INSIDE: Raleigh on Film; Tobey on Marie Danforth Page; Seckel’s “Cultural Scene; Lille on Dance & Fashion; Duffy on Theresa Bernstein; Wersal ‘Speaks Out’ on Hope & Healing; Steiner on “Standing Inside the Artist”, New Art Books; Short Fiction & Poetry; Extensive Calendar of Cultural Events…and more!

Vol. 31 No. 4 Spring 2015 (March/April/May) Out of the Shadows: Marie Danforth Page

ized portraits of women and notably ration, as cherished possessions. of children, themes that could be Even women’s role as consumer both a trap and an opportunity. Do- centered on creating and nurturing mestic subjects fit a popular demand a beautiful Victorian home, in es- and could be painted in private set- sence, constructing their very own tings and from studios at home. In gilded birdcage, one source of the fact, Danforth Page’s studio was era’s name. entrenched in the woman’s sphere, Cannily, Danforth Page success- on the third floor of her Boston home. fully straddled societal expectations Critics were comfortable praising with the growing demand for parlor- her portraits as both natural and sized, intimate portraits. She craft- appropriate. For an artist focused ed her successful painting business, on building a career, this careful first by copying famous works of production was neither surprising, earlier artists such as Gilbert Stuart nor unique to Danforth Page. Like (1755-1828), then transitioning to other women artists of her genera- commissioning 7 to 8 portraits from tion, what made her work outstand- prominent families a year. By the ing was not its themes, but rather 1920s, she charged a respectable how she portrayed her sitters—the $1000 for a full-length portrait. source for her creative expression. After they married in 1896, Dr. Cal- Danforth Page did not seem to vin Page, a research bacteriologist, rail against these strictures. In- supported her career as a portrait deed, she excelled in conservative artist, and her earnings provided Boston, where the Gilded Age, a substantial portion of the family stretching from the 1870s until the income, essential to maintaining the start of World War I, epitomized Page’s Back Bay home. the backlash that hardened old- Continued on Page 11 fashioned gender roles. In art, dis- This essay is the fourth from the plays of manly virility, discipline, “Finding Her Way” series, exploring and athleticism were celebrated, the challenges American women making stars out of male artists. artists faced from about 1850 to Women were to be treasured as deco- 1950.

Frank Duveneck (American, 1848–1919) Marie Danforth Page, ca. 1889 Visit arttimesjournal.com Oil on canvas 38 x 25 ¼ in. Courtesy of Cincinnati Art Museum; Gift of the Artist, 1915.100 the go to source for Creatives. You will fine new essays, videos, calendar By Rena Tobey ©2015 consumers that propelled them out & opportunity listings By the late 1800s, a social divide of the home into the public sphere among American women prefaced of money, commerce, and politics. radical changes coming in the new Women artists were also caught in CSS Publications, Inc. Support the Arts; century. Traditional women still PO Box 730 a bind between the spheres. Even Enrich your Life celebrated the protective sanctu- as professionals, bringing in respect- Mt. Marion, NY 12456-0730 ary of the private sphere, a moral able incomes from their work, they www.arttimesjournal.com 845-246-6944 and domestic haven for the family. were pinned to conventional, private The ‘Cult of True Womanhood’ val- sphere subject matter. ued piety, purity, and submission. Marie Danforth Page (1869-1940) Subscribe to ART TIMES Increasingly though, even these built a reputation and a successful women embraced new roles as career making sensitive, particular- ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Spring 2015 ART TIMES page 2 Peeks and Piques! ral still life along with her meticulous Commentary and Resource for the Fine & Performing Arts WHEN I WAS commissioned by Ro- America asked me to do “a walk and (if not perfect) brushstrokes. Putting ART TIMES (ISSN 0891-9070) is published quar- “oneself” into a work of art seems not terly by CSS Publications, Inc and distributed sina Florio, former Director of The talk” at one of their annual exhibi- along the Northeast Corridor primarily through- Art Students League of New York, tions. I’d never done such a thing (I always intended (or even understood) out the Metropolitan & Hudson Valley Regions, to write a history of the school some find it difficult to put the language of by the artist. In my discussions with Connecticut, Massachusetts and New Jersey. Copies are also available by mail to subscribers 20+ years ago, she made it clear to me images into a language of words — es- artists many have told me that what and arts organizations throughout the US and that she didn’t want a “’dry-as-dust’ pecially “on the spur of the moment” I “see” had no conscious role in their abroad. Copyright © 2015, CSS Publications, Inc. narrative”, but rather an “anecdotal without my usual practice of letting artwork and, if present, it came un- ART TIMES online can be viewed at: arttimesjour- nal.com and has a pdf of the current print issue collection that would characterize the art gestate in my head for some solicited (often disregarded or even (with images in color), as well as archived critiques, the spirit of the League”. To aid me time). Anyway, I had come to a large denied); many are reluctant to talk reviews, art essays, theatre, film, music, dance essays from the past 13+ years. Each month the in the making, she sent out a letter still life that was nearly technically about this phenomenon — and cer- site is updated with new essays, videos, advertis- to all current and past students to perfect in its execution and all I could tainly unwilling or embarrassed to ing and resources. Call for visitor statistics as they contact me if they had a tale to tell. I speak of this unintended inclusion (as change daily. think of was “there’s no ‘you’ in there.” had a surprising number of responses I couldn’t really explain to my listen- the Italian Renaissance artists once Publisher: Cornelia Seckel did) as a “divine inspiration.” More Editor: Raymond J. Steiner (some even from such celebrities as ers what I meant, but a few feet away than a few have said outright that Contributing Writers: Charlton Heston, one-time model was a smaller floral still life (not quite Henry P. Raleigh Robert W. Bethune at the League*), but one that stood so perfect in its rendering) which my “seeing” such things in their work Ina Cole Dawn Lille out in my mind was from Sudjana featured a vase-full of fresh sunflow- was more a product of my personal Leslie Herman Emily Mure Rena Tobey Mary Alice Franklin Kerton (an artist from Indonesia) ers — with one blossom hanging over predilections than their intentions. Subscription Rates: who shared the following anecdote the side, seemingly on “its last legs.” I do not know which is ‘correct’, but USA: $18 /1 year $34 /2years with me — most likely because it had Why did the painter include that? thanks (I think) to Kerton’s anecdote Foreign: $35 /1 year $45 /2 years stood out in his mind years later. A Why ‘spoil’ a perfectly lovely floral? A of Kuniyoshi’s teaching, I now find Contact for Print and Online Advertising Rates: CSS Publications, Inc., PO Box 730, Mt. Marion, student of Yasuo Kuniyoshi, former whim? Merely an exact replication of myself not only wanting to “stand in NY, 12456. Phone/ Fax (845) 246-6944; instructor at the League (who, along the bouquet that was standing before the artist’s shoes” but to “stand inside email: [email protected] with his wife, were Woodstock, NY, her? She could have easily ignored the artist” in an effort to “get” it all. Web site: arttimesjournal.com acquaintances of mine), Kerton viv- the dying sunflower and simply made Advertising reservations are due: Feb 15 Spring Raymond J. Steiner (Mar/Apr/May) May 15 for Summer (Jun/Jul/Aug); idly recalled an incident in which a pretty little floral. But she did in- Aug 15 for Fall (Sep/Oct/Nov); Nov 15 for Winter Kuniyoshi was ‘critiquing’ his work clude it and I think it had something * Other ‘celebrity artists’ who at- (Dec/Jan/Feb). Items for inclusion in the Calendar tended the League were: Jacqueline must be uploaded to www.arttimesjournal.com/ during class, saying to him (and the to do with Kuniyoshi’s admonition submitevent.html and Opportunities listings must class in general), “There is something to his student. She put something of Kennedy Onassis; John & Lionel be submitted by email/ fax or mail by the 18th of the missing, something I don’t see, do herself in the painting and, whether Barrymore; Claudette Colbert; Duke preceding publication month. Email for guidelines. Ellington; Jane Fonda; Peter Falk; Guest articles on the arts are also considered but any of you know what is missing?” willingly or not, became what the must be preceded by a written Query. Our “Speak Several fellow students mentioned French call an artiste engage´. I tried Arlene Francis; Gene Hackman; Out” section is a forum for reader’s relevant opin- Kim Hunter; John Huston; Piper ions on art-related matters; viewpoints expressed color or composition, and such. At to explain myself (probably badly) in in the “Speak Out” section are not to be construed which point, Kuniyoshi took Kerton’s my preference of the floral over the Laurie; Roger Miller; Zero Mostel; as positions held by the publisher, editor or staff Walter Slezak; Esther Williams, Cal- of this publication. Queries, Mss. without SASE right hand and placed it over Kerton’s exquisite array of vases and dishes, included will not be acknowledged. We do not accept heart. “You,” he said. “I don’t see you each piece discrete and meticulously vin Klein; William Paley; Kenneth electronic submissions. Sample copy: 9x12 SASE. in your painting.”** Kerton’s story limned, laid out on a cloth-covered Rexroth; Henry McBride; Clement ART TIMES welcomes your letters and comments. stayed with me ever since and was table in the large-scale painting a few Greenberg; and Madonna (as Heston, Nothing in this publication may be reproduced not a student but as a model.) without written permission of the publisher. forcibly thrust into my mind (and feet away. The painter of the vase of artistic biases, I might add) a few flowers succeeded in “getting herself” **Letter to the author dated July 20, years ago when the Pastel Society of into her painting…I saw her in the flo- 1992. Letters ef To the Publisher: Cornelia, thank you so much! It is a weather - take good care of your- great article and I appreciate your selves. inclusion of my horses and the won- Dodie Paquette derful words you wrote about them. Tallmadge, Ohio I am starting an owl series and will keep you posted on their progress. To the Publisher: Happy Holidays to you and yours~ I want to thank you for the mention StevieJo Lake in ‘art times’ - Fredericksburg, Texas I’m so glad you highlighted Ste- vie’s (Stevie Jo Lake) horses - she is To the Publisher: a good friend and does amazing work I just read about your Fredericksburg with copper - trip and what an awesome getaway Please consider ‘navajo grill’ a wa- for you! I know it’s also work for you tering hole to hang out in if you get to but that sounds like a lovely place our part of the country again - we’ll to spend some time. I really enjoyed keep you well fed and informed as to reading the article - so many interest- the art scene in this little burg (as ing and different things to do and see. best we can) - I may be one of the people you have Again, thank you for your kind inspired to go there sometime. words - I hope you and Ray are doing o.k. Mike Raymer Navajo Grill Brook, oil on paper by Raymond J. Steiner both healthwise and otherwise. We Fredericksburg, Texas get a lot of nice comments on “The Works on Paper Golden Age”. To the Publisher It is a beautiful picture and ev- It was such a delightful surprise to re- Kate McGloughlin Juror ceive your email and the link to your eryone who sees it loves it. We have March 7 — April 6 always gotten the same feedback on outstanding article. My heavens, “Brewing Cloudburst”. what research you did to create this Opening reception Mar 7, 5-7pm Jack just popped his head in (that’s fine piece. Even though Tony and I as close as he gets to a computer) and were with you on the tour, we learned Raymond J. Steiner will have 2 paintings so much from your work. Brava. he asked me to tell you that with the included in this group exhibition holiday season approaching, that Tony and I really enjoyed your com- always makes him feel closer to the pany and perhaps our paths will cross Red hook Community Arts Network (RHCAN) people he cares about and loves and again thanks to Geiger. Please stay in he has been thinking of you two a lot touch, best regards 7516 North Broadway, Red Hook, NY lately. Ditto Me. Joanne and Tony DiBona 845-758-6575 • rhcan.com It looks like you are in for bad San Diego, CA Continued on Page 22 Spring 2015 ART TIMES page 3 Speak Out

By Lisa Wersal Hope and Healing The Winter issue of Art Times defending his “long view” of art. days is “Justice,” by Minnesota mu- “Without peace, I can’t. Without me, is noteworthy, not just for its reviews Though he has touched on this topic sician Kevin Anderson. The lyrics of peace won’t.” This song emphasizes and opinions, but for its opinions before, this articulate and well-laid- this song advise that we not hate peo- that our high ideals and good inten- about opinions, which prompted my out explanation got through to me ple because of whom they love, and tions are for naught, if we don’t put own… like no other. As a faithful reader, that we not love and adulate people them into action, if we don’t rise up. In his column “To See or Not To I feel some relief at having reached because of whom they choose to hate. In this regard, Anderson and Herman See,” Henry Raleigh is circumspect a level of concordance with our es- Anderson is a Catholic priest, and seem kindred spirits, encouraging about his profession of film criticism, teemed curmudgeon editor. I under- his latest CD, “Hope: Vision of Soul- our commitment to purpose. displaying tongue-in-cheek anguish stand him now. fulness,” is my favorite collection of Can music heal the world? Well, over the discord among film critics Lastly, I will highlight music music by Catholic religious since the music has certainly been an integral on Woody Allen’s most recent film, columnist Leslie Herman’s “Healing Medical Mission Sisters ushered in and healing force in my life, so per- “Magic in the Moonlight.” Raleigh is the World with a Song,” in which she the era of the “guitar mass” with their haps my best response is to mirror in a dilemma over whether “to see or invites inner-reflection – on meaning, “Joy is Like the Rain” album of the Anderson’s turn of phrase: Without not to see” the film. An option he did motivation, and emotional depth – as 1960s. Anderson’s CD contains many music, I can’t. Without me, music not consider would be to not go and we strive to heal our world. She asks, spiritual references, and clearly fits won’t. pretend he did. Or, there’s always the “…are we rising up, and are we moved the Christian music category, yet his (Lisa Wersal is a writer and musi- Mission Impossible strategy -- go, but as powerfully and profoundly as we consciousness-raising and prompting cian from Vadnais Heights, Min- destroy all evidence of having gone. I should [be]?” In between the lines, of listeners toward social action is nesota. More info on Fr. Kevin am not a Woody Allen fan, so the solu- there’s an unspoken challenge for reminiscent of 1960s folk music. Anderson’s CD, along with a tion to Raleigh’s conundrum would be musicians and music lovers alike, to Another song from Anderson’s short video of him singing, can be an easy choice for me. Having seen a move and be moved, to find inspira- CD speaks directly to his title con- found at http://visitor.stcdio.org/ few of Allen’s films, I would say that tion, to make a difference. She closes cept of hopefulness, with lyrics: concert-debuts-priests-musical- I’ve already seen a few too many. by advising us to keep a song in our “Without hope, I can’t. Without me, self-retreat-cd/). In “Peeks and Piques,” Raymond hearts. hope won’t.” Similar phrasing recurs Steiner forcefully sticks to his guns, The song held in my heart these throughout the song, for example, ef

Art ……………………1, 14 Art Book Review………16 Calendar of Events ……4 Rhoda Sherbell, NA Classifieds ……………18 Culturally Speaking …12 A Woman's Point of View Dance …………………8 Editorial ………………2, 3 April 12 — June 7, 2015 Fiction …………………19 Meet the Artist Sunday, April 12 • 1-3 pm Film ……………………17 ~ Get Social ………………5 Relief sculpture in bronze of Yogi Berra Letters …………………2 by Sherbell will be gifted and presented Contents Opportunities …………20 to the Butler Institute Peeks & Piques! ………2 Poets’ Niche ……………7 ~ Speak Out………………3 Butler Institute of American Art Davis Gallery, 524 Wick Avenue Travel and Culture……12 Youngstown, Ohio 330.743.1107 • www.butlerart.com

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The next issue is Summer 2015 (June, July, August) If you missed getting an Opportunity or Calendar listing into this issue or a display ad for your business or exhibit, contact us at [email protected]. We can accommodate you on our website within 24 hours of receiving your materials. Make sure to take a look online for exclusive web essays, videos, Calendar and Opportunity listings. arttimesjournal.com Spring 2015 ART TIMES page 4

