INSIDE: Michael G. Tagliaferro: On the Preservation th of Painting and the Integrity of a Flat Surface; Year!!! Kathleen Arffmann Reviews: Balthus & Chagall; Ina Cole on the Child Within; Lille on the Judson Church; Our 30 Raleigh on Film; Seckel visits Bermuda; Steiner on “Looking at Art” Part III; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 30 No. 3 Winter 2013/ 2014 (Dec/Jan/Feb) Balthus & Chagall: Beyond the Surface of the

By KATHLEEN Canvas: ARFFMANN TwoMetropolitan Painters Museum of Art* isof a trip the with Interior great balance Fall in New York is tradition- into the psyche; and “Chagall: Love, and poise. Cats are Travel and Culture: Bermuda ally a time for the opening of many War, and Exile” at the Jewish Mu- detached and aloof, exciting museum exhibitions. There seum** is a journey to another world. just like the paint- are so many exhibits that it seems These two painters go far beyond the er; cats facilitate the impossible to see them all. Fortu- surface of the picture to tell their viewers’ passage into story. Although the psyche. In his pic- working in very tures cats are playful, different styles mysterious, watchful. of painting I see His clarity in convey- them as linked ing visually what of- by this similar ten words cannot, is objective. a tribute to his craft B a l t h u s ’ s as an artist and his world is dark greatest strength. For and often sinis- the viewer there is ter. His paint- no deciphering. His ings are an directness makes all exploration of that unnecessary; so his own psyche. that one can arrive in Balthus lived in his unconscious with a Paris at a time firm footing, very much when Freud was like the leap and land- Cornelia Seckel having a conversation with very much a ing of one of his feline Mark Twain, a regular visitor and great fan of Bermuda part of the intel- friends. See Page lectual and cul- In an adjacent gal- 12 tural landscape. lery there are 40 small In his paintings charming drawings of Balthus’ cat, rible condition and needed a great his adolescent Mitsou that Balthus did at age elev- deal of restoration. Sabine proposed girls are not en. These have never been on view that they be restored at the Met in self -conscious before. Done first in pencil and then one of the finest paper conservation about their pos- black ink, they very much resemble resources in the world. They add so tures and as- woodcuts. They tell the story of his much to the exhibition because they sume physical cat, Mitsou, his pet’s happy arrival in give greater insight into the mind of positions that his life and his sad sudden disappear- the painter and his lifelong attach- Balthus (Balthasar Klossowski) (French, 1908–2001) Mitsou are natural and ance. Sabine Rewald, who curated ment to cats and art. 1919, Black ink on paper, 6 x 4 ¾ in. Private collection completely un- the exhibition, discovered these small As a youth Balthus was greatly in- © Balthus (Courtesy of the Metropolitan Museum of Art) inhibited. Some drawings in the possession of a family fluenced by his study of the Fifteenth of his subjects friend. (In researching their subjects nately, they are scheduled well into Century painter Piero della Francesca are considered erotic and X -rated curators are often like detectives.) the winter, giving us plenty of oppor- even by today’s standards. However, The drawings were stained, in ter- Continued on Page 17 tunity. In our present world with all Balthus was an integral part of his its contrivances and commerciality, time and did not consider his pictures museums still offer one of the few pornography but rather a psycho- affordable cultural experiences that analytical exploration. To this end CSS Publications, Inc. are sources of real pleasure. Support the Arts; his cats are very important since they PO Box 730 “Balthus, Cats and Girls” at The Enrich your Life lead one calmly into his unconscious Mt. Marion, NY 12456-0730 www.arttimesjournal.com 845-246-6944 Each month visit arttimesjournal.com for new essays, videos, Subscribe to ART TIMES calendar & opportunity listings.

ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Winter 2013/ 2014 ART TIMES page 2 Peeks and Piques! the latest fad, fancy or trend. Of- ART TIMES ten, what's "hot" this month is "not" Commentary and Resource for the Fine & Performing Arts NEVER A GREAT admirer of the forming the concept of 'value' into next month, while Michelangelo, da ART TIMES (ISSN 0891-9070) is published quar- US, Oscar Wilde is said to have 'cost'. "How much?" is more often Vinci or Rembrandt seem timeless... terly by CSS Publications, Inc and distributed written that, "America is the only asked than "How good?" Are we even so what's "trending" largely goes by along the Northeast Corridor primarily through- out the Metropolitan & Hudson Valley Regions, country that went from primitiv- allowed to ask how "good" a work of me. Wilde's observation about our Connecticut, Massachusetts and New Jersey. ism to barbarism without ever hav- art is in today's upside-down, polit- evolution — to me — seems hardly Copies are also available by mail to subscribers ing passed through civilization." arguable. So much of our current and arts organizations throughout the US and ically-correct society? How creative? abroad. Copyright © 2013, CSS Publications, Inc. Hmmmm. This was some time ago, How meaningful? How well-crafted? "culture" seems not only barbaric ART TIMES online can be viewed at: arttimesjour- when he also professed that some More often than not, many art 'pa- but inexplicable, and I doubt if even nal.com and has a pdf of the current print issue "know the cost of everything, but our 'primitive' ancestors were ever so (with images in color), as well as archived critiques, trons' are more concerned with a reviews, art essays, theatre, film, music, dance es- the value of nothing." Hmmmm, hm- work's market value than its artis- blatantly crude, so indifferent to the says from 2001. Each month the site is updated with mmmm. Just think of what he may tic value — in short, its $$$ cost and "right thing", so meaningless. Else, new essays, videos, advertising and resources. Call for visitor statistics as they change daily. pronounce about our culture today! not its aesthetic/artistic value (Wil- how would they have survived? Not Err … is "culture" the proper word de's point exactly). To make matters only are we blind to the difference Publisher: Cornelia Seckel Editor: Raymond J. Steiner for our marketplace-driven world to- worse (in my estimation), is that between cost and value, but also to Contributing Writers: day? Wilde may have been a bit of the creative community, i.e. artists, decency, morality, 'taste', and good Henry P. Raleigh Robert W. Bethune a snob — even sarcastically ironic have largely signed on to this 'de- sense. Personally, I am grateful that Ina Cole Dawn Lille my lifetime is coming to a close and Mary Burruss Francine L. Trevens at times (most times, I guess) — but valuation' process, making it more not just beginning — as an ancient Subscription Rates: there was always a hint of profun- and more difficult for me to find the USA: $18 /1 year $34 /2years dity, a hint of truth, embedded in 'genuine article' out there. Most of Chinese poet writes, "Better dark si- Foreign: $35 /1 year $45 /2 years his quips. Of course — like most of our readers know about the conser- lence, than lies".* Sounds pretty so- Contact for Print and Online Advertising Rates: us — he also spouted a lot of non- phisticated to me for a 9th Century CSS Publications, Inc., PO Box 730, Mt. Marion, vatism of ART TIMES — we've made NY, 12456. Phone/ Fax (845) 246-6944; sense — but it's kind of difficult not it clear since our inception 30 years "primitive". email: [email protected] to see how his comments apply to us ago that we were dedicated to taking Raymond J. Steiner Web site: arttimesjournal.com and to our cavalier transformation of the "long" view — and have largely *Han Yu, "Losing My Teeth" c.820 Advertising reservations are due: Feb 15 Spring art into a commodity — i.e. of trans- (Mar/Apr/May) May 15 for Summer (Jun/Jul/Aug); avoided giving over our pages to ef Aug 15 for Fall (Sep/Oct/Nov); Nov 15 for Winter (Dec/Jan/Feb). Items for inclusion in the Calendar must be uploaded to www.arttimesjournal.com/ submitevent.html and Opportunities listings must be submitted by email/ fax or mail by the 18th of the Art ………1, 3, 5, 8 Back Room Gallery preceding publication month. Email for guidelines. Art Book Review ……23 Veryal Zimmerman, Artist & Director Guest articles on the arts are also considered but must be preceded by a written Query. Our “Speak Calendar of Events ……6 Showing more than 30 artists' work Out” section is a forum for reader’s relevant opin- including: ions on art-related matters; viewpoints expressed Classifieds ……………23 Paintings, Linocut Prints, Photography, in the “Speak Out” section are not to be construed Culturally Speaking…18 as positions held by the publisher, editor or staff Sculptures, Unique Handmade Jewelry, of this publication. Queries, Mss. without SASE Dance …………………7 Atelier included will not be acknowledged. We do not accept Handmade cards and much more. Editorial ………………2 electronic submissions. Sample copy: 9x12 SASE. Gallery also features: Renée ART TIMES welcomes your letters and comments. Fiction ………………21 Vintage Decorated Crepe Designs Nothing in this publication may be reproduced fine framing Film …………………11 from the Early 1900's without written permission of the publisher. The Chocolate Factory Letters ………………2 and exhibitions with featured artists. 54 Elizabeth Street Contents Opportunities …………20 Artists’ Reception 2nd Saturday Red Hook, New York 12571 Letters Peeks & Piques! ………2 of each month 6-8pm Tuesday through Saturday 10 ~ 6 or by appointment To the Publisher: Poets’ Niche ……………19 Back Room Gallery Renée Burgevin, owner, CPF Thank you, for a marvelous guide to Travel and Culture……12 [email protected] Ann Arbor--it is a pleasure to be part 475 Main Street, Beacon, NY [email protected] • 845-838-1838 of this publication! Open: Th, Fr, Sa 12-6; Su 12-5pm 845. 758 .1004 Most appreciatively, Carol Stepanchuk Your participation and contin- “Interweavings.” I am so, so grateful University of Michigan ued support has made available the Visit us online for new to you for supporting the arts the way Ann Arbor, MI means to uphold the very principles essays, videos, advertisers, you do. As you may remember, this and goals that are set forth by the opportunity & calendar is not the first time I have won your To the Publisher: AAPL. The League has maintained award. I looked in my records, and listings Thanks so much for sending this an active presence for over eighty it seems I got the Art Times Award arttimesjournal.com along and for all the kind words! years helping to promote traditional three times: CLWAC 1997, Audubon I’m glad you had a great time in my art representing high standards of Artists 2005, and Audubon Artists beloved town. beauty and excellence. The ART this year. Thank you. It was nice to Speak Out Nawal Motawi TIMES Award for Landscape which see you at the reception for Allied Art- Motawi Tileworks you have generously provided, con- ists of America’s 100th Annual Juried is your forum! Ann Arbor, MI tinues to provide a positive impact Show. I actually posted the photo of [email protected] in the art community and helps to ART TIMES seeks your the two of us on Facebook along with preserve the mission of our League. opinions, viewpoints, ideas a few others from the reception. To the Publisher: Again, we truly appreciate your and complaints on any I was honored that the Endowment continued support. Best wishes aspects of the arts. If you chose my photograph “Tondo Rib- Sincerely, May Rolstad Trien have a point to make—no bons”. It is very exciting that Cornelia Larry R. Mallory, NYC, NY Seckel of ART TIMES Newspaper Awards Chairman, American Publisher’s note: May also won an matter how controver- chose me for this piece. Artists Professional League, award for her graphic Fallen Chest- sial—all we ask is that it Thank you for your generous, on- NYC, NY nut Leaves at the Allied exhibition. going endowment to Women Artists; be well reasoned and pro- Note that we have nothing to do recognition really does make a huge fessionally presented. (No To the Publisher: with the winners of the ART TIMES’ difference in the life of an artist. Thank you for the lovely comments awards. Jurors and judges for each of advertorials, please). Limit Sincerely, and photo in your column! the exhibitions make those decisions. yourself to three (3) double- Joanna First It’s always wonderful to see you. spaced typewritten pages Fair Lawn, NJ Send our fond regards to Raymond. To the Publisher: and send with a SASE to: To the Publisher: Yours, Congrats and all good wishes for your On behalf of the Board of Directors Maxine and Mark 30th. You have such a unique, won- “Speak Out,” ART TIMES, and Officers of the American Artists Mark Gruber Gallery derful and memorable legacy. PO Box 730, Mt. Marion, Professional League, we wish to take New Paltz, NY Lee Pope NY 12456-0730. A by-line this time to thank you for the gen- To the Publisher: Schoolhouse Theatre & Gallery and tag-line identifying erous contribution you have made I am very happy to find out that I won Croton Falls, NY toward the 85th Grand National the Art Times Award in the Audubon the writer accompanies all Artists 2013 show for my drawing Exhibition. Continued on Page 16 “Speak Out” articles. Winter 2013/ 2014 ART TIMES page 3 Art Looking at art: A Guide for the Essay (Understandably) Perplexed Part III: Artwriting in Manhattan, and his tenure there for the royal palace. Today, in addi- walls—except now, they have better By RAYMOND J. STEINER spanned the years both before and tion to those artists who have been materials to work with. Just imagine ARTWRITING—AND THIS too, after World War II. The G.I. Bill, he image-making since time immemo- how one of today’s “impenetrable” but comes in a variety of forms—seems explained, and the financial aid given rial, we have artwriters, curators, “searching” artwriters might have straightforward enough. It is writ- to veterans, opened the possibilities art merchants, collectors, restorers, fared if he had prattled on with one ing about art. As simple as this may of a college education to a great many connoisseurs, historians, aestheti- of his explications to some bystander seem, however, it is probably the people who might otherwise never cians—the list goes on as we grow back then! (That is, if they’d invented writing about art that more than have gone on to “higher” education. ever more inventive. If we can’t all speech yet). anything else has caused the ever- “What happened,” Will explained, be artists, well, we can at least learn Let’s set the stage: Ogg, an emi- widening gulf that exists between art “was that we turned out a higher pro- how to be middlemen—and, so we do nent art critic, and a viewer, Moog, and the average person. If intended at portion of readers in our population. ad nauseam. Heck, even artists tried stand before a cave painting of a first to clarify, it progressively made However, becoming more literate as a their hand at using their quills rather buffalo. the waters muddier as artwriters nation, did not necessarily mean that than their brushes from time to time “Hmmmm…” says Moog. tried to upstage the artists. there was a proportionate upgrading (probably when commissions were “But look!, says Ogg. “Note how As an artwriter, this is not an easy in the ability to read art. Unfortu- slow coming in)—but, generally, the the artist nuanced his lines from sure thing for me to say—yet the evidence nately—at least for the artist—a better ones stuck to their trade. to uncertain and melded it into the is strong that it is writing about great many people simply assumed Once critics began to recognize ambience of both his mood at the mo- art rather than art itself that turns that if they could read about art, then their growing power as interpreters ment and of the curvature of the cave away—and keeps away—the public it meant that this was the same as un- of art, they simply took off. A whole wall…nothing less than pure genius!” which not only deserves to know art derstanding art. So, people just read new branch of “expertise” grew up, “Hmmmm…” says Moog, thinking but for whom its creation ultimately the critics—and let them tell them with “artwriting” becoming a skill in to himself ‘impenetrable’ and ‘stupid’. lies. what they were looking at.” itself—complete with its own jargon, “Philistine!” mutters the critic as An anecdote: I was at an exhibition And, it’s even more reprehensible cast of “stars,” and specialized maga- he stalks away. of the work of Guiseppe Boldini, one when critics presume to tell you what zines. Eventually, these “specialists” “Still looks like a badly drawn of my favorite 19th-Century Italian you ought to like or dislike. wrote mainly to impress each other, buffalo to me,” says Moog scratching impressionists, when I overheard a How did this all come about? leaving those who depended upon his head. lady nearby say to her friend, “I know Let’s take a brief overview of his- them for guidance, information or If Moog were alive today, he might I’m not supposed to but, you know, tory. As we learned earlier, the mak- explanation out in the cold. And, like turn to you and say, “What’s the big I love his work!” Now where do you ing of images has been around since I said, once they got tired telling each deal? We got eyes. Let’s use ‘em! If we suppose she got the idea that she was pre-historical times. We can’t exactly other how they ought to see a work or don’t like what we see—let’s go to the not supposed to like what she was tell when it began — as noted in the art, they began telling you. next cave!” evidently enjoying? You got it—she Chapter on Image Making (Part 1, A comment by one of these “spe- All in all, this wouldn’t be terrible had obviously read somewhere that Summer 2013 Issue), our best guess cialists,” in fact, was a major spur for advice. If you prefer pictures that 19th-Century representional art was is about 35,000 years ago — but we my writing this article. Quoted in the look like something you are familiar just so “not today” and felt guilty that do know that it pre-dated speech for New York Times, this “specialist”— with, no one—not even the “special- she was showing her “old-fashioned” a very long time. Nor can we tell ex- whom we shall leave unnamed—said ist”—can tell you that you ought to taste. Boldini, don’t-y see, is totally actly when speech was invented, but that art criticism today could be like something else. No more, for passé. we do know that mankind had been separated into two kinds: “searching instance, than someone can convince Let me tell you another story: I was perfecting the spoken language for a but impenetrable” and “readable but you that you ought to enjoy turnips if, once sitting with the painter Will Bar- very long time before artwriting was stupid.” Now how inviting is that in fact, you can’t stand turnips. Sure, nett and, as it so often does between invented. As far as we can tell, the to the newcomer to the artworld? If you may grow to tolerate different artist and artwriter, the topic of art first writingabout art appeared in the you can read it, it’s stupid, but if it’s kinds of art—and even turnips—but criticism came up. I asked Will—a West during the Renaissance with a searching—i.e. seriously looking at you can do so only at your own pace man of wide experience and not a man call Cennino Cennini. This is the art, well then it’s impossible to and only if you are so inclined to do so. little wisdom—to what he attributed not the place to go into detail here, understand. Now isn’t that helpful!?! There exists no law—at least not as the growing importance and power but Cennini’s book seemed to have To paraphrase one critic that I do of this writing— that dictates taste. of the art critic today. “Simple,” he opened a Pandora’s box of wannabe respect — Walter Pater — he main- Never was and, to my mind, never will said. “One word is worth a thousand art “experts” that is still spilling over tained, “What … art has to do in the be. You have every right to walk into pictures!” today. service of culture … [is] satisfy the an art show, shrug your shoulders, This reversal of the old “One At first, it seemed innocent enough: spirit.” Nuff said! and walk out— or, like the lady at the picture, one word, etc.” took me by a savvy traveler would become an ad- Meanwhile, back at the stu- Boldini exhibit, enjoy it —regardless surprise and I asked him to elaborate. visor to some emperor or king, telling dio, artists continue to make pictures of what the “specialists” say! Remem- Will had spent some fifty years as an him which artists in which provinces much in the same manner that their ber—writing about art is one thing. instructor at the Art Students League were “hot” and recommending them stone-age predecessors did on cave Looking at art is another. And, most important, making words and mak- ing images are two different artforms. And, genereally speaking, one picture

is worth a thousand words. Being able to comprehend the one does not neces- Every Picture Tells A Story! sarily mean that you can the other. Now that that’s all clear, we will

by Jean Jean by turn to art venues in our next and last installment.

Julie of the Wolves the of Julie Meanwhile, trust the instincts of Moog—who passed them along to you

© Wendell Minor. Minor. Wendell © with the rest of your genes—and use Julie 1974) (HarperCollins, George, Craighead

Norman Rockwell, 1967. Norman Rockwell Museum Museum Rockwell Norman 1967. Rockwell, Norman your own eyes.

