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Living

UVA Art Museum reassembles a 14th century Italian masterpiece

 A momentous reunion is happening at the University of Virginia. No, we’re not talking about alumni returning to town to relive their glory days. This goes back much further than even Mr. Jefferson himself—all the way to 14th century Italy, when painter Bartolo di Fredi took up his brush to create an altarpiece for a church in his native city of Siena. As he applied his tempera and gold leaf, he surely didn’t imagine that half a millenium* later parts of his painting would scatter across the globe, nor that they would be reunited for “The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed,” an exhibition opening Friday at the UVA Art Museum.

“Seven Saints in Adoration” is one of three pieces of Bartolo di Fredi’s majestic Sienese altarpiece shown together at the UVA Art Museum beginning Friday. (Courtesy of Ministero per i Beni e le Attività Culturali PinacotecaNazionale di Siena.)

“Bartolo’s most famous work was probably a series of frescoes that were painted in the town of San Gimignano, which is near Siena, in the late 1360s,” Bruce Boucher, who joined the museum as director in 2009, told us. Boucher, along with UVA Associate Professor Francesca Fiorani, co-curated this exhibition, which was inspired by a portion of Bartolo’s altarpiece that found its way into UVA’s collection. “When I came here I thought it would be great for our public if we could try to reunite the three surviving pieces of this altarpiece, to show that the painting, pretty though it was, was merely a small part of a much larger structure,” Boucher said.

While his frescoes might be more famous, Boucher views Bartolo’s “Adoration of the Magi,” painted between 1375 and 1385, as the artist’s biggest accomplishment. “I think this is really his masterpiece,” he said. “He was not a painter of the first rank, like Simone Martini or Duccio, but he was consistently good, and in this painting I think he really outdid himself.” The altarpiece’s upper portion, for instance, not only features the wise men’s cavalcade as they journey to Bethlehem, but also incorporates Siena itself into that Biblical scene. “You see a view of a walled medieval city, which looks very much like Siena, and a building with green and white marble, which looks very much like the Gothic cathedral in Siena,” Boucher said. “It has this wonderful richness of detail, of narrative detail, that has this very obvious attempt to try to connect Siena with Jerusalem.”

“And of course it calls to mind the political fact that the Sienese had entrusted their city to the care of the Virgin from 1260 onwards,” he added, referring to Siena’s adoption of the Virgin Mary as its special patron.

Bartolo’s altarpiece remained in place for around 500 years, but then came the 19th century and the upheaval of the Napoleonic Wars. Like many religious artworks during that period, it was divided and scattered by the art market. The main panel, which depicts the familiar scene of the wise men paying homage to the Baby Jesus, remained in Siena, where it is now in the collection of Italy’s National Picture Gallery. A large portion of the bottom panel, which features Christ’s crucifixion along with a group of on-looking saints, was purchased in Rome by German aristocrat Bernhard von Lindenau, and it is still part of the Lindenau-Museum in his hometown of Altenburg.

Another section of the bottom panel, which portrays seven additional saints, has had the most adventurous journey. Its whereabouts remained a mystery until the 1920s, when it turned up in New York in a Milanese sale catalog, only to promptly disappear again. Then, in the 1970s, those gold-leafed saints surfaced right here in Charlottesville, when a local woman who had inherited the piece donated it to the UVA Art Museum. “Our scholars made the connection with the other panel in Germany in the late 1970s, and so we knew that it was part of this altarpiece,” said Boucher. “The painting may have had other panels to it, or wall frescoes that were part of a larger complex. We just don’t know.”

In addition to the three known sections of Bartolo’s “Adoration of the Magi,” the exhibition will also feature two works by his Sienese contemporaries, a small domestic altarpiece by Naddo Ceccarelli and a life-size crucifixion scene by Francesco di Vannuccio. “With these other two paintings we also show other aspects of the Christian narrative and different types of Christian altarpiece,” said Boucher. “You get to see something of the variety of religious painting in 14th century Siena and the way in which the Sienese regarded these works not only as religious statements but also as statements of political affiliation, of talismanic power.”

“The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed” opens this Friday, March 2. The museum will also host some of the world’s leading scholars on Sienese art for a symposium on April 27 and 28, and you can catch a glimpse of the six century reunion through May 27. Take that, Class of 1962.

*Corrected from "half a century"

Categories
Living

Small Bites: This week's restaurant news

 Fuel up on gas and beer
Take a trip past the corner of Market and Ninth streets and you’ll notice that even though the building still says Fuel Co., changes are a-happening at this formerly Patricia Kluge-owned restaurant. Subhash Desal, owner of a convenience store and a Subway sandwich shop, purchased it at auction this summer and we still don’t know all of his plans, but the gas pumps say Sunoco, there’s a shiny drive-up (or walk-up?) window front and center, and beer trucks have been wheeling in their wares.