Because our Calendar of Events is prepared months in advance Thursday, March 5 dates, times and events are subject to change. Please call ahead Calendar to insure accuracy. Gari Melchers: An American Impressionist at Home and Sunday March 1 Abroad & Lecture: “Gari Melchers in Context” Bellarmine Mu- seum of Art 1073 North Benson Road Fairfield CT 203-254-4046 Lecture 5-6 pm; Annual Members’ Show Putnam Arts Council Belle Levine Art Center 521 Opening Reception 6-8 pm. Free (thru May 22) Kennicut Hill Rd. Mahopac NY 845-803-8622 Opening Reception 3-5pm (thru Mar 20) Seeroon Yeretzian - I Exist National Association of Women Artists, INc. Beyond Brushwork Rowayton Arts Center 145 Rowayton Avenue Rowayton N.A.W.A. Gallery 80 Fifth Avenue, Suite 1405 New York NY 212-675-1616 Recep- CT 203-866-2744 Opening Reception 4-6pm free (thru Mar 29) tion 5-8pm free (thru Mar 27) de Blasiis Chamber Music Series with Ashu, classical saxo- Friday, March 6 phonist The Hyde Collection Art Museum 161 Warren Street Glens Falls NY 518-792-2383 charge Ehud Ettun Trio in Concert The Buttonwood Tree Middletown CT 8pm - 10pm charge Embracing Transformation: The Journey and the Cross by Janet McKenzie Wisdom House Retreat and Conference Center Marie Louise “THE EFFECT OF GAMMA RAYS ON MAN-IN-THE MOON MARIGOLDS” Trichet Art Gallery 229 East Litchfield RdL itchfield CT 860-567-3163 free Fifteen The Schoolhouse Theater 3 Owens Road Croton Falls, NY 914-277-8477 Perfor- oil on canvas paintings depicting The Way of the Cross and the Resurrection. mances Thur.—Sat. at 8pm, Sun. at 3pm charge (thru Mar 29) Influences: a group exhibition Upstream Gallery 8 Main Street The Newburgh Paintings Dr. Martha Zola SUNY Orange Cul- Hastings-on-Hudson NY 914 965-3397 Opening Reception 2-5pm (thru Mar 22) tural Affairs Mindy Ross Gallery, Kaplan Hall, SUNY Orange the corner of Grand and First Streets Newburgh NY 845-341-9386 Opening Reception 5-7pm La Cage aux Folles Up in One Productions CENTER for Performing free (thru May 21) Arts at Rhinebeck 661 Rte 308 Rhinebeck NY 845-876-3080 charge (thru Mar 22) Saturday, March 7 Margaret Lanzetta: The Chanteuse and a Loaded Gun Kenise Barnes Fine Art 1947 Palmer Avenue Larchmont NY 914-834-8077 (thru April 11) Cabin Fever Remedy - Art Exhibit Fine Line Art Gallery 319 Main Street South Woodbury CT 203-266-0110 Open House Art Reception 11am-4pm. Marlene Wiedenbaum pastels & Sara Pruiksma mixed media Free (thru Mar 7) Clement Art Gallery 201 Broadway Troy NY 518-272-6811 free (thru March 25) EBA Speakeasy - The Swankiest Join In Town! EBA Theater Hudson Raychel Wengenroth: The Spark That Still Ignites Peters Val- at Lark Albany NY 518-465-9916 7pm charge ley Craft Center 19 Kuhn Road Layton NJ 973-948-5292 free (thru Mar 29) ISMS Contemporary Art Exhibit & Sale Crawford Gallery of Fine Art “Remembering Summer: Plein Air Paintings of Connecticut” 65 Main St, Pine Bush, NY (845) 744-8634 Opening Reception 5:30 (thru April 1) by Anda J. Styler and “Beyond Brushwork” Rowayton Arts Center 145 Rowayton Avenue Rowayton CT 203-866-2744 Opening Reception 4-6pm free Nancy Ghitman: “Cow Portraits” 510 Warren Street Gallery 510 Warren (thru Mar 29) St. Hudson NY 518-822-0510 Opening reception 3-6pm (thru Mar 29) SELECTED WORKS FROM THE WJC COLLECTION Woodstock Jewish Con- The Evolution of Color and Texture Mamaroneck Artists Guild 126 gregation Gallery Lev Shalem, 1682 Glasco Turnpike (off Rt. 212) Woodstock NY Larchmont Avenue Larchmont NY 914-834-1117 Opening reception 3-5 pm. Meet 845-679-2218 free (thru March 17) the artist Sundays March 8, 15, & 22 from 12-3 pm. free (thru Mar 28) State of the Art 2015 Studio Montclair 33 Plymouth Street Montclair NJ Works on Paper Red Hook Community Arts Network (RHCAN) 7516 North 973-744-1818 free Opening Reception: Friday, January 23, from 7 to 9pm Broadway Red Hook NY 845-758-6575 Opening reception 5-7pm free (thru April 6) Tango meets Swing with dancer Nina Jirka and the Bern- Sunday, March 8 stein Bard Quartet Unison Arts Center Unison Arts Center 68 Mountain Kent Art Association Annual Member Show I The Gallery at Kent Rest Road New Paltz NY 845-255-1559 3-6pm charge Art Association 21 S. Main Street Kent CT 860-927-3989 free (thru Apr 12) WORKS ON PAPER Tivoli Artists Gallery 60 Broadway Tivoli NY 845-757-2667 Tuesday, March 10 free (thru Mar 22) Yiddish Princess, Yiddish rock band, in Concert The Allen and Tuesday, March 3 Joan Bildner Center for the Study of Jewish Life at Rutgers University Victoria J. Art Matters: A Multi-Media Exhibition National Association of Wom- Mastrobuono Theater 85 George St. New Brunswick NJ 848-932-2033 7:30 p.m. free en Artists, Inc Florida Chapter Northwood University, Florida Campus, Jeanette Thursday, March 12 Hare Gallery 2600 N. Military Trail West Palm Beach FL 561-346-7942 Opening Reception 3-5pm free (thru May 8) STROKES The 345 Gallery 104 Street (bet. 1st and 2nd Ave) New York NY 845- 986-0986 Opening Reception 6-9pm free (thru April 5) The Evolution of Color and Texture Mamaroneck Artists Guild 126 Larchmont Avenue Larchmont NY 914-834-1117 free (thru Mar 28) Continued on Page 6

of LONG ISLAND

Artist Opportunities SUMMER 2015 ART | SCI, ART + SCIENCE 48th Annual PRE-COLLEGE INSITUTE Fine Art & Craft Fair AGES 7-17 YEARS May 30th & 31st • 10am-5pm This is a STEAM program (Science, Technology, Engineering, Art, and Heckscher Park, Huntington, NY Mathematics) and is focused on engaging precollege youth in arts technology integration that will better prepare them for advanced study Application Deadline May 10th and work in the 21st Century. STEAM focuses on the hybridization of art and science and develops critical creative thinking. These courses are designed to encourage self-expression, collaboration, and innovation. Students are the makers and will combine manual and digital skills to realize a take-away portfolio project. The Family of Man - Please see our website www.sunywcc.edu/peekskillyouth for more Redux 2015 information. Call us at 914-606-7300 or email peeskill@sunywcc. edu. For information regarding summer adult classes, please see www. A photography competition and sunywcc.edu/peekskill. exhibit re-examining the commonalities binding us as the human race June 13th - July 12th SESSION 1: July 6-16, 2015 Application Deadline SESSION 2: July 20-30, 2015 Juror: Rick Wenner May 5th

Prospectus for each opportunity can be found www.sunywcc.edu/peekskillyouth at www.artleagueli.org 631.462.5400 107 East Deer Park Road, Dix Hills, NY 11746 Spring 2015 ART TIMES page 5 Get Social Artists: Increase Your Exposure on Twitter Publisher's Note: Tyson’s new show and tweet about with local accounts can We are so pleased to have Mary Alice as how it inspires your work. People who produce important rela- a contributor. She is offering good ad- are also following these popular shows tionships. vice and direction for promoting work on Twitter may share or engage with Be sure to take note of and understanding Social Media. your tweets. Just remember to always the Twitter accounts of lo- Cornelia Seckel be a part of the conversation as op- cal colleagues or locations posed to simply “selling” your work. such as nearby galleries By MARY ALICE FRANKLIN and stores. We’re a close EXPLORE OTHER ACCOUNTS: respond to other people’s tweets, ask Mary Alice Franklin’s recurring “Get community, and a support- questions to encourage dialogue and Social” column is designed to help art- Get to know the tastemakers in your ive one, so giving a shout out to these share other people’s information. This ists build their social media presence. industry and follow the accounts that places can help build a relationship you want to model yours upon. Use with them. Just as in the “real world,” last piece can seem counterintuitive, Twitter may seem like a foreign, Twitter’s search bar to look for users a kind digital word can go a long way. but when you build a relationship overwhelming world with which to by name (“Metropolitan Museum of Posting a photo with “I got this won- with another tweeter, they’re likely become acquainted. When looking to Art”) or by keyword (“art museum”). derful new brush at @MaggiesArtSup- to return the favor. This thereby helps develop a thriving, engaged audience, These accounts will give you inspi- plies. They were so great with helping your tweet to extend into their web of it can be difficult to assess where to ration for your own. Strengthening me to find just what I needed!” is likely followers. begin. Know- your tweets will make your account to be retweeted, or responded to, by “Tag” anyone mentioned or referred ing helpful worth,following; so learn from the Maggie’s Art Supplies. to in your tweets. To tag, apply an @ tips and best best – museums and galleries, artists, Just sitting behind your computer symbol to the beginning of the per- practices can suppliers, nonprofits and industry can only do so much. It’s great to son’s account name. This acts as a help build publications. Some wonderful models also meet local influencers by joining notification for that person and lets your social and influencers include the NewY ork and attending meet-ups, networking them know that you are speaking to, f o u n d a t i o n Times Arts, Americans for the Arts events and local lectures. After be- or about, them in your post. Keep in and attract and Hyperallergic. coming acquainted, consider hosting mind that these tags are public. relevant fol- Investigate what accounts your in- a TweetUp with nearby tweeters. A When an entity sees that you are lowers: target local and industry in- fluencers follow. If The Louvre finds TweetUp is a get-together for people promoting them or their work, they fluencers, learn what is best for your an account valuable, perhaps so will on Twitter to meet up and network in will be more likely to favorite, tweet individual account, actively become a you. Go to the profile of the accounts person. Invite artists, art collectors, or retweet (much like Maggie’s Art team player and, of course, be “visual.” you most admire and click on their gallery owners and anyone serious Supplies). For instance, when I post You are an artist, after all. The big- “following” link. Read the bios and about art. Don’t forget that busi- this article on Twitter, I will include gest key to increasing exposure is to observe the tweets of some of these ac- nesses, hotels, galleries and indepen- @ArtTimesJournal in my tweet. In produce information worth following counts to discover which ones are valu- dents all buy art and can be valuable that instance, Art Times will get a and engage with your community. able to you as well. Remember that contacts. notification that I mentioned them in It is important to note that in the world an account doesn’t need to be famous Networking in person is a great a post and they may retweet it. This of social media, numbers aren’t every- to be helpful to you. While there is no way to create and further grow these benefits Art Times by giving them an thing. Your focus shouldn’t be on how guarantee, by following someone, they valuable connections and can produce opportunity to show their followers many followers you have, but on the may follow you back. For that to be a great brainstorming opportunity. If that others are enjoying their paper value of those followers. If you are uti- the case, you should always be posting it is successful, you may even consider and website. lizing the platform properly, chances informative, relevant and inspiring making it a regular occurrence by are that your fans will be like-minded BE VISUAL posts as well. encouraging everyone to reconnect a individuals or companies with whom Visual content, especially for an few times a year. you can connect and engage. MAKE YOUR ACCOUNTS artist, is vitally important for suc- KNOWN KNOW YOUR OWN ACCOUNT: cess on Twitter, and social media in FOLLOW THE TREND: It is unlikely that anyone will dis- Increase your exposure by getting general. The first step is to beware of Engaging in popular and relevant cover you unless you put yourself out your tweets “out there” at the right proper etiquette and usage. Make sure subject matter is an excellent way there. Make sure your social accounts time. Content matters tremendously, the image is relevant to the textual to attract new followers. If you don’t are included on anything and every- but so does timing. The proper combi- content and displayed properly to get know where to begin, let hashtags thing that you make public. This is nation of the two is truly what makes the most out of the post. Knowing the be your guide. Represented by the # one of the simplest, and most effective, the difference in your ability to reach proper dimensions at which to resize symbol, hashtags are used to mark ways to gain new followers and expo- your audience. A brilliant article that the image will prevent it from getting keywords or topics. Clicking on the sure. Your Twitter account should be is tweeted when no one is paying at- cropped or displayed unsatisfactorily hashtagged word allows you to see listed on all materials that promote tention will still fall on deaf ears. A (though it can change from time to all other posts that mention the same your artwork: business cards, website, meandering or innocuous statement time, right now the proper dimensions keyword, making it a great way to find blog, other social platforms, email when all eyes are are 440x220px). It is also imperative (and be found by) people with similar signature, any postcards or collateral on you will be a that you respect the work of fellow art- interests. In turn, this drives new fol- released, e-blasts, etc. Chances are wasted opportu- ists by not posting copyrighted visuals lowers to your account and your work. that if someone is already exploring nity. and by getting permission when you You can take part in industry discus- your blog, or being handed your busi- Though the an- wish to use someone’s work. sions by including hashtags on your ness card, they are already interested swer differs for As posts appear and disappear related tweets as well as responding in your work. Including your social every industry, quickly from someone’s Twitter feed, to, and following, others whom you networks will help you to make the knowing what a striking image will make your tweet find interesting. most of their initial interest. days, or time of day, you get the most stand out in the mix. You are an artist You don’t need to exclusively focus Since your bio, profile picture and response and engagement can help – let your work reflect that through a on interacting with other artists to cover photo (the banner across the to assess best practices for your own visually compelling account. become noticed by relevant people. top of your page) are among the first particular account. That said, an in- Twitter displays the ten most popular things seen by new visitors, you creasing number of users are access- Mary Alice Franklin is a Writer keywords – “trending topics” – at any should make sure that these materials ing their social networks via mobile and Social Media Manager with given time. Take note of these popular are representative of your work. This devices. So busy times for social media an arts and culture focus. She topics, or any pop culture happenings, information should also be consistent tend to include midday during lunch- currently works at ArtsWestches- and participate in any discussions re- across all platforms to increase your time and during the morning and ter and as a freelance writer and lated to your work. Sometimes, break- branding and recognition. evening rush hour commutes. social media contractor. For more ing outside of your community can information visit: www.mary- make you even more relevant. Do you NURTURE A COMMUNITY: INTERACT: alicefranklin.com. ef sell fashion illustrations? Then watch Just because Twitter is part of the It isn’t enough to just broadcast your the Grammy Awards and comment on vast Internet doesn’t mean that you thoughts. You must share, interact, Go online arttimesjournal.com the red carpet looks. Does your work shouldn’t connect to those who live in engage and be proactive in your Twit- and read other essays by Mary ponder the boundless existence of the your area. Making meaningful con- ter use. Instead of simply retweeting, Alice Franklin about Social Media universe? Then watch Neil deGrasse nections to individuals or companies Spring 2015 ART TIMES page 6

Continued from Page 4 Spectators of Life: The “Ashcan” Painters and the World Calendar They Knew SUNY Orange Cultural Affairs Gilman Center for International Friday, March 13 Education, Library Room 130 the corner of South Street and East Conkling Avenue Comfort and Color: Members of the Country Quilters Guild of Pine Middletown NY 845-341-4891 7pm free Bush and Warwick Valley Quilters Guild Orange Regional Medical Center Friday, March 20 707 East Main Street Middletown NY 845-333-2385 Opening Reception 4-6pm free Kathak Ensemble Dance Performance SUNY Ulster Quimby The- (thru April 30) ater 491 Cottekill Road Stone Ridge NY 845-687-5262 7-8pm free Kaliyuga Arts presents Natalie Symons’ LARK EDEN, a play SCNY SPRING AUCTION II Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 told in letters Kaliyuga Arts Bridge Street Theatre 44 West Bridge Street 8pm Catskill NY 518-943-3818 charge Zem Audu Quartet New York State Council on the Arts ArtsWestchester 31 Looking Forward: Glancing Back + 6” x 6” Fundraiser National Mamaroneck Ave. White Plains NY 8:00pm charge Association of Women Artists, Inc. Florida Chapter Armory Art Center - Montgom- ery Hall Gallery 1700 Parker Avenue West Palm Beach FL 518-330-8786 Opening Saturday, March 21 Reception 6-8pm. free (thru April 11) CLICK! Selections from the George Stephanopoulos Collection The SCNY SPRING AUCTION I Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 Hyde Collection Art Museum & Historic House 161 Warren Street Glens Falls NY 8pm 518-729-1761 charge (thru May 31) 03/13/2015 Spring Craft Morristown Artrider Morristown Armory 430 West- Monika Jalili- Twentieth Century Persian Folk and Popular ern Avenue Morristown NJ 845-331-7900 charge Music, and conversation with exhibiting artist Nazanin Hedayat Monroe New York State Council on the Arts ArtsWestchester 31 Saturday, March 14 Mamaroneck Ave. White Plains NY 8:00pm charge Kent Art Association Annual Member Show I The Gallery at Kent Sergei Rachmaninoff and Russian Orientalia Close Encounters Art Association 21 S. Main Street Kent CT 860-927-3989 Awards Reception 2-4pm With Music The Mahaiwe Performing Arts Center 14 Castle St. Great Barrington free (thru Apr 12) MA 800-843-0778 6-8pm charge Spring Craft Morristown Artrider Morristown Armory 430 Western Avenue SITE/Mentor Exhibition The Riverside Galleries at Garrison Art Center Morristown NJ 845-331-7900 charge 23 Garrison’s Landing Garrison NY 845-424-3960 Opening reception 5-7pm free Sunday, March 15 (thru Mar 29) ELLY WANE: Watercolors & Drawings Piermont Fine Arts Gallery 218 Ash THOMPSON FAMILY FOUNDATION SCHOLARSHIP RECIPIENTS The Street Piermont NY 845-398-1907Artist’s Reception 2-5pm (thru March 29) Woodstock School of Art Robert H. Angeloch Gallery 2470 Rte 212 Woodstock NY Eva Zeisel: Ahead of the Curve Design Within Reach The Rye 845-679-2388 Opening Reception 3-5pm free (thru Apr 25) Arts Center Gallery 51 Milton Road Rye NY 203-614-0787 Opening Reception 3-5pm Sunday, March 22 free (thru May 22) Furuya Sisters Concert at Crawford Park Mansion Crawford Park Man- Spring Craft Morristown Artrider Morristown Armory 430 Western Avenue sion 122 North Ridge Street Rye Brook NY 914-417-9151 3pm charge Morristown NJ 845-331-7900 charge Yonkers Philharmonic - All Beethoven with Guest Conduc- Westchester Debut of the VC3 Cello Trio Hudson Chorale Chap- tor Tong Chen FAOS Saunders Trade High School 183 Palmer Road Yonkers paqua Library 195 So. Greeley Ave Chappaqua NY 914-332-0133 3-4:30pm donate NY 914-631-6674 3:00 pm free Monday, March 16 Thursday, March 26 The Gee’s Bend Tradition Lehman College Art Gallery 250 Bedford Park Blvd. Creating IPad Art with Jean Messner National Association of Women West Bronx NY 718-960-8731 Reception 6-8pm free (thru Apr 24) Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675- Tuesday, March 17 1616 6-7:30 charge Crossing Borders: Memory and Heritage in a New America New York Luminous Ragas: Indian Classical Music Concert with Steve State Council on the Arts ArtsWestchester 31 Mamaroneck Ave. White Plains NY Gorn SUNY Ulster College Lounge 491 Cottekill Road Stone Ridge NY 845-687- free (thru May 2) 5262 7:30-8:30pm free Wednesday, March 18 SCNY SPRING AUCTION III Salmagundi Club 47 Fifth Ave., NYC (212) 255- 7740 8pm Safeguarding, Protecting and Insuring your Artwork pre- Continued on Page 10 sented by Mitch Pilnick National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 6-7:30 charge

