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When we are not in Possagno, Sabin makes dinner at home, at the sweet apartment in the Dorsoduro we’ve rented from his boyhood friend Carlo. It’s all luscious foodstuffs from the supermercato Billa Billa. Tonight  we feasted on mozzarella di bufala con tomate e pesto, and green olives and paper-thin slices of chicken with herbs and a rather nice Dolcetto D’Alba… Molto buono.

We’re on a quiet canal with little traffic and the light from the sky still seeps in late in the evening. A bell tower nearby rings in the hours, and tonight riffs of noise drift up, all discussion about the World Cup. The last few nights have seen raucous thunderstorms, so now the air is clean and fresh and smells softly of the sea. Just before noon, Carlo’s daughter pointed out a fish in the canal, a silvery thing wiggling around an abandoned peach pit with a few tufts of yellow meat still attached. In the afternoons, I stretch out my travel mat and do 45 minutes or an hour of yogaglo, and hope that the repetitions of downward facing dog and chattarunga dundasana will combat the calories, of which there are many, all richly enjoyed.




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FLIGHT Mobile by Sabin Howard

My husband Sabin Howard is insanely talented and versatile. Check out his Flight Mobile, which was a private commission.

What may not be readily apparent in this video is that the mobile is quite large–9 feet long. It’s breath-taking in person, full of uplift and resonance, spirals and organic forms and the expansion of wind and sea and birds taking wing.

For a while, there was a standing, small-scale model in the foyer of our home, next to my office. Every time I walked by it, my heart soared. This piece is dynamic and enchanting.

Sabin says abstract art isn’t as artistically satisfying or challenging as figurative art, and I kind of get it. I love bodies. One of the great pleasures of being a hands-on healer, back when I had a practice, was the palpable experience of putting my hands on a warm, pulsing human body with love and the intent to heal. But this mobile called Flight is every bit as jubilant as anything in the flesh.

No matter what Sabin says about challenge, it took him thirty years of education, experience, practice, and living as an artist to create this piece. It is beautiful.

Sabin Howard and Paul Brodeur in the HuffPo, separately

Sabin Howard and Paul Brodeur in the HuffPo, separately

Two of my men were featured in the Huffington Post within a day of each other.

Yesterday, my dear, longtime, brilliant, accurate, and very feisty friend Paul Brodeur struck back at American Hustle. He was roundly defamed in the movie, and he didn’t stand for it. He spoke with a HuffPo reporter and set the record straight.

Catch the article here, at

Paul Brodeur: I Never Said That Microwaves Take Nutrients Out Of Food, Despite ‘American Hustle’.

Paul is a wonderful fishing buddy, btw.
Today my husband master artist Sabin Howard was featured in an article on drawing by artist Daniel Maidman.
Maidman waxes eloquent about my husband’s remarkable draughtsmanship, and the figure drawings Sabin has been producing of late:

The form of beauty Howard pursues is the Greek beauty, awful, unmerciful, scouring. There is no more hiding from the crushing demands of virtue or from the stark final nature of things in his conception of the figure. Howard is, after a manner of speaking, a servant of Apollo, and not just any servant. He is trying to become Tiresias; he scarcely requires eyes to see what he sees.

Find the post here, at

Art and Artists III: Forms of Beauty.

Sabin Howard
This is one of Sabin’s latest, and isn’t it rather lovely?
Sabin Howard’s ‘Sculpting Gods’ by N. MacKay – The New Criterion
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Sabin Howard’s ‘Sculpting Gods’ by N. MacKay – The New Criterion

Sabin Howard’s ‘Sculpting Gods’ by Neilson MacKay – The New Criterion

Great article!

Sabin Howard has found his way into these pages before. Back in 2007James Panero visited the sculptor’s studio tucked away in the South Bronx. Last Thursday The National Arts Club raised the curtain on Howard’s latest exhibition, Sculpting Gods, showing through January 15 in the Marquis Gallery. It’s easy to see why The New York Times calls Howard “a sculptor of immense talent,” creator of “some of the last decade’s most substantive realistic sculpture.” Never mind the last decade. Howard’s work indubitably takes its place among the best examples of classical realism America has seen in half a century.

Entering Sculpting Gods, you’d be forgiven for thinking you had stumbled into Cellini’s studio. Busts of deities watch over figures crouched in deep repose. Rippling physiques meet eyes fixed earthwards in inert cogitation. An imperturbable Hermes holds his arms aloft without his Caduceus, the snake coiled around his wrist, eyes locked on the far distance.