Scribbled chefs
Waynesboro artist Bart Lanman, who’s made an art form out of a style of rendering he calls “scribble scratch,” will have nine lifelike portraits of Charlottesville chefs for sale at Blue Moon Diner on Friday, March 2 at 6:30pm in the “A Line of Good Taste” art show. Lanman will donate a portion of his proceeds to UVA cancer research. And don’t forget to eat and drink while you’re there.

A chile cookoff
The Jefferson-Madison Regional Library is hosting the Big Read (a program sponsored by the National Endowment of the Arts to revitalize the role of literary reading in American popular culture) throughout central Virginia during the month of March. The featured book, Bless me, Ultima by Rudolfo Anaya, takes place in New Mexico with a focus on southwestern cooking, so the library’s main branch is having a chile pepper cook-off on Saturday, March 3 at 3pm. Share your green or red chile salsa with the library community for a chance to win one of three gift certificates to Foods of All Nations. E-mail bigread@jmrl.org to enter.

Categories
Arts

TV Previews: “Awake,” “When Vacations Attack,” “GCB”

“Awake”
Thursday 10pm, NBC
Jason Isaacs (Lucius Malfoy in the Harry Potter flicks, totally butched up here) plays a cop living a fascinating double life. Months ago he was in a car accident with his wife and teenaged son. Only one member of his family lived—but he’s not sure which one. When Isaac’s character goes to sleep, he finds himself in one reality in which his wife is alive, he has a new partner (“That 70’s Show”’s Wilmer Valderama), and he sees a shrink (B.D. Wong, “Law & Order: SVU”). When he goes to sleep in that reality, he wakes up in another, in which his son is alive, he has a totally different partner (Steve Harris, “The Practice”), and he sees a totally different psychiatrist (the amazing Cherry Jones, “24”). Despite the potential for cheesiness, both realities are completely believable, the drama is compelling, and Isaacs is a surprisingly strong leading man.

“When Vacations Attack”
Thursday 8pm, Travel Channel
I’m taking my first big-boy vacation next month, heading to Mexico for a week at a resort. My mother is convinced that I will end up headless on a beach, or sold into white slavery by a drug cartel. (I keep trying to explain to her: Nobody would pay for me.) Before I head off, I plan to study up on this show, so I know what stupid shit to avoid. “Vacations” chronicles real people’s horrific getaway experiences. So you get surfers breaking their backs on killer waves, fishermen getting stabbed by marlins, elephants rampaging. I think I’ll just stick with my Kindle, the pool, and a cabana boy, thanks.

“GCB”
Sunday 10pm, ABC
With the ladies of “Desperate Housewives” bidding adieu to Wisteria Lane at the end of the season, ABC needs to fill its pumps with another dramedy about pretty women behaving terribly. “GCB”—short for “Good Christian Belles,” and formerly/awesomely “Good Christian Bitches”—is produced by Darren Star (“Sex and the City”) and written by Robert Harling (Steel Magnolias). It centers around Amanda (Leslie Bibb, “Popular”), a former Dallas mean girl who has been tamed by time, and is forced to move home to live with her mom (Annie Potts, “Designing Women”). Across the street is the former target of her high-school terror campaign, Carlene (Broadway goddess Kristin Chenoweth), who in Amanda’s absence has climbed to the top of Bitch Mountain. Expect lots of religious-infused barbs, wackiness, and steamy scenes with a variety of bohunks. —Eric Rezsnyak

Categories
The Editor's Desk

Editor's Note: The take away game

2.28.12 For the first time in weeks, my bike ride to work through Court Square didn’t take me past a row of satellite trucks. The Huguely trial is over and the verdict is in. In this week’s issue, J. Tobias Beard takes a crack at answering the question he set out to explore when he began his coverage: Why did we watch this particular tragedy so closely, when there are so many others playing out around us right now?

I said in an earlier editor’s note that the answer couldn’t simply be Schadenfruede, the desire to watch other people suffer, that there had to be some kind of take away. But I’m not sure, having seen it all play out, that the take away would amount to much more than a justification for our voyeurism. If there’s any message I took away from the trial, it’s the one that’s been there all along. George Huguely V and Yeardley Love were in a seriously screwed up relationship, and no one close to them was able to stop it, either because it seemed normal or because no one could change their minds. Blame the parents, the friends, the coaches, society…or ask yourself if you’ve seen the same kind of relationship before and let it go.