Did you miss the deadline for this issue? You can still include a calendar item, opportunity listing, announcement or publicize your business for a small fee. ARTTIMES Online: www.arttimesjournal.com The go to source for Creatives Annual Members' Exhibition 2015 June 7 — June 19, 2015 Watercolor Demo: Thurs., June11th, 6-8 pm Reception & Awards: Friday, June 19, 6-8 pm. o The Salmagundi Club GALLERY 47 Fifth Ave. NYC Mon. - Fri. 1-6; Sat. & Sun. 1-5pm R AUCTIONS www.clwac.org Yaacov Agam ART BUYERS & CONSIGNMENTS Jasper Johns Josef Albers Paul Jenkins Richard Anuszkiewicz Alex Katz Call for Entries Karel Appel Kiki Kogelnik Arman Mark Kostabi Romare Bearden Jacob Lawrence Allied Artists of America Ilya Bolotowsky Roy Lichtenstein Fernando Botero Roberto Matta Celebrates their Alexander Calder Peter Max Marc Chagall Joan Miro st Chryssa Robert Motherwell 101 Anniversary Lucien Clergue Reuben Nakian William N. Copley Louise Nevelson Salvador Dali LeRoy Neiman 2015 Annual National Exhibition Allan D’Arcangelo Dennis Oppenheim September 3 — September 13, 2015 Gene Davis Pablo Picasso Willem De Kooning Mel Ramos Exhibition reception September 13th, 2015 Burhan Dogancay Robert Rauschenberg Sam Francis Omar Rayo Red Grooms James Rosenquist Exhibition at the Salmagundi Club Galleries N.Y.C. Keith Haring Kenny Scharf David Hockney Jesus R. Soto Open to all artists Howard Hodgkin Victor Vasarely Oil, Watermedia, Pastel, Graphics and Sculpture Giancarlo Impiglia Andy Warhol Robert Indiana Tom Wesselmann $24,000 in awards in cash and medals. JPEG entries accepted PAINTINGS • PRINTS • PHOTOS • SCULPTURE Juror: Carol Lowry - art, historian View entire inventory of over 5000 Artists at ROGALLERY.COM Submission deadline July 18th, 2015 World-Wide Shipping - The Greatest Selection of Artworks Online! For prospectus send SASE to Rhoda Yanow CONTACT: PABLO PICASSO 18 Springtown Road, White House Station, N.J. 08889 or download at Femme Assise - Estate Lithograph 29 x 22 in. Ref. 25-10 $4700 www.alliedartistsofamerica.org Spring 2015 ART TIMES page 7

The Wren Goes To ’t EAKINS (Lear Blasts His Daughters) (A comparison drawn from the Metropolitan In the image of God? Hello? Museum of Art Bulletin, Winter 1994/95) No friendly, effervescent glow is seen on them to show they know We haven’t much in common, you and I, MEMORY OF A PAINTING the skyward branch on which they grow beyond a realistic view and opposition I have been here day after, night after, from seed divining planters sow. to reverence for academic product. I need to leave, but am afraid. Not even a creative flow Still, I wish the portrait I’ve painted It makes for strange company, of energies to humbly toe of my father in words were half as good This memory of a painting— the line and sideswipe Cupid’s bow. as the one you did of yours in oil. Picasso’s Weeping Woman— Instead, they passionately go I see that you were paid Let it not be a reflection. wherever Nature’s currents blow, eighty dollars for your first sale, a pittance Her café, with its daffodil wall, is no true habitat. like Juliet and Romeo similar to the twenty-five I got for mine, She wears a gift-box ribbon at the top of her hat, or any lovesick Jill and Joe, but having no assistant or lover One ear’s covered with the form of an hourglass, to reproduce, as deer the doe, to complete what I lack in myself, The other’s hidden as though exposure would damage— successive souls in utero. there the comparison ends. Would damage. Where might she go? Frank De Canio Reading on, I charge you, Eakins – Hair under the gift hat turns mauve and green, — Union City, N. J. not the public or the critics – Teeth almost force through roots whispers with disrespect for your talent, Or are they hisses? Contents under such pressure, GRACE though I’d best beware, for who knows This portrait threatens to burst Grace takes our hand if the future might see me Through frame and time to the domain of sound— and shows our heart where to start. in a similarly distorted light. Threat of hazard, realm of high alert, Turn if you can. . . . Clouds moving across the sky Rosalie Calabrese Seagulls soaring proud to fly —NYC, NY Memory of a painting— Companion in Danger. A pebble skips across still waters Flowers blooming without borders Evelyn Hooven That is grace —Warren,CT A strong squeeze from your hands of sinew Encouraging all to continue Your smile flashing across a room The wink that follows pushing away gloom That is grace Poets’ Niche Taking bold steps to fight instead of cry A boundless spirit refusing not to try You inspire us all Showing us how to stand tall That is grace Because of you we have a face That shows the world What is grace. Rebecca Zagoory © 2009 —Tomkins Cove, NY

Over 60 professional artists, artisans, musicians, and new media specialists within the YOHO arts district. Evening Primrose colored pencil Elly Wane Satuday and Sunday May 2 & 3, 11am to 5pm Watercolors and Drawings For event information: March 15th-March 29th yohoartists.org Piermont Fine Arts Gallery Facebook: 218 Ash Street, Piermont, NY • 845.398.1907 12th Annual YOHO Artists Hours:Thurs & Sun 1-6; Fri & Sat 1-9pm Spring Open Studio www.piermontfinearts.com end of the 17 historical or mythical figures. At the on based often costumes elaborate wore productions court in women to Renaissance Italy, where men and entertainment in the West goes back was anoutstandingpresentation. it But many. were there although costumes, actual than designers ion more emphasis on fashion and fash- of fashion design, there was slightly in this exhibition. Since FIT clothes is a school and costumes to trans- ferred way, a in was, debate This fecting the dance of ordinary people. af- performance versus stage the on question of popular dance influences with set, excellent signage. and lighted beautifully researched, well was Fashion, and museum. A a recent exhibition, Dance of gem small a and accessible is the 18 the what was worn socially. in replicated that originally shoes and costumes stage, on appear to T By DawnLille related fashions from this period, period, this from fashions related began tobemoresupporting. shoe the of front or box the 1830 by toes in a softly constructed shoe, but had started to rise on the tips of her She mid-calf. ended that skirt tulle flowing a with bodice sleeveless or sleeved short fitted a wore woman, ideal the ballerina, the time which by – era Romantic the – 1840’s and were softerandheelless. corsets were disappearing and shoes skirts, their shortened had women century baring the of end the By knickers. leg men and shoes heeled sand corsets wearing women with Seventh Avenue and 27 and Avenue Seventh New of tions institu- hidden the of one many, for of Institute Dance he hrorpe dne s indoor as dance Choreographed Dance historians often discuss the On display were costumes and and costumes were display On The exhibition began in the 1830’s Spring2015ARTTIMESpage8 M th

woodstockschoolofart.org true, remained this century us e th is, (MFIT) Technology um ork City. York century women began

a t the Fashion Fashion the Dance andFashion Throughout th ocated on Located Street, it Street, remained, extending down to the the to down extending remained, tury. In this, the tightly fitted bodice existence at the end of the 19 the of end the at existence into came that tutu “classic” the of examples were movement, invited lighted exhibition, with a shape that nearer toheaven. and the pointe shoes raised her even ballerina, the by represented time, the purity of the ideal woman of the connoted costumes ethereal white, ballerina). “Christian” the Marie nearby white tulle typically worn by it resembles, yet contrasts with, the weighted hem and fitted at the pale waist, a lace, black in trimmed In satin pink “Cachucha.” her solo for famous ballerina) “pagan” Gautier the critic as the by to (referred Fanny dancer the by worn dress style Spanish the including Included in this section of a subtly Taglioni (whom Gautier called Costumes by Tara Subkoff forUnderland, 2011. ChoreographybyStephenPetronio,

Stephen PetronioCompany. CopyrightSarahSilverPhotography. ashokancenter.org Elssler T th cen- hose hose known ballet designer of the second the of designer ballet known her toessothatthetutunevertilts. to keep a perfect balance high up on ability ballerina’s the in lies tume knees. and stopped well above the dancer’s out stuck tulle, stiffened of layers hip, and the skirt, composed of many Lauren Lovettein costumebyIrisvanHerpen,for BenjaminMillepied’ Barbara Karinska was the best- the was Karinska Barbara The trick to wearing this cos- New York CityBallet.Photograph byErinBaiano.

costume is moved by what the per- the what by moved is costume the that is element important the from a distance. In the case of dance visible be must costume the that is couture and costume between ence off. falling clothing points of pressure or worry about the ment and the dancer should not feel move- the with interfere not should and fluidity. be able to move with ease Diamonds. of sections three its with anchine ballet “Jewels,” Bal- the for designs her them among out standing display, on were creations her of amples ex- Several themselves. they were works of art jewels, in of use frequent and elegance their in also, but costumes, wear her to joy a it which made body, dancer’s only the understand she Not did her. to lets bal- his of success the half owed he that said George Balanchine once half of the 20 the of half that the wearer must must wearer the that realization the with constructed de and signed be should dancer Emeralds, Rubies and T e otm fr a for costume he s Neverwhere,2013, e i differ- big The The costume th century. - - Spring 2015 ART TIMES page 9 former’s body does to it, an act that body in dramatic shapes, created they devised. No mention was made also a video of many short excerpts must also be visible from a distance. a synthesis of fabric and body that of the fact that a dancer can require from numerous ballet and modern There were several examples of has also been copied. Halston, one a new pair of pointe shoes each night dances, old and new, with varied fashion’s influence on the stage. One of her great admirers, later designed and that every dancer has her own costumes. These included Josephine saw three examples of deconstructed costumes for her company. eccentricities and requirements for a Baker in ostrich feathers, Martha tutus by fashion designers: Jean The Spanish flamenco costume, costume component that can cripple Graham covered head to foot in jer- Paul Gautier created a “proto punk” the bata de cola, is a full- length the foot. sey, the Dunham Company in “Lag ensemble based on the Romantic dress with a top fitted to the thigh Imelda Marcus was not alone in ‘Ya,’ the Dance Theatre of Harlem’s tutu; Christian Lacroix had Karol and graduated layers of ruffles. It her passion for fashionable shoes Creole “Giselle” and the shiny black and those that are costumes and knee high pointe shoes dance inspired run in Millepied’s work. Since many of the gamut from the the costumes were displayed in the ubiquitous ballet exhibition, it was fun to come back flats to those seen and look at them again on dancing in the video of Lady bodies. Gaga wearing the The most interesting moving im- Lady Pointe shoes age in the hall was David Michalek’s designed by Nori- video, which is a motion portrait of take Tatehana. the ballerina Wendy Whelan. At They are 18 inches first glance, this seems to be a fluid high and have elab- series of still photos of this dancer, orate ribbon cross- clothed in a printed dress with flow- ings. Alexander ing sleeves and many tiny pleats McQueen’s Titanic on a long body skimming skirt. But Ballroom Pumps careful viewing reveals her body of 2010 are huge causing incremental movement fanciful platforms of the material. The result is slow with very high moving beauty, where the body and heels and Chris- costume are one. tian Louboutin’s Valentino’s long, red, ruffled, one shoe in black pat- shoulder dress for the ballet “Sophis- ent leather, again ticated Lady” (2012) at the New York with stiletto heels, City Ballet was among the many is called Fetish items enticingly displayed. It was a Ballerina. creation that made a woman wish The long hall to pull it off the mannequin and find Serge de Diaghilev’s Ballet Russes, 1916. outside of the for- an occasion on which to wear it, even Image courtesy of Fashion Institute of Technology | SUNY, Gladys Marcus Library mal exhibition Department of Special Collections. more than the black Dior evening space had one wall dress called “Cygne Noir.” An excit- Armitage’s dancers in long polka has long attracted the attention of of large photographs of two dancers ing exhibition intertwining two art dotted sleeves and a short pleated women off stage. Oscar de la Renta from the Paris Opera Ballet, Auré- forms devoted to the human body, skirt; Tara Subkoff came up with and Ralph Lauren are outstanding lie Dupont and Jérémie Bélingard, this project was successful. a small tutu-like skirt and bras- examples of designers who have ap- dressed in costumes from different ef siere for a Stephen Petronio modern propriated this look. ballet pro- dance. Narcisco Rodriquez, who has But it was the Diaghilev Ballets d u c t i o n s . also designed for this choreographer, Russes (1909-1929), performing in The pictures says that the beauty of the dancer’s Paris in the years prior to World and a film, body is always his starting point. War I, that had the most outstanding “Metamor- Iris Van Herpen called on fashion influence on fashion and on design phosis,” were architecture and computer knowl- in general. Leon Bakst’s creations created by edge to produce the black plastic- for Schéhérazade (generously rep- the photog- like tutu- resembling costumes for resented at MFIT) launched an Ori- rapher Ann Benjamin Millepied’s ballet “Never- entalist style. There were Turkish Ray. In the where” at the New York City Ballet. trousers, tunics, turbans, sashes and film Dupont Mark Happel, the costume director the brilliant colors of magenta and remains in a for that company and a designer red and pink in combination, popu- diaphanous himself, says that Dior and Balen- larized in the couture collections of c o s t u m e ciaga come to his mind whenever Paul Poiret. This influence can still from the bal- he thinks about classical ballet. The be seen later in the 20th century, es- let “Siddhar- choreographer Twyla Tharp has pecially in Yves Saint Laurent and ta,” designed turned to Isaac Mizrahi (whom Mark Ralph Lauren. by Berio, and Morris has also commissioned), The costumes for Katherine Dun- Bélingard is Gianni Versace and Norma Kamali ham’s company, many of which were seen in many for works she created for American on exhibit, were designed by John d i f f e r e n t Ballet Theatre, all on view at MFIT. Pratt. He understood the intensity, outfits, in- Sometimes the combination of the jazz and the ritual involved in cluding the fashion and dance does not work. Rei her Caribbean influenced dances. clown from Kawakubo’s designs for Merce Cun- The various sized and placed ruffles “Petrouch- ningham’s “Scenario” were interest- on his stage clothes almost allow one ka.” Without ing to look at, with their padded to visualize the movement. words, but protuberances, but they deformed Shoes have always been of major with a mu- the body and, reportedly, hindered importance for the dancer, and bal- sical accom- movement. let changed when women began to p a n i m e n t , The influence of dance costume wear toe shoes and perform en pointe “Metamor- on fashion can be seen most in the instead of wearing footwear that phosis” sug- migration of rehearsal clothes – leo- resembled the shoes of their time. gests that tards, tights, wrap sweaters, jersey In the Romantic section there were d i f f e r e n t skirts, leg warmers – to ordinary a pair of early toe shoes that looked c o s t u m e s dress wear. Martha Graham origi- embroidered. Anna Pavlova’s pointe evoke differ- nally designed all her own costumes. shoes had a more squared off toe box ent kinds of Her use of jersey, that could be form and a pair by the dance retailer Ca- movement. Valentino, woman’s costume for Sophisticated Lady, Fall 2012, fitting or stretched to engulf the pezio showed the suede toe covering There was lent by New York City Ballet. Photograph © The Museum at FIT. Spring 2015 ART TIMES page 10

Continued from Page 6 PORTRAITS: INTERIOR & EXTERIOR National Association of Women Artists Calendar Arts Club of Washington, DC Opening Reception 6:30-8:30 thru Apr 25) Friday, March 27 Saturday, April 4 26th Annual Questar III High School Invitational The Arts Center of the Capital Region 265 River Street Troy NY Opening Reception 5-9pm Art Show to Benefit Scenic Hudson Betsy Jacaruso Gallery Courtyard in conjunction with Troy Night Out. free (thru April 18) 43 East Market St. Rhinebeck NY 845-516-4435 free (thru Apr 30) Poet and performance artist Francis Mateo with exhibit- ASK Regional Juried Art Show ASK Arts Society of Kingston ASK Gal- ing visual artist Pepe Coronado New York State Council on the Arts lery 97 Broadway (Rondout) Kingston NY 845-338-0331 Opening Reception 5-8pm ArtsWestchester 31 Mamaroneck Ave. White Plains NY 8:00pm charge free (thru April 25) SCNY SPRING AUCTION III Salmagundi Club 47 Fifth Ave., NYC (212) 255- Keiko Sono/Group Drawing Exhibition The Riverside Galleries at 7740 8pm Garrison Art Center 23 Garrison’s Landing Garrison NY 845-424-3960 Opening Reception 5-7pm free (thru May 3) Saturday, March 28 ZviDance at Kaatsbaan Kaatsbaan International Dance Center 120 Broad- 27th Annual Beaux Arts Ball-Gala Masked Ball & Black Tie way Tivoli NY 845-757-5106 7:30 pm - 9:30 pm charge Bistro Greene County Council on the Arts The Copper Tree Restaurant at Hunter Mountain Resort Hunter Mountain Hunter NY 518-943-3400 6:30-10:30pm charge Sunday, April 5 Home On The Range, Landscapes We Love The Art Guild Elderfields 36th Community-Sponsored Awards Exhibition Rowayton Arts Preserve 200 Port Washington Blvd Manhasset NY 516-304-5797 Opening Recep- Center 145 Rowayton Avenue Rowayton CT 203-866-2744 Opening Reception 4-6pm tion 3-5pm free (thru April 26) free (thru Apr 26) Margaret Leng Tan- East-West Encounters, the Concert Monday, April 6 Piano Re-Imagined, and conversation with exhibiting artist 57th Long Island Artists Exhibition Art League of Long Island, 107 Bibana Huand Matheis New York State Council on the Arts ArtsWestchester East Deer Park Rd, Dix Hills, NY (631) 462-5400 (thru May 7) 31 Mamaroneck Ave. White Plains NY 8:00pm charge AMERICAN WATERCOLOR SOCIETY 148th INTERNATIONAL EXHIBIT PHOTOGRAPHY+INSPIRATIONS, featuring a selection of fine art pho- Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 (thru April 25) tography plus works in other media that incorporate or were inspired by photography Tivoli Artists Gallery 60 Broadway Tivoli NY 845-757-2667 Opening Tuesday, April 7 Reception 6-8pm free (thru April 19) Block Prints by Karen Whitman and Don Gorvett The Old Print Stephen Petronio Company at Kaatsbaan Kaatsbaan International Shop 150 Lexington Avenue at 30th St. New York NY 212-683-3950 free Artist Dance Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm - 9:30 pm charge Reception Sat., April 18, 1-4pm Sunday, March 29 Gamblin Paint Company National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 6-7:30 Thomas Pandolfi - solo piano concert Saugerties Pro Musica Sau- charge gerties United Methodist Church 67 Washington Avenue (corner Washington Ave & Post St) Saugerties NY 845-679-5733 3-4:30 pm charge Wednesday, April 8 SUNY Orange Student Exhibition SUNY Orange Cultural Affairs Or- Monday, March 30 ange Hall Gallery, SUNY Orange The corner of Wawayanda and Grandview Avenues Mystery Mondays book discussion Friends of Poughkeepsie Middletown NY 845-341-4891 Opening Reception 2-4pm free (thru May 4) Public Library District Adriance Memorial Library 93 Market Street Poughkeepsie National Association of Women NY 845-485-3445 11 am-12 pm free Women’s Caucus for Art exhibition Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675- Tuesday, March 31 1616 Reception 5-7pm (thru Apr 28) Kathleen Bennett Bastis First Street Gallery 525 West 26th St., NYC # Thursday, April 9 209 (646) 336-8053 (thru April 25) Strathmore Paper Company National Association of Women Artists, Inc. Wednesday, April 1 N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 6-7:30 Along the Farm Art Trail - Paintings by Mitchell Saler and charge Gene Bove Wallkill River School and Art Gallery 232 Ward Street (17K) Mont- World Music Concert with Steve Gorn SUNY Ulster College Lounge gomery NY 845-457-2787 free (thru Apr 30) 491 Cottekill Road Stone Ridge NY 845-687-5262 730-8:30pm free ASOG Spring Show and Scholarship Awards Art Society of Old Friday, April 10 Greenwich The Garden Education Center of Greenwich 130 Bible Street Cos Cob Art Society of Old CT free (thru April 30) ASOG Spring Show and Scholarship Awards Greenwich The Garden Education Center of Greenwich 130 Bible Street Cos Cob Thursday, April 2 CT Opening Reception 6-8pm; GHS Student Scholarship Awards announced. free Kathleen Bennett Bastis First Street Gallery 525 West 26th St., NYC # (thru April 30) 209 (646) 336-8053 Reception 6-8 pm (thru April 25) Fox on the Fairway Coach House Players 12 Augusta St., Kingston NY 845- Voices: An Artist’s Perspective National Association of Women Artists, 331-2476 Fri & Sat 7:30pm; Sun 2pm charge (thru April 19) Inc. N.A.W.A. Gallery 80 Fifth Avenue, Suite 1405 New York NY 212-675-1616 Othello Center for Performing Arts at Rhinebeck 661 Route 308 Reception 5-7pm free (thru Apr 30) Rhinebeck NY 845-876-3080 Fri & Sat 8pm; Sun 3pm charge (thru April 26) Friday, April 3 UP FROM THE GROUND and SIGN FELT! Kaliyuga Arts Bridge Street Theatre Diana Felber: “Our Woods in Oil and Water” 510 Warren Street Gal- 44 West Bridge Street Catskill NY 518-943-3818 charge (thru April 12) lery 510 Warren St. Hudson NY 518-822-0510 free (thru April 26) Continued on Page 16 Spring 2015 ART TIMES page 11 Art Esssay Out of the Shadows:

