INSIDE: th Raleigh on Film; Bethune on Theatre; issue Behrens on Music; Lille on Dance; Trevens on Dance; Our 300 Speak Outs: Pomeroy on Forests, Barron on Art; Seckel on the Cultural Scene; Steiner on Landscape Painting; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 29 No. 4 January/ February 2013 Farewell & Greetings By Francine L. Trevens Bid adieu to 2012 and happily Luam. They caught the spirit of embrace 2013! each woman’s monologue. In the world of dance, the December was also the month of final month of the year always awards – such as the third annual presents a selection of Nutcracker CLIVE BARNES FOUNDATION performances throughout the AWARDS held December 10 at world. Ever wonder how Walter Reade Theater/ Lincoln Tchaikovsky would have felt that Center. These Awards were this should be his most performed established by Barnes’ widow composition? I suspect it would Valerie Taylor-Barnes, to honor rather astonish and disappoint outstanding young talents from him. But so often creators’ favorite the worlds of Theater and Dance. works are not the favorites of the The 2012 nominees for dance public at large. were -Lauren Lovette (New York This December also presented City Ballet), Steven Melendez a number of dance retrospectives (New York Theater Ballet), – such as Alpha Omega’s works Ashley Murphy (Dance Theater from 1972, 1987 and 1989 as well of Harlem). Winner, chosen by as twenty-first century dances the Selection Committee: Edward at their 40th Anniversary Dance Albee, Alexandra Ansanelli, Gwin Program at Ailey Citigroup Joh Chin, Barbara Hoffman, Theater. Jacques le Sourd, Arthur Mitchell, Most of the numbers were Patrick Pacheco, Valerie Taylor- Lauren Lovette (New York City Ballet), winner of Clive Barnes Foundation joyously danced and visually Barnes, Damian Woetzel, Craig Dance Award, performing in Polyphonia by Christopher Wheeldon delightful. One, the oldest of them Wright, was Lauren Lovette (New Photo: Paul Kolnik. all, Essence “a rainbow portrayal York City Ballet). of different realities of the Black December offered other dance was presented as if in a music hall me was the nightmare ballet in the American woman” was beautiful viewing opportunities as well. of the 1890’s. The dances were opium den. In addition to being and potent. The four dancers, The rousing dance number from strenuous, provocative and very sensuous and somewhat off center Donna Clark, Shauntée Henry, Les Miserables on stage musical, in-your-face blowsy at times. The in its athleticism, it was beautifully Elise King and Jinah Parker were “Master of the House”, was even audience, surrounded by the cast, done and a quiet, mood changing stellar. The evening featured more engrossing and amusing in was enthralled. bit of theatrical creativity. works by many choreographers the new film version. Here you But the number that captivated Continues on Page 5 connected with Alpha Omega could more readily see the knavery over the years – Martial Roumain and filching by the pair of hostlers for Essence, company artistic and hustlers – portrayed on screen CSS Publications, Inc. Support the Arts; by Helene Bonham Carter and PO Box 730 director Enrique Cruz DeJesus, Enrich your Life Eleo Pomare, Andy Torres and Sacha Baron Cohen. Mt. Marion, NY 12456-0730 Angel Garcia. One number especially stood out www.arttimesjournal.com 845-246-6944 Eve Ensler’s “Emotional for me in the Broadway version of Creature” had a number of “The Mystery of Edwin Drood” Each Month visit arttimesjournal.com appropriate dances for its six – choreographed by Warren for new essays, videos, female cast choreographed by Carlyle. Dickens’ unfinished story calendar & opportunity listings

ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Jan/ Feb 2013 ART TIMES page 2 Peeks and Piques! ART TIMES Commentary and Resource for the Fine & Performing Arts OF ALL MY regrets — and I have my meal. That was Chi! —I could only not refuse — so off he went, back to ART TIMES (ISSN 0891-9070) is now pub- share — the one that still nags at me smile at his usual pragmatism. I his native country (Chi, incidentally, lished in print quartery (as of March 2013) by in the wee, wee hours of the morning grew to look forward to our lunches came from Wuxi, a small town not far CSS Publications, Inc and distributed along the Northeast Corridor primarily throughout concerns the late master watercolor- and jaunts and Chi’s thoughts and from Shanghai and which I visited the Metropolitan & Hudson Valley Regions, ist, Chen Chi. Since I wrote a Memori- it was on one of these meanderings while attending the Museum’s Grand Connecticut, Massachusetts and New Jersey. Copies are also available by mail to subscribers am on Chi in September 2005, I keep that I floated the idea of writing his Opening). While he was in the process and arts organizations throughout the US and running through my mind an offer he biography. In addition to the Profile of moving, Chi proposed that I come to abroad. Copyright © 2013, CSS Publications, Inc. once made to me that I unfortunately (and the Memoriam), I had also writ- live with him for a year in China (“all ART TIMES online can be viewed at: arttimesjour- nal.com and has a pdf of the current print issue had to refuse. Ever since I first met ten a review of his work in 1991 at the expenses paid”) where, in his words, (with images in color), as well as archived critiques, Chi in 1989 when I interviewed him (now defunct) Connoisseur Gallery in we could “paint the clouds and hills all reviews, art essays, theatre, film, music, dance for a Profile for our pages, that initial Rhinebeck, NY, and about attending essays from 2001. Each month the site is updated over the country” during which time, with new essays, videos, advertising and resources. meeting had quickly blossomed into a the opening of his museum in 1999 he added, I could discuss and write Call for visitor statistics as they change daily. friendship that lasted until his death (The Chen Chi Art Museum) at the his biography. Stunned by the gen- Publisher: Cornelia Seckel in China at the age of 93. We often Jiao Tong University in Shanghai erosity of his offer I was immediately Editor: Raymond J. Steiner took walks in New York City — both for ART TIMES, as well as several tempted, but there was no way I was Contributing Writers: Henry P. Raleigh Robert W. Bethune in the vicinities of his home (Wash- additional essays on Chi’s works as able to spend a whole year away from Ina Cole Dawn Lille ington Square) and study (Gramercy introductions to various books and my obligations to ART TIMES — and Frank Behrens Francine L. Trevens Park, at The National Arts Club) as pamphlets that were published over so, to my nagging regret, I had to turn Subscription Rates: USA: $18 /1 year $34 /2years well as to one of his favorite restau- the years — thus a full biography him down. I can only imagine the Foreign: $35 /1 year $45 /2 years rants in Chinatown — during which came to my mind. We did not pursue sights, adventures, and excitement Contact for Print and Online Advertising Rates: Chi would ruminate on art and phi- the idea for some time and when the that I had to turn my back on. My CSS Publications, Inc., PO Box 730, Mt. Marion, losophize on life. One time, during Chinese government wooed Chi back NY, 12456. Phone/ Fax (845) 246-6944; decision to pass-up that opportunity email: [email protected] one of our “dim sum” luncheons (at to China by building a Museum not still haunts me. It was not long after Web site: www.arttimesjournal.com which I always left all the ordering only dedicated to his work and person his proposal that Chi passed away, a Advertising reservations are due: the 18th of the up to him), I tasted something that (they wanted him to be a showpiece hero to his country, and a very great month preceeding publication (print or online). Feb 18 for Spring- Mar/Apr/May; May 18 for Summer- was exceptionally good and asked as “Master Artist in Residence”), but loss to me — with no way of ever get- Jun/Jul/Aug; Aug 18 for Fall-Sep/Oct/Nov; Nov Chi what it was. He looked up at also with built-in apartments to serve ting over my regret of not spending 18 for Winter- Dec/Jan/Feb. Items for inclusion in me and asked, “You like it?” When as a home for him and his wife and the Calendar must be uploaded to www.arttimes- that year in his company. journal.com/submitevent.html and Opportunities I emphatically nodded my head, he with a guest room to accommodate Raymond J. Steiner listings must be submitted by email or mail by the said, “Eat it!” and went back to his visitors — this was an offer Chi could 18th of the month preceding publication. Email ef for guidelines. Visit: arttimesjournal.com and read previously published Peeks and Piques! Guest articles on the arts are also considered but must be preceded by a written Query. Our “Speak To the Publisher: Out” section is a forum for reader’s relevant opin- January/ February ART TIMES marks ions on art-related matters; viewpoints expressed From the Publisher Hi Cornelia—Bravo to you! th in the “Speak Out” section are not to be construed A friend brought me the latest our 300 issue in print. In 2001 ART TIMES began an online presence that as positions held by the publisher, editor or staff continued to grow dramatically over the past number of years and even of this publication. Queries, Mss. without SASE copy of Art Times, and few people included will not be acknowledged. We do not accept really know the colossal effort and more so in the past 5 years with essays and videos available to read from electronic submissions. Sample copy: 9x12 SASE. talent that has gone into keeping the past 11 years. Each month in ARTTIMES online we have included ART TIMES welcomes your letters and comments. a newspper alive and successful in additional essays, videos, calendar listings, opportunity listings and new Nothing in this publication may be reproduced advertisers and advertising opportunities. The next issue: Spring 2013 without written permission of the publisher. these peculiar times in publishing and the economy. we will be printing quarterly (Mar/Apr/May; Jun/Jul/Aug; Sep/Oct/Nov; this issue of Art Times is Dec/Jan/Feb) and publishing each month online at arttimesjournal.com. Letters packed with really fine articles of in- Visit us online, follow us on twitter and friend/ like us on facebook as you To the Publisher: terest and value to people interested continue picking up our quarterly publications. Thank you so much for the books in art. (valued around $80) that will be Many so-called publications that auctioned off at the Women’s Studio originate from this part of New York Art ……………………10 th Workshop’s 5 Annual Gala on No- State, are filled with advertising and Calendar of Events..…8 vember 4th. We are so grateful that not much to read. Your articles are Classifieds …………..18 our community supports the mission rich and informative— like a good of the Workshop. As you know, the course in art history when you close Culturally Speaking…6 proceeds from the event help fund our the last page. Dance ………………1, 15 Artists-in-Residence and Arts Educa- i’m so thrilled with your deter- Editorial ………………2 tion programs. Both of our Honorees, mination and talent— you’ve ac- Fiction ……………12, 14 Gillian Jagger, a long time local complished what even the biggest Film ……………………9 resident and gifted artist and Patricia players have not been able to do—to Gould-Peck, former arts administra- keep publishing in spite of technol- Jeanne Landau Letters ………………2 tor for the Kingston City Schools, ogy, texting, blogs, tweets, and all “Watercolor Eyes” 2013 Music…………………19 have been leaders in our community. manner of online options killing off February 21 - March 10 Opportunities ………16 This past year, WSW has hosted the publishing industry. Contents Artist Reception Sun. Feb 24th 2-5 pm Peeks & Piques!………2 22 artists from across the country Art Times is the real deal and Poets’ Niche …………19 and internationally from England, it always has been from the first day Piermont Fine Arts Gallery Ghana, and Australia, who live and it hit the stands more than a quarter 218 Ash Street Piermont Landing Speak Out…………3, 13 work in our community for 6 – 10 century ago. Piermont, NY • 845-398 1907 Theatre ………………17 weeks. These artists make books, cre- Congratulations, Cornelia—to Hrs: Thurs & Sun 1-6; Fri & Sat 1-9 ate print editions and/or work in our you and Raymond. www.jeannelandau.com handmade paper or ceramics studio. You are colossal role models for en- And we welcomed 125 students from durance and success at a time when Kingston High School, and Meyer business in America seems tenuous Elementary. In 2013 we are adding and difficult. a program for Bailey Junior High. Keep up the great work. These young students come to WSW Come visit and dine with us any- to work as artists, with artists in a time you feel like climbing the moun- series of full day sessions. tain—it’s worth it. Thank you for supporting this kind Merna Popper of excellent programming. WSW re- Andes Art and Antiques mains a vital destination thanks to Andes, NY 13731 loyal supporters like you. We greatly (From Cornelia: I thank you appreciate your generosity. Merna for your enthusiasm and Ellen Alexander support ever since I first explored Gary Swenson the possibility of publishing. You Women’s Studio Workshop were our Midwife.) NY Rosendale, NY Continues on Page 18 845-679-2303 • • • lotuswoodstock.com Jan/ Feb 2013 ART TIMES page 3 Speak Out

By FRANK BARRON theWhat purchase. I just is didn’t Art? care for The Beat Museum in San Fran- And Warhol’s contemporary paint- ART, IT HAS been said, is what you the painting. cisco specializes, while San Diego ings go for astronomical figures, as do make it. Another friend of mine bought boasts the Museum of Contemporary the paintings of numerous other art- The dictionary lists eight different paintings sporadically, but not for Arts, the San Diego Museum of Art ists. They bring in sheer pleasure for meanings for the word, but when we viewing or enjoyment. They were for and the Timken Museum of Art. viewing — and for dollars. think of art, mainly we think of paint- future re-sales. He hid them in his There is the Denver Art Museum and One who individually expands ings, sculpture, music, ballet, etc. closet for fear of thefts. To him they Philadelphia’s Museum Art, and the the art world is traveler Rick Steves, We think of such as Picasso, Dali, represented dollars. National Gallery of Art in Washing- whose every TV travelog visits art van Gogh, Monet, etc. There are the art lovers who enjoy ton, D.C. Even colleges William & galleries and museums through Eu- But art is also a business. A BIG viewing their treasures, while others Mary and Yale University have their rope, complete with descriptions and business, with galleries all over the see only the dollar signs. own galleries. explanations about the artist and the world, many in private facilities, such Art galleries abound in many cities. All are well attended and do much painting. as colleges, personal museums, ad New York City, for example, to expand art and the art world to the In a different vein, there is car- infinitum. abounds in galleries and museums, general public. toonist Matt Groening, creator of True art lovers buy paintings for too many to list here, obviously more Art as a business? Yes! “The Simpsons”, who says, “I call their aesthetic enjoyment, for the than in any other city in the U.S. Many paintings have sold for myself a writer, and I draw a little bit, sheer beauty of viewing them at one’s I have visited the old Tate in multi-millions of dollars. Edvard Is what we do art? I don’t know, but own discretion. London, the Louvre in Paris, and the Munch’s “The Scream” went for it’s fun. There are always arguments Dealers, of course, buy paintings Prado in Madrid. The “Mona Lisa” that kind of money, now protected about whether cartoons are art, but because they are a business. An art was a surprise in that it is that small. by a Plexiglas box at the New York cartoonists want to be taken seriously dealer friend of mine many years ago What did I expect? Museum of Art, which also displays as artists. That’s the most dignified suggested I buy a certain Marc Cha- In Ohio, the Cleveland Museum his famous “Madonna”. Another at- thing you can say about us.” gall painting. I didn’t particularly of Art has spent $30 million in ex- traction there is van Gogh’s “Starry Cartoons? Comic strips? Groening care for the work but was reminded pansions and renovations. There is Night”. says, “yes.” that, “At his age he can’t go on forever. the private Norton Simon Museum A Franz Kline untitled 1957 paint- So we go back to “What is art?” The price will go up.” That happened, in Pasadena, Ca., with nearby Los ing brought in over $20 million at a (Frank Barron, former editor of the artist passed away, and the price Angeles County Museum of Art, plus Christie’s auction, as did some of his the Hollywood Reporter, lives in went up. I never regretted making the private J. Paul Getty Museum. other works. Van Nuys, CA.) ef

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Betsy acaruso Studio The following essays have J The Courtyard in Rhinebeck Gallery been published & exclusively online “Catching the Light” theme continues You can still read them at Paintings by Betsy Jacaruso arttimesjournal.com & new work by CROSS RIVER ARTISTS Film: Weekly Classes: Watercolor, Drawing & Pastel NEW...KIDS CLASSES ! I’m Available to be the new leading male star 43 E. Market Street, Suite 2 . Rhinebeck, NY . 845-516-4435 By Henry P. Raleigh Edge of Light Gallery Hours: Thurs - Sat 1-6, Sun 11 - 4 . www.betsyjacarusostudio.com arttimesjournal.com/film/ filmarchive.htm

Music: CD & DVD Reviews By Frank Behrens arttimesjournal.com/music/ musicarchive.htm

Speak Out: Material Awards By Diana De Santis arttimesjournal.com/speakout/ speakoutarchive.htm

Culturally Speaking: • Exhibits by: Fay Wood, Pablo, Amy and Jim Shine; Edith Rae Brown; • Buglisi Dance Theatre at Kaatsbaan, • Woodstock Arts Fair; • Ann Arbor Arts & Culture Exploration By Cornelia Seckel arttimesjournal.com/CultSpeak/ cultSpeakarchive.htm Jan/ Feb 2013 ART TIMES page 4 Will Barnet: In Memoriam