Another group of UVA students also made the news this week, for using a hunger strike to attack the University’s failure to guarantee a “living wage” for all of its employees. It’s the same tactic of satyagraha that Mahatma Ghandi employed, using suffering to expose truth. In his words: “I have also called it love-force or soul-force. In the application of satyagraha, I discovered in the earliest stages that pursuit of truth did not admit of violence being inflicted on one’s opponent but that he must be weaned from error by patience and compassion… the doctrine came to mean vindication of truth, not by infliction of suffering on the opponent, but on oneself.”

Youthful exuberance? Overkill? Or a positive and practical application of values?—Giles Morris

Categories
News

The Crossings billed as a game-changer for chronic homelessness

 “The ideal community is one in which no one needs a cot in a church basement,” explained City Councilor Dave Norris, who pushed for better solutions to the city’s homeless problem during his time as mayor.

Kathy Talley, deputy executive director of Virginia Supportive Housing, takes questions during a press preview of The Crossings, a single room efficiency apartment complex developed in partnership by the City of Charlottesville and VSH as a solution to chronic homelessness. The Crossings could open its doors for business as early as March 5. (Photo by John Robinson)

Working in partnership with the state-level nonprofit Virginia Supportive Housing, the city has made a large step toward getting its chronic homeless population off the streets with the construction of The Crossings, a single-room occupancy, permanent housing facility at Fourth Street and Preston Avenue that may open its doors as early as next week.

The three-story building, still smelling of fresh paint, is made up of 60 efficiency apartment units, each featuring a bedroom/ living area, full bathroom, and a small kitchen. Half of the units are subsidized for long-term homeless single adults, particularly those with disabilities, their costs supported by project-based Section 8 vouchers, which are built-in, federal subsidies that stay with the units and cover the gaps between what a tenant can pay and what it actually costs to maintain and run them. The City of Charlottesville allocated 21 of the vouchers for The Crossings, while Albemarle County provide nine.

The 30 remaining units are not subsidized, but will be rented as affordable housing to single adults with low incomes who need an apartment close to Downtown. While the rental units are yet to be filled, the Section 8 units have all been assigned to men and women who have been homeless for years and are hoping to begin the next phase of their lives.

One of The Crossings’ first residents, who called himself “Bill” and said he preferred to remain anonymous, found out last week that his final application had been approved after spending the last five years on the street.

“My heart did a little flutter,” he said with a smile.

While his application process was “fairly smooth,” Bill said that he did not allow himself to get excited as he took part in multiple interviews and filed his paperwork.

“Everyone was tired of being approved to be approved,” he said.

While the idea of finding and keeping a job to pay the bills is daunting, Bill is most excited for the privacy and security of living at The Crossings.

“It’ll be nice to plug my phone in to charge, go to the bathroom, and come back and see it’s still there,” he said.

Bill prides himself on his “ability to learn to adapt,” and hopes that, five years from now, he will be “long gone from The Crossings,” supporting himself and freeing up that space so that others can use the same resources.

In addition to a permanent roof over their heads every day, The Crossings will also provide supportive services for the residents. Erin Briggs is one of two case managers employed by Virginia Supportive Housing, who will be on-site five days a week to assist the tenants with everything from cooking and cleaning to job hunting and financial literacy.

“No one has to use our services,” Briggs said. “But they know that we’re here.”

Categories
News

Green Scene: This week's greenie news

Opportunity knocking
I ate lunch last week at a local joint where diners are supposed to bus their own dishes, separating silverware, trash, and plates. This I was dutifully doing when I noticed some signage encouraging me to separate recyclables, too.

The sign said the restaurant’s plastic cups and dishes could be recycled. But those items dotted the trash can. Why? The recycling bin was hidden underneath the bus tub, while the garbage was easily at hand. Anyone who wasn’t paying full attention, or didn’t care that much, wasn’t gonna recycle squat.

Ergonomics matter. You can’t bring your own bags to the grocery store if you keep forgetting them at home because they’re stored in an inconvenient place. Far better they live in the car. You won’t compost the core of the apple you eat at work if you have to schlep it back home to a compost bin. (Well, actually I do that all the time, but I have a high tolerance for organic matter in my purse.) More to the point, people (as in “the public”) won’t improve their habits if businesses and institutions make it difficult or counterintuitive to do the right thing. I love the green recycling bins on the Downtown Mall, but how come they’re less numerous than the black garbage bins? What’s the message there?

Then again, we’re talking about individual choices. At a workshop I took recently, a fellow student who also happened to be a farmer noticed that people were throwing away food scraps. She announced that she’d take that valuable stuff home to her pigs, then provided a bag. If only all systems were that quickly improved.—Erika Howsare


 

Not bypassed yet
Jack Jouett Middle School lies in close proximity to the proposed site of the Western Bypass. Critics of the road, including the Southern Environmental Law Center, have argued that the increased traffic will adversely affect the air quality of nearby school children.