Continued from Page 1 Marie Danforth Page

By Rena Tobey ©2015 making the act of painting visible, Perhaps the respect and joys and indeed central, in each painting. of their companionate marriage The mirror device gives Danforth prompted Danforth Page in 1909 to Page the opportunity to demon- create her most intriguing work, the strate mastery of multiple perspec- portrait of her husband Calvin Gates tives. Artists have used a mirror Page. The style varies dramatically to symbolize the act of looking, from the bright, Impressionist pal- the Gaze that the viewer takes for ette of her other work. Her husband granted, such as the right to gaze is dressed plainly, bathed in warm at portrait sitters and nude figures, browns, holding a document that generally women. Dr. Page looks is perhaps work related. His face directly back at the viewer, as if chal- is harshly lit, thrusting out of his lenging the authority of the viewer’s dark suit jacket and the dim back- Gaze. The mirror shows the artist ground. His expression is serious, gazing at her subject. The mirror his lips slightly parted as if gently also engages the viewer in a modern surprised by the artist, yet his eyes way of understanding the painting. are warm, curious, and open. Per- If the viewer stands in front of Dr. haps Danforth Page has caught him Page, and so does the artist, then just before a smile. She renders her the viewer is placed in the position sitter with believable naturalism of the artist. If he is considering her, and subtle, varying textures: Dr. as his wife and presumably mother Page’s soft and wispy moustache, of his child, but also looking directly the hair-thin outline of his rimless at the viewer, then again, the viewer glasses, the starched white collar, becomes one with the artist. The his slightly rumpled tie. viewer, then, is placed in the van- The painting is so much more tage point of the artist, as if to ask than the bravura of this depiction. the question, what would it be like It is complex both stylistically and to be married to this man? psychologically. Danforth Page Further discomfiting is Danforth seats her husband in front of a mir- Page’s figure. If she, as artist, is a ror, a device she employed in several central figure in this portrait, then portraits. The mirror, while demon- why does she position herself stand- strating mastery of technique, also ing in shadow? The light source triggers uncertainty and discomfort highlights Dr. Page’s face and the in the viewer. It shows the reflection child’s portrait, while only brighten- of the artist herself in deep shadow, ing the artist’s painting smock and her face unreadable, standing with the side of her neck. Her face is illeg- palette and paintbrush. The brushy ible, no matter how hard the viewer paint application, seen on the con- tries to make out her expression. tours and folds of her dress, and the Rather than mysterious, this shad- play of light on her hair emphasize owing is frustrating. It also has the rather than reduce the figure. She effect of making her seem wistful. seems to suggest that no matter her But about what? By 1909, Danforth talent as an artist, she is present, Page was entering her most produc- yet diminished, as if living in the tive period, self-confident and as- shadow of her husband, a woman of sured in technique. She generated the Gilded Age. Also in the mirror, steady income, maintaining records but brightly lit and clearly readable, of her commissions, sales, and prizes Marie Danforth Page (American, 1869-1940) Calvin Gates Page is a portrait of a child hung on the in a receipt book. Sensible in her 1909, Private Collection wall. Portraits typically include ele- business dealings, she painted rou- ments that suggest something about tinely every day, insisting that her plaining her work. What is known Danforth Page was not alone in the character of the sitter. Dr. Page sitters come to her studio, rather is that Danforth Page painted suffering from this double standard. appears to be looking at and consid- than take the time to travel to them. portraits of children with maternal Whereas male artists could enter ering his family, suggesting their Why then would this capable tenderness, considering the portray- the private sphere to paint sumptu- importance to his identity. woman show herself in shadow? als “the most amusing and beautiful ous interiors, women painters could But all is not as it seems. The Perhaps she did feel trapped by the subject.” The couple adopted two push the boundaries of the public child in the portrait within the limitations of subject matter and young girls, Margaret and Susan, sector only at some risk. Women portrait is not the Page’s son. This gendered artist roles. Perhaps she in 1919, when she was 50 years old. could not appropriately paint scenes portrait is of four-year-old Malcolm aspired to Velázquez-level recogni- Also known is that Danforth Page of theater and ballet dancers, tav- Stone, whose family lived across the tion. Rather than caged, perhaps was criticized for painting with a erns, or teeming streets. The murki- street and were great friends of the Danforth Page was so assured that bold technique that was considered ness of this negotiation perhaps Page’s. Instead of showing off her she chose to acknowledge herself too masculine. Her brush strokes is nowhere more evident that the own child, Danforth Page is instead by highlighting her work instead of were too virile. If she strayed from intriguing and baffling portrait of indicating her typical subject, as if herself, boosting her husband in this feminine charm or sympathy in sub- Calvin Gates Page. the painting were a calling card for odd celebration of family. Perhaps ject matter, then her work ceased ef prospective sitters. The device of she is showing some separation from to be feminine, creating a threat to This essay is the fourth from the using a mirror to reflect the artist her husband, some distance, that male control of the art world. If she "Finding Her Way" series, exploring at work was notably used by Diego indicates what their relationship worked quietly in the background, the challenges American women art- Velázquez (1599-1660) in 1656 with may have really been like: he lumi- as Danforth Page depicts herself ists faced from about 1850 to 1950. Las Meninas, a work Danforth Page nous, while she fades into a pool of in her husband’s portrait, then she Previous essays can be found at may have copied along with his other darkness. fails to be acknowledged for her arttimesjournal.com works while in Spain. Velázquez, The interpretations could go on, worth, as Velázquez was for his, Elizabeth Okie Paxton and by extension Danforth Page, are but likely will remain unanswered. risking loss of patronage as well as Lilly Martin Spencer elevating the role of the artist, by Danforth Page herself avoided ex- self-esteem. Alice Barber Stephens Spring 2015 ART TIMES page 12 Culturally Speaking

By CORNELIA SECKEL ary citizen of the State of Maryland I went to Annapolis to visit my and this gallery has an excellent sister-in-law Rosemary and had a townscape of Annapolis. In 1993 great tour of many of the galleries, Raymond J. Steiner wrote about the Naval Academy and several Weber’s show at the Spencertown restaurants and shops. Academy in Spencertown NY. I’m In 1649, a settlement in the Prov- thrilled to have a cityscape he did ince of Maryland named “Provi- of Stockbridge. Another familiar dence” was founded in the area of name at this gallery was Al Barker, what is now Annapolis and incorpo- a long-time artist member of the Sal- rated as a city in 1708. It was little magundi Club, NYC whose work more than a small village but grew I’ve been enjoying for many years. rapidly for most of the 18th century John Stobart, the recipient of the until the American Revolutionary 2014 Salmagundi Art Club Medal War as a political and administrative of Honor is represented in several of capital, a port of entry, and a major the galleries and I wrote of that in the center of the Atlantic slave trade. Summer 2014 issue of ART TIMES. Additionally water trades such as It’s like seeing an old friend when I oyster-packing, boatbuilding and One of the entrances to the US Naval Academy in Annapolis, MD come across such familiar artists so sail making became the city’s chief federal service academy that is the A delightful retired Naval officer far from home. Although, (given that industries. For a very brief time, 1783 second oldest of the United States’ who volunteers at the visitors center this is Annapolis and a seaport) a lot - 1784, Annapolis became the tempo- five service academies and educates told me that Marines continue their of Marine art is seen on gallery walls, rary capital of the United States. officers for commissioning into the training/ education for 16 weeks of there is a good showing of other styles Nieces, Barbara and Anne, both United States Navy and United “eating bugs, roots and learning the and mediums. Chris Doucette of art of warfare.” I learned that it was Nautical North (nnchart.com), a in 1976 (131 years after the founding shop with charts, maps, stadiums in 1845) that Women were accepted and waterways all made with inlaid and now 23% of the midshipmen are wood was very interesting. There is women. 17,000 people apply and only a video on their site showing the pro- 1200 are chosen and of the 1200, 10% cess and I agree with Chris when he can’t handle the physical and intel- calls the work not fine art but artful. lectual demands and leave after a Margaret A. Lee, Artist/ Owner few months. of the Main Street Gallery (main- We went into a number of shops streetfineart.com) recently had a 6x6 and galleries and what a surprise to show of invited artists and some of see work by Leonard Weber at the that work was still on display. The Annapolis Marine Art Gallery gallery was filled with high quality (annapolismarineart.com). Weber work and Margaret filled me in on the has been painting cities, town, vil- arts community, the Arts Walk, the lages, and historic sites for over 22 Arts Alliance and Maryland Art years. In 1993 he was made an honor- Federation. She urged me to stop

Midshipmen from the US Naval Academy honoring Private 1st Class Rosemary Sheppard (center) for her military service as a marine. residents of Annapolis gave Diane States Marine Corps. The other (also a niece who accompanied me service are: USMA in West Point from NY) an excellent tour. We only NY (1802), USCGA in New London had an afternoon but we sure fit a lot CT (1876) USMMA in Kings Point, in. First to the old section of Annapo- NY (1943) and the USAF in Colo- lis with brick roads and sidewalks rado Springs, Colorado (1954). and many While there I couldn’t name all 5 but 18th-century houses and street as it turns out I’ve been to all of them! names: King George’s, Prince We had a tour of the Visitors Cen- George’s, Hanover, and Duke of ter and I watched a very moving and Gloucester, etc., date from colonial informative film (to be on the Acad- days. At the marina is a The Kunta emy’s YouTube channel sometime Kinte-Alex Haley Memorial, which soon) about the Academy showing sits next to the Market House, a for- the life of a midshipman from their mer slave market, and is located at 1st days through their graduation. Kunta Kinte-Alex Haley Memorial in Annapolis, MD. Ed Dwight sculptor. the head of the City Dock. Visited by The site of the Old Slave Market can be seen in the background some one million people a year, it is the only monument of its kind in the United States that commemorates the actual name and place of arrival of an enslaved African. There is a row of granite-framed markers along the City Seawall with ten sculpted bronze plaques. Each plaque shares a message designed to encourage reconciliation and healing from a legacy of slavery, ethic hatred, and oppression. High on our list to visit was the 56 E.Market St., Rhinebeck 845-876-4922 United States Naval Academy 188 Main St., New Paltz 845-255-5533 (also known as USNA, Annapolis, 791 Broadway, Kingston 845-338-2838 or Navy), a four-year coeducational Spring 2015 ART TIMES page 13 at the McBride Gallery (mcbride- asked to use it in his PBS series The gallery.com) and meet Cynthia Mc- Civil War. The rest is history. At Bride who has owned and run galler- the Winter Hoot, I understand all the ies since 1978 including this current concerts at the Center, Jay & Molly one in Annapolis and the Benfield perform Ashokan Farewell acknowl- Gallery in Saverna Park. It was edging that it was Center that gave a delight to spend time with Cyn- the inspiration for the music and, in thia, her art knowledge is vast and fact, saved the Center. we chatted about many nationally The Center’s mission is to teach, known artists I know and she repre- inspire and build community through sented over the years. Cynthia man- shared experiences in nature, history, ages the Art Walk sponsored by the and the arts. 18th and 19th Century Annapolis Gallery Association buildings and working craft shops: and in 1997 she was selected as one Winchell’s Inn (c. 1780), the 1817 of Maryland’s top 100 Women. She Schoolhouse, the Ashokan Barn organizes a plein air event- Paint and Barnyard, Blacksmith Shop, Annapolis- each year sponsored by Print Shop, Pewter Shop, and Tin the Maryland Federation of Art & Broom shops create the Ashokan (mdfedart.com) and this past Fall Village where thousands of children, she presented a show of “100 Plein teens and adults come year-round for Air Painters of the Mid Atlantic” a variety of educational programs. and published a book signed by each There are School programs, summer of the participating artists. McBride music and dance camps and restora- Cynthia McBride in the McBride Gallery, Annapolis, MD is a very comfortable gallery with tion projects. Coming up is the Maple Fest on March 7, Scottish Fiddle & sustainably designed facilities. This Cello Camp on May 1-3; Swing and $7.25 million endeavor concluded in Shine, a dinner dance on May 16 that late 2012 with the opening of a 200- supports the Ashokan Scholarship seat performance hall, classroom Fund and the renovation and pres- spaces, dining room for 200 people ervation of one of the Woodstock and semi-private and shared residen- School of Arts’ historic working tial lodges for 150 guests. studios; and the Uke Fest from May The majority of the funding came 22-25. Coming up in the summer is from Jay Unger and was a direct the 3rd annual Summer Hoot from benefit from his song Ashokan Aug 21-23. Farewell written after one of the What a treasure. The Ashokan Ashokan Fiddle & Dance Camps Center is available for weddings, had come to an end for the season. conferences, outings and volunteer 1983, Jay & Molly’s band, Fiddle opportunities. Fever recorded the song and film- maker Ken Burns heard the album That’s it for this round-up. See in 1984 and was immediately taken you as I get out and about when the by Ashokan Farewell. Burns soon snow melts. ef

Chris Doucette behind the desk Nautical North Shop in Annapolis, MD.