YES, HE WAS an artist — an American Mas- the “artworld” in general, and, in particular, worth a thousand pictures’. It doesn’t matter ter, at that — but, for those who were lucky art criticism. I asked him how (and when) he if you have a thousand paintings stacked up enough to know him “up front and personal”, thought art critics managed to get such “clout” in your studio unless some critic gives the they know that Will was much, much more in present days, given that image-making pre- ‘word’. So, the public figures that if an artist than that soft-spoken, elderly gentleman dated written language (the ‘stuff’ of today’s is being written about, well then, he must be recently honored by the President in Wash- critics) by thousands of years (Georgio Vasari worth seeing. It’s gotten to the point now, that ington, D.C. I was one of the lucky ones to get ((1511-1574)), incidentally, is usually given people are more willing to believe what some “up front” and personal with Will — first, back credit for being the first bona fide art critic). pundit says than what some artist creates. In in early 1987, when I interviewed him at his Will did a little frowning and mind-cudgeling fact, they don’t trust their own eyes, their own studio at The National Arts Club (his Profile and finally looked up and said: “One word is judgment about what’s ‘good’ or ‘bad’. They appeared in our pages in July, 1987), that ini- worth a thousand pictures.” “Wha’?” I man- only trust what they read about an artist. And tial occasion leading to many other one-on-one aged. It was the first time I’d ever heard that that’s a shame! Ever go into the Met and see conversations over the years. In fact, it was old saw turned on its head like that, but he how people ‘look’ at art? They look through only shortly after my first meeting with him soon explained (Will was nothing if not erudite their ears and not their eyes.” A shrug and a at The Arts Club, that he proposed me as a and able to hold his own in displaying his con- long sigh. I certainly got the point – for sure, member, an association that had proven to be siderable knowledge about art and its history). he taught me how to be a better critic, a better a boon for many years. It was through Will that “This country was pretty illiterate back in the artwriter, and to be wary about my judgments. I first met fellow members Everett Raymond day, but after World War II, that all changed In addition to being a good friend, he was a (“Ray”) Kinstler and Chen Chi, both of whom — many dischargees, unwilling to go back to teacher — and I’ll never forget how much he would also become “Profilees” inART TIMES farms, factories, and ditch-digging, opted for taught me. Indeed, he went even further to (Kinstler in 1988 and Chi in 1989). Yes, being college when they found out the Government help me along the way, even contributing his a friend of Will’s was a rich experience for would help, so, almost overnight, America’s thoughts on printmaking for my book on the sure. When I was asked by Rosina Florio, late literacy rate boomed. Women, of course, fol- Cologne-based etcher, Heinrich J. Jarczyk Director of the Art Students League of New lowed in their male’s footsteps and, lo and — after having invited me and the artist to York, to write an “anecdotal” history of that behold, the written word became almost sac- his studio where I taped the interview before famous school (she “absolutely” did not want rosanct…trouble was, however, that though publication. And, as for his own work, he never a “dry as dust” narration), Will was one of the people learned to read, few ever learned how slowed down, never stopped learning about people she directed me to interview for “some to read art. So, they depended on the word to his craft (still so obvious when I reviewed great anecdotes”. A teacher at the League for clue them in on anything they didn’t under- his show at the Alexandra Gallery in June of some 50 years (he also did stints at Cooper stand — including — you might say especially 2002). I’m sure there are a great many “out Union, Yale, the Pennsylvania Academy of — the arts. They turned to the pundits for there” who can contribute their own personal Fine Arts, among others), Will graciously in- guidance — what book should I read, what thoughts and memories — the “official” lauda- vited me to his daughter’s home up in Maine music should I listen to, what movie should tory obituaries have already hit the presses for an afternoon’s “chat” where he regaled I go see — which artist’s work is worthwhile and delivered to the public. Believe me, they me with one League story after another, and taking up time to stand around and look at? only tell part of the story. more. We somehow got around to talking about Enter the critic. So, like I said, ‘One word is Raymond J. Steiner ef arttimesjournal.com for new essays, videos, calendar and opportunity listings Plus previously published essays from the past 11 years! Rhinebeck Artist’s Shop Expert Picture Framing Affordable Art Supplies New Location: 188 Main Street New Paltz NY 845-255-5533 Still & Always: 56 E. Market Rhinebeck, NY 845-876-4922

Back Room Gallery Genesis: Creation and Flood Veryal Zimmerman, Artist & Director 83RD ANNUAL Paintings by Showing more than 30 artists' work OPEN JURIED Cynthia Harris-Pagano including: EXHIBITION www.portraitartist.com/pagano Paintings, Linocut Prints, Photography, Sculptures, Unique Handmade Jewelry, May 6–June 1, 2013 Handmade cards and much more. Juror & Judge: Beth E. Levinthal Exec. Director Hofstra Univ. Museum, NY Gallery also features: Vintage Decorated Crepe Designs Seeking entries in all media “. . .I will destroy them with the earth.” except photography and craft from the Early 1900's At the Palmer Gallery, and exhibitions with featured artists. $2,000 in Prize Awards College Center, Vassar College, Artists’ Reception 2nd Saturday For prospectus, send SASE or download 124 Raymond Ave., Poughkeepsie, NY of each month 6-8pm from website: www.nationalartleague.org 845 437-5370 for hours & info Entry deadline March 23 Feb. 19, thru March 12, 2013 Back Room Gallery National Art League Artist Reception 475 Main Street, Beacon, NY 44-21 Douglaston Parkway, Studio C “. . .Let there be a firmament in [email protected] • 845-838-1838 Douglaston, NY 11363 the midst of the waters . . .” Sun., February 24, 1-4pm Open: Th, Fr, Sa 12-6; Su 12-5pm Jan/ Feb 2013 ART TIMES page 5 Dance Farewell and Greetings Continued from Page 1

By Francine L. Trevens This past year, this column spotlighted several new dance companies. May they all make it to the landmark anniversaries of the following dance troupes, because in 2012 and 2013 many dance companies throughout the country celebrate major anniversaries. Many young companies were spotlighted over the years in these dance columns, such as the Amy Marshall Dance Company, which turns 13 this coming year… fully of age in the Yiddish religion. Also celebrating its 13 anniversary is Amanda Selwyn Dance Theatre, which will hold a gala on February 23rd. FOCUS 2013, the National Platform to promote American dance both abroad and nationally has a week-long platform presenting performances of U.S.- based dance companies during the annual Arts Presenters Conference in New York City, one of the largest gatherings of artists, The cast of The Colonial Nutcracker at Brooklyn Center. dancers and dance professionals in Photo by Rob Reynolds the U.S. During the second week in January, four venues partner with Skirball Center for the Performing Robert Moses and Trajal Harrell, The remarkable Pilobolus Gotham Arts Exchange to present Arts, curator Martin Wechsler and artistic advisor Robert Battle. which for some unknown reason I the artistic visions of five curators FOCUS DANCE at The Joyce DANCE MEET and SHOW continue to think of as a new comer gathered to shape this year’s Theater, curator Jodee Nimerichter CASE at New York City Cente is actually now 42 years old! edition: FOCUS 2013 FOCAL POINT (new this The 20th Anniversary of Cincinnati’s Contemporary DANCE GOTHAM at NYU/ year), with curators David Parker, Buglisi Dance Theatre will be Dance Theatre celebrates celebrated February 5­-10 at The through 2012 - 2013 its 40th Joyce. The Company started as anniversary. Buglisi/ Foreman Dance, founded Paul Taylor Dance will

by Jacqulyn Buglisi, Donlin probably spend a good part of Foreman, Terese Capucilli and 2013 readying its 60th gala year

Christine Dakin, all previously in 2014. In 2012, it celebrated principal dancers with the Martha American Dance Festival’s 50th Graham Dance Company. For Anniversary per- forming with several years it has been known them in July 2012. as Buglisi Dance theatre. Martine Undoubtedly I have missed Van Hamel will return as guest several major anniversary on a program that features landmarks – but the point was three of Buglisi’s major works: to illustrate how long lived many “Suspended Women,” “Rain,” and dance companies are, continuing “Songs of Experience.” There will active and creative many years after also be the premiere of “Migration their founders have departed life’s Meditations” to a commissioned stage. Just the sort of immortality score by Daniel Bernard Roumain. probably dreamed about by these Martha Graham Company dancer/choreographers when their will be in its 77th year in 2013 – first works took to the stage. and probably spend most of this In these uncertain economic year fighting the total devastation times, this longevity speaks to caused to its sets, costumes and the value and love of many types props, which Sandy held as watery if dance which is felt by so many hostages for 6 days in 2012. Americans. Long may they soar! Alvin Ailey marks 55 years Additional writings by Ms. since the first Ailey dance Trevens’ can be found at www. performance at New York’s 92nd writerfrancinetrevens.co. and Alpha Omega dancers Shauntée Henry and men are (left to right) Juan Street Y. online at arttimesjournal.com Michael Porter II and Jude Perry-Evans. It’s as if they fly without wings! Limon Dance Co celebrated Photo. by Quincy Scott its 65th anniversary Nov 16. 2012. ef

Did you miss the deadline for this issue? If so, for a small fee, you can still include a calendar item, opportunity listing, announcement or publicize your event & business. ARTTIMES Online: www.arttimesjournal.com ­is your solution. We will get your advertising online within a few days. email: [email protected] or call: 845-246-6944 Jan/ Feb 2013 ART TIMES page 6 Culturally Speaking

By Cornelia Seckel Rosado proprietor of Café Mezza- The Jan/ Feb 2013 ART TIMES luna, offers excellent food, Brunch and marks our 300th issue in print. In 2001 Dinner concerts, poetry readings and ART TIMES began an online presence a regular offering of art exhibits. Most that continued to grow dramatically recently, paintings and photographs over the past number of years and even by Jim Shine, Pablo and Amy Shine more so in the last 5 years with essays and after that show closed, assem- and videos archived from the past 11 blages by Fay Wood who showed new years. Each month in ARTTIMES work: constructions of metal pieces online we have included additional that formed some very interesting and essays, videos, calendar listings, op- exciting wall sculptures. This is a very portunity listings and new advertis- hot art spot in Saugerties NY and well ers and advertising opportunities. worth a visit • The Woodstock Arts In the Spring of 2013 we will begin Fair is an event that ART TIMES co- printing quarterly (Spring- Mar/Apr/ sponsors with the Woodstock Jew- May; Summer- Jun/Jul/Aug; Fall- Sep/ ish Congregation. This 5th Annual Oct/Nov; Winter- Dec/Jan/Feb) and Fair had 48 artists and craftspeople publishing each month online at art- selling their work. People said that timesjournal.com. Given the econom- they enjoyed the Fair as many left ics of printing and distributing, and with their purchases. Our editor and Juliet Harrison (L) and Barbara Campo (R) at the Red Hook Community since we have no intention of folding co-founder of ART TIMES, Ray- Arts Network, an artists collective in Red Hook, NY mond J. Steiner had the assistance our tent as so many other publica- excellent souvenir of this experience. that was the first artist’s profile done tions have done, we feel that this is of Diane Baker showing his small The Catskill Ballet Theatre by Raymond J. Steiner over 30 years the best way to proceed. We do hope paintings and books • Buglisi Dance (CBT) has been an institution for ago) is retiring after 30 years from his that our readers will visit us online Theatre performed at Kaatsbaan In- Dance in the Hudson Valley for 30 role as Herr Drosselmeyer. Vladimir ternational Dance Center in Tivoli, and continue picking up our quarterly years and annually performs, with always kept his interest in theatre NY. Many of the works were choreo- publications. For those of you who are students and professional dancers, alive even while painting church ceil- saying “I know this, I read it in the graphed by Artistic Director Jacqu- The Nutcracker Ballet, based on the ings with Russian iconic religious art lyn Buglisi. Martine van Hamel Nov/ Dec issue” that is great but given story “The Nutcracker and the King or his surreal paintings on canvas. the importance of the announcement I (Profiled in our pages September 1987) of Mice” written by E.T.A. Hoffman, Young dancers in the Hudson Valley tells the story of a young German girl are lucky to have such a fine school and who dreams of a Nutcracker Prince teacher for Classical Ballet. and a fierce battle against a Mouse My exploratory mission to North- King with seven heads. The music is by ern Dutchess County had me visiting Tchaikovsky and numerous choreog- the RedHook Community Arts raphers have staged this ballet. Maja Network (RHCAN), Renée Bur- Tibbling was the choreographer gevin at the Atelier Renée Fine along with Melissa Bierstock for Framing, Albert Shahinian Fine the CBT production. Artistic Director Art, Betsy Jacaruso’s Studio and Anne Hebard began her teaching ca- the Rhinebeck Artist’s Shop. reer at the Arts Education Trust in At RHCAN, I met with Juliet London, and was awarded the Royal Harrison and Barbara Campo who Academy of Dance’s most treasured graciously answered my questions. prize, The Advanced Teachers RHCAN is a community group of Certificate of Dancing with Hon- hundreds of artists, writers, perform- ors. She opened her own School of ers who are welcome to use the space Ballet in Kingston, NY in 1973 and for exhibitions, performances and soon after joined the teaching staff of workshops. RHCAN is also an Artists’ the David Howard School of Ballet Collective whose mission is to engage in NYC. Anne has had the pleasure of the arts community, support culture seeing her pupils join such companies and foster a local identity through as the American Ballet Theatre, creativity. The hope is to make Red Cornelia Seckel (center) is getting help from Nawal Motawi (R), owner and Bejart Ballet, Joffrey Ballet, and Hook an arts destination that helps founder of Motawi Tile Factory (est. 1992) in Ann Arbor, Michigan during a the Royal Ballet to name just a few. to support the community and adds to tile Workshop at the Factory. thought it needed repeating. was a guest artist and it was thrilling Often I am asked to publish a press to see this prima ballerina (formerly release about an upcoming event; with American Ballet Theatre) and we’ve never done this and urge you to one of the 4 founders of Kaatsbaan. upload the calendar listing with the The Company’s dancers were excellent submission form found on the calendar and the use of costumes brilliant. I page of the website. Additionally, use was particularly struck with the pas- the arttimes facebook page for an- sion between dancers, the strength of nouncements. I’m working on a way to relationship and how they connected have short videos of events as another with one another. On February 5-10 page of the ART TIMES website and the company will be at the Joyce will let you know when the kinks have Theater in NYC • While on a Press been worked out. Trip to Ann Arbor Michigan in late You will see a new Music writer November I met up with our Theatre Mary Burrass added to our pages writer Robert W. Bethune for a face beginning with the Spring issue of to face visit after 20+ years that he has ART TIMES. Mary is an Arts & Cul- been writing essays for ART TIMES. ture journalist and blogger in Central This 4-day trip was packed with activi- Virginia who fell in love with opera ties including performances, visits to when she saw Placido Domingo sing artists and galleries, events and tours. at the Washington National Opera One of the highlights was an extensive Renée Burgevin, owner of Atelier Renée Fine Framing in Red Hook, NY Company. We have enjoyed the con- tour of the factory where we learned tributions of Frank Behrens and bid about tile making as we watched tiles The audience was thrilled with this the greater Hudson Valley’s offerings him adieu wishing him success. being made before taking part in a very sophisticated performance that of culture for residents, tourists and Online in December, I posted workshop at the Motawi Tile Fac- had fine dancers, excellent sets and newcomers. The current exhibition several pictures and notations of my tory (est. 1992 by Nawal Motawi). I costumes (by Frances Garofalo). was “Paper Works”, a holiday show November “out-and-abouting”. Mery just received the tile I made and it is an Vladimir Bachinsky, (a fine artist of original art all priced below $100. Jan/ Feb 2013 ART TIMES page 7 Included in the space are a 2-room musicians in the area. I had a chance gallery, a small office area and 5 to listen to his album, “Old Soul spaces for artists to rent for working From Across the Room”, available and displaying their art. There is an from Sean at seancrimminsmusic. extensive offering of workshops and com and on itunes. I found his music classes with topics including: Business engaging and soothing. Bob Cage is Practices, Singing, Painting, Tarot, the great-grandson of Anastasios Photography, Social Media, Digital Stathopoulo, who founded the com- Camera, Writing, Chakra Healing & pany that later became Epiphone, a Drawing. 20 workshops will be offered company known for fine instruments in January. See www.rhcan.com for a that responded to the specific needs of full listing and to learn more about this musicians, promoting innovation and grass roots arts community. creativity. Bob honors what they did, Renée Burgevin Fine Framing by creating his own music on their fine is in an amazingly stimulating space. instruments, and encourages those The Chocolate Factory in Red Hook, who continue the family tradition of a NY has numerous businesses — some devotion to Craftsmanship supporting art-related, most not. It has been Musical Excellence. I’m listening now

Doug Shippee in his Artist’s Shop in Rhinebeck, NY Albert Shahinian Fine Art and so hanging and hundreds of paintings I was pleased to be in Rhinebeck at a stacked around the room. Albert rep- time when he had an opening. Albert resents mid and late career artists and has had a gallery for the past 15 years shows both representational and non- after having been a Director of Music objective work. I am familiar with most and Conductor. He has always been in- of his artists (see shahinianfineart. terested in art and felt that there was com for gallery artists and more a great parallel between music and art information) and not only are they

