He qualified for the Olympics, but an unjury kept him from proceeding. Andrew decided to go to the University of Utah, which was the first university to offer a Master of Fine Arts in ballet.

“It turns out you can live and dance your way through life,” Andrew said smiling.

He and Gleich met at the university. She had not been thrilled with concentuional ballet and had also decided to take a step back and go to college.

What makes a track athlete and ballet dancer come together to form a dynamic duo? Drives and ideas.

From that point Jason moved to New York City and supported Julia with her company. They both continued onward, Gleich with her directing and choreographing, and Andrew as Gallery Director and Archivist.

Through Norte Maar, the two and others like them came together to create a unique learning environment giving individuality to and empowering artists.

Andrew moved up to Rouses Point from New York City, drawn to it by the beauty of the area. It was here that he realized how difficult it is for dancers and artists to move to the next level.

Norte Maar is the answer. They are able to use city connections as well as outside funding to help local artists excel. The Summer Conservatory along with Fete De Danse, and the Wal-Mart Ballet gave both Andrew and Gleich a chance to use their shared ideals.

Gleich was turned off by the devaluing individual identity” that classic ballet usually teaches. The affect of “cloning” one dancer as Andrew put it, is broken away from with these programs.

Gleich is one of the master teachers for the conservatory. “I don’t do syllabus teaching,” said Julia. That is, learning and being tested on over and over again. Julia hopes to bring “twenty-first century values to the dance world.”

Instead of being consumed by the petty things such as having dancers focus on having the “ideal foot”, and physically fitting the mold for ballet otherwise being scorned for not, Julia as well as Jason agree on one thing. Ballet can sometimes “miss the idea that it’s okay to have fun and not be so serious of everything,” said Gleich. “Ballet can be deep but not limited.”

The summer workshop allows access to dancers hat it might not normally be given to. Chances to mix it up with all different kinds of dance styles combined under Gleich’s choreography create a unique experience both liberating and educational.

The fact that there are dancers coming from other countries, including Gleich and her London Dance Company, makes it not only interesting to share differing techniques, but also challenging.

Not letting boundaries keep her down, Julia continues to teach, and thrive as a very driven oman in an industry not usually run by such.

Gleich and Andrew remain friends after 13 years working together. This is Norte Maar’s third year presenting its summer events and it continues to be growing under the vision of its groundbreaking duo.

Rouses Point a key site

Rouses Point a key site
by Jason Andrew
Press-Republican, Apr 3, 2006 

To the editor: The Press-Republican suggested in “Vigor, optimism still sound good,” (Thursday, March 16, 2006) that the key to marketing the potential of the North Country is “for the disparate parts to join together…”

The newspaper would be pleased to know that since 2004 Norte Maar for Collaborative Projects in the Arts has been doing just that: uniting cultural forces throughout the North Country to present creative programs in visual, literary, and performing arts. Norte Maar has collaborated with such entities as the AIDS Council of Northeastern New York, City of Plattsburgh, Evergreen Valley Nursing Home, Guibord’s School of Dance, North Country Cultural Center for the Arts to name just a few.

But Norte Maar has most famously paired with the Rouses Point Historical Society and for the past two years has brought ballet to the North Country in the form of summer concert of such artistry that it transcends the ice rink where the dance is performed.

Audiences and artists alike will be thrilled to know that Norte Maar and the Rouses Point Historical Society will again unite this summer when we present the ambitious:

SUMMERDANCE:RP06, a month-long celebration of art and performance.

SUMMERDANCE will feature the return of Norte Maar’s Fete de Danse (27 July), and will include the summer conservatory of dance (17-28 July), a photography exhibition and film series featuring that famous duo of the dance floor Fred Astaire & Ginger Rogers (6-31 July), and much, much more.

But these fabulous events will not be taking place in the Press-Republican’s promising Quadrant of Hope (i.e. Lake Placid, Ticonderoga, Crown Point, Plattsburgh, and “all points in between”). We’ll be enjoying our own renaissance further North in our beautiful Village of Rouses Point, at the Civic Center to be exact!