8 rooms filled with mostly realistic The Ashokan Center, was the first work— paintings and sculpture. environmental and outdoor educa- Cynthia is always looking at new tion program in New York State and work from mid-career and younger run by the State University at New artists although her walls are filled. Paltz, NY. SUNY put the center up When I asked why she felt she was so for sale, and in 2008, an historic and successful her answer was that she is forward-looking partnership was es- focused on giving the artist and her tablished between the Open Space collectors what they need. Institute, NYC Department of En- Unfortunately our time ran out vironmental Protection and the and we didn’t get to visit St John’s Ashokan Foundation that trans- College established in 1696 and a ferred the Ashokan Field Campus, school that remains focused on clas- its programs and its facilities, from sics. Students refine their ability to SUNY New Paltz to the Ashokan think, write, and speak across all Foundation, a New York State 501 disciplines. Sounds like what an edu- (c) 3 not-for-profit. As part of this cation should be! transaction, the Ashokan Founda- This historic and very interest- tion launched an effort to replace the ing city has a wealth of culture and, creekside campus buildings with new A Blacksmith demonstration at the Ashokan Center during the Winter HOOT of course, many boating, music and sporting events. In the ART TIMES February on- line issue I wrote about the Winter Angela Gaffney-Smith Hoot at the Ashokan Center (asho- THE MAMARONECK ARTISTS GUILD kancenter.org) but wanted to take -NURTURE- 126 Larchmont Avenue, Larchmont, NY 10538 additional space to write about this Block Prints 914-834-1117 Hudson Valley treasure. In the www.mamaroneckartistsguild.org early ’80s Molly Mason & Jay Ung- & Mixed Media er started offering Ashokan Fiddle May 2 - 30, 2015 Spring Jurying for New Members & Dance Camps, which has become Mon., April 20, drop-off of artwork, 3-6 pm a world-renowned destination for Art Society of Kingston Tues., April 21, pick-up of artwork, 3-6 pm enthusiasts of American music and 97 Broadway dance traditions. Located in Olive- Kingston, NY 1240l bridge, NY on 374 acres of Catskill Reception May 2, 5-8PM Download forms from our website forest, streams and farmland in 1967 [email protected] www.mamaroneckartistsguild.org Spring 2015 ART TIMES page 14 Art Theresa Bernstein: A Docent’s Perspective By Benedict Duffy © 2015 internal. If Cribbage Players leads For eight months I worked us from the two men outward, The with art historian Gail Levin to Immigrants brings us from exter- launch the retrospective “Theresa nal excitement to a single woman Bernstein: A Century in Art.” The and her baby. Bernstein grew up exhibition opened in two galler- as an American child of Polish im- ies of the City University of New migrants. Her parents’ experience, York during the fall of 2013 before and that of millions like them, is going on tour for just over a year. re-imagined here. However, it is Having helped to copyedit a book Bernstein’s practice to disguise of the same title that serves as the how personal many of her paintings exhibition’s catalogue and having are. The woman holding the baby given weekly docent tours of the at the forefront of the scene has New York installation, I would like a space cleared around her head, to qualify myself as a respondent which organizes her shipmates in a to Ken Johnson’s New York Times convenient and messy circle around review. her. I’ve come to see them as stand- Shrugging off a negative review ing in for the panorama of human would have been unchallenging if it experience that waits for and will were not for a particular detail that define this woman and her infant. irked me into action. He reviewed Maybe the thought of meeting a Flags of the Allies, a painting that young handsome man has crossed was not included in the traveling Theresa Bernstein The Immigrants, 1923. Oil on canvas, 40 x 50 inches her mind, like the one hovering so show he saw at the Woodmere Art are staged around a circular card to the idea that his adversary has close over her right shoulder. Or Museum. This error signaled to me table, empty but for the necessi- put him ‘on a razor’s edge.’ Beyond perhaps she daydreams of a happy Mr. Johnson’s inattention to the ties of their game. An empty chair these items, the image rides on the family and has envisioned some paintings. And so, I was entertained sits askew at the far edge with an painterly uncertainties of chame- context in which children clamor by his decisiveness in pronouncing abandoned hand of cards in front leonic blending of these men with for this-and-thats at her skirt, as Theresa Bernstein undeserving of of it, as if Bernstein herself got up their cluttered context. They obey seen over her left shoulder. Like a and resist the mayhem of brush- female Atlas, the world rests on her strokes that brought them to life, shoulders. Charging into (or maybe and insist on their humanity in a emerging from) the white and blue context that is broadly recognizable unknown, themes of vulnerability, and yet indeterminate. Socially, hope, change and challenge are politically, and domestically, life consolidated on this canvas in an at- at beginning of the 20th century titude that makes exciting the novel was becoming unfixed. What you variables of this woman’s future. are looking at is dialectic between Out of the frying pan and into the peaceful figures and their precari- fire. Bring it on. ous context, a recurring theme for Marriage and motherhood are Bernstein. She always flirts with at the heart of The Milliners. abstraction but never commits to Painted in 1919, the same year it entirely, because in her eyes, life as her marriage to artist William underlies abstraction. Meyerowitz, this painting reads This tension between the public as Bernstein’s inscription of new and private, old and the new, is a people into her family. This is the constant in her work; Bernstein complete set of “the girls,” as Ber- was a modern woman. Sometimes nstein might have seen it. Here we she starts with the human and have Bernstein’s private world, a builds outwards to define the world band of faces she loved dignifying in relation to it; at other times she a feminine profession that Degas flips the equation, starting with seemed to condescend to in his painting with the same title. With Theresa Bernstein Cribbage Players, 1927. Oil on canvas, 40 x 50 inches the external and solving for the “promotion to the higher ranks of for a moment to paint this canvas 20th century American painters.” between turns. I begin with Crib- I will not weigh in on the matter bage Players because it neatly sum- because, well, you can decide that marizes an important tension of for yourself. Bernstein’s worldview. There is an I hope to demonstrate here the immediately recognizable intimacy rewards for studying Theresa Ber- in the picture: it registers as more nstein’s artwork by sharing what I of a still life of two old card play- learned after long exposure. Ber- ers rather than a double portrait, nstein did not initially appeal to doesn’t it? The quietness of this me. I found it helpful to recognize moment asks the viewer to look that her paintings love life before without requiring much in return. logic. They are unusual and wise, But as you study their game, the devotional and ordinary. They have players become visually lost in a a patience that allows you to have profound sense of stuff. Of all the a relationship with them on your business of the background, only a own terms, but if you give Bernstein handful of items are recognizable. A an inch she will take a mile. Bern- sturdy black stove planted between stein’s body of work is a visual diary them and a lantern on the floor un- of constant and major transforma- der the man on the left compliment tions throughout the 20th century, the warm palette and hint at the and her own apprehension of her cold weather they withstand. A saw beingness in that turmoil. faces the man on the right as he con- The two men in Cribbage Players templates his next move, a shortcut Theresa Bernstein The Milliners, 1917. Oil on canvas, 40 x 50 inches Spring 2015 ART TIMES page 15 the nationalization of women’s suf- and has the high social or political status of frage only a year later, of course backdrop of a sitters and patrons as painters Bernstein would have produced a box full of the have done historically, Bernstein scene loaded with female camara- un-mysteri- gave status to her sitters because derie and self-respect. Bernstein’s ous stuff from she painted people she loved, and mother, the woman on the upper which hats shows us why. You can tell that left with graying hair, consults are made. It Bernstein memorized her posture. Theresa’s mother-in-law, whose is a dizzying A dark space appears behind her hands hide the gossamer threads dot. Focusing neck as Katie pinches the lapels she manipulates, head bowed as if on it activates of her scruffy coat, and the haloed in prayer. Flanking the mothers are the composite brim of her hat is propped at an easy two of Bernstein’s sisters-in-law, brushstrokes angle to allow for the feathers to Bessie and Sophie, who was a mil- s w i m m i n g quietly waterfall from it. The floppy liner herself. One wears black and around the feathers point to a pliant personal- admires her hat in a mirror, and the portraits, al- ity. This is the portrait of a sweet- other in bright yellow is amused by lowing them heart, tucked into earthy tones and her sister’s vanity. To the left of the spin into ac- a baggy coat. Katie doesn’t want to sister in yellow is a flame-like flurry tion. Keys like interrupt your stroll through the of open yellow brush strokes: the this, secrets gallery space, but she does. feathers on the black hat she holds. of the canvas, After allowing Bernstein’s paint- They taper to a point and meet a are typical of ings to sink into my psyche, writing thin black line – presumably a rib- Bernstein’s this essay felt as though they were bon – and make an angle that serves p a i n t i n g s . speaking through me rather than to guide the gaze of the smirking For example, my own organization of thoughts sister. Bernstein’s third sister-in- the two red on them. Her paintings do not often law Minna, dressed in white on strokes di- stop your in your tracks, though the lower right, is all fingers and rectly beneath if you stop for a moment they face and responds to those of her the parrot in will hold you. Her style is elusive mother’s at the other end of the Woman With throughout the century she spent canvas. These parallel characters a Parrot are painting. She was not quite a social show the past, present and future in like the leg- realist, she was painting too long the craft of hat-making; Minna and end of a map, before Feminist Art in the 70s to her mother might be representing telling you be plausibly traced as an anteced- two stages of the same tradition. how to read ent to that movement, and neither So cleanly, Bernstein matter-of- t h e p a i n t - was she an Ashcan nor Abstract factly elevates a predominantly ing. Cribbage Expressionist painter. Theresa female occupation by inflecting her Players, The Theresa Bernstein Woman With A Parrot, 1917. Oil on canvas, 40x25 inches Bernstein’s prolific artistic impulse picture with an affectionate sense Immigrants, was unique. It approximated an of propriety. And finally we come to and The Milliners, all have central between them. They celebrate her arrangement of thoughts, styles Katie on the far right, the Bernstein circles used to distribute the figures relationships to her family as artist and sensibilities at a quality that and wife. The Milliners, in particu- blended the tender quotidian with lar, is an elaborate expression of ambitious cultural observations. gratefulness. (Benedict Duffy graduated Katie’s portrait from 1917 makes from The University of Vermont me melt. In pivoting from a group with Majors in Art History and portrait to this solo portrait shows Global Studies. He now lives in the range of perspective Bernstein NYC. offered in illustrating the fluid roles ef of women at this moment in time. Bernstein would have taken issue with Katie being remembered pri- marily as her housekeeper; she was the kind of painter who would find a place for Katie in the family por- trait. Her role within t h e f a m - ily hovered somewhere b e t w e e n Edgar Degas, The Milliners, c. 1882. sister and Oil on canvas, 23 1/4 x 28 1/2 inches. Courtesy of The Getty Museum employee. family’s housekeeper and Theresa’s around the canvases. This is Bern- What mat- confidante, who befriends you in a stein swinging for the fences; those t e r e d t o glance and invites you to settle in canvases with circular compositions Bernstein the open place at the nearest edge are the big statements. A circle is a – what she of the table. familiar metaphor: it represents sought out There is a green spot directly in wholeness, unity, strength, perfec- in subjects the center of the canvas. Once you tion, and so on. Using the portraits for paint- see it you won’t stop seeing it. It is to carry this compositional strategy ing – was the painting’s nucleus, its anchor, was her honoring the completeness quality of the pin of a pinwheel. It is justified and security she came into with her character. by a similarly painted smattering of new family. The celestial arrange- R a t h e r warm colors on its left, cushioned by ment of the faces orbiting around than glam- a pairing of white hats on its right, the green dot achieves equilibrium orizing the Theresa Bernstein Katie, 1917. Oil on canvas, 24 x 20 inches Spring 2015 ART TIMES page 16

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Notes. $35.00 Hardcover. *** World” National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth CHICAGO REVIEW PRESS: Mod- Mark Tobey and Teng Baiye Avenue - Suite 1405 New York NY 212-675-1616 6-7:30 charge ern Art Adventures: 36 Creative, Ed. Jo-Anne Birnie Danzker / Scott Friday, April 17 Hands-On Projects Inspired by Lawrimore. 79pp.; 10 ½ x 11 ½; 14th ANNUAL HAITIAN ART SALE Vassar Haiti Project Vassar College Multi Artists from Monet to Banksy by B/W & Color Illus.; Artist Biogra- Purpose Room, 2nd fl of College Center, Poughkeepsie, NY 845-797-2123 12-8pm Maja Pitamic / Jill Laidlaw. 160 pp.; phies; Notes; Bibliography; Index PORTRAITS: INTERIOR & EXTERIOR National Association of Women Artists 8 ¾ x 77 ¼; 300 Color Illus.; Artist of Names. $35.00 Hardcover*** Arts Club of Washington, DC N.A.W.A. Reception 6:30-8:30 (thru Apr 25) Biographies; Glossary; Tools of the Richard C. Elliott: Primal Op Saturday, April 18 Trade; Index. $19.95 Softcover ***** by Sheila Farr. 96pp.; 8 ¾ x 11 ¾; 14th ANNUAL HAITIAN ART SALE Vassar Haiti Project Vassar College Multi Compiled by Raymond J. Steiner Purpose Room, 2nd fl of College Center, Poughkeepsie, NY 845-797-2123 B/W & Color Illus. Selected Bib- liography. $29.95 Hardcover. *** Eric Michael Gillett in CARELESS RHAPSODY: the Lyrics of ef Lorenz Hart Bridge Street Theatre Speakeasy 44 West Bridge Street Catskill NY 518-943-3818 7:30-9:00pm charge “IMAGE and WORD” The Unframed Artists Gallery, 173 Huguenot St., New Paltz, The next issue is Summer 2015 (June, July, Aug) NY (845) 255 5482, Opening reception 4-7, (thru June 13). If you missed getting an Opportunity or Calendar listing into this Mid-Century Madness: Rye Arts Center Benefit Gala Shenorock issue or a display ad for your business or exhibit, contact us at Shore Club 475 Stuyvesant Avenue Rye NY 7-11pm charge [email protected]. We can accommodate you on our Surveying the Centuries - The New York Wind Quintet Close website within 24 hours of receiving your materials. Encounters With Music The Mahaiwe Performing Arts Center Castle St. Great Bar- rington MA 800-843-0778 6-8pm charge Make sure to take a look online for exclusive web essays, Thomas Ortiz Dance at Kaatsbaan Kaatsbaan International Dance videos, Calendar and Opportunity listings. Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm - 8:30 pm charge Sunday, April 19 arttimesjournal.com 14th ANNUAL HAITIAN ART SALE Vassar Haiti Project Vassar College Multi Purpose Room, 2nd fl of College Center, Poughkeepsie, NY 845-797-2123 Ashu - saxophone with piano accompaniment Saugerties Pro Mu- sica Saugerties United Methodist Church 67 Washington Avenue (corner Washing- 85 YEARS OF ton Ave & Post St) Saugerties NY 845-679-5733 3-4:30 pm charge Spring Juried show The Gallery at Kent Art Association 21 S. Main Street Kent CT 860-927-3989 (thru May 25) The Seven Deadly Sins: Lust Hudson Valley Center for Contemporary ART IN THE VILLAGE Art 1701 Main Street Peekskill NY 914-788-0100 Opening Reception 5-7pm charge (thru July 26) WASHINGTON SQUARE OUTDOOR ART EXHIBIT Monday, April 20 MAG Jurying for New Members Mamaroneck Artists Guild 126 Larchmont Avenue Larchmont NY 914-834-1117 3-6 pm charge Wednesday, April 22 FINE ARTS and CRAFTS ART SALON AND DESSERT PARTY SOCIAL National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675- 1616 1-3pm (thru Apr 28) Continued on Page 18 ART-LOVERS and ART BUYERS Calendar submission Calendar listings should be submitted with our online form. 2015 SPRING SHOW www.arttimesjournal.com/submitevent.html May 23, 24, 25 (Memorial Day weekend) May 30 and 31 (the following weekend) P.O. Box 1045, New York, NY 10276 wsoae.org • 212 982 6255 • [email protected] Spring 2015 ART TIMES page 17 Film Movies Made Me By HENRY P. RALEIGH For any movie lover and especially documentary a camera closes on is in black and white. Saving Private for the older nostalgia prone there winners and loser, the expectant, the Ryan is in color. Yet my mind must is a wonderful documentary made disappointed- they are not acting, an see it in black and white just as it for Turner Classic Movies in the actress tells you how gut wrenching should be. I can’t blame the movies 2014 (available on NetFlix). It’s it is have known the exhilaration of for having started me on decades of titled “And the Oscar Goes To...”, a being a nominee and then with cruel smoking but they did make it seem history of the Oscars from the first swiftness you are nothing. That the an existential necessity. Visual ceremony in May 1929 to the present consequences of dubious decisions style was everything- a coffin nail (the most recent has yet to play at resulting from nearly an arbitrary cupped in the hand, a Bogart thing, this writing.) Out of a field of silent system of judging should have such was my favorite. Squinting from the films only eleven awards were given hold on people seems astonishing. ascending smoke added high drama. at that Oscar including one for “title Perhaps more astonishing is that I think my entire adolescence was writing”- the last time this category all the myth, romance, magic of shaped, reshaped, and done over, would ever appear, for the following Hollywood film is symbolically fitted, refitted, in hair style, facial year all candidates would be sound represented by a land, poorly expression, body gestures, speech pictures. “Wings” a 1927 war drama, designed nondescript statue named mannerisms, and heaven knows won best picture. “The Jazz Singer” absurdly, Oscar. what else all against the shifting partly in sound was not a qualified If the makers of film can be so models projected on the movie candidate but was, nonetheless, possessed the audience is no more screen. Some of these probably stuck, awarded, prophetically, an Oscar for immune. My recollections of real I no longer know anymore. “Technical Achievement.” There was life can at times get mixed up with One thinks of Binx Bolling, the born as well in 1930 a generation my movie memories, almost an hapless hero of Percy Walker’s of film viewers who would grow up interactive relationship. I cannot The Movie Goer for whom nothing with the new sound films and, in one say why I recall Woody Allen’s save the movies could offer him fashion or another, would leave to “Manhattan” in color when I solace and meaning. Binx’s real life the world in 35 mm. certainly know it’s black and white. version is today’s Patton Oswalt “And the Oscar Goes to...” is less a My early life though, is remembered who in his Silver Screen Fiend (sub- history and more a welter of images, in black and white, the same as all titled” Learning About Life From an brief commentaries, snapshots of the movies of that period (I did watch Addiction to Film) describes his four stars, journalists, oddities pausing a lot of film in those pre-television years of manic binging on movies now and then to take a closer look days.) When film moved to color my in a belief that it has brought him at some scandalous event at a memory recordings, right on cue, success as a comedian. presentation, clips from the more become colored. In reviewing a film In Silver Screen Fiend, Oswalt notable winners- actors, directors- I am startled to find that memory reveals his list of every single movie this jumble serves to demonstrate convincingly altered some scenes- are he watched during those fours years, the highly charged nervous, excited they better for that? At my first sight numbering in the hundreds. I’m ambience of any Oscar. of war I felt neither fear nor horror pleased to say that I’ve seen most all The 2006 movie, “For Your but wondered that it looked just like of them, and now I’m waiting to see Consideration” catches only bit of a movie set- and in black and white what it’s going to do for me. the awful intensity. Here in this as they once were. The Longest Day ef

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SaturdaySaturday && SundaySunday MayMay 30th30th && 31st31st OPEN CALL for ENTRIES 11AM11AM -- 6PM6PM SALMAGUNDI CLUB Artists & Artisans Textile Workshops Annual Juried Painting & Sculpture Art Exhibitions Non-Members Exhibition March 6-29 Kids’ Activities The Effect Of Gamma Rays On Open Studios May 26 - June 5, 2015 Crafts Market Deadline for entry April 22 Man-In-The-Moon Marigolds Written by Paul Zindel Beer Garden

Directed by Elizabeth Van Dyke Live Music Annual Juried Photo & Graphics Dance with Peri Gaffney Food Non-Members Exhibition ~~~~ July 27 - August 7, 2015 April 24-May 10 Deadline for entry June 17 A Living Documentary – The Schoolhouse A one-woman show Prospectuses available at written and performed by Cynthia Hopkins. Hopkins original music will be performed www.salmagundi.org both live and via recording. BML;:

Salmagundi Club 3 Owens Road, Croton Falls, NY @:KG>K:KML?>LMBO:E 47 Fifth Ave, NYC 914-277-8477 • 212.255.7740 55 WEST RAILROAD AVENUE GARNERVILLE, NY 10923 (845) 947-7108

www.schoolhousetheater.org FESTIVAL ARTS GARNER www.garnerartscenter.org . @GARNERartscenter . GARNER Arts Center Spring 2015 ART TIMES page 18