Betsy Jacaruso (center facing) at an opening at her studio in Rhinebeck, NY described as a “start-up” space yet to Bob’s wonderful picking and strum- some of the tenants have been there ming. You can learn more about Bob for many years. Renée’s workspace is and hear his first album,Flat-Top at huge and the dream of any creative bobcage.com. person— space for storage, large tables Doug Shippee has 2 locations for for working and a smaller more inti- his Artist’s Shop: Rhinebeck and mate space used as a showcase and New Paltz. Walking into the Art Shop office. Renée, unlike many framers, I just wanted to start painting, draw- doesn’t have a gallery component. She ing, coloring (as I’ve done for so many has been at the Chocolate Factory for years at Catskill Art & Office in 10 years and obviously it is working Woodstock and Kingston) — so many well for her. Take a look at atelierr- wonderful materials that even I, a eneefineframing.com non-artist, was inspired! There is a Thomas Valenti, President of Allied Artists of America, at the Betsy Jacaruso is a fine watercol- fully equipped professional frame shop 2012 awards ceremony at the National Arts Club, NYC or painter and teacher. Her new (about with a large selection of frame styles 1 year) space in Rhinebeck is spacious to choose from. Take a look online at and their creative process. The space doing excellent work they are in good and has much more foot traffic than rhinebeckart.com or stop by when in Rhinebeck has 3 gallery rooms (one hands in this gallery. Currently Todd her old location at the Chocolate Fac- you are in Rhinebeck or New Paltz. of the rooms, a very utilitarian stor- Germann and David Eddy have solo tory in Red Hook. Betsy gives classes It had been a while since I was at age space, usually has a group exhibit shows up through January 13. Albert throughout the week and fortunately has established a distinguished repu- creates time to do her own work — of tation as an art dealer and has a full- course, she feels, not enough. Take a service gallery with its focus on quality look online at BetsyJacarusoStu- original contemporary, regional, 20th dio.com. The Cross River Artists Century, and Hudson River art. also had their work on view. Betsy had I recently learned about One River her students make tree ornaments — Gallery in Englewood, NJ a new con- small paintings that were hung with temporary art gallery that presents a red ribbon onto a small Christmas exhibits in a variety of genres from tree. These original watercolors sold important emerging artists and mid- for $10 with the proceeds going to career artists. One River Gallery and the Astor Home for Children in its associated One River School of Art Rhinebeck. Funds will specifically and Design were founded by Matt go toward their art program. i was Ross, an art collector and arts educa- pleased to buy the last of Betsy’s tion executive/entrepreneur. There is ornaments. Sean Crimmins of the an extensive offering of classes. More Heartstrings Hot Club band and information at: Oneriverschool.com Bob Cage provided excellent music Update your news to ART TIMES during the open house reception. Sean facebook page, your calendar via the Crimmins, raised in Dutchess County, online submission form and email your NY, has performed in the Hudson Val- opportunity listings. Visit arttimes- ley in many different venues, settings journal.com and genres ranging from gypsy jazz Have an easy Winter and I’ll see you Albert Shahinian in his “store room” that houses so many of the fine art to singer/songwriting showcases. He works he shows at his gallery in Rhinebeck, NY out and about. ef has performed with some of the best Jan/ Feb 2013 ART TIMES page 8

Because our Calendar of Events is prepared a month in advance Wednesday, January 9 dates, times and events are subject to change. Please call ahead Calendar to insure accuracy. The county (and state if not NYS) where the “Black and White” Mamaroneck Artists Guild 126 Larchmont Avenue Larchmont NY event takes place is noted in bold at the end of each listing. 914-834-1117 free Opening Reception Saturday, January 12 from 3 - 5 p.m. www.mama- ONGOING roneckartistsguild.org Every Monday Night Open Drawing Group Cooperstown Art Association Cooperstown Thursday, January 10 Art Association 22 Main Street Cooperstown NY 607-547-9777 7-9pm charge www.cooper- 5th Annual Blue Door Art Association Members Juried Exhibition Blue Door Gal- stownart.com lery Blue Door Gallery 13 Riverdale Avenue Yonkers NY 914-375-5100 Opening Reception Jan 4-6 Awake & Sing; Jan 11-20 The Elephant Man; Jan 25 - Feb 17 Annie Get Your 5.30pm-7pm free (thru Feb 9) www.bluedoorgallery.org Gun CenterStage Center for Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY Associate Member’s Winter Exhibition National Association of Women Artists, 845-876-3080 charge www.centerforperformingarts.org Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Reception Tuesday, January 1 5-7pm free (thru Jan 29) www.thenawa.org 4th Annual Juried “Still Life” Exhibit - Antonio Masi, Juror Huntington Arts AT NIGHT: recent work in pastel & lithography Prince Street Gallery 530 West 25th Council Main Street Petite Gallery 213 Main Street Huntington NY 631-271-8423 free (thru Street, 4th Floor New York NY 646-230-0246 Opening Reception 5-8 pm free (thru Jan 26) Jan 28) www.huntingtonarts.org princestreetgallery.com “BOLD” Huntington Arts Council Art-Trium Gallery 25 Melville Park Road Melville NY SPIRIT Ceres Gallery 547 W 27th St New York NY 212-947-6100 Opening Reception 6-8 631-271-8423 free (thru Feb 25) www.huntingtonarts.org pm free (thru Feb 2) www.ceresgallery.org Catching the Light Betsy Jacaruso Studio and Gallery The Courtyard in Rhinebeck 43 Friday, January 11 E. Market Street Rhinebeck NY 845-516-4435 free (thru Jan 26) www.betsyjarsuostudio.com DRAWATHON: all night drawing Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 Group Exhibition-Raymond Wiger U.S. Wire Mesh Sculpture -Jorge Sarsa- (thru Jan 12) www.salmagundi.org le- Argentina- mixed media - German Tessarolo-acrylic- Valery Kosorukov- FOCAL POINT: Three programs over three nights. Gotham Arts Exchange The Ailey oil on canvas RENAISSANCE ART & COLLECTIBLES 3278 Franklin Avenue Millbrook NY Citigroup Theater 405 West 55th St. New York NY 212-279-4200 charge www.focusdance.us 845-677-6758 free (thru Jan 31) [email protected] Friday Gallery Talk: How Real is Real? The Heckscher Museum of Art 2 Prime JANET GURIAN LIPPMANN / AMY LIPPMANN SAIMOVICI / KARA ADELINA Avenue Huntington NY 631-351-3250 7 - 8:30 pm charge www.heckscher.org SAIMOVICI: Beauty X 3: Three Generations of Artists The Greenburgh Public Library, Member Exhibition Garrison Art Center 23 Garrison’s Landing Garrison NY 845-424- 300 E. Main St., Elmsford, NY (thru Jan 15, 2013) 3960 Opening Reception 6-8pm free (thru Jan 27) http://www.garrisonartcenter.org/ JULIO VALDEZ: Nature: Prints, Drawings and Mixed Media Center for Contemporary Mezzaluna Writers’ Night Mezzaluna Route 212 Saugerties NY 845-246-5306 7 Printmaking 299 West Ave., in Mathews Park Norwalk CT 203-899-7999 free (thru Jan 27) p.m. donate www.cafemezzaluna.com www.contemprints.org Saturday, January 12 Landscape and Botanical Prints The Village Luncheonette 94 Clinton Street Montgomery NE 845-457-5131 free (thru Feb 28) 95th ANNUAL EXHIBIT, ALTERNATIVE AVENUES American Society of Contemporary Artists (ASCA) The Highline Loft 508 W. 26 St., 5D New York NY 718-796-3671 Reception Mirrored Images: Realism in the 19th and 20th Centuries and Across Time & 2-4:30 pm, free (thru Jan 19) www.ascartists.org Place (thru Mar 24) Modernizing America: Artists of the Armory Show (thru April 14) The Heckscher Museum of Art 2 Prime Avenue Huntington NY 631-351-3250 charge Annual Collectors Show & 16th Anniversary Exhibition Albert Shahinian (thru Mar 24) www.heckscher. Fine Art Upstairs Galleries 22 East Market Street, 3rd Floor Rhinebeck NY 845-876-7578 free (thru Mar 10) http://www.ShahinianFineArt.com/ New Year’s brunch Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 www.sal- magundi.org Cynthia Mulvaney “Faces of Columbia County” Columbia County Council on the Arts Columbia County Chamber of Commerce New Gallery Space 1 North Front Street PHOTOENCAUSTICS Group Exhibition Galerie BMG 12 Tannery Brook Road Wood- Hudson NY 518-671-6213 (thru Mar 10) www.artscolumbia.org stock NY 845-679-0027 free (thru Feb 11) www.galeriebmg.com DANCE GOTHAM Gotham Arts Exchange Skirball Center for the Performing Arts 566 Phyllis Lehman Artist Go Figure!!! A solo exhibition Caffe ala Mode Caffe ala Mode LaGuardia Place New York NY 212-352-3101 charge www.focusdance.us 1 Oakland Ave Warwick NY 845-986-0079 free (thru Feb 28) Don Cooper A Hospice Volunteer’s Visual Response Wisdom House Retreat and Roselle Park’s Youngest Artists Roselle Park Casano Community Center Art Conference Center Marie Louise Trichet Art Gallery 229 East Litchfield Rd LitchfieldT C Gallery 314 Chestnut Roselle Park NJ 908-245-0666 free (thru Feb 22) 860-567-3163 Artist’s Talk: 3:45pm Opening Reception: 3:30-5:30 PM free (thru Feb 9) www. Wednesday, January 2 wisdomhouse.org SCNY ART CLASS EXHIBITION Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 Group Exhibition at bau Gallery bau Gallery 506 Main Street Beacon NY 845-222-0177 (thru Jan 18) www.salmagundi.org Opening Reception 6-9 pm free (thru Feb 3) baugallery.com Thursday, January 3 IN MY VIEW: Stephen Smith - Florence Moonan - William Hogan The 19th Annual Juried Small Works Exhibition Upstream Gallery 26 Main Street Dobbs Trenton Museum Society Trenton City Museum at Ellarslie Mansion Parkside Ave Trenton Ferry NY 914-674-8548 (thru Jan 27) NJ 609-989-1191 free (thru Feb 24) www.ellarslie.org Art Within Nature Larchmont Public Library Oresman Gallery at Larchmont Public SPIRIT: Musical Program Ceres Gallery 547 W 27th St New York NY 212-947-6100 4 pm Library 121 Larchmont Ave Larchmont 914-834-2281 free (thru Jan 30) .larchmontlibrary.org free (thru Feb 2) www.ceresgallery.org OTTO MIRANDA JR. Diversity in Watercolors Columbia Greene Community College Winter Works: Mostly White Q&A w/ Artist Art/Place Gallery @ FTC Art/Place Gal- 4400 route 23 Hudson NY 518-828-4181 Opening Reception 5-7pm free (thru Feb 26) lery @ Fairfield Theatre Company 70 Sanford Street Fairfield TC 202-292-8328 Brown Bag Lunch/Q&A w Artists: 12-1:30 pm free (thru Feb 24) www.artplace.org JUNIOR & SCHOLARSHIP MEMBERS EXHIBITION Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Jan 18) www.salmagundi.org Sunday, January 13 The End of One Hundred Broken Shells, Metaphor, and Muses Irvington Public Yonkers Philharmonic Free Concert FAOS Saunders High School 183 Palmer Library 12 South Astor Street Irvington NY 914-591-7840 Opening reception 6pm to 8:30pm Road Yonkers NY 914-631-6674 3 pm free www.yonkersphilharmonic.org free (thru Jan 30) irvingtonlibrary.org/meet.htm Thursday, January 17 Friday, January 4 Snow in North Jersey: group exhibit The Pierro Gallery The Baird Center 5 Mead Associate Member’s Winter Exhibition National Association of Women Artists, Inc. Street South Orange NJ 973-378-7754 Opening, 7-9 p.m. free (thru Feb 23) www.pierrogal- N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 free (thru Jan lery.org 29) www.thenawa.org Friday, January 18 I AM: Photographs & Prints featuring Black American artists affecting social and A Potluck Concert: Happy Birthday, Herr Mozart! Hudson Valley Society for political change in the US Tremaine Gallery, Hotchkiss School 11 Interlaken Rd., Lakev- Music Cornwall Presbyterian Church 222 Hudson St (Rte 218) Cornwall on Hudson NY 845- ille, CT (860) 435-3663 (thru Feb 6) www.hotchkiss.org/arts 534-2166 7:30 donate www.hudsonvalleysocietyformusic.org In Art We Trust (who cares who won!) Upstate Artists Guild 247 Lark Street Albany “The Language Archive” Mohonk Mountain Stage Readers Theater Unison Arts NY (thru Jan 25) www.upstateartistsguild.org Center 68 Mt. Rest Road New Paltz NY 845-255-1559 charge www.unisonarts.org Saturday, January 5 Saturday, January 19 Form and Function group exhibition Theo Ganz Studio 149 Main Street Beacon NY Annual Collectors Show & 16th Anniversary Exhibition Albert Shahinian 917-318-2239 Opening Reception 4-6 pm free (thru Feb 4) www.theoganzstudio.co Fine Art Upstairs Galleries 22 East Market Street, 3rd Floor Rhinebeck NY 845-876-7578 Joe Pimentel @ Gallery 291 La Leona Arts Gallery 291 291 Wall St (Clermont Bldg), Opening Reception 2-8pm free (thru Mar 10) www.ShahinianFineArt.com/ 2nd Fl, Suite 2A Kingston NY 914-262-8508 Opening Reception 5-7pm free (thru Mar 14) Californian RockNRoll Photographer Peter Stupar, R.Draffen & www.laleonaarts.com group show The Arts Upstairs 60 Main Street Phoenicia NY 845-688-2142 Open Reception Sharon Stelluto @ The Gallery at Rondout Music Lounge La Leona Arts The 6-10pm free (thru Feb 10) www.artsupstairs.com Gallery at Rondout Music Lounge 21 Broadway Kingston NY 914-262-8508 Opening Recep- Catching the Light Open House Betsy Jacaruso Studio and Gallery The Court- tion 5 - 7pm free (thru Feb 26) www.LaLeonaArts.com yard in Rhinebeck 43 E. Market Street Rhinebeck NY 845-516-4435 5-7 free www.betsyjar- ruth o. carlucci: Winter Grays ‑ paintings Harrison Council for the Arts Harrison suostudio.com Public Library 2 Bruce Avenue Harrison NY 914-835-0324 Opening Reception 2-4pm free Furgary: Hudson Boat Club Columbia County Council on the Arts and Belo 3rd rd (thru Jan 26) www.harrisonpl.org Columbia County Council on the Arts Gallery 209 Warren Street Hudson NY 518-671-6213 WITH A PASSION Broadway Art Center The Arcade Bldg. 488 Broadway, Albany, NY Opening Reception 5-7pm free (thru Mar 16) www.artscolumbia.org 518-732-4224 (thru Feb 22) www.bacart.biz Fuzzy Lollipop Unison Arts Center 68 Mt. Rest Road New Paltz NY 845-255-1559 Sunday, January 6 1-3pm charge www.unisonarts.org All Member Open Show Guild of Creative Art 620 Broad Street Shrewsbury NJ 732- Performance: Bridgman | Packer Dance Voyeur Silvermine Arts Center, 741-1441 Opening Reception 3-5pm free (thru Jan 30) guildofcreativeart.org Sara Victoria Hall Auditorium 1037 Silvermine Road New Canaan CT 203-966-9700 7:00pm charge www.silvermineart.org Kerry Henderson (Baritone) & Babette Hierholzer (Piano) Concert Rhinebeck Chamber Music Society The Church of the Messiah Montgomery Street (Rte. 9) The Great Mulgrew Miller Trio in Concert Windham Chamber Music Festival Rhinebeck NY 845-876-2870 3 PM charge www.rhinebeckmusic.org Windham Civic Center Concert Hall 5379 State Route 23 (Main Street) Windham NY 518- 734-3868 8pm charge www.windhammusic.com New Members Exhibition and Tina Rohrer: “A Commitment to Color, Move- ment and Geometry / Donald Axleroad: “Disintegration of Truth and Trust” / “The Language Archive” Mohonk Mountain Stage Readers Theater Unison Arts Historical Exhibit: “The Silvermine Print Collection” Silvermine Arts Center Silver- Center 68 Mt. Rest Road New Paltz NY 845-255-1559 charge www.unisonarts.org mine Arts Center - Silvermine Galleries 1037 Silvermine Road New Canaan CT 203-966-9700 We’re Still Here! Celebrating the perseverance of the human spirit Tivoli Art- Opening Reception 2-4 pm free (thru Feb 17) www.silvermineart.org ists Gallery 60 Broadway Tivoli NY 845-757-2667 Opening Reception January 19, 6-8pm free (thru Feb 3) www.tivoliartistsco-op.com Continues on Page 12 See additional Calendar listings online at arttimesjournal.com Jan/ Feb 2013 ART TIMES page 9 Film R.I.P. By HENRY P. RALEIGH You can imagine my shock at recorded on chemically coated strips seeing FILM IS DEAD? so brazenly of flexible plastic in various widths or spread across the opening page of by a digital camera whose operation the Falls Arts section of the New is a complete mystery to me, the York Times — and in three-inch projected products will be just as good high type, mind you. This followed or bad as they have ever been. If there by a plaintive but of equal size cry is some difference in visual quality, LONG LIVE THE MOVIES. This well that will be straightened out in is it I thought, we few left standing time and in any case beauty is in the could see it coming. First the genuine eye of the beholder, isn’t it? No, the film critics are driven from the field, real problem is a semantic one. We criticism turned over to the uncaring just don’t know yet what to call this Internet hordes. And now, to add yet new technique of digital filmmaking another infamous September date, — and there you have it, right off film itself is to be cast aside. On the bat, an ugly oxymoron. Digital reflection this didn’t seem reasonable is not film, film is not digital and and OK, catching my breath, I admit we are left helplessly in a confusing I had been a bit hasty here. Reading language bind. We’ve been through on I found all this was no more than this before, of course. Before anyone a rambling and inconclusive debate knew what to call film, a Frenchman between two Times critics, A.O. seeing it for the first time shouted, Scott and Manohla Dargis over, of all “ C’est un spectacle du tonnerre!” things, photochemical versus digital, which translates as “Wow!” Neither casual reference (Hey, Baby, let’s digital director? Filmmakers digital or simply put, what comes out of a of these labels caught on and grab a movie tonight”) and film the makers? A film star a digital star? film camera against whatever it is there began a free-for-all to find a formal reference (“Film embodies the Can you imagine a TV program that comes out of a digital camera. satisfactory name of this new thing. deepest existential anxieties”). The called Siskel and Ebert at the You see, one critic has a nostalgic “Motion pictures” seemed obvious two terms may be interchanged in Digitals? Just as we’ve gone through feeling for that good old celluloid- but awkward, “Picture show” a little discussion but if you wish to appear this tricky business before I’m sure like, wiggly stuff which, for goodness better. “Photoplay” was tried out and serious, as well as knowledgeable, that after a period of trial and error how long, we have known as FILM; even one of the early film magazines remember that FILM is the proper it will work itself out. I’ve thought the other, perfectly willing to honor was so titled. Some younger people reference. “THE FILM” is good too. of a few possible names that we film’s history in its filmatic material pushed for “Flics” thinking this Cinema is an oddly portmanteau can try out. “Digitalis” first came to form, nonetheless sees a take-over smart and modern though a slang term popular in Europe but we have mind, catchy, but I soon found out by the DIGITAL and that’s that. term does lack artistic dignity and avoided it because most of us don’t it’s been taken for heart medication. Such debates may stumble along only hep-cats, as they were called, know what to do with that funny Some others to consider: “Digies”, for awhile, I guess, but given that ever used it. Moving pictures soon mark over the “e”. “Digovies”, “Digems”, “D’s” — you get DIGITAL is cheaper and faster that came to be whittled down to simply It’s a whole new game once the idea. It’s all up to the vast film/ pretty much leaves little doubt about “Movies”, nicely direct though still DIGITAL is thrown in. How do digital audience to put the matter to how these will end. misses the essential, you might say, we peak about this art now? Is it rest — Good luck, gang, too. ef I can tell you I am more the symbolic soul of the medium still an art? What do we call this digital stuff? Look at the confusion Visit our website: www.arttimes- levelheaded about this issue. — FILM. Soon, everything settled journal.com to read previously Whether something has been down to “Movies” as an informal, we’re headed for. Is a film director a published essays