, Wendell Minor detail (To be continued) ef The Enchanted Enchanted The

, © Ruth Sanderson. Sanderson. Ruth © , Read Part I & II and

by Ruth Sanderson. (Golden Wood Studio, 1999) Studio, Wood (Golden Sanderson. Ruth by other writings by Wood Collections. ©NRFA Collections. Wood Enchanted The Stockbridge Mainstreet at Christmas (Home for Christmas) Christmas) for (Home Christmas at Mainstreet Stockbridge Raymond J. Steiner on Norman Rockwell Ruth Sanderson our website www.arttimesjournal. com nrm.org • open year round • Stockbridge, MA • 413-298-4100 Winter 2013/ 2014 ART TIMES page 4 Winter 2013/ 2014 ART TIMES page 5 Art Essay The Child Within – Part 1 By Ina Cole as a gauge to measure comparative In 1830 the German painter Caspar levels of cultural complexity in groups David Friedrich expressed that, ‘The ranging from the presumed ‘savages’ only true source of art is our heart, of Africa, America and Oceania, to Eu- the language of a pure childlike spirit’ rope’s peasant population. When the (Fineberg 1997). As the cultivation of same argument was later extended the naïve began to gain interest, a to early twentieth-century models of concept prevailed that children were disease, the concept of the primitive less civilized and therefore closer to came to include the mentally ill and the real meaning of existence. Their criminals, whose so-called conditions primal mark making is one of the were commonly understood as degen- first signs of ordered communication, erative; a kind of twisted return to and it was believed that through this primitive states. innocence of expression the child was By retreating from accepted rea- the commentator of the truth and that son artists thought they could gain their scribbling would naturally have access to the very sources of creativity a perfect unity of composition. How- itself, which they believed was exem- ever, it was the Swiss educator and plified in its most authentic and liber- illustrator, Rodolphe Töpffer, who be- ated form in the minds of children, the came one of the first to seriously study insane and tribal cultures. However, the art of children. His research, just as European artists received a published in 1848, was important in needed impulse from African carvings Paul Klee, Comedy (1921), watercolour and oil on paper, 305 x 454 mm, that it praised the expressive genius about whose meaning and function picture credit: Tate in their work and emphasized the they actually knew little, so the strong centrality of ideas over technical ex- influence of children’s drawings re- fact that everything before their eyes artists’ own style. Indeed, many of ecution. This shift in ideology was sig- lied on interpretations that did not is a new experience. In a diary entry the formal qualities shared by mod- nificant in that it encouraged personal directly correspond with the states of 1901, Klee reflected on the prevail- ern and primitive art can be linked expression undiluted by conventional of mind producing those unassuming ing mood of the time through his to the twentieth-century’s interest forms, which in turn offered a return pictures. The child responds to its en- observation of a singing child: ‘I have in conceptual modes of imagining. to a more primordial and instinctive vironment by making images of what seen many artistic achievements, The use of reductive signs for direct state of being. it perceives and the picture, therefore, but never one so primeval…talent illustration offered an opportunity As the rise of empirical observation does not merely imitate the model but anticipates things through intuition to explore analogies of a type long and spontaneous discovery overtook helps to clarify the structure of what is which it could experience only later, familiar to tribal artists. In much the a reverence for traditional formal seen. Children’s drawings appealed to having the advantage that primitive same way the work of children is also values, a fundamental change oc- the adult artist not because they are feelings are the strongest. The future conceptual rather than imitative, and curred which was seen to offer a kind so different, but because they actually slumbers in human beings and needs through its resemblance to primitive of purification for Western culture’s derive from the same source; that is a only to be awakened’ (Klee 1965). art could be seen to recapitulate the materialism, also making possible way of understanding the human con- However, picture making does not artistic evolution of the human race, the concept of primitivism at the turn dition by means of significant form. rely solely on what the eye sees at the offering a desired new beginning for of the twentieth-century. This no- In the early twentieth-century moment the image is produced, but artistic development. tion preoccupied not only artists, but belief in the creative instincts of chil- a synthesis of observations already biologists, social theorists and psy- dren was fairly universal amongst stored in the brain, and here lies the Kandinsky: From Blaue Reiter to chologists. Parallels were often drawn modern artists. Wassily Kandinsky, true difference between the child and the Bauhaus, Neue Galerie, New between the savage and the child and Gabriele Münter, Paul Klee, Mikhail the adult. It is impossible to recapture York to 10 February 2014; Paul this also became a criterion against Larionov and the CoBrA artists all the original expressive effects of child Klee, Tate Modern, London to 9 which levels of primitivism were mea- collected the work of children and art, as this would have been produced March 2014; Paul Klee: Life and sured in anthropological thought. The in some instances took quite specific in an entirely different context. Such Work, Zentrum Paul Klee, Bern, child was at the heart of these theo- cues from them. The attraction lay in borrowings, therefore, rather than to 30 March 2014; Spirit of CoBrA, ries, their observed stages of physical the way that children observe with being an attempt at imitation were The Museum of Art, Fort Lauder- transformed and assimilated into the and psychological development used an acuteness that derives from the dale to 18 May 2014. ef o AGUACTLIOLNES RY Yaacov Agam RART BUYERS & CONSIGNMENTS Jasper Johns Josef Albers Paul Jenkins Richard Anuszkiewicz Alex Katz Karel Appel Kiki Kogelnik Arman Mark Kostabi Romare Bearden Jacob Lawrence Ilya Bolotowsky Roy Lichtenstein Fernando Botero Roberto Matta Alexander Calder Peter Max Marc Chagall Joan Miro Chryssa Robert Motherwell Lucien Clergue Reuben Nakian William N. Copley Louise Nevelson Salvador Dali LeRoy Neiman Allan D’Arcangelo Dennis Oppenheim Gene Davis Pablo Picasso Willem De Kooning Mel Ramos Burhan Dogancay Robert Rauschenberg Sam Francis Omar Rayo Red Grooms James Rosenquist Keith Haring Kenny Scharf David Hockney Jesus R. Soto Howard Hodgkin Victor Vasarely Giancarlo Impiglia Andy Warhol Robert Indiana Tom Wesselmann

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WORLD-WIDE SHIPPING & FRAMING CONTACT: VICTOR VASARELY Kettes, 1988 Wooden Sculpture Winter 2013/ 2014 ART TIMES page 6 Because our Calendar of Events is prepared months in advance You Never Know Just How It Looks Through Other’s People’s Eyes dates, times and events are subject to change. Please call ahead to insure accuracy. Kenise Barnes Fine Art 1947 Palmer Avenue Larchmont NY 914-834-8077 free Calendar (thru Dec 21) www.kbfa.com Sunday, December 1 Monday, December 2 42nd ANNUAL HOLIDAY CRAFT FAIR Dutchess Community College Foundation, Main Campus, Poughkeepsie, NY (845) 431-8403 10-4pm www. Convergence: Contemporary Art from India and the Diaspora: Framing The William Benton Museum sunydutchess.edu Photography: Gifts & Acquisitions in Context of Art, University of Connecticut 245 Glenbrook Road Storrs CT 860-486-4520 free Annual Holiday Show Valley Artisans Market 25 East Main Street (Rte. (thru Dec 15) www.benton.uconn.edu 372) Cambridge NY 518-677-2765 Mon-Sat, 10-5pm; Sun 11-2:30pm free (thru Jan 5) Pericles The Shakespeare Theatre of New Jersey Madison Ave Madison NJ Call for Artists Art in the Wild The Hudson Highlands Nature Museum 973-408-5600 charge (thru Dec 29) Shakespearenj.org Pond Trail-Outdoor Discovery Center Angola Rd Cornwall NY 845-986-7293 charge (thru Dec 13) hhnaturemuseum.org/index.php/art-in-the-wild Wednesday, December 4 Stars: Contemporary Prints from Derriere L’Etoile Studio Zimmerli Artisan Holiday Craft Boutique Neversink Valley Museum D&H Canal Art Museum at Rutgers University 71 Hamilton Street, New Brunswick NJ Visitor’s Center 58 Hoag Road Cuddebackville NY 845-754-8870 10:00 am - 3:00 pm 848-932-7237 Curator’s Tour 6pm charge (Exhibit runs thru Mar 2, 2014) www. free www.neversinkmuseum.org zimmerlimuseum.rutgers.edu Director’s Choice Exhibit West End Gallery 12 West Market Street

