Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human

River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style. his skill of transforming lounging As much a master colorist as he is women in various stages of dress or a draftsman — his black and white undress (a recurrent motif in each of renditions are as commanding as are the mediums), some appearing “dis- his paintings — Rein’s eye for trans- tant”, others engaging the viewer forming the commonplace into vivid Continued on Page 7

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ART TIMES that since no rules can be brought to Commentary and Resource for the Fine & Performing Arts Ought aN ART critic “know” — or the thought processes involved in the ART TIMES (ISSN 0891-9070) is published ought he “feel”? Ought he do both? human effort of ‘defining’ things in bear on a definition of it, any object monthly by CSS Publications, Inc. with 28,000 the first place. They claim that some, has the right to be called “art.” He copies distributed along the Northeast Corridor Can he do both? Not really an idle primarily throughout the Metropolitan and Hudson question — and it’s been around especially critics, merely mouth gives credit to what is called “Pop” art Valley Regions, Connecticut, Massachusetts and words and concepts without really for the collapse, and to Warhol spe- New Jersey each month. Copies are also avail- for some time, most often discussed able by mail to subscribers and arts organizations in journals dealing with aesthetics knowing what they are talking about cifically for his “genius” in bringing throughout the US and abroad. Copyright © 2009, (pace, Socrates). Along these lines, I it about (cf. his book After the End of CSS Publications, Inc. (such as the one I receive from The believe it was Ben Shahn who once Art). Thus, in this view, as far as “art” Publisher: Cornelia Seckel American Society of Aesthetics). Editor: Raymond J. Steiner Some have argued — cogently — for compared critics to eunuchs — they is concerned, we are back to a pre- Pub’s Assist. Katherine O'Brien critics to not “define”, but rather to knew all the technical moves and Cennini age, another period of “Dark Contributing Writers: terminology, but couldn’t do it them- Ages”, a time in the past in which Henry P. Raleigh Robert W. Bethune reveal one’s “impression” of a work Ina Cole Dawn Lille of art (Pater). They contend that selves. Nice image — and probably people simply made things — usually Frank Behrens Tara Marvel not too far off the mark, either. The for other reasons than for creating Francine L. Trevens Ginger Lee Hendler ‘beauty’, for example, is an indefin- able abstract and, no matter how conundrum of “knowing” or “feeling” “art” since no one at that time had Subscription Rates: ever thought of placing these objects USA: $18 /1 year $34 /2years knowledgeable one might be, one becomes particularly sticky when we Foreign: $35 /1 year $45 /2 years simply cannot arrive at a definitive come to art. I’ve often discovered, for apart as “art.” Today, the line once Contact for Print and Online Advertising Rates: characterization of what it “is” (re- example, that the more I was moved drawn between a box of brillo and CSS Publications, Inc., PO Box 730, Mt. Marion, a picture of a box of brillo has, for NY, 12456. Phone or Fax (845) 246-6944; gardless of what the definition of ‘is’ by an artist’s work, the less was I able email: [email protected] is, ex-presidents notwithstanding). to put into words what I was seeing some, blurred for all time and there Web site: www.arttimesjournal.com Critics, then, ought only know what or of how it was done — “knowledge” is no longer felt to be a distinction Deadline for Advertising is the 15th of the month between art and non-art. If Arthur preceding inclusion. they feel and can only ask, “What failed me; conversely, the more I knew Items for inclusion in the Calendar and Oppor- effect does it produce on me.” This what an artist was ‘doing’, the less Danto is correct in his assumptions, tunities section must be emailed, mailed or faxed to emotional effect I would experience we might say we are now in a “Danto’s the ART TIMES office by the 12th of the preceding argument is extended even more forc- month. Email for guidelines. ibly by those who claim that, when — “feeling” failed me. Turning the Inferno” where the terms “art” and ART TIMES solicits short fiction and poetry — see we come right down to it, not only question on its head, what ought art “artist” are no longer relevant, each our listing in Writer’s Market, Fiction Writer’s can we not strictly define an abstrac- do? Make us know, or feel? Or, ought of us reduced to naked sinners ma- Market, Poet’s Market and other trade magazines neuvering for position in a series of or send a legal-sized Self Addressed Stamped tion — we can’t even properly define it do both? Can it do both? Some very Envelope (SASE) for Guidelines. Guest articles on non-abstractions (Herder). This is be- latest “cutting edge” critics (Danto, concentric circles of a modern-day, the arts are also considered but must be preceded artscene Hell. So, then — ought a by a written Query. Our “Speak Out” section is a cause, the argument goes, we ‘inherit’ for one) even suggest that the very forum for reader’s relevant opinions on art-related a language replete with both abstrac- paradigm that brought the concept of critic feel or know? Which would you, matters; viewpoints expressed in the “Speak Out” as an artist, prefer critiquing your art section are not to be construed as positions held tions and non-abstractions and, we “art” into being has collapsed, no lon- by the publisher, editor or staff of this publication. are so far removed from the origins of ger applicable to what is now termed — someone who responds, or someone Queries, Mss. without SASE included will not be who pontificates? acknowledged. We do not accept electronic submis- words, that we only know “things” at as “art” — indeed, he calls into ques- sions. Sample copy: 9x12 SASE. second-hand, completely ignorant of tion the very notion of “art,” claiming Raymond J. Steiner ART TIMES welcomes your letters and comments. ef Nothing in this publication may be reproduced without written permission of the publisher.

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Bannerman Island and Storm King near Cold Spring Jan/Feb 2009 ART TIMES page 3 Speak Out Energy & Emotionalism in Art By Jeanne Heiberg One of my favorite sayings con- makers, musicians, dancers and de- artists from all over the world meet are in these arts, and that is what cerning art comes from the novelist signers. He gave them a voice, saying and where all the distant cultures differentiates them from random Leo Tolstoy, who defined it as “con- “We believe that now is the time for come together.” colors and shapes, sounds and bab- scious communication of feeling.” A change, to create art that is profound, The invited artists responded bling words. visual arts movement quietly grow- strong, passionate... art that doesn't passionately to the question about All arts need some form of matter. ing for fourteen years, and accelerat- require an elaborate explanation; art ENERGY, an issue currently so im- Visual arts need paint, pigments, ing since 2004, more than lives up to that involves the whole man, who he portant to everyone. “It touches all color and shape, while music utilizes this statement. The artists involved is and who he can become.” of us,” Maryanska said, “so of course instruments and sounds. Poetry uti- call themselves “The Emotional- While the emotionalists have the invited artists were excited about lizes images, sensory memories of ists.” been widely exhibited in the United expressing their thoughts, feelings things seen, heard, smelled, tasted The concept began in the United States and Europe, Basha Maryan- and emotions in painting, graphics and touched as vehicles to carry States with a Polish artist, Lubomir ska of Athens NY, a member of the and sculpture.” things you can’t see, abstractions, Tomaszewski, who saw the need to Emotionalist group, has been curat- Professor Tomaszewski began emotions, qualities, feelings. One bring more of the human aspect back ing some of their shows throughout working with energy twenty years poet gives exercises in which you into the arts. After previous van- the USA and in Europe, with the ago. Trained as an engineer, he de- have a teacup full of friendliness, guards of cubism, minimalism, and idea that they have been gradually signed and installed a solar energy anger, nostalgia, joy, or a blizzard sensational tabloid-worthy exhibits becoming a movement. Exhibiting system in his Connecticut home. of desolation, hope or possibilities, featuring such phenomenon as “as her own work and acting as curator It cost $1,200 and has saved him a concrete block or a river carrying a bicycle on a pedestal, a urinal, a for many shows brought her into $10,000 in the intervening years. ideas. In poetry, energy builds with giant toilet or hamburger,” Professor contact with other artists from Eu- Photos of this system are shown at images until it explodes into an Tomaszewski began to incorporate rope, Australia, and throughout the many of his exhibits, along with his “Aha!” moment for the reader. into his own works, “ a purpose that United States. She observed that, rhythmic moving sculpture in metal, Maryanska has curated other is visible in the works themselves… despite cultural differences, many wood and stone shows, including a May, 2008 inter- created not as a result of cold intel- artists shared feelings compatible Emotions carry a lot of energy, an national exhibit of Emotionalism in lectual calculation and application of with the Emotionalists, and saw that aspect of the arts that deserve more Beacon, NY that proved so popular proper formulas or recipes, but rath- Emotionalism is larger than the ex- exploration. Einstein gave impetus it was extended for an additional er of deep world experience” and that isting group. For the past four years, to energy concepts with his E=MC2 month. At this and other openings speaks “directly to the recipient’s since she began work as a curator, formula; this easily applies to visual there poetry readings and mu- emotions…art that resonates natu- and at the same time expanded the arts, poetry and writing. E means sic—emotionalism is not only for the rally and deeply within the viewer, range of showing her own work, she Energy, which translates into M, visual arts. Poet Robert Reidy reads observer or listener. saw Emotionalism growing as an Matter, (or vice versa) as it is affected while Mietek Glinkowski plays an “Art can play an important role international movement by C, velocity or speed, often thought electric violin, providing another apt in individual and social life, if it has With this vision, and the backing of as light, the fastest moving observ- expression of energy in art. a positive relationship to mankind, of the Professor, Maryanska invited able phenomenon. Helen Adler, granddaughter of if it’s helpful in building a better artists to a show, Energy, the Art of Scientists usually start with mat- Felix Adler, founder of the Ethical human being or a better society, Emotionalism, at New York City’s ter, and find ways to turn it into en- Culture movement, loves and writes instead of solely entertaining or New Century Gallery. As curator ergy; huge colliders are being built to poetry. When we spoke of some po- surprising the viewer,” Tomaszewski she brought together artists from crash atoms at high speed to measure ems in literary magazines, she said, teaches. “Contact with a work of art different parts of the world who show the resulting energy. Some practi- “I get so tired of all this stream of con- should enrich the viewer and allow internationally, in order to show the cal, visual results of Einstein’s work sciousness and obscure poetic writ- for experiences that he/she never universality of Emotionalism. She are computers, cell phones, the high ing that comes out of Academia—po- had before…“Most essential is “the chose for its site Chelsea, Manhat- tech world we have today. The arts ets writing for themselves, from their depth of sensation that the artist tan, “one of the most international go in the opposite direction, turning own subconscious, that doesn’t move delivers to the audience.” places of the world where all arts the energy of ideas and inspiration people unless they are exactly at that Looking for this purpose in the meet and create new configurations,” into physical embodiments of paint, point.” After listing poets we liked, work of others, Tomaszewski brought she said. She wanted a showing “in pigment, sounds, music, spoken and Adler continued, “Great poets evoke together a multi-disciplinary group the heart of this most contemporary written words. The energy of ideas, a resonance, a response; they touch of artists—painters, sculptors, print- art section in New York City, where meanings, emotions, and feelings each person.” Her last statement might be the goal of Emotionalist writers. At pres- ent, however, it’s carried largely by visual artists such as Maryanska, Tomaszewski, and their enthusias- tic colleagues. Earlier, in Poland, BAMIYAN Maryanska carried out an emotional action during Solidarity, when Com- munist guns were trained on the Gdansk shipyards. When she and other artists were photographed placing flowers in gun muzzles, her secret work for Solidarity became known. To escape prison she was spirited out of Poland, and eventu- ally came to upstate New York. Tomaszewski, Emotionalist’s chief founder, now lives in Connecti- cut. Earlier he participated in the Warsaw uprising during World War 11. Perhaps heartfelt engagement in the struggles of difficult and terrible times equipped Tomaszewski and SILK TO LAVA many of his colleagues to engage now with a movement called Emo- VON SCHMIDT tionalism. January 20 - February 14, 2009 Tues - Sat 11-6 (Jeanne Heiberg lives in Athens, NY: [email protected]). Reception, January 24, 4 - 6 pm ef 530 W 25th St. 212.367.7063 Visit our website: www.arttimesjour- NYC, 10001 www.von-schmidt.com nal.com to read previously published essays. Jan/Feb 2009 ART TIMES page 4 Because our Calendar of Events is prepared a month in advance dates, times and events are subject to change. Please call ahead Calendar to insure accuracy. The county (and state if not NYS) where the Quick•Reliable•Affordable event takes place is noted in bold at the end of each listing. 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(thru Mar 15) Exhibition Hall, New York State Museum, Madison Avenue, Albany, NY February 16 — February 27 (518) 486-3696 Albany Awards Reception Friday, February 27, 7pm ORIGINS Hudson Valley Center for Contemporary Art (HVCCA), 1701 Main Street, Peekskill, NY (914) 788-0100 (thru Jul, 26) Westchester PATTIE EAKIN: Multimedia 36 Main Restaurant & Wine Bar, New Paltz, NY ((845) 255- Slide deadline January 15th. 3636 (thru Jan 31) Ulster Featuring the ROBERT SANSTROM PRIZE-Gold Medal and $5000. ROSLYN FASSETT Exhibition Prince Street Gallery, 530 West 25th St., NYC (646) 230- 0246 (thru Jan 24) NYC Over $14,000 in prize money and medals. SHELDRAKE: A Photographer’s Inspiration Sheldrake Environmental Center, 685 Entry fee: Non-members, $20. Weaver St., Larchmont, NY (914) 834-1443 (thru Mar 2) Westchester THE BELLES HEURES OF THE DUKE OF BERRY (thru Feb 8); ENGLISH EMBROI- For prospectus: send SASE to: D. Wels, Corr. Secy., 1710 1st Ave., #245, DERY FROM THE METROPOLITAN MUSEUM OF ART 1580-1700 (thru Mar 15) New York, NY 10128 Metropolitan Museum of Art, 82nd St. & Fifth Ave., NYC (212) 535-7710 NYC THE MAJESTIC HUDSON: Group Show Paramount Center for the Arts, Upper Gallery Requests for additional information: 1008 Brown St., Peekskill, NY (thru Jan 31) Westchester Continued on Page 6 Douglas Wiltraut, 969 Catasauqua Road, Whitehall, PA 18052, 610-264-7472 / [email protected]