As we enter 2013 we wish you all a very Healthy, Creative, Peaceful, and Joy-filled New Year

Call for Entries Regional Juried Exhibition Juror: Christie Scheele April 6-27, 2013 . Deadline: April 2 www.askforarts.org . 845-338-0331 $20/2 pieces members . $ 35/2 pieces non-members See Website for prospectus. 97 Broadway . Kingston, NY 12401 I Am A Man (detail), Sanitation Workers Strike, Memphis, Tennessee, March 28, 1968 © Ernest C. Withers Featuring Black American artists affecting so- cial and political change in the United States National Society of Painters in Casein and Acrylic from the late 1950s through today. 59th National Juried Exhibition January 4 - February 6, 2013 at the Salmagundi Club, 47 5th Avenue, NYC I AM Reception: February 2, 4 - 6 p.m. Photographs & Prints May 6th ­— May 24th Leigh PhotograPhs Juried by CD • Entry deadline March 30th. Manifest February 9 Featuring the ROBERT SANSTROM PRIZE-Gold Medal and $5000. Merrill through Over $15,000 in prize money and medals. Destiny March 8, 2013 Jury of Selection: Reneé Emanuel, Murray Muldofsky, Bill Teitsworth, Robert P. Weiss, D. Wels • Juror of Awards: Morton Kaish Tremaine Gallery at the Hotchkiss School Entry fee: Non-members, $20. 11 Interlaken Road, Lakeville, Connecticut ~ open daily For prospectus: send SASE to: D. Wels, Corr. Secy., 1710 1st Ave., #245, (860) 435 - 3663 ~ www.hotchkiss.org/arts New York, NY 10128 or visit NationalSocietyofPaintersinCaseinandAcrylic.com. Jan/ Feb 2013 ART TIMES page 10 Art Landscape Painting:

By RAYMOND J. STEINER Studio or Plein Air? Some do both — I, for example, forever changing before our eyes. (My paint primarily en plein air and protagonist, Jake, learns more about bring my completed canvases into this later on in the novel from his my studio where I set them up on an friend Joe ((also fictional)), as they easel and “study” them for days, even paint side-by-side on Joe’s property weeks, to see if my landscape “speaks” outside of Woodstock “proper”). to me, sometimes adding a touch of Harrison taught his students that color or splash of light to enhance my colors do not actually “exist” but are original “statement”. The bulk of the only impressions taken in by our landscape painting process, however, individual sense of sight – and, fur- is done alla prima (“all at once”) and thermore, those that we do perceive out-of-doors. (Hence, the occasional are only “half the story” since there “touch-ups” of color blobs and scrapes are “colors” both above and below our while I am back in my studio.) range of seeing. The fact is, he taught, This is a routine I learned from that the color vibrations come to us Susan Silverman, a fine landscape not only as visual “color” but also and figure painter from Cornwall, as sensations of heat and/or sound! NY. Although I’d been sketching “We can only ‘see’ the ‘colors’ within since childhood, I’d never taken a our visual range, but,” he claimed, formal art class — in fact, had been “we can still feel and hear those that advised by many artists and teach- escape our sight.” ers I’ve come to admire and respect His point (whether “scientific” or not to take classes (“You’ll only have not) was that, while outdoors, these RJS painting in his “back yard” to unlearn their idiosyncrasies and out-of-our-visual-range colors still mistakes as you mature into your own affect us, still “inform” our rendition so to speak — none of which you can pen, pencil, charcoal, conté crayon, style” was a common refrain) — so of nature. I don’t know if he had ever do if you confine yourself to the studio. watercolor, etc.) done out-of-doors when I began painting about a dozen arrived at the now-known discovery To hammer home his point, Harrison which were then brought into the years ago, I asked Susan if I could (through the rainbow and the prism) also suggested that his students go studio where they served as “refer- accompany her during her plein air that light itself, that mistress of ca- to the Met and take another look at ence notes” for the finished product excursions to watch her at work. price, was composed of colors, some some of the Impressionists’ beach (the “well-licked” version). Inciden- Although I never really got the (as he taught), which cannot be seen scenes. “Look closely and you can see tally, there are periodic exhibitions hang of the brush, I did manage to by the human eye. the sand embedded right there in the of these drawings which are (for me) make some credible landscapes with In any event, he insisted that by painting, proving that they painted intrinsically more interesting since a palette knife — but the important painting indoors, in the studio, you out-of-doors.” they were done when draftsmanship thing is, was that Susan taught me would not be able to paint a convinc- In my past 30-odd years of inter- still counted and are much more how to look, how to see nature. On ing landscape because you were not viewing, profiling, critiquing, and spontaneous, “on-the-spot,” impres- our drives to and from different lo- getting the “full Monty” (not his reviewing artists, I can’t say that sions than the often-overblown oil cations in and around Orange and words, mine). He would say, “It’s not I disagree with Harrison. I’ve seen “machines” (a 19th Century descrip- Ulster Counties in upstate New York, enough to make it look like a tree, paintings that I know were painted tion, not mine) produced later in the she would point out colors, shadows, you have to make it feel like a tree, indoors — too “finished”, too meticu- studio. So “polished” were they, that interesting land forms, glancing light smell like a tree — and, you can’t do lously limned, too “polished” (“licked when the plein airistes came on the — in short, nature in all its manifes- this if you do not let the total you clean” is the way some used to put scene, most critics of the day were tations. — all of your senses, conscious and it). From my own experience and appalled, claiming that it looked as if In my novel, The Mountain (set unconscious — experience a tree”. (I observation of the few landscapes the Impressionists used a gun instead in Woodstock and its environs), my don’t recall if I heard or read about I’ve painted indoors (a night sky, for of a brush to cover their canvases main character, Jake Forscher, a one of the French Impressionist plein example), they often appear too stud- with paint. would-be landscape painter, learns Making obvious allowances for from Birge Harrison that if he wants the differences in paintings done in to be a convincing landscape painter, the gardens of Versailles as opposed then he must paint “out in nature”. to those in some rugged woodland Birge Harrison, though a character in the Catskills, there is a niceness in my book, was actually a real-life to studio-painted landscapes as op- painter-teacher who taught at the Art posed to the sometimes spontane- Students League of New York’s sum- ous, sometimes edgy, almost always mer classes in Woodstock, New York. tentativeness found in those done in It was because of Harrison and some plein air —inevitable when fending of his colleagues that, back in the off bugs, snakes, wind, cold, avoiding day, the Woodstock school was known direct sunlight, putting on or taking far-and-wide as “the best landscape off clothes depending on the weather, school in the world”. (and of course, dodging wind-borne Though I included it in the novel, sand), etc., — giving them at least an Harrison’s “mini-lesson” to the fic- air of authenticity. tional Jake Forscher had long been Wide-brimmed hats or “billed” known to me through Harrison’s own caps (not worn backwards!), high writings as well as comments from his boots, bug spray, fingerless gloves many students I’d profiled over the for the hardy who enjoy painting years, so even before I started paint- outdoors in the winter, thermoses of ing landscapes myself I had already hot or cold drinks (or, perhaps, a flask taken his words to heart. His “lesson” of something “medicinal”) — even was fairly simple: if you want to paint umbrellas that attach to the Julian believable landscapes, then paint “Wooded Path” by RJS o/c easel, which can protect canvases them on their own turf, so to speak — from direct sun, sudden cloudbursts air landscape painters asking a col- ied, too well defined, too “conceived” Susan brought his words alive. and snow squalls — all help — but, as league if he thought, “a bird could fly rather than “experienced’ in the raw. Most know that it is color and my friend Chen Chi used to say, “you through the tree” he had just painted Before the French Impressionists light that are a painter’s mainstays, should always make room for chance, on his canvas). You get the point. came on the scene, landscape paint- but just what is “color” and “light”? for you never know how fortuitous it Harrison furthermore insisted ers in the past (and, of course, dur- Light, as any painter can testify, is might prove in the end” (spelled out in that you had to put yourself into the ing and after) did so most commonly a fickle mistress and, even if it does his book, Heart & Chance: Chen Chi tree, become “one” with raw nature, from sketches or drawings (usually “exist”, is maddeningly inconstant, Watercolor Paintings). Chi’s advice Jan/ Feb 2013 ART TIMES page 11 notwithstanding, I once had a blast cleared land that contains our home astute art pundit appear of wind blow my canvas off the easel and my study/studio outbuilding — I foolish and / or ignorant. and against my chest — leaving me assiduously avoid including any signs I prefer the plein airistes (fortuitously?) with a pretty credible of human “habitation” (although, because it’s the way that I abstract landscape imprinted on the early on, I did do a painting of an choose to paint landscapes. front of my sweatshirt. outbuilding in Garrison, NY — still But, again, that’s my taste, Though it’s been some time since in my study) to keep clear of the my preference, my method. I’ve painted with Susan Silverman, I straight lines necessary in depicting Were I primarily a figure still carry her words with me today. roofs, walls, doorframes, windows, painter, or still life painter, I’ve since painted side-by-side out- etc., preferring instead to use my er- and only a “sometime” doors with friends Linda Richichi, ratic knife strokes which give me the landscape painter, I would Annie Hofstatter and Cheryl Post usual, spontaneous, heavily impas- in all probability be sing- in rural areas of New York State, as toed paintings I enjoy making. ing a different tune. For well as on a 5-day house-boat trip In addition, what further impels instance, I much prefer the through the lock-connected canals me to paint outdoors is that there is a precise verisimilitude of a and lakes of Northern Germany with sense of expansive freedom that I en- studio-painted still life or my friends Jörg Iwan and Jacky joy en plein air that I do not feel within nude — which might be bet- Sparkowsky (though I was the only the confines of my studio. And not ter painted indoors (unless, one painting), and with Heinrich J. merely physical freedom, but an aes- of course, you’re painting Jarczyk high above the Rhone River thetic freedom to make my painting something called “Nude in in the French Alps — learning more say what I choose, to move that bush a Snowstorm” or “Still Life each time. over there, that boulder over here — in a Tsunami”). In recent years, I’ve tended not even to begin with a certain patch of In the end, all creations to “partner up”, but to go off on my light and then completely change its are acts of will. Your “so- own to paint alone — as I did (in surroundings simply because it was lution” to creating a par- 1999), for example, on the east coast that patch of light I was really inter- ticular work of art cannot of Ireland, south of Dublin, in the ested in. Another old story: Camille be reached through being west at the Cliffs of Moher and, here Pissarro was once painting in an familiar with some all- in the States, along the rocky New open field when the owner, a farmer, embracing “rule” of method England coast and the beaches of quietly walked up behind him, then — no science, logic, reason, “should” or “ought” re- ally applies. An individual’s work of art is arrived at by insight, commonsense, and knowledge. It’s all a matter of taste, really — and what works for you. And who knows? I may soon have “Birches” by RJS o/c to admit the downside of painting outdoors — aside from bugs, go the Mosque; if you want to hear sun, snakes, wind and sand, and so- His answer, go to the desert”. Well, forth, there’s the schlepping of all of I have no nearby desert, but right on my paraphernalia over hill and dale the other side of the crumbling wall and setting up my Julian easel on top that surrounds me, I have that large of some long, steep hill. Age is taking tract of “lovely, dark, and deep” woods its toll, I have to admit — (but I’m not where I can see and hear “answers”, so sure I’d give up the knife — even if all over the place — and the only I start painting still lifes and nudes). “footprint” of humanity I find, is mine. Though I am no fan of “hot-point” slogans, trendy catch-phrases, and For additional essays see rjsteiner. other such “revelations”, I leave you wordpress.com and previously with one of my favorite aphorisms, published essays at: arttimesjour- which I am told comes from the Heinrich J. Jarczyk (center foreground) and RJS painting in the Alps nal.com/art/artindex.htm Qu’ran: “If you want to talk to God, ef Florida. Although I once enjoyed the stood watching him as he painted. camaraderie of having a “sounding After a few minutes, he asked Pis- board” nearby, I am, at bottom, an sarro, “How come there are three “isolatoe” — jealous of my solitude trees in your painting when there’s (some say “obsessively”). My study/ only two out there?” The old Impres- studio, for example is “off limits” to sionist answered, “Look behind you!” most, my preference being to plumb Yes — that kind of freedom. my own depths—without distraction. Back when artists used to come (My former study — the one that went upstate to Woodstock’s “best land- up in flames in April 2009 — used to scape school in the world”, big-time, have a shade that pulled down over mucky-muck, New York City-bound my doorway that read: GO AWAY!) studio painters who emulated the So…I now paint alone. old-timers that “sketched and then Anyway, I primarily paint land- painted”, used to snidely dismiss scapes and almost exclusively with these “woods stompers” as, “Oh, those a palette knife (mostly to avoid get- ‘Hudson River’ painters!” Who knew ting overly “fussy” with a brush), that history would be lauding those and although I’m not quite sure my “woods stompers” as artists of “The trees smell like trees, I rather like Hudson River School” (with capital the rough-hewn spontaneity that my “t” and “s”), now a well-respected paintings often evince. Accordingly, bunch whose landscapes are almost aside from the occasional, abandoned universally admired? And, again, and dilapidated stone walls I some- who knows? My paintings might well times come across in deep woods that, be disregarded as “mere daubs” that in the past, served as boundary lines I applied by shotgun by some now or — portions of which I might include in future critic or art historian — so, I a painting — and one of which, inci- repeat, this is only one man’s opinion dentally, separates nearby untended and, as we all know, history has a “Catskill Mountain” woods from the quirky way of making even the most RJS on the deck of a House-Boat in Northern Germany Jan/ Feb 2013 ART TIMES page 12 Calendar Continued from Page 8 Fiction Sunday, January 20 Hand in Hand Performance: Bridgman | Packer Dance Voyeur Silvermine Arts Center Silver- By Priscilla Macias-Rosa mine Arts Center, Sara Victoria Hall Auditorium 1037 Silvermine Road New Canaan CT All the while her luster too began to 203-966-9700 2:30 & 5:00pm charge www.silvermineart.org Amanda and Raul met in high school. Within the small confines of wear and she became a nag. However, Strawberry Hill Fiddlers in Concert Saugerties Pro Musica Saugerties United the more she drifted away in bore- Methodist Church corner Washington Avenue & Post Street Village of Saugerties NY 845- the campus, the world itself seemed 679-5733 3 pm charge www.saugertiespromusica.org small, and the population deemed dom, the tighter his possessive grip Unplugged Acoustic Open Mic Unison Arts Center Unison Arts Center 68 Mt. Rest datable was easily stripped down would become. His tighter hold was Road New Paltz NY 845-255-1559 Sign up: 3:30; Runs 4-6pm charge www.unisonarts.org into a small pool of eligible candi- just enough to refill the void again, Monday, January 21 dates. They selected one another as making them come hand in hand BLACK & WHITE EXHIBIT / MONOTYPES & MONOPRINT EXHIBIT / NOBLE a matter of circumstance. They were once more. Eventually it came to the NOCTURNES and SCNY TILE SHOW & SALE Salmagundi Club 47 Fifth Ave., NYC both at a party one night, and when point where they’d been together long (212) 255-7740 (thru Feb 8) www.salmagundi.org it came time to pair off, everybody enough to where sex was not just Tuesday, January 22 got the memo except them. So each something Raul would beg for, but it Artist Talk - Exhibiting Artists from the New Member Show Silvermine Arts feeling equally offended by the lack became the next logical step. With no Center 1037 Silvermine Road New Canaan CT 203-966-9700 6pm free www.silverminearts. intention of breaking up for reals and org/events/?id=126&yrmo=2013-01 of interest from the rest of the party, they came together hand in hand nothing better to do, she convinced Stories and Journeys, The Art of Faith Ringgold and Aminah Brenda herself she might as well do it. Lynn Robinson The Opalka Gallery Sage College of Albany 140 New Scotland Ave for the first time. It wasn’t the first Albany NY 518-292-7742 free (thru Apr 21) www.sage.edu/opalka relationship for either one of them, Time went on, passed sexual Thursday, January 24 but after the first obligatory month experimentations, infidelities, mul- Untitled Walsh Gallery, Seton Hall University 400 South Orange Avenue South Orange together, things took a pivotal turn. tiple breakups, and make-ups. Then NJ 973-275-2033 Reception: 5 to 9pm free (thru Feb 22) academic.shu.edu/libraries/gallery/ Maybe it was a conversation, a look, it came time when they’d been to- Saturday, January 26 or a touch, but one day they looked gether so long that marriage wasn’t Art Show Reception Friends of BVMI (Bergen Volunteer Medical Initiative) at one another and realized this was something for Amanda to drop hints Piermont Fine Arts Gallery 218 Ash St Piermont NJ 201-342-2478 3-6pm charge bvmi.org going to be their firstserious relation- about to quell her feelings of inad- Hudson Chorale - On Strings of Song: From Mozart to Sondheim Hudson Cho- ship. Neither could really describe it, equacies as a woman, but instead rale Scarborough Presbyterian Church 655 Scarborough Rd (corner Rt. 9) Briarcliff Manor it became the next logical step. It’s NY 914-462-3212 3-4:40pm charge www.hudsonchorale.org but there was something between the two of them that made it feel right. not as though there were any more Leonid Sokov: Ironic Objects Zimmerli Art Museum at Rutgers 71 Hamilton Street appealing options available to either New Brunswick NJ 848-932-7237 charge (thru July 14) www.zimmerlimuseum.rutgers.edu/ She loved his uncanny ability to one of them, so they figured they Liliane Tomasko/ Stephen Cox Exhibition Garrison Art Center 23 Garrison’s pay attention to her, making her feel Landing Garrison NY 845-424-3960 Opening Reception 6 to 8pm free (thru Mar 3) www. important on a rigid pedestal. At might as well get on with it. “I mean garrisonartcenter.org/ home, she was always made to feel if not each other, then who,” they Winter Group Show Look| Art Gallery 988 South Lake Boulevard Mahopac NY 845- insignificant by way of neglect. At each thought to themselves. So they 276-5090 Artist’s Reception 6-8pm free (thru Feb 17 www.lookartgallery.com home, he’d always felt insignificant spent more money than they had Sunday, January 27 because he was the youngest boy in getting married to make the whole 33rd Annual Regional Juried Show The Ridgewood Art Institute 12 East Glen Ave thing more interesting and to con- Ridgewood NJ Reception 2-4pm (thru Feb 11) a chronological hierarchy. He loved how she had no preconceived notion vince themselves they really wanted GAIL ARCHER, Concert Organist GraceMusic Grace Church, Nyack 130 First Avenue it. They drank themselves into a Nyack NY 845-358-1297 4pm charge www.gracemusic.info of his masculine inadequacies, and all stupor to calm the nerves, walked SHATTERED GLASS, a conductor-less ensemble The Chappaqua Orchestra Cham- she wanted was someone who would ber Music Series Chappaqua Library Auditorium, 195 South Greeley Avenue, Chappaqua, adore her, flatter her, and make her hand in hand down the aisle, and NY 914-262-7893 3pm free The ensemble is comprised of twelve young virtuoso players who feel safe. Despite the fact that they convinced themselves they had a good will perform an eclectic program of music ranging from Baroque to contemporary. chap- had absolutely nothing else in com- time and it was the best day of their paquaorchestra.org lives. Then after being married for a Thursday, January 31 mon aside from their own loneliness and carnal desires, they were both while, it was time to start have kids. David Shuler, organist Concerts at St. Luke’s Church of St. Luke in the Fields 487 After that, really, what’s the point of Hudson Street (1 block South of Christopher Street) New York NY 212-414-9419 8 - 9:30 pm subconsciously drawn to one another. charge www.stlukeinthefields.org/music-arts/concerts When he told her that he loved her, not staying together? The luster of parenthood wore off and infidelities “Journeys & Destinations” Watercolor & Oil works by Vivian Hershfeld, she was ecstatic. Her lack of recipro- Suzanne McVetty, Virginia Edele, Grace Su & Nancy Fabrizi Hunting- cation was completely irrelevant. He returned by way of middle-age. One ton Arts Council Main Street Petite Gallery 213 Main Street Huntington NY 631-271-8423 awkward session of couple’s therapy, free (thru Mar 11) www.huntingtonarts.org was okay, but it was his high level of interest in her that made him all multiple drama-filled fights, and ONGOING the more enticing. He loved having pretend accepted apologies left them Feb 8-24 “THE LARAMIE PROJECT” Albany Civic Theater and Tectonic Theater Project someone to protect that wanted his wondering why they stay together; 235 Second Avenue Albany NY 518-462-1297 Thurs - Sat 730pm; Sun 3pm charge www. but the question is always answered albanycivictheater.org protection. He was happy to be with by yet another question with even Friday, February 1 someone who would obey him, so fewer available answers, “What’s the Ex’s & O’s Upstate Artists Guild 247 Lark Street Albany NY Opening Reception 6-9pm long as he abided by the one stipula- donate (thru Feb 22) www.upstateartistsguild.org tion that he would never leave. So point of breaking up? Ya pa que?” Photography Exhibit - Stephanie La Rose & David Lewison East Fishkill there they were, hand in hand, two So they stay together for lack of any Community Library 348 Route 376 Hopewell Junction NY 845-221-9943 Opening reception people content with loving what the better options, because their entire 7-8:30pm free (thru Feb 28) http://www.EFLibrary.org other provided rather than loving lives have fit together hand in hand Stories and Journeys, The Art of Faith Ringgold and Aminah Brenda one another. As time went on, she as a match not made in heaven, but Lynn Robinson The Opalka Gallery Sage College of Albany 140 New Scotland Ave Al- a match nonetheless. bany NY 518-292-7742 Reception 5-9pm free (thru Apr 21) www.sage.edu/opalka became less impressed with him and “TEN UNKNOWNS” by Jon Robin Baitz The Schoolhouse Theater 3 Owens Road Croton eventually tired of the relationship. (Priscilla Macias-Rosa lives in Falls NY 914-277-8477 8pm charge www.schoolhousetheater.org Placentia, CA). ef Vital Signs: The Enigma of Identity Pelham Art Center 155 Fifth Ave. Pelham NY 914-738-2525 Opening reception and all-age art free workshop: 6:30-8:00pm free (thru Mar 30) www.pelhamartcenter.org WITH A PASSION Broadway Art Center The Arcade Bldg. 488 Broadway, Albany, NY 518-732-4224 (thru Feb 22) www.bacart.biz Saturday, February 2 Alan P. Cohen “Cameragenic” a series of photo composites Harrison Council for the Arts Harrison Public Library 2 Bruce Avenue Harrison NY 914-835-0324 Opening Reception 2-4pm free (thru Feb 24) www.harrisonpl.org Guild of Creative Art Exhibiting and Associate Members’ Exhibit Guild of Creative Art 620 Broad Street Shrewsbury NJ 732-741-1441 Opening Reception 3-5pm free (thru Feb 26) guildofcreativeart.org Marlene Ferrell Parillo “Habitats” ceramic sculpture and mixed media Flat Iron Gallery, Inc. 105 So. Division St. Peekskill NY 914-734-1894 Opening Reception 1-5 pm (Snowdate: Feb. 3rd 1-5 pm) free (thru Mar 17) www.flatiron.qpg.com Ice Harvest Festival Hanford Mills Museum 51 County Hwy 12 East Meredith NY 607-278-5744 10 am-4 pm charge www.hanfordmills.org www.centerforperformingarts.org My Two Worlds Oresman Gallery at Larchmont Public Library Larchmont Public Library 121 Larchmont Avenue Larchmont NY 914-834-2281 Opening Reception 2:30-4pm free (thru Feb) www.larchmontlibrary.org