Corning NY 607-936-2011 free (thru Jan 18) www.westendgallery.net Transfigurations - Alison Golder and Lorraine Klagsbrun National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite Holiday Group Show Look Art Gallery 988 South Lake Boulevard Mahopac 1405 New York NY 212-675-1616 free (thru Jan 3) www.thenawa.org NY 845-270-0243 free (thru Jan 5) www.lookartgallery.com Thursday, December 5 Kerry O. Furlani Slate Carvings: She is the Land (she is the sea) SUNY Adirondack Visual Arts Gallery 640 Bay Road Queensbury NY 518-832-7738 free A Baroque Christmas in Rome Choir of St. Luke in the Fields Music (thru Feb 6) www.sunyacc.edu/studentlife/visualartsgallery & Arts at St. Luke in the Fields Church of St. Luke in the Fields 487 Hudson Street New York NY 212-414-9419 8pm charge www.stlukeinthefields.org/music-arts “Kindred Spirits” Illustrated prints by Neil Waldman and ceramic designs by Mark Kassis Flat Iron Gallery 105 So. Division St. Peekskill NY Ginger Balizer-Hendler: The Adventures of Gingerella Pleiades 914-734-1894 free (thru Dec 29) www.flatiron.qpg.com Gallery 530 West 25th St. New York NY 646-230-0056 Opening Receptions 5-8pm free (thru Dec 21) www.pleaiadesgallery.com Murder on the Nile CenterStage Productions Center for Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 8pm Fri & Sat; 3pm Sun Linda Mckie-McClellan Solo Exhibition, Paintings, Prints & Mixed charge (thru Dec 8) www.centerforperformingarts.org Media Atria Senior Living 50 Ledge Road Darien CT 203-662-1090 Opening reception 5pm-7pm free (thru Dec 31) www.atriadarien.com NOCHE FLAMENCA at Kaatsbaan Kaatsbaan International Dance Center 120 Broadway Tivoli NY 845-757-5106 2:30 pm charge www.kaatsbaan.org Make It, Take It, Earring Night Mamaroneck Artists Guild 126 Larchmont Ave. Larchmont NY 914-834-1117 7pm charge www.mamaroneckartistsguild.org Doug Sardo Pastel Landscape, Still life and Animal paintings The Artists’ Gallery Bell’s Tavern Dining Room 183 North Union Street Lambertville NJ 609- Relational Ground: Defying the Status Quo SOHO20 Chelsea Gallery 397-4588 free (thru Jan 8) lambertvillarts.com 547 W. 27th St #301 New York NY 212-367-8994 Reception 6-8pm free (thu Dec 21) www.soho20gallery.com Winter Open House Peters Valley Store & Gallery Peters Valley School of Craft Peters Valley School of Craft, Layton, NJ 19 Kuhn Rd Layton NJ 973-948-5202 THE YORKVILLE NUTCRACKER Dances Patrelle The Kaye Playhouse at 10am-6pm free www.PetersValleyGallery.org Hunter College E. 68th Street between Park and Lexington Avenues New York NY 212-772-4448 charge www.dancespatrelle.org Richard Segalman - new work Woodstock Framing Gallery 31 Mill Hill Road, Woodstock NY 845-679-6003 free (thru Feb 23) www.wfggallery.com Friday, December 6 Songcatchers Holiday Concert Harrison Public Library Harrison Public First Friday Music The Roxbury Arts Group Coffee House at 76 MAIN! 76 Library 2 Bruce Avenue Harrison NY 914-835-0324 2-4pm free www.harrisonpl.org Main Street Stamford NY 607-326-7908 free www.roxburyartsgroup.org “Still Life” 2013 Juried Exhibition featuring the works of 20 artists. Opening Reception BFA/MFA I Thesis Exhibition. Exhibition will be Huntington Arts Council Main Street Petite Gallery 213 Main Street Huntington open daily Fri 12/6- Tues 12/10 11-5pm. The Dorsky Museum at SUNY New Paltz NY 631-271-8423 free (thru Dec 16) www.huntingtonarts.org 1 Hawk Drive New Paltz NY 8452573844 5-7pm free www.newpaltz.edu/musuem The CCP 9th Biennial International Miniature Print Exhibition Taking Precedence - The work of Lisa Zukowski and Rick Bendheim Gallery Greenwich Arts Council 299 Greenwich Ave Greenwich CT 203- Thurston Gallery 66 NY 66 Main St. Cold Spring NY 845-440-5838 Reception 862-6750 free (thru Feb 9) www.greenwichartscouncil.org 6 to 9pm free (thru Dec 29) www.gallery66ny.com Winter Solstice 2013 Holiday Show Featuring new watercolor THE YORKVILLE NUTCRACKER Dances Patrelle The Kaye Playhouse at paintings by Betsy Jacaruso and the Cross River Artists The Betsy Hunter College E. 68th Street between Park and Lexington Avenues New York NY Jacaruso Studio & Gallery 43 East Market Street, Suite 2 Rhinebeck NY 845-516- 212-772-4448 charge www.dancespatrelle.org 4435 free (thru Feb 28) www.betsyjacarusoartist.com Watercolors by Vincent Rubeo East Fishkill Community Library 348 Wolf Kretlow Photographs of Union County NJ Historical places The Route 376 Hopewell Junction NY 845-221-9943 Opening reception 6-7:30pm. free Les Malamut Art Gallery 1980 Morris Ave Union NJ 908-851-5450 free (thru Jan (thru Dec 30) EFLibrary.org 15) LesMalamutArtGallery.wordpress.com Continued on Page 10 Did you miss the deadline for this issue? If so, for a small fee, you can still include a calendar item, opportunity listing, an- nouncement or publicize your business. ARTTIMES Online: www.arttimesjournal. com ­is your solution. email: [email protected] or call: 845 246-6944 MAG Tenth ANNUAL SMALL WORKS SHOW Rhinebeck ART TIMES in print and April 30 – May 24, 2014 online: The resource for CALL FOR ENTRIES ~ Work in all media Artist’s Shop ALL THE ARTS Max. 15” in any direction CASH AWARDS Juror: Bartholomew Bland, Director of Curatorial Affairs Expert Picture Framing at the Hudson River Museum For prospectus send SASE to: Mamaroneck Artists' Guild Affordable Art Supplies 126 Larchmont Ave, Larchmont NY 10538 or download: www.mamaroneckartistsguild.org New Location: 188 Main Street Entry Deadline March 14, 2014 New Paltz NY 845-255-5533 Still & Always: 56 E. Market Rhinebeck, NY 845-876-4922 Celebrating Betsy Jacaruso Studio Bergen County's Diversity Winter Solstice 2013 Holiday Show Gallery Connecticut Society of Portrait Artists & Open Call for Portraits * Juried Art Exhibit * Through February 7th Biennial Portrait Exhibition Feb. 7 ~ Feb. 28, 2014 Paintings by Betsy Jacaruso Jurors: Robert Anderson & Stephen Early * Special Performance * & Submission deadline January 3rd Cross River Artists by Bergen DanceMakers Feb 6 ~ Feb 28 • Awards Reception Feb 6 Large and small works that capture the heart “Off The Wall” - Modern Dances and beauty of the Hudson River Valley. Historic Portrait Symposium Feb 7 & 8 Inspired by Selected Art in the Exhibit 9-5pm UConn Stamford, One University Pl., Stamford, CT Feb. 22, 2014 at 3pm During the month of Dec the Gallery will be Honoring Nelson Shanks hanging small original watercolor paintings With Robert Anderson, Igor Babailov, Call for gallery hours and additional ($10 ea) on our Art for the HeART themed Stephen Early, Max Ginsburg, Fred information: 201-599-2992 tree, proceeds will be donated to the arts Ross, John Sanden and many more. Art Center of Northern New Jersey programs at The Astor Home for Children. Details/ Prospectus/ Registration 250 Center St., New Milford, NJ Hrs: Thurs-Sat 11-5, Sun 11-4 . www.betsyjacarusoartist.com www.CSOPA.org www.artcenter-nnj.org 43-2 E. Market Street . Rhinebeck, NY . 845-516-4435 Winter 2013/ 2014 ART TIMES page 7 Dance Judson Church is Still Preaching the Arts By Dawn Lille Say “Judson Church” to anyone a month it is playwright specific and in dance and the immediate response involves writers, actors and directors. is “post modern dance in the 60’s and Every other month it is dance. 70’s.” Back then dancers and choreog- John Sorensen-Jolink is a member raphers were eliminating technique, of the Judson congregation. A native narrative, music and form. Anyone of Portland, Oregon, he attended was welcome on stage, from a person Lincoln High School there. It is part on the street to your grandmother. of a cooperative with Jefferson High From that often intensely chaotic, School, which has a dance program, but always democratic and intimate the classes of which are open to any- atmosphere, blessed by the Reverend one in the Portland area. Students Al Carmines, a musician and com- can therefore take their academics in poser, emerged a different approach the morning in one school and their to dance and theater. electives in dance. After attending Today, Judson Church, on Wash- both and graduating, he came to New ington Square South, is alive and York to study at the Tisch School of well and has hardly changed physi- the Arts. cally, except for the addition of some Carlye Eckert, a friend in Port- bleacher seating. Micah Bucey is the land, followed a similar path two minister in charge of the arts and the years later and came to Juilliard to Karen Harvey Dances. (Photo by Hope Davis, 2012) church is exploding with youth and complete her education. Carlye and creativity. Johnny both remained in New York ten to fifteen minutes long. They are develop and change them and their Bucey, from Ohio, is the son of a as free lancers performing for others exposing these dance artists to an opinions. To Micah this is perfectly in minister. Growing up he was always and creating their own work, often audience that is different – often filled tune with religion: both a parable of interested in theater and music, as together. She has danced with Tino with a diverse group of people who Jesus and an abstract dance can lead well as the church. He moved to New Sehgal, Jonah Bokaer, Jack Ferber, otherwise might never see a dance to self and learning. York where he attended Fordham as Azure and Artists and Keigwin + performance. Sometimes young danc- Carlye, who feels privileged to be a theater major. While in school he Company. He has performed with ers and choreographers are dancing at Judson, is not sure where dance came out as a gay man and started Doug Elkins, Lucinda Childs, Twyla for dancers, but this is not the case is going, whether it is good or bad to deal with how to align that with Tharp, Tino Sehgal and John Jas- at Judson. Also, since the technical that it is becoming so much a part the fundamentalism in religion. He perse. Both were seen recently at support is minimal, they have to give of museum shows, or whether danc- felt he had to renegotiate spirituality MOMA in the series by the French up the idea of a fantastic performance ers and choreographers, like their and sexuality. choreographer Boris Charmatz. in exchange for an atmosphere in fellow artists, will ever be able to While dealing with this issue After they danced at one of Jud- which one can create a community earn a decent living. Johnny points full of ideas. put that, world-wide, dance is losing Sometimes, if a work is bad the its funding and being pushed to the audience may not know it, but one has sidelines, but in societies that value to take into account a broad spectrum dance those practicing it enjoy a good of taste. These two fresh curators quality of life are trying to give an opportunity With STUFFED they are trying to to emerging, usually independent, find new ways to give value to dance, dance artists who have not had a albeit slowly. Micah considers artists chance to show their work elsewhere to be modern day prophets and this and to erase the concept of dance as an dance venue is certainly allowing elite art. Many choreographers such them to express thoughts and feel- as Charlotte Bydwell, Jack Ferber ings in a completely free atmosphere, and Celia Rowlson Hall have gone on although it does not pay the rent. Jud- to wider exposure. son, meanwhile, is quietly continuing Bucey points out that, as a church, its legacy as one of the most relevant Judson has always emphasized social centers for the arts in New York City. values and he sees the performances Next STUFFED performance: as an arena to trade energies. He December 4. and Eckert and Sorenson-Jolink feel it is possible to create an expanded ef Austin Selden and Sarah Konner. (Photo by Hope Davis, 2012) audience community. He notes that a dance performance can generate an Bucey worked for a few years at an son’s regular Sunday services Bucey, Visit www.arttimesjournal.com artist’s agency run by two women. who says he does not trust himself audience of 250 as opposed to 75 for to read previously published He began to see them as ministers with dance, approached them. To- other events. Dance essays. devoted to making the arts happen, gether they came up with STUFFED, People like to compare Micah but he also observed that some art- a series of evenings of food and dance Bucey to Al Carmines and there cer- tainly are similarities. Bucey, who ists were losing the joy in their work. curated by Carlye and Johnny. CATSKILL THEATRE will be ordained in June by the United Ballet He had read about Al Carmines and STUFFED, like Bail Out, offers a presents was familiar with Irene Fornes, who free performance preceded by a free Church of Christ, considers himself had been part of the early Judson dinner, some of it donated by local an actor and a lyricist by trade. The Nutcracker Theater. He started to “hang out” restaurants and markets and some He and Nicholas Williams, a com- poser, call themselves Gay Agenda performed in its entirety at Judson in 2009. Bail Out, a soup cooked by members of the church. featuring guest artists kitchen followed by a movie, had be- None of the artists are paid, so no and write musical theater. He sees gun the previous year. money is exchanged on any level. himself most like Carmines when Dec. 13th & 14th at 8PM Bucey suggested that live theater Originally scheduled for once a he observes the potential creativity Dec. 15th at 2PM would be better and was soon handed month, it proved to be a big job for two in everyone. The spiritual to him is being able to help artists, especially ULSTER PERFORMING ARTS the task of making this happen. First unpaid “artists-in-residence,” so it CENTER he was a volunteer, than worked part- may now be seen every other month. those to whom others have said “no.” KINGSTON, NEW YORK For him, artists using space and time time and is now a full-time Commu- (They do have use of the gym, when Tickets available at Ticketmaster at Judson are a connection to God. nity minister of the arts. Judson’s two it is free, to develop their own work.) 800-745-3000 regular ministers, Donna Schaper When they began in 2011 (Decem- Carlye, Johnny and Micah are all Or call UPAC Box Office 845-339-6088 concerned with connecting to others and Michael Ellick, gave him and ber 4 will be their tenth program) they Tickets $30 Johnny Goodman, his co-worker, wanted to make an evening that was via art. As curators of STUFFED, the Seniors & Students $25 carte blanch to usher in Bail Out as different from other platforms but two former feel it is important for the Group Rates Available live theater in 2010. Seen one night was tasteful and succinct, with pieces audience to ask questions, to invite people into an experience that will Winter 2013/ 2014 ART TIMES page 8 Art On the Preservation of Painting Essay and the Integrity of a Flat Surface By Michael G. Tagliaferro and is what Clive Bell (“Art”) calls Significant Form and – depending We empower the search for the meaning of upon the depth of the experience – Truth without an equivalent search for the the work created therewith might be meaning of Beauty – when both ascribe to a Higher Cause. a complete waste of time, have some quality of the painter’s sensibilities, The two dimensional surface or, might result in a masterpiece! of a wall or canvas no longer stirs Significant Form in a painting has no the high purpose of the artist who necessary relation to its subject mat- it seems fancies a ‘higher’ purpose; ter. The subtle and measured space of namely, to alter seven thousand a blank wall cries out to the painter years of culture-building to ac- demanding his undivided attention. commodate a culture of nihilistic A humorous story in this regard is exclaimers pronouncing the death told by the painter/musician/writer of God, Aesthetics and Ethics. A “cul- Helaire Hiler. In his book (“Why Ab- ture of death” denies basic human stract?”), Hiler tells of a time when instincts and so, makes it necessary very young a blank wall in his home to reassert the humanity of a painter, had become wearisome. So, with a work of art, and, the spiritual bond the spark of youthful enthusiasm uniting both to the flat surface of a he proceeded to mark up the blank wall or canvas. space with his initial masterpiece. He was, of course, properly spanked Introduction but, as he wrote (to paraphrase): in to two masterpieces: Michelangelo’s The most influential interpreter The end of the Second World War that moment (of pain), I knew I was ceiling painting depicts scenes and of the new Realism was the French saw artists of every creative persua- destined to become an artist! figures from theO ld Testament – the painter, Gustave Courbet who sion turn to living in the present for Works of art have chronicled the three hundred forty-three figures stated, “… painting should consist what can only be described as an ir- beliefs and aspirations of different sweep across the ceiling in a monu- only in the representation of objects rational contempt for the past; Beatle cultures and civilizations. In Egypt, mental expression of Renaissance which the artist can see and touch.” member John Lennon allegedly far from the nihilism dominating our humanism; the physical beauty of The social materialism that was stated, for example, that there was no culture today, the images decorating the ceiling painting is contrasted by part of the new Realism ignored the music before Elvis! The condescend- the walls of Egyptian tombs express Michelangelo’s other fresco, the mas- abstract and emotional experience ing chants aimed at art and society a people’s love for the joyous life sive Last Judgment painting on the required of the painter. Courbet’s since the 1960’s have effectively and hope for its continuation in the end wall of the Chapel – a beardless photo-like paintings were contrasted persuaded a whole generation to pay afterlife. The Egyptian submission unforgiving Christ with a condemna- by the work of two contemporaries – homage to the mutation of art forms. to a stable life style is contrasted by tory gesture of his arm reveals an the painters Eugene Delacroix and Conceptual and Performance Art, the Greek passion for a physical and underworld of pitiful souls, including Jean-Baptiste Corot. Both expressed for example, expressed the notion philosophical existence, an existence a self-portrait of the painter! Univer- a new awareness of color: Corot – that only “concepts” and “ideas” are that would form the social, political, sal man is suddenly humbled in the with his emphasis on the effect of relevant in works of art – the concept and cultural framework of Western recognition that he is a sinner. light on objects; and, Delacroix – with of “shock” is universally utilized by Civilization. The best of Greek paint- In the centuries following the his emphasis on the effects of colors artists today and has evolved into ing was lost for sixteen centuries Renaissance, painters continued the upon colors. With the contributions a “pop culture” offering its intended and discovered only after the mid- exploration of the flat surface but of Turner, Corot, and Delacroix nine- public no choice but to be intimately eighteenth century excavations of with one change — “wall” art (fresco teenth century painting exploded bonded to a performer and his par- the Greek colonies of Pompeii and painting) as the ultimate medium into many directions with color as ticular use of shock: for the comedian, Herculaneum. The highly developed of expression was replaced in favor its principle source of energy. The the use of obscenities in comedy realism of Greek painting was absent of “canvas” art (oil painting…). Oil flat surface of a canvas became a routines; for the musician, the vo- in Byzantine and Early Christian painting provided the painter with laboratory for color experimenta- ciferous musical style and contrived Art where the works were ethereal fertile subject matter. El Greco cre- tion – the purpose of which was to physical presence; for the painter, and primitive in style and execution ated masterpieces in Spain where reconcile what we see with what we the body of a painted nude rolled – not that this art was inferior, on the religious fervor was at its peak feel. But, before “seeing” and “feel- over a canvas…. Shock is a legitimate the contrary, much of the work was while Rembrandt’s spiritually affec- ing” could be reconciled, the painter end- product when it can elevate the aesthetically superior! tive painting style of biblical narra- needed to separate himself from the cultural level of a people and offer the Fresco painting dominated the tives and vivid portraits reflected precepts that have defined Reality best of one generation to succeeding walls of tombs, temples and churches, the solemn pronouncements of the as merely the representation of the generations. However, the use of all symbolically speaking to a varied Reformation. visible world. shock when utilized as in the above audience the languages of mysticism, The eighteenth century was exalt- Edouard Manet’s work was the examples forwards a sorrowful view religion and culture. The Fourteenth ed more for its music, literature, phi- impetus for the aesthetic revolu- of an inherently creative humanity. Century painter Giotto (di Bondone) losophy…than by any single or group tion that was to follow; he flattened The disesteem for our cultural heri- was a single revolutionary force that of painters. The French Enlighten- his colors and shapes bringing back tage and the universal skepticism it changed painting from the simple, ment was in full swing but the ben- into focus the always-enticing two- has spawned proposes the death of ethereal style of Early Christian Art efits gained by the intellectual elite dimensional picture plane. The first the aesthetic bond between a painter to carefully calculated compositions offered little to stir the innermost to seize the creative vitality of the and a flat surface. of solid forms and colors His painting sensibilities of the painter and even moment were the Impressionists. Significant Form: The Aesthetic the “Lamentation” depicts the Ma- less for the indigent population. A Fascinated by the effects of light Factor donna expressing a most prevalent profound response by some sensitive upon objects they sought to duplicate The history of painting is essen- emotion, that of a human Mother soul was inevitable. One, born of the the psycho-physiological process of tially the recording of some sensitive grieving the death of a human Son. same century but whose work is more optical mixtures. They accepted a soul’s emotional response to a blank The initial and continuing emotional a product of the nineteenth century is canon of physics which, in essence, wall or canvas. The flat surface has thrust of the painter and the illusion the Spanish painter, Francisco Goya. states: black surfaces do not reflect always been a spur for exciting the of reality he created elevated paint- While his aesthetic temperament light and is, therefore, not a color! imagination. Cave artists may have ing from that of a craft to that of an chronicled the pretentious absurdi- Thus, the Impressionists, following painted their images on cave walls to “art” and the painter, from that of a ties of an “upper class,” the English a precept of science, eliminated the ensure a successful hunt but it is nec- craftsman to that of an “artist.” From painter, Joseph Mallord William color black from their palette. They essary to postulate another purpose; the Greek philosopher Protagoras Turner, reveled in the unrelenting acknowledged a scientific Truth of namely, to secure an emotional bond defining Man as “the measure of all powers of Nature. His style set him physics but ignored a basic Truth of between himself and the wall space of things,” the Renaissance added, “uni- apart from those painters seeking our senses; namely, that black is very a cave. The emotion experienced from versal man”. Within the confines of to depict the new, hard Realism of a much a color – even more than most this union is of a particular nature the Sistine Chapel we are witnesses growing, industrialized society. pigments because of its emotional Winter 2013/ 2014 ART TIMES page 9 power! This was reason enough for French Enlightenment was alive The nihilistic narrative promoting can better serve mankind since all the early demise of Impressionism again but without its fearless hero, both movements had no small role three contemplate the development as a serious movement. Voltaire. The German author and in the corruptive art forms being cre- and quality of our sensibilities and, The nineteenth century was as intellectual, Hugo Ball, founded the ated co-instantaneously throughout so, our survival. rich in talent as in any period in Cabaret Voltaire –a group of artists the culture – the spiritual stirring The creative bond between paint- the history of painting. The brightly and writers depicting society as hope- prior to, during, and completion of a er and a flat surface has been the flattened colors and expressive lines lessly clinging to decadent western work of art was deemed unessential teacher of human history long before of Japanese prints imported into values. The movement called Dada in the secular world of “ideas” and the written word but, today, many France created a revolution within a (“non-sense” or “no sense”) utilized “concepts.” Critical art theory had artist-types and art critics seek to revolution! The cumulative aesthetic materials in chance arrangements succeeded in removing past percep- re-write history in the political lan- effort spawned the development of expressing a “now” world. While its tions of “high” art and, in so doing, ef- guage of secularism: e.g., advancing a five Post–Impressionist painters. life span as a movement was brief fectuated an atmosphere of creative contempt for traditional and aesthet- Perhaps the best known – but not Dada’s influence into the future mediocrity that has redefined the ic values; promoting a socio-political understood — was the Dutch painter was vast and a main cause for the Fine Arts as the art of “conceptual philosophy favoring “commonality” Vincent van Gogh. The emotional broken alliance between the painter design” and the artist, a “concept over “individuality;” seeking of and turbulence brought about by his and a flat surface. Another source of designer.” The implication is that in involvement with the concept of supersensitive psyche created an aesthetic disconnects followed World today’s world human emotions im- shock as the aesthetic equivalent to explosive painting style expressing a War II. The intellectual materialism pede progress; or, to put it another the seeking of and involvement with desperate need to be understood; not of many art critics supported what way, “spirituality” impedes “materi- Significant Form, and, espousing an since Michelangelo had a painter laid was to be an art – not of feelings and ality.” The creative multitudes have unprecedented social climate assist- bare his soul for all to see and contem- emotions – but of “ideas” and “con- forfeited the abundance of spiritual ing to a “culture of death.” plate. Paul Gauguin’s flat shapes and cepts.” Painting as a creative activity and emotional power in the zealous Epilogue: “seeing” and “feeling” colors gave a fresh and new mean- was literally taken out of the hands endorsement of and the participation are reconciled. ing to pictorial and sensual forms of of artists and transformed into what in an intellectually conceived anti- Significant Form is the indispens- expression. Reconciliation between can only be called “journalistic” art. art: e.g., a crucifix buried in urine…! able factor in every creative act: “seeing” and “feeling” advanced in The emotionally burdened Abstract The materialist’s view that Na- sculptors, mathematicians, paint- an unexpected way by the work of Expressionist’s escape from this view ture is “out there” and that we ers, architects, scientists, authors, Georges Seurat. He combined a cere- was an exalted individualism and should be in awe of its magnificence poets, composers participants all in bral approach to painting uniting the the unfettered expression of the inner is a misnomer. The “magnificence” the time-binding effort to secure for physical structure of color (similar life. But it, also, was plagued with is the inward experience reserved humanity the benefits of a civilized to the Impressionists) with “laws” the skepticism of a post-war intellect for humanity alone to contemplate world; e.g., as the painter struggles of harmonic relationships. Henri de that shunned formal aesthetics. and enjoy! Philosopher/mathemati- with a blank surface, arranging Toulouse-Lautrec wandered from his There were many movements cian Alfred North Whitehead: “Thus and rearranging forms and colors noble surroundings to frequenting faulting Abstract Expressionism in nature gets credit which should in as required by the emotions of the Parisian nightlife sketching many the 1960’s and 1970’s but the two truth be reserved for ourselves: the moment, at some point he becomes facets of nocturnal life styles. His most derisive were Pop Art and rose for its scent: the nightingale for aware of a general feeling of certain- paintings and posters publicizing a Conceptual/Performance Art. The his song: and the sun for its radiance. ty, a verification of an ultimate Truth popular cabaret – the Moulin Rouge – former, a kind of rebirth of Dada; The poets are entirely mistaken. about to be revealed – that, as one be- brought the nobility to mingling with instead of discarded materials the They should address their lyrics to gins to understand [see] the Truth he, the bourgeoisie – an unprecedented objects of their compositions were themselves….Nature is a dull af- simultaneously, begins to experience sociological break-through for its familiar everyday objects such as bot- fair, soundless, scentless, colorless, [feel] the Beautiful. The “intolerant time and place. Paul Cezanne — the tles of Coca-Cola, huge reproductions merely, the hurrying of material, agnosticism” of the intellectual elite, fifth Post-Impressionist — discarded of comic strip characters, painted endlessly, meaninglessly.” The care- however, has successfully veiled the the old definitions of ‘color’ and ‘form’ Campbell tomato soup cans…. The takers of the “scientific method” have spiritual nature of mankind and, thereby creating a multi-dimension- latter, advanced an element of shock been agonizingly noncommittal in therefore, significantly jeopardized al color-form. The structural and in the form of outrageous visual the affairs of aesthetic, ethical and the painter’s emotional link to a flat plastic components of his composi- statements; e.g., a photograph of a religious values. While not seeking surface. tions reaffirmed the bond between a chair on a museum wall, the presence the destruction of these science, (Michael G. Tagliaferro lives in painter and a flat surface. Cezanne is of the actual chair and an enlarged nevertheless, gives aid and intel- Stroudsburg, PA). of the same historical rank as Giotto definition of the word “chair” with lectual comfort to those who would. (in that) he has given to painting a the illusory title one and three chairs. The Fine Arts, Ethics and Religion ef new direction. Passage into the Twentieth Cen- tury, however, was not smooth and was to have a catastrophic impact WINTER AT THE WOODSTOCK SCHOOL OF ART on aesthetics, religion, ethics and, therefore, painting. A spreading phi- The School will be closed beginning December 21 for Winter Break and will reopen January 5 losophy of materialism strengthened WORKSHOPS NEW CLASSES FOR 2014 WORKSHOPS by the irreligious posture of science and its attending technologies cre- ARTFUL USE OF WHAT’S AT HAND STILL LIFE LANDSCAPE AND MOOD ated an atmosphere of uncertainty with Polly Law with Peter Clapper with Christie Scheele and confusion. The literature of the January 11-12 Wednesdays, 9-12 February 15-17 period included works claiming Life January 8-February 26 and Nature are dependent upon ADVENTURES WITH COLOR ACTION ABSTRACTION with K. L. McKenna THE CONTEMPORARY PORTRAIT with Jenny Nelson physical processes and that the ex- January 14-17 FROM LIFE February 22-23 istence of a “significant form” or an with Claire Lambe “aesthetic experience” would have A NATURE LIBRARY: Wednesdays, 1-4 been labeled a figment. The literary MIXED MEDIA DRAWING January 8-February 26 impact had not affected painting ear- with Margarete de Soliel February 8-9 PASTEL PAINTING ly on; instead, the blank surface of a with Christopher Seubert for a complete listing of all classes and canvas continued to stir the aesthetic 845 679 2388 Thursdays, 1-4 events visit woodstockschoolofart.org impulse as evidenced in the works of January 23-March 13 perhaps the two greatest painters of FOUNDATION DRAWING the century, Pablo Picasso (Cubism) STUDENT EXHIBITION I and Henri Matisse (Fauvism). with Christopher Seubert Work by students of a Monday, 9-12 The uncertainty in the first two selection of School instructors June 2-July 14 decades of the century developed into The Woodstock School of Art, Inc. is a not-for- profit, 501(c)3, educational institution char- widespread pessimism in the1930’s. AN EXPLORATION OF YOUR tered under the laws of the State of New York. The human condition was seized PERSONAL MYTHOLOGY February 1-March 8 Funding made possible by the New York State Council on upon by authors bent on furthering with Tricia Cline Saturdays, 1-4 the Arts with the support of Governor Andrew Cuomo and an anti-aesthetic agenda that would the New York State Legislature and County of Ulster’s Ulster Reception, Saturday, April 5-December 20 attempt to nullify seven thousand February 1, 3-5 PM County Cultural Services & Promotion Fund adminstrated by the Dutchess County Arts Council. years of painting activity. The Winter 2013/ 2014 ART TIMES page 10 Sunday, December 8 Calendar Continued from Page 6 23rd Annual Crafts Fair Unison Arts Center New Paltz Middle School 2 S. Manheim Road New Paltz NY 845-255-1559 Sat & Sun from 10am-5pm, charge Saturday, December 7 www.unisonarts.org 23rd Annual Crafts Fair Unison Arts Center New Paltz Middle School 2 Art League of Long Island, S. Manheim Road New Paltz NY 845-255-1559 Sat & Sun from 10am-5pm, charge 50th HOLIDAY FINE ARTS AND CRAFTS FAIR 107 East Deer Park Rd, Dix Hills, NY (631) 462-5400 10-5pm www.artleagueli.org www.unisonarts.org Free Arts Day The Hudson Valley Center for Contemporary Art 1701 Main 3rd Annual Holiday Craft Fair of Vintage & Handmade www. Street Peekskill NY 914-788-0100 1-6pm free www.hvcca.org hudsonvalleyvintage.com, Milne’s At Home Antiques & Gallery Cornell Street Studios 168 Cornell Street, 2nd Floor in Darmstadt Overhead Doors building Kingston NY 44th Annual “Messiah Sing” GraceMusic Grace Episcopal Church 130 First 11am-5pm free www.hudsonvalleyvintage.com, www.cornellstreetstudios.com, Avenue Nyack NY 845-358-1297 4-6pm charge www.gracemusic.info www.milneathomeantiques.com Guild of Creative Art All-Member Holiday Show and Party Guild of 50th HOLIDAY FINE ARTS AND CRAFTS FAIR Art League of Long Island, Creative Art 620 Broad Street Shrewsbury NJ 732-741-1441 Opening reception and 107 East Deer Park Rd, Dix Hills, NY (631) 462-5400 10-5pm www.artleagueli.org party 3-5pm. free (thru Jan 1) guildofcreativeart.org A Gift of Art Mamaroneck Artists Guild 126 Larchmont Avenue Hansel and Gretel - a Free Family Concert Rhinebeck Chamber Music Larchmont NY 914-834-1117 Holiday Reception 5-7 pm. free (thru Jan 2) www. Society The Parish Hall of The Church of the Messiah Montgomery Street (Rte. 9) mamaroneckartistsguild.org Rhinebeck NY 845-876-2870 3 PM free www.rhinebeckchambermusic.org ASK First Saturday of the Month: Members Show, Shun-Wah Watercolors, Into the Light! The Vanaver Caravan and Arm of the Sea Theatre “Art Feeds Hunger” Fundraiser Arts Society of Kingston ASK 97 Broadway Shadowland Theatre 157 Canal Street Ellenville 845-256-9300 3 - 4:30pm charge Kingston NY 845-338-0331 Reception 5-8 pm free (thru Dec 28) askfforarts.org vanavercaravan.org Carol Brookes - Mixed Media Wall Sculptures Troy Fine Arts 3310 Post “Kindred Spirits” Illustrated prints by Neil Waldman and ceramic Rd Southport CT 203-255-1555 Opening Reception 6-8pm free www.troyfineart. designs by Mark Kassis Flat Iron Gallery 105 So. Division St. Peekskill NY com/gallery/index.php 914-734-1894 Opening Reception 1-5pm free (thru Dec 29) www.flatiron.qpg.com Art Supply Swap Meet For Artists & Gift Givers Irrelevant Elephant Fine Musical Highlights from different parts of the Globe with music by Art Studio 293 Lexington Avenue Mount Kisco NY 914-666-2767 12 -3 p.m. free Puccini, Strauss, Gershwin and others, including Spirituals and Brazilian www.ieartstudio.com Songs Eastchester Arts Council & DownTown Music DownTown Music at Grace 33 Church Street White Plains NY 914-949-0384 4pm donate www.DTMusic.org Holiday Group Show Look Art Gallery 988 South Lake Boulevard Mahopac NY 845-270-0243 Reception 6-8pm free (thru Jan 5) www.lookartgallery.com Second Sunday Salon Series: Music & Conversation with Alice Yoo and Michelle Ross Unison Arts Center 68 Mt. Rest Road New Paltz NY 845- Image to Gesture: Postwar California Abstraction, 1945-1969 David 255-1559 2-4pm charge www.unisonarts.org Findlay Jr Gallery 724 Fifth Ave. New York NY 212-486-7660 free (thru Dec 28) www.davidfindlayjr.com THE YORKVILLE NUTCRACKER Dances Patrelle The Kaye Playhouse at Hunter College E. 68th Street between Park and Lexington Avenues New York NY LARAC Holiday Shop “Paint, Sip and Shop” Day LARAC Lapham Gallery 7 212-772-4448 charge www.dancespatrelle.org Lapham Pl Glens Falls NY 518-798-1144 2-4 pm charge www.LARAC.org Time Flies: Kees de Waal Center for Contemporary Printmaking 299 West Little Treasures - Holiday Art Exhibit and Sale Fine Line Art Gallery 316 Avenue (in Mathews Park) Norwalk CT 203-899-7999 Opening Reception 2-5 pm Main Street South Woodbury CT 203-266-0110 free (thru Dec 29) finelineartgallery- free (thru Jan 26) www.contemprints.org connecticut.com MEMBERS’ EXHIBITION (Part 2) Art League of Long Island, Heckscher Museum Wednesday, December 11 Park, 2 Prime Ave Huntington (631) 462-5400 (thru Jan 5) www.artleagueli.net Transfigurations - Alison Golder and Lorraine Klagsbrun National Off the Wall: Sculpture from the Permanent Collection; Rabble- Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 Rousers: Art, Dissent, and Social Commentary The Heckscher Museum of New York NY 212-675-1616 Reception 5-7pm. free (thru Jan 3) www.thenawa.org Art 2 Prime Avenue Huntington NY 631-351-3250 charge (thru Mar 16) www. Thursday, December 12 heckscher.org LARAC Holiday Shop Ladies Night LARAC Lapham Gallery 7 Lapham Pl Glens Open Studios “Meet The Artists” Day miranda arts project space 6 N Falls NY 518-798-1144 5-8 pm free www.LARAC.org Pearl St N Pearl St Port Chester New York 914-318-7178 12-5pm; 5-8 Reception & The CCP 9th Biennial International Miniature Print Exhibition Artist Talk with Karen Cintron and Matt Greco free mirandartsprojectspace.com Bendheim Gallery Greenwich Arts Council 299 Greenwich Ave Greenwich CT 203- Diane Ivancich Recent Acrylic and watercolor paintings Creative 862-6750 Opening Reception 6-8 pm free (thru Feb 9) www.greenwichartscouncil.org Impulse 126 North Main St Liberty NY 845-292-7027 Opening reception 6-8pm free Friday, December 13 (thru Jan 4) creativeimpulsestore.com Opening Reception BFA/MFA II Thesis Exhibition. Exhibition will be Rockland Camerata 35th Anniversary Concert Rockland Camerata open daily Fri 12/13- Tues 12/14 11-5pm. The Dorsky Museum at SUNY New Paltz Clarkstown Reformed Church 107 Strawtown Road West Nyack NY 845-366-0224 1 Hawk Drive New Paltz NY 8452573844 5-7pm free www.newpaltz.edu/museum 4-6pm charge Rocklandcamerata.org THE KNICKERBOCKER SUITE Manhattan Youth Ballet Manhattan Sparkle at West End Gallery: a festival West End Gallery 12 West Movement and Arts Center 248 West 60th Street New York NY 212-787-1178 charge Market ST. Corning NY 607-936-2011 5-9pm free www.westendgallery.net (thru Dec 22) www.manhattanyouthballet.org Dave Channon “The Bugs & The Birds” painting and sculpture Limner The Nutcracker CENTERstage Productions Center for Performing Gallery 123 Warren Street Hudson NY 518-828-2343 Opening Reception 5-7pm free Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 8pm Fri & Sat; 3pm www.slowart.com Sun charge (thru Dec 15) www.centerforperformingarts.org The Celtic Tenors The Newton Theatre 234 Spring Street Newton NJ 973- THE NUTCRACKER Catskill Ballet Theatre UPAC, 601 Broadway Theatre, 383-3700 8:pm charge www.thenewtontheatre.com Kingston, NY (845) 339-6088 8pm charge THE YORKVILLE NUTCRACKER Dances Patrelle The Kaye Playhouse at Continued on Page 16 Hunter College E. 68th Street between Park and Lexington Avenues New York NY 212-772-4448 charge www.dancespatrelle.org