The point is, nature organizes along a path of least resistance. Or put another way, nature organizes to optimize the use of energy in the system.

 

Danger zone
Remember 2004, when Charlottesville was named the number one city to live in the U.S.? Well, the city and its surrounding countryside made it onto a different list this year: the Southern Environmental Law Center’s top 10 most endangered areas in the Southeast. Charlottesville has long been known as a special place to live—and now it is being recognized as environmentally endangered, due to the proposed Western Bypass around 29N.

This is the third year that the SELC has released a most endangered list, and according to Marie Hawthorne, director of development and marketing at the SELC, deciding what places make the list is based on urgency—whether or not an area is at high risk of permanent environmental damage in the next 12 months.

“The environment includes the air we breathe and the water we drink,” said Hawthorne. “But it also includes the character of the community.”

Morgan Butler, senior attorney at the SELC, says that if the bypass is approved, the surrounding areas will suffer severe, permanent damages. He notes that the bypass would run just a few hundred feet from the area’s primary drinking water reservoir, and he worries that children will be in danger, as the bypass would pass near elementary schools and their playing fields.

The bypass is intended to relieve traffic congestion on 29 and is, according to Albemarle County Board of Supervisors member Ken Boyd, “long overdue.”

Boyd said that VDOT has made recent updates to the plan based on environmental studies, and that, despite its proximity to drinking water, the bypass would pose minimal threats to the environment and to the county’s overall health. A contributing factor to the high cost of this bypass (estimated at $245 million), according to Boyd, is the “great deal of precaution” taken toward minimizing environmental ramifications.

“It’s important for our readers to know that this is not a done deal,” Hawthorne said. While the bypass has local approval, a lengthy federal process is still underway, giving concerned locals time to act.

Butler encourages concerned individuals and groups to contact the Federal Highway Administration, and to “let their local leaders know that they’re opposed to this process.”—Laura Ingles

Path of least resistance
On our farm in Cismont, we design much of our work by observing and mimicking nature. Winter is a great time to reexamine how we use energy and to create work that uses our finite resources more efficiently. By modeling our energy and resource use on natural systems, we can shift our ecological role from consumer towards producer.

Mark Jones splits wood at Sharondale Farm in Cismont. (Photo by John Robinson)

We design the farm and our home to yield benefits on many levels. Our goal is to use energy more efficiently and more optimally for our lifestyle, which requires time for play and family. For example, to minimize fossil fuel use, we heat the house with wood. Chopping wood is hard work, with visible and useful results. The physical rhythm opens a space for meditation and communication. It also warms us at least twice.

Splitting firewood is not just brute strength, but employs finesse in the placement of the force applied. Understanding the flow patterns of the wood structure informs each strike to find the path of least resistance. Other energy patterns here on the farm reflect the same flow. Animal trails cut across the hills rather than straight up and down; weeds occupy bare soil more rapidly than mulched areas; fungus grows faster along the grain of wood than across it.

The point is, nature organizes along a path of least resistance. Or put another way, nature organizes to optimize the use of energy in the system. In permaculture, these observations inform the design of the farm and farm work. For example, my favorite berries—currants, gooseberries, strawberries and blueberries—are planted along the main garden paths, so when they are in season the furthest many of them travel is the length of an arm. We coppice the willows at waist height rather than at ground level for easy pruning.

Our perennial polycultures of useful plants are maturing and need less maintenance. Waste from mushroom production is used in the garden, and we have a crop of feral mushrooms in the mulched beds most of the year. Trips into town are planned so time and energy are kept to a minimum. The food we eat is mostly local, from our farm and from farmers we know.
By observing and understanding our ecological niche, we can mimic natural systems. And, by applying our intelligence and imagination to the resources we have available, we can work smarter rather than harder and consume less external energy.—Mark Jones

Bulletin board
Barrel of funds: In order to finance the construction of a biodynamic garden project, the Charlottesville Waldorf School will hold a rain barrel sale on March 3, 9-11am. Barrels cost $90 (Charlottesville and Albemarle both offer $30 rebates); you must reserve yours at rainbarrel sintl.com. Black or terra cotta?

Village person: Douglas Olson will rap about the idea of an Eco Village —what it is, why it matters—at the Unity Church of Charlottesville, March 6, 7-9pm. Any of the following topics might come up: permaculture, alternative energy, green buildings, and (this is interesting) nonviolent communication. In other words, a recipe for better living.