See additional Calendar listings online at arttimesjournal.com Continued on Page 17 Jan/ Feb 2013 ART TIMES page 13 Speak Out The Beauty of Forests... By Will Pomeroy ervationists will remain focused on conditioned people into neglecting strictly “whimsical” writing on land- ...is what draws people toward what beauty occasions, while failing that old-growth forests are uniquely scape beauty, or calculating only them. The utilitarian or biological to mention beauty itself—without beautiful to almost everyone. exact pollution. concerns, which now dominate pres- which their utilitarian and biologi- If people do not take action based We must ensure that beauty stays ervationist thought, did not arise be- cal concerns might never have been on this more “objective” reality, recognizable. fore humans experienced the sensa- gleaned. subjective discussion of old-growth (Will Pomeroy lives in NYC). tion of forest beauty. On the contrary, In his Poetics of Space, Gaston forests will cease to exist. Thinkers humans found themselves called by Bachelard writes, “a tree is always in general will be left to contemplate Notes this very sensation to discover more destined for grandeur, and, in fact, it a memory of beauty. 1 Gaston Bachelard, The Poetics of about forest lands, and beauty itself propagates this destiny by magnify- With a lifetime of experience pre- Space (Boston: Beacon Press, 1994), continues to motivate forest study. ing everything that surrounds it.”1 serving forests---including a study 201. Underlying all consideration of The spaces magnified by trees form wherein nearly four hundred people 2 Soren Kierkegaard, Repetition mature forest lands is a recognition of a world that is far more beautiful of various ages and backgrounds (Princeton: Princeton University their beauty, and so we must include and inviting than it is without them. confirmed greater beauty among Press, 1983), 152. beauty as a reason for preserving Because of trees, we can say, with Ki- mature trees compared to younger3-- 3 Joan Maloof, ‘Measuring the mature forest lands. Otherwise pres- erkegaard, that “a dream world glim- -Joan Maloof recently started the Old Beauty of Forests’, International mers in the background of the soul.”2 Growth Forest Network: a project de- Journal of Environmental Studies, The radical subjectivity of envi- signed to save at least one old-growth 67, 3 (2010): pp. 431 – 437. ronmental philosophy, along with forest per State.4 4 Find this Network online at the incessant particularity of envi- On such activism, people must www.oldgrowthforest.net/ ronmental studies and biology, has focus their efforts---as opposed to ef

We sincerely thank our advertisers for their support of Call for Entries ART TIMES. 63rd Art of the Northeast USA CALL for ENTRIES April 13—May 24, 2013 Their advertising dollars make Juror: DAVID A. ROSS, Chair of the School of Visual Arts’ ART TIMES possible. FINE ARTS • FINE CRAFTS MFA Program; former director- Boston’s Institute of Contemporary Art, Please support them 51st Annual Juried Show the Whitney Museum, & the San Francisco Museum of Modern Art Awards: New this year, Best in Show Prize of a solo exhibit at JUNE 1 & 2, 2013 Silvermine Arts Center with a stipend for show expenses. For application (click apply) or information: Additional cash awards $4000-$8000, at juror’s discretion. www.WhitePlainsOutdoorArtsFestival.com Open to All Media White Plains Outdoor Arts Festival Committee Artists must reside in CT, MA, ME, NH, NJ, NY, PA, RI, VT P.O. Box PMB 441 • 333 Mamaroneck Ave. White Plains, NY 10605 • 866.210.7137 Deadline for All Entries: March 1, 2013 Entry fee: $30 per work; additional entries $10 each Atelier Renée For Prospectus: send #10 SASE to: AONE, Silvermine Guild fine framing Arts Center1037 Silvermine Rd. New Canaan, CT 06840 HAPPY NEW YEAR! Phone 203-966-9700, ext 26 or download www.silvermineart.org.fqdns.net/art/call-for-entries.php. LANDSCAPE AND MOOD The Chocolate Factory with Christie Scheele 54 Elizabeth Street • Red Hook, New York January 9-30, Wednesdays Tuesday through Saturday 10 ~ 6 or by appointment EXPRESS YOURSELF with Leslie Bender Salmagundi Club Renée Burgevin, owner, CPF Wednesdays, 1-4, January 9-March 27 Center for American Art since 1871 e-mail ~ [email protected] ARTFUL USE OF WHAT’S AT HAND January 2 - 18 845. 758 .1004 with Polly Law, January 12-13 SCNY Art Class Exhibit ~~ ~~ ~~ CUT PAPER IN 3D with Jenne M. Currie January 3 - 18 January 12-February 2, Saturdays SCNY Junior & Scholarship Members' Exhibit ~~ ~~ ~~ ADVENTURES WITH COLOR: Friday, January 11 - Saturday, January 12 A COLOR THEORY WORKSHOP with K. L. McKenna, January 14-18 Drawathon, All-night-drawing ~~ ~~ ~~ SILK AQUATINT January 21 - February 8 with Kate McGloughlin, January 21-23 Black & White Exhibit LANDSCAPE PAINTING WITH ACRYLICS ~~ ~~ ~~ with Tor Gudmundsen, January 29-30 January 21 - February 8, Patrons’ Gallery Monotypes & Monoprint Exhibit HANDMADE BOOKS AS ART with Loel Barr ~~ ~~ ~~ February 6-27, Wednesdays January 21 - February 8 “Noble Nocturnes” Exhibition A NATURE LIBRARY: ~~ ~~ ~~ MIXED MEDIA DRAWING January 21 - February 8 with Margarete deSoleil, February 9-10 SCNY “Tile Show & Sale” COLLAGRAPH ~~ ~~ ~~ with Kate McGloughlin, February 12-13 February 11 - March 8 New Painters Group Forming: SCNY Spring Auction DRAWING MARATHON ~~ ~~ ~~ NWCT - Berkshire no instructor, February 19-21 Auctions on: Plein Air Painters Wednesday, February 20, 8pm ACTION ABSTRACTION ~ with Jenny Nelson, February 23-24 Sunday, March 3, 2pm (brunch) Area artists are invited to join for Friday, March 8, 8pm paint outs, workshops, Be sure to visit our extensive website at exhibition opportunities & fun! www.woodstockschoolofart.org 47 Fifth Avenue, NYC 845 679 2388 212-255-7740 For more information call Leslie Watkins at Please visit www.salmagundi.org (860) 542-3920 or visit www.lesliewatkins.com Jan/ Feb 2013 ART TIMES page 14 Fiction