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www.artworkshops.com www.fiberartworkshops.com www.greenvillearms.com www.tabortonmountain.com (518) 966-5219 [email protected] (518) 674-4005 Jan/Feb 2009 ART TIMES page 5 Dance Memories of Clive Barnes By Francine L. Trevens he claimed no theatre was interested. critics, said in her strident Tennessee Williams was re- I said I knew one which would be voice, “This isn't very good.” sponsible for my meeting Clive more than interested. I mentioned From behind me I heard Barnes. Tennessee was also respon- it to Mr. Ulmer, who acted upon it the familiar low chuckle of sible for my not dining with Clive at immediately. Thus, my presence at Clive Barnes. I turned to that first meeting. Those memories this dinner, instead of being with the look into his smirking face. were revived Thanksgiving week press dinner that evening. Mortified, I whispered when I learned of the dance/theatre I mingled with the New York media my daughter silent. Clive critic’s death. during intermission, however, and whispered I was raising It had been apparent for some time knew the production was doomed in a potential critic. Neither that Barnes was ailing. So it should their eyes. I had seen many points Clive nor I ever mentioned not have surprised when he died No- which misfired, but hoped it would the incident again. vember 19 of liver cancer. Still, I felt still “work.” It did not. No one dis- Most shows I handled a distinct personal loss. A long chapter cussed the play, all remained polite, when I later had my own of my past had closed: A chapter rang- but the critical claque was much less publicity office were not on ing from the mid 1970's to the early boisterous during that endless inter- Broadway. But a few off 21st century. mission than they had been when they Broadway shows intrigued I met Clive when we were both first arrived. him, as did one play about dance/drama critics; he for the Most of the New York press avoided a famous movie star. When prestigious New York Times, me my company, but Clive came over to Clive agreed to come to for the Springfield Daily News, the share another funny story about being the showcase production, afternoon newspaper in Western both a dance and drama critic with me I saved him two terrific Massachusetts. He came to West before we all filed back into the the- seats in the 75-seat house, Springfield with a busload of other atre. I was charmed by his kindness, and awaited his arrival, New York based critics to view a re- and his English accent and manners. slightly late, for the per- written “Cat On A Hot Tin Roof,” be- He “cheerioed” me tongue in cheek formance. When I walked ing premiered at Stage/West regional when he left soon after the curtain him into the theatre I found theatre. came down. a couple had taken the As I was the catalyst for this Next time I saw him was about seats. Clive said he'd sit Clive Barnes at the Kaatsbaan International Dance production, Artistic Director John a year later, in New Haven where in the back. I insisted the Center’s "Starburst of Dance" Gala in 2000, Pough- Ulmer asked me to liaison with the again, a new version of “Cat On A Hot couple move. They claimed keepsie, NY. Photo credit: Rosalie O'Connor; courtesy Manhattan critics. Steve Rothman, Tin Roof” was being presented. Clive there were no signs on the of Kaatsbaan International Dance Center, Tivoli, NY then publicist for Stage/West, did an was in the lobby, alone, still looking chairs. I lifted the torn sign rassed and wanted to apologize, but impressive job arranging for their more like a loveable uncle than one’s from the floor beneath them. Clive did was advised against it, and it was transportation, snacks and entertain- image of a theatre critic. I saw him not want me to start anything. I agreed, never mentioned at all. ment and even more, in getting all the and hesitated, sure he would not re- we would not start anything, particu- I retired from press agentry some major publications to send critics. member me. But he did remember, larly the play, until he got his seats. years ago, but occasionally found my- We had a bit of a party in the lobby greeted me warmly and we talked The couple grumbled and moved. Clive self walking towards the theatre dis- of the theatre on the arrival of the criti- about the fact that the Stage/West pro- smirked his approval. trict in his company. Winded though cal dignitaries. The drinks went down duction was the opening door for this I would run into Clive at various he might have been, rushing as usual, like a hurricane, blowing away memo- staging. Again, I felt his comments Broadway plays and he was always for he had a tendency to be late, we ries of the uncomfortable bus trip and were intended to soothe my disap- friendly and warm. always chatted amiably. providing a mellowing effect. All the pointment about the harsh (but true) Whatever production I called him I admired Clive for his honesty as a critics were friendly, barbing and words which had been written about about he was always jolly and polite. critic, and his insights into the flaws of bantering with each other, but kind the Stage/West production. Tennes- Only once did he cut me off, because productions and performances. I liked and polite to me, including Ted Kalem see had reworked the script, it played he was expecting a call from overseas him for his good humor, his amiable of Time, Walter Kerr of the Sunday well, and deservedly, the New Haven where his son Chris was ailing. smile and for being so patient when- Times, and a busload of others. production moved to Broadway. Another time, when I was handling ever invited to a play or dance event. Clive was the one I was most ner- A few years after that, I relocated the off Broadway transfer of “Tallu- I shall miss the man, whose Times vous about meeting, since the Times to my native New York hoping to con- lah” with Helen Gallagher, Clive said byline once accidentally read Olive was a luminary light in my envious tinue my theatre/dance critic career. he would be delayed, coming from an- Barnes, leading to many jibes among eyes. From reading his reviews I knew I had no luck getting such a job in the other show, but to be sure to hold his my fellow Massachusetts theatre he had a great sense of humor and a recession of 1977. When dancer friend, seats – with no one in them, he added buffs. They all took his English ac- barbed wit. He was utterly charming, Sven Svenson asked me to serve in his jovially. I told the ushers. cent and mannerisms to indicate ef- appearing to me to more like a pudgy, stead as producer of a play, because he Clove was later than we had feteness, but his string of wives and overgrown, slightly rumpled elf than had to go to L.A., I eagerly agreed. thought he'd be. It was 20 past the various dalliances put an end to that. a famous critic. The play’s press agent was get- hour and the house manager wanted Another laugh that went around the Since we both reviewed Jacob’s ting no coverage. Forgetting this was to start the play. I insisted he wait theatre/dance community was the Pillow and other New England venues, New York City and our play a mere another few minutes. The moment line that actors wished he would just we easily exchanged stories, reactions showcase, I complained. The agent Clive’s cab pulled up outside the the- review dance, and dancers wished he'd and tales of letters received from irate invited me to his office. Challenging atre, I told the house manager to start just review theatre. actors or disgruntled dancers. me to get critics for my little produc- the overture. Clive came huffing and Theatre people often complained I dined that evening with Mr. Wil- tion, he handed me a list and one of puffing into the theatre, saying he he came to the theatre smelling liams, his agent Billy Barnes, Howard his phones. presumed I had not waited for him. I of booze, and often slept through Hewes, (reviewer for the Saturday I called Clive, by then at the Post, caught the twinkle in his eye as I said productions. I thought, his reviews Review) and a small group of other and said, “Remember me from Spring- I started the overture when I saw him, caught the essence of the play, its local theatre people. Hewes noted he field?” We chatted a bit before I asked and again personally saw him into his staging and production values. Maybe had gotten Tennessee to turn a story him to review my off off Broadway thankfully empty seat. he was not so much asleep as resting into a play, and I noted how, at a press show. He explained he could not, One day, he and I were both rush- his eyes or mulling over what he was breakfast hosted by Paul Weidner at but promised he'd get someone to do ing from Chelsea where we both lived, going to write? the Hartford Stage Company a year it. Marilyn Stasio, another wonder- to the Broadway area, he for a major I personally wished all reviewers previously, when Williams said he ful critic who loves theatre and was show, me for an off Broadway one. We could be as friendly and approachable, wished “Cat” with the ending he had committed to new plays and new chatted amiably about his family and as caring and devoted to plays and wanted in the first place could be playwrights, did review it. mine as we rushed along the darken- dance as this wonderful man. He rec- staged. (Elia Kazan had insisted on a As a result of the phone calls I made ing streets. ognized many new talents, supported different ending than Tennessee had in the office, I was offered and accepted On another occasion, he and a sis- them with his reviews and chastised envisioned. The play was a great suc- a job as a press agent. ter press agent were joshing together, them when they fell below the stan- cess on stage and film. But Tennessee One night a few months later, I sat and she plumped herself on his lap just dards they themselves had set. He wondered, would it have worked bet- with my young daughter attending a before the curtain went up. I made a loved the performing arts and gave ter as he wanted originally?) I asked Broadway opening of a play handled remark that rumors might start and obeisance to them. I bow to him. the famous playwright why not do the through that press office. In the mid- they both laughed. Later she told me ef Visit our website: play his way now, and he amazed me dle of the first act my daughter, oblivi- rumors had started years ago but were and my editor William Poleri, when www.arttimesjournal.com to ous to the fact we were surrounded by long since forgotten. I was embar- read previously published essays. Jan/Feb 2009 ART TIMES page 6

Continued from Page 4 HYBRID VISIONS: Collages Orange County Community College, Orange Hall Gallery, 115 Calendar South St., Middletown, NY (845) 344-2254 (thru Feb 13) Orange Friday, January 2 VYTLACIL RESIDENT SHOW Art Students League, The Elizabeth V. Sullivan Gallery, Vytlacil Campus, 241 Kings Highway, Sparkhill, NY 10976 (212) 247-4510 Opening Reception: EINNA AKERS Exhibition Greenwood Lake Public Library, 79 Waterstone Rd., Greenwood 5-7pm (thru Jan 28) Rockland Lake, NY (845) 477-8377 x 18 (thru Jan 24) Orange Saturday, January 10 GROUP SHOW Albany Center Gallery, 39 Columbia St., Albany, NY (518) 462-4775 Opening Reception: 5-9pm (thru Feb 7) Albany ALTERED REALITY Westchester Photographic Society, Cancer Treatment and Wellness Center, Northern Westchester Hospital, 400 E. Main St., Mt. Kisco, NY (914) 837-2361 Re- Saturday, January 3 ception 3-5pm (thru May 11) Westchester 13th FRIENDS OF PLEIADES INVITATIONAL SHOW Pleiades Gallery, 530 West 25th BRENT MCCULLOUGH Photographer VanBuren Gallery 215 Main St., New Paltz, NY St., 4th Fl. NYC (646) 230-0056 Opening Reception: 3-6pm (thru Jan 17) NYC (845) 256-8558 Closing reception 3-6pm (thru Jan 10) Ulster 21st CENURY PERSPECTIVES: Printmaking / GOOD ENOUGH TO EAT: The Art Of CONTEMPORARY WOMEN PAINTERS Carrie Haddad Gallery, 622 Warren St., Hudson, Food Art Society of Kingston (ASK), 97 Broadway, Kingston, NY (845) 338-0331 Opening NY (518)828-1915 Opening Reception: 6-8pm (thru Feb 15) Columbia Reception: 5-8pm (thru Jan 31) Ulster HISAKO KOBAYASHI: Exhibit Catskill Art Society, 48 Main St., Livingston Manor, NY 2nd ANNUAL WURSTBORO ART ALLIANCE MEMBERS EXHIBIT Gallery Link, (845) 436-4227 (thru Feb 22) Sullivan Ellenville Public Library & Museum, 40 center St., Ellenville, NY (845) 647-5530 Opening Reception: 12-2pm (thru Feb 4) Ulster MARK MACKINNON: Photography The Photographer’s Place, 508 Main St., Beacon, NY (917) 478-7620 Opening Reception: 4-8pm (thru Feb 8) Dutchess DECADENCE AND DECLINE: 2009 Windham Fine Arts Gallery, 5380 Main St., Windham, NY (518) 734-6850 Opening Reception: 7pm Greene MICHAEL HARE & D. ALEX BIRD Woodstock Poetry Society, Woodstock Community Center, 56 Rock City Rd., Woodstock, NY (845) 679-7900 2pm Ulster ENG TAY& HIDEAKI MIYAMURA The Harrison Gallery, Williamstown, MA Opening Reception: 5-7pm (thru Jan 28) MA MICHELLE MARTIN: Strata Clay Art Center, 40 Beech St., Port Chester (914) 937-2047 Opening Reception: 5-7pm (thru Jan 31) Westchester FIRST SATURDAY GALLERY STROLL Galleries in Hudson, NY Ulster NEW HUDSON RIVER SCHOOL EXHIBIT & Historic Montgomery ARTISTS Exhibit FIRST SATURDAY GALLERY STROLL Galleries in Kingston, NY Ulster Wallkill River School, 232 Ward St (17k), Montgomery, Montgomery Village Museum NY (845) OIL, WATER, ACRYLIC TOO Piermont Fine Arts Gallery, 218 Ash St., Piermont Landing, 457-ARTS Opening Reception: 5--8pm (thru Jan 31) Orange Piermont, NY (845) 398-1907 Opening Reception: 2-4pm (thru Jan 30) Rockland SECOND SATURDAY CELEBRATION Beacon Arts Community Association, 30 regional S.I. SALANT: Photography Valley Cottage Library, 110 Route 303, Valley Cottage, NY art galleries, stores and restaurants, Beacon, NY (845) 838-4243 12-7pm Dutchess (845) 268-7700 (thru Jan 28) Orange SONA YEGHIAZaryan: Stories of Color Studio Montclair Block Gallery, Clark House, Sunday, January 4 Montclair State University, 108 Orange Rd., Montclair, NJ (973) 744-1818 Opening Reception: 1-4pm (thru Jan 30) NJ ANNUAL MEMBER’S EXHIBIT & SALE Hopper House Art Center, 82 N. Broadway, Nyack, NY (845) 358-0774 Opening Reception: 2-5pm (thru Jan 29) Rockland WILLIAM & SHEPARD MOUNT: LITTLE ANGELS / LITTLE DEVILS The Long Island Museum, 1200 Rte. 25a, Stony Brook, NY (631) 751-0066 x248 (thru Sep 13) Suffolk Monday, January 5 Sunday, January 11 MATTHEW ZAPPALA winter woodcuts The Crawford Gallery, 121 Rt 302, Pine Bush (845) 744-2075 (thru Feb 28) Orange SCIENCE ROCKS: Photography Rockefeller State Park Preserve Visitor Center, Rt. 117, 1 mile east of Rt. 9, Tarrytown, NY (914) 631-1470 x 11 Opening Reception: 9-4:30pm (thru SCNY ART CLASSES SHOW Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 (thru Feb 22) Westchester Jan 23) NYC THE BEST TALENTS OF THE LAST DECADE at the Belskie Museum Belskie Museum Tuesday, January 6 of Art & Science, 280 High St., Closter, NJ (201) 768-0286 Artist's Reception 1-5 (thru Feb ELLEN FISCH: Photography, Architectural Visions in Photography Jadite Galleries, 1) NJ 413 west 50th St, NY, NY (212) 315-2740 Opening Reception 6-8pm (thru Jan 28) NYC THE OPEN WINDOW & THREE STRINGS LIVE PERFORMANCE New City Library, OUT OF THE KITCHEN & OUT OF THE BOX National Association of Women Artists 220 North Main St., New City, NY (845) 634-4997 x139 2PM Rockland (NAWA) Gallery, 80 Fifth Avenue(@ 14th St.), Suite 1405, New York, NY (212) 675-1616 Vincent balDassano: Solo Exhibit / director’s choice: Bell Manes / New mem- (thru Feb 6) NYC bers exhibit Silvermine Guild Arts Center, 1037 Silvermine Rd., New Canaan, CT (203) Thursday, January 8 966-6668 Opening Reception: 2-4pm (thru Feb 7) Fairfield,CT 2009 SMALL WORKS Upstream Gallery, 26B Main St., Dobbs Ferry, NY (914) 674-8548 WARREN HURLEY: Peaceful Landings La Bella Bistro, Main St., New Paltz, NY Open- (thru Feb 1) Westchester ing Reception: 4-6pm (thru Feb 19) Ulster Friday, January 9 OUT OF THE KITCHEN & OUT OF THE BOX National Association of Women Artists (NAWA) Gallery, 80 Fifth Avenue(@ 14th St.), Suite 1405, New York, NY (212) 675-1616 CHERYL VAN HOOVEN: paintings Tremaine Gallery, Hotchkiss School, 11 Interlaken Artist's Reception: 6-8pm (thru Feb 6) NYC Rd., Lakeville, CT (860) 435-3663 (thru Feb 3) Litchfield,CT Continued on Page 12 Check out our Website: www.arttimesjournal.com Read previously published essays.

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4BUVSEBZT Reception: Feb.1 2-4 p.m. Blue Mountain Gallery 530 West 25th St. 4th Fl. NYC Weekdays: 8:30am - 8:30pm 646-486-4730 • Hrs: Tues—Sat 11am-6pm Saturdays: 9:30am - 2:30pm www.samjungkurth.com www.woodstockschoolofart.org 845 679 2388 • [email protected] Jan/Feb 2009 ART TIMES page 7 Critique “Life” — Sam Rein Solo Exhibition at Barrett Art Center

color and form, or to the geometric “less is more” aesthetic in his watercolor, “Still Life With Mimi’s Peppermill.” Finally, if one still needed such per- suasion as to Sam Rein’s range of expertise, one might consider that this exhibition features not only figure studies, genre scenes, and still lifes, but also a very fine landscape, “River View” (watercolor), that many a landscape painter might well be proud to include in his/her repertoire. This is a show well worth seeing and I urge those who are visiting The Blue Reader Pastel Barrett House’s Annual Member’s Exhibition and By RAYMOND J. STEINER Concentration Pastel Continued from page 1 (with direct “eye-contact”, reveal an endearing penchant for capturing Sale, to make sure to take the time the soft curves of the female form. As to stop in Gallery Three to share in enticing as are Rein’s female nudes, Sam Rein’s delightful view of “Life”. however, even more arresting is his Do drop in — you won’t regret taking charming “Killing Time”, a quiet and the time for a leisurely visit with this loving rendition of an elderly woman “old master”. painted in soft-edge outline, seated on *“Life” — A Solo Exhibition of a bench, her head tilted downward, Paintings, Drawings, Pastels and seemingly oblivious to her surround- Watercolors by Sam Rein (thru ings and totally absorbed in reading Jan 10): The Barrett Art Center, a book opened on her lap. 55 Noxon St., Poughkeepsie, NY Equally impressive to this viewer (845) 471-2550. A Holiday Mem- is Rein’s seeming ease of “updating” ber’s Exhibition and Ceramic & (or, perhaps, simply changing for Glass Sale will concurrently be effect) his style from the academic on view. (cf. his charcoal/pencil studies of the ef nude) to the modernist handling of, say, “Repose”, a pastel that reflects Visit our website: www.arttimesjour- a post-modernist influence in both nal.com to read previously published critques with color photos. Repose Pastel