Interpretive chance: Anyone who’s at least 17, and has time to give away this summer, can apply to the Virginia State Parks AmeriCorps Interpretive Project. Job description, paraphrased: Learn about interpreting parks, rack up customer service experience, develop “water craft skills” (!). Apply before March 31 at www.americorps.gov.

 

Categories
News

When all is said and done about the George Huguely trial, what have we said and done?

We wait in the sunshine, in the unexpected warmth of a late February day, for a sign from inside the courthouse that a verdict has been reached. The word verdict means, in it’s original Latin, “to say the truth,” but a legal verdict is the synthesis of 12 opinions into a single pronouncement.

Commonwealth’s Attorney Dave Chapman addressed the media during a rain-soaked press conference outside the Charlottesville Circuit Court after a jury had convicted George Huguely V of second degree murder and grand larceny and recommended a sentence of 26 years in prison, Wednesday, February 22. (Andrew Shurtleff/Zuma Press/Newscom)

No one else has to agree with it, and often no one does. Its only measure of truth comes from the fact that, once given, it can’t be changed. Unless the judge changes it, or there’s an appeal, or the case is overturned by new evidence. So maybe there’s not much truth in a verdict after all, not if we’re using the word truth the way that most of us usually do, which is as something permanent and essential.

A man dressed all in orange is leaning against the railing of the handicapped ramp smoking a cigarette. Throughout the trial, he’s been here raking leaves and emptying trash cans, a prisoner obviously, given a plum job outside the jail and far from his cell. There are about 20 cameras set up in front of the building, their operators lounging in chairs eating chips and drinking sodas. The prisoner leans and smokes, ignoring them. He’s been working here for seven months, most of that time spent with a lot less company when he stopped for a break.

“What do you think of all of this,” I ask, meaning all of the spectacle, the attention, the cameras.

“I think it’ll be hard,” he said, “for them to prove premeditation, with how drunk he was that night.”

Walking down Fourth Street to get lunch I pass two women heading the opposite direction. “I’ll tell you why I think he’ll get off …” one of them says, and I turn around as fast as I can to listen, but the rest of the sentence is lost.

The jury’s opinion is, we hope, the most educated and the most reasoned one available. It’s ultimately the only one that matters, but it’s hardly the only one on offer. During the two weeks I covered the trial, and in the days that followed, everyone I saw gave me their opinion on George Huguely, on his guilt and what his punishment should be. Everyone told me what they thought. Everyone asked me what I thought.

With the amount of media covering the story, it’s no wonder we’re all so informed about it. People don’t merely have an opinion on Huguely’s guilt, they can back it up with quotes from his arrest interview. They hold lengthy discussions on the nature of Yeardley Love’s brain injuries. They can tell you which juror cried and which one stared at Huguely as if she’d already made up her mind.

Every effort was made to keep the media from bringing this information to you. Cameras and all other electronic devices were banned from the courtroom, which led to journalists running outside at every break to grab their phones and tweet. Reporters in the overflow pressroom didn’t have to wait for breaks, they could step out of the viewing room whenever they wanted, and so the ban was ultimately a failure; every second of the trial, no matter how mundane, was communicated in 140 character bursts.

We have new media now, more of it, faster than ever before. But do we have better information as a result? Our opinions are largely formed by context-free facts delivered with little or no thought. Who has time to think? Certainly not the journalists racing each other to the crate of phones to see who can be the first to report what the jury ate for lunch. There was a time when you had to wait until morning to hear about the evening’s execution. If you wanted the news sooner, you had to go in person and watch the body hang.

A well-dressed older man is standing on the sidewalk watching the milling crowd of journalists.

“This whole case has really messed me up,” he said. He lost a daughter many years ago to illness, and subsequently began counseling parents who’ve lost children, many of them to murder.

“The parents have to deal with all of this one year or two years after their child’s death,” he said. “They have to go to trial, because what parent wouldn’t want to go to trial? And they have to see a slick lawyer in a suit talk about what a tragedy this all is as he tries to get the guy off.”

“I don’t like the word closure. That sounds like you’re closing a book and putting it on a shelf. I prefer ‘reconciliation.’”

This is what reconciliation is like for Yeardley’s mother Sharon: Sometime in the afternoon, three women from NBC sit on a bench in front of the courthouse, talking excitedly. Two of them are middle aged and the third is in her 20s. They haven’t been here for any of the trial; they’re part of the second wave of upper tier media and TV producers that has arrived just in time for the verdict. The three women are all well dressed, like they’re out shopping, which in a way they are.

“Sharon said she’d take a week to think about whether she’d talk or not.”

“She’ll probably take a month.”

“No, she said a week. It will probably be a week.”