By Robert DAVID STETTEFlowerN of our Age he thought was “perfect”. Well, why Flower was held fast by the have to put down her mallet and chisel Flower lovingly rubbed her special didn’t he understand that she had no huge, glistening spider web in the rain to play fetch? And all because the polish onto the already glowing sur- such luxury with her sculpting? Why forest. She was captivated by the flut- steering wheel she was holding onto face of “Young Albert Holding an indeed? tering, brightly colored parrots. The suddenly seemed to direct itself as Eaglet” while Albert, afghan wrapped There! The eyebrows were finally one of the dirty boys playing kick-the- the car smashed into the fire hydrant around his legs, glowered at her from carved just right. Another work ready can in front of the pock-marked wall those three impossibly long years ago. the wheelchair. for sanding, staining, and shellacking. slathered over by a propaganda poster Flower almost gleefully picked “You’re rubbing the thing to death, She looked at her husband trium- she thought was well-composed, but up the Arts Section of the Sunday Flower. And didn’t you say the art phantly. But he only twirled in his perhaps teetering on the edge between newspaper, which she had carefully transit truck would be here in less wheelchair and shouted, “You know, overly dramatic and saccharine cute. placed on her workbench. She eagerly than an hour to pick up all of your Flower. Your damn sister Susan can Albert though seemed quite convinced pointed to an article with a large color wondrous sculptures? God, you’ll still churn out five pieces for every one you that it was his finest photograph, so of photo of herself, mallet and chisel in be picking at the damn things while fiddle over.” course she too said she loved it. hand, seeming to carve a finishing the workers are trying to wrap them “Maybe you should’ve married her On her own work her husband’s touch on a statue. “Isn’t this nice, Al- up to take to the gallery.” instead then, Albert dear.” Ah, one words of praise were as buttery as the bert honey? That wonderful critic who Flower didn’t want to get the poor stab deserves another. curls of soft wood peeling away under first called meT he Flower of Our Age man even more agitated, so she just “Maybe I should’ve. At least I’m her mallet and chisel. He insisted now saying he can’t wait for my rebirth kept to her rubbing, saying nothing. sure she’d have been too responsible that her sculptures reminded him oh next month at the Galleria? To herself though, she couldn’t help to drive drunk and put me in a damn so much of those gigantic monoliths Twirling about in his wheelchair, but happily repeat the thoughts, wheelchair like this, my pet.” staring out at the open sea on Easter Albert snorted. “Yeah, you get wonder- “Tomorrow night, the opening. And Laughing, he twirled about several Island. Mysterious and brooding he ful critics, and I get... nothing. In that my rebirth. Yes, yes, my rebirth!” She said. Yes, yes, but Albert always had same Section, there was a long piece, more times, then backed up without hummed very softly, hoping not to ag- a strong streak of sarcasm in him, so with scads of full color pictures. “The looking. The finished “Beloved Cou- gravate her poor husband any further. one never really knew. Like when this Best Photographers of the Decade.” ple” was right behind him. This was Albert took a long slurp of tea. As one critic called her “The Flower of Best photographers, hell! I wasn’t in one of Flower’s favorites, a sculpture he lowered his arm, his hand suddenly Our Age,” and Albert wondered aloud there at all. Not a paragraph, not even of herself and Albert, arms entwined, went into a spasm and the mug slipped if the man had meant she had wilted. my name! And they should’ve at least in middle age, just as they were before and clattered to the floor. Staring with Her! Wilted! had the sense to put in my shot of those the dreaded accident. Albert thought growing frustration at the spreading The show had been a terrific suc- boys playing kick-the-can in front of it disgustingly maudlin and sugary, puddle, he shouted, “Dammit! If you’d cess for them both. The gallery had the propaganda poster. At least that that critics would dub it something just stop hitting fire hydrants, my sold every piece. Yes, every single one, for god’s sake!” like “The Piece to Induce Vomiting.” lovely wife! Damn, damn, damn! piece! Though she stupidly told Albert What could Flower do to placate the Flower of course thought no such “If I remember, you grabbed at the she secretly mourned she would never man? She quickly walked over to her thing. steering wheel, Albert honey. You see those “children” of hers ever again husband and kissed him on the cheek. The rear of the wheelchair struck did.” in the studio. He bluntly said it was “Maybe they only wanted to consider against the sculpture’s base with such “Long before the car went out of silly for her to think that way and photographers who were still actively force that the work began to wobble control, Flower. Long, long before. she nodded that he was right again working out in the field, sweetie? Yes, somewhat. At first that seemed the Don’t you use that silly excuse on me as usual. yes, that must be it, of course.” extent of the problem, that all would again. I forbid it. Yes, forbid it!” The crowd had consumed all of the He snorted again. “Hah. I know settle down and be fine. But then the Flower started to sob. Soon how- cheese like a hoard of hungry little one died six, seven years ago and two wobbling increased and as Flower ever the sobs turned to crying. And mice, but there was still half a bottle others within the last year. Try an- watched in horror, the sculpture the crying to wailing. And then the of wine left on the linen-draped side- other explanation. A much easier one, toppled over, crashing onto the floor of wailing to screaming. If neighboring board provided by the gallery. So while Flower. They’re just rotten, stupid the studio with a prolonged thud she houses had been closer, then neigh- the workers cleared up, Albert poured bastards over there at the paper. It’s would long remember. The wheelchair bors would have certainly heard. But for both of them and raised his glass really that damn simple!” meanwhile fell on its side and Albert the houses were not closer. in a toast. “To us, dear Flower! To art Albert held out his empty tea mug. slid in slow motion onto the floor to She picked up her sturdy wooden and to us!” They already had drunk Once again! Lordy, she’s become his lie sprawled next to the work he so mallet from the workbench. She quite enough while mingling during servant, his caretaker, and Geisha despised. looked about at the small forest of her the long, anxiety-filled evening. How- girl to boot. Why did he have to follow Flower shrieked as she ran over to beautiful, patiently created work. And ever, my heavens, here they finally her into the studio every day anyway? inspect the damage. Albert appeared then it happened. Mallet in hand, she sold everything. Yes, every single Couldn’t he stay back in the parlor to relatively intact and unharmed, but danced from one statue to the next, blessed work! read a book, play some fine music, take the same could not be said for the cleanly decapitating each in turn. On leaving the gallery, Flower said a nap? And he made her so nervous, sculpture. The carved noses of both Thud and a head rolled. Another thud she felt lightheaded and dear Albert hovering over her, carping about how her and Albert were broken off. The and yet another head. On and on and chuckled and admitted the same. slow, how ridiculously slow she was in piece destroyed! She cried as she ca- on until she was exhausted and there And just two blocks from the safety of her carving. The man didn’t seem to ressed the fragments. were no more heads to roll. She sank their house and her precious studio, comprehend that she had to be pains- Her husband directed her to right into a chair, dropped the deadly mal- by golly, that gaudily painted fire takingly careful. One slip of her chisel his wheelchair and with her help, let, and wept. hydrant appeared from nowhere. Yes, and...ruination! She remembered how managed to lift himself back into its Albert slumped down in his wheel- from nowhere! She was sure that the she watched him at work when she ac- safety. “Well, Flower,” he said, “at chair and said not a word. Until they neighbors at first didn’t know what to companied him once on a trip to Costa least that miserable piece won’t be in heard the art transit truck rumbling make of the racket. Rica. Why, he snapped dozens and your precious show for the critics to into their driveway, neither said a dozens and dozens of shots of a bird, poke fun at.” word. Albert twirled and twirled around in a waterfall, whatever, from different She could only stare at him. For a (Robert David Stetten lives in his wheelchair, making Flower dizzy angles, locations, lighting, focus, and very long moment she could only stare Dallas, PA.) and somewhat nauseous. Worse, she on and on, just to get the one photo at him. ef was afraid he was going to plough into one of her finished sculptures. And Lordy, she needed it. How she needed every one of them for her upcoming YOHO Artists Studios exhibit! Yonkers SOHO - a space to make your own He was upset with her because it was ten or fifteen minutes since his painkiller injection was due and here Southern Westchester’s largest Artist community she was desperately attempting to STUDIOS FOR RENT carve the eyebrows just right on “Al- 25 NEW STUDIOS bert in Guyana.” But he was always Bright Light upset with her. If it wasn’t the pain- killer he demanded, it was hot tea. If Enormous Windows not tea, it was the knitted afghan to 24/7 Access cover his knees. If not the afghan, his On-Site Management slippers. If not slippers...well, always 540/578 Nepperhan Ave, Yonkers, something. Just how often did she NY Contact: (917) 682 - 5172 or (646) 572 - 6401, www.YOHOartists.com Jan/ Feb 2013 ART TIMES page 15 Dance Sharon Lockhart/ Noa Eshkol —

By Dawn Lille Eshkol’s dances as seen by Lockhart Say the name Noa Eshkol in Israel each time. Watching the resulting and you get an immediate reaction. movement sequences, devoid of dy- She was a dancer, but more impor- namics, can be compared to the music tantly, a researcher and creator of of Philip Glass. Eshkol’s main inter- movement studies based on the nota- est was in the possibilities of human tion system she co-developed. She was movement. also a textile artist and part of the Sharon Lockhart is primarily a bohemian arts circle in Israel even filmmaker and photographer. Since before it was a nation. Additionally, the 1990’s she has been interested Eshkol (1924-2007) was the daughter in creating bodies of work related to of Levi Eshkol, the third prime minis- diverse communities, often not associ- ter of Israel. ated with the art world. She immerses The Los Angeles based artist herself in them and proceeds to distill Sharon Lockhart was introduced to their contents into work that is a re- Eshkol’s work in 2008 and the result interpretation or explanation and is is the exhibition Sharon Lockhart/ actually a collaboration. Her subjects Noa Eshkol at the Jewish Museum have ranged from a girls’ basketball through March 24th. If you are willing team in Japan to children in the foot- to visit slowly, look intently and al- hills of Sierra Nevada to workers in a Sharon Lockhart, production still from Five Dances and low the contents to enter your orbit of Maine factory. She calls her museum Nine Wall Carpets by Noa Eshkol, 2011. thinking, feeling and seeing, this spe- installations a conversation between Courtesy of Gladstone Gallery, New York and Brussels, Blum & Poe, cial offering is most rewarding. In the her subject and herself, a formalized Los Angeles and neugerriemschneider, Berlin. © Sharon Lockhart, 2012. words of one of the museum guards, translation of real life. mountings of the wall carpets that are pologic research, when she got to know “it takes time, you have to focus, and Eshkol is relatively unknown set at a 45-degree angle to the viewer. Eshkol through her archives, writing, it becomes really interesting.” outside of Israel. Lockhart regards The walls in the film are a lighter gray. company performances, interviews Noa Eshkol was a theorist and phi- the engagement with her, achieved All the dances are performed to the with followers and the work of her losopher, who, in the 1950’s, started to through intense contact with her stu- beat of a metronome. students. There are vitrines showing experiment with dance. She followed dents as well as writings, notebooks, The first sight is of three huge lovely drawings of the body in rotary, the music composition system of us- photographs and ephemera, as one be- floor to ceiling walls, or volumes as planal and conical movement, many ing a series of progressions based on tween two artists. She has attempted Lockhart calls them, extending over examples of the notation system and set intervals, but her method used to understand what Eshkol, via the fifty feet. In the first are four danc- five of Lockhart’s elegant photographs ers performing to the left of two large of the models of the orbits. hangings on the right, one behind The exhibition continues on the the other. In the second two dancers third floor where Lockhart has chosen occupy stage center and there is one to display two of Eshkol’s carpets/ hanging on each side. In the third wall hangings horizontally, placing four dancers perform in front of three them on platforms about a foot off the evenly spaced textile hangings placed floor, where they resemble pieces of on a slight diagonal. minimalist sculpture. Eleven more of In the two side films the dancers Lockhart’s photographs of the spheres are a bit further back than the ones at different points in rotation hang on in the middle duet that has more the walls vertically, seeming to frame sustained movement, not always in the mixed media textiles below. These unison. Each differently timed chan- photographs, like the ones on the first nel stops briefly at the end of the floor, appear almost three dimen- dance and then starts again. Hence, sional; they suggest the movement in some miraculous way, one is able possibilities within stillness, which to watch all three simultaneously and was something Eshkol researched and slowly observe something being done illustrated her entire working life. to space, calling upon imagination and The two rugs, with their different Installation view of Sharon Lockhart | Noa Eshkol exhibition at maybe memory as well. colored, printed and shaped textiles, The Jewish Museum, New York City. Courtesy of Gladstone Gallery, If the viewer goes to the left of the are full of movement. Lockhart has New York and Brussels, Blum & Poe, Los Angeles; and room there are two more dances on commented on what she sees as the neugerriemschneider, Berlin. Photo by Alex Slade. the opposite wall. In one Lockhart exuberance of the wall hangings in spatial intervals. This was a complete works she created, was doing aestheti- arranged three hangings that occupy comparison to the restraint of the break from the traditional method of cally. Then she, as a conceptual artist, one half of the stage space. Two, the dances. But she finds a point of connec- choreography. attempted to create a space “for a cul- bird-like and leaf-like designs, are tion in the formal and geometric mo- Eshkol studied dance and Labano- tural/ social interaction with Eshkol slightly in front of the third, with its tifs in both. The parameters of EWMN tation (another form of notation) but, and her dancers.” large circular designs. In a sense, the guide the movement and the hangings desiring something more scientific, Eshkol and Wachman created sev- dancers appear to be echoing the verti- were put together with scraps of fab- joined with the architect Avraham en spherical models that demonstrate cal strength of the textiles. ric, ruled by the dictum that they could Wachman and created EWMN (Esh- possible movement orbits within a The second dance has a rectangu- never be cut, just joined or layered. kol Wachman Movement Notation). single limb and used these for teach- lar textile on the floor downstage to the Toward the end of her life Esh- She used this as a method to create ing their system. In the course of her viewer’s left and a narrower upright kol concentrated on fine tuning and movement cerebrally, not physically. research Lockhart discovered these, rectangular one on the right side to perfecting her research system and The system is mathematical and logi- cleaned them off and photographed the back. The two dancers move in the devoted more time to her textile de- cal, an analysis of movement based on them at different points in their rota- space in between, creating a tension signs. A fanatically hard worker, not the structure of the joints of the body. tion. that suggests gravity. In all the move- interested in fame, she expected the Here, every movement of an extrem- The exhibition begins in two large ment there is an almost seamless flow same of others and could be larger ity is circular, taking place within an spaces on the first floor of the museum. that is not tense, but carefully con- than life and difficult. Lockhart, as a imaginary sphere, which is mapped Room one shows a film installation trolled. In her initial working process generous artist interested in exploring using a series of vertical and horizon- entitled Five Dances and Nine Wall Eshkol broke down each movement what is essential to human existence, tal coordinates. Carpets by Noa Eshkol. Each dance is into infinitely smaller movements. has created an exhibition that is a joint She would take a basic movement seen in conjunction with Eshkol’s tex- This was in keeping with her intent venture with Eshkol, who she knows such as rising or sinking and then tiles, called wall carpets, selected and to explore shapes and designs – how only by her work and legacy. And it all compose an entire dance on paper. carefully placed as sets by Lockhart, one could potentially move through boils down to the body, space and time, She used only a few movements that who made the film. The dances are space – not to record movement. with Lockhart weaving Eshkol’s work repeated constantly, but their relation performed on floors colored battleship In the second exhibition room into a concept of humanity. to the space around the body changed grey, the same color as the standing Lockhart displays her almost anthro- ef Jan/ Feb 2013 ART TIMES page 16 Artists/Printmakers: Center for Artists, Mid Hudson Valley Area Artists: Ridgewood Art Institute, Opportunities Contemporary Printmaking, 299 (18 and over): Muroff Kotler Visual 12 East Glen Ave., Ridgewood, NJ West Ave., Norwalk, CT 203-899- Arts Gallery, SUNY Ulster, Ulster (201) 652-9615. Seeks work for 33rd Writers: 2013 Great Southwest 7999 Seeks original fine art prints for County Community College, Stone Annual Regional Juried Show, Jan Book Festival, 7095 Hollywood Blvd. the 2013 Portraits in Print, Annual Ridge, NY 12484 (845) 687-5113. 27-Feb 11, 2013. visit website for Suite 864, Hollywood, CA 90028 Members Juried Exhibit. Become a Seeking entries for Regional Juried prospectus. Receiving January 12. 323-665-8080 Seeks published and member: go to website or call. Down- Exhibition “Cut & Paste” Mar 15 - Apr www.ridgewoodartinstitute.org. unpublished works in all genres. No load Prospectus from website. Dead- 19 SASE, email, or visit online for pro- Artists all media in CT, MA, ME, date of publication restriction, all line Jan 26 www.contemprints.org spectus. Deadline Feb 1 jefferss@su- entries must be in English. Upload nyulster.edu. www.sunyulster.edu. NH, NJ, NY, PA, RI, VT: Silvermine entry information from website Artists, Sculptors, Photogra- Guild Arts Center, 1037 Silvermine Postmark deadline Feb 25, 2013 phers, Artisans: Easton, CT Arts All Media except photography Rd., New Canaan, CT 06840 (203) bruce@greatsouthwestbookfestival. Council (203) 374-0705 or (203) 261- and craft: National Art League, 44- 966-9700 x26. Entries for 63rd Art com greatsouthwestbookfestival. 0175. Seeks entries for juried exhibit, 21 Douglaston Pkwy, Studio C, Doug- of the Northeast USA Apr 13 - May com Jan 10-Feb 23 Download prospectus. laston, NY (718) 225-4985. Seeks 24 Send #10 SASE AONE Silver- Phone/email for further info. Deadline entries for 83rd Annual Open Juried mine Guild Arts Center or download Writers: 2013 San Francisco Book Jan 5 [email protected]. Exhibition, May 6 - Jun 1. Juror/ from website. Deadline Mar 1 www. Festival 323-665-8080 Seeks books www.eastonartscouncil.org judge: Beth E. Levinthal, Exec Dir. silvermineart.org in all genres. Awards ceremony Sat. Hofstra University Museum, NY; Guildford Art Center, May 18. Call the office or fax for entry Craftspeople: $2000 awards Send SASE or down- Artists, All Media: Smithtown 411 Church St., PO Box 589, Guilford, forms open sanfranciscobookfestival. load prospectus from website. Dead- Township Arts Council (STAC) Mills CT 06437 (203) 453-5947. Seeks en- com line Mar 23 www.nationalartleague. Pond House Gallery, 660 Rte 25A, tries for Guilford Craft Exposition org St. James, NY (631) 862-6575 Seeks Artists: Arts Society of Kingston 2013 July 18-21, 2013 Call fro Info or entries for “Reflections” Mar 23- (ASK), 97 B’way, Kingston, NY (845) visit website for details. Deadline Jan Artists: National Association of Apr 26, 2013 Download prospectus 338-0331 Seeks entries for Regional 7 www.guildfordartcenter.org Women Artists, 80 Fifth Ave., Ste. from website. Deadline Feb 1 www. Juried Exhibition April 6-27. Juror 1405, New York, NY 10011 (212)675- stacarts.org/exhibits Hudson Chorale Scarbor- Christie Scheele. $20/2 pieces mem- Vocalists: 1616. Seeks membership of profes- ough, NY (914) 478-0074 Seeks all bers; $35/2 pieces non-members See sional women artists who desire Artists of Soft Pastel: The Arts voice parts to audition for upcoming website for prospectus. Deadline exhibitions throughout the U.S. Guild of Old Forge, Inc. P.O. Box season on Jan 28 from 7:30-10pm at April 2 communications@askforarts. For details download from website. 1144, Old Forge, NY 13420. Seeks Scarborough Presbyterian Church. org www.askforarts.org Deadline Sep 15; March 15 www. entries for the 9th Annual Northeast Contact Jeanne Wygant (914) 478- thenawa.org National Pastel Exhibition, May Artists: b.j. spoke gallery, 299 Main 0074 or email. Jan 28, 2013 audition 4 - Jun 29, 2013. download prospec- St., Huntington, NY 11743 631-549- date [email protected] www. Artists: National Society of Painters tus from www.ViewArts.org www. 5106. Seeks new members. Call or visit hudsonchorale.org in Casein & Acrylic, 969 Catasauqua artscenteroldforge.org gallery. www.bjspokegallery.com. Road, Whitehall, PA 18052 Seeks en- Hudson Valley Art Associa- Artists: tries for 59th Annual Juried Exhibi- Artists: The Lake George Arts Photographers: Blue Door Gal- tion, Inc. Seeks original traditional tion, at the Salmagundi Club, May 6 Project Gallery Committee, Court- lery, 5 Hudson St. Yonkers, NY (914) Painting, Drawing and Sculpture. - May 24. Over $15,000 in cash prizes house Gallery, 1 Amherst St, Lake 375-5100 Seeks entries for “Double $15,000 in awards for 81st Annual and medals. For prospectus write: D. George, NY 12845 (518) 668-2616. Exposure” exhibit Mar 12 - Apr 27 Open Exhibition June 2013 at Lyme Wels, Corresponding Secretary, 1710 Submissions of exhibition propos- Email for prospectus. Deadline Feb Art Assn, Lyme CT Download pro- First Ave., Apt. #245, NY, NY 10128 als for Courthouse Gallery’s 2013 21 [email protected] www. spectus from website. Deadline Sun- or visit website Deadline by cd only: exhibition schedule. Email or visit bluedoorgallery.org day, April 28. www.hvaaonline.org March 30 [email protected] www. website for information. Deadline: Jan 31. [email protected]. Artists: Bowery Gallery, 530 W 25th Hudson Valley Artists: Jewish NationalSocietyofPaintersinCasein- www.lakegeorgearts.org. St., NYC 10001 (646) 230-6655 A Federation of Ulster County, 159 andAcrylic.com national call for entries for 22nd An- Green St., Kingston, NY 12401 845- The Main Street Petite Artists (U.S. based, 19 and over): Artists: nual Juried Competition 2013, July 338-8131 Seeks entries for Fall for Pelham Art Center, 155 Fifth Ave., Gallery of the Huntington Arts 30 - Aug 17 at the Bowery Gallery, 17th Annual Fall for Art Juried Show Pelham, NY 10803 (914) 738-2525 . Council, 213 Main St., Huntington, 530 West 25th St., NYC. Juror: Joan & Sale Sep 12, 6-9pm, Wiltwyck Golf Seeks Entries for the 2013 Alexan- NY 11743, (631) 271-8423 Seeking Snyder, internationally recognized Club, Kingston, NY email for info of der Rutsch Award and Exhibition artists for juried portrait show, Mar painter. Download application and download entry form from website. for Painting, May 3 - Jun 29, 2013. 15 - Apr 22 Please visit website to prospectus from website. Deadline Deadline Apr 30 [email protected] SASE, email, or visit Website for download prospectus Deadline Feb Apr 15, 2013 (postmarked) www. fallforart.org 15 www.huntingtonarts.org bowerygallery.org prospectus. Deadline Feb 1, 2013 Artists, All Media: Look/Art Gal- [email protected]. Artists, All Media: Upstream Artists: Broadway Art Center, 488 lery, 988 S. Lake Blvd., Mahopac, NY www.pelhamartcenter.org. Gallery, 26 Main St., Dobbs Ferry, Broadway, The Arcade Bldg., Al- 845-276-5090 Seeks entries 48” (any NY 10522 (914) 674-8548. Seeks Craftspeople: Peters Valley Craft bany NY 518-732-4224 Seeks any direction) for exhibit Feb 22 - Mar 17 Center, 19 Kuhn Rd., Layton, NJ new members Mail CD or photos. media for exhibition “With a Pas- Visit website for details, prospectus. 07851 (973) 948-5200. Seeks entries [email protected]. www. sion” to be held Jan 5 — Feb 22. Fee Deadline Feb 1 www.lookgallery.com upstreamgallery.com. is $25 for up to 4 pieces. Email for for the Annual Craft Fair, Sussex more information or go to website for Artists, All Media: Mamaroneck County Fair Grounds, Augusta, NJ, Artists, Craftspeople: White prospectus. Drop off Jan 5, 2013 12- Artists’ Guild, 126 Larchmont Ave. Sept 28-29 Call or visit website for Plains Outdoor Arts Festival Com- 3pm. Broadwayartcenter@yahoo. Larchmont, NY 10538 (914) 834- application. Deadline May 1 www. mittee, P.O. Box 273, White Plains, com www.bacart.biz 1117. Seeking work in all media petersvalley.org. NY 10605 (914) 949-7909 or (914) for 9th Annual Small Works Show, 993-8271. Seeks entries for 51st Artists: Red Hook CAN / Artists Col- Artists: Center for Contemporary May 22 - Jun 15, 2013. Max. 15” in lective Gallery 7516 N. Broadway, Annual Juried Show, Jun 1 & 2, Printmaking, 299 West Ave., Nor- any direction. Juror: Neil Watson, Red Hook, NY Seeks entries for “Fac- 2013, 10am-5pm at Tibbits Park, walk, CT 203-899-7999 Seeks en- Ex Dir Katonah Mus of Art SASE es & Figures” juried exhibition Feb White Plains. Children’s workshop, tries for 9th Biennial International or download application; SASE for 1- Mar 3 Visit exhibitions@rhcan-com student art exhibits and more! Free Miniature Print Competition 2013, prospectus. Deadline Mar 15 www. for FULL details, prospectus Dead- admission; food available. SASE or Jun 2 — Sep 1 Download prospectus mamaroneckartistsguild.org. line Jan 10 [email protected] call for application or information. from website. Deadline Feb 25 www. whiteplainsoutdoorartsfestival.com contemprints.org If you have an opportunity to list, email: [email protected] or write: ART TIMES PO Box 730, Mt. Marion, NY 12456. Please follow above format and include deadline and contact phone number. Make arttimesjournal.com a favorite. Each month read previously published essays and new essays, calendar & opportunity listings Jan/ Feb 2013 ART TIMES page 17 Theatre Can theater be localvore? By ROBERT W. BETHUNE wonderfully 16th-century feel; one Paris was about twice that size. Lope Popocatepetl pops? How can we get I recently saw a blog post by could imagine an artistic director in de Vega’s Madrid was about half that some good stuff in the meantime? Scott Walter in which he protests the Brother Cadfael mode, paterfamilias size. The population of Sophocles’ We trap ourselves here. We want “Wal-Mart-ization” of the American to a healthy brood of artistic souls; Athens was about midway between good work to be the norm. It can’t be theater. In his almost necrotic vi- perhaps, in the spirit of Ellis Peters, those two. Great theater does not the norm. Normal isn’t good enough. sion, New York City is the “central secretly plotting to murder one an- require a mammoth audience. But Good is more than just not bad. Good warehouse;” programs, particularly other in some cranny backstage. does that mean that any area with a is exceptional. So it can’t be the norm. colleges and universities, are the I can certainly understand why. population of about 100,000 – the size We have to produce quite a lot of work suppliers who ship their “products” I can imagine nothing more incestu- of the average county in the United in order to get a small amount of good to the central warehouse, and theater ously, stiflingly conducive to feloni- States – could produce great localvore work. The bottom line is, except in companies and touring operations all ous intentions than being cooped up theater? places where Popocatepetl is pop- over the country are the “customers” for your career with the same group I doubt it. As we survey cultural ping, the size of the fermenting mass who receive their “products” shipped of your fellow artists, production after history, we don’t see lots of high-qual- is just not big enough. It has to be directly to the them from the “central production. I recall, some years ago, ity work coming out of the quiet of the reinforced from outside, from places warehouse.” a director, whose career had been backwoods. What we see, when we where Popocatepetl is popping, or at I can hear some struggling young spent, at least to that point, entirely look at places and times that produce least burbling a bit. artists working their heads off in in the confines of a small regional lots of lasting stuff, is ferment. The In the end, localvore art – whether New York City trying to get a little company, declaring forthrightly, pot is boiling and bubbling, people theater or any other art – will always attention paid to their work throw- “I hate theater people!” The said and ideas are meeting and clashing, have the same problem as localvore ing themselves at an overhead door, declaration rang out in the midst of boundaries are being crossed, new food: sometimes you go to the farmer’s screaming “Box me up! Ship me out! a gathering of the object of his feel- techniques, new attitudes, new objec- market and all they have is winter let- Please!” Well, not really. But you get ings at the favorite hangout of, you tives, new desires are foaming and tuce. The good stuff is just not grow- the idea – an idea developed with per- guessed it, the local “theater people.” roiling. That kind of cultural ferment ing just then. When that happens, haps a bit more fervor than reality- His manner was vehement, and yet is really just not the stuff of epidem- until the growing season returns, if testing involved. at the same time confused, as though ics. It tends to be more like a volcano, you want the good stuff, you either What Mr. Walters seems to want he knew what he felt but could not for an intense, and intensely local, phe- import it, or do without. Doing with- could be called a localvore theater the life of him grasp why he felt it. nomenon that erupts somewhere, has out can produce a healthier body. It – one in which a wide scattering of Many of the greatest periods in its way with the place for a while and will not produce a healthier theater local theater companies, employing theater history could very readily then dies away until it happens to scene. locally grown and developed artists, be described as “localvore.” Shake- erupt again somewhere else. ef deliver locally-flavored productions speare’s London was a metropolis of Very well then. The problem is Learn more about Robert Bethune to local audiences. His vision has a only about 200,000 people. Moliere’s obvious enough – what do we do until at www.freshwaterseas.com