Call for Entries Regional Juried Show Juror: Jenny Nelson April 5-26, 2014—Drop Off: April 1 $20/2 pieces Members . $35/2 pieces non-Members askforarts.org for Prospectus . 845-338-0331 . 97 Broadway . Kingston, NY 12401

National Society of Painters in Casein and Acrylic 60th National Juried Exhibition at the Salmagundi Club, 47 5th Avenue, NYC June 9th ­— June 20th Juried by CD • Entry deadline April 19th. Featuring the ROBERT SANSTROM PRIZE-Gold Medal and $5000. Over $15,000 in prize money and medals. Jury of Selection: Chuck Berk, Robert Dunn, Charles McVicker, Sue Wall & D. Wels • Juror of Awards TBA: Entry fee: Non-members, $20. NY For prospectus: send SASE to: D. Wels, Corr. Secy., 1710 1st Ave., #245, 845-679-2303 • • • lotuswoodstock.com New York, NY 10128 or visit NationalSocietyofPaintersinCaseinandAcrylic.com. Winter 2013/ 2014 ART TIMES page 11 Film Docs By Henry P. Raleigh film audience will not come up life cycle of a plastic bag. How did I Those in the know refer to against docs in their local theaters -- get caught up in a 2008 “Between the them as ‘docs’, meaning of course, nor are they so intended. Free-lanced Folds”, an hour or so of origami and documentary film. They are, in a or commissioned working docs got o mathematical theories? Or worse, an way, a sub-category of the corporate showings on the speciality television hour and a half of 2008 “September made films we associate with big channels- travel, nature, science, Issue” and the fuss studios and bog box office. At film education, nature and the like. and bother of award venues docs place in their Despite their near anonymous role getting out own division of filmmaking for short in film they can yet represent some a n o t h e r and feature length works. Big studio of the best qualities of professional issue of productions provide us with make- filmmaking. Documentary film from Vogue or careless. beleive reality, the docs give us the Robert Flaherty’s 1922 “Nanook of what might real goods. And there is seemingly the North” to Lauren Greenfield’s be guesses no object, thing, person, event that “The Queen of Versailles” have bout the house’s cannot be subjected to documentary received well deserved honors. The inhabitants and scrutiny - even if there is one for appeal of the docs may lie in the how they live. such was “Dadetown” in 1995, a hidden voyeur in all of us, the more Oh, not the sociological study of a town that off-beat, the more inconsequential plastic sheathed doesn’t exist. You can get hooked on and mundane, the better. The 2012 houses, only the all docs and their remarkable ability to “American Scream: Halloween in wood ones, needing attract you to things for which you Fairhaven” records the thirty days perhaps a bit of paint, a have absolutely no interest. My first leading up to the main event over new shutter, a house that experience was to be reluctantly which three of Fairhaven’s citizens is age worn but not yet lured by Godfrey Cheire’s 2007 are determined, one might say, defeated and still livable. “Moving Midway”- essentially a insanely determined to infuse this Magazine. And what are “Buskers”? The people would never be present in course in how to move a 155 year old Massachusetts Norman Rockwell I had to know - street performers it my doc. What we can know of them plantation mansion from one place appearing town with the spirit of turns out. is only revealed in the things that to another. Halloween through the inspirations I know the feeling, all right. I fill their homes. I harbor a suspicion Unless a doc is intended to take of their home and yard decorations. have a secret desire to make a doc. that some secrets may turn up- a belligerent view of a hot topic Who would make such a film, who Driving by old houses along country maybe not bloody rags or bones- but current issue as those of Michael was it made for? Well, for that matter roads there comes the urge to enter something surprising, I’ll make a bet Moore’s or of iconic historic concern how to account for “Bag it” in 2010, each one and examine the interiors, on that. as those of Ken Burns’ the general one hour and eighteen minutes of the how furnished, does it look ordered ef We wish you all a very Healthy, Creative, Peaceful, and Joy-filled Holiday Season and New Year.

Avoid Cabin Fever! 84TH ANNUAL OPEN JURIED Westchester Community College Center EXHIBITION for the Digital Arts May 5–May 31, 2014 Juror & Judge: Robert W. Pillsbury ART IN THE President of the Salmagundi Club, NYC We Have Everything You Need! Paint Sets Projectors Seeking entries in all media Easels Pens DIGITAL AGE except photography and craft Mat Cutters Brushes Journals Sketchbooks The Center for the Digital Arts of Westchester Community College is celebrating 20 $2,000 in Prize Awards Boxed Notes Tie-Dye Kits years of innovation and service to Westchester and Putnam Counties. Established in For prospectus, send SASE or download Canvases Portfolios 1994, this Center is an example of arts technology integration in higher education from website: www.nationalartleague.org Drawing Tables Light Boxes creating access to digital arts education in the 21st Century. The Center continues Entry deadline March 28 Airbrushes Calendars to support five industry-grade post-production studios that offer a full-range of Lamps & Chairs Picture Frames robust computer graphics including: 2D/3D animation, digital filmmaking, game design, digital imaging, web design, and e-publishing. In addition, the Center offers National Art League Kingston Woodstock Poughkeepsie 44-21 Douglaston Parkway, Studio C 328 Wall St. 35 Mill Hill Rd. 800 Main St. prosumer production equipment and fine arts space. The Center for the Digital Arts Douglaston, NY 11363 718.225.4985 (845) 331-7780 (845) 679-2251 (845) 452-1250 also offers student services, General Education courses, ESL, and non-credit courses www.catskillart.com for students from 7 to 70+ years of age. SPECIAL EVENTS Center for the Digital Arts Student Show: On view from January 21 - February 22, 2014. Opening reception and 20th Anniversary party on Thursday, February 13, 2014 from 4 to 6 pm at the Center for the Digital Arts, Peekskill Extension. sunywcc.edu/peekskill

[inter]sections, Curated by Claudia Jacques: On view from March 24 - April 19, 2014. Westchester Community College Fine Arts Gallery. Opening reception to be announced. sunywcc.edu/gallery