“The girls will all probably take their cues from Sharon. I have all their contact numbers.”

Reconciliation for the Love family involves negotiating interviews. It involves being constantly photographed and seeing those photographs everywhere they turn. They’ll never be able to Google their names again, and they now find themselves using the phrase, “We’ve prepared a statement.”

What parents prepare for that?

Reading more than a few news reports about the trial feels like a waste of time. They’re almost identical. Did we really need 20 cameras to capture the same shot of George walking into court? How many journalists does it take to tweet the word “guilty”?

There’s barely any difference between what was said in the media before the trial and what was said after. There were no major revelations, no radical changes to the story. As the trial began, nearly all of the potential jurors said they already had an opinion. During jury selection, one of the people picked for the jury said he thought it was “an open and shut case.”

George Huguely didn’t speak at the trial. The footage from the police interview and the excerpts from letters and e-mails helped to humanize him somewhat, but our collective idea about what kind of human he is didn’t change. Going in, he was a drunk lacrosse player from a wealthy family who killed his girlfriend. Coming out, he was a bigger drunk, and we can now officially say he murdered his girlfriend, though it wasn’t premeditated.

At around 2pm, I’m sitting outside reading a book. A man and a woman who’ve been dealing with their own legal problems in another court sit near me and ask if they can smoke. She has pink hair and a tattoo on her neck.

“Do you think he’s guilty?” she asked.

“I think he’s guilty of something,” I said.

The man laughed. “I think he’s nice,” the woman said. “I talked to him in jail.”

“Don’t tell him you were in jail,” the man said. She ignores him and kept talking.

“I talked to him, but not about the case. He fed me canteen. His eyes had nothing in them. You know how some people’s eyes have nothing in them? They were pitch black.” She paused and took a drag.

“But he was nice.”

Guilty and not guilty
At 4pm a car slows down on High Street and the driver leans out the window. “They reached a verdict yet?” he asked. The cameramen mostly ignore him, a few shrug, and someone said “No, not yet.”

Across the street a TV news crew is interviewing a local defense attorney. The attorney has been in court every day of the trial, and hasn’t been shy about sharing his opinions. He goes down the line of TV cameras, one by one, telling them what he thinks the verdict will be.
Did I mention that everybody I see tells me what they think the verdict will be? On Facebook, on the phone, on the street, even over dinner at my parents’ house. Everybody tells me their opinion. Everybody asks me mine.

Late in the day, hours before Huguely is convicted of second degree murder and sentenced to 26 years in prison, I suddenly stop caring about the verdict. I’m overcome by the urge to get up and leave, to go to Miller’s and have a beer and skip the whole thing. Why not? I’ve been over it so many times in my head by now, every possible permutation and outcome, that the element of surprise is long gone. I know the verdict already; I’ve heard it proclaimed on every street corner and in every coffee shop and so at this point I’d rather not know, I’d rather ignore it, because I’ll be expected to say something meaningful and I can’t.

I had the experience, but missed the meaning. The more I’ve learned, the more my ability to render judgment has become crippled. Whichever way the jury swings, nothing I can say will make a difference in the end or change anything. I can’t reconcile what was done to Yeardley Love with what they’re going to do to George Huguely. I’ve been firing words at the target as fast as I can, and so has everybody else. To what end? And what are we doing here anyway? To quote Johnny Rotten, it’s been a cheap holiday in other people’s misery.

I looked into his eyes and saw only blackness. And I couldn’t think of anything at all to say on Twitter.

But I didn’t leave. I stayed and heard the verdict read. I saw it through to the end, which turned out to be a cold and rain-soaked press conference on the steps of the courthouse. No one wanted to get wet, so we all stood behind the podium under the roof, where it was dry, but impossible to hear. Reporters bunched absurdly on Commonwealth’s Attorney Dave Chapman’s right side, thrusting tape recorders out while trying to keep their bodies in, desperate for any scrap of his voice. When Chapman was done, a few of the jurors emerged through the front doors and were immediately assaulted by bright lights and confusion, with no way out except through a gauntlet of journalists waving recorders and shouting.
“Sir, will you talk with us for a minute just down there?”

“Can you tell us why you voted the way you did?”

The jurors did, ultimately, tell us why they voted the way they did. It was not, they felt, a premeditated act, but it was a malicious act, the worst ending to a bad relationship. George Huguely V, who at 22 was already using alcohol to propel himself that much faster towards a dead end future, was not likely to change anytime soon. Perhaps, they thought, 26 years, 20 if you factor in time served and time off for good behavior, perhaps that will be enough for both rehabilitation and retribution.