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Calendar Sunday, February 3 www.arttimesjournal.com Demonstration by John P Osborne during 33rd Annual Regional Juried Show Ridgewood Art Institute 12 East Glen Ave Ridgewood NJ 201-652-9615 1:30pm www. ridgewoodartinstitute.org Warwick Life Drawing Group Exhibit Warwick Life Drawing Seligmann Es- tate 23 White Oak Drive Chester (Sugarloaf) NY 845-544-2606 Opening Reception 1-3pm free (thru Feb 27) www.jhowardstudios.com/category/warwickdrawinggroup/ GRAND REOPENING! Tuesday, February 5 50/ 50: Celebrating Fifty Years of the Hofstra University Museum HUM Em- ily Lowe Gallery Behind Emily Lowe Hall, South Campus Hofstra University Hempstead NY 516-463-5672 free (thru Mar 28) www.hofstra.edu/museum Viridian Artists 3rd Annual National and International Juried Photogra- The Schoolhouse Theater phy Exhibition Viridian Artist 548 West 28th Street New York NY 212-414-4040 charge (thru Feb 23) www.viridianartists.com 3 Owens Road, Croton Falls, NY 10519 Wednesday, February 6 presents At the Zimmerli: Art After Hours, Zimmerli Art Museum at Rutgers 71 Hamilton Street New Brunswick NJ 848-932-7237 5-9pm charge (thru July 14) http://www.zimmer- Jon Robin Baitz’s explosive drama limuseum.rutgers.edu/ TEN UNKNOWNS Open Small Works Exhibition National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 free (thru Feb February 28 to March 24 28) www.thenawa.org Thurs, Fri & Sat at 8pm, Sun at 3pm Thursday, February 7 Snow in North Jersey: group exhibit The Pierro Gallery The Baird Cen- ter 5 Mead Street South Orange NJ 973-378-7754 Artist Talk 7p.m. free (thru Feb 23) For tickets call 914-277-8477 www.pierrogallery.org Or visit www.schoolhousetheater.org Friday, February 8 “Journeys & Destinations” Watercolor & Oil works by Vivian Hersh- feld, Suzanne McVetty, Virginia Edele, Grace Su & Nancy Fabrizi Huntington Arts Council Main Street Petite Gallery 213 Main Street Huntington NY 631- 271-8423 free Opening reception: 5:00-7:30pm (snow date 2/15) www.huntingtonarts.org Saturday, February 9 13th Annual Erotica Show Tivoli Artists Gallery 60 Broadway Tivoli NY 845-757- 2667 Opening 6-9pm charge (thru Mar 3) www.tivoliartistsco-op.com Celebration of Love - 5th Annual Art Show Fine Line Art Gallery 319 Main Street South Woodbury CT 203-266-0110 Opening Reception noon to 4 PM free (thru Feb 17) finelineartgallery-connecticut.com Introducing Our New Members Exhibition bau Gallery 506 Main Street Beacon NY 845-222-0177 Opening Reception 6-9 pm free (thru Mar 3) baugallery.com LEIGH MERRILL: Manifest Destiny- Photographs Tremaine Gallery, Hotchkiss School 11 Interlaken Rd., Lakeville, CT (860) 435-3663 (thru Mar 8) www.hotchkiss.org/arts Sunday, February 10 All Mozart Concert Westchester Chamber Symphony Christopher J. Murphy Auditorium - Iona College 715 North Avenue New Rochelle NY 914-654-4926 3:00 p.m. charge www.westchesterchambersymphony.org PORTRAITS IN PRINT: Annual CCP Members’ Exhibition Center for Contemporary Printmaking 299 West Ave., in Mathews Park Norwalk CT 203-899-7999 Opening Reception 2-5 pm free (thru Mar 31) www.contemprints.org Second Sunday Salon series: Alice Yoo, cellist Unison Arts Center Unison Arts Center 68 Mt. Rest Road New Paltz NY 845-255-1559 2-4pm charge www. unisonarts.org Continued on See additional Calendar listings: arttimesjoural.com Page 20 Jan/ Feb 2013 ART TIMES page 18 NEW MEMBERS: N.A.W.A. Na- Continued from Page 2 Letters Classified tional Association of Women Artists, 80 Fifth Ave., Ste. 1405, New York, To the Publisher: To the Publisher: NY 10011 (212) 675-1616. Invites A very belated thank you for the very Just wanted to say thanks for your men- GICLEE: Large Format Printing women artists (18+, U.S. citizens or accurate press release you wrote re tion of CLWAC in Culturally Speaking. Attentive Fine Art Reproduction permanent residents) to apply for the NAWA Annual Luncheon for the You are our unofficial “Godmother,” Scans, Papers-Canvas, Est. 1997 membership in the oldest profes- ART TIMES’ Culturally Speaking. always supportive and positive, urging us Cold Spring, NY: 845-809-5174 sional women’s art organization in i am particularly grateful about on to do our best. www.thehighlandstudio.com the U.S. (established in 1889). Ju- your last paragraph where you wrote i wish you and yours all the blessings , innovative & re- ried. Regular Membership, Junior/ about my personal sentiments about THOUHTFUL of the Holidays. Enjoy! sourceful approaches to stonework Student Membership, and Associate this women’s organization that I love Best, and the structural, textural aspects Membership. For details send SASE so much. Jeanette Koumjian of landscape. Hudson Valley, West- to N.A.W.A. or download from web- Again, many thanks. Brooklyn, NY chester & the Bronx. Kevin Towle site. www.thenawa.org. Deadline: Liana Moonie (914) 906-8791 Sept 15 & March 15 of each year. Greenwich, CT To the Editor: BOOKS BY RAYMOND J. STEIN- This is in regard to the article, “Can The- ARTIST STUDIO SPACE Avail- ER: Hudson Valley Impressions: To the Publisher: ater be Democratic” by Robert W. Bethune able: Potters, painters & poets, join Paintings and Text 5 ½ x 8 ½; 57 Cornelia - You are a doll. Saw the in the November/December 2012 issue of the artistic community at Barrett Full Color Illus. $15.95; Heinrich J. article [about the National Associa- ART TIMES. Bravo! It’s about time some- Clay Works, Poughkeepsie, NY. Jarczyk: Etchings 1968-1998 ($30) tion of Women Artists’ 123rd Annual one acknowledges that going to the theater Private, semi-private and commu- and The Mountain ($18). For each exhibit) in Art Times - fantastic. is for those in the “top level incomes.” I nal studio spaces $75 - $300/month. book, please include $5 for tax and Will use for the website. am by no means poor myself. However, a 24/7 access. Gallery space for shows. shipping. Order from CSS Publica- thanks, night out including the price of a Broadway Kilns, wheels etc. for communal tions, Inc. PO Box 730, Mt. Marion, Susan Hammond ticket comes pretty close to $200 coming use. Separate floor for non-ceramic NY 12456. More info available about Executive Director from New Jersey. And that’s just for one artist. Contact Loretta: 845-471- these books on the website: www. National Association of Women person! 2550. www.barrettartcenter.org. raymondjsteiner.com or www.art- Artists, NYC You say that “A democratic theater is ADVERTISING SALES Position timesjournal.com. possible…” How do we make it possible? To available for arttimesjournal on- To the Publisher: whom do we reach out to make it possible? line. Call for specifics 845-246-6944 FOR SALE: Woodstock. Winter/ That is so great Cornelia! Many We need to follow-up on this. or email [email protected] Spring. 2-level 1-bedroom apt. with thanks. i just picked up a copy of once again, “Bravo!” artist’s workspace. Quiet, private, Art Times today and read your Paula Friedman NEW CENTURY ARTISTS: 530 great light, decks, nice. All furnish- comments. The Tivoli Artists Co-op New Jersey West 25th St., Suite 406, New York, ings, includes linens, cable/ TV/ really appreciates your support. it (R.W. Bethune responds: “Nice to have NY 10001, (212) 367-7072 is seeking wi-fi, private phone, winter main- was wonderful to see you in our gal- an ‘attaboy’ from time to time from new members for group and solo tenance, garbage pick-up. Country lery a couple of weeks ago. I know readers.”) exhibitions. All media welcome, setting, 1 mi. to village. No smoking, how difficult it must be to visit as $325 annual fee. Send e-mail to no cats. $775. 2-mo. minimum. 845- many venues as you do. And thanks To the Editor: [email protected] for 679-8222 for permission to use your comments Just wanted to thank you for the article further info. EASEL TO SELL? PERSON in our publicity. (Peeks & Piques) in the Nov/Dec 2012 , for Upstream Artists wanted TO HIRE? SPACE TO RENT? Best of luck with your future pub- issue. It only reinforces my life-long con- Gallery a co-operative gallery at lications. victions about my own work. I’ve always 26B Main Street, Dobbs Ferry, NY SERVICES TO OFFER? Place Marie Cole wanted the viewers of my work to come 10522. Mail CD or photos. www. your classified ad in ART TIMES. Germantown, NY alive when looking at my creations. My upstreamgallery.com $33/15 words, $.50 for each ad- work has a good name in New England… ditional word. All classified ads To the Publisher: ADVERTISE in ART TIMES — John Monteiro must be pre-paid. Send check/ Hi Cornelia, Quarterly in print, monthly Roslindale, MA credit card # (exp. date & code) Thanks so much for bringing this to online. For more information and w/ copy to: ART TIMES, PO Box my attention and thank you for help- ef rates call: (845) 246-6944 • email: ing promote the festival! We really [email protected] or check 730, Mt Marion, NY 12456-0730. appreciate it. online: www.arttimesjournal.com. For questions call 845-246-6944; Best, email: [email protected] Alana Davis Woodstock Film Festival Woodstock, NY MAG To the Publisher: NINTH ANNUAL SMALL WORKS SHOW YOUR COMMUNITY ART SCHOOL XXXOOOO Thank you for the story!!!! YOUR COMMUNITY ART SCHOOL We love you! May 22 – June 15, 2013 CentrallyCentrally locatedlocated inin WhiteWhite PlainsPlains Gaile Snow Gibbs CALL FOR ENTRIES ~ Work in all media President Catharine Lorillard Max. 15” in any direction CASH AWARDS Wolfe Art Club NYC Juror: Anne von Stuelpnagel, Director of Exhibitions The Bruce Museum of Arts and Science To the Publisher: For prospectus send SASE to: Mamaroneck Artists' Guild Many, many thanks to you and Ray- 126 Larchmont Ave, Larchmont NY 10538 or mond! download: www.mamaroneckartistsguild.org Very best, Entry Deadline March 15, 2013 Alanna The Morgan Library & Museum NYC