Be part of THE resource for Galleries are looking for you! ALL THE ARTS. Advertise in the Metropolitan NY January & area for Country Prices!! February Phone or Fax ART TIMES (845) 246-6944 THIRD FRIDAY OPEN MIKE: Jan 16 & Feb 20, 8 pm All poets & writers welcome; 5 minute limit per reader. Sign up beginning at 7:30. $3 THE FORMOF MATTER: January 22 - 25 at The Hudson Valley Center for Contemporary Art, Peekskill A collaborative art & writing project featuring six 5-10 minute short poetry performances inspired by works of art in HVCCA’s “Origins” exhibition. Stage directors: Mara Mills and Tom Artists compete to win exposure in a number of commercial galleries. Kramer. Performances at 6:00 on Jan. 22, 23, 24; at 2:00 on Jan. 24 & 25. Tickets: 914.788.0100 or email [email protected] Last year’s “Show for a Show” was a tremendous success with over 50 commercial and non-profit THE BIG READ: ERNEST GAINES February 26, 7 pm art galleries and museums participating from the More Colorful Journeys at Sleepy Hollow High School, 201 N. Broadway tri-state region, selecting over 200 artists for Watercolors by A live teleconference with writer Ernest J. Gaines (A Lesson exhibition opportunities in their galleries. Before Dying) including a reading followed by Q & A. Drop off artwork at the gallery, Peri Karkheck Open to all artists. WINTER WRITING WORKSHOPS Saturday, Sunday and Monday March 21–23, 2009 from 5-8pm February 5 - 22, 2009 Fiction, poetry, memoir, creative nonfiction, and more, for adults, teens, and children. Call or visit our website for up-to- Artwell Gallery 19 Water Street, Reception: Sa. & Su. Feb. 7 & 8, 2-6pm P.O. Box 571 • Torrington, CT 06790 date schedule and registration information. www.artwellgallery.org Piermont Fine Arts Gallery 218 Ash Street, Piermont, NY The Hudson Valley Writers’ Center For more info, call Artwell Gallery at 860-482-5122 at the Philipse Manor Railroad Station 845-398-1907 • Hrs: Th & Su 1-6; Fr & Sa 1-9 300 Riverside Drive, Sleepy Hollow, NY 10591 S H O W D ATES APRIL 4 – MAY 17 www.piermontfinearts.com phone: (914) 332-5953 web: www.writerscenter.org Jan/Feb 2009 ART TIMES page 8 Fiction Ballet Noir By Chris Falgiani head reared back, standing so tall he tries, only he is too strong and they about her angular face and the audi- Overture- “Valentina’s Dilemma” towers over her and the crowd both, in are too intertwined for either of them ence sees she has been weeping. She Valentina moves slowly, getting into full display of his talents so everyone to flee. Finally, exhausted, he brings takes small steps out of her corner, position at the right of the stage, her can be in awe of what he possesses. her to her feet and she cannot move. arms moving listlessly about as she face conveying anticipation for the Yet he wants to be closer to her, not He once again connects with her, bends and sways like she is caught in lover she awaits. Her limbs force to overpower her, but to share with and they form a spiral together, so a current ferrying her to an unknown themselves to acquire the pose of her what he has seen, reveal the trea- high on their toes they could reach destination. When she reaches the a woman in distress, and her face sures that come to the gifted. the heavens. Yet something is con- center of the stage, she is a penitent moves into the proper angle so the straining them, so they abruptly reaching toward the heavens for a Movement Two- “Embrace” audience can see her longing for a part and move to separate corners, salvation that will not arrive. Then At first reluctant to move, the lovers man she has not seen in years. Not still performing movements as if the she does a series of mad pirouettes soon buckle underneath the strain of everyone is here yet, and all they other were watching them, unaware before leaping to the far left of the maintaining their poses and lean to- see is Valentina in a corner, slightly of the crowd that is fixated on every stage where her expression becomes ward one another. Her leg extends to askew, moving as if she is in quick- expression and motion as if the world feral. She dances in no particular pat- give her balance as her arms reach to sand. All eyes are on her. The crowd centered on the two lovers. tern like it is her last performance, meet his, which are also outstretched. is growing larger. She is not aware knowing she is completely forlorn and He leans forward on his toes, appear- Movement Four- “Separation” she is performing before a crowd. bereft, abandoned by her only suitor. ing as if he will fall, but he does not. They don’t dare look at one another. Soon she relaxes and becomes a still When she tires, she is front and cen- Their fingers meet and the electricity They are growing tired. Each one is in life of a young lady who longs for the ter, facing the witnesses to the demise of this touch, after so much distance, their corner, contemplating, face tilt- one romance that will save her from of her heart. She falls backwards, lights their bodies up from toes to ed downward, arms and legs attempt- unending woe. However, she is wary knowing she will not be caught. Her face until their eyes are locked in an ing the movements as if their souls of the dangerous man she knows motion slows as she nears the ground embrace as two pairs of hands grasp were trapped in a leaden core. They she can never refuse if he asks her and soon she is prone, but only for a one another tight. Her eyes do not cannot will themselves to extend, to to be his forever. Then she dances, moment. She resurrects her form, falter under his infernal gaze, telling focus, to smile, to enjoy the dance, portraying the past so that onlookers extending both arms forward to the her she is his and always will be. His because they have had their last pas will know how it has come down to audience, reaching for something eyes begin to melt as hers convey her de deux. Sergei struggles to maintain one fateful meeting to determine if they cannot give her. Her left leg goes longing and vulnerable heart, just his position because he is lost. Valen- she will be alone or with the only one up until she has grasped it behind waiting for him to grasp it and keep it tina performs to a silent symphony who can make her whole. The audi- her head. Then she spins again as if for the rest of his life. Then their arms where hope is too distant for her to ence is enraptured by her devastated she will never stop. But she does, and are entwined and the gap between attain. Her arms reach forward then expression, her flexibility, her ability her finishing pose is that of a woman them closes. He grabs her waist and retract. She dances in circles while to enact each movement with perfect once ruined who will now be reborn. pulls her to him. She crumbles in his Sergei moves to the crowd for one technique but with the realization She ends her frenetic whirling in grasp and is now his doll. He spins her last display of his power, but once that each step could be her last if he pride, both arms extended outward and she is beaming as she performs his leap is completed he crumples to rejects her. and upward, one leg slightly in front not for the crowd, but for him, while the floor and remains in a ball, too of the other, as high on her toes as Movement One- “Closer” he flits about her, still spinning her, tightly wound for release from his she has ever been, lifting herself up Valentina sees Sergei out of the cor- showing the crowd the beauty of his burden. Valentina tries not to see her from despair into the next, happier ner of her eye. His dark hair waves in creation. When she is tired, she falls lover’s anguish but does. She wants world. the breeze she shies away from as she into his arms and he carries her to to go to him, and makes a few steps curls over to avoid his gaze. He leaps the front, leaning over her to whisper in that direction, but as if pursued Final Movement- “The Dance Dies” toward her then pulls back, dancing words of love in her ear. by an invisible assailant she retreats As she smiles at her followers in the not for her, but for the crowd, so they in a feverish rush back to where she crowd, her gaze turns to the back of Movement Three- “Entangled” can see his glory before he shares it was before he arrived, trapped in a the stage where one blue light illu- Sergei flips Valentina over and her with her. He is powerful and lithe, but pose of anticipation. This time, she minates the dark, searching gaze of hands somehow find solid ground as he has an edge etched on his brow and awaits not rescue, but death. He, too, Sergei, who has returned to claim his her legs part and extend, revealing a fire burns through his movements. knows his fate as he rises and mourn- lady even if they have to run forever. that she is ready to receive his love. He has a power he wants only the fully glides over to his entrance point, As she makes a move toward him, she Sergei lifts her off the ground and audience to see. Perhaps he is seek- taking one last look at her and then falls downward to the stage as the she lies limp in his arms. He turns ing more admirers. Valentina tries to dissolving into sorrow as she stands curtain covers the still separated lov- her over again and her legs and arms dance near him, but she is afraid, so there, frozen in time, until the mo- ers. The crowd applauds for several become windmills as she tries to swim she tentatively spins around for the ment comes when she will be taken minutes and some gasp at the thrill- to an invisible surface. Sergei drops crowd, halfway between smiles and away. Too distraught to witness her ing, cathartic performance, which has to the floor with his lady in his arms tears. When they both stop, they are destruction, he leaves. brought every buried emotion within and they crawl over one another, com- facing each other, each in a different them into the light. Then they must pletely melded so that the limbs of one Movement Five- “Lonely, Not Alone” pose. Each dances alone but knows leave, because the puppeteer has to cannot be distinguished from those of Valentina waits for a few moments the other is there, watching. They are pack up and move to his next venue. the other. The lovers are a blooming before attempting to leave her cor- each in a different state of flux. She Valentina and Sergei are reunited in flower expanding outward to spread ner. Only a spotlight washes over is in anguish imbued with a yearning a box marked “Fragile” to which only joy. The petals close and open in the stage and casts a pall over her for his touch, but she cannot reach the puppeteer has the key. rapid succession. Valentina does not pale expression and large, wounded him, although she does extend her want to escape, but out of habit she eyes. Her dark tresses are askew (Chris Falgiani lives in Iowa City, arm out to him. He swells with pride, IA) ef Visit us online: www.arttimesjournal.com

Call for Entries 60th Art of the Northeast USA May 7—June 5, 2009 Juror: Douglas dreishpoon, ph.d Chief Curator, Albright-Knox Gallery, NY Total Cash Awards: $4000-$8000. Open to All Media Artists must reside in CT, MA, ME, NH, NJ, NY, PA, RI, VT Deadline for All Entries: March 14, 2009 Entry fee: $25 per work For Prospectus: download from www.silvermineart.org or send #10 SASE to: AONE, Silvermine Guild Arts Center 1037 Silvermine Rd. New Canaan, CT 06840 Phhone 203-966-9700, ext 26 Jan/Feb 2009 ART TIMES page 9 Theatre Stiff Competition By ROBERT W. BETHUNE nificant amount of time writing plays. results prove their value to the world. such a large world. When Shakespeare I recently came across a state- Never mind if’ they’re getting produced If it is really going to be true that my wrote for the London audience, he was ment from a working playwright or not, or making me any money or style of thinking, feeling and writing only competing with maybe fifty other which laid out the case for trying to be not. Here’s my situation: I am one of can be so unique that it would genuinely playwrights, counting the ones we nev- a playwright in today’s world. It was probably about three billion people on stand out among all those billions, I had er heard of because they never made it fundamentally an appeal to the pri- the planet who can write, figuring the better be able to show that I do some- through the gate. In the modern world, macy of creative individualism: “I have world-wide literacy rate at about 50%. thing very, very, very special, again so each of us is competing with many thou- important stories to tell. No one can tell That might be off, either too low or too that the results prove their worth to sands at the least, not to mention the my stories the way I can; I am unique high, of course. I’m no expert on that. the world. thousands upon thousands upon untold in the truest sense of the word.” However, whatever that figure is, it If I can't do those to things, then I thousands of people competing for the That may be true—but I have my means that if I really do have important need to wrap my head around the idea attention of the world in other media. doubts. It’s much, much harder for stories to tell, the importance of those that writing should be my hobby, not Ultimately, it’s much harder to be any writer, including any playwright, stories had better be pretty significant, my life. That’s not going to be easy to an individual in today’s huge and com- to make that idea come true in today’s sufficiently so to be self-evident to the accept. Anyone in that position is going pressed world. The special uniqueness world. Think of it this way: you have to world, or I have no claim that my sto- to be prey to all sorts of wishful thinking of any one voice is very tenuous when make it through a gate. And that gate is ries actually are important enough to and wish-fulfillment fantasies, some of seen against the background of billions bigger, wider, heavier, and more tightly deserve to be heard over the stories of which may manage to displace reality of other voices. A playwright has to be closed than ever before, just because of the other billions out there. That means at some level. Hard thinking makes much more talented, much harder- simple demographic facts. I'd better be working pretty damn hard hard choices—never a pleasant pros- working, and much luckier to stand out. Let’s say I’m a playwright, just in the at those stories, and that I'd better be pect. In other words, maturity hurts. And that’s just the way it is. simple sense that I do spend some sig- pretty damn successful at it, so that the That's the curse of being a writer in ef

The office is closed until S a l m a g u n d i C l u b Feb 4. Advertising deadline Center for American Art since 1871 for the March issue is February 19; Calendar and Opportunity listings are due EXHIBITIONS by February 12. JUNIOR & SCHOLARSHIP MEMBERS’ EXHIBIT Jan 5—Jan 23 HISTORY ILLUSTRATED: Art for the Founding of Manhattan by the Dutch in 1609 Jan 26 - Feb 13 Edward Hopper House Art Center SPECIAL EVENTS CALL FOR ARTISTS: Seeking entries for exhibit YOUNG ARTIST SERIES CONCERT celebrating Hudson-Fulton- STECHER & HOROWITZ Champlain Quadricentennial. Pianist Larry Weng Open to all media inspired by Jan 9, 7:30pm, Free Admission the Hudson River. Deadline March 20, 2009. SUNDAY BRUNCH Information at www.hopperhouse.org Jan 11, 12:00-3:00pm, $20 + tax 82 North Broadway, Nyack, NY 10960 followed by 845-358-0774 CHAMBER MUSIC CONCERT From Sibelius to Ellington Speak Out 3:00pm, $10 suggested donation is your forum! “ONLINE RESOURCES: A Primer for Professional Artists” ART TIMES seeks your PowerPoint Presentation opinions, viewpoints, ideas Anne Kullaf and complaints on any as- Jan 13, 8:00pm, Free Admission pects of the arts. If you have a point to make—no matter ZIGZAG QUARTET how controversial—all we From the Baroque to Jazz & Latin American to original works ask is that it be well rea- Jan 16, 8:00 pm, $20 admission soned and professionally presented. (No advertori- “ROBERT RAUSCHENBERG: als, please). Limit yourself TRANSFORMATIONS” to three (3) double-spaced PowerPoint Presentation typewritten pages and send Charles Yoder with a SASE to: “Speak Jan 29, 8:00pm, Free Admission Out,” ART TIMES, PO Box 730, Mt. Marion, NY Open 7 Days, 1 to 5pm 12456-0730. A by-line and tag-line identifying the writ- 47 Fifth Ave NYC (212) 255-7740 er accompanies all “Speak Salmagundi.org Out” articles. Jan/Feb 2009 ART TIMES page 10 wrote the music; Richard Safford exciting and sensuous performance Culturally Speaking was the director and choreographer. as dancers connected, intertwined I have never been disappointed with amoeba-like, disengaged and finally By Cornelia Seckel rationality and Helvetica, developed a show (or dinner) and have often came together as one body that re- This is our January / February is- by Max Miedinger with Edüard preferred their productions to ones minded me of a “puppy pile” and for sue. If you missed out on our advertis- Hoffmann in 1957 for the Haas I’ve seen in Manhattan. The story much of the time created calligraphy ing deadline, submitting calendar or Type Foundry in Switzerland, be- is one we all know: self-sacrifice, de- with their hands, bodies and feet. opportunity listings, you can still do gan to be used by corporations and spair and renewal; the lesson: dreams The music by Stephen Gosling, so. Send an email and we can place it governments around the world for don’t always come true and that’s piano, and The Flux Quartet was online within a few days. Deadline for signage and advertising. It is clear, ok. The music and voices were excel- outstanding. Don’t miss Shen Wei advertising materials for the March readable, straightforward and sim- lent, acting exciting, and the staging Dance if you have a chance to see this issue is February 19; calendar and ple. Today we see it more frequently made a great use of the space. It was NYC-based company perform as they opportunities, February 12. than any other type style and people a heartwarming, delightful and fun tour the US and abroad. They also It was quite a hectic month and I are now more in touch with typefaces evening. Westchester Broadway The- offer classes and have an Education am truly ready for a break to re-create given the use of personnel computers. atre has perfected Dinner & Theater. through Dance program. Jennifer They have 5-6 musical productions Tipton, designer of lighting for dance each year and single night concerts and theater, was honored at this per- several times a month— the current formance. As part of the company’s play will run through February 7 fundraising efforts the canvas that and their next production “Meshug- was danced on /painted during the gah Nuns” begins February 12. One performance was cut into sections of their community services is to do and sold. Shen Wei’s focus in all of numerous benefit performances for his works is to build bridges between organizations that help physically & cultures and artistic disciplines, com- emotionally disabled people. panies and communities, and does Choreographer Shen Wei's work, so by incorporating all aspects of the Connect Transfer was part of the arts into a mode of movement-based Olympic Opening Ceremonies performance. in Beijing (see more information on I was able to get to several exhibi- the company and a YouTube of the tions including one at the Hudson Beijing performance at www.shen- Valley Gallery of The World’s weidancearts.org) and last month I Smallest Stretched Canvas Painting. was invited to the gala performance What a great idea; I thought so (we of a limited engagement of Connect gave an award that was received by Transfer II—reimagined for a tour Beth Kurtz for “Feather”) as did the of modern art museums (dates to be 75 artists that submitted 141 paint- announced) at the historic Judson ings. Art came from California, New Memorial Church, NYC. What an York, Florida, Georgia, New Jersey, Cast of “It’s a Wonderful Life: The Musical” at Westchester Broadway Theater, Elmsford, NY for the coming year. We expect more When individuals create an invita- changes as we move through our 25th tion on their computer or choose a year with more opportunities for on- type and design for a Facebook, line advertising, and a chance for you LinkedIn or MySpace page, it is a to send us comments and video clips reflection of how they see themselves. of cultural events you attend. Choosing the typeface for the ART “Helvetica” a film distributed by TIMES logo (souvenir demi) and the Independent Lens and directed text (century schoolbook) was a very and produced by Gary Hustwit difficult decision 25 years ago and I’m will be shown on PBS January 6 at happy to say I think they still hold up 10pm (check local listings). This is a well. fascinating look at the “typeface that Friends Jacky & Jörg, visiting changed the world”. I found the film from Berlin, Germany, accompanied particularly interesting and appreci- Raymond and me when we went to ated the viewpoints of the many Type see “A Wonderful Life”, the musical Designers who discussed various at Westchester Broadway The- aspects of type, most specifically how atre in Elmsford, NY —their 159th type styles effect and reinforce the production. The musical was based message and how it is important not on Frank Capra’s classic film of the to confuse legibility with communi- same name: Sheldon Harnick wrote Shen Wei honors Jennifer Tipton at the end of the performance of cation. After WW II, people needed the book and lyrics; Joe Raposo “Connect Transfer II” at the historic Judson Memorial Church, NYC