For what it’s worth, I agree with them. Already there are those who feel otherwise, who are saying that he “got off” or that he should spend a lifetime in jail, subjected to whatever justice the penitentiary dispenses. But justice, as we practice it here, is as much about the process as it is the result. The jury listened to the evidence, every boring bit of it, and they wrestled with the meanings of words and the consequences of actions, and then they adjudicated. The Love family wants retribution, the Huguelys rehabilitation.

“We work in the dark,” Henry James said. “We do what we can, we give what we have. Our doubt is our passion, and our passion is our task.”

Life goes on.

The UVA men’s lacrosse team is ranked number one this year. In the 20 years that Dom Starsia has been head coach, the team has won four national championships and six ACC titles. In 2010, the year that Huguely was arrested for murder, seven other members of the team were arrested on alcohol charges. In January, coach Dom Starsia signed a five-year contract for $250,000 a year, with a $225,000 bonus in three years and a $150,000 bonus in five.

According to the Bureau of Justice Statistics, at least three women are murdered by their husband or boyfriend every day. Three out of four Americans in a 2004 poll said they knew someone who was a victim of domestic violence. In 2009, singer Chris Brown was arrested for beating then girlfriend and fellow musician Rihanna. He punched her repeatedly, slammed her face into the window of his car, and choked her. In a 2009 interview, Rihanna said: “When I realized that my selfish decision for love could result into some young girl getting killed, I could not be easy with that part… Even if Chris never hit me again, who’s to say that their boyfriend won’t? Who’s to say they won’t kill these girls?”

Three years later, with the Huguely trial underway, Brown was awarded a Grammy. He and Rihanna seem to be back together.

Categories
Arts

The Secret World of Arrietty; G, 94 minutes; Carmike Cinema 6

 The latest offering from esteemed Japanese animation house Studio Ghibli (Ponyo, Spirited Away) comes to American audiences courtesy of Disney, and that seems like a win-win arrangement.

The Secret World of Arrietty is a collaboration between Disney and Japanese animation house Studio Ghibli based on the children’s book series The Borrowers. (Disney)

The Secret World of Arrietty—written by Karey Kirkpatrick, directed by Gary Rydstrom, and starring the voices of Will Arnett, Amy Poehler, and Carol Burnett—is one of those all-ages movies whose appeal derives directly from not having much to lose in translation.

Adapted from The Borrowers, the first in a series of British children’s books by Mary Norton dating back to 1952, and directed, originally, by Miyazaki protégé Hiromasa Yonebayashi, Arrietty portrays the denizens of a stately but rustic country house, particularly the very tiny people who for several generations have subsisted rather resourcefully under its floorboards. One of these “Borrowers,” the eponymous young heroine (voiced by Bridgit Mendler), is a girl on the cusp of adolescence and accordingly eager for adventure. Naturally, this causes some consternation for her taciturn dad (Arnett) and her too-nervous mom (Poehler).

Borrowers live peaceably and preferably unnoticed among humans, known to them as “Beans.” Never mind that the self-applied moniker is a euphemism, as they don’t actually return what they take. Borrowers “borrow” only what they need and what Beans won’t miss—a sugar cube, a Kleenex—and tend to make it last a lot longer than the Beans would anyway. They are models of inconspicuous consumption. It’s fun to watch them work, rappelling from kitchen countertops with earrings used as grappling hooks, and impressive to behold the film’s fully telescopic view of how far down this unwittingly cooperative resource-sharing trickles: Left briefly unattended, that same sugar cube inevitably gets reduced to still smaller bits and carted off by ants to their own tiny unseen home.

If this is sounding low-key, well, yes. The trademark Ghibli animation style prioritizes lush, lovingly drawn and sound-designed atmosphere over high-stakes drama, and that’s literally the beauty of it. You just want to hang out here. Plot is provided, albeit clunkily, as soon as Arrietty gets noticed by Shawn (David Henrie), a sickly Bean boy of about her age (if well beyond her height) who’s been stashed away at the house to rest up before a risky heart operation. Also, the Bean maid, Hara (Burnett), wants to prove that Borrowers exist and redeem herself from a reputation for “losing things.”

Through these tensions, Yonebayashi suggests the mutilating magnification of good intentions transposed between incompatible scales. More than that, though, and maybe more importantly, he animates the gentle wonder of a secret world.

Categories
Arts

Paramount event turns Renaissance art digital

Tickets to view “The Last Supper” sell out two months in advance. Visitors are permitted to view Leonardo da Vinci’s master work after a multi-step decontamination process and then only for 15 minutes. If there’s ever a case for viewing artwork remotely, the deteriorating 514-year-old refectory wall fresco in Milan makes it.