STEM to STE(A)M: Opening reception details to be determined. Arts + Technology Exhibition, curated by Patricia Miranda, The Arts Exchange, ArtsWestchester. artswestchester.org CALL ENTRIES for E.A.T. (Education Arts Technology) Symposium: Details to be determined. FINE ARTS • FINE CRAFTS Westchester Community College in partnership 52nd Annual Juried Show with ArtsWestchester. sunywcc.edu/peekskill MAY 31 & JUNE 1, 2014 For application (click apply) or information: www.WhitePlainsOutdoorArtsFestival.com White Plains Outdoor Arts Festival Committee P.O. Box PMB 441 • 333 Mamaroneck Ave. White Plains, NY 10605 • 866.210.7137 Winter 2013/ 2014 ART TIMES page 12 Travel & Culture Bermuda, just a short flight to paradise By Cornelia Seckel about 65,000 year round inhabitants The timing could not have been and the numbers increase dramati- more perfect when I got an email cally (400,000 was the number I got) from Lauren Pike at Lou Hammond when accounting for tourists which & Associates asking if I would like got a boost when in 1883 Princess to explore Bermuda with a group of Louise, daughter of Queen Victoria, other writers. We spent just a few visited Bermuda and began to pro- days with a jam-packed schedule mote the island as a tourist destina- exploring historic sites, galleries, art- tion. Several years earlier, in 1877, ists’ studios, museums and some very Mark Twain visited Bermuda for the excellent restaurants. first time and declared, “You can go to We gathered at the airport and heaven if you want to, I’ll stay here in met our driver Judith-Ann Hunt, a Bermuda.” Numerous creative people delightful native of Bermuda who visited and lived in Bermuda and the filled us in on the local hot spots, his- exhibition we saw at the Bermuda tory, and traditions. We were guests National Gallery was of artists who of The Fairmont Hamilton Princess, lived and painted while in Bermuda. a luxury resort overlooking the har- Bermuda’s architecture features bor. The service was excellent, food whitewashed stepped roofs designed delicious, and the rooms luxurious. to channel rainwater into under- Bermuda is a small Island just 650 ground tanks. This is the main supply miles east of North Carolina barely a of fresh water as there are no rivers or two-hour plane ride from NY and no lakes here. Everything has to come to this Island by boat or plane so a great respect for recy- cling and gathering water for use in homes has devel- Artist Sharon Wilson in her studio speaking about herself and her work oped. Bermuda is one of the lery director. The gallery, est. in 1985 be no shorts shorter than six inches few places in the world that is owned by artist Sheilagh Head. She above the knee. uses a roof catchment and is an excellent impressionist and ab- The following morning after a tank system to collect and stract oil painter and the paintings, fine breakfast our driver Judith-Ann store rainwater for drinking sculpture, jewelry, and fine crafts be- drove us to Sharon Wilson’s home and purposes. This method pro- ing shown are of very high quality, of studio giving a running commentary vides every residence with different styles and mediums and all about where we were and what we its own supply of low-cost made by professional artists of Ber- were seeing — which I appreciate. drinking water and storage muda. While we were enjoying the As a gardener I asked Judith-Ann tanks are in the lower levels colorful and bright work in the large about gardens and crops. There is where rainwater flows into gallery space we met craftsman Mil- little room for “crops” but many fami- from m the collection spouts ton Hill whose model ships (replicas lies have kitchen gardens and raise fed by the roof’s spiral steps. of historic ships) and other sculptures chickens. In1505 Spanish sea cap- were on display. Milton uses roots Sharon Wilson is strong spiritu- tain Juan de Bermúdez of cedar trees that are 1500 years ally grounded artist and teacher. She spotted the uninhabited old. The cedar was used for building is a pastel artist and more recently is islands that will later bear homes and ships as it was strong and using encaustics (wax and pigment) his name, before that time light. In the 1940’s insects infected sometime with pastel and charcoal there was no mention of the 99% of the trees and great effort has for her figurative work. When she island. Then, in 1609 the been made to plant disease resistant learned that I knew the people at R&F Sea Venture, the flagship of trees. It was a pleasure to meet Mil- a fleet en route to James- ton who was accompanied by one of town, Virginia with settlers Rooftops painting by Diana Amos of Bermuda shows his several students of ship model the water collection roofs seen throughout Bermuda. going to the British colony making and sculpting with cedar. In Painting courtesy of the artist and Windjammer in the New World, was ship- 2012, Milton was the recipient of the II Gallery in Hamilton, Bermuda at The Fairmont wrecked (hundreds of ships Bermuda Arts Council’s Founders Hamilton Princess have been shipwrecked award. more than 3 hours from the furthest over the past 400 years) on Dinner at the hotel was with Robin East Coast city. The Island looks like this coral reef known as Bermuda. Trimingham, Fairmont Director of fishing hook. It is 21 square miles Shakespeare’s play The Tempest is Business Travel and Tina Evans with 75 miles of gorgeous coastline thought to be based on the wreck Caines, Communications Manager, and made up of small islands & inlets of the Sea Venture. The captain Sir Bermuda Department of Tourism. with the larger 8 linked by bridges George Somers and 150 passengers Our food was delicious and we were and a causeway. Bermuda is known and a dog survived. After 10 months introduced to Dark and Stormy (Dark for their pink beaches that are a all but 3 of the original passengers Gosling rum and Gingerbeer). At combination of crushed coral, cal- sailed for Jamestown and it was their dinner we learned that there really cium carbonate and the shells of tiny arrival with supplies including the is no Bermuda Triangle; Economy is single-celled animals called Foramin- wild hogs (that populated the island dependent on international business ifera. Bermuda has been and con- having survived from previous ship- and tourism; Bermuda is not part of tinues to be a romantic destination. wrecks) that is credited with saving the Caribbean; Bermudians are very This is a British territory with Queen the settlement where only 60 setters friendly people; the literacy rate is Elizabeth II as the formal head of remained. In 1612 Settlers returned extremely high; there is no income tax state and she appoints the Governor. to Bermuda to form another settle- — goods are taxed; salaries are high My new favorite drink Dark and Stormy- Ginger Beer and Dark rum There is a Premier, a Cabinet and a ment. There was special exhibition but the cost of living is very high as Parliament (they wear white wigs) at the Jamestown Settlement and most everything has to be imported; Handmade Paints (manufacturers of comprised of an appointed Senate Yorktown Victory Center in Virginia many Bermudians have more than 1 Encaustic paints who have their fac- and elected House of Assembly. that explored the shared history job to be able to support themselves tory in Kingston, NY) she was thrilled The island’s culture is a fusion and links between England’s first and their family; prices of homes are and full of questions as she wanted of African heritage (it is part of the two permanent colonies in the New very high; all beaches are public; and to attend one of their workshops and African Diaspora Heritage Trail and World, on the occasion of Bermuda’s that Bermuda Shorts came from the didn’t know the logistics of getting the UNESCO Slave Route Project – 400th anniversary. Check their site British military’s uniform of the early there, staying there etc. Sharon had Slaves were emancipated in 1834) for lectures, images and videos. 20th century for hot climates and that been an art teacher for many years at and British colonial history (said to Upon settling we visited the Wind- pink is a favorite and Bermudian a public school and now she is teach- be the first British colony). There are jammer II Gallery in the Hotel and takes their shorts very seriously, in ing adults in a small studio in her met up with Donjou Anderson, gal- fact, they passed a law that there can home. All art supplies have to be or- Winter 2013/ 2014 ART TIMES page 13 change every 6 weeks. At the time and Wendy Avery whose optimism we visited there were 260 artists is contagious, takes on 7 students and 150 non-artists (supporters). The each year for a 5-year apprenticeship non-profit group, established in 1984 in glassblowing and flameworking. offers a forum for local contemporary The company produces high quality artist with the idea of encouraging hand blown glassware for the tourist and supporting their efforts. Fund- industry in Bermuda. Wendy is very ing comes from membership, and involved in supporting craftspeople individuals and government grants. and the tourism industry. While I Heidi’s grandfather was the last of was there, Teresa Warner came into 5 generations of lighthouse keepers the Glassworks to exchange some of and she gives historical tours which her Gombey dolls (a craft she learned seem like an excellent way to learn from her grandmother Janice Warner about the island. Not surprising there Tucker. The Gombey is an iconic is a plein air group that meets each symbol of Bermuda, this folklife tra- week to paint in different locations dition reflects the island’s blend of including private homes and public African, Native American, Caribbean spaces. Most of the paintings I saw and British cultures, incorporating were watercolors and landscapes/ them into a unique performance art seascapes. full of colorful and intricate masquer- In one of the other buildings is ade, dance and drumming. It goes house the Bermuda Rum Cake Com- back to slavery days and was used to View from the Commissioners House in Dockyard pany and the Dockyard Glassworks depict the feelings against slave mas- ters. Costumes protected them from dered (remember this is a very small the Bermuda Rum Cake Company. both run by Wendy Avery. There are being recognized by their masters. island with little manufacturing) as The National Museum of Bermuda 11 flavors and they come in 4 sizes. I The suit is colorful and filled with does most foods, clothing, supplies formerly known as The Bermuda tasted many of them and they were symbols -everything representing — basically everything. Underlying Maritime Museum is a sprawling delicious. Here you will find the only something. There are Gombey troups Sharon’s work is empowering women six-acre fortress at the edge of the Bermuda Rum cake made in Ber- and the training is arduous and chil- and boys. “I am an artist with a social Royal Naval Dockyard. Built in 1776 muda (no small pieces of dried fruit, dren as young as 3 can begin to train. agenda. I am committed to lifting the when the British needed fortification just rum and flavors) Contact them at There are dancers and drummers. human spirit through my art”. In her www.bermudacakes.com and order This past September the Ministry of work as a motivational speaker she Culture held a Gombey festival where says “I speak about the role art can numerous troups including the War- have in holding our dreams foremost ner Gombeys took part to the delight in our minds, keeping before us those of hundreds of people. things we choose to realize in our Another scrumptious dinner at lives. I am intentionally using art to the Blu Resaturant with Joy Sticca, transform our view; make concrete the On-Island Communications our thoughts and secure a founda- Coordinator. We couldn’t resist the tion for meaningful change. This is Spiney lobster- it was the last week of practical. This takes art out of the the season. Spiny lobsters don’t have elitist realm, out of the world of deco- claws, but instead have long, strong ration and places it as an essential antennae. These lobsters are gener- ingredient in all our lives”. She does ally found in warm water and the this with her subject matter and by shells were very hard. Being a fan of teaching. It was a pleasure to spend lobster and one who eats nearly every time with Sharon and I got a very dif- part (but the shell) I delighted my ferent view of the black community in tablemates by consuming all the little Bermuda. About her formative years bits while they just ate the tail. What in the 1950’s she said that “To live in a waste of a lot of good lobster meat! a country where black people repre- The next morning we headed over sented nearly 60% of the population, to St. George for a walking tour. but were absent from television, film, An apprentice working at Dockyard Glassworks Hot Shop & Studio Glass Gallery Originally called New London, the magazines, greeting cards etc. was Town of St. George was first settled profoundly damaging to my psyche. against the rebelling colony that was your cake. Also in this former machine in 1612 and was the capital until It damaged my ability to celebrate the United States. Eight historic shop is the Dockyard Glassworks Hot 1815 and is the oldest continuously and value myself, leaving me feeling buildings, including old munitions Shop and Studio Glass Gallery. Here occupied town of English origin in the invisible. This was Bermuda in the warehouses and the newly restored we saw student glassmakers working new world. A wealth of historic 1950’s. Today, invisibility has been Commissioner’s House, contain a along with master glassblowers. The Continued on Page 15 replaced by negative stereotyping great variety of exhibitions on Ber- school, begun in 1999 by Tony Johns through the media.” It is her mission muda’s history including marine to bring positive self-awareness to archeology and the many shipwrecks. individuals in the black community. In the Commissioners House there One of the art “projects” she is doing is an excellent 1,000 sq foot mural is to make a large medal of a loved created by Graham Foster showing one. It resembles a large coin with the the 400-year history of Bermuda image of the loved one and surround- since the 1500’s to today. Within the ing the image (like “in God we Trust” Museum is Dolphin Quest Bermuda on our coins) she has a motto that offering year-round interactive en- exemplifies that person’s life: eg. We counters with bottlenose dolphins. Walk by Faith, Live with Intention. The Dockyard is where the hun- About her own work she says that dreds of cruise ships dock and tour- if play and work are the same there ists debark to spend time exploring is nothing better for the soul. I hope Bermuda and the home of the Spirit Sharon makes it to Kingston, I would of Bermuda, a training vessel for the like very much to see her again. island’s youth. We headed to the Royal Naval Housed in one of the historic build- Dockyard Built in the early 19th ings is the Bermuda Arts Centre century, and Britain’s largest naval where we met with Heidi Cowen who base outside the United Kingdom. gave us an overview of the Centre. Housed in the restored historical Within the center are 4 artists’ stu- buildings, are restaurants, shops, dios, a small gallery for solo exhibits museums, working arts and crafts and a larger gallery for members to Teresa Warner in the Dockyard Glassworks Hot Shop and Studio Glass Gallery studios, Dockyard Glassworks and show and sell their work. Exhibitions exchanging some of her Gombey dolls Winter 2013/ 2014 ART TIMES page 14

Continued from Page 10 The Miraculous Violin: An Evening with Vadim Gluzman & Angela Yoffe Mahaiwe Performing Arts Center Castle Street Great Calendar Barrington MA 6pm charge Saturday, December 14 Friday, December 27 Ring in the Holidays with the Rockland County Choral Society! The Rockland County Choral Society Living Christ Church 151 S. Broadway S. Nyack George Conrad: Let’s Get Merry CenterStage Productions Center for NY 845-418-6225 3pm charge www.RocklandChoral.org Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 8pm charge www.centerforperformingarts.org Saints and Sinners - bau Gallery Annual Juried Exhibition bau Gallery 506 Main St. Beacon NY 845-440-7584 Opening Reception 6-9pm free (thru Jan 5) Saturday, December 28 wwwbaugallery.com David Temple: Music Through the Ages CenterStage Productions Center for Small is Great! New Century Artists Gallery 530 West 25th Street Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 Sat 8pm; New York NY 212-367-7072 Opening Reception 3-6pm free (thru Jan 4) www. Sun 3pm charge (thru Dec 29) www.centerforperformingarts.org newcenturyartists.org Thursday, January 2 THE NUTCRACKER Catskill Ballet Theatre UPAC, 601 Broadway Theatre, 20th Annual Juried Small Works Exhibition Upstream Gallery 26 Main Kingston, NY (845) 339-6088 8pm charge Street Dobbs Ferry NY 914-674-8548 (thru Jan 26) “The Nutcracker” Ballet The New Paltz Ballet Theatre Bardavon Opera Friday, January 3 House 35 Market Street Poughkeepsie NY 845-255-0044 2pm and 7:30pm charge “Making an Impression II” Printmaking Exhibit Huntington Arts Council www.npsballet.com Main Street Petite Gallery 213 Main Street Huntington NY 631-271-8423 Opening Carol Perron Sommerfield The Return: New Paintings Harrison Reception 6-8pm free (thru Jan 27) www.huntingtonarts.org Council for the Arts Harrison Public Library 2 Bruce Avenue Harrison NY 914-835- Roots and Pathways - High School Juried Competition Gallery 66 NY 0324 Opening Reception 2-4pm free (thru Jan 3) www.harrisonpl.org 66 Main St. Cold Spring NY 845-809-5838 Opening reception 6-9pm free (thru Feb Sunday, December 15 2) www.gallery66ny.com Chamber Musicians of The Symphony of Westchester Concert The Safe: an original Musical CenterStage Productions Center for Performing Symphony of Westchester Christopher J. Murphy Auditorium - Iona College Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 Fri & Sat 8pm; Sun 715 North Avenue New Rochelle NY 914-654-4926 3:00 p.m. charge www. 3pm charge (thru Jan 5) www.centerforperformingarts.org thesymphonyofwestchester.org Saturday, January 4 THE COLONIAL NUTCRACKER Brooklyn Center for the Performing Arts 2900 Kakizome - Japanese First Calligraphy of the New Year Arts Mid-Hudson Campus Road Bklyn NY 718-951-4500 2pm charge www.BrooklynCenterOnline.org (formerly Dutchess County Arts Council) Cunneen-Hackett Arts Center 9 Vassar St. THE NUTCRACKER Catskill Ballet Theatre UPAC, 601 Broadway Theatre, Poughkeepsie NY 845-454-3222 2:00-3:30pm free www.artsmidhudson.org Kingston, NY (845) 339-6088 2pm charge Sunday, January 5 “The Nutcracker” The New Paltz Ballet Theatre Bardavon Opera House The New Originals: Acoustic and Electric Folk Rock and Pop Music 35 Market Street. Poughkeepsie NY 845-255-0044 3pm charge www.npsballet.com from the 60’s to the present Harrison Public Library Harrison Public Library 2 Monday, December 16 Bruce Avenue Harrison NY 914-835-0324 2-4pm free www.harrisonpl.org Sharon A. Curia Landscape Photographs Casano Community Center Art Wednesday, January 8 Gallery 314 Chestnut St. Roselle Park, New Jersey Roselle Park NJ 908-245-0666 Annual Student Art Show Valley Artisans Market 25 East Main Street free (thru Feb 14) (Rte. 372) Cambridge NY 518-677-2765 free (thru Jan 19) Something Merry This Way Comes The Shakespeare Theatre of New Associate Members’ Winter Exhibition National Association of Jersey 36 Madison Ave Madison NJ 973-408-5600 charge Shakespearenj.org Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NJ Tuesday, December 17 212-675-1616 free (thru Jan 27) www.thenawa.org Karen Fitzgerald: Crossings Saint Peter’s Church and the Midtown Thursday, January 9 Arts Common Narthex Gallery 619 Lexington Avenue at 54th St. New York NY Kinstler & Hollywood: Paintings & Drawings by Everett 212-935-2300 free (thru Feb 9) Raymond Kinstler National Arts Club 15 Gramercy Park S. NYC Opening Thursday, December 19 Reception 5-8pm (thru Feb 1) LARAC Holiday Shop “Last Minute Dash” Night LARAC Lapham Gallery 7 Friday, January 10 Lapham Pl Glens Falls NY 518-798-1144 5-8 pm free www.LARAC.org Francesco Mastalia: Organic - Photo Essay of the Farmers and Chefs Friday, December 20 of the Hudson Valley bau Gallery 506 Main St. Beacon NY 845-440-7584 Opening A Christmas Carol CenterStage Productions Center for Performing Arts Reception 6-9pm free (thru Feb 2) www.baugallery.com at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 8pm Fri & Sat; 3pm Sun Other Crossings Karen Fitzgerald, New Gilded paintings. St. charge (thru Dec 22) www.centerforperformingarts.org Peter’s Church Narthex Gallery 619 Lexington Avenue at 54th St. New York NY “Making an Impression II” Printmaking Exhibit Huntington Arts Council 212-935-2200 Opening Reception 6-8pm free (thru Feb 9) Main Street Petite Gallery 213 Main Street Huntington NY 631-271-8423 free (thru Twelve Angry Men CenterStage Productions Center for Performing Arts Jan 27) www.huntingtonarts.org at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 Fri & Sat 8pm; Sun 3pm Saturday, December 21 charge (thru Jan 19) www.centerforperformingarts.org Continued on Page 22 An R&B Christmas Brooklyn Center for the Performing Arts 2900 Campus Rd Brooklyn NY 718-951-4500 8:00pm charge BrooklynCenterOnline.org LARAC Holiday Shop “Last Minute Dash” Day LARAC Lapham Gallery 7 New Essays, Videos, Calendar & Opportunities Lapham Pl Glens Falls NY 518-798-1144 10-5 pm free www.LARAC.org each month at www.arttimesjournal.com

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White Plains, NY ART | DESIGN | CRAFT MEDIA | FILM | PHOTOGRAPHY | LIBERAL ARTS Winter 2013/ 2014 ART TIMES page 15 Travel & Culture Bermuda, just a short flight to paradise Continued from Page 13 By Cornelia Seckel I saw an exhibition of works by in- and we learned that there is poverty classes and workshops all serve to architecture gives one the sense of ternationally known artists who had in paradise. Current and upcoming further their outreach to the com- walking back 400 years. There are spent time and worked in Bermuda. exhibits can also be explored on the munity and the residence program 17th century homes, colonial land- The European Collection is the Wat- Gallery’s website. is open to all artists from around marks, and thriving businesses, res- lington collection and includes works We had a little free time in Ham- the world. Specific to Bermuda is an taurants and shops. St. Peter’s, Their by well-known artists from the 15th to ilton so I took the ferry to Dockyard annual competition: The Charman Majesties Chappell (title conferred 18th centuries. just to have some time on the water Prize, with a $10,000 prize. The prize by The Queen in honor of Bermuda’s The Mandate of the Bermuda Na- and to see the island from a different honors and supports Bermuda visual vantage point. It was glorious. We artists in the creation of their art. It had drinks with Stacey Evans, Assis- is Tom’s dream to have works repatri- tant Director of Promotional Services ated and to that end they are actively and then yet another excellent dinner searching out works of art inspired at Port-O-Call restaurant. by the island. Masterworks is the 3rd The next and our last day we most visited place with Dockyard and headed over to Masterworks: Mu- Horseshoe Bay leading. Outside the seum of Bermuda Art and met with Museum are several sculptures, the founder and creative directory Tom most famous The Double Fantasy, is Butterfield. In 2008, after being a no- dedicated to John Lennon who sailed madic collection, paintings are now to the island in 1980 and wrote songs under one climate controlled roof, in for his final album “Double Fantasy”, a world class museum with art stor- named for an island flower. The age facilities, a classroom, a main Masterworks Museum commissioned gallery, a smaller gallery dedicated to painter and sculptor Graham Foster

The tourist office in the town of St George. Bermuda shorts are taken quite seriously.

