David Bailey: Diana Vreeland and Alex Liberman, 1977, © David Bailey. Jacket image for Alex Liberman: Ways of Thinking About Design, by Lucy Sisman and Veronique Vienne.

Sunday, Oct 6, Panel discussion and book signing, 7:30 pm: The Legacy of Alexander Liberman. Lucy Sisman, the first design director of Allure, talks about his work with two other Conde Nast design directors, Veronique Vienne and Lloyd Ziff. A reception follows for the launch of Alex Liberman | Ways of Thinking About Design by Lucy Sisman and Veronique Vienne. 

Born in Kiev in the Ukraine before the 1917 revolution, escaping Nazi-occupied France after his education at an English boarding school, Alexander Liberman did more to change the appearance of magazines than any other designer.

The Vogue mastermind was responsible for the look, style, (sometimes content) and creation (and recreation) of Allure, Condé Nast Traveller, Details, Glamour, Mademoiselle, Vanity Fair and, of course, Vogue itself. A sculptor, painter, photographer, printmaker, designer, editor and writer, Liberman embraced many lives in one. Lucy Sisman, the founding designer of Allure, delves into his life and moderates a panel of other design directors—Lloyd Ziff and Veronique Vienne—who had the privilege of working and learning from him.

92^nd Street Y, Lexington Avenue at 92^nd Street, NY, NY.Tickets/$29/$15.

One Day Only: A Danielle Scruggs Pop-Up Show in Woodstock

Friday, October 4, noon to 10 pm: Danielle Scruggs | By Extension, 2261 Glasco Turnpike Woodstock, NY. Directions. Danielle is the current Artist-in-Residence at the Center for Photography, Woodstock. Information. While you’re there, you can pick apples and line up a pumpkin.

More on Moonrise, Hernandez, 1941 by Ansel Adems 
This just in from DART subscriber Sonia Katchian, of Chapel Hill, NC: I lived with my own Moonrise for many decades ‘till I sold it at Sotheby's a few years ago for $XX,000. Moonrise was a gentle, majestic presence in the house.

How I obtained it is the best story: I was (and still am) famous for my one-of-a-kind photo Christmas cards. When Lee Witkin received one, he asked me to do the gallery's cards for the following year (this was back in the early '70's). They were a big hit. In exchange he offered me any print in the gallery. Unwittingly, I chose the Moonrise that was propped up on the floor. He gulped, and handed it to me. Only later did I realize it was a $500 print—a whopping amount for a photograph in the olden days.