Continued from Page 16 Sunday, May 3 Calendar 12th Annual YOHO Artists Open Studio w/ 50 artists’ studios Saturday, April 25 YOHO Artists 578 and 540 Nepperhan Avenue Yonkers NY 917-545-2469 11am- Alpha Omega Theatrical Dance Company at Kaatsbaan Kaatsbaan Interna- 5pm, daily. free tional Dance Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm - 8:30 pm charge “Photography & Sculpture” Exhibition Rowayton Arts Center 145 Spring Juried show The Gallery at Kent Art Association 21 S. Main Street Rowayton Avenue Rowayton CT 203-866-2744 Opening Reception 4-6 pm free (thru Kent CT 860-927-3989 Awards Reception 2-4pm (thru May 25) May 31) 04/25/2015 The Juried Show The Hyde Collection Art Museum & Historic Spring Crafts at Lyndhurst Artrider Lyndhurst estate 635 South Broad- House 161 Warren Street Glens Falls NY 518-792-1761 charge (thru May 31) way Tarrytown NY 845-331-7900 charge Sunday, April 26 Unsilent Composer - film and conversation with Phil Kline Art Raffle and a Fundraiser National Art League 4421 Douglaston Close Encounters With Music The Stables at The Mount Plunkett St. Lenox MA Parkway, Douglaston 718-224-3957 2-4pm free 800-843-0778 2 pm charge de Blasiis Chamber Music Series with Ensemble Vivant de Monday, May 4 Blasiis Chamber Music Series The Hyde Collection Art Museum 161 84th ANNUAL OPEN JURIED EXHIBITION National Art League 4421 Doug- Warren Street Glens Falls NY 518-792-2383 charge laston Parkway Douglaston NY 718-224-3957 charge (thru May 30) Tuesday, April 28 Tuesday, May 5 Karen Whitman - Artist Talk about her Linoleum Block GUEST ARTIST Judy Pfaff: 2015 N.A.W.A. HONOrEE exhibition Na- Prints The Old Print Shop 150 Lexington Avenue at 30th St. New York NY 212- tional Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 683-3950 5:30-6:30pm free 1405 NYC (212) -675-1616 (thru May 27) Thursday, April 30 Thursday, May 7 11th ANNUAL SMALL WORKS SHOW Mamaroneck Artists Guild 126 Mama- FInal Art Show and Open Studio Art345 Art 345 Gallery 345 East 104th roneck Ave Larchmont NY 914-834-1117 free (thru May 23) Street (bet 1 and 2 ave) New York NY 845-986-0986 Opening Reception 6-9pm free Eye on Art: Tour Series Storm King Art Center 1 Museum Road New (thru May 31) Windsor NY 10:00-11:30am charge Saturday, May 9 Northern Exposure: Lisa Goren on her Artist Residency 500 11th ANNUAL SMALL WORKS SHOW Mamaroneck Artists Guild 126 Mama- Miles from the North Pole National Association of Women Artists, Inc. roneck Ave Larchmont NY 914-834-1117 Opening Reception 3-5 free (thru May 23) N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 6-7:30 Carolyn Dorfman Dance Company at Kaatsbaan Kaatsbaan charge International Dance Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm - 9:30 Friday, May 1 pm charge 2015 Alexander Rutsch Award and Solo Exhibition for Paint- Furuya Sisters Perform Tchaikovsky and Mozart Carnegie ing Pelham Art Center 155 Pelham Art Center Pelham NY 914-738-2525 Opening Concerts/Furuya Sisters Concert Series Nyack Library Carnegie reception 6:30-8PM free (thru June 13) Room 59 South Broadway Nyack NY 914-200-3622 7:30pm charge Gala Art Show: Spring Festival of the Arts Art Society of Old Murmurations Collective: Works by Mia Brownell, Cristina Greenwich The First Congregational Church of Greenwich 108 Sound Beach Avenue de Gennaro, Patricia Miranda, Sasha Kopelowitz, Tricia Old Greenwich CT Opening Reception 6-8pm; Followed by Concert free (thru May 3 Wright Miranda Arts Project Space 6 N Pearl Street Port Chester NY 914-318- Spring Crafts at Lyndhurst Artrider Lyndhurst estate 635 South Broad- 7178 Artist Reception 6pm free (thru June 27) way Tarrytown NY 845-331-7900 charge Riverside Art Auction The Riverside Galleries at Garrison Art Center 23 Saturday, May 2 Garrison’s Landing Garrison NY 845-424-3960 free Silent auction 17, 10-5 12th Annual YOHO Artists Open Studio w/ 50 artists’ studios Sunday, May 10 YOHO Artists 578 and 540 Nepperhan Avenue Yonkers NY 917-545-2469 11am- American String Quartet in Concert Newburgh Chamber Music St. 5pm, daily. free George’s Church 105 Grand Street Newburgh NY 845-534-2864 3-4pm charge All-Brahms Concert The Symphony of Westchester Christo- Monday, May 11 pher J. Murphy Auditorium - Iona College 715 North Ave New Rochelle NY 914- Light and Life - Light and Form - Photography by Dr. George 654-4926 8:00 p.m. charge Saines and Middletown Art Group 2015 Members Spring Exhi- ALUMNI EXHIBITION The Woodstock School of Art Robert H. Angeloch Gallery bition SUNY Orange Cultural Affairs Orange Hall Gallery Loft, SUNY Orange 2470 Rte 212 Woodstock NY 845-679-2388 Opening Reception 3-5pm free (thru the corner of Wawayanda and Grandview Avenues Middletown NY 845-341-4891 May 30) free (thru June 18) Catching the Light, Annual Student Show Betsy Jacaruso Gallery Tuesday, May 12 The Courtyard, Rhinebeck 43 East Market St Rhinebeck NY 845-516-4435 free GINGER BALIZER-HENDLER: Interior Design Pleiades Gallery of Con- (thru May 31) temporary Art 530 West 25th St. 4th fl. NYC (646) 230-0056 (thru June 6) Natalie Levy: “Streetscapes” 510 Warren Street Gallery 510 Warren St. Thursday, May 14 Hudson NY (518) 822-0510 Opening reception 3-6pm free (thru May 24) GINGER BALIZER-HENDLER: Interior Design Pleiades Gallery of Contempo- Photographer Denise B. Chandler & painter Olive Farrell, rary Art 530 West 25th St. 4th fl. NYC (646) 230-0056 Opening Reception 5-8pm two views of our world Tivoli artist gallery 60 Broadway Tivoli NY 845- (thru June 6) 757-2667 Opening Reception 6-8pm free (thru May 24) Continued on Page 24 Spring Crafts at Lyndhurst Artrider Lyndhurst estate 635 South Broad- way Tarrytown NY 845-331-7900 charge Be part of THE resource for THIS SPRING AT THE WOODSTOCK SCHOOL OF ART ALL THE ARTS. Advertise in the Metropolitan The School will be closed March 31-April 6 NY area for Country Prices!! PAINTERLY SOLARPLATE PRINTS ART TIMES (845) 246-6944 WHITE LINE WOODBLOCK with Kate McGloughlin MASTERING THE PALETTE KNIFE with Anita Barbour March 23-25 with Mary Anna Goetz [email protected] March 3-5 May 15-17 A NATURES LIBRARY: HANDMADE BOOKS AS ART MIXED MEDIA DRAWING NAKED LUNCH with Loel Barr with Margarete de Soleil no instructor March 7-8 March 28-29 May 22 Back Room Gallery Veryal Zimmerman, Artist & Director ABSTRACTION AND MONOTYPE IMPRESSIONIST APPROACH TO LARGE SCALE DRAWING with Kate McGloughlin LANDSCAPE PAINTING Showing more than 30 artists' work with Meredith Rosier April 13-15 with Joan Jardine including: March 14-15 May 30-31 Paintings, Linocut Prints, Photography, COLOR & ENERGY Sculptures, Unique Handmade Jewelry, with Karen O’Neil 845. 679. 2388 April 18-19 [email protected] Handmade cards and much more. Gallery also features: ABSTRACT COMICS Vintage Decorated Crepe Designs WORK BY THOMPSON FAMILY with Meredith Rosier for a complete listing of all classes and from the Early 1900's FOUNDATION April 20 events visit woodstockschoolofart.org and exhibitions with featured artists. SCHOLARSHIP RECIPIENTS COLLAGE March 21-April 25 with Robert Ohnigian Artists’ Reception 2nd Saturday Reception, Saturday, March 21, 3-5 PM May 2-3 of each month 6-8pm

ALUMNI EXHIBITION ADVENTURES WITH COLOR: Back Room Gallery A COLOR THEORY WORKSHOP May 2-30 PO Box 338 • 2470 Route 212 475 Main Street, Beacon, NY with K. L. McKenna [email protected] • 845-838-1838 Reception, Saturday, May 2, 3-5 PM May 5-26, Tuesdays Woodstock NY 12498 Open: Th, Fr, Sa 12-6; Su 12-5pm Spring 2015 ART TIMES page 19 Fiction A Tale For Today By Donald Kerr (People don’t read as much as “I’ll have a whiskey -- make it a staPhone! And now, back to our story. Sam,” Jarrett sneered. “Now I’m going they used to and I think I know the double whiskey.” * * * to shut it for you!” He had no doubt he reason why. It is the way written mate- The bartender poured the drinks The bartender didn’t want to have could outdraw Sam now that Sam had rial is constructed. Too long for people’s and studied Sam through narrowed to fix any more bullet holes in his bar, to use his left hand. Jarrett had been attention span! Written material has eyes. “You ain’t looking to doing any so he sent Mabel, one of the barmaids, drawing and drilling men his whole not kept up with the times. People are shooting in here, are you, mister?”, up to Jarrett’s room on the second floor life with his right hand. His draw was used to television and short stories he asked. where he was entertaining Mary Sue awesome. should be written to appeal to their “No shooting,” Sam said, taking a with word to either face up to Sam on If Sam had lost his right arm at Bull tastes. Such a tale follows.) sip of his drink. “Just killing.” Main Street like a man at high noon, Run, that meant he’d only been shoot- Sam Duncan rode into town on old * * * or get out of town fast. ing with his left hand for five years. Smokey. He was dusty and dry from Is this story making you folks Jarrett, an arrogant bully, pulled No way he could be as fast as Jarrett. riding long and hard. thirsty? Man, I could go for a big glass on his pants, strapped on his gun, and There was a flash of guns, an ex- “Howdy, stranger,” Ed Baines, the of Green Ice right now, how about you? told Mabel to go tell Sam he’d meet plosion of bullets. When the smoke town drunk said, as Sam tied his horse Why don’t you take this magazine and him on the street as soon as he could cleared, everyone was amazed to see to the railing in front of the Double go over to your refrigerator and pour get his boots on. that it was Jarrett’s whose crumpled X Saloon. “What brings you to town yourself a nice big glass right now? Or, Sam ordered one more drink and body lay on the street. and would you mind buying a poor old if you haven’t got any, put on your coat one for the town drunk. Then he tipped A cheer went up from the second drunk a drink?” and drive his hat at the folks sitting around story windows as Sam carefully rehol- “I’ll buy you a drink, old timer,” Sam Down to the nearest grocery story the Double X Saloon eyeing him ap- stered his gun. Most folks were happy said in a soft voice. “And what brings and buy a six pack. Don’t worry about prehensively, and walked out into the to see the low-life Jarrett laid low. me into town is a killing.” the story! It’ll still be waiting here sunshine. Walking purposefully down the * * * for you when you get back! That’s the Shortly afterwards, Jarrett came street, Sam stepped over the body Have you got tired feet folks? I’ll bet beauty of reading! You can stop and down the stairs, stopped for a quick of Jarrett and went back inside the Sam’s horse old Smokey had tired feet. come back to it and pick it up where whiskey, turned and told Mary Sue, Double X Saloon. Well, the best remedy for tired feet is you left off, unlike television or the who was standing at the banister on He stood at the bottom of the stairs Olson’s Foot Lotion. Rub it on your feet Internet! Say! Didn’t that swallow of the second floor in her bathrobe look- and called out to a tearful Mary Sue, after a long day of working or walking Green Ice taste great?! Now, back to ing down at him not to let the bed get “It’s all over now, Mary Sue. I’ve come and feel the relief. Olson’s Foot Lo- our story. cold because he’d be right back. to take you home.” tion. Even if your feet were bleeding, * * * The Double X patrons chuckled ner- Mary Sue bounded down the stairs you’d still walk a mile for a bottle of it “If you got any problems with any- vously as Jarrett swaggered outside. and into his arms, sobbing with joy. because of its soothing relief! On sale one, mister,” the bartender said, “I’d He stepped out into the street, “Sam, Sam,” she cried. “I thought you at any drugstore in your neighborhood. prefer you take them outside. I hate which had become quickly deserted were killed at Bull Run.” And now, back to our story. repairing my bar after gunfights!” as no bystander wanted to be hit by a “I know, sweetheart,” he said, his * * * “It’s all right with me,” Sam replied, stray bullet. But, there were plenty of one good arm encircling her tiny waist. “A killing?” Ed Baines’ features shoving the glass back to the bartender heads looking out of the second story “It’s all right now, darling, Every- turned chalky white. “Mister, I hope for a refill and indicating a refill for the windows that lined the street. thing’s all right. Let’s go home.” you ain’t talking about me.” town drunk, also. “If someone’ll tell a When Jarrett saw Sam, a wide grin He swept her up in his one good “Not you, old timer,” Sam reassured lowlife named Jack Jarrett that I’ll split his face. He had been worried arm, took her outside and deposited the shaky reprobate, as he opened the meet him on Main Street at high noon.” because Sam was feared in shooting her on Smokey’s saddle. Then, tak- swinging doors of the bar and stepped Everyone looked at the clock. It circles because of his fast draw. But ing the reins in his one good hand, he inside. It was dark and Sam paused for was 11:50. that was with his right hand. His right walked with her on the horse out of a moment to allow his eyes to adjust to “That’s pretty short notice, tell- arm was gone! town, into the sunset. the darkness. ing a man to face up to someone, to a “What the hell happened?”, Jarrett, * * * Ed Baines followed him in. “How stranger that might gun him down, curious, asked Sam. Well, folks, there’s nothing like a about that drink, mister?”, he asked, in just ten minutes,” Tom Hawkins, “Lost it at Bull Run,” Sam said. “In happy ending, right? And you can have made bolder now by Sam’s assurance foreman at Jarrett’s ranch, spoke up. the Civil War. You know, that one you a happy ending, if you’ll go down to that it wasn’t him he was looking to “That’s more time than he gave my were too yellow to fight in.” Uncle Ed’s Auto Park this weekend, where everything is on sale. Uncle Ed kill. brother,” Sam answered. * * * has a huge inventory and he’s got to “Sure,” Sam said, as they both * * * Ever lost your luggage at an air- move it to make room for this year’s drifted toward the bar. Several eyes How long has it been since you’ve port? We all know how frustrating that models. Nothing but gigantic bargains watched the two of them, measuring talked to your brother -- or sister or can be. But, you’ll never lose your lug- at Uncle Ed’s Auto Park this week! Sam, guessing by the way he carried parents? What’s holding you back? gage again if you use NOLOSE locks. And when we say gigantic, we mean himself that he was a man to be reck- Those high long distance rates? Well, These locks come with a beeper that HUGE! oned with. here’s a chance to say goodbye to ex- tells you where they are at all times. Be sure and get next month’s “Hey, bartender,” Sam said, as pensive long distance calls forever! For your own peace of mind, don’t go QUALITY SHORT STORYS maga- they bellied up to the bar, “how about Join VistaPhone and you get 1,000 free anywhere without NOLOSE locks! zine for more thrillers just like A Tale a drink for me and my friend here?” minutes the first week and 500 every And now, back to the conclusion of for Today. “What’ll you have?”, Lou the bar- week after that, up to and including, 21 our story. tender asked. “I already know what days. Don’t miss out on this chance to * * * (Donald Kerr lives in Loudonville, the town drunk wants.” talk with some of your relations on Vi- “You always did have a big mouth, Ohio.) ef

