HEAVY TRAF­FIC

CAN ART AND COM­MERCE RE­ALLY CO­EX­IST? IN THE HAMP­TONS, IT’S ES­SEN­TIAL THEY DO, SAY BUSI­NESS LEAD­ERS, WHO RE­VEAL THE IM­POR­TANCE OF NONPROFITS, COM­MU­NITY EN­GAGE­MENT— AND BUY­ING LO­CAL. MOD­ER­ATED BY MICHAEL BRAVER­MAN

Hamptons Magazine - - Contents - — CLAU­DIA PI­LATO

Can art and com­merce re­ally co­ex­ist? In the Hamp­tons, it’s es­sen­tial they do, say busi­ness lead­ers, who re­veal the im­por­tance of non-prof­its, com­mu­nity en­gage­ment—and buy­ing lo­cal.

Let’s get started with the ways your busi­ness in­ter­ests in­ter­sect with our non­profit arts or­ga­ni­za­tions. Clau­dia Pi­lato: The arts are part of what the Hamp­tons are all about. As a com­mu­nity bank, it’s been im­por­tant for us to get very in­volved with the nonprofits. We have a whole area that fo­cuses on how we can help sup­port them. We have a cor­po­rate re­spon­si­bil­ity, be­cause most nonprofits can’t move for­ward with­out the sup­port of the com­mu­nity and cor­po­ra­tions like ours. When grants are pulled back, how can they ful­fill their mis­sion? Nun­zio Zap­pola: One of my slo­gans for our ad­ver­tis­ing is “We build art you live in.” Ali­cia Long­well: I love that slo­gan. NZ: Build­ing is a form of art in it­self. In a gut ren­o­va­tion, we ap­pre­ci­ate see­ing the qual­ity built into the house by the guys who had time to ac­tu­ally carve it and make it. We don’t have that lux­ury any­more, so it’s great to leave that ex­posed. Tim Davis: Our strug­gle, oddly enough in my busi­ness, is help­ing peo­ple un­der­stand the value of our com­mu­nity’s her­itage in these struc­tures. More of­ten than not, they’re look­ing to tear them down or find ways around the laws pro­tect­ing them. There’s so lit­tle ap­pre­ci­a­tion for the ar­chi­tec­tural his­tory of our com­mu­ni­ties with those who are buy­ing out here, at least to­day.

How do you make your clients aware of that her­itage? Alek­san­dra, you deal with a lot of peo­ple on the ser­vice end. Alek­san­dra Kard­well: Yes, ours is a do­mes­tic staffing agency. We tell our do­mes­tic pro­fes­sion­als how to take care of art­work, an­tique fur­ni­ture, things like that. That’s very im­por­tant here. TD: One of my re­spon­si­bil­i­ties as a trus­tee of the Par­rish is to make peo­ple aware of the mu­seum. It’s amaz­ing how many peo­ple don’t even know it ex­ists! It’s our re­spon­si­bil­ity as those who reap the ben­e­fits of liv­ing and work­ing in this com­mu­nity to give back in that way. Dan B. Scotti: It’s im­por­tant to bring clients’ at­ten­tion to our great cul­tural in­sti­tu­tions, but there are still work­ing artists here. As an in­te­rior de­signer, I feel an obli­ga­tion to sup­port lo­cal ar­ti­sans. El­iz­a­beth Dow is an amaz­ing tex­tile de­signer; I en­cour­age my clients to buy her fab­rics. There are fur­ni­ture de­sign­ers and fab­ri­ca­tors here, pain­ters, pho­tog­ra­phers—the list goes on. A lot of my high-net­worth clients buy art at auc­tion or at their fa­vorite gallery [else­where], and I en­cour­age them to buy lo­cally, even if they’re not pur­chas­ing a lo­cal artist. On the real es­tate de­vel­op­ment side of my busi­ness, I re­ally en­joy work­ing with lo­cal ar­ti­sans—like the steel­work­ers erect­ing a breeze­way for a pro­ject I’m do­ing right now. Raphael Avig­dor: All of us are in a po­si­tion to af­fect peo­ple’s lives, so what’s our in­ten­tion? That’s key for an artist, but it ap­plies to all of us. As bro­kers, a lot of the work we do is hav­ing con­ver­sa­tions that are just ed­u­ca­tional, about the com­mu­nity. Bro­kers have the client’s trust and ap­pre­ci­a­tion of their point of view. Those are pow­er­ful things. NZ: A lot of our clients are very © cul­tured, they have world­wide ex­po­sure, and they still choose

De­signer Dan B. Scotti and lo­cal ar­ti­san Ben Tur­ley col­lab­o­rated on the cus­tom con­crete cof­fee ta­ble in this East Hamp­ton es­tate home that Scotti worked on last year. “I pur­chased the vin­tage rail­road traf­fic mir­ror from Sag Har­bor– based dealer JED An­tiq

The Par­rish Mu­seum served as a beau­ti­fully ap­pro­pri­ate set­ting for a dis­cus­sion of Hamp­tons arts nonprofits and the busi­ness world. “His­tory is some­thing we em­brace here at the Par­rish,” says Chief Cu­ra­tor of Art and Ed­u­ca­tion Ali­cia Long­well. “That’s our

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