400th Anniversary and the Queens tional Gallery’s educational program Diamond Jubilee) was completed is to bring the experience of art to by Christmas 1612 and is the oldest every child in Bermuda. This is being Anglican Church in continuous use done by several ways: to encourage outside the British Isles. teachers and curriculum builders to The town and its surrounding for- use the Bermuda collection as a part tifications were designated in 2000 of the class learning experience; an ex- a World Heritage site by UNESCO. tensive education center; an outreach This is the earliest English Urban program to the schools; art camp; pro- settlement in the New World and the fessional development for teachers. It fortifications illustrate the develop- is the hope that a mandatory visit to ment of English military engineer- the museum will be written into the ing. Visitors come from all over the curriculum. The Virtual Tour of the St. Peter’s, Their Majesties Chappell (title conferred by The Queen in honor of Ber- world. We were only in St George’s gallery makes visiting the gallery less muda’s 400th Anniversary and the Queens Diamond Jubilee) completed Christmas for a few hours but I can see clearly daunting as students and teachers 1612 and is the oldest Anglican Church in continuous use outside the British Isles. that a several days wouldn’t give me can preview exhibits in preparation local artists and a members lounge, who is best known for his huge mural enough to explore. for a visit to the or for individuals who café and gift shop. Tom Butterfield’s ‘The Hall of History’ inside the Com- We had a quick boxed lunch and may not have the means of coming pride and enthusiasm was palpable missioner’s House at the Bermuda continued on to the Bermuda Nation- to the actual location. The Gallery as he showed us the museum and National Museum in Dockyard. al Gallery in Hamilton, the capital has student and adult docents and particularly the storage facility with While I was in Bermuda it felt like of Bermuda, where we met Direc- they have prepared lesson guides art, many of them works by Georgia time stood still. This beautiful Island tor Lisa Howie and Chairman Gary for the permanent and new exhibits. O’Keefe, Winslow Homer, Marston with over 300 events each year is an Phillips. The Gallery, established Many of their catalogues are freely Hartley, Charles Damuth and others exciting destination for relaxing, ex- in 1992, is in the City Hall & Arts available on the Gallery site: bermu- that were painted in Bermuda. Their ploring and surely immersing oneself Center and opened with the donated danationalgallery.com. While I was mission is to build a major collection, into another culture. collection of Hereward T. Watlington there I saw a very moving exhibition of Bermuda art from the past and a founding trustee of the and artist. that focused on justice and injustices ef the present. The lectures, art camp, The vast programs and exhibitions present works by local and interna- tional artists reflecting the islands rich multicultural heritage. There are several collections in the Gallery. The African Collection has work from 12 countries in Sub Saharan, West Africa and includes ritual sculptures, masks, functional objects and textiles that came out of Africa in the 1940’s & 50’s. The collection is a celebration of African cultures and creativity. The Bermuda Collection is a history of the fine and decorative arts in Bermuda over the last 350 years. Decorative Arts, influence of the military, first Bermudian artists, the influence of tourism on Art in Bermuda and the influence of globalization on Contem- porary Art in Bermuda are all part Tom Butterfield, Founder and Creative Director of Masterworks Our group enjoys afternoon Tea in the lounge at the of this collection. While I was there shows us some of the work in the storage area. Fairmont Hamilton Princess Winter 2013/ 2014 ART TIMES page 16 to the 41st Annual now have links to and spit me out? I got my act together director of the organization and what Letters their homepages posted on the PSA long enough to walk into the NAWA it was like to be at the helm of such Continued from Page 2 website. (Nat’l Assn of Women Artists) office a big group, in such a renowned art Once again, please accept our in Manhattan and introduce myself. hub. She said something to the ef- To the Publisher: deepest thanks for your patronage of [Yup, if I wanted to make it here, I fect, regarding any given day or any Being a writer myself I was delighted pastel artists and the society.....We better damn well have something on given project, ‘half the membership with the depth on Linda Diamond’s hope you will join us again in 2014 my resume that screams NEW YORK loves what I do; the other half hates review [November 1913 Online: when PSA celebrates its 42nd Annual CITY ARTIST, right?] I walked in it’. Another way we put it: You can’t “LAR LUBOVITCH DANCE COM- Exhibition in the Grand Gallery of the and I found very supportive artists. please all the people, all the time. PANY celebrates its 45th Anniver- National Arts Club in New York City. I applied to NAWA for membership Talk about a great thing for every sary at the Joyce Theatre on October Jimmy Wright and was accepted. artist to remember, and how many 15th”]. She showed her years of dance President, PSA I’m not the typical active NAWA realms does this apply to? experience, and wrote in a way that NYC, NY member. I don’t participate in many And her job, leading a bunch of art- would appeal to non-dance aficiona- To the Publisher: of the activities and shows, and I don’t ists? Oh my! Talk about a gallant job dos also. She handled all the technical The National Association of Women always pay my dues on time. But a of herding cats! No, of course artists features so well and in an extremely Artists is greatly honored for the op- few NAWA-related activities led to are not cats, but oh, lordy, we sure can interesting and inspiring way. Keep portunity to award a member with some nice art stepping stones, and whine, carry on, moan and groan -- be more coming. the annual...”Cornelia Seckel of art stepping stones is what it has been finicky -- about damn near everything Hindi Diamond times Newspaper Award for Pho- all about for me. First, there was the under the art world sun. It is tiresome V.P. Int’l Press Club tography. comment by a fella NAWA artist. Af- to hear and makes me back away Florida The Award winners will be fea- ter a meeting, she mentioned she had from a lot of events that feature two tured in the N.A.W.A. 124th Exhibi- recently taken a tour of a sculptor’s or more artists within 50 feet of each To the Publisher: tion Catalogue and archived within studio. I had read about this sculptor other. The Precious Factor gets to be Nothing had spoken more to my heart The Smithsonian Institution Ar- and didn’t know her studio was open too much; the ‘We’re More Sensitive than [RJ Steiner’s Peeks & Piques! chives, the Museum of Modern Art, to visits! [I didn’t do art school; there Than Others’ sends me packing. Of in the February 2007 Issue of ART the Metropolitan Museum of Art, the is a lot I just don’t know.] That com- course we have a lot to offer. Artists TIMES]. When we don’t trust what Guggenheim Museum, the Whitney ment led me to a two-year internship give of themselves; they have contrib- we see, and ask for cheap words to Museum, the Chicago Museum of Art, with an internationally renowned uted wonderful things to the world. tell us whether something has merit, the Library of Congress, the Museum sculptor. Second, another bit of good But above and beyond most others? is absurd. of Women in the Arts (Washington, timing. I was in D.C. one Friday for an More sensitive? Gimme a break! It’s like the juried show. An artist D.C.) and the New York Public Li- art meeting at a private gallery, and So, big thanks to ATJ and colleague of mine told me an inter- brary..... by chance a NAWA anniversary event the niche it provides. The art esting story today. She submitted ...Again, I thank you for the gener- was happening in D.C., too, the next network; it’s a pie of sorts. Don’t two pieces to a juried show. One was ous award for an outstanding artist... day. I spent the money for the hotel, overlook its importance. Don’t build rejected and the other took the first I stayed overnight, and attended the up some sections and ignore the oth- Mary Alice Orito prize. There are other aspects to this NAWA event on Saturday. NAWA ers. The network is a pie, a pie, a pie! N.A.W.A. Awards Chair lesson. But, it should be explored in past presidents and a curator spoke Artists need to have a finger in all NYC, NY an article. [to a whopping audience of what, the slices to increase the chance of Personally, as a photographer, I’ve 20?]. Lots of blah blah blah, which success. An like To the Publisher (and the rest of arts organization, seen pedestrian snap shots win over sometimes drives me nuts, but I un- NAWA, provides support and oomph. works of art. Go figure. ATJ): Thanks to journals like yours, artists derstand where it comes from and I Join and fashion your membership Thank you again, like me have a cheap place to adver- do appreciate it, once I cool my jets to fit your needs, and remember Rebecca Zagoory just relaxxxxxxx tise our work, our shows, our art stuff. and . I stuck around your responsibilities to the group. Tomkins Cove, NY Smile. I appreciate the effort it takes long enough to introduce myself to It’s a win/win relationship. [Yes, I Ps. I’m going to purchase a sub- to keep ATJ going. the curator, say hello to the head of said Relationship, with a capital R.] The Artist as scription over the weekend. I have Having access to ATJ reminds NAWA [who, of course, I knew would Lastly: from Ivan Karp’s speak so well and she did], then I Happy Warrior: “The positive effect an art exhibition today of 52 photos me of the art network that is ab- skedaddled back to NYC. The art of a lively, complex art community of mine. But tomorrow I’ll sign up. solutely a must if an artist is to get anywhere. The network, yes. An meeting on Friday was a washout; [emphasis mine] is that it provides To the Publisher: artist needs places to show her work, was it just coincidence that the cura- the likelihood that artists of high As awards chairman for the Catha- namely galleries. Gallerists need tor I met on Saturday at the NAWA consequence will not be overlooked rine Lorillard Wolfe Art Club, I would artists who crank out the art, and event called me up [years later, but during their lifetime if they will only like to thank you for your generous provide a supply of creative wonder- it happened... remember: stepping help themselves be noticed.” “Artists contribution to our 117th Annual fulness. Gallerists need the critics to stones... baby steps... relationships] who wistfully await discovery may Open Juried Show. write about the works and spread the and said he wanted to curate a show find themselves their only audience.” Your award, The Art Times, was word on what’s out there. Collectors of my work? Nope. “The art world is a fiercely competi- awarded to Jeanette Koumjiam [obviously!] need art to collect and Lastly: Like everybody in this tive arena where equity and justice for her painting entitled Red Hook, art investors need to know what’s hot world, I can only do so much, and art are about what they were in the court Brooklyn. and what’s not. Critics and art writ- networking -- the receptions, the open of Pippin the Short.” Best of luck to Thank you again, ers need a place to show their words. studios, the panel discussions, the every artist and ART on !, Jeanette Dick The artist, the gallerist, the critic, the salons, the exhibitions -- is similarly Maureen Kelleher Awards Chairman, CLWAC collector, the journalist: just a few of limited. [Work calls. Ho hum. Bills Hoboken, NJ NYC, NY must be paid. ] I can’t say I spend the folks in the art network, the art ef To the Publisher: pie. All to say: ATJ is an important much time with other artists or On behalf of the Pastel Society of link in the chain for me. ATJ is one NAWA ‘fella artists,” in particular; I don’t. But it was clear, early on, that America, I would like to thank you way I’m getting the word out about Did you miss the for your generous sponsorship of my art. A critical piece of the art pie. the leadership at NAWA had some- an award in our 41st Annual Open When I moved to New York from thing to offer. Focus on the good deadline for this stuff; it may not be a lot, but pick Juried Exhibition, “Enduring Bril- New Orleans [instigated by Hur- issue? liance”. Your continued unselfish ricane Katrina], a big part of that well, stay focused, and these nuggets patronage of pastel artists contrib- decision to relocate was my art. When are just the things I need, and they You can still include a keep me going. (And let’s face it: it is utes in a major way to the success I made art in my kitchen in New calendar item, and prestige of each year’s exhibi- Orleans, there was the niggling idea really hard to ‘keep going’ with the art tion and celebration of the medium. in the shadow of my hopes: I want to making. Not a lot of support or enthu- opportunity listing, siasm from the world, on any given By providing critical support, your make it in New York. [Oopsy; there, announcement or award furthers the endeavors of an I said it.]. “If I can make it there, ...” day, for long stretches.) In addition to outstanding pastel artist and helps Yup, I knew the song. the validation, art community [when publicize your I want it], and NYC affiliation on my to spread the word about pastel as a Holy crap; 2006: there I was in business for a small fine art medium. Hoboken NJ, a stone’s throw to NYC resume, NAWA provides me atypical Enclosed please find a copy of the and there’s The Big Apple, right over support. It came from executive direc- fee. tor, Susan Hammond. It was another exhibition catalog that includes a there. Do I have what it takes to make ARTTIMES Online: listing of your award, as well as the it there? I didn’t know any artists back off-hand remark, and little did she name of the recipient. in New Orleans and not in NYC. Will know that it would [positively] stick www.arttimesjournal. in my craw for years and years. I To further express our gratitude, these fast, smart, hip, NY City artists com ­is your solution. all annual award donors and patrons run circles around me, chew me up, asked her about her job as executive Winter 2013/ 2014 ART TIMES page 17 Art Review Balthus & Chagall:

ByBeyond KATHLEEN ARFFMANN the Surface of the Canvas: Two Painters of the Interior Continued from Page 1 cism that one could almost hear these had already been who was also a mathematician of paintings sing their melancholy song. living in Paris, went geometry. One can see this mathe- His colors and images are strong and back to Russia and matical influence in the careful place- alive. His representational symbols somehow convinced ment of all the concrete elements in come from his childhood, Jewish Bella’s conserva- Balthus’s compositions. His subjects tradition, Russian folk art, and tive Jewish family and their surroundings are represen- Christian Orthodoxy. Yet there is that he was going tational but dreamlike. His strategy a universality about the images he to be a successful serves to deconstruct or unwind the uses so repeatedly that we begin to painter, which was reality in his paintings. There is no understand their poignancy. Keep in extremely difficult eye contact or relationships between mind that he and Picasso were con- to do since he was people or objects. They are separate temporaries who were painting about unknown at the and detached so one can more easily the horror of war, and yet Chagall is time. The exhibit see into the interior of the painter’s free from all the “sturm und drang” starts on this joyful mind. Few artists in a simple portrait that you find in “Guernica”. He loved note and takes you or street scene can reveal so much so many things in his life and when through the grief- so quickly. The exhibition closes on they were lost his sadness and com- laden periods of his January 12, 2014. passion are transparent. life; and ends after Ten blocks north on Fifth Avenue Included in the exhibition are the his recovery when is another exhibition at the Jewish works painted during World War II. he resumes a new Museum, “Chagall: Love, War and They are dark paintings of Christ life in Paris. Exile”. Since I saw these two exhibi- on the cross, iconographic images of O n c e i s n o t tions on the same day, I couldn’t help torment and pain, intended to remind enough to see this making comparisons between the the Christian world that Christ was a exhibit. The galler- two artists. “Chagall: Love, War and Jew after all. Christ on the cross even ies are small, and Exile” focuses on the most difficult pe- wears the striped Tallit or prayer on Saturdays, when riod in Chagall’s life, from the1930s shawl as a loin cloth to remind us admission is free, to 1948, when he was subject to the that he is Jewish. These are power- viewing conditions for these easel size turmoil in Eastern Europe, Nazism, ful pictures. Often Chagall projects Marc Chagall, The Bride and Groom on Cock, 1939-1947, oil works are difficult. World War II, his life in Paris and himself into the figure of Christ. On on canvas, 45 5/8 × 35 7/8 in. Collection of Dr. Hubert Burda, his exile to the United States. What the upper walls of the gallery are silk Try weekdays, if Munich. © 2013 Artists Rights Society (ARS), New York / I could not understand was why after screened his words: you can. The late ADAGP, Paris (courtesy of The Jewish Museum) night is Thursdays. viewing the works in this exhibition I I run up, I have seen many works by Chagall felt so serene. The impact of this artist to my dry brushes on February 2, 2014. and a few exhibitions. However, when aroused my curiosity because with all And I am crucified like Jesus, * The Metropolitan Museum of I left the museum felt I had personally the negative imagery presented in 31 With nails pounded in the easel. Art, 1000 Fifth Ave (at 82nd), NYC paintings and 22works on paper his met the artist for the very first time.” The exhibition opens with two (212) 535 7710 (thru Jan 12, 2014) form of expression was still an uplift- Chagall: Love, War, and Exile” is works of large bouquets with floating ing experience. organized by Susan Tumarkin Good- ** The Jewish Museum, 1109 figures in an embrace, completed in Chagall seems to paint with his man, Senior Curator Emerita at The Fifth Ave, NYC (212) 423-3200 Paris after his marriage to Bella, his heart, a man of great sensitivity. Here Jewish Museum. The exhibition ends (thru Feb 2, 2014) great love and muse. Chagall, who ef is a painter so full of poetry and lyri-

Check out our Website: www.arttimesjournal.com UPSTREAM GALLERY Call for Photographers for Photography Takes Over - 2014 January 30th — February 23nd, 2014 We seek photographs in a large variety of themes and techniques including experimental work that uses photographic imagery in mixed media works. Maximum size 20”x24” including frame; hanging fee of $30 per selected image and 20% commission for works sold. Deadline- December 20th, 2013 Email up to six JPEGs to [email protected] or [email protected]. For further information, call 914 965-3397 or 914 478-1503

The at hotchkiss.org/arts Arts All are welcome! (860) 435 - 4423 HotcHkiss Events are free & open to the public unless indicated by (*) - schedule subject to change Visit our website for the most up to date listings visit our website

December 6 - January 29 50 Years. Reception: Saturday, February 8, Tremaine Gallery — Jane Martin : Beyond 4 - 6 p.m. Boundaries. Painting, photography, and video. Reception: Friday, December 6, 5 - 7 p.m. *February 21 - 23 Hotchkiss Dramatic Association - The Crucible February 8, 7 p.m. by Arthur Miller. Walker Auditorium. (Tickets Howard Fishman & His Band — are $10, $5 for students and senior citizens. Cash Katherine M. Elfers Hall, The Esther or check only. Phone 860-435-3203 or buy at the Eastman Music Center. door.)

February 7 - March 6 February 27 & 28, 7:30 p.m. Tremaine Gallery — On Time and Place : Student Choreographed Dance Concert — Photographs Celebrating Scenic Hudson’s Walker Auditorium. The Hotchkiss School ~ 11 Interlaken Road, Lakeville, Connecticut Winter 2013/ 2014 ART TIMES page 18