The 14th annual: Haitian Art Auction & Sale Vassar College, Poughkeepsie, NY http://thehaitiproject.org April 17, 18, & 19, 2015 845.797.2123 Spring 2015 ART TIMES page 20 Competition.net (845) 765-2932 Seeks Rutgers Univ. Download application only. Jurors Kathryn Markel and entries for “Faces of Humanity”. Email and prospectus from website. Deadline Peter Marcelle. Call, email or visit Opportunities for full info or visit www.art-competi- April 20, 2015. www.bowerygallery. http//www.eastendarts.org/gallery/ Architectural Designers: AIA New tion.net/Faces Of Humanity.cfm for org national-show2015 for prospectus. prospectus. Deadline Mar 9 support@ Deadline Apr 7. gallery@eastendarts. York Chapter (212) 358-6117 Seeks Photographers: Catskill Art Society art-competition.net art-competition. org • www.eastendarts.org. project Designs for Multifamily Hous- (CAS) (845) 436-4227. Seeks submis- net ing, Specialized Housing or Com- sions for Jeff Bank 2015 Photo Calen- Photographers: Gallery Lev Shalem, munity Design projects Contact Eve Artists: Artist Studio Residency, dar Contest. App available on website. Woodstock Jewish Congregation, 1682 Dilworth Rosen at AIA offices for info. SOHO20 Gallery Chelsea, 547 W Deadline Apr 17. Info@catskillartsoci- Glasco Turnpike, Woodstock, NY Deadline Apr 17. 27th St., NYC (212) 367-8994 Seeks ety.org • www.jeffbank.org 12498 (845) 679-2218 Seeks entries for applicants for Winter 2015 Studio “The Photography Show” Mar 22 thru Artists: Oil, Watermedia, Pastel, Artists/Printmakers: Center for Residency (Jul 21 - Aug 22) Info online. Apr 27. Juror: Ariel Shanberg, Ex Dir Graphics & Sculpture: Allied Art- Contemporary Printmaking, 299 Deadline May 1 info@soho20gallery. of Ctr for Photography, Woodstock, NY ists of America. Seeks entries for 2015 West Ave., Norwalk, CT 203-899-7999 com • www.soho20gallery.com email for details. Deadline Mar 17. wjc. Annual National Exhibition Sept 3 Seeks entries for 10th Biennial Inter- [email protected] - 13 at Salmagundi Club, NYC. Jpeg Artists: Arts Society of Kingston national Miniature Print Exhibition entries accepted. For prospectus visit (ASK), 97 B’way, Kingston, NY (845) 2015 (Jun 7-Aug 30) Call, email or Playwrites: Hatmaker’s Attic Pro- website or send SASE to Rhoda Ya- 338-0331 Seeks work for Regional Ju- visit site for full details. Deadline Mar ductions, Inc 845-475-4392 seeks now, 19 Springtown Rd., White House ried Show April 4-25. , Juror: James 14. [email protected] • www. submissions of original, unpublished Station, NJ 08889. Deadline Jul 18 Cox, James Cox Gallery. $25/ 2 pieces contemprints.org full-length plays written in English. www.alliedartistsofamerica.org. members; $35/2 pieces non-members. Contact Edward Gibbons-Brown via NY Artists, All Media: Cooperstown $5 additional entry Website for pro- phone Deadline Apr 1. hatmakersat- Artists: American Artists Profession- Art Association, 22 Main Street, Coo- spectus. Drop off March 31 ask@ [email protected] al League, 47 Fifth Ave, NYC 10003. perstown, NY 13326. Regional Juried askforarts.org • www.askforarts.org Call for Entries for Future Art Masters Exhibition May 1-May 29. Jurors: Rog- Artists, Multi-discipline: I-Park Exhibition. Online Student Exhibition Artists: Belmar Arts, The Boatworks, er D. Moore and Benjamin Moore. All Artists’ Enclave, 428 Hopyard Rd., for HS, College & Art Institutions Ask 608 River Rd., Belmar, NJ Seeks media. Artists residing in New York East Haddam, CT 06423, 860-873- your teacher to obtain prospectus. entries for 11th Annual Jersey Shore State. Possible $2400 in prizes. Actual 2468 Application materials available [email protected] • www.america- Juried Art Show Apr 18 -May 15. Visit artwork juried. No slides. Prospectus: for 2025 Environmental Art Program martistsprofessionalleague.org website for more info. Deadline Mar available online at or send #10 SASE Sep 20m For more information please Artists, Photographers, Print- 27. belmararts.org ATTN: Regional Exhibition. Delivery call, email or visit website. Deadline: Deadline Apr 24 & 25 www.cooper- Mar 3, 2015. [email protected] • www.i- makers & Craftspeople: Art League Writers, Emerging or Established: stownart.com park.org. of Long Island, (631) 462-5400 Seeks Black Lawrence Press 326 Bigham St., entries for 48th Annual Art in the Pittsburgh, PA 15211. Seeks submis- Artists, All Media: Cooperstown Dancers, Dance Companies, Cho- Park Fine Art & Craft Fair, to be held sions of unpublished collection of po- Art Association, 22 Main Street, Coo- reographers: Indo-American Arts at the Heckscher Museum Park, Hun- ems or short stories. Visit website for perstown, NY 13326. 80th National Council, 517 E. 87th St Suite 1B, tington, NY. May 30-May 31. Call submission details. Deadline Mar 31. Juried Exhibition July 10-Aug 14. NYC 10128 (212) 594-3685 Seeks ap- for prospectus and available online. blacklawrencepress.submishmash. JUROR: John Hampshire. All media. plications “Erasing Borders” Dance Deadline May 10. info@artleagueli. com/submit/6682 Possible $3200 in prizes. Catalog. Festival Aug/Sept 2015. For full info org. • www.artleagueli.org Prospectus available online at website email or visit website; digital apps Artists, All Media: Blue Door Art Deadline May 15 www.cooperstown- only. Deadline April 1 dance.iaac@ Photographers in NY, NJ, CT: Art Center, 5 Hudson St., Yonkers, NY art.com gmail.com • www.iaac.us League of Long Island, 107 East Deer 914 965-3397 Seeks entries for Exhibi- Park Rd, Dix Hills, New York, 11743 tion and Demo Show & Tell #7 April Craftspeople: Dutchess Community Artists: Kent Art Assn., Rt. 7, Kent, (631) 462-5400. Seeks entries for “The 25—May 16. Artists are invited to College Foundation seeking crafters CT (860) 927-3989. Seeks entries for Family of Man-Redux 2015”, a juried show a group of their works and give for 44th Annual Holiday Craft Fair, Member Show May 31-July 12. You Photo exhibition June 13-July 12. a short demonstration or workshop Nov. 28 & Nov 29. Hand crafted items may join at receiving. Download pro- Juror: Rick Wenner. Call or go online about their visions and/or techniques only. For more information call Diane spectus at website. Receiving for jury- for prospectus. Deadline May 5. info@ on one Saturday during the exhibi- Pollard (845) 431-8403 or visit website. ing May 28, 12-4pm. kent.art.assoc@ artleagueli.org • www.artleagueli.org. tion. Twelve artists will be chosen for www.sunydutchess.edu/CraftFair snet.net • www.kentart.org. this unique opportunity to show their Artists, All Media: Art Society of Artists, Craftspeople: East End Arts Artists: Kent Art Assn., Rt. 7, Kent, work at Blue Door Gallery. No fee for Old Greenwich, (203) 637-5845. Seeks Council, 133 East Main St., Riverhead, CT (860) 927-3989. Seeks entries for submission; if accepted there is a $100 entries for ASOG Members’ Spring NY 11901. 631-727-0900 x 302 seeks Spring Juried Show Apr 19 - May 25. installation fee. Please email your Show and Scholarship Awards Apr participants for 19th Annual Commu- Download prospectus at website. Re- images and short proposal to info@ 1 - 30. Call or go online for questions. nity Mosaic Street Painting Festival ceiving Apr 17 1-4pm kent.art.assoc@ bluedoorartcenter.org Deadline Mar Deadline Apr 1. www.artsocietyo- Sunday May 24 Call, email or visit snet.net • www.kentart.org 15, 2015 [email protected] • www. foldgreenwich.com website for prospectus. Deadline May bluedoorartcenter.org Artists: Mamaroneck Artists’ Guild, 15. [email protected] • www. Artists, All Media: Art Society of 126 Larchmont Ave. Larchmont, NY Artists: Bowery Gallery, 530 W 25th eastendarts.org. Old Greenwich, (203) 637-5845. Seeks 10538 (914) 834-1117. Jurying for new St., NYC 10001 (646) 230-6655 A na- entries for Gala Art Show “Spring Artists: East End Arts Council, 133 members April 20, 3-6; Pick up April tional call for entries for Annual Juried Festival of the Arts” May 1-3. Call or East Main St., Riverhead, NY 11901. 21, 3-6. SASE or download forms. Competition 2015, July 28 - Aug 15 at go online for full details. Deadline May 631-727-0900 x 302 Seeks entries for www.mamaroneckartistsguild.org. the Bowery Gallery, 530 West 25th 1. www.artsocietyofoldgreenwich.com 4th Annual Nat’l Juried Show “The St., NYC. Juror: Stephen Westfall, Artists, All Media: Manhattan Arts Figure” Aug 7 - Sep 23. Online apps Artists / Photographers: Art- American painter, critic, professor at International 220 E. 72 St, NYC (212)

Future Art MAsters exhibit FAME Online Student exhibitiOn College & Art Institutions • Art High Schools Ask your Teacher to obtain a Prospectus Entries, March 1, 2015 — May 16, 2015 www.aaplinc.org / [email protected] Spring 2015 ART TIMES page 21 472-1660 Manhattan Arts Interna- Not so Secret Life” exhibit Fall 2015 1037 Silvermine Rd., New Canaan, NY 11743, (631) 271-8423 Seeks en- tional, seeks entries for its “Healing Download info from website and mail CT 06840 (203) 966-9700 x26. Entries tries for Self-Portrait Exhibition. Visit Power of Art” online juried exhibition, proposals to Exhibition Dept. Rutgers, for 65th Annual Art of the Northeast website for full info. Deadline Mar 13. April 30-June 30. See website for info. SUNJ, 350 Dr. Martin Luther King USA June 6-July 18; Best in show www.huntingtonarts.org Blvd., Newark, NJ 07102 Deadline: $3000 & solo exhibit. Apply at www. Deadline April 10. info@Manhattan- Artists: The Provincetown Cultural sivermineart.org/art/call-for-entries. Arts.com www.manhattanartsblog. Mar 30. [email protected] • Council, 260 Commercial St., Provinc- php Deadline Apr 20. SACGALLERY@ com artgallery.newark.rutgers.edu/ etown, MA 02657 Seeks site-specific silvermineart.org • www.silver- expressions of interest commemorat- All Media except photography and Artists: Paul Robeson Galleries, mineart.org craft: National Art League, 44-21 Rutgers, the State University of NJ. ing AIDS victims Email or visit web- Douglaston Pkwy, Studio C, Doug- 973 353 1610 Seeking entries for “The Performers: Tannis Kowalchuk, site for details. Deadline May 1, 15 laston, NY (718) 225-4985. Seeks en- Undesirables” exhibit Spring 2016 NACL Theatre, 110 Highland Lake provincetownculturalcouncil@gmail. tries for 85th Annual Open Juried Ex- Download info from website and mail Rd., Highland Lake, NY (845) 557- com • www.ProvincetownAIDSMemo- hibition, May 4 - May 30, 2015. $2000 proposals to Exhibition Dept. Rutgers, 0694. Seeks performers for play “The rial.org SUNJ, 350 Dr. Martin Luther King Weather Project” touring beginning in awards. Send SASE or download Artists: The Robert Blackburn Print May, 2015. Call or Email for informa- prospectus from website. Deadline Blvd., Newark, NJ 07102 Deadline: Making Workshop Encourages mem- tion. Deadline May 2015. tannis@nacl. Mar 27. www.nationalartleague.org August 31. [email protected] ber/fellowship in The Studio Immer- • artgallery.newark.rutgers.edu/ org • www.nacl.org. Artists: National Association of Wom- sion Project (SIP) Jun 9 –Sep 6. Visit en Artists, 80 Fifth Ave., Ste. 1405, Artists/Photographers: Rowayton Artists: The Unframed Artists Gal- website for full info. Deadline Apr 6. New York, NY 10011 (212) 675-1616. Arts Ctr., 143 Rowayton Ave., Roway- lery, 173 Huguenot St., New Paltz, www.rbpmw-efancyc.org ton, CT 06853 (203) 866-2744 Seeks NY (845) 255 5482, seeks 2D,3D or Seeks membership of professional Artists, All Media: Unison Arts Cen- Performance Art entries for Exhibition women artists who desire exhibitions entries for open juried Exhibition ter, 68 Mt. Rest Rd., New Paltz, NY : “IMAGE and Word.” April 18- June throughout the U.S. For details down- “Focus Under 40” Jun 7 -28. Email or (845) 255-1559. Seeks submissions 13. Artists are invited to show a group load from website. Deadline: Sep 15; visit website for details. Deadline Jun for Gallery Exhibition in Fall of 2015 of their works and discuss them at a March 15. www.thenawa.org 1 [email protected] • www.rowayton- and sculptures for Annual Outdoor “Salon” or give a short demonstration artscenter.org Exhibition opening this summer. Call, Artists: National Society of Painters or workshop about their technique or Email for details or download form in Casein & Acrylic, 969 Catasauqua Artists/Photographers: Rowayton their use of verbal words or text within at unisonarts.org/programs/exhibits Road, Whitehall, PA 18052 Seeks en- Arts Ctr., 143 Rowayton Ave., Roway- or related to their images. Deadline: Deadline: Apr 1. [email protected] tries for 61st Annual Juried Exhibition ton, CT 06853 (203) 866-2744 Seeks Mar. 2. Email to Michele Riddell (845) • unisonarts.org 2015, at the Salmagundi Club. Visit entries for open juried Exhibition 255-5482 unframedartists@gmail. “Expressions” Oct 4- 25 Email or visit website for details. Submissions by CD com. Drop off date, April 11, 1-3 pm. Artists, All Media: Washington only Deadline May 2 doug602ku@aol. website for details. Deadline Sep 28 Hanging fee, $25. For more informa- Square Outdoor Art Exhibit, Inc., PO com • www.NationalSocietyofPaint- [email protected] • www.rowayton- tion; Vivien Stokes (845) 337-1109, Box 1045 New York, NY 10276 (212) ersinCaseinandAcrylic.com artscenter.org [email protected] or vis- 982-6255. Seeks participants for 85th Artists, All Media: Orange County Photographers/Graphic artists: it www.unframedartistsgallery.com outdoor “Art in the Village” exhibit May 23, 24, 25,; May 30 & 31 Go online Center for Contemporary Art, 117 N. Salmagundi Club, 47 Fifth Ave., NYC Artists, All Media: Inspired by Amer- for registration form and info. jrm. Sycamore, Santa Ana, CA (714)667- (212) 255-7740. Seeks entries for New ican Southwest: Taos Art Museum, [email protected] • www.washing- 1517 Seeks entries for “Moist”, an York, New York, Annual Open Non- 227 Paseo del Pueblo Norte, PO Box tonsquareoutdoorartexhibit.org. exhibition on Jun6 - Jul11. occca.org/ Member Juried Photo & Graphics 1848, Taos, NM 758-2690 (575) 758- Exhibition, Jul 27 - Aug 7. Download CALL-FOR-ART.html#moist for more 2690. Invites artists to enter 11th An- Artists, Craftspeople: White Plains info. Deadline May 10. info.occca@ prospectus from website and mail nual Gala Exhibition and Auction Jun Outdoor Arts Festival Committee, gmail.com • www.occca.org with SASE. Deadline Jun 17. www. 30-Aug 28. Visit website for details. P.O. Box 273, White Plains, NY 10605 Salmagundi.org Artists, All Media: Pascack Art Deadline: May 29. taosartmuseum- (914) 949-7909 or (914) 993-8271. Assn., 201-664-6664 Seeks entries for Painters, Sculptors: Salmagundi [email protected] Seeks entries for 53rd Annual Juried Show, May 30 & May 31, 2015, 10am- 3rd Annual “Tri-State Judged Show” Club, 47 Fifth Ave., NYC 10003 (212) Artists: The Art Guild at Manhasset, 5pm at Tibbits Park, White Plains. for NY, NJ, & CT. (Oct 17-Oct 31) Visit 255-7740. Seeks entries for Annual 200 Port Washington Blvd, Manhas- Children’s workshop, student art ex- website for prospectus Deadline Aug Open Non-Member Juried Exhibition, set NY (516) 304-5797 Seeks entries hibits and more! Free admission; food 30 www.pascackartassociation.org May 26-June 5 . Download prospectus for “Home On The Range: Landscapes available. See website for application from website or mail with SASE. Post- We Love” Mar 28 - Apr 26. Website Soft Pastel Artists: Pastel Society www.whiteplainsoutdoorartsfestival. marked Deadline: April 22 info@sal- for prospectus. Deadline Mar 6. www. of America. Seeks entries for 43rd magundi.org • www.Salmagundi.org com Annual Juried Exhibition “Enduring theartguild.org If you have an opportunity to Brilliance” at National Arts Club, Hudson Valley Artists: Samuel Artists: The Jay and Linda Grunin list, email: info@arttimesjournal. NYC, Sept 8-26. Send SASE (#10) PSA, Dorsky Museum of Art SUNY New Foundation, Toms River, NY. Is spon- com or write: ART TIMES PO Box 15 Gramercy Park South, New York, Paltz 75 So. Manheim Blvd. New soring a Call to Artist / Mural Contest. 730, Mt. Marion, NY 12456. Please NY 10003 for prospectus. Info: 212 Paltz, NY 12561 (845) 257-3844. $10,000 to winning artist. Email or vis- follow above format and include 533 6931 or download from website. Seeks entries for “The Stories We Tell: it site for info and prospectus. Deadline deadline & contact phone number. Deadline Jun 16, 2015. psaoffice@ Hudson Valley Artists 2015”. Visit Mar 9. [email protected]•www. website for full details. Deadline Mar pastelsocietyofamerica.org • www. jayandlindagruninfoundation.org/ Every month new pastelsocietyofamerica.org. 23. www.newpaltz.edu/museum communitymuralproject.html opportunity listings are Artists: Paul Robeson Galleries, Artists all media in CT, DE, MA, Artists, All Media: The Main Street uploaded to Rutgers, the State University of NJ. MD (D,C,) ME, NH, NJ, NY, PA, RI, Petite Gallery of the Huntington Arts arttimesjournal.com 973 353 1610 Seeking entries for “The VT Silvermine Guild Arts Center, Council, 213 Main St., Huntington,

National Society of Painters in Casein and Acrylic 61st National Juried Exhibition at the Salmagundi Club, 47 5th Avenue, NYC June 22nd ­— July 11th Juried by CD • Entry deadline May 2nd Featuring the ROBERT SANSTROM PRIZE-Gold Medal and $5000. Over $15,000 in prize money and medals. • Juror of Awards: Max Ginsburg • Jury of Selection: Robert Dunn, William Figdoor, Charles McVicker, Robert P. Weiss, D. Wels Entry fee: Non-members, $20. For prospectus: send SASE to: D. Wels, Corr. Secy., 1710 1st Ave., #245, New York, NY 10128 or NationalSocietyofPaintersinCaseinandAcrylic.com. Spring 2015 ART TIMES page 22