Jason Andrew
Director
Rouses Point

Fete De Danse Returns July 28

Fete De Danse Returns July 28
Lake Champlain Weekly – July 20, 2005

ROUSES POINT (NY) – On July 28, 2005 dance returns to the Rouses Point Civic Center.  the second annual Fete de Dance, co-sponsored by Norte Maar and the Rouses Point Historical Society, will feature performances by Gleich Dances Contemporary Ballet of London, the Albany Berkshire Ballet, the Burklyn Ballet Theatre, and the Short School of Irish Dancing.

Again, Norte Maar has commissioned renowned choreographer Julia Gleich to produce an original full-length ballet for the event.

“This requires tremendous effort,” explained Norte Maar Director Jason Andrew.  “Most choreographers work months with students and dancers familiar to them to produce a full-length work.  Julia is producing one in three weeks with dancers whom she has just met.”

The piece, which remains untitled, will be set to the American Dream Quartet by composer, musicologist and P.D.Q. Bach biographer Peter Schickele.

“The selection is an appropriate piece for Rouses Point,” said Gleich, speaking after a grueling day of working with dancers. “It’s classical, then moves to jazz riffs and in another section breaks into a square dance. It’s an American piece, combining the earthy and the ethereal and the theme of divided desires. Its water motifs fit well into the backdrop of a village on the lake.”

Gleich’s cast of nine dancers come from Canada and across the U.S. and includes four local dancers: Katie Duffy of Rouses Point and Jeannine Kemp, Elissa Krockett and Sierra Boyea, all of Plattsburgh.

This year, Gleich was joined by guest choreographer Molly Faulkner, who filled in when guest choreographer Ernesta Corvino was forced to cancel. Faulkner is on the Faculty of Dance at Palomar College and recently completed her doctoral thesis in dance history.

 

Objects and Ideas

 

Objects and Ideas: Emerging artists on display at North Country Cultural Center
by Robin Caudell
Press-Republican, Out & About – January 13-20, 2005 

“Metaphor in Structure” features the paintings of James Juron, sculptures of James Ryan and video installation of Ryan J. Wilson at the North Country Cultural Center for the Arts in Plattsburgh.

The show is presented in collaboration with Norte Maar of Rouses Point.

“Plattsburgh has great support for students and young artists and great support for senior and retired people,” said Jason Andrew of Norte Maar.

“As far as emerging artists, I don’t think there is in place an organization that can catch these artists before they fall off.

“Plattsburgh State University is such a fabulous art school. It seems ridiculous that the community doesn’t want to tap into that and hold on to that.”

Norte Maar helps artists such as Juron, Ryan and Wilson to segue from academia to exhibiting and talking about their works at galleries.

“These artists are very passionate about what they are doing and are willing to sacrifice for their arts,” Andrew said.

“And along those same lines, they are not willing to compromise artistically.”

Though James Juron pays homage to the old masters, particularly Rembrandt and Caravaggio, he brings a 21st-century aesthetic to his many-layered paintings – “The Gate,” “The Cage” and “The Temple,” which are from a series that explores a figure walking through architectural spaces.

“I’m using the look of the old masters but they’re (paintings) not narrative,” said Juron, who majored in art at Plattsburgh State.

“They’re totally ambiguous going against what an old master painting really was with all these points of meaning. I’m much more ambiguous.”

Juron responds visually to certain light and architecture.

In his statement, he writes:

“My work has no fixed meaning or identity. The works neither represent an actual space nor an imagined one. They are a combination of the psychological and observed, operating as a form of primary writing. I do not consider my work to be a language.

As a primary writing the works have the ability to exceed linguistic constraints. There is no relation to the spoken word, no text that they narrate. They activate silence and operate visually within it.”

“Hand Over Hand Climbing Up a Rope On Fire” is one of James Ryan’s sculptural-energized forms.

“There is something happening in the piece as you look at it,” Ryan said.

In Ryan’s works, there is always a condensed force, tension, within.

“Working in this manner, I give myself a problem to solve. I wanted to find a way to harness the energy and bend those beams.”

In the “Blanket of Blind Faith,” an angle-iron arch houses a hand-dyed, dark gray curtain that visually and conceptually divides the space.

“Which is why faith is in the title,” Ryan said.

“It’s a spiritual thing that happens between people and belief. You never see it whatever it is. You never meet someone but they exist kind of thing.”

In his artist statement, Ryan writes:

“The structure of my process explores the nature of my chosen materials and the level of my personal response to their inherent characteristics. The strength of connections, such as that of threads on a bolt, or a weld fastening two pieces of steel together, plays a very important role in the construction of my art.”