Culturally Speaking just ordered The Blue Manuscript — worked towards making the club vi- which looks very interesting. Next to able and this celebration successful. By Cornelia Seckel gratulations Jeanette. Claudia Sey- speak was Maxwell L. Anderson, Allied Artists was founded by 12 art- In November’s Culturally mour was named as the honored The Eugene McDermott Direc- ists who felt that there was a greater Speaking column online you can artist for 2013. Claudia, a painter tor of the Dallas Museum of Art. need for exhibition opportunities and find my Comments about The Ar- of still life in oil and pastels is re- This museum now has no admission for the group to be an artist-friendly mory Show at 100 at the New cently retired as the president of the fee and has spearheaded a program organization. Rodney Gibson, the York Historical Society; The 14th Salmagundi Club, NYC (founded called Friends & Partners, a dif- great, great grandson of Ernest annual fiercely independent Wood- in 1871) and continues to give her ferent take on museum membership, Albert who was an early President stock Film Festival; Pirira, a play skills and organizational talent to the one that more engages the visitors of Allied, spoke about the value of written by J. Stephen Brantley art community. Top award winners and supporters of the Museum. The the organization, the importance of and produced by theatre 167; Ilka include Jill Pabich, Patricia Bil- Dallas Museum is part of a program tradition and gave some of its his- List’s terra cotta figurine reliefs at lecci, Andrea Pejeau, and Alicia for Museums to have access to each tory. Gary Erbe, president of Allied the James Cox Gallery, Willow, Ponzio. The Opening Reception is other’s art —a free exchange, rather for 11 years, spoke about the exhibi- NY and a Group Exhibit curated by always a benefit for travel opportuni- than fee based. More about The Dal- tion opportunities that the Butler Lenny Kislin at Wired Gallery in ties for curators at the Metropolitan las Museum at DMA.org. Institute in Youngstown, Ohio has High Falls, NY. I also made a short Museum of Art. The Opening was Sotheby’s treated the public to provided. It was excellent to see the video of my stroll along the High Line, packed, hundreds of people attend- a non-selling exhibition of a great fine work. Daniel Greene received one of the newest NYC Parks that at ing, enjoying the art and the artists. master many of you may never heard the Allied Artists of America’s Gold one time was an elevated freight line. I attended a luncheon sponsored of— Alexandre Riza. Riza is the Medal of Honor with his oil paint- The video is available on the arttimes by Focus-Abengoa Foundation Paris-based maître joaillier known ing Elin Waiting; The Gold Medal Youtube channel and can be linked promoting the exhibition Nur: Light for extraordinary gem expertise, of Honor for Sculpture went to to from the videos page on the art- in Art and Science from the Islamic spectacular design and incredible Larry Scaturro for Crouching Man; timesjournal.com website. The music World currently on view in Seville, craftsmanship since the 1950s. The the Gold Medal of Honor for Wa- accompanying the video Darlin’ Dar- Spain and opening in Dallas Mu- Riza family of jewelers emigrated termedia, Pastel & Graphics went lin’ was written by classically trained seum of Art in Spring 2014. We first from Persia to Russia and then to to Alexandra Bastien for Rebirth. oboist turned folk singer-songwriter heard from Anabel Morillo León, France in 1925. Alexandre traveled The 41st Annual Open Juried Emily Mure. More of her music at Director General of the Focus- the world collecting and then selling Exhibition, “Enduring Brilliance” EmilyMure.com precious stones of a size and quality of the Pastel Society of America no longer available today at any price. (pastelsocietyofamerica.org) was, as It wasn’t until the 1970’s that he usual, a look at all the possibilities created jewelry under his own name. that pastel can achieve. The work was Like all masterpieces each piece exceptional and so many different is unique, and designed to feature styles. Of the 1,001 images submit- specific gems rather than finding ted by members and non-members gems to fit the design. While this for consideration 178 paintings were exhibit has moved on to other Sotheby juried into the show. Dan Slapo, locations we can look forward to more PSA, was inducted into the PSA Hall non-selling exhibitions in the future. of Fame. He is a popular instructor, This exhibition will be traveling former member of the PSA Board to London, Doha and Beijing of Governors and mentor to many. (dates are TBD). Learn about future Richard Kendall, a distinguished exhibitions at Sotheby’s at sothebys. art historian who has raised public com awareness of pastel, received Friend Allied Artists of America (al- of Pastel Award. In 2001 I received liedartistsofamerica.org) held their that honor for my work with ART 100th Annual Juried Exhibition at TIMES supporting artists. Special the National Arts Club, NYC. The recognition was given to Rae Smith, grand gallery was filled with artists PSA, past president, and to retiring and supporters. The excellent work board members Brenda Tribush, was varied with different styles of PSA, and Christina Debarry, PSA, Gaile Snow Gibbs (l), President, embracing Claudia Seymour (r) 2013 Honored painting and sculpture. There were for their many years of service to PSA. Artist at the benefit reception of the Catharine Lorillard Wolfe Art Club's 117th An- over 200 works juried from about Congratulations to the 9 new Master nual Open Exhibit at the National Arts Club, NYC 1300 submissions with work coming Pastelists: Nancy Brangaccio, from most every state and as far away Stephanie Birdsall, Judy Evans, The 117th Annual Open Exhibi- Abengoa Foundation who spoke as Singapore. Current President of Hui Chu Hu, Christine Ivers, Les- tion for the Catharine Lorillard about the foundation and the work Allied, Thomas Valenti, welcomed lie Lillien Levy, Pat Ross Marx, Wolfe Art Club (clwac.org) was, as it does and supports. Abengoa, is a us all, thanking those who have Mary Muller, and Patricia Tri- usual, an excellent exhibition with global biotechnology company and been on the board and supported and bastone. To achieve Master Pastelist about 250 paintings and sculpture leader in Solar energy specializing in coming from all across the US, the development of new technologies Brazil and Canada. Catharine and promoting sustainability of raw Lorillard Wolfe, the only woman materials and along with the Focus- among the 106 founding members of Abengoa Foundation (abengoa.com) the Metropolitan Museum of Art, they organized their first traveling left money to Grace Church (NY) exhibition about the subject of light, to be used for some form of “women’s raising the awareness of its impor- work” — that work being a club to tance in science, art, and culture. The support and give aid to young women exhibit includes artworks and secular art students, most significantly with objects from institutional and private exhibitions and meeting space at collections. We then heard from Dr. the Parish House. 117 years later, Sabiha Al Khemir, project direc- the Parish House continues to be a tor who is an expert in Islamic Art base for the Club while for numer- and concerned with bridging cultural ous years the National Arts Club, divides and spurring international NYC, has been the location for the dialogue. She is currently the first annual exhibitions. This important Senior Advisor of Islamic Art at Art Club’s history A Chronicle— The the Dallas Museum of Art and has Catharine Lorillard Wolfe Art Club been the project director and cata- is now available to order from the logue author of several major exhibi- CLW website. We were pleased that tions. She was delightful to speak Jeanette Koumjian was the winner with and I am sure her courses and of the ART TIMES Award with her documentaries are exceptional. She Wende Caporale and Daniel E. Greene in front of Wende's award-winning painting Red Hook, Brooklyn. Con- is an author of several novels and I’ve painting Jaja: Homaage to Klimt at Allied Artists of America's 100th Annual Exhibition awards reception, National Arts Club, NYC. Winter 2013/ 2014 ART TIMES page 19 were quite reassuring. “ You can see won the Art Spirit Foundation the show through Dec 31 at audu- Gold Medal Award for Excellence bonartists.org. May Rolstad Trien in Pastel and David Tutwiler received the ART TIMES Award won the AAPL Board of Direc- for her graphic “Interweavings.” Top tors Award for Representational award winners include and Traditional Artistic Merit. American Artists Professional The ART TIMES Award went to League held their 85th Annual Ex- Marilyn Swift. Last year’s Future hibition online and it can be seen un- Art Masters Exhibition (FAME) til Dec 30 at americanartistsprofes- was a great success. Young artists sionalleague.org. In January 1928, F. are needed to keep American Art- Ballard Williams, Assistant Trea- ists Professional League viable for surer of the National Academy of another 85 years and to take on lead- Design in New York, called a meet- ership roles for the organization. In ing of fifteen members of theSalma - 2013, AAPL had entries from all over gundi Club. The purpose: to discuss America and Canada and awarded the need for a national organization $2,000 in scholarships to two college to meet the increasing interests in freshman artists. In 2014, they will traditional realism in American art. start the FAME show earlier so that Awards presentation at the Woodstock Artists Association Museum, Woodstock, NY, Their mission “To advance the cause winners can be chosen before the end during the Annual Holiday Show. Harriet Livathinos (r) was presented the Sally of the fine arts in America, through of the school year. Information for the Jacobs/ Phoebe Towbin Award by last year's award winner Barbara Bachner (l). the promotion of high standards of 2014 FAME Show can be found at beauty, integrity and craftsmanship the AAPL website. status, one must be a PSA Signature this year the annual exhibition is on- in painting, sculpture and the graphic The National Association of member who has won three awards line. President Vincent Nardone arts. To emphasize the importance of Women Artists (N.A.W.A.) has in the open annual juried exhibitions. said “Keep in mind the advantages order and coherent communication been empowering, promoting, sup- And finally congratulations to Bre of this online venue when compared as prime requisites of works of art porting and encouraging women art- Barnett Crowell receiver of the to the customary onsite event, includ- through exhibitions and publica- ists, since 1889. It was an exciting day Art Times Award for Reading ing: world wide exposure, greater tions.” Award Winners included at the Rubin Museum of Art, NYC Her Poem where 83 members coming from: AR, The Woodstock Artists Asso- AZ, CA, CT, FL, IL, MA, MD, ME, NC, ciation Museum, Woodstock, NY, NJ, NV, NY, PA, SC, TX and VT were had their annual Holiday exhibition. inducted into the association. The Awards were presented to Ze’ev Ceremony was followed by a recep- Willy Neumann who got the Yasuo tion for the New Members’ Exhibition Kuniyoshi Award and to Harriet at the N.A.W.A. Gallery at 80 Fifth Livathinos who got the Sally Ja- Avenue, Suite 1405, NYC. It was in cobs/Phoebe Towbin Award. This January of 1889 that five innovative is always a fun show, a place to meet women, Grace Fitz-Randolph, so many artists, to see their work and Edith Mitchell Prellwitz, Adele to get some fine paintings at really Frances Bedell, Anita C. Ashley, good prices. The show will run thru and Elizabeth S. Cheever, barred December. from full participation in the male- Audubon Artists of America dominated National Academy of held their 71st Annual Exhibition Design and The Society of Ameri- online again due to the renovations can Artists, founded the Women’s at the Salmagundi Club in NYC, Art Club, later named the National their exhibition venue for many Association of Women Artists. years. In 1940 a small group of NYC This 125th Anniversary Year is artists got together for the purpose filled with exhibitions around the of art discussion, demonstrations, country, workshop, demonstrations, films and lectures. At a meeting in and exciting events. For more: the- 1941 at the homestead of American Newly inducted members of the National Association of Women Artists at nawa.org artist and ornithologist John James the Rubin Museum of Art, NYC As we head into Winter, I hope you Audubon, they decided on the name viewer audience, limited exhibition Rick Perez – Best Painting in all have a good holiday season, a solid ‘Audubon’ as their group was embrac- crating and shipping costs and a lon- Show; Penny Billings won the Al- time to refresh and gain inspiration ing a wider geographic range and ger major exhibition schedule. Posi- den Bryan Award for Traditional for Spring’s creative awakenings. broader goals. Last year and again tive comments logged on our website Landscapes in oil; Barbara Groff ef Poets’ Niche landlord The earth had no idea it was selling off its own trees. VAN GOGH’S ROOM Giant machinery knocked them over. Sitting here, A second thrush-seat chair Huge trucks carried them off. I’m making me up as I go along, for Theo or in case The forest pines for its oaks, gathering now this, now that, he ever had a guest aches for its pines. magpie like, though this most unlikely. Bird song prevaricates nothing staying His meager wardrobe from mating and hunger (recurring sometimes), neatly hung up. The bed made. to the distance between branches. with the sense of an I Nothing out of order. Wind can’t believe the ease floating in and out and above these words with which it now travels. Even the sun held in check and setting them down for someone to pick up Lakes dry up or fill with silt. behind a window without a view. and drop. Animals die off. But this is only half of the room. Raising the question: Man lives here now. What he did not show us: an easel, how can I know what I am? Earth should have checked some drying canvases, his brushes for references. and old rags, and the despair If I am. John Grey he couldn’t find a drawer for. If you are. —Johnston, RI Marvin Glasser John Cantey Knight —NYC, NY —Metarie, LA Winter 2013/ 2014 ART TIMES page 20

Fiber Artists: Fiber Arts Gallery, 526 All SUNY Ulster/UCCC visual art details. Deadline Jan 10 redhookcan@ Opportunities Washington St., Reading, PA 610-373- alumni/AE: Muroff Kotler Visual Arts gmail.com 7337 Seeks entries for exhibit “Me, My- Gallery, SUNY Ulster, Ulster County Artists: Ridgewood Art Institute, 12 Artists and Craftspeople: Art League self, and I” Apr 12 - May 31, 2014. Call Community College, Stone Ridge, NY East Glen Ave., Ridgewood, NJ (201) of Long Island, (631) 462-5400 Seeks or visit website for info. Deadline Feb 8, 12484 (845) 687-5113. Seeks entries for 652-9615. Seeks entries of framed & entries for 47th Annual Art in the Park 2014. www.somethinglooming.com 50th Anniversary Alumni/AE Exhibi- ready-to-hang work in traditional or rep- Fine Art & Craft Fair, to be held at the tion Mar 7-Apr 11.2014 SASE, email, or Artists, Photographers: Fulton-Mont- resentational work in NYC metro area Heckscher Museum Park, Huntington, visit online for prospectus. Deadline Jan gomery Community College, 2805 State Jan 26-Feb 9 2014. all or visit website for NY May 31-June 1. Prospectus avail- 31, 2014 [email protected]. www. Highway 67, Johnstown, NY (518) 848- info, prospectus. Deadline Jan 11. www. able online. Deadline May 9. www. sunyulster.edu. 3552 Seeks entries for Buck Moon Arts ridgewoodartinstitute.org. artleagueli.net Festival July 11, 12, 13. Juried general Choreographers: Nacre, Inc. Executive Photographers: Smithtown Township Artists: Artbridge artbridge.org, Kings- art show/ no theme; juried photography Woods, 4 Atrium Drive Albany, NY 12205. Arts Council (STAC) Mills Pond House ton, NY Seeks entries for public exhibi- show: theme Memento. Email for entry (518) 435-0510 Seeks choreographers for Gallery, 660 Rte 25A, St. James, NY tion opening March 24, 2014 email for specifics. Deadline May 31 Debra.kol- 2013-2014 season. Call or email for full (631) 862-6575 Seeks entries for Juried info. Deadline Jan 5, 2014 submissions@ [email protected] fmcc.suny.edu info; apps on website. Beth@Nacredance. Photography Exhibition Apr 5 - May artbridge.org com www.Nacredance.com Artists, Craftspeople, Food Vendors: 1 Juror Jennifer Schlesinger Hanson, Artists: Artist Studio Residency, Fulton-Montgomery Community College, Interns: Nassau County Film Office, Director of VERVE Gallery of Photogra- SOHO20 Gallery Chelsea,547 W 27th 2805 State Highway 67, Johnstown, NY Mineola, NY 516-571-3168 Seeks interns phy. Open to local and national artists. St., NYC (212) 367-8994 Seeks appli- (518) 848-3552 Seeks vendors for Buck (film, video, photography) email Debra Download prospectus from website or cants for Winter 2014 Studio Residency Moon Arts Festival July 11, 12, 13. Markwitz for full info. Deadline Ongo- send SASE to STAC Juried Photo Dead- (Feb-Apr) Info online. Deadline Dec Email for entry specifics. Deadline May ing [email protected] line: Feb 12. www.stacarts.org/exhibits 10. [email protected] www.so- 31 [email protected] fmcc. www.LongIslandFilm.com Artists, All Media: Studio Montclair, ho20gallery.com suny.edu All Media except photography and 108 Orange Road, Montclair, NJ 07042 Artists: Artists-Creative Impulse, Lib- Artists, Craftspeople: Guilford Art craft: National Art League, 44-21 Doug- (973) 744-1818 Seeks entries for the erty, NY 845-292-7027 Seeks artists to Center, 411 Church St., PO Box 589, laston Pkwy, Studio C, Douglaston, NY 17th Annual Open Juried Exhibition exhibit in gallery during 2014. Call Sue Guilford, CT 06437 (203) 453-5947. Seeks (718) 225-4985. Seeks entries for 84th “Viewpoints 2014” at Aljira Center for Petry of visit website for info. www.cre- entries for Guilford Craft Exposition 2014 Annual Open Juried Exhibition, May 5 - Contemporary Art, Newark, NJ Jun 4 - ativeimpulsestore.com July 18-20, 2014 Call for Info or visit web- May 31, 2014. Juror & Judge Robert W. 28, 2014. Juror: Sue Scott, independent site for details. www.guilfordartcenter. Pillsbury, Pres of Salmagundi Club, NYC. curator. SASE for prospectus or down- Artists: Arts Society of Kingston (ASK), org/expo.html for app forms. Deadline $2000 in awards. Send SASE or download load from website www.studiomontclair. 97 B’way, Kingston, NY (845) 338-0331 Jan 10, 2014 www.guilfordartcenter.org prospectus from website. Deadline Mar org. Deadline Jan 17, 2014 www.studio- Seeks entries for Regional Juried Exhibit 28. www.nationalartleague.org montclair.org. Apr 5 - 26, 2014. See website for prospec- Artists: Hudson Valley Art Association, tus. Deadline Apr 1. communications@ Inc. Seeks original Painting, Drawing Women Artists: National Association of Artists: The Lake George Arts Project askforarts.org www.askforarts.org and Sculpture. for 82nd Annual National Women Artists, 80 Fifth Ave., Ste. 1405, Gallery Committee, Courthouse Gal- Juried Exhibition September 2014 at the New York, NY 10011 (212)675-1616. lery, 1 Amherst St, Lake George, NY Sculptors: Blue Door Artist Asso- Salmagundi Club, NYV Download pro- Seeks membership of professional women 12845 (518) 668-2616. Submissions of ciation, 13 Riverdale Ave, Yonkers, spectus from website . Deadline: May 1. artists who desire exhibitions throughout exhibition proposals for Courthouse Gal- NY (914) 375-5100 Seeks sculptures www.hudsonart.org the U.S. For details download from web- lery’s 2014 exhibition schedule. Email or for outdoor installation on Waterfront site. Deadline: Sep 15; March 15. www. visit website for information. Deadline: Promenade and other locations. Email Video Artists: International Art- thenawa.org Jan 31. [email protected] www. jpgs and contact information or call Expo, Bari, Italy +39.0805234018 / lakegeorgearts.org. 914-965 3397 Ongoing deadline eselpe@ +39.3387574098 Seeks short video Women Artists: National Association optonline.net www.bluedoorartcenter. films for 2013 International Video-art of Women Artists, Inc., 80 Fifth Ave., Artists, All Media: Unframed Artists org/artists/current Screening, “Borderland: The Entropy of Ste. 1405, New York, NY 10011 (212) Gallery, 173 Huguenot St., New Paltz, Identities. Call, email or visit website 675-1616. Seeks entries for Small Works NY 12561 (845) 255-5482. Seeks entries Artists/Printmakers: Center for for full details. Deadline Dec 7, 2013. National Open Exhibit Feb 5 - 26th, 2014. for “Fun, Friends & Fantasy” opening Contemporary Printmaking, 299 West [email protected] www.lucacurci. Show open to members and non-mem- Mar 29, 2014. Call Michelle 845-255- Ave., Norwalk, CT 203-899-7999 Seeks comartexpo bers. For details (max size, etc.) download 5482 for info or download application. original fine art entries for the Annual from website. Deadline January 2 office@ Deadline Feb 24, 2014 unframedartist@ Members Exhibit ‘Branching Out’. Be- Dancers: Jacob’s Pillow 413-243-9919 thenawa.org www.thenawa.org yahoo.com www.unframedartistsgal- come a member: go to website or call. x 132 Accepting applications for 2014 lery.com. Call for info, download Prospectus from Festival’s Summer Internship Program Artists: National Society of Painters in website. Deadline Jan 18, 2014 www. May 20-Aug 28 Go to website or email for Casein & Acrylic, 969 Catasauqua Road, Artists, All Media: Unframed Artists contemprints.org full info. Priority consideration: Deadline Whitehall, PA 18052 Seeks entries for Gallery, 173 Huguenot St., New Paltz, Jan 21; otherwise Feb 18 internprogram@ 60th Annual Juried Exhibition, at the Sal- NY 12561 (845) 255-5482. Seeks entries Actors: Coach House Players, Kingston, jacobspillow.org jacobspillow.org/educa- magundi Club, June 9-20. Over $15,000 for “Valentine Sip and Paint” 5-8pm on NY Seeks 4 men and 4 women for Death tion/internships/internships/summer- in cash prizes and medals. For prospectus Feb 8, 2014 (snow date Feb 9), BYOP by Fatal Murder. Auditions Jan 21, 22 intern-program.php write: D. Wels, Corresponding Secretary, (bring your own paint) Call Michelle & 23 at The Senior Residence, 80 Wash- 1710 First Ave., Apt. #245, NY, NY 10128 845-255-5482 for info or download ap- ington Ave, Kingston, NY Visit website Artists: Jericho Arts Council, Bainbridge, or visit website. Submissions by CD only plication. [email protected] for more information jtdwyer@earthlink. NY . Seeks 2&3D “One Night Shows” in Deadline: April 19. [email protected] www.unframedartistsgallery.com. net www.coachhouseplayers.org their gallery during 2014. Email or visit www.NationalSocietyofPaintersinCa- website for details. [email protected] Photographers: Upstream Gallery, Artists: Connecticut Society of Portrait seinandAcrylic.com www.jerichoarts.com/ 26 Main St., Dobbs Ferry, NY 10522 Artists, (203) 454-0280 Seeking entries Artists, All Media: New Rochelle Art (914) 674-8548. Seeks entries for “Pho- for Faces of Winter 2014: Exhibit at Writers: JM Northern Media, 2014 Assn., 30 Oakdale Ave., New Rochelle, tography Takes Over - 2014” to run Jan the UConn Gallery, 1 University Place, Great Northwest Book Festival, 7095 NY 10801. Seeks new members. Bring 3 30-Feb 23 at new gallery 8 Main Street, Stamford, CT Feb 7&8. Prospectus on Hollywood Blvd. Suite 864, Hollywood, framed and wired works to New Rochelle Hastings-on-Hudson, NY. Submit up website or email Deadline Jan 3. CSoci- CA 90028 323-665-8080 Seeks published Library, Library Plaza, New Rochelle to 6 jpgs (max framed size 20” x 24”) [email protected] www.CSOPA.org. and unpublished works in all genres. (nraonline.org) on Dec14, 10-11:30am. to [email protected] or There is no date of publication restric- HS Student Photographers: D&R Deadline Dec 14 www.nraaonline.org [email protected] Deadline Dec 20. tion, but all entries must be in English. Greenway & Princeton Photography [email protected]@op- Upload entry information from website Soft Pastel Artists: Pastel Society of Club, Princeton, NJ Seeks entries for tonline.net www.upstreamgallery.com Postmark deadline Feb 25, 2014 bruce@ America. Seeks entries for 42nd Annual “SeasonScapes”, juried exhibition at greatnorthwestbookfestival.com great- Juried Exhibition “Enduring Brilliance” Artists, Craftspeople: White Plains land trust. Visit website for info. Dead- northwestbookfestival.com at National Arts Club, NYC, Sept 2-21 Outdoor Arts Festival Committee, P.O. line Feb 14, 2014 www.drgreenway.org Send SASE (#10) PSA, 15 Gramercy Park Box 273, White Plains, NY 10605 (914) Artists, All Media: Look/Art Gallery, 988 Artists: East End Arts Council, 133 East South, New York, NY 10003 for prospec- 949-7909 or (914) 993-8271. Seeks en- S. Lake Blvd., Mahopac, NY 845-270-2043 Main St., Riverhead, NY 11901. 631-727- tus. Info: 212 533 6931 or download from tries for 52nd Annual Juried Show, May Seeks entries for Open Exhibit “All You 0900 x 302 Seeks entries for 7th Annual website. Deadline for CD: June 16 psaof- 31 & Jun 1, 2014, 10am-5pm at Tibbits Need is Love”. All info available on website. “Live on the Vine” Winterfest concert [email protected] www. Park, White Plains. Children’s work- Deadline Jan 20,1014. info@lookartgal- series Feb & Mar 2014. Call, email or pastelsocietyofamerica.org. shop, student art exhibits and more! lery.com www.lookartgallery.com visit website for prospectus. Deadline Free admission; food available. SASE or Artists: Piermont Flywheel Gallery, 223 Nov 30 stephanie.smith@eastendarts. Artists, All Media: Mamaroneck Art- call for application or information. www. Ash St., Piermont, NY (201) 836-8576 org www.eastendarts.org. ists’ Guild, 126 Larchmont Ave. Larch- whiteplainsoutdoorartsfestival.com Seeks entries for 2nd annual open juried mont, NY 10538 (914) 834-1117. Seeks Artists, All Media: Elizabeth Founda- exhibit “Attitude” Jan 30-Feb 9, 2014. work in all media for 10th Annual Small If you have an opportunity to tion for the Arts (EFA), 323 W 39th St, Visit website or call 845-365-6411 for Works Show, April 30-May 24. Max. list, email: info@arttimesjour- NYC 212-563-5855 x 225 Seeks new details. Deadline Jan 6. www.piermont- 15” framed in any direction. Juror: Bar- nal.com or write: ART TIMES PO members. Call or email for apps, info, flywheel.com tholomew Bland, Director of Curatorial Box 730, Mt. Marion, NY 12456. details. Deadline Dec 10. studios@ Affairs, Hudson River Museum. SASE Artists: Red Hook CAN / Artists Col- efanyc.org Please follow above format and for prospectus or download application. lective Gallery 7516 N. Broadway, Red include deadline and contact Deadline: Mar 14. www.mamaroneck- Hook, NY Seeks entries of all mediums for phone number. artistsguild.org. “Ornamentation” Nov 25-Jan 5 Email for Winter 2013/ 2014 ART TIMES page 21 Fiction The Pyramids at The Louvre By Candace Lyons We are the pyramids at the Louvre can come up with? Be aware, we un- of you get along with your siblings Surrounded by miles and miles of and, yes, we know what most of you derstand all the languages the globe to the point you would feel obliged to trackless desert. A few camels, the are thinking: we’re ugly. Atrocious if has to offer so, in French, English, say nice things about their creations, occasional passing nomad to break we’re to believe Marie Antoinette who Swahili or Croatian, we’re constantly especially if they weren’t around to the monotony but no more crowds is still around and prone to yammer reminded that hardly anybody likes hear you? Some of you, yes. But not of gawkers, especially hostile ones. — even decapitated. Did you just say, us, above all the local citizenry who all, admit it. Therefore we found our Still, a pyramid can’t just pick up «But she never lived there?» Well, can be as possessive — and disgrunt- admirer’s words marvellous, well and leave and, given our construc- you’re right. Nevertheless, she’s one led — as their ex-sovereign. chosen — and accurate. Let’s face it, tion, disintegrating until we’re mere of those queens who considers every Okay, we’ll concede that we everyone is better looking with the pyramids of dust is not, alas, going palace her palace and haunts this clash — badly, in fact — with the right lighting. to happen tomorrow which means we one because, travel being a hassle in architecture and its era. But ugly? Moreover, if we can cite what he have to hang in there. those days, going all the way back Why ugly? We’re made of glass and said from memory, it’s because he was But we’ve already been doing that to Versailles seemed silly when the steel, pleasing materials that form so poetic and not because this was for a couple of decades and have yet Louvre was a mere hop, skip and a an equally pleasing and time-honou- the only kind comment we’ve ever to find a way to keep from wincing at head roll from the public execution red shape. Yet these are virtues you heard. There are, believe it or not, every, «yuck,» and the myriad varia- grounds. Thus here she is and either usually choose to ignore until you’re people who actually do like us. Oh, not tions thereof, we’ve inspired. So think she had a really long neck or Henri inside and encounter the luckiest passionately, but well enough and, twice before you say anything. After Sanson set the guillotine blade high among us who got inverted so that sometimes, quite a bit. Fortunately, all, would you gather around an ugly that day because she’s still got her sunlight can pass through to the they have the courage to say so (given person and discuss his or her physi- vocal cords and, boy, does she use underground level, something you at the opposition, ‘courage’ is the right cal shortcomings? No, of course not. them. (You should hear what she has least seem to find very effective. word). If you’ve bet this almost never Well then, where’s the difference? to say about you visitors!) We others generally don’t gain happens, you win but, consequently, Words hurt. It’s been scientifically But even if Marie finds eternal your approval until nightfall when it makes the days when it does even proven and, whatever your words peace and departs to get on with her we’re illuminated from the interior, sweeter. A, «Wow, cool!» coming from are, remember that we’re stuck there incarnations, we’d still know we’re vastly improving our appearance. a kid can leave us sparkling even forced to hear them in any language considered less than lovely precisely This is not an assumption on our part. in broad daylight and we proudly you choose to express them. There- because of you visitors who are not One visitor called us, «a splendour of straighten — or slope — up until fore here’s what we suggest. On your shy about using your own vocal cords sparkling icebergs.» We quote. It’s we’re a good two inches taller (did you next visit to the Louvre while waiting while touring the courtyard or, worse, true he was speaking Chinese and we know we’re expandable?) within earshot (ours) to get in, why waiting right beside us to get into the know what you’re thinking: probably Nonetheless, such moments being not talk about the wonderful works museum. Standing in line is boring, a relative of I.M. Pei. But that’s just infrequent, we’d quit this courtyard if of art you want to see inside — and we’ll grant you, but is criticising us, pettiness, isn’t it? Even if he was we could and go find someplace where give us a break! no holds barred, the only remedy you Pei’s brother, be honest, how many we’d draw less attention. Like Egypt. (Mary C. Lyons lives in Paris, Fr). ef