TIMES. Ray, this time I think you none of the creative arts are currently to explore what today’s life demands Letters ruffled a lot of feathers. doing their jobs. I believe that the of us in these times. We need to be Continued from Page 2 Art has always been a means for age in which we now live demands inspired into noble action. The arts, To the Publisher: recording people, places and things. new job definitions for all of the arts, and especially theater, can do this. Thanks for the article on the Fred- In lieu of photography, painting and maybe for all of us. Dagen Julty ericksburg area. It gives me an idea etching did a wonderful job. Skilled Never before have we lived with Rosendale, New York of what we are not doing right in painters of the Renaissance (1400s) such massive global threat, such Washington County, NY. However, I honed their skills, from Michelangelo limited resources (time and money) To the Publisher: would like to point out an error in the to Johns. Pop-Art and all the “isms” or such despair. We all aim high and As awards Chairman for the Catha- history of Texas perpetuated by the (Dali, Albers, Mondrian, Van Gogh, at the same time sense that the real rine Lorillard Wolfe Art Club, I would article: the Spanish ARE Europeans. Picasso and Pollack) took art in a issues of the day are not being ad- like to thank your organization for Sincerely, new direction. dressed. Suddenly we find ourselves the contribution (The Art Times Please feel free to run my com- In the 1800s and 1900s modern challenged to create a new cultural Award) to our 118th Annual Open ments and thanks for responding. art turned the art world on its ear. paradigm that might allow us to sur- Juried Show. I’m the current Manager of North Art seems to have preserved “signs vive, much less excel. Anything less is [Your award was given to] Eliza- Main Gallery in Salem (Washington of the time.” I agree with you that contributing to the ongoing and rapid beth Derderian for her acrylic en- County) New York. I enjoy your pub- sensational projects like a crucifix in destruction of our planet. titled Before the Curtain Rises. lication and usually read it cover to urine and feces in a jar is not art but The creative arts have an ancient The presentation of the awards cover. a distortion of art. history of uplifting, illuminating and was made on Friday, December 19th Also, spent years as a freelance However, a dirty greased up inspiring the public. As Mr. Bethune at our Annual Awards Dinner, Na- writer and occasional illustrator for wrench may only be a dirty greased observes, this process used to occur in tional Arts Club, 6:00-9:00 pm. several publications. up wrench to most people but to an local and/or regional settings, mak- Thank you again, Alan K. Hutchinson artist, it’s a wonderful still life with ing up-front-and-personal contact Jeanette Dick, Awards Chair Hebron, NY a lot of character. Art is in the eye of with the community. In our brave the beholder! new world of environmental threat CLWAC, NYC To the Editor: All art will survive like classical and economic collapse, our commu- music, rap and Mr. Glass’ modern nity has expanded to include nothing To the Publisher: (A response to “Peeks & Piques” win- tempos. Modern art and the “isms” other than the whole wide world. The Thanks for the mention of LRA...I ter issue Art Times) are here to stay and have survived creative arts can address this global linked to Art Times on my website Dear Ray, the test of time. You have it all situation by advocating for new ways (About page). I also really enjoyed the You are surely to be admired, wrong! of living together, by suggesting new article about Keith Haring... thanks your bravery breath-taking if not Maxwell Schwartz ways of thinking and living, and by for all you do, Cornelia and everyone. fool-hardy — imagine, to dismiss Freeport, NY modeling new ways of communicat- Stacie Flint Artist nearly all advances (well, let’s settle (Editor’s note: You and Mr. ing with each other – all in the spirit of www.stacieflint.com for “changes”) in art since the early Raleigh may be right in my being massive cultural shift. How else will 20th century as “crap,” the patrons ‘foolhardy’ and ‘wrong’ insofar people be inspired to think outside of To the Publisher: of same as “uncultured, aesthetically as my bias against ‘modern art’, the box? Who, besides the creative ignorant,” and like-minded artists Hi Cornelia - but I still choose not to include it artists, can express these lofty con- and critics no more than snake-oil I’m so glad you were both able to come in my publication. I have never cepts with drama, surprise, story, salesmen, hucksters whose only to the pub reading! This is a great suggested to any other editor perspective, wit, humor and pathos? interest is in getting their “cut” of write-up, we really appreciate it. that they follow suit.) I’d love to see a scintillating We’ll include this in an upcoming the profits — (I’m not sure what you performance about re-distributing meant here- I guess you never got e-blast, and so on. We’ll be announc- To the Publisher: wealth, about improving our mental ing our Spring main-stage show very yours, I certainly didn’t.) and/or physical health, about moving You and I, Ray are old, cranky In response to “Can theater still do soon...and we look forward to seeing its job?” – Winter 2014/15 beyond screen time, that addresses you in our Carpenter Shop Theater. artists moaning the end of whatever real ecological concerns, that then I greatly appreciate Robert Bet- Thank you again! “good old days” each of us favors. Is suggests how to take these ideas to hune’s poignant and bold perspective A-and the Tangent team it really true yours is Classicism? the next level of actualization. about the state of modern theater. I Andrea Rhodes I know very well we would agree Artists have always strived to re- would whole-heartedly agree that Producing Director absolutely as what “crap” is — yet flect and interpret the cultural land- theater is not doing its job in these tangent theatre company it is the crap of our time, a cultural scape through their creative works. modern times. And I would take this tangent-arts.org expression, if you will. As an We need new and exciting creations American poet once put it, you get one step further and suggest that from art just what is deserved. Like ef it or not it is interesting crap. Take of yourself, Ray. Speak Out is your forum! Henry P. Raleigh Southampton, NY ART TIMES seeks your opinions, viewpoints, ideas and complaints on any aspects of the arts. If you To the Editor: have a point to make—no matter how controver- This letter is in response to your editorial entitled, “Peeks and Piques” sial—all we ask is that it be well reasoned and in the Winter 14-15 edition of ART professionally presented. (No advertorials, please). Limit yourself to three (3) double-spaced typewrit- ten pages and email to: info@arttimesjournal. com. A by-line and tag-line identifying the writer accompanies all “Speak Out” articles.

Call for Entries th 65 Art of the Northeast USA June 6—July 18, 2015 Curators: Michelle Grabner, 2014 Whitney Biennial and co-curator of The Suburban and the Poor Farm & Brad Killam co-founder of The Suburban and the Poor Farm CALL for ENTRIES Awards: Best in Show Prize of a solo exhibit MARCH 13, 20, & 27 at Silvermine Arts Center. 8PM LIVE & ONLINE FINE ARTS • FINE CRAFTS Open to All Media 53rd Annual Juried Show Artists must reside in CT, MA, ME, NH, NJ, NY, PA, RI, VT WWW.SALMAGUNDI.ORG MAY 30 & 31, 2015 Deadline for All Entries: April 20, 2015 For application (click apply) or information: Entry fee: $45 www.WhitePlainsOutdoorArtsFestival.com Salmagundi Club For Prospectus: send #10 SASE to: Silvermine Guild Arts 47 Fifth Ave @ 12th St. White Plains Outdoor Arts Festival Committee Center 1037 Silvermine Rd. New Canaan, CT 06840 P.O. Box PMB 441 • 333 Mamaroneck Ave. New York City, 212.255.7740 White Plains, NY 10605 • 866.210.7137 Phone 203-966-9700, ext 26 or download www.silvermineart.org.fqdns.net/art/call-for-entries.php. Spring 2015 ART TIMES page 23 Quaint STORE FOR RENT ideal These essays were published at Classified for artisan, Sugar Loaf, NY. $700 monthly, 300 sq ft. 845-469-0993 www.arttimesjournal.com THOUGHTFUL, innovative & re- sourceful approaches to stonework NEW MEMBERS: N.A.W.A. Na- in January & February 2015 and the structural, textural aspects tional Association of Women Artists, of landscape. Hudson Valley, West- 80 Fifth Ave., Ste. 1405, New York, ~~~ chester & the Bronx. Kevin Towle NY 10011 (212) 675-1616. Invites Jane Sherman's Memoir of her time in Singapore with the (914) 906-8791 women artists (18+, U.S. citizens or Denishawn Dancers’ 1925-26 Asian Tour (this is a piece Jane permanent residents) to apply for ARTISTS, WRITERS AND MUSI- membership in the first professional wrote after Cornelia Seckel's trip and report on Singapore) CIANS - Looking for a home in the women’s art organization in the U.S. heart of the country? Rocker/realtor ~~~ (established in 1889). Juried. Regu- knows what you want. Specializing lar Membership, Junior/ Student Dawn Lille~ Performers and Presenters at in country homes with studios, out- Membership, and Associate Mem- the Association of Performing Arts Presenters buildings, privacy, and proximity to bership. For details send SASE to congenial creative communities. You ~~~ N.A.W.A. or download from website. need a real estate professional with www.thenawa.org. Deadline: Sept Norman Kolpas~ Keith Haring Retrospective at experience in the world of the arts 15 & March 15 of each year. de Young in San Francisco as well as knowledge about home prices and the best schools. Call me BOOKS BY RAYMOND J. STEIN- ~~~ for an in depth discussion of what an ER: Hudson Valley Impressions: artist needs and can expect to find. Paintings and Text 5 ½ x 8 ½; 57 Henry P. Raleigh~ The Bounty of Films on Netflix Les Braunstein Licensed Broker Full Color Illus. $15.95; Heinrich J. ~~~ Associate with Westwood Realty Jarczyk: Etchings 1968-1998 ($30) 845-657-7372 and The Mountain ($18). For each Cornelia Seckel~ Culturally Speaking book, please include $5 for tax and ADVERTISE in ART TIMES — ~~~ shipping. Order from CSS Publica- Quarterly in print, monthly on- tions, Inc. PO Box 730, Mt. Marion, Mary Alice Franklin~ Get Social line. For rates call: (845) 246-6944 • NY 12456. More info available about email: [email protected] or ~~~ these books on the website: www. check online: www.arttimesjournal. raymondjsteiner.com or www.art- Robert W. Bethune~ Excuse me, did I ask to be harrowed? com. For advertising rates timesjournal.com. ~~~ EASEL TO SELL? PERSON TO HIRE? SPACE TO RENT? SERVICES Henry P. Raleigh~ Ninety Minutes or Else TO OFFER? Place your classified ad in ART TIMES. $33/15 words, $.50 for each additional word. All classified ads must be pre-paid. Send check/ ~~~ credit card # (exp. date & code) w/ copy to: ART TIMES, PO Box 730, Mt Leigh Donaldson~ African American Gardens and Yards Marion, NY 12456-0730. For questions call 845-246-6944; email: ads@art- timesjournal.com

Paint in 44th Annual Holiday Craft Fair Maine Nov. 28 & 29, 2015 Plein Air Workshops 10 am to 4 pm & Studio Classes in Oils Juried Show Mid-Coast Locations — Hand-Crafted Items Only Damariscotta, Monhegan, Atelier Boothbay Harbor For an application or more information go to www.sunydutchess.edu/craftfair Book now for Spring, Summer Renée or Fall to suit your travel schedule. fine framing 207.226.0974 • www.kefauverstudio.com Poughkeepsie, NY The Chocolate Factory 54 Elizabeth Street Red Hook, New York 12571 Tuesday through Saturday 10 ~ 6 or by appointment ART CLASSES: Renée Burgevin, owner, CPF Adults, Teens and Children [email protected] Summer semester starts May 26 Celebrating the finest of traditional and 845. 758 .1004 CLASSES IN: Contemporary artwork in the litChfield hills Ceramics Jewelry Upcoming ShowS Drawing MeMbers’ show I Photography March 8th to April 12th Sculpture Painting sprIng JurIed show Digital Arts April 19th to May 25th Patrick Purcell, “Rooster” (Submit Your Work for • Workshops Jurying at Receiving on • Talks Friday, 4/17 from 1 - 4 pm • Exhibitions WESTCHESTER or Saturday, 4/18 COMMUNITY from 10 am - 1 pm) COLLEGE

gallery hours 1 to 5 pm Thursday - Sunday Convenient location: March 8 — October 12 including Monday Holidays White Plains, Westchester County Center

For more info: 914-606-7500 The KenT arT assocIaTIon Email: [email protected] 21 S. Main St, PO Box 202, Kent, CT 06757 860-927-3989 • www.kentart.org • [email protected] www.sunywcc.edu/arts Spring 2015 ART TIMES page 24 Continued from Page 18

Calendar Friday, May 15 Furuya Sisters Perform Tchaikovsky and Mozart Furuya Sisters Concert Series South Salem Presbyterian Church 111 Spring St. South Salem NY 914-200-3622 7:30pm charge Roxanne Fay in HOME FIRES BURNING Kaliyuga Arts Bridge Street the- atre 44 West Bridge Street Catskill NY 518-943-3818 charge (thru May 24) Yes! I want my copy of ART TIMES Add $15 to your 1 year subscription The Producers Center for Performing Arts at Rhinebeck 661 Route 308 Rhine- mailed directly to me. and we will send a 1 year subscrip- beck NY 845-876-3080 Fri & Sat 8pm; Sun 3pm charge (thru June 7) __1 yr. $18 ___2 yrs $34 ___ tion to ART TIMES as a gift from you. Saturday, May 16 ___Foreign: $30/1yr; $55/2yrs Note to read______Beacon Open Studios All over town Beacon NY 917-693-8536 12- ______6pm free Name______Please mail my gift subscription to: Catching the Light, Annual Student Show Betsy Jacaruso Gallery Address______The Courtyard, Rhinebeck 43 East Market St Rhinebeck NY 845-516-4435 Opening Name______Reception 6-8 free (thru May 31) City______ST______Zip______Address______Ephemera: Holding a Moment in Your Hand by Jean Linville, PH.D. Wisdom House Retreat and Conference Center Marie Louise Trichet Art Gal- Phone______City______ST______Zip____ lery 229 East Litchfield Rd Litchfield CT 860-567-3163 Opening Reception 3-5pm; Artist’s Talk: 3:30 pm free (thru Sept 11) email:______Phone______Flamenco Vivo Carlota Santana at Kaatsbaan Kaatsbaan Inter- Make check payable to ART TIMES PO Box 730 Mt. Marion, NY 12456 or national Dance Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm charge The Avalon String Quartet - Debussy and Schubert Close  visa /  mc /  disc / code______Encounters With Music The Mahaiwe Performing Arts Center 14 Castle St. Great card # ______/______/______/______exp date______Barrington MA 800-843-0778 6-8pm charge Sunday, May 17 Flamenco Vivo Carlota Santana at Kaatsbaan Kaatsbaan Inter- national Dance Center 120 Broadway Tivoli NY 845-757-5106 2:30 pm charge Hyperion Quartet in Concert Saugerties Pro Musica Saugerties United Methodist Church 67 Washington Avenue (corner Washington Ave & Post St) Sau- Sacred Icons gerties NY 845-679-5733 3-4:30 pm charge Light and Life - Light and Form - Photography by Dr. George A Window Into Saines and Middletown Art Group 2015 Members Spring Exhi- bition SUNY Orange Cultural Affairs Orange Hall Gallery Loft, SUNY Orange the corner of Wawayanda and Grandview Avenues Middletown NY 845-341-4891 Stillness Opening Reception 1-4pm free (thru June 18) April 12 to 17, 2015 Wednesday, May 20 GUEST ARTIST Judy Pfaff, N.A.W.A. Honoree AND 2015 HONOrEE and Mariandale Retreat & ANNUAL MEETING LUNCHEON National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Luncheon Conference Center, 12-3pm; Opening Reception 3-5 (thru May 27) Ossining, NY Saturday, May 23 85th WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square East & University Place (212) 982-6255 Icons are windows on a world that calls us to be still and Jennifer Muller/The Works at Kaatsbaan Kaatsbaan International Dance Center 120 Broadway Tivoli NY 845-757-5106 7:30 pm - 9:30 pm charge rest in a place of thankfulness with God. Traditional icon Shutan+Knight/Shatz The Riverside Galleries at Garrison Art Center 23 Garrison’s Landing Garrison NY 845-424-3960 Opening reception 5-7 free (thru writing is an ancient spiritual practice; an extraordinary June 21) prayer. This retreat, emphasizing painting and prayer, is for Sunday, May 24 all skill levels, absolutely no experience necessary. 85th WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square East & University Place (212) 982-6255 Retreat and workshop with Mary Jane Miller, master iconographer. Her Monday, May 25 technique uses traditional egg tempera with gold leaf rather than 85th WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square acrylic. Her work may be seen at www.sacrediconretreat.com East & University Place (212) 982-6255 Tuesday, May 26 www.mariandale.org 914-941-4455 ext. “0” Conference fee includes Non-Members Painting & Sculpture Exhibition Salmagundi Club room, board and workshop materials $450 - $475 (as you are able) 47 Fifth Ave., NYC (212) 255-7740 (thru June 5) Thursday, May 28 Christian Cagigal in OBSCURA: A Magic Show Bridge Street Theatre 44 West Bridge Street Catskill NY 518-943-3818 charge (thru May 31) Saturday, May 30 Ginger Balizer- Hendler 48th ANNUAL ART IN THE PARK Art League of Long Island, Heckscher Museum Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm Interior Design 85th WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square East & University Place (212) 982-6255 GARNER Arts Festival GARNER Arts Center 55 West Railroad Avenue (Little Windows, Empty Spaces, Garnerville NY 845-947-7108 11-6pm free & Faerie Chimneys) White Plains Outdoor Arts Festival - 53rd Annual Tibbits Park One North Broadway White Plains NY 866-210-7137 10-5pm free Juried Fine Arts th th & Fine Crafts Children’s workshop, exhibits & much more! 866.210.7137 May 12 - June 6 , 2015 Sunday, May 31 Opening Reception Thurs., May 14, 5 -8pm 48th ANNUAL ART IN THE PARK Art League of Long Island, Heckscher Museum Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm 85th WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square East & University Place (212) 982-6255 130 W. 25th Street 4th Floor Daniel van Benthuysen, Landscape Paintings Susan Steeg Abstractions, Paintings and Collage Upstream Gallery 8 Main New York, NY 10001 Street Hastings On Hudson NY 914-674-8548 Opening Reception 2 to 5pm free (646) 230 0056 (thru June 21) Hrs: Tues –Sat 11am-6pm GARNER Arts Festival GARNER Arts Center 55 West Railroad Avenue Little Windows, mixed media www.pleiadesgallery.com Garnerville NY 845-947-7108 11-6pm free www.gingerlyart.com Kent Art Association Elected Artists’ Invitational & Solo Show The Gallery at Kent Art Association 21 S. Main Street Kent CT 860-927- Please Support our Advertisers; They Support Us 3989 free (thru July 12) Like us on Facebook; Follow our Tweets White Plains Outdoor Arts Festival - 53rd Annual Tibbits Park Like us on Facebook, One North Broadway White Plains NY 866-210-7137 10-5pm free Juried Fine Arts Happy Spring!! & Fine Crafts Children’s workshop, exhibits & much more! 866.210.7137 ef