For Immediate Occupancy in Kingston, New York

The Brush Factory at Sterling-Greenkill Business Park, Kingston, New York Unique, Renovated Office Space For Lease Also Live/Work And Art/Studio Space CALL for ENTRIES “The Shirt Factory” Artist Lofts... A Community Of Over 40 Artists FINE ARTS • FINE CRAFTS “The Pajama Factory” (Live/Work ) 47th Annual Juried Show MAY 30 & 31, 2009 For application or information: Contact Owner (845) 354-6383 White Plains Outdoor Arts Festival Committee Box PMB 441 • 333 Mamaroneck Ave. White Plains, NY 10605 artistworkspace.com 914.949.7909 or 914.993.8271 BOARDMEMBER: Art Society of Kingston www.WhitePlainsOutdoorArtsFestival.com Jan/Feb 2009 ART TIMES page 11 ful and powerful. Hilda website to learn even more about this Smart Cat (Una Gata Muy Inteli- does some wonderful established and accomplished artist gente) published by Campanita art-related traveling and www.santossolomonstudio.com. Books and written by Mario Pic- many of these paintings The Van Buren Gallery, New ayo. This delightful story, written in were done during her Paltz, NY, owned by Kevin Van Bu- both English and Spanish, has bright, residency at Mt. Desert ren and Toni Hokanson is, accord- clear, interesting illustrations by Island in Maine. Take a ing to the owners, “more of an artist Yolanda Fundora. The illustrations look for yourself at www. incubator rather than a traditional are truly paintings unto themselves demskyart.com • Jes- gallery.” There are computers and and each one tells an intriguing story sica Fromm’s exhibit, printers available for rent, classes as well as illustrating the doings of Linear Visions, was at noho gallery, also in Manhattan, and I so enjoyed the color and movement in many of her paintings. Take a look at www.jessicafromm.com • In Saugerties I saw Ju- lia Santos Solomon’s Jean Hopkins (artist) checks out paintings at the “2 x 1” exhibit at Mezzaluna show at Hudson Valley Gallery, Cornwall-on-Hudson, NY Bistro Latino and Gal- lery. What a blaze of Maine, Texas, and Minnesota. The color and energy in those oils, limited show was judged by Del-Bourree edition prints, and sculptures. Julia Bach who gave the top prize of $500 also had Birdhouses on display that to William Giese for “In Your Eyes”. were part of a show organized by There were 13 prizes given in all. To Bernice Steinbaum (Steinbaum date, over half of the paintings have Gallery, formerly of NYC now in been sold and the range in price is Miami) called “It’s for the Birds” $20-$675 (about ½ under $50). Paul that traveled to museums around Gould, Director of the Gallery, said the country from 2004-2007. Each that there was so much enthusiasm Birdhouse represented a reason why that this will be an annual event. The a person would immigrate to another Julia Santos Solomon (R) talking with a visitor to her exhibit at show is also on their website www. country. Julia made several including Mezzaluna Bistro Latino Gallery, Saugerties, NY hudsonvalleygallery.com. a “money hut”, “education hut”, “re- & workshops, and gallery wall space a very smart and mischievous cat. th Woodstock, NY held their 27 sources hut”, “dream-house hut”, and for rent. Kevin, a landscape photogra- I met Mario who is also a cultural Annual Open House with lots of “weather hut” and each had a Carib- pher, will be available for assistance activist, audiovisual artist and pro- events, art openings and Holiday bean side, a North American side and with equipment and software. ducer. He is the Publisher and Editor decorations. I got to The Kleinert/ a resident alien. Take a look on Julia's I recently got a copy of A Very in Chief of Editorial Campana, an James Gallery for the “Annual 5x7 independent publishing house. Learn Show”, a benefit for the Woodstock more about their titles at www.cam- Byrdcliffe Guild (paintings are sold panitabooks.com. He has done work for $100 and the artist is unknown un- with LART (Latino Artist Round til the work is purchased — a lesson in Table), a not-for-profit organization buy what you like, not the name). The founded in 1999 and whose principal Fletcher Gallery Holiday Group purpose is to promote Latina/o cul- Show; Woodstock Artist Associa- ture in the United States and facili- tion Museum for Paul Abrams’ solo tate interaction between artists and show and the Holiday Show; The writers living in the United States, Rondout Savings Bank for a show Latin America (including the Carib- of work by Marlene Wiedenbaum bean) and Spain and Produced Gente and many shops throughout town. y cultura, the award winning public These wonderfully festive commu- television program. nity events seem to take place in most Well that's it for the month, enjoy towns — I hope you enjoyed the one the winter, I know I will. Remember in your area. that the office is closed until Feb 4. In Manhattan I was so pleased to We will check messages and email see Hilda Green Demsky’s paint- periodically. If you missed the dead- ings at the Pleiades Gallery. Many line for calendar, opportunity listings of the paintings were on aluminum, or advertising we can accommodate one on copper and what a fabulous you online. Send an email to info@ effect. Her work is exciting, color- (L to R) Vinnie Martucci, Betty MacDonald, Janine Pommy Vega, Michael Esposito performing at the “5 x 7” show at Kleinert/James Art Center, Woodstock, NY arttimesjournal.com ef

ROSLYN FASSETT

Beyond the Fabric

December 30 — January 24 The finest Italian Cuisine in a relaxed, romantic atmosphere • Homemade Recipes Prince Street Gallery • Elegant Dining Room th • Private Party Room 530 West 25 Street • Lunch & Dinner New York, N Y 10001 • Open daily except Monday 646-230-0246 www.reginatoristorante.com Gallery Hours: Tues-Sat 11-6 (845) 336-6968 Leggs Mill Road, Lake Katrine, NY just off Route 9W between Kingston & Saugerties www.princestreetgallery.com Veiled Silence detail oil 34x40 Jan/Feb 2009 ART TIMES page 12 Art Byte Art and Dance By TARA MARVEL Now that the weather is guishes dance from random move- form of movement really was. It colder, it is not as much fun to ex- ment is that there is an element of was a dance sitting down! ercise outside. I put on some music. intent or consciousness of the act When I think about a New I close my eyes. I let my body find that results in a haunting sense of England grange hall on a wintry a way to ease out of the middle of something that is more than the Saturday night with contra danc- my stolid self. sum of its parts. I often feel there ers swinging each other down What happens next always is more meaning in the negative the hall, every single person in shocks me. Images leap into my space around the dancer than in the room is engaged with every mind. Ideas emerge. All I did was the dance itself. other in brief but surprisingly listen and move. What happened? Years ago my son and I walked intimate encounters, Dance like Surely dance is one of the oldest into a demonstration of the Japa- this can bring quite a large group art forms. Is dance as old as sex? nese tea ceremony at the Met- of people into a state of extraor- Perhaps it is a few minutes older, ropolitan Museum of Art. I had dinary communion. Perhaps this when you consider how animals been to these affairs when I lived is how spiritual ritual began in attract their mates. in Japan; it wasn't until that day the first place. It seems the things that distin- that I realized what this stylized ef