The next issue is Spring 2014 (March, April, May) www.arttimesjournal.com and read essays that were If you missed getting an Opportunity or Calendar listing into this issue or a display ad for published in print and online your business or exhibit, contact us at [email protected]. We can accommodate you on our website with 24 hours of receiving your materials. Take a look online for exclusive web essays, videos, Calendar & Opportunity listings arttimesjournal.com

CALL FOR ARTISTS & CRAFTSPEOPLE 47th Annual Art in the Park Fine Art and Craft Fair

Future Art MAsters exhibit

FAME Heckscher Park, Huntington NY OnlinE StudEnt ExhibitiOn May 31 – June 1, 2014 10am – 5pm College & Art Institutions • Art High Schools Ask your Teacher to obtain a Prospectus Juried Show is rain or shine January 15, 2014 — May 10, 2014 Deadline May 9, 2014 www.americanartistsprofessionalleague.org Visit website or call for prospectus [email protected] www.artleagueli.org (631)462-5400

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540/578 Nepperhan Ave, Yonkers, NY Contact: (917) 682 - 5172 or (646) 572 - 6401, www.YOHOartists.com Winter 2013/ 2014 ART TIMES page 22 Tuesday, February 4 Continued from Page 14 Calendar David Jacobs: Sight and Sound Hofstra University Museum, Emily Lowe Saturday, January 11 Gallery Hempstead Tpke, Hofstra University Hempstead NY free (thru April 27) Patricia Pardini “Adventure Into the Rainforest” oil paintings Harrison Wednesday, February 5 Council for the Arts Harrison Public Library 2 Bruce Avenue Harrison NY 914-835- Open Small Works Exhibition National Association of Women Artists, 0324 Opening Reception 2-4pm free (thru Jan 31) www.harrisonpl.org Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Invited Artist: Tom Holmes: Sculpture, photography, installations free (thru Feb 12) www.thenawa.org Look| Art Gallery 988 South Lake Boulevard Mahopac NY 845-270-0243 Artist’s Young Artists on the Rise Mamaroneck Artists Guild 126 Larchmont Reception 6-8pm free (thru Jan 19) www.lookartgallery.com Avenue Larchmont NY 914-834-1117 Awards reception 5 - 7 pm free (thru Feb 8) Landscapes Mamaroneck Artists Guild 126 Larchmont Avenue Larchmont www.mamaroneckartistsguild.org NY 914-834-1117 Opening reception 3-5 pm free (thru Jan 25) www. Thursday, February 6 mamaroneckartistsguild.org Faces of Winter 2014 “Returning To The Classics Connecticut Society New Year/ New Work + ASK (Art Society of Kingston) Invitational Tivoli of Portrait Artists University of Connecticut (UConn) I University Place Stamford Artists Gallery, 60 Broadway Tivoli NY 518-757-2667 Opening reception 6-8pm free CT 203-251-8400 Awards Reception charge (thru Feb 28) www.csopa.org (thru Feb 2) www.tivoliartistsgallery.com Friday, February 7 Wednesday, January 15 CELEBRATING BERGEN COUNTY’S DIVERSITY Art Center of Northern New Associate Members’ Winter Exhibition National Association of Jersey 250 Center Street New Milford NJ 201-599-2992 free (thru Feb 28) www. Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NJ artcenter-nnj.org 212-675-1616 Reception 5-7pm. free (thru Jan 27) www.thenawa.org All Fired Up Gallery 66 NY 66 Main St. Cold Spring NY 845-809-5838 Opening Thursday, January 16 Reception 6-9pm free (thru Mar 2) www.gallery66ny.com Thursday Evening Salon Series The Visual Arts Center of New Jersey Floorcloths, Historical and Otherwise Valley Artisans Market 25 68 Elm Street Summit NJ 908-273-9121 free (runs through April 17 twice a week) East Main Street (Rte. 372) Cambridge NY 518-677-2765 free (thru Mar 4) www.artcenternj.org Historic Portrait Symposium with Robert Alexander Friday, January 17 Anderson, Igor Babailov, Stephen Early, Max Ginsburg, John Sanam Emami Ceramic Tulip Vase Workshop Westchester Community Howard Sanden, Fred Ross, Nelson Shanks and others Connecticut College Center for the Arts 196 Central Ave White Plains NY 914-606-7500 10:00 Society of Portrait Artists University of Connecticut (UConn) I University Place am - 4:00 pm charge www.sunywcc.edu/arts Stamford CT 203-251-8400 Demonstrations, critiques, presentations, premier art supply vendors. charge Register at website www.csopa.org Women Choose Women Again The Visual Arts Center of New Jersey 68 Elm Street Summit NJ 908-273-9121 donate (thru April 13) www.artcenternj.org Little Gems Exhibit: Annual group exhibit featuring small works JoAnn Bonady & Son, Joseph P. Bonady West End Gallery 12 West Market St. Corning NY Saturday, January 18 Opening Reception 5-7:30pm free (thru Mar 7) Eldar Djangirov in A Solo Recital (Classical/Jazz Pianist) Windham Saturday, February 8 Chamber Music Festival Windham Civic Center Concert Hall 5379 State Route 23 (Main Street) Windham NY 518-734-3868 8pm charge www.windhammusic.com Annual Erotic Art Show Tivoli Artists Gallery 60 Broadway Tivoli NY 845- 757-2667 Fundraising Event + Party Opening reception 8, 6-9pm-7pm performances Thursday, January 23 donate (thru Mar 2) www.tivoliartistsgallery.com David Shuler, organist - When Bach met Buxtehude Music & Arts at Arthur Wood Retrospective bau Gallery 506 Main St. Beacon NY 845- St. Luke in the Fields Church of St. Luke in the Fields 487 Hudson Street New York 440-7584 Opening Reception 6-9pm free (thru Mar 2) www.baugallery.com NY 212-414-9419 8pm charge www.stlukeinthefields.org/music-arts “Never Such Innocence again”: Picturing the Great War in French Ernest Withers’ and Danny Lyon’s images from the 1950s and 60s. Prints and Drawings Zimmerli Art Museum at Rutgers University 71 Hamilton Making the Movement: Photography, Student Activism, and Civil Rights St. New Brunswick NJ 848-932-7237 charge (thru July 31) www.zimmerlimuseum. (thru Mar 30); Persepolis: Word & Image (thru Mar 16) The William Benton rutgers.edu Museum of Art, University of Connecticut 245 Glenbrook Road Storrs CT 860-486- Tina Link Photographs Harrison Council for the Arts Harrison Public 4520 Reception 4:30-7pm free www.benton.uconn.edu Library 2 Bruce Avenue Harrison NY 914-835-0324 Opening Reception 2-4pm free Saturday, January 25 (thru Feb 25) www.harrisonpl.org Striking Resemblance: The Changing Art of Portraiture Zimmerli Art Sunday, February 9 Museum at Rutgers University 71 Hamilton St. New Brunswick NJ 848-932-7237 Annual CCP Members’ Exhibition: Branching Out Center for Symposium, March 7-8 charge (thru July 13) www.zimmerlimuseum.rutgers.edu Contemporary Printmaking 299 West Avenue (in Mathews Park) Norwalk CT 203- Sunday, January 26 899-7999 Opening Reception 2 to 5 pm free (thru April 6) www.contemprints.org 34th Annual Regional Juried Show The Ridgewood Art Institute 12 Wednesday, February 12 East Glen Ave Ridgewood NJ Opening Reception 2-4pm (thru Feb 9) www. Open Small Works Exhibition National Association of Women Artists, ridgewoodartinstitute.org Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 GraceMusic Presents a Special Three-Organist Extravaganza Reception 5-7pm free (thru Feb 12) www.thenawa.org GraceMusic Grace Episcopal Church 130 First Avenue Nyack NY 845-358-1297 4-6pm charge www.gracemusic.info Friday, February 14 The Kleio Quartet with Babette Hierholzer, piano Rhinebeck Next to Normal CenterStage Productions Center for Performing Arts at Chamber Music Society The Church of the Messiah Montgomery & Chestnut Street Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 Fri & Sat 8pm; Sun 3pm (Rte.9) Rhinebeck NY 845-765-2870 3 PM charge www.rhinebeckchambermusic.org charge (thru Feb 16) www.centerforperformingarts.org Women Choose Women Again The Visual Arts Center of New Jersey 68 Tuesday, February 18 Elm Street Summit NJ 908-273-9121 Opening Reception 6-8pm donate (thru April Spirit and Identity: Melanesian Works from the Hofstra University 13) www.artcenternj.org Museum Collections Hofstra University Museum, David Filderman Gallery Tuesday, January 28 Hempstead Turnpike, Hofstra University Hempstead NY free (thru May 12) Maureen Kelleher: Tender Strength All Around Me Sylvia Wald/Po Kim Thursday, February 20 Gallery 417 Lafayette St., 4th floorN ew York NY 212-598-1155 free (thru Mar 15) Choir of St. Luke in the Fields - Palestrina, Prince of Music Music www.waldandkimgallery.org & Arts at St. Luke in the Fields Church of St. Luke in the Fields 487 Hudson Street New York NY 212-414-9419 8pm charge www.stlukeinthefields.org/music-arts Thursday, January 30 Joyce Kanyuk: Captured Moments in Watercolor Piermont Fine Arts Judgement Day CenterStage Productions Center for Performing Arts Gallery 218 Ash Street, Piermont Landing Piermont NY 845-398-1907 free (thru at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 8pm charge www. Mar 9) Piermontfinearts.com centerforperformingarts.org Photography Takes Over 2014 Upstream Gallery 8 Main Street, Hastings- Friday, February 21 on-Hudson, NY (914) 478-1503 (thru Feb 23) www.upstreamgallery.com A Streetcar Named Desire CenterStage Productions Center for Performing Arts at Rhinebeck 661 Route 308 Rhinebeck NY 845-876-3080 Fri & Sat Friday, January 31 8pm; Sun 3pm charge (thru Mar 2) www.centerforperformingarts.org Dan Christoffel Solo Exhibit “ Pieces of Yesterday” Huntington Arts Visions of the Mind National Association of Women Artists, Inc. HUB- Council Main Street Petite Gallery 213 Main Street Huntington NY 631-271-8423 Robeson Galleries, University Park, PA University Park PA 212-675-1616 free free (thru Mar 3) huntingtonarts.org (thru April 20) www.thenawa.org N.A.W.A.’S 125th Anniversary Festival National Association of Women Artists, Inc. N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Saturday, February 22 1 - 5pm free www.thenawa.org Bergen DanceMakers: a Special Performance inspired by Selected Art Saturday, February 1 Works in Diversity Exhibit Art Center of Northern New Jersey 250 Center Sreet New Milford NJ 201-599-2992 3pm free www.artcenter-nnj.org All You Need Is Love Look| Art Galley 988 South Lake Boulevard Mahopac NY 845-270-0243 Opening Reception 6-8pm (thru Feb 16) www.lookartgallery.com Found Objects- New Works by Jean Tock and Carl Mazzella Look| Art Gallery 988 South Lake Boulevard Mahopac NY 845-270-0243 Opening Maureen Kelleher: Tender Strength All Around Me Sylvia Wald/Po Kim Reception 6-8pm (thru Mar 16) www.lookartgallery.com Gallery 417 Lafayette St., 4th floorN ew York NY 212-598-1155 Reception 5 - 8 pm free (thru Mar 15) www.waldandkimgallery.org Sunday, February 23 WSA Student Exhibition I The Woodstock School of Art Robert H. Angeloch Virginie Verrez, Mezzosoprano, Elliot Hines, Baritone- Bretton Gallery 2470 Rte 212 Woodstock NY 845-679-2388 Opening Reception 3-5pm free Brown, piano Rhinebeck Chamber Music Society The Church of the Messiah (thru Mar 8) woodstockschoolofart.org Montgomery & Chestnut Street (Rte.9) Rhinebeck NY 845-876-2870 3 PM charge www.rhinebeckchambermusic.org

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