To the Publisher: REGISTER NOW! On behalf of the Fall for Art Commit- For Winter and Spring Art Classes tee, thank you for highlighting FfA. Three starting dates: January 14, 26 and February 25 I remember well when you gave your enlightening talk. We appreciate your continual support and cover- Call for information age. Happy Thanksgiving to you and 914-606-7500 WESTCHESTER Ray. Your publication is outstanding. www.sunywcc.edu/arts C O M M U N I T Y Warm Regards, email: [email protected] COLLEGE Barbara Cohen Fall For Art Jewish Federation of Ulster County White Plains, NY Kingston, NY ART | DESIGN | CRAFT MEDIA | FILM | PHOTOGRAPHY | LIBERAL ARTS Jan/ Feb 2013 ART TIMES page 19 Music The Integrated Musical – Part 2 By FRANK BEHRENS A show boat. On it is the lovely at that point in the show. dummies. Of course, star of the shows, Magnolia. A no- On the other hand, “Ol’ man river” the plots were not mas- account gambler named Gaylord does have to come close to the opening terpieces of theatre. Ravenal drifts her way and chemistry of Act I. While it serves no dramatic They were pretty much does its thing. As it happens, there is purpose, it sets the theme and pro- Americanized versions an opening for an actor and Ravenal vides the leitmotif for the show as of characters found in applies for the job. But Magnolia a whole. The fact that the overture satirical British novels must ask for qualifications. Could he begins with a powerful statement of the time—idle play- possibly make believe that he loves of that melody adds great emphasis boys and innocent but her as a character in the play? After when it is sung so soon afterward. adventurous girls from about 20 lines of verse, the refrain So let us pause for a moment. It is Long Island. begins with “We could make believe” easy to define an integrated song. Can (Considering that and an American classic is born. we conclude, therefore, that a musical Wodehouse moved out Now this is the best example I can with a preponderance of integrated to Long Island to write think of in “Show Boat” of a song that songs makes an integrated musical? (among other things) flows directly from the dramatic situ- Back in the second decade of the his Jeeves novels, it is ation on stage, even down to the detail last century, three men thought along no wonder that the char- that he is applying for a job as actor those lines. When someone discovered acters in the Princess and answering her question at the a tiny little 299-seater in Manhattan musicals are what they are.) itself adds nothing dramatically. And same time. No other characters in the called the Princess Theatre, she saw No, although the three tried to “Nesting time in Flatbush” is not show could have sung this duet and its possibilities as a place to produce create musicals in which a song came more than an anticipation of happy this duet could not have been sung at shows that could not be elaborate in at just the right moment, those wedded life for a loving couple. any other time in the show. but must of necessity be intimate songs were still standard ballads and However, granted all this, the I must point out that as closely as (and therefore cheaper to produce). ensembles, albeit zipped up with the audience feels that each song is just “Make believe” is plot-related, it can This attracted a team consisting of clever Wodehouse lyrics. where it belongs; and I believe that is also be sung as a straight love duet Jerome Kern (music), P.G. Wode- Take for example the 1917 “Oh, because there is a plot in which the ac- out of the context of the show—and house (lyrics) and Guy Bolton (book), Boy!” There is a plot and a compli- tion moves from point to point and the indeed has been. who set about creating musicals that cated one, but I found myself hard songs simply seem to go along with it. Of course, not every song in a were plot driven and in which even pressed to find a song that advances The question of integration no musical can be tied in so closely with the members of the chorus would be the plot. “’Till the clouds roll by” is longer exists in current musicals, both plot and character as much as given individual names and—wonder an expression of attraction between because (I believe) that they are “Make believe.” “Life upon the wicked of wonders—lines to speak. two characters who have just met. “A would-be operas or at least drama- stage” was motivated by the curiosity Many women deserted the wind- little bit of ribbon” must be sung at the with-music. But that is a subject for of some female characters, but the ing steps of the Ziegfeld Follies, long- moment when the female chorus sees quite another essay. sequence did not have to be included ing to be actresses rather than clothes some wedding finery, but the song ef

CHRYSALIS At a DOESN’T END UNLESS YOU’RE DEAD yard sale It’s a sickness she sells sitting with the skin pen and pad she has shed. scribbling another line. A cocoon And always when done of questionable another calls for attention choices, wanting put down. TENNESSEE still holding But there is a call. the shape And the Muse reaches I liked the sound of that word. of who for many Imagine me “Missouri” Williams. she used to be. doesn’t mean Honey, it just doesn’t work. Before all will be great. “Tennessee” does. Now, doesn’t it? realization And those with the need My father was from there. Really. grew don’t really do it for glamour. I never much cared for Missouri; Poets’ Niche butterfly wings. They just have the need. just clodhoppers, farmers, Bible thumpers. Not many like me. You Gregory Liffick David E. Howerton know, people of my persuasion. —Ontario, CS —Auburn, CA No, give me New Orleans or Key West. I’m nothing like where I grew up unless maybe you show me. Ha! WOULD’VE, SHOULD’VE But Memphis is different. I had some good times on occasion (He I would so much prefer TO THE SEA removed his glasses for emphasis) being a painter than a poet, at the old Peabody. You know, but you go where your gifts take you. Out past the show-off breakers, the hotel downtown with the ducks. Still, to be a Vermeer (my first choice) arching their backs, stretching their arms I don’t think there is another state or a Rembrandt or even Jean Baptiste Corot, before taking their bows with a more evocative name than just so I could bring the perfect light and applauding themselves, “Tennessee”? What do you think? to all that I see; the fishing boats nod up and down Missouri, my ass, what a laugh. to make the faces of my generation keeping time with the tide. You know I was born in Mississippi. as unforgettable as they did of theirs. They can tell you your fortune, I would, for a fact, paint Teddy Atlas, reply to your questions, —John Cantey Knight his scarred face a metaphor for our times. as long as the answers are yes. Metairie, LA I would also paint Ashley Judd But the sand so pale from lost moonlight in her rain soaked summer dress is a better planner of the night. running barefoot down the pit road A single set of footprints to tell a story: at the Indy 500 her husband had just won. up to the water’s edge, Now there, sir, in ink or paint, is fine art. then back, then up again. I mean to say that words so often fall short, The nightly repeated riddle of lost love. something we with pens know; why we with pens want to trade them for brushes, richard Luftig trade our paper for canvas, —Pomona, CA so as to do right by those we admire. Brian C. Felder —Milford. DE Jan/ Feb 2013 ART TIMES page 20 Continued from Page 17 th issue Calendar Monday, February 11 Our 300 SCNY SPRING AUCTION SALE Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Mar 8) www.salmagundi.org Wednesday, February 13 The Art of Sadee Brathwaite Cosmic Daughters & Sacred Grandmothers: ART TIMES Dutchess County Community College, Milfred I. Washington Gallery Washington Center, Room 150 53 Pendell Road Poughkeepsie NY 845-431-8610 Opening Reception 5-6:30pm free Yes! I want my copy of ART TIMES Add $15 to your 1 year subscription (thru Mar 8) www.sunydutchess.edu/aboutdcc/artoncampus/washingtonartgallery/ mailed directly to me. and we will send a 1 year subscrip- Open Small Works Exhibition National Association of Women Artists, Inc. tion to ART TIMES as a gift from you. __1 yr. $18 ___2 yrs $34 ___ N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Reception 5-7pm ___Foreign: $30/1yr; $55/2yrs Note to read______free (thru Feb 28) www.thenawa.org ______Thursday, February 14 Name______Please mail my gift subscription to: Arlene Boehm “Viewpoints & Vistas: Contemporary Realism in Still Life & Land- Address______scape” in Columbia County Council on the Arts Upstairs Gallery at American Glory BBQ Name______& Restaurant 342 Warren St. Hudson NY 518-671-6213 free (thru Apr 4) artscolumbia.org City______ST______Zip______Address______Saturday, February 16 Phone______GROUP EXHIBIT The Arts Upstairs 60 Main Street Phoenicia NY 845-688-2142 Open City______ST______Zip____ Reception, 6-10pm; Pot luck food /bev free (thru Mar 10) www.artsupstairs.com email:______Phone______Hansel & Gretel Saturday Morning Family Series Center for Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 11 am charge www.centerforper- Make check payable to ART TIMES PO Box 730 Mt. Marion, NY 12456 or formingarts.org    Paul Robeson: Starring Floyd Patterson, Jr. Unison Arts Center & SUNY visa / mc / disc / code______New Paltz, Black Studies & Fine & Performing Arts Departments McKenna Theatre at SUNY card # ______/______/______/______exp date______New Paltz 1 Hawk Drive New Paltz NY 845-255-1559 charge www.unisonarts.org Sunday, February 17 Unplugged Acoustic Open Mic Unison Arts Center Unison Arts Center 68 Mt. Rest Road New Paltz NY 845-255-1559 Sign up: 3:30; Runs 4-6pm charge www.unisonarts.org West Point Musicians in Concert Saugerties Pro Musica Saugerties United Methodist Church corner Washington Avenue & Post Street Village of Saugerties NY 845- o 679-5733 3 p.m. free www.saugertiespromusica.org GALLERY Tuesday, February 19 AUCTIONS Cynthia Harris-Pagano Genesis: Creation and Flood Oil Paintings James W. Palmer III Gallery, College Center, Vassar College 124 Raymond Ave. Poughkeepsie NY Yaacov Agam R Jasper Johns 845-437-5370 free (thru Mar 12) arts.vassar.edu Josef Albers Paul Jenkins Richard Anuszkiewicz Alex Katz Wednesday, February 20 Karel Appel Kiki Kogelnik SCNY SPRING AUCTION Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 8pm www. Arman Mark Kostabi Romare Bearden Jacob Lawrence salmagundi.org Ilya Bolotowsky Roy Lichtenstein Thursday, February 21 Fernando Botero Roberto Matta Jeanne Landau Piermont Fine Arts Gallery 218 Ash Street Piermont NY 845-398-1907 Alexander Calder Peter Max Marc Chagall Joan Miro free (thru Mar 10) Www.Piermontfineartsgallery.com Chryssa Robert Motherwell Friday, February 22 Lucien Clergue Reuben Nakian William N. Copley Louise Nevelson A Potluck Concert: Romance Hudson Valley Society for Music Cornwall Pres- Salvador Dali LeRoy Neiman byterian Church 222 Hudson St (Rte 218) Cornwall on Hudson NY 845-534-2166 7:30 pm Allan D’Arcangelo Dennis Oppenheim donate www.hudsonvalleysocietyformusic.org Gene Davis Pablo Picasso “Next Fall” Mohonk Mountain Stage Company Unison Arts Center Theatre 68 Mt. Willem De Kooning Mel Ramos Rest Road New Paltz NY 845-255-1559 8pm charge www.unisonarts.org Burhan Dogancay Robert Rauschenberg Sam Francis Omar Rayo Saturday, February 23 Red Grooms James Rosenquist Keith Haring Kenny Scharf 17th Annual Juried Art Show at the Hudson Opera House Columbia County David Hockney Jesus R. Soto Council on the Arts Hudson Opera House 327 Warren Street Hudson NY 518-671-6213 Howard Hodgkin Victor Vasarely Opening Reception 5-7pm (thru Mar 23) www.artscolumbia.org Giancarlo Impiglia Andy Warhol Dr. Marmalade Saturday Morning Family Series Center for Performing Arts at Robert Indiana Tom Wesselmann Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 11 am charge www.centerforper- formingarts.org PAINTINGS • PRINTS • PHOTOS • SCULPTURE Juried Exhibit Look| Art Gallery 988 South Lake Boulevard Mahopac NY 845-276-5090 View entire inventory of over 5000 Artists at ROGALLERY.COM Artist’s Reception 6-8pm free (thru Mar 17) http://lookartgallery.com Seeking Artworks Now for Future Sales! “Next Fall” Mohonk Mountain Stage Company Unison Arts Center Theatre 68 Mt. WORLD-WIDE SHIPPING & FRAMING CONTACT: Rest Road New Paltz NY 845-255-1559 8pm charge www.unisonarts.org JOAN MIRO Sunday, February 24 EQUINOXE, Etching 1967 by Cynthia Harris-Pagano Genesis: Creation and Flood Oil Paintings James W. Palmer III Gallery, College Center, Vassar College 124 Raymond Ave. Poughkeepsie NY 845-437-5370 free (thru Mar 12) arts.vassar.edu Jeanne Landau Piermont Fine Arts Gallery 218 Ash Street Piermont NY 845-398-1907 Opening Reception 2-5pm free (thru Mar 10) www.jeannelandau.com Signed Copies Still Available Opening for February Exhibits Silvermine Arts Center Silvermine Arts Center - Silvermine Galleries 1037 Silvermine Road New Canaan CT 203-966-9700 2:00 to 4:00pm free www.silvermineart.org "A great read…" Everett Raymond Kinstler, NYC, CT Restoring Pride & Culture: A fundraiser to support African Ancestry fea- The turing jazz performances Center for Performing Arts at Rhinebeck Center for Performing "…asks all the important questions about art…" Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 3pm charge www.centerfor- Mountain Kathleen Arffmann: Director, Salmagundi Club, NYC performingarts.org “…a poetically…compelling work. I highly recommend it.” Monday, February 25 Eleanor Jacobs: Art Agent, Writer, NYC & CT SYLVIA GLESMANN MEMBER’S FLORAL EXHIBITION Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Mar 28) www.salmagundi.org “…immerses you in the artistic atmosphere of New York City and Woodstock…” See additional Calendar listings online at Robert Brink: Theatrical Director, NYC arttimesjournal.com ef “…a must have for anyone interested in art, local art his- tory, [and the] history of the Catskills…” Jamie Barthel: Owner/Curator Lotus Fine Art, The next issue: Spring Woodstock, NY March, April, May “…[Steiner’s] ability as a storyteller rivals his passion for the a Novel rich cultural history of the Woodstock Artists’ Colony…” If you missed getting an Opportunity or Calendar listing Kate McGloughlin: Artist, Teacher, Woodstock, NY by into this issue or an advertisement for your business or event, contact us at [email protected]. Raymond J. Steiner We can accommodate you on our website within 24 hours of receiving your materials. $18.00 + $5 shipping. Checks payable to: CSS Publications, Inc. Mail: CSS Publications, Inc. Make sure to take a look online for exclusive web essays, PO Box 730, Mt. Marion, NY 12456 • Credit Card: call 845-246-6944 videos, Calendar and Opportunity listings. Take a look at: www.arttimesjournal.com www.arttimesjournal.com