Continued from Page 6 Ave., Ridgewood, NJ (201) 652-9615 Opening Reception: 2-5pm (thru Feb 8) Bergen Calendar RENAISSANCE CITY WINDS Rhinebeck Chamber Music Society, Church of the Messiah, Wednesday, January 14 Montgomery St. (Rt. 9), Rhinebeck, NY (845) 876-2870 4PM Dutchess ARTISTS’ BOOKS AS (SUB) CULTURE Center For Book Arts in NYC, 28 west 27th St., SUSAN MANSPEIZER: Featured Artist Katonah Museum of Art, Route 22 at Jay St., 3rd floor, New York, NY (212) 481-0295 Opening Reception: 6-8PM (THRU MAR 28) NYC Katonah, NY (914) 232-9555 (thru Mar 15) Westchester YOUNG ARTISTS ON THE RISE Mamaroneck Artists Guild, 126 Larchmont Ave., Larch- VALENTINA CHARLAP-EVANS, viola with JOEL EVANS, oboe and RUTHANNE mont, NY (914) 834-1117 Opening Reception: 5-7m (thru Jan 16) Westchester SCHEMPF, piano The Grand Montgomery Chamber & Theatre Series, New Senior Center, Thursday, January 15 36 Bridge St., Montgomery, NY 3pm Orange SCHOLARSHIP & JUNIOR MEMBERS EXHIBITION Salmagundi Club, 47 Fifth Ave., Monday, January 26 NYC (212) 255-7740 (THRU JAN 23) NYC HISTORY ILLUSTRATED EXHIBITION Salmagundi Club, 47 Fifth Ave., NYC (212) 255- Friday, January 16 7740 (thru Feb 13) NYC OPEN MIKE Hudson Valley Writers' Center, Philipse Manor Railroad Station, 300 Riverside LOCUST GROVE’S FINE ART AUCTION Morse Historic Site, Locust Grove, 2683 South Dr., Sleepy Hollow, NY (914) 332-5953 8pm charge Westchester Rd., Poughkeepsie, NY (845) 471-2550 1pm Dutchess Saturday, January 17 RACE TO THE TOP: Arctic Inspirations 1909 & Today The Berkshire Museum, 39 South THE CREATIVE CONES: a group exhibit Roxbury Arts Group Gallery, Vega Mt. Road, St., Pittsfield, MA (413) 443-7171 (thru May 11) MA Roxbury, NY (607) 436-9554 Opening Reception 2-4pm (thru Mar 14) Delaware Tuesday, January 27 Sunday, January 18 PIERRE BONNARD: The Late Interiors Metropolitan Museum of Art, 82nd St. & Fifth EINNA AKERS Exhibition Greenwood Lake Public Library, 79 Waterstone Rd., Greenwood Ave., NYC (212) 535-7710 (thru Apr 19) NYC Lake, NY (845) 477-8377 x 18 Artist's Reception 12:30-2:30pm (thru Jan 24) Orange SAM JUNGKURTH: Nudes in a Geometric Landscape Blue Mountain Gallery, 530 W. GALLERY TALK: Richard Dupont & Grimanesa Amorós Hudson Valley Center for 25th St., 4th Fl., NYC (646) 486-4730 Artist's Reception 5-8pm (thru Feb 21) NYC Contemporary Art (HVCCA), 1701 Main Street, Peekskill, NY (914) 788-7166 4pm West- Wednesday, January 28 chester STUDENT SHOWCASE Westchester Art Workshop, 27 North Division St., Peekskill, NY LONG ISLAND COLLECTS / POETIC JOURNEY / WINSLOW HOMER: Illustrating (914) 606-7300 (thru Feb 21) Westchester America / ANDY WARHOLE SILK SCREENINGS / COLISION COIURSE / BABAR’S MUSEUM OF ART Nassau County Museum of Art, One Museum Drive, Roslyn Harbor, NY Thursday, January 29 (516) 484-9337 Nassau TOM SOBOLIK: Photography Piermont Flywheel Gallery, 223 Ash St., Piermont Landing, PROMETHEUS BRASS Saugerties Pro Musica, Saugerties United Methodist Church, Piermont, NY (845) 365-6411 (thru Feb 15) Rockland Washington St. cor of Post Rd., Saugerties, NY (845) 473-2273 x1109 3pm Ulster Friday, January 30 THE HEAVENS ARE TELLING: Hudson Valley Chorale, Nauraushaun Presbyterian Church, South Broadway and Burd St., Nyack, NY (845) 729-1783 3pm charge Rockland LYRICAL ABSTRACTS: Multimedia Orange County Community College, Orange Hall Gallery Loft, 115 South St., Middletown, NY (845) 344-2254 Opening Reception: 8:15pm (thru Monday, January 19 Feb 13) Orange ARIEL STRING QUARTET Rhinebeck Chamber Music Society, Church of the Messiah, THE THIRD MIND: American Artists Contemplate Asia: 1860-1989 Guggenheim Mu- Montgomery St. (Rt. 9), Rhinebeck, NY (845) 876-2870 4pm Dutchess seum, 1071 Fifth Ave., NYC (212) 423-3500 (thru Apr 19) NYC Tuesday, January 20 VOICES OF ANXIOUS OBJECTS Orange County Community College, Orange Hall Gallery, CHUCK VON SCHMIDT: Bamiyan NOHO Gallery, 530 W. 25th St, Suite 406, NYC (212) 115 South St., Middletown, NY (845) 344-2254 7:30pm Orange 367-7072 (thru Feb 14) NYC Saturday, January 31 LIAT YOSSIFOR & KATHY STECKO: Body Language, Painting & Sculpture Academic CHICK COREA, WAYNE SHORTER & JOHN PATITUCCI Westchester Jazz Orches- Arts Bldg., Fine Arts Gallery, Westchester Community College, 75 Grasslands Rd. Valhalla, tra, Irvington Town Hall Theater, 85 Main St., Irvington, NY (914) 591-6602 8pm charge NY (914) 606-7867 (thru Feb 28) Westchester Westchester Wednesday, January 21 ERICK HAAWKINS DANCE COMPANY Center for Performing Arts at Rhinebeck, 661 RAPHAEL TO RENOIR: Drawings from the Collection of Jean Bonna Metropolitan Route 308, Rhinebeck, NY (845) 876-6470 charge Dutchess Museum of Art, 82nd St. & Fifth Ave., NYC (212) 535-7710 (thru Apr 26) NYC Last Saturday ARTS TOUR NEWBURGH throughout Newburgh Orange STUDENT ART EXHIBIT Dutchess Community College, Mildred I. Washington Art Gallery, MICHELE RAMO GROUP Ritz Theatre, 111 Broadway, Newburgh, NY (845) 562-6940 Poughkeepsie, NY (845) 431-8610 Opening Reception: 5-6:30pm (thru Feb 13) Dutchess 8pm charge Orange Friday, January 23 February Ongoing ANDREA BONFILS: Encaustics Anelle Gandelman Fine Art, 1989 Palmer Ave., Larchmont, Saturdays 6-9pm, DINNER CONCERTS / Sundays 11am-2pm BRUNCH CONCERTS NY (914) 840-4151 Opening Reception: 7-9pm (thru Feb 25) Westchester Cafe Mezzaluna, 626 Route 212, Saugerties, NY (845) 246-5306 Ulster WESTCHESTER HIGH SCHOOLS’ STUDENT ART EXHIBITION OSilas Gallery at Feb 5-7 8pm, Feb 8 2pm, FRESH DANCE Samuel Dorsky Museum of Art, SUNY New Concordia College-NY, 171 White Plains Rd., Bronxville, NY (917) 337-9300 x2173 Opening Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844 charge Ulster Reception: 7-8:30pm (thru Jan 30) Westchester Feb 13-Mar 1, 6-9; Fri & Sat 8pm; Sun 3pm "A MAN FOR ALL SEASONS" Albany Civic Saturday, January 24 Theater, 235 2nd Ave., Albany, NY (518) 462-1297 charge Albany 3rd Saturday CATSKILL, POUGHKEEPSIE, RHINEBECK Arts throughout town Greene Sunday, February 1 CHERYL VAN HOOVEN: paintings Tremaine Gallery, Hotchkiss School, 11 Interlaken CELEBRATING BERGEN COUNTY’S DIVERSITY Art Center of Northern New Jersey, Rd., Lakeville, CT (860) 435-3663 Reception 4-6pm (thru Feb 3) Litchfield,CT 250 Center St., New Milford, NJ (201) 599-2992 (thru Feb 26) Bergen, NJ CHUCK VON SCHMIDT: Bamiyan NOHO Gallery, 530 W. 25th St, Suite 406, NYC (212) ERICK HAAWKINS DANCE COMPANY Center for Performing Arts at Rhinebeck, 661 367-7072 Artist's Reception 4-6pm (thru Feb 14) NYC Route 308, Rhinebeck, NY (845) 876-6470 charge Dutchess CLASSICAL CONCERT: Piano & Violin Duo Warner Library, 121 North Broadway, Tar- GAIL POSTAL: Solo Exhibit Edward Williams Gallery, Fairleigh Dickinson University, 150 rytown, NY (914) 631-7734 2:30pm charge Westchester Kotte Place, Hackensack, NJ (201) 692-2449 Opening Reception: 2-4pm (thru Feb 27) NJ CONTEMPORARY CONFRONTATIONS: a Juried Exhibition Katonah Museum of Art, HENRI DE TOULOUSE-LAUTREC The Sterling and Francine Clark Art Institute, Stone Route 22 at Jay St., Katonah, NY (914) 232-9555 Opening Reception 5-7PM (thru Feb 22) Hill Center, 225 South St., Williamstown, MA (413) 458-2303 (thru Apr 26) MA Westchester PAUL LADERACH: Memories Of Switzerland / THE MIGHTY RIVER New City Library, FELLOWS EXHIBIT: Jeep Johnson And Kathleen Heidman Dutchess County Arts 220 North Main St., New City, NY (845) 634-4997 x139 (thru Feb 28) Rockland Council, Poughkeepsie Tennis Club, South Hamilton St., Poughkeepsie, NY Opening Recep- PRIDE OF PLACE: Dutch Cityscapes in the Golden Age National Gallery of Art, East tion: 5-7pm (thru Feb 14) Dutchess Bldg, 4th St. at Constit. Ave. NW, Wash., DC (202) 842-6353 (thru May 3) WDC INNOVATIONS IN THE THIRD DIMENSION: Sculpture Bruce Museum of Arts & Sci- STEPHEN HOROWITZ: Paintings Valley Cottage Library, 110 Route 303, Valley Cottage, ence, One Museum Dr., Greenwich, CT (203) 869-0376 (thru May 24) Westchester NY (845) 268-7700 Opening Reception: 1-3pm (thru Feb 28) Orange NAOMI BLUM: Exhibit Cafe Mezzaluna, 626 Route 212, Saugerties, NY (845) 246-5306 TOM SOBOLIK: Photography Piermont Flywheel Gallery, 223 Ash St., Piermont Landing, Opening Reception 4-6pm (thru March 29) Ulster Piermont, NY (845) 365-6411 Opening Reception: 2-4pm (thru Feb 15) Rockland VINCENT RODRIGUEZ: Photography Harrison Public Library, Bruce Ave., Harrison, NY Monday, February 2 (914) 835-0324 Opening Reception 2pm (thru Jan 30) Westchester CURT BELSHE & LISE PROWN: Signing Westchester Art Workshop, 196 Central Ave., Sunday, January 25 White Plains, NY (914) 606-7511 (thru Mar 6) Westchester 28th REGIONAL JURIED SHOW: Tri State Area Ridgewood Art Institute, 12 East Glen 530 Continued on Page 18 Jan/Feb 2009 ART TIMES page 13 New Art bolist. Handsomely produced. ***** stand on minimalist art, in this new What is Research in the Visual William Morris & Edward Burne- book critic Michael Fried argues for Arts? Obsession, Archive, En- Books Jones: Interlacings by Caroline Ar- final acceptance of photography as a counter (Eds.) Michael Ann Holly scott. 260 pp.; 9 3/8 x 11 3/8; 122 B/ bona fide work of ‘art’. Whatever your and Marquard Smith. 246 pp.; 7 x 9 YALE UNIVERSITY PRESS: The W & Color Illus.; Notes; Bibliography; personal belief on the subject, Fried ½; 61 B/W Illus.; List of Contributors. History of British Art, Volumes 1, Index. $75.00 Hardcover. The latest presents a formidable and compre- $24.95 Softcover. The latest release 2, and 3 (Ed.) by David Bindman. 800 pp.; 9 ¾ x 12; 458 Color Illus.; Notes; release in the Paul Mellon Centre hensive argument. **** in the Clark Studies in Visual Arts, Bibliography; Timeline; Maps; Glos- for Studies in British Art Series, this HARRY N. ABRAMS/ROYAL What is Research in the Visual Arts sary; Further Reading; Index. $150.00 beautifully-illustrated book explores ACADEMY OF ARTS: Behind the offers some thirteen scholarly essays Hardcover. Available as a slipcased the relationship between the art and Mirror: Aimé Maeght and His which explore both practical and set or as separate units at $50.00 design of Burne-Jones and Morris (re- Artists: Bonnard, Matisse, Miró, philosophical considerations that lie per volume (600—1600; 1600—1870; spectively) insofar as their life-long Calder, Giacometti, Braque by at the heart of the discipline. Compre- 1870—Now), The History of British friendship influenced their individu- Nicholas Watkins. 174 pp.; 8 7/8 x 11 hensive. **** Art cover its entire range, from early al aesthetic visions. Engrossing. **** 5/8; B/W & Color Illus.; Endnotes; PRESTEL: Jörg Immendorf Saxon times to the present. Lavishly The Art of Illumination: The Lim- Bibliography; Artists’ Books Pub- by Tayfun Belgin. 128 pp.; 9 ½ produced and illustrated, this set will bourg Brothers and the “Belles lished by the Maeght Family 1946- x 11 ¾; 100 Color Illus.; Biogra- long stand as the definitive overview Heures” of Jean de France, Duc 1981; List of Works in the Exhibition; phy; Exhibitions; Bibliography; of British art. Scholarly and compre- de Berry by Timothy B. Husband. Index. $65.00 Hardcover. Published List of Works. $55.00 Hardcover. hensive, it is a valuable resource for 388 pp.; 9 ½ x 11 ½; 378 Color Illus.; in conjunction with an exhibition cur- Jonathan Meese: Fräulein Atlan- both experts and enthusiasts. ***** Appendices; Time Line; Bibliogra- rently at the Royal Academy of Arts tis by Karlheinz Essl, Jr. and Robert phy; Index. $65.00 Hardcover. This Seventeenth- and Eighteenth- (thru Jan 2, ’09), Behind the Mirror Fleck. 184 pp.; 9 ½ x 11 ¾; 146 Color gorgeously illustrated catalogue ac- Century Flemish Painting by showcases some of the key figures Illus.; Biography; Bibliography; List Natalya Gritsay and Natalya Babina. companies an exhibition currently at represented by the famous Galerie of Works. $65.00 Hardcover. 520 pp.; 10 ¼ x 12 ¼; 600 Illus., 400 the J.Paul Getty Museum (thru Feb Maeght in Paris. Excellent reproduc- 8, ’09), which will then travel to The UNIVERSITY OF CALIFOR- in Color; Appendix; Index of Subjects; tions. **** NIA PRESS: Dreambook by Index of Painters; Index of Liter- Metropolitan Museum of Art (Sep 22, ’09 — Jan 3, ’10), and features the AMON CARTER MUSEUM: The Mark di Suvero. 288 pp.; 9 ¾ ary Sources; Concordance. $150.00 100 Best Illustrated Letters of x 11 ¼; 209 Illus., 169 in Col- Hardcover. Assuredly a rare treat for exquisitely-rendered illustrations of the Limbourg brothers commis- Charles M. Russell by Brian W. or; Appendices. $49.95 Hardcover. most viewers, Seventeenth- and Eigh- sioned by the Duc de Berry. A beau- Dippie. 216 pp.; 9 3/8 x 11 ¼; Color Asian/American/Modern Art: teenth-Century Flemish Painting Illus.; List of Letters. $50.00 Hard- Shifting Currents, 1900-1970 serves up the work of some 140 Flem- tiful addition to any library! ***** Art and Love in Renaissance cover. As much American History as (Eds.) Daniell Cornell and Mark ish artists represented in the State an artbook, The 100 Best Illustrated Dean Johnson. 176 pp.; 9 ½ x 11; Hermitage Museum in St. Peters- Italy by Andrea Bayer. 392 pp.; 9 x 12; 375 Illus., 300 in Color; Bibli- Letters of Charles M. Russell is a 107 Illus., 95 in Color; Bibliography; burg, Russia. This official Hermitage treasure trove of humor, wisdom and Index. $45.00 Hardcover. Museum Catalogue includes illustra- ography; Index. $65.00 Hardcover. Dedicated to Philippe de Montebello just plain good drawing. If you like PHAIDON PRESS, INC.: Marina tions, commentary, and provenance the work of Russell, I guarantee that information supplied by the curators and published as the accompanying Abramovic by Kristine Stiles, et al. catalogue to an exhibition currently this delightful book will keep you 160 pp.; 9 7/8 x 11 3/8; 160 Illus., of Flemish Paintings at the Mu- absorbed for hours. ***** seum. Excellent reproductions. ***** at The Metropolitan Museum of Art 110 in Color; Chronology; Selected (thru Feb 16, ’09) which will then Beyond Babylon: Art, Trade, and Exhibitions; Bibliography. $49.95 travel to the Kimbell Art Museum, Diplomacy in the Second Millen- FURTHER BOOKS RECEIVED: Softcover. 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Published in conjunction Upheaval: Artists on the World’s to light the rich cultural heritage man, et al. 320 pp.; 9 7/8 x 11 ½; with The Aldrich Contemporary Frontlines by William Cleveland. shared by ancient Asian civilizations. 240 Illus., 227 in Color; Chronology; Art Museum and Mills College 352 pp.; 7 x 9 ¼; 100 B/W Illus.; Notes; A major scholarly presentation that Works in the Exhibition; Selected Bib- Art Museum, Revisiting the Glass Index. $20.01 Softcover. belongs in educational institutions liography; Index. $65.00 Hardcover. House explores the collaboration be- across the U.S. Impressive. ***** Published as the accompanying cata- F&W PUBLICATIONS INC.: An logue to a retrospective exhibition tween artist and architect. Includes G.F. Watts: Victorian Visionary Illustrated Life: Drawing Inspi- the work of some 21 artists. *** by Mark Bills and Barbara Bryant. of Eggleston’s work presently at the ration from the Private Sketch- Francis Bacon: Studies for a 324 pp.; 9 ¾ x 11 3/8; 220 Color Whitney Museum of American Art books of Artists, Illustrators and Portrait by Michael Peppiatt. 208 Illus.; Bibliography; Index. $75.00 (thru Jan 25, ’09), which will then Designers by Danny Gregory. 272 pp.; 6 3/8 x 9 ½; 35 B/W Illus.; Hardcover. With his seductively en- travel to the Haus der Kunst (Mu- pp.; 10 x 8; 200 Color Illus.; Index. Chronology; Index. $35.00 Hard- chanting vision, it is easy to see why nich), this volume offers a fifty-year $19.99 Softcover. cover. Hailed as Francis Bacon’s George Frederic Watts, the subject overview of his work. Handsomely pro- ‘Boswell’, author Michael Peppiatt Compiled by Raymond J. Steiner of this lavishly illustrated volume duced and lavishly illustrated. ***** is renowned as the leading ‘author- celebrating his life and work, was Why Photography Matters as Art ef ity’ on both the artist and his life. hailed as a “genius” during his life as as Never Before by Michael Fried. Studies for a Portrait includes in- Visit our website: www.arttimes- a painter of portraits and landscape, 320 pp.; 8 5/8 x 11 1/8; 160 Illus., terviews and essays that cover some journal.com to read previously pub- as a sculptor, and, near the end of 70 in Color; Notes; Index. $55.00 forty years of their relationship. *** lished boook reviews. his seventy-year career, as a sym- Hardcover. Already celebrated for his

The Hudson Valley Art Association, Inc. Be part of the resource ARTISTARTIST LIVE LIVE / WORK / WORK LOFTS th 78 Annual Exhibition July 6 - July 26 for ALL THE ARTS at Ridgewood Art Institute AVAILABLELOFTS NOW 12 East Glen Ave. Ridgewood, NJ and reach the cultural on FishkillAVAILABLE Creek in Bea CNOWon, new York Jury of Awards corridor of the Northeast. Approximately 1,700 sq ft of living/workspace in a Oil: John Traynor To advertise your beautifully renovated 1870 textile mill on Fishkill Creek. Pastel: Sam Goodsell, psa Large windows and 15' ceilings. Located in desirable Watercolor & Graphics: James McFarlane, aws exhibition, concert, artist community of Beacon, NY. performance or business Easy access to Manhattan and surrounding communities Slides Due April 4 by Metro North. Original oils, watercolors, pastels, phone ART TIMES graphics. Gold Medal, $10,000 cash awards. (845) 246-6944; email: FISHKILL CREEK DEVELOPMENT Send #10 SASE to: Winnie O'Dougherty 699 Canistear Rd Highland Lakes, NJ 07422 [email protected] 845 838 4007 / BEACON, NY or download www.HVAAonline.org Jan/Feb 2009 ART TIMES page 14 Fiction by Joyce FullerThe Good Daughter My daughter Sarah is 37, and sometimes stayed up too late study- expect too much of men. You need to whether she could go to Woodstock living alone. She finds it intolerable ing when I thought she needed sleep. give them a little more time, be a little or on a Washington protest march in if I say anything that even hints at She spent her junior year in college more flexible.” a heavy rain. criticism. How I long for her to be in India. Her closest friend at the She looks at me, and then she looks None of that with Sarah. with a husband or lover, and, oh yes, time of her father’s death was Indian. away. In the second summer after her a child. For both our sakes. Children The Menon family was wonderfully She says:,“You don’t respect me. father’s death, I’d sent her to a camp don’t forgive their parents until they supportive, but then Radha’s father You don’t respect my feelings. You run by Quakers, a beautiful place in are parents themselves. relinquished his post at the UN, and never have.” Her voice is careful, but Vermont. She didn’t want to go, but In many ways Sarah has been an they all returned to India. Sarah the words are there. I insisted it would be good for her. exemplary daughter. She was nine learned Hindi and how to play the I am shocked. My hands are heavy Now I see something. “You didn’t years old, her sister 17, when their veena, and she visited the Menons, in my lap. like going to that Quaker camp, did father died. The l7-year-old was half- often. But it wasn’t an easy year for you?” She hears my shock, and she goes way out the door, had a backpacking her. “No, I hated it.” She looks at me slowly and her voice includes love, trip to Europe planned, her college It isn’t only her mother who thinks quickly. but she doesn’t stop. “I don’t think applications done. She grieved for her Sarah is beautiful with her long, dark “How could you hate that wonder- you understood what my father’s father, but galloped away into life. red hair, and the compassion in her ful camp?” death meant to me. You never un- Sarah and I were alone together eyes, dark-etched like her father’s. I “You were getting rid of me.” derstood how lost I felt without him. through massive waves of shock have liked the men in her life that I “I guess I thought you would un- You wouldn’t let me speak to you and loss. Evening after evening her have met. She was always the one derstand that maybe I needed some about it.” father, so zestful of life, so abundant who ended things. The last time was time for myself.” “That can’t be true,” I say. with questions and answers, didn’t over five years ago, and I don’t think “You never said anything about What can she mean? I was always come home. there’s been anyone since. that.” trying to get her to talk, I always liked He didn’t bring us news of the I had to keep going — for her sake I think she’s depressed. She hardly to hear what she had to say. Just as world, and his high hopes for it and and her sister’s. I had to be cheerful, talks about herself at all, and she I loved to hear her practicing on the us.He wasn’t there to listen and to positive. But that didn’t mean I didn’t cares less and less about her appear- piano — all her careful Chopin filling love. miss her father. I knew we were all ance. the house. It was a struggle to keep afloat grieving. On Mother’s Day Sarah presents “I never forgot for a moment that and impossible to remain dry-footed I say, “Why didn’t you try to tell me with a magnetic support band for you were a child who had lost her or dry-eyed. I’d heard about widows me how you felt? Was it entirely up my weak ankle, and she takes me out father,” I say. who were forgotten or even rejected, to me to get you to talk?” to dinner. I am on my best behavior. Everything we did for years was but that didn’t happen to us. Sarah’s “Don’t you remember,” she says. I have put on the band, and it seems connected to the loss of him. I had father had been a generous and at- “The year Daddy died was the same to help, though I am more skeptical to make sure life had a good face for tentive friend; his old friends, our year Grandpa died, and Uncle Max than she is. Sarah. I took her to plays and concerts friends, continued to reach out. It was and Dan and your friend Jane. I “How your father adored you,” I I thought she’d like. I invited people to good I had to go on teaching. thought everybody was going to die. say to her over dessert that I have dinner as I had when her father was Sarah and I don’t see a great deal I couldn’t afford to lose you too.” and she doesn’t. alive. of each other these days--she has an She raises an eyebrow. “I don’t re- “I thought you liked all the parties The meal is over. Before we go off in OK job in educational research. And ally remember that,” she says. I’ve re- we gave, the trips we took — all the our opposite directions, Sarah looks she continues to talk about trying minded her of her loss and of how much things we did together. You never at me, and then she puts her arms to find herself. What she means is she wants to remember but can’t. said you didn’t.” around me, and it’s almost the way I that she’s still struggling to believe Recently I read an article by a She doesn’t say it now. She doesn’t hugged her in the early years, when I in herself —in a vacuum, as I see it. woman who’d lost her father when say she didn’t like them. She doesn’t was the taller one. Surely those hugs Several years ago I told her that that she was a small child. She said that if say she did. They don’t seem to mat- were filled with my concern for her. kind of thing is for earlier or later in her father had lived, she would have ter. life. Now she should be finding herself How much have I misunderstood? All known sooner how flawed even the Sarah has always been consider- through connections to other people, the time I was taking care of her, she best men were. ate of me. I thought that showed we in the real world. Surely, I’m right. was taking care of me. “Sarah,” I say, “you know how understood each other. We never It is as if at this late date she is still So much has seemed fine and bright much I respect you. I think you’re had the kind of flare-ups, the -con struggling through the birth canal, in Sarah’s life. She always did well absolutely wonderful. I don’t want frontations I’d had with her older and I am still pushing down. All those at school. I only complained that she to sound critical — but maybe you sister — over candy, clothes, hours, years I had thought we were manag- ing well enough, my daughter was in pain. Grief over her father’s death is still dominating her life. Am I wrong to think she is stuck in some terrible place I could try to dis- lodge her from? I am only a mother, a 03:A973;CA3C;=4/@BA173<13 >/@B717>/B7<5/@B7ABA ^`SaS\ba 0O`OQQ]3[WZW]   $’0O`OQQ]CU] $ relic of the past. I don’t want to sound 0SZaYWS/P`O[’0c`abg\3ZZS\ !’1]ZZW\a0`gO\ " bitter. I am lucky to have near me this B63 =4 2S[O`Sab@]PS`b %’4O``SZZ;O`g/\\  beautiful hurt person who gives her B6303:A973;CA3C; 4WPS`@Sd]ZcbW]\ # %’4`WS`