Ryan J. Wilson’s “Oil is Blood” video installation is ironically placed in the former Merchant’s Bank walk-in vault inside the center. In 1922, it was the largest vault north of Albany.

“I noticed the vault every time I went in there,” Wilson said.

“It is a perfect place for a video installation. Instantly, I thought of this footage for it, for the unrealistic sense of values… just over the top, imaginary portrayal of this unrealistic world of endless oil supply in America.”

Wilson acquired and deconstructed this mid-20th century film footage, “Oil is Blood” from the National Archives Records Administration in College Park, Md.

“It seems to be an educational film, something they showed in schools,” Wilson said.

“The point of it is America had this wealth of oil supply, and we were ahead of the rest of the world and we were self sufficient.

“What captivated me about it is how extraordinarily ironic it was put in today’s context.”

About the installation, Wilson writes:

“As a result of naturally increasing public knowledge of environmental issues and incredible globalization of international politics, today’s world is one of highly sensitive environmental issues and complex international affairs.

“Oil is a resource of such influential value that suspicions of greed and appropriation accompany any news of the subject.

“It’s a much different world that the early twentieth century, when oil was a miraculous natural resource that promised a better tomorrow with countless uses.”

Norte Maar, Rudolf Nureyev, The Royal Ballet, Robin ClaudellPress-Republican, December 2nd, 2004

By Robin Caudell

ROUSES POINT — “Nureyev; The Ropes of Time” is a timeless exhibition of the great Russian-born ballet dancer Rudolf Nureyev.

Norte Maar for the Collaborative Projects in the Arts presents 24 black-and-white photographs featuring Nureyev performing as “The Traveler,” his starring role in the ballet expressly choreographed for him by Rudy van Dantzig, artistic director of the Dutch National Ballet.

London’s Royal Ballet premiered “The Ropes of Time” on March 2, 1970 at the Royal Opera House, Covent Garden.

The Norte Maar exhibition images were taken by photographers Leslie E. Spatt, Fredericka Davis, Edward Griffiths and Louis Peres.

They were all invited to the same dress rehearsal by the Royal Ballet to photograph Nureyev and the cast of “Life” (Diana Vere) and “Death” (Monica Mason) and a corps of dancers.

“The images come from different sources,” said Jason Andrew of the Rouses Point-based Norte Maar.

“They are press photographs.”

The reverse of some of the images have notes and photographers’ stamps. Andrew purchased two images in a portfolio sold to him on a New York city street for $5.

“The main purpose of the exhibition is education,” Andrew said.

“I was able to put together a cohesive of this one singular ballet that was made for Nureyev. It’s taken awhile to put all these photographs together, maybe 15 years. Four are from a collection in London. Six are from a collection in New York City. I have 14.”

Besides being the first full-scale ballet choreographed for Nureyev, it was the first Royal Ballet production with an electronic-music score by composer Gyorgi Ligeti. Toer van Schayk designed the costumes and futuristic set.

The exhibition features an original program on loan from LABAN Library and Archives in London.

The program contains this quote by English dance critic Richard Buckle:

Every journey we make is an adventure into the unknown; each arrival a birth and each departure a death.”

An October opening gala was held to benefit the AIDS Council of Northeastern New York. Those in attendance included many who had the chance to see Nureyev dance before he died of AIDS in 1993.

“Of all the ballet dancers classically trained, Nureyev was able to show emotion in so many ways,” Andrew said.

“He would simply open his mouth. He’s famous for flaring his nostrils. Classical purists found that sort of expression grotesque. It doesn’t really fit the aesthetics.”

Long after “The Ropes of Time” images were first snapped, Nureyev emotes uncertainty, hope, joy and despair.

“I never got the chance to see him dance. I’ve seen a lot of the footage. It’s nice to have those images.”

Besides the prints, the exhibition features a blue-and-red lithograph of Nureyev by Andy Warhol.

Lester Persky hosted a party at Warhol’s factory for the 50 “Most Beautiful Poeple” in the spring of 1965.

The most beautiful who showed up included Nureyev, William Burroughs, Allen Ginsberg, Tennessee Williams and Judy Garland.

“The lithographs are very indicative of Andy Warhol’s period of working at the factory and his quest to photograph and capture images of superstars, as he called them,” Andrew said.

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