“Leonardo Live”—something of a misnomer for a British television broadcast recorded November 8—interspersed paintings with background material and interviews from the opening night of an exhibit considered unprecedented for its number of pieces. Context makes art richer, and the film offered some genuine notes of interest. Leonardo, for example, used painting mostly as a marketing tool to gain favor with people who could hire him as an engineer. The romantic exploits of “The Lady with an Ermine”—that the man who painted her was a notorious procrastinator and that he was probably gay—also go beyond information likely to be gleaned from walking around the gallery. Interviews with curators, restoration experts and artists offered the type of analysis one might expect from any arts documentary, though the well-coiffed host and background noise from the live recording made many parts feel like a lost episode of “Antiques Roadshow.”Recreating the nuance of a rarified piece of art, though, has dogged museums since the dawn of the slide projector. Paintings are three dimensional. The glint of gallery light off a chunky brush stroke, or the hair-thin textures and imperfections that dissolve as the viewer backs up from a piece never quite show up in pictures. Nonetheless, a recent show at The Paramount Theater made a noble attempt to overcome those barriers by using a movie screen to amplify the brilliant details of several of da Vinci’s paintings recently shown in London.

Experiencing a sold-out art exhibit from the relative comfort of a theater seat inevitably begs a few questions. Does a movie screen really offer any additional insight into works that can be explored for free in countless books and websites? Likewise, is seeing “La Belle Ferronière” blown up to 30 feet tall really any more bizarre than glimpsing the “Mona Lisa” among hundreds of tourists, viewing it primarily through the screens of their cameras?

The Paramount and its patrons have enjoyed success with similar broadcasts of performance art from the Metropolitan Opera and London’s National Theater. Roughly 600 Charlottesville art lovers wouldn’t have shown up to see “Leonardo Live” Feb. 19 if they weren’t interested in a similar treatment for the visual arts. Still, presenters in the film, and art experts from the University of Virginia speaking afterward acknowledged that seeing the paintings in person is a much different experience. For example, the exhibition’s highlight—the National Gallery’s own “Virgin of the Rocks” shown in the same room with an older version on loan from the Louvre—has little impact when their subtle differences in size and style get lost along with the spatial experience of being present with them. In fact, the most memorable element of the whole event was the panel of art professors who live right here in town, and who candidly summarized the vagaries of authenticating 500-year-old artwork.

Fortunately for those Renaissance enthusiasts who may have missed “Leonardo Live,” some of the foremost scholars on the artist will gather at UVA for a conference opening April 12. Entitled “The Legacy of Leonardo da Vinci: International Collaboration and Global Access,” much of it will be free and open to the public.

Green Scene Blog: How’s the water?

Folks–this post is from the director of StreamWatch. Rose Brown explains what the heck exurban means, and what it means to water health.

The nonprofit I run, StreamWatch, recently released its latest study, which examined the relationships between how we use our land and stream health in the Rivanna River watershed.

A watershed is an area of land that drains to a stream. The rain that falls on your roof will eventually run to a stream;you live within the watershed of that stream. Small streams flow into larger streams, so smaller watersheds are nested within larger watersheds. If you are standing on the downtown mall, you are in the Moores Creek watershed, which is part of the Rivanna watershed, which is part of the James River watershed, which is part of the Chesapeake Bay watershed. This is called your watershed address.

Stream health is very closely related to land use in the surrounding watershed. Rural landscapes with lots of forest have healthy streams. Forested buffers alongside streams can protect and improve stream health. Unstable stream banks and excess sediment cause stream health to decline in many Rivanna streams. Urban areas with lots of paved surfaces have unhealthy streams. The relationship between land use and stream health is so strong that we can estimate stream health based on the amount of forest and development in the surrounding watershed.

About 70 percent of streams in the Rivanna watershed are failing Virginia’s biological standard, a marker of whether streams support a variety of life forms. Streams with more life have better water quality, and can provide better services to humans—like water supply, recreation, and aesthetic enjoyment.

Most of the Rivanna watershed is exurban (or semi-rural). Exurban areas are more populated than rural areas, but less than suburbs. In our exurban landscapes, about 70 percent of the land is forested, and each property is an average of 17 acres. This amount of land disturbance may seem mild, but more than half of exurban streams failed the biological standard.

Rural and exurban streams decline rapidly with increased development or deforestation. In urban areas, stream health is already poor. Therefore, urban streams do not respond dramatically to additional development. Based on current development practices and projected land use changes, a third of our remaining healthy streams could fail the standard within 20 years.

Fortunately, only 5 percent to 10 percent of streams are severely degraded. Most streams sit near the pass/fail cusp and might meet the standard with better care.

Here’s more information about StreamWatch’s key findings.