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 %$& &$ 8/< 430  ' eeePSZaYWS[caSc[Q][ Jan/Feb 2009 ART TIMES page 15 Film Something Else to Watch Out For By HENRY P. RALEIGH WAY BACK IN 1913. A fellow named There was simply no recognition for Edward Bullough noticed there was the major contribution fog made to something funny about fog. He was any film it was in. Well, it was that on a boat at sea when it entered a fog way until 1980 when John Carpen- bank and everyone on board, includ- ter, following the success of “Hal- ing himself, got pretty antsy because loween”, decided to do something you couldn’t see a damn thing. Even about it. Clint Eastwood had made a objects close by looked a bit blurry half-hearted effort when in 1971 he and misshapen. His wife, hanging on tossed in a bit of California’s coastal the deck railing but a few feet away, fog at the beginning of “Play Misty appeared in the swirling murk like for Me”. However, this was entirely one of the witches of Endor just as he misleading and the ‘misty’ had no had begun to suspect she was, any- dramatic connection to the fog who how. Right off the bat he labeled this had thought the film’s title would at effect ‘psychical distance’, a sense least give it some cast credit. Well, of being separated from reality and Sir, Mr. Carpenter changed all that not being keen about it, either. Un- with “The Fog”, a film that made fog fortunately Mr. Bullough also called the central motivation factor, up- this sensation a ‘disjointedness’ and staging all the actors including Ja- much later a group of youths misun- mie Lee Curtis, pressing up against derstood his theory and applied it to windows, sneaking under doors, mean things like, ‘Hey man, try dis spewing out pirates a mile a minute. joint, it’s far out’ — the ‘distance’, Fog at least had come into its own, you see. taking a place alongside cornfields as Now Mr. Bullough’s ‘psychical fearsome things that we must watch distance’ was actually an idea he out for. As we have learned now from had about the aesthetic response to this and previous movies, fogs and formance without a doubt despite a a great deal of fog — it’s just all over. art and early filmmakers apparently cornfields (see my earlier report on certain shakiness in the story’s ratio- True, it’s not the sort of fog that became very fond of it, especially the the horror of cornfields) conceal all nale. To say a fog loaded with gigan- seems to be reaching out to grab you; fog part. And, as you know, there manner of terrible things. tic flesh-eating bugs had slipped out more a bouncy, cottony type. “Here hasn’t been a vampire, a werewolf, “The Fog” was not the end of fog’s a window to another world opened by Comes Mr. Jordan” and its remake, a Frankenstein, or Jack the Ripper hideous career. In 2007 came “The a military experiment and let it go at “Heaven Can Wait”, come to mind. film since “Nosferatu” that doesn’t Mist”, although I have some reserva- that doesn’t really satisfy. There were Why, when Robert Montgomery and have a generous lathering of fog all tions about the title. A mist to me is other confusions especially regarding Warren Beatty walk about heaven over the place. One of the obvious something that sprays out of an aero- the conclusion and I figure the writers they kick up a little non-threaten- advantages of loads of fog, besides sol can and the mist, so called, in the got into lot of argument until finally ing puffs of the stuff. What does this its creepiness, is its ability to conceal film seems to have the consistency of one of them said, ‘To hell with it; at mean? Are somewhere in heaven’s shoddy sets and over-the-hill actors. vanilla pudding — it’s really a fog and the end of 196 minutes the cast must fog enormous killer insects and And it’s cheap, too. a pretty thick one at that. A rose by be exhausted so we’ll have the lead vengeful pirates just waiting for you? Still, fog remained no more than any other name, I suppose, yet I feel human actor shoot all the remaining Isn’t that supposed to be situated background to the blood-sucking you should call something for what principals and be done with it’ — and elsewhere? Surely there is a differ- people and other monsters that wan- it is, no matter that you’ve lifted the they did. ence between a sinister, vanilla pud- dered through its enveloping billows, plot from a Stephen King novel and I must offer a caution here, some- ding fog and the Marshmallow Fluff a mere second-banana, so to speak, some other director has a lock on the thing to think about. You might re- fog that makes up a filmic heaven. even waiting at times for a full moon title. At any rate, “The Mist” is a fair call that any film which has a scene It’s something to think about, I can before making a decent entrance. vehicle for fog, academy award per- or two taking place in heaven shows tell you. ef

M A G Call for Entries: FIFTH ANNUAL SMALL WORKS SHOW May 6 - May 23, 2009 “First Response: Artists Imagine...America.” How will Obama's election change our world? CALL FOR ENTRIES Work in all media Curator: Jerelle Kraus, former Art Director Max. 15” in any direction CASH AWARDS of the New York Times Juror: Leslie Nolan, Executive Director Entry Deadline: January 15, 2009 Center for Contemporary Printmaking Exhibition: February 12 - March 1, 2009 For prospectus send SASE to: “Art into Life/Life into Art” Mamaroneck Artists' Guild Celebrating Women's History 126 Larchmont Ave, Larchmont NY 10538 Curator: Midori Yoshimoto, Associate Professor of Art or download: www.mamaroneckartistsguild.org History and Gallery Director, New Jersey City University Entry Deadline March 13, 2009 Entry Deadline: February 2, 2009 Exhibition: March 5 - March 29, 2009

“In Your Dreams” ONLINE THE RIDGEWOOD Reveries, Fantasies, and Impossible Wishes NewYorkArtists.net Curated by Edward J. Sullivan, Professor of ART INSTITUTE 29TH Art History and Dean for the Humanities at NYU The Number One Entry Deadline: February 9, 2009 ANNUAL REGIONAL Exhibition Dates: April 2 - April 26, 2009 Website for New York Artists OPEN JURIED SHOW January 24 through February 8 For information or prospectuses, Download a Top Rankings on all Major Search Engines Reception January 25 prospectus from www.penandbrush.org, or send John Osborne’s Annual Demo Feb.1 at 1:30 PM SASE: The Pen and Brush, 16 E. 10th St., NY NY, 10003 New Resources For questions email: [email protected] and New Opportunities For Artists, Galleries and Collectors

Founded in 1894, the Pen and Brush is a nonprofit orga- Contact: Gloria Rabinowitz nization dedicated to women in the literary, visual, and 718-465-5111 visit: ridgewoodartinstitute.org performing arts. [email protected] 12 East Glen Avenue Ridgewood, New Jersey 07450 • 201-652-9615 Jan/Feb 2009 ART TIMES page 16 Annual Open Exhibition Jul 6 - Jul 26, Download form from website. www.pen- Photographers: SOHO Photo Gal- 2009 to be held at the Ridgewood Art In- andbrush.org. Deadline: Feb 9. lery, 15 White St., New York, NY 10013, Opportunities stitute, Ridgewood, NJ. SASE to Winnie (516)485-6951. Entries for the 14th an- Women Artists: Pen and Brush, Inc., 16 O’Dougherty 699 Canistear Rd., High- nual juried national photography com- Artists: 1800 Tequilla Seeking Entries E. 10th St., NYC 10003 (212) 475-3669. land Lakes, NJ 07422 www.hvaaonline. petition, any medium. SASE #10 or visit for Design Your Own Bottle Contest. Seeks entries for First Response: Artists org Slide deadline April 4. website. www.sohophoto.com Deadline: Visit Website for more information. Imagine...America. How will Obama’s May 2. www.1800tequila.com Artists, Musicians, Writers, Archi- election change our world, Feb12 - Mar Artists: Art League of Long Island, (631) tects: I-Park Artists’ Enclave, 428 Hop- 1. Send SASE or Download form from Artists of Soft Pastel: The Arts Guild 462-5400 Seeking entries for 42nd An- yard Rd., East Haddam, CT 06423, 860- website. [email protected]. www. of Old Forge, Inc. P.O. Box 1144, Old nual Art in the Park, to be held at the 873-2468 Accepting applications for the penandbrush.org. Deadline: Jan 15. Forge, NY 13420 Seeks entries for the 2009 Residency Season. For more infor- 5th Annual Northeast National Pas- Heckscher museum park, Huntington, Women Artists: Pen and Brush, Inc., 16 mation please call, email or visit website. tel Exhibition, June 13 - July 12, 2009. NY May 30 - May 31. Download appli- E. 10th St., NYC 10003 (212) 475-3669. [email protected]. www.i-park.org. Jurors: Maggie Price, PSA and Michael cation from website or call Art League. Seeks entries for “Art into Life / Life into Deadline: Entry Postmark Jan 5; Com- Chesley Johnson, MPAC, PSA. Cash www.artleagueli.net Deadline: Feb 29. Art”, celebrating Women’s History, Mar posers Jan 17. awards $35/1 or 2 - 35 mm slides or digi- 5 - Mar 29. Send SASE or Download form Sculptors: Arts Society of Kingston Gal- tal submissions. download prospectus or Poets: InDeArts POB 556 Housatonic, from website. www.penandbrush.com lery, Kingston, NY 12402 & The City of send a #10 SASE Attn: “NNPE”. www. MA 01236. Seeking prose poetry submis- Deadline: Feb 2. Kingston Seeking Sculpture entries for artscenteroldforge.org Deadline: Mar 2. sions for online publication. Please email the 2009 Kingston sculpture biennial go Artists: Pine Bush Area Arts Council, for more information. [email protected]. Artists: The Blue Heron Gallery & Lau- green and keep the Hudson clean July 4 Linda Malmendier, President PBAAC, www.indearts.org. ra Craig Gallery, PO Box 813, Wyalus- - Oct. Visit website for more information. P.O. Box 220, Walker Valley, NY 12588 ing, PA 18853 (570) 746-4922. Entries www.asforarts.org Deadline: Mar 28. Artists: Katharine Butler Gallery, 1943 (845) 744-5418. Seeks artists interest- for the US Route 6 in Art and Poetry, Morrill St., Sarasota, FL 34236 Seeking ed in exhibiting in the gallery space at Artists: Artwell, 19 Water Street, Tor- Mar 15 - May 1, 2009. Call or visit web- 2D or 3D for 4th Annual Juried Exhibi- Crawford Gallery for the 2009 season. rington, CT 06790 (860) 482-5122. Seeks site for more information. bkeeler@epix. tion April 15 - May 9, 2009 in any tradi- Interested parties please email. Lin- entries for Show 4 a Show 2009 Apr 4- net. www.blueheronart.org. Deadline: tional medium including fiber, ceramics, [email protected] May 17. Website for information. www. Feb 15. metal and glass from the past 3 years. artwellgallery.org. Drop-off: Mar 21-23 Artists, All Media: Pleiades Gallery, No Giclées or videos. Entry fee $25 for Artists: The Lake George Arts Project 5-8pm 530 W. 25 St., 4th fl. NY, NY 10001-5516 up to 3 works. Juried by Roy Slade, Di- Gallery Committee, Courthouse Gallery, (646) 230-0056. Seeks entries for the 27th Photographers: Barrett Art Center, rector Emeritus, Cranbrook Art Museum 1 Amherst St, Lake George, NY 12845 Annual Juried Exhibition July 9 - Aug 1, 55 Noxon St., Poughkeepsie, NY 12601 and former director Corcoran Gallery of (518) 668-2616. Submissions of exhibi- 2009. Open to all media. Juror Nat Trot- (845) 471-2550. Entries of photography Art. Cash Awards. SASE or go online for tion proposals for Courthouse Gallery’s man, Assistant Curator at the Solomon and photo/mixed media for the Photo- prospectus and application. falkc@kbut- 2010 exhibition schedule. Email or visit R. Guggenheim Museum. Download work 09, 22nd Annual National Juried lergallery.com www.kbutlergallery.com. website for information. mail@lakeg- prospectus from website or call for more Photography Exhibition, Mar 21 - May Deadline: Feb 14. eorgearts.org. www.lakegeorgearts.org. information. www.pleiadesgallery.com. 2. Juror: Malcolm Daniel, Curator in Deadline: Jan 31. Charge, Photography, Metropolitan Artists: Katonah Museum of Art, Route Deadline: Apr 18. 22 at Jay St., Katonah, NY 10536 914 Artists: The Main Street Petite Gal- Museum of Art, NY, NY. Cash awards/ Artists: Ridgewood Art Institute, 12 232-9555 ext 0. Seeks entries for KMA’s lery of the Huntington Arts Council, 213 exhibition opportunities. Send SASE for East Glen Ave., Ridgewood, NJ (201) juried exhibition Contemporary Confron- Main St., Huntington, NY 11743, (631) prospectus or visit website. www.barret- 652-9615. Seeks work for 29th Open Re- tations, Jan 25-Feb 22. visit website to 271-8423 Seeks artists for “A Brilliant tartcenter.org Deadline: Feb 14. gional Juried Show, January 24-Febru- download prospectus. www.katonahmu- Disguise”, 6th annual juried portrait ary 8. Call or visit website for prospec- Artists, Performers: Bazaar Produc- seum.org Deadline: Jan 16 & 17. show, Feb 6 - Apr 6. Please visit website tus. www.ridgewoodartinstitute.org. tions, Berkshire Fringe, Daniel Arts to download prospectus www.hunting- Artists: Mamaroneck Artists’ Guild, 126 Receiving January 10. Center, Bard College, 84 Alford Rd., tonarts.org Deadline: Jan 23. Larchmont Ave. Larchmont, NY 10538 Great Barrington, MA 01230 (413) 320- Artists: Roca Exhibitions, 27 s. Green- (914) 834-1117. Seeking wall work in Artists: Viridian Artist Inc. 530 West 4175. Seeking applicants for the 2009 bush Rd., West Nyack, NY 10994 (845) all media for Small Works Show, May 6 25th St, New York, NY 10001. Seeking Berkshire Fringe season. Call, email, or 358-0877 Seeking artists for the 2009 - May23, 2009. Max. 15’ in any direction. entries for 20th Annual international visit website for more information and to members exhibit January 11- February SASE or download application. www. Competition from US & International download prospectus. sara@berkshire- 15. Email for application. AmyRCA@aol. mamaroneckartistsguild.org. Entry artists working in 2D & 3D media. Juror: fringe.org www.bershireringe.org. Post- com www.rocklandartcenter.org Dead- Deadline: March 13. Elisabeth Sussman, Curator, Whitney marked Deadline: Feb 2. line: Jan 7. Museum, NYC. Cash Prizes, Power-Point Artists: Nat’l Park Artist-in-Residence Artists: Family of Woodstock, PO Box Photographers, Graphics Design- presentation, group exhibition June 30- Program Whiskeytown Nat’l Recreation 3516, Kingston, NY 12402 (845) 331-7080 ers: Salmagundi Club, 47 Fifth Ave., July 17, 2009. $40/3 pieces, $5 each addi- Area & Turtle Bay Exploration Park PO X 133. Seeking entries for our themed NYC (212) 255-7740. Seeks entries for tional. SASE or download. www.viridi- Box 188, Whiskeytown, CA 98095. Seeks art show. Please call or email for more New York, New York, Annual Open anartists.com. Deadline: April 10, 2009. artists to participate in the 2009 Resi- information. kwolfeil@familyofwood- Non-Member Juried Exhibition, June 15 dency program. Write Sheila Edridge, Vocalists: Westchester Concert Sing- stockinc.org www.familyofwoodstockinc. - June 26. Go to: www.Salmagundi.org. Coordinator or go online. whiskeytown. ers, Joan Robinson (914) 666-2747. org Deadline: Feb 1, 4:30pm. Postmarked Deadline: Mar 13. [email protected] www.nps.gov/whis. Dead- Seeks singers in all voice parts. Call Artists: Glass Art Society, 6512 23rd line: Feb 15. Painters, Sculptures: Salmagundi or visit website for information. joan. Ave. NW, Suite 329, Seattle, WA 98117 Club, 47 Fifth Ave., NYC (212) 255-7740. [email protected]. www.Westches- Artists: National Association of Women (206) 382-1305. Requesting proposals Seeks entries for New York, New York, terConcertSingers.org. Artists, 80 Fifth Ave., Ste. 1405, New for lectures, demonstrations, and panels Annual Open Non-Member Juried Exhi- York, NY 10011, (212)-675-1616. Seeks Artists, Craftspeople: White Plains for the Louisville, Kentucky conference bition, June 29 - July 10. Go to: www. entries for National Juried Small Works Outdoor Arts Festival Committee, P.O. (theme “Ingenious Possibility”). Call or Salmagundi.org. Postmarked Deadline: Exhibition Feb 26 - March 20. Open to Box 273, White Plains, NY 10605 (914) visit web site for prospectus. info@gl- Apr 15. assart.org. www.glassart.org. Deadline: women 18+. Cash prizes and solo show 949-7909 or (914) 993-8271. Seeks entries Jan 15. awarded. For prospectus send SASE to Artists all media - CT, MA, ME, NH, for 47th Annual Juried Show, May 30 & NAWA or download from website. office@ NJ, NY, PA, RI, VT: Silvermine Guild May 31, 2009. SASE or call for applica- Artists Ceramics, Jewelry, Glass , Fi- nawanet.org. www.nawanet.org. Entry Arts Center, 1037 Silvermine Rd., New tion or information. www.whiteplain- ber: New York Artists Online Seeks art- postmark deadline: Jan 10. Canaan, CT 06840 (203) 966-9700 x26. soutdoorartsfestival.com ists who have a high quality website for Entries for 60th art of the Northeast Artists: National Society of Painters in Artists in CT, MA, NJ, NY, VT: Wood- Free website listings through June 2009. USA May 7 - June 5th. Send #10 SASE Casein & Acrylic, 969 Catasauqua Road, stock Artists Association & Museum, Send email gloriarabinowitz@newyork- AONE Silvermine Guild Arts Center or Whitehall, PA 18052 Seeks entries for 28 Tinker St., Woodstock, NY 12498 artists.net www.newyorkartists.net download from website. www.silver- 55th Annual Juried Exhibition, at the (845) 679-6159. Entries for The River, mineart.org Deadline: Mar 14. Artists all Media: Hopper House Art Salmagundi Club, Feb 16- Feb 27. for A Regional Juried Show, work explor- Center, 82 N. Broadway, Nyack, NY prospectus write: D. Wels, Correspond- Artists: Smithtown Township Arts ing: history, people, ecology, landscape, 10960. 845-358-0774. Seeks entries ing Secretary, 1710 First Ave., 245, NY, Council, 660 Rte., 25A, St. James, NY industry, conservation and politics of for exhibit celebrating Hudson-Fulton- NY 10128 [email protected] Dead- 11780 Call for entries for “A Pinch and a the Hudson River Apr 4 - May 3. 2009. Champlain Quadricentennial. SASE line: Jan 15. Dash”, an exhibit examining the Ameri- Send SASE or download application & to gallery or download prospectus from can Woman’s changing role in the kitchen guidelines. www.woodstockart.org Slide Artists (U.S. based, 19 and over): website. www.hopperhouse.org. Dead- in celebration of Women’s History, Mar or CD deadline: Jan 26; work to be hand Pelham Art Center, 155 Fifth Ave., Pel- line March 20. 28- Apr 19. SASE to STAC or visit web- delivered. ham, NY 10803 (914) 738-2525 . Seeks Artists: Hors’n around Saugerties, Sau- site for more information. www.stacarts. Entries for the 2009 Alexander Rutsch If you have an opportunity to gerties Economic Development office, org. Deadline: Feb 13. Award and Exhibition for Painting, May list, email: info@arttimesjournal. (845) 246-2800 x 371 Seeking artists Sculptors: Socrates Sculpture Park, 15-Jun 27. SASE, email, or visit Website com or write: ART TIMES PO proposals for Hors’n Around Saugerties, for prospectus. rutschaward@pelhamart- PO Box 6259, 32-01 Vernon Blvd., Long Box 730, Mt. Marion, NY 12456. a summer long celebration, 2009. Down- center.org. www.pelhamartcenter.org. Island City, NY 11106 (718) 956-1819. load form from website. www.horsn- Deadline: Feb 6. Seeking Applicants for 2009 various exhi- Please follow above format and aroundsaugerties.com. EDC@saugerties. bition categories. Visit website or call for include deadline and contact Women - Media: Pen and Brush, Inc., ny.us. Deadline: Jan 7. guidelines. info@socratessculpturepark. phone number. 16 E. 10th St., NYC 10003 (212) 475- org. www.socratessculpturepark.org. Artists: Hudson Valley Art Association, 3669. Seeks entries for “In Your Dreams: If you missed the deadline we Inc. Seeks original oils, w/c, pastels, Deadline: Jan 26. Reveries, Fantasies, and Impossible can still get your listing online. graphics, in American Realism, for 78th Wishes”, Apr 2 - Apr 26. Send SASE or email: [email protected] Jan/Feb 2009 ART TIMES page 17 Music Words, Words, Words…and Music By FRANK BEHRENS ody to which they are set. Take “Tea by the telephone” (Irving Berlin)? latter. With “Zip-a-dee-doo-dah,” we I always like to play some quiet for two.” Those three words make Why the devil does that stick around have simply a catchy nonsense line music while dining in the evening to little effect alone; but when combined in the memory? It is followed by that has its own appeal without any help the mood and digestion. This with the rest of the line—“Tea for two “Waiting for a ring, a ting-a-ling,” translation needed. An older example very evening, I was playing a CD set and two for tea”—the seven words which follows the same pattern: a of the nonsense phrase is the 1891 with 40 selections of love songs from form a strong DNA-memory link in phrase, a pause, a rhyming phrase. British “Ta-ra-ra-boom-der-e,” a song those old Andre Kostelanetz LPs; and the synapses of the brain. The line is Is it that little pause that does it? of which everyone knows the title and by the time we were halfway through the next best thing to a palindrome. Or the anything but clever rhymes not a single word of what comes after “I don’t know why I love you like I Another song title that comes close is of “alone/telephone” and “ring/ting- it! do,” that old nagging question arose “When I’m not near the girl I love, I a-ling”? Who can account for these And what about the use of antithe- in my mind, What makes songs like love the girl I’m near” (from “Finian’s things? sis? “I found a million dollar baby in a this last so long? Rainbow”). These see-saw sentences Another attention-getter title uses Five and Ten Cent Store” gives a neat Of course, there were no vocals are not super-clever but they do stick a rhyme, “Rock around the clock” contrast between lots of money and a in these musical settings, but the in the memory. In fact, they do not and the 1911 Harry Lauder standard few coins and is therefore memorable. words to many of them have become necessarily have to appear at the “Roamin’ in the gloamin’” being good “Red roses for a blue lady” is just as so inextricably bound to the melodies start of the song at all. It is enough examples. good. And “When the idle rich become that it is impossible to hear the latter that they come at the end of a refrain, Nothing made Ira Gershwin more the idle poor” is an example of a song without the lyrics (or as much of them as does the Finian song. angry than some vocalist singing “It’s (again from “Finian’s Rainbow”) that as one recalls) flowing right along. It In the past, I have written essays wonderful” instead of the “’Swonder- is never sung outside of the context of is like trying to hear the last section of about the clever lyrics of such artists ful” that is in the printed lyrics. After the show. the overture to “William Tell” without as Cole Porter, Larry Hart, Noel Cow- all, Ira knew what he was doing in Now there are plenty of songs hearing “Hi-yo, Silver, away!” far in ard, and Ira Gershwin. Examples of using an unusual form of a phrase, that have even more clever titles or the back of whatever part of the brain the clever lyric are all too easy to while the singer obviously did not tag lines but never lasted any appre- stores these things. find, but they do not make the entire know or did not care. ciable time. But those that have just I might have mentioned in an ear- number into a memory-lingerer. “I’m This reminds one, of course, of the might owe their longevity to the very lier article that a childhood friend of bidin’ my time because that’s the nonsense songs like “Mairzy Doats” elements I have touched on in this mine had a recording of classical mu- kind of guy I’m” (from “Girl Crazy”) (which is explained later as “mares essay. sic with childish lyrics written for the certainly calls attention to itself, but eat oats”) and “Hut sut song” (which If any Reader can think of more ex- selections. And to this day, I cannot again the song is seldom if ever sung starts with a lot of Swedish expres- amples for each category—or indeed hear Offenbach’s “Barcarole” without out of the context of the show. sions, later explained). The former more categories with examples—I also hearing “When I float my little toy In some cases, parallelism has no is always fun to sing to a person not would be most grateful. My e-mail is boat.” And this was back in 1945! part of making a fragment of lyric in on the joke, while I have yet to [email protected], and I thank you Yes, there are surely lyrics that memorable. What about “All alone, meet a person who understands the in advance. stick in one’s mind as well as the mel- ef vPoets’ Niche SEVERED She severed ties with them OCEAN PRAYER as soon as she was able to leave home Preacher man hops at my ear and fend for herself. like a crow does roadkill. They never took care of her; His god seems short of cash again. MASTER POET AND ME she told anyone who asked He offers up light We were fishing in the same stream, you and I, that her parents had died years ago that always seems to be somewhere else; My string and stick, my safety pin and worm in a tragic carnival accident. says beware mimicry of flight. Trying to get the job done, After her youngest child finally left home, So now I lay me down to sleep While you were reeling them in. she decided to resurrect mom and dad. breathe the prayers I am and keep: No matter, it had to happen She realized she had a lot in common though I shall never wait for Godot, That we would wind up together with them; maybe they weren’t I dream of dolphin ponies and ride. Untangling and becoming more entwined such bad parents after all. As we tugged at hook and line, She couldn’t wait to tell her own kids They and I curvaceous alive, That we would have found each other the good news, but two of them erect into the ocean’s In the pools of quiet along the banks, weren’t speaking to her, deep remarkable, Clawed creatures, bugs, tiny fishes, moss, rocks, and the youngest one didn’t leave fly, break surface. No more mysterious or common than you or I a forwarding address. All is ocean still. All worth the reach beneath the surface. Cathy Porter Daniel Beatty Judy Steiner Grin —Omaha, NE —Lincoln, NE —Fly Creek, NY

POETRY CAN STUTTER Our emotions can spurt or spit but often are hesitant, ON VIEWING WINSLOW HOMER’S CIVIL WAR shy, almost embarrassed by their own inner clarity FOOTNOTES SHARPSHOOTER IN THE TREE and blurred outward expression. Blots of tears and Only his stance, only his readiness And poetry can stutter, hiding perhaps ambiguities lipstick smears; I think the drunk driver, the wrong plane which somehow manage to both destroy and a heart, a line Hurricane at the door, construction brick of the building create it. from Stein, And no protection, no insurance, but the decision Poets, being beautifully disordered, entropic and letters scribbled, etched To shut down, stay home, head for the cellar slightly irresponsible, can live comfortably with and stretched, And it can happen to those I care for opposites, appreciating the need of anode for lost and tossed, Daughter in her first car, first plane trip, first love cathode, matter for antimatter. placed into another I visited the World Trade Center the Friday before Yet being no more eclectic than anyone else, they space; Look out the window, tell my friend stutter or hiccup now and then, interrupting the words set, not in So high that in free fall intended flow or creating a pause for doubt or stone, You reach terminal velocity reflection. erased, honed. You float, the skydiver’s dream at last a poem. And then, they press forward in the everlasting There’s a word for all of this search for meaning in what they have just written. gilda Kreuter But I can’t think of it —Brick, NJ Margaret H. Brooks greg Moglia —Memphis, TN —Huntington, NY Jan/Feb 2009 ART TIMES page 18 Continued from Page 12 Spring Membership applica- tion, entry postmark deadline, March Calendar Tuesday, February 3 Classified 15, 2009 now available. Send SASE or STUDENT SHOWCASE Westchester Art Workshop, 27 North Division St., Peekskill, NY (914) 606-7300 Artist's Reception: 5:30-7pm (thru Feb 21) Westchester THE MOUNTAIN a Novel by Ray- download prospectus: National Asso- Wednesday, February 4 mond J. Steiner. Get your copy. Contact: ciation of Women Artists, Inc. 80 Fifth ART FROM THE HEART Gallery Link, Ellenville Public Library & Museum, 40 center St., [email protected]. Or call Avenue, Suite 1405 New York, NY Ellenville, NY (845) 647-5530 (thru Mar 4) Ulster 845-246-6944 10011 212.675.1616 /office@nawanet. Thursday, February 5 PLACE A LINK From Your Calendar org / www.nawanet.org IN CHELSEA: Group Show / MARK PERRY: Solo Show New Century Artist Gallery, 530 Listing Or Opportunity Listing @ Art FREE ARTIST WEBSITE LISTINGS W. 25th St, Suite 406, NYC (212) 367-7072 Opening Reception: 5-8pm (thru Feb 14) NYC Times Online. We are also offering (limited time offer) on New York Artists OUTSIDE PHOTOGRAPHERS Upstream Gallery, 26B Main St., Dobbs Ferry, NY (914) 674-8548 (thru Mar 1) Westchester advertising from our website: banners, Online (www.newyorkartists.net) in classifieds and links. Take a look online these categories until June 2009: Ce- Friday, February 6 at www.arttimesjournal.com. For adver- ramics, Jewelry, Glass , Fiber. Contact A BRILLIANT DISGUISE: 6th Annual Juried Portrait Show. Huntington Arts Council, Main St. Petite Gallery, 213 Main St., Huntington, NY (631) 271-8423 (thru Apr 6) Suffolk tising rates: call (845) 246-6944 or email [email protected] if ELEGANT DISTORTION: Group Show Hopper House Art Center, 82 N. Broadway, Nyack, [email protected]. you have a high quality website in one of NY (845) 358-0774 Opening Reception: 2-5pm (thru Mar 8) Rockland IRIS GICLEE FINE ART PRINTING: the above categories. NewYorkArtists. MODFEST 12: Dance Performance Frances Daly Fergusson Dance Theatre, Kenyon The finest watercolor reproductions net will place an image, description of Hall, Vassar College, 124 Raymond Ave., Poughkeepsie, NY (845) 437-5632 8pm charge your work and a link to your website Dutchess available. No minimum. Call toll free for free. WENDY SHALEN & BARNEY HODS: Class Show Art Students League, The Elizabeth V. for samples. Omega Fine Art, Byram, Sullivan Gallery, Vytlacil Campus, 241 Kings Highway, Sparkhill, NY 10976 (212) 247-4510 NJ 1-888-225-2125. PORT CHESTER-47 Purdy Avenue Opening Reception: 5-7pm (thru Feb 27) Rockland NEW CENTURY ARTISTS: 530 West Warehouse/ Garage Space 1,380 Sq Ft Saturday, February 7 25th St., Suite 406, New York, NY 10001, $1,600/mo, 913 Sq Ft. $1,200/ mo, 1,175 Sq ARTISTS IN THEIR STUDIOS: Photographs Norman Rockwell Museum, Rte. 183, Stock- (212) 367-7072 is seeking new members Ft $1,650/ mo. Call Gary 914-681-5100. bridge, MA (413) 298-4100 (thru May 25) Berkshire, MA YONKERS: 145 Saw Mill Road Ware- CREATIVE ARTS ENSEMBLES SHOWCASE Pelham Art Center, 155 Fifth Ave, Pelham, for group and solo exhibitions. All media NY (914)738-2525 1-3pm New Rochelle welcome, $300 annual fee. Send e-mail to house Space Available up to 22,670 Sq. LES VIOLINS DU ROY Chromatic Concerts, Troy Savings Bank Music Hall, Troy, NY [email protected] for further Ft. Will Divide Call Gary 914-681-5100 518-273-0038 8pm charge Rensselaer information. WHITE PLAINS 220 Ferris Avenue LORIE GURIAN: Paintings Harrison Public Library, Bruce Ave., Harrison, NY (914) 835- 900 Sq. Ft. Office - $1,275/ mo, 463 Sq. 0324 Opening Reception: 2pm (thru Feb 22) Westchester 28,000 COPIES of ART TIMES are ft Office- $700/ mo, 2,200 Sq. Ft Ware- PERI KARKHECK: Watercolors Piermont Fine Arts Gallery, 218 Ash St., Piermont Land- distributed along the cultural corridor house- $14 psf, 3,130 Sq. ft. Warehouse- ing, Piermont, NY (845) 398-1907 Opening Reception: 2-6pm (thru Feb 22) Rockland of the Northeast with a concentration $12 psf Call Daniel 914-681-5100. RICK ALTMAN & DAVID OLIVER: Concert The Pine Hill Community Center, 287 Main in the Metropolitan New York and St., Pine Hill, NY (845) 254-5469 7-9pm Ulster Hudson Valley Regions, New Jersey, ART INSTRUCTION: Principles of Sunday, February 8 Connecticut, and Massachusetts. Next Drawing and Painting, from beginner CAROL HAMOY: Psalmsong Opalka Gallery at Sage Colleges, 140 New Scotland Ave., time you’re having an exhibit in or out to advanced at The Warwick Atelier Albany, NY (518) 292-7742 Artist's Reception 1-4pm (thru Feb 22) Albany of your area, let everyone know about it. in Warwick, NY. Taught by classically CELEBRATING BERGEN COUNTY’S DIVERSITY Art Center of Northern New Jersey, Call for advertising rates: ART TIMES trained artist contact: susanhopefogel@ 250 Center St., New Milford, NJ (201) 599-2992 Reception 2-4pm (thru Feb 26) Bergen, NJ gmail.com or 845-986-0986 Cellist AMIT PELED: Haydn’s Concert in D Major & Tchaikovsky Serenade for (845) 246-6944 or email: ads@arttimes- Strings. Westchester Chamber Orchestra, Iona College, Christopher J. Murphy Auditorium, journal.com ARTISTS LOFT WORK SPACE cor of Summit & North Aves, New Rochelle, NY (914) 654-4926 3pm charge Westches- Downtown New Rochelle Soho style, ter READ ALL ABOUT the Kung Foox Col- high ceilings and large windows, great GUITAR BLUES Bardavon Opera House, 35 Market St., Poughkeepsie, NY (845) 473-5288 lective, our artists, our stories, our art- 7pm charge Dutchess work, our motivations and inspiration light. Walk to train, restaurants, shop- KAREN SARGSYAN: HVCCA Artist-in-Residence Hudson Valley Center for Contempo- at http://www.kungfoox.com and http:// ping. Private spaces from 200 sq ft to rary Art (HVCCA), 1701 Main Street, Peekskill, NY (914) 788-0100 Gallery talk 4:00pm with www.kungfoox.typepad.com (BLOG). 1000 sq ft. From $400/month Joel (914) reception to follow (thru May 10) Westchester 380-8251 PERI KARKHECK: Watercolors Piermont Fine Arts Gallery, 218 Ash St., Piermont Land- ing, Piermont, NY (845) 398-1907 Opening Reception: 2-6pm (thru Feb 22) Rockland EASEL TO SELL? PERSON TO HIRE? SPACE TO RENT? SAM “THE MAN” WAYMAN AND BAND New City Library, 220 North Main St., New City, SERVICES TO OFFER? Place your classified ad in ART TIMES. $33/15 NY (845) 634-4997 x139 2pm Rockland words, $.50 for each additional word. All classified ads must be pre-paid. ZEMLINSKY STRING QUARTET Rhinebeck Chamber Music Society, Church of the Mes- siah, Montgomery St. (Rt. 9), Rhinebeck, NY (845) 876-2870 4pm Dutchess Send check/credit card # (exp. date & code) w/ copy to: ART TIMES, PO Box 730, Mt Marion, NY 12456-0730. For questions call/fax 845-246-6944; Tuesday, February 10 MASTERPIECES OF EUROPEAN PAINTING: From the Norton Simon Museum The email: [email protected] Frick Collection, 1 E. 70th St., NYC (212) 288-0700 charge (thru May 10) NYC Continued on Page 20

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R email: [email protected] • Website: www.salmagundi.org A 7 O G L A 4 Jan/Feb 2009 ART TIMES page 19 Speak Out Showcasing Young Artists By John Coyne wanted to give high school women you have shared with us contributes school students attending the recep- Now in its 15th year, The College the opportunity to have their artistic to our greater appreciation of the tion that two previous participants of New Rochelle High School Women work taken seriously and judged and ordinary and extraordinary in life.” in the annual exhibition — Janine Artists Exhibition this fall attracted installed in a professional juried ex- Two judges, both of whom were Napierkowski and Alexander Gizzo entries from 119 artists at 35 high hibition. professional practicing artists and — are both seniors at the College and schools in six states — Connecticut, Dr. William C. Maxwell, Professor curators from Westchester County their work is currently on display in New Jersey, Louisiana, New Hamp- of Art in the School of Arts and Sci- and not connected to the College, se- one of the College's galleries. shire, Vermont and New York. ences at the College, describes the lected the three winners of the show. In his presentation to the young The 2008 winner for first prize exhibit as “a wonderful way for aspir- Emily Stern, Associate Profes- artists, Dr. Maxwell pointed out that was Breyanna Faulkner, a student ing artists to have an opportunity to sor of Art at CNR, made the point within the wider program of liberal at Yonkers International Baccalaure- exhibit their work early in their aca- that this exhibition “provides art- arts in the School of Arts and Sci- ate High School, for her mixed media demic years.” The Art Department of ists a forum for critical feedback ences, the Art Department “provided work “My Inner Self Portrait.” She CNR offers programs in Studio Art, and dialog, the essential elements a nurturing and professional environ- was nominated by her teacher Grace Art Education, Art History, and Art for growth. The exhibit also fos- ment for women students to gain an Garcia. Therapy. ters recognition, independence, understandings about the logistics of Second place winner was Laurent According to the Dean of the risk-taking, and self-confidence.” an art career, the choices and hurdles Dominga Maria-Ramos, a student School of Arts & Sciences, Dr. Rich- The works of these students were they may confront as art profession- at Mt. Vernon High School for her ard Thompson, who greeted the selected for the exhibition by their als, and the multiple and unique charcoal drawing “Fear of Clowns.” students and their parents at the art teachers. “This exhibit is very possibilities that studying the arts She was nominated by her teacher award ceremony, held on November advantageous to our students,” ex- offers.” Rose Tavernia. 9, 2008, “Art is the lifeblood of The plained Sr. Anne Therese Dillen of By displaying their creative work Third prize went to Sara Cha of Ar- College of New Rochelle. And as you the Ursuline School in Westchester, in The College of New Rochelle High dsley High School for her “Untitled” walk around campus, in the various “in that it offers them the possibility School Women Artists Exhibition, oil pastel. She was nominated by her galleries of this College, you will be of showing their work formally in a these students had taken their first teacher Stephanie Rosen. aware of the presence of art touching wider context than that of their own steps in following their dreams of be- This annual competition at The our lives, helping us to view the world in-school situation. It also gives them coming artists and teachers of art. College of New Rochelle was created and ourselves in different ways and a taste of the importance of meeting (John Coyne is Manager of Com- to offer aspiring young female artists through different eyes.” deadlines and following directions, munications at The College of the opportunity to show their work. Dr. Thompson congratulated all not just at the demand of their teach- New Rochelle) As a women's college, CNR, with the young artists for their creative ers, but for life in general.” its strong art education program, work, saying, “The creative work Dr. Maxwell pointed out to the high ef Take a look at our evolving website and add your comments about a cultural event you've attended. www.arttimesjournal.com

The Tremaine Gallery aT The hoTchkiss school The ART TIMES office is closed 11 Interlaken road, lakevIlle, Ct Arts 860-435-3663 • www.hotchkiss.org until February 4. AT hoTchkiss gallery hours: Mon. - sat., 10 - 4; sun., 12 - 4 We will be checking phone messages and email periodically. If you have a calendar or opportunity listing for January or February or want to place an advertisment we can

dark plum, 3-panel, 30” x 40”, digital C-print run your information online AMERICAN MURAL PROJECT for a very reasonable rate. Ravishment The Art Send an email to by Beauty Of Work [email protected] Ellen Griesedieck Cheryl Van hooVen artist & founder

February 11 - Jan. 9 - Feb. 3, 2009 March 7, 2009

Meet-the-artist Reception: Gallery Reception: Sat., Jan. 24, 4-6 p.m. Sat., Feb. 14, 4 – 6 p.m. Jan/Feb 2009 ART TIMES page 20 Calendar Continued from Page 18 th Wednesday, February 11 Year! ELLEN GRIESEDIECK, Artist & Founder of American Mural Project Tremaine Our 25 Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT (860) 435-3663 (thru Mar 7) Litchfield,CT Thursday, February 12 FIRST RESPONSE: Artists Imagine… America The Pen and Brush, 16 E. 10th St., NYC ART TIMES (212) 475-3669 (thru Mar 1) NYC Yes! I want my copy of ART TIMES Add $15 to your 1 year subscription Friday, February 13 mailed directly to me. and we will send a 1 year subscription EVA WATSON-SCHütze: Photography / BRADFORD GRAVES: Selected Works / to ART TIMES as a gift from you. GROUPINGS: Selections From The Collection (thru Jun 14) / TAKING A DIFFER- __1 yr. $18 ___2 yrs $34 ___*3 yrs $52 ENT TRACK: Maggie Sherwood And The Floating Foundation Of Photography (thru All subscriptions will be mailed 1st class Note to read______Apr 8) Samuel Dorsky Museum of Art, SUNY New Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844 Opening Reception: 5-8pm (thru Jun 14) Ulster ___Foreign: $30/1yr; $55/2yrs (1st class only) ______SHAKESPEAR’S CLOWNS Bardavon Opera House, 35 Market St., Poughkeepsie, NY (845) Name______Please mail my gift subscription to: 473-5288 7pm charge Dutchess UNEARTHING THE TRUTH: Egypt’s Pagan and Coptic Sculpture Brooklyn Museum, Name______Address______1st Floor, 200 Eastern Pkwy., Brooklyn, NY (718) 638-5000 (thru May 10) NYC Address______Saturday, February 14 City______ST______Zip______ELLEN GRIESEDIECK, artist & Founder of American Mural Project Tremaine City______ST______Zip____ Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT (860) 435-3663 Reception 4-6pm Phone______(thru Mar 7) Litchfield,CT Phone______SPOTLIGHT ON 11: Group Show Mamaroneck Artists Guild, 126 Larchmont Ave., Larch- *3-year subscription premium ART TIMES T-Shirt XL L M (circle one) mont, NY (914) 834-1117 Opening Reception: 3-5pm (thru Feb 28) Westchester or Quarry Rubble a book of poetry by Raymond J. Steiner Sunday, February 15 PRETTY FIRE New City Library, 220 North Main St., New City, NY (845) 634-4997 x139 Make check payable to ART TIMES PO Box 730 Mt. Marion, NY 12456 or 2pm Rockland ROBERT & SHANA PARKEHARRISON EXHIBIT; DIRECTOR’S CHOICE: Ann  visa /  mc /  disc / code______Conrad Exhibit; JURIED GUILD GROUP SHOW Silvermine Guild Arts Center, 1037 Silvermine Rd., New Canaan, CT (203) 966-6668 Opening Reception 2-4pm (thru March card # ______/______/______/______exp date______15) Fairfield,CT Monday, February 16 N.A.W.A. CELEBRATION OF 120 Years National Association of Women Artists Delaware County Community College, 901 S. Media Line Rd. Media PA (212) 675-1616 (thru Mar 13) PA NATIONAL SOCIETY OF PAINTERS IN ACRYLIC & CASEIN: Annual Exhibition The Still looking for that Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 (thru Feb 27) NYC Mountain Tuesday, February 17 OUR PRESENT PLANET: Group Show The Mikhail Zakin Gallery, at the art school at perfect gift? Old Church, 561 Piermont Rd., Demarest, NJ (201) 767-716 (thru March 20) NJ Wednesday, February 18 N.A.W.A. CELEBRATION OF 120 Years National Association of Women Artists Delaware The Mountain County Community College, 901 S. Media Line Rd. Media PA (212) 675-1616 Reception: 3- 7pm (thru Mar 13) PA

a Novel a Novel by Thursday, February 19 by THE BALLETS RUSSES: Celebrating The Centennial Wadsworth Atheneum, 600 Main Raymond J. Steiner St., Hartford, CT (203) 278-2670 (thru May 24) Hartford, CT Raymond J. Steiner Friday, February 20 N.A.W.A. CELEBRATION OF 120 Years HUB - Robeson Galeries Penn State University, University Park, PA 16802 (212) 675-1616 (thru Apr 26) PA “…a sensitively written page-turner.”—Eleanor Jacobs: Writer, Art Agent OPEN MIKE Hudson Valley Writers' Center, Philipse Manor Railroad Station, 300 Riverside “…compelling portrayal…” —Alan McKnight: Artist Dr., Sleepy Hollow, NY (914) 332-5953 8pm charge Westchester “… thought-provoking, worthwhile read.” —Susan Hope Fogel: Painter Saturday, February 21 CELEBRATING MANDELSSOHN AND DISCOVERING EDUARD FRANCK Close “… wonderful blend …” —Annie Hoffstatter: Artist Encounters with Music, Mahaiwe Performing Arts Center, Great Barrington, MA (800) 843- 0778 6pm charge Berkshire, MA “… deeply moving and intensely detailed …” —Robert Brink: Theatrical Sunday, February 22 Director BRASS ROOTS TRIO: Con Brio GraceMusic, Grace Episcopal Church, 130 First Ave., “… true insight into the psyche of the artist …” —Mark Hoffstatter: Nyack, NY (845) 358-1297 x160 4pm charge Rockland Businessman Monday, February 23 GOODNIGHT MOON & THE RUNAWAY BUNNY Bardavon Opera House, 35 Market St., “… had a big impact on me …” —Holly Post: Painter Poughkeepsie, NY (845) 473-5288 11 am charge Dutchess “… Steiner has created an enviable character …” —Kate McGloughlin: Tuesday, February 24 Artist, Teacher CAST IN BRONZE: French Sculpture from Renaissance to Revolution Metropolitan Museum of Art, 82nd St. & Fifth Ave., NYC (212) 535-7710 (thru May 24) NYC “… lifted my thoughts and my heart….” —Jill Silber: Artist Wednesday, February 25 “A beautiful book …” —Barbara Gill: Businesswoman CHRISTINE OWEN & JUDY SIGUNICK Dutchess Community College, Mildred I. Wash- ington Art Gallery, Poughkeepsie, NY (845) 431-8610 Opening Reception: 5-6:30pm (thru “The book is a must have …”. —Jamie Barthel, Owner/Curator Lotus Fine Art Mar 20) Dutchess “… refreshing, inspiring and extremely well written.” —Linda Richichi: Thursday, February 26 Artist, Teacher ADELE GRODSTEIN Oil Paintings Piermont Fine Arts Gallery, 218 Ash St., Piermont Landing, Piermont, NY (845) 398-1907 Receptions during all gallery hours Th & Su 1-6; Fr “… a wonderful book …” —Jörg Iwan: Analytical Chemist (Retired) & Sa 1-9) (thru March 15) Rockland “… powerful and insightful …” —Anthony Krauss: Sculptor N.A.W.A. NATIONAL OPEN SMALL WORKS EXHIBITION National Association of Women Artists (NAWA) Gallery, 80 Fifth Avenue(@ 14th St.), Suite 1405, New York, NY (212) “… compelling story …” —Heidi Robertson: Financial Advisor 675-1616 (thru Mar 20) NYC NINA WEINBERG DORAN: Photographs Westchester Art Workshop, 27 North Division “… highly enjoyable …” —Everett Raymond Kinstler: Artist St., Peekskill, NY (914) 606-7300 Artist's Reception: 5:30-7pm (thru Apr 4) Westchester “… a profound work …” —Ginger Lee Hendler: Artist, Teacher Friday, February 27 HERNAN BAS: Works from the Rubell Family Collection Brooklyn Museum, 1st Floor, “… masterful …”—Cheryl Post: Artist 200 Eastern Pkwy., Brooklyn, NY (718) 638-5000 (thru May 24) NYC “…[a] skilled story-teller.” —Elsie Teich: Teacher (Retired) NATIONAL SOCIETY OF PAINTERS IN ACRYLIC & CASEIN: Annual Exhibition Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 Reception and Awards Ceremony 7pm “… asks all the important questions about art …”—Kathleen Arffmann, (thru Feb 27) NYC Executive Director Salmagundi Club, NYC Saturday, February 28 “…an intellectual bouquet.” Arlene Gould, Art Appreciator REMEMBER SHOW Kleinert/James Art Center, 34 Tinker St., Woodstock, NY 845- 679-2079 Opening Reception 5-7pm (thru Mar 29) Ulster “…describes the climate of my soul.” Carolyn Plochmann, Artist Monday, March 2 “…a wonderful read.” Marvin Davis, Reader SCNY SPRING AUCTION & EXHIBITION Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 (THRU MAR 27) NYC “…a perfect gift.” Suzy Goetz, Artist THEME SHOW: SAlMAGUNDI OBJECT PROJECT Salmagundi Club, 47 Fifth Ave., NYC (212) 255-7740 (thru Mar 27) NYC Books are available from CSS Publication Tuesday, March 3 N.A.W.A. NATIONAL OPEN SMALL WORKS EXHIBITION National Association of $18. + $5 shipping & Tax Women Artists (NAWA) Gallery, 80 Fifth Avenue(@ 14th St.), Suite 1405, New York, NY (212) 675-1616 Artist's Reception: 6-8pm (thru Mar 20) NYC Checks payable to: CSS Publications, Inc. and mail to: Thursday, March 5 CSS Publications, Inc. PO Box 730, Mt. Marion, NY 12456 ART INTO LIFE/ LIFE INTO ART: Celebrating Women’s History The Pen and Brush, 16 E. 10th St., NYC (212) 475-3669 (thru Mar 29) NYC Credit Card: 845-246-6944 • www.RaymondJSteiner.com HERB YOUNER Exhibit Upstream Gallery, 26B Main St., Dobbs Ferry, NY (914) 674-8548 (thru Mar 29) Westchester ef