INSIDE: Raleigh on Film; Bethune on Theatre; Lille on Batsheva Dance Company; Cole on Terry Frost; Goldman on Cedar Lake Dancers; Herman on Music; Tobey on Alice Barber Stephens; Steiner on ‘Modern’ Art; Seckel on Fredericksburg, Texas; Sussman on Investing in Art; New Art Books; Short Fiction & Poetry; Extensive Calendar of Cultural Events…and more! ART TIMES Vol. 31 No. 3 Winter 2014/15 (Dec/Jan/Feb) Fredericksburg, Texas: Hill Country’s new American Art Destination

By CORNELIA SECKEL I was asked if I’d like to join a press a more elaborate kitchen, many with group to explore Fredericksburg, a luxurious bathrooms and bathtubs, small town in Texas with wineries, room beautifully decorated and very galleries and historic sites. It had comfortable. Some are modeled on the been a while since I did any travel- Sunday Houses — the small 2 story ing so I accepted the invite and I am houses that farmers built in town for surely glad I did. The staff at Gei- a place to stay after church. ger & Associates has always been I arrived on a Monday having excellent. One of their many clients flown from Albany to Chicago and has been the Convention and Visi- then on to San Antonio where several tors Bureau (CVB) (visitfreder- of us were greeted and driven the 1.5 icksburgtx.com) and for many years hours north to Fredericksburg and they’ve been bringing journalists to our individual accommodations. Din- this town with the expectation that ner was at the Navajo Grill where there would be “stories” out in the Ernest A. Loeffler, Jr., President world and the tourism traffic would and CEO, of the Convention and increase. Well it certainly has. In the Visitors Bureau welcomed us and town of 11,000 individuals the visi- gave us an overview of the town and

Fellow Journalists enjoying coffee at the Java Ranch Espresso Bar and Café (mural by Lee Casbeer)

that hosted us. Both the Chefs and five counties near the geographical Vintners are dedicated to their craft. center of Texas. The Spanish arrived With most of the restaurants I found in 1519 and then other Europeans a strong focus on “farm to table”. in 1846 when John O. Meusebach The first known residents of led a group of 120 Germans sponsored Gillespie County (where Fred- by the Adelsverein, a Society for ericksburg is) were the Tonkawa the Protection of German Im- Indians. By the nineteenth century, migrants in Texas, to Texas. The Comanches and Kiowas had also Society was founded in April, 1842, moved into the area now known as by twenty-one German noblemen at the center of the Hill Country, the Biebrich on the Rhine, near Mainz, region including all or part of twenty- Continued on Page 10

Each Month visit arttimesjournal.com for new essays, videos, Nicole Bendele, public relations at Becker Vineyards, gives us a tour and a Tank & Barrel tasting— same wine from a tank and a barrel before we were treated to a calendar & opportunity listings Library Tasting —food and wine pairing (see insert) tors spend $89 million dollars each its history. Representatives from the CSS Publications, Inc. Support the Arts; year and stay at any one of 1,500+ Hilmy Winery provided the wines PO Box 730 Enrich your Life B&B’s, Guest Houses, Inns, Cabins, that paired with the 4 “tasting” Mt. Marion, NY 12456-0730 Hotels, Resorts and Cottages. These courses offered by the Navajo Grill (a www.arttimesjournal.com 845-246-6944 Guest Houses, while I can’t say are family-run business). As each course unique (but may be to Fredericks- came to the table the chef spoke about burg), are the featured “hotel room”. the food and the Winery reps did the Most are small cottages with a re- same for the wines. This was gener- Subscribe to ART TIMES frigerator and microwave, some with ally the case in all of the restaurants

ART-LITERATURE-DANCE-MUSIC-EXHIBITIONS-THEATRE-FILM-ART-LITERATURE-DANCE-MUSIC Winter 2014/2015 ART TIMES page 2 Peeks and Piques! ART TIMES EVERY NOW & then, I still run into were ‘cultured’ (Peter’s only direction Commentary and Resource for the Fine & Performing Arts and to quit producing ‘phony’ idyllic someone who asks me why I tend ART TIMES (ISSN 0891-9070) is published quar- beauty. (Some months back, I par- to his middlemen was “Don’t buy terly by CSS Publications, Inc and distributed to ignore ‘modern’ art and I always ticipated in a small group show in bad art.”) One need only weed out along the Northeast Corridor primarily through- readily admit to a deep bias to all substantives (nouns) that purport to out the Metropolitan & Hudson Valley Regions, which 3 or 4 representational works Connecticut, Massachusetts and New Jersey. its myriad manifestations, trends, ((a few of my ‘idyllic’ landscapes define what you are seeing from the Copies are also available by mail to subscribers politics, movements, isms, agendas included)) were hung alongside one adjectives, conjunctions, adverbs, and arts organizations throughout the US and abroad. Copyright © 2014, CSS Publications, Inc. and earth shattering, mind-blowing, non-representational artist who I modifiers and ‘fluff’ that professional ART TIMES online can be viewed at: arttimesjour- ‘cutting’ edges. I usually point out overheard claim that she was the art bloviators freely employ to ‘mag- nal.com and has a pdf of the current print issue (if they seem truly interested in only “honest” artist there). ‘Isms’ and nify’ their ‘criticisms’ so that they can (with images in color), as well as archived critiques, reviews, art essays, theatre, film, music, dance es- my ‘why’) that since its inception in ‘ists’ abounded, all armed with mani- earn their ‘cut’ of the profits.W ell, I’ve says from the past 13+ years. Each month the site 1984, ART TIMES has always tried festoes, rationalizations, apologies, tried to avoid touting stuff I don’t be- is updated with new essays, videos, advertising to take what I call the “long view”, and resources. Call for visitor statistics as they catchy labels (“Dada”, Surrealism”, lieve in (or even like) in ART TIMES change daily. readily giving over our pages to the “Futurism”, Suprematism, “Cubism”, merely to appear ‘au courant’. To be recognized past masters as well as Publisher: Cornelia Seckel “Fauvism”, “Constructionism”, “Op”, blunt, I just don’t care about your Editor: Raymond J. Steiner those artists of today who follow in “Pop”,”Outsider”, etc., etc. etc.), and angst, your anger, your politics, your Contributing Writers: their footsteps, faithfully learning justifications as to why it’s ‘hip’ for agendas, issues, hot buttons. fetishes Henry P. Raleigh Robert W. Bethune the ‘basics’ to produce equally ‘good’ or feigned inscrutability, nor want Ina Cole Dawn Lille artists to produce crap henceforth. Leslie Herman Emily Mure art. My ‘bias’ stems from the knowl- Discrediting classicism and classi- visual renditions of same on my walls. Subscription Rates: edge that, historically, most ‘modern’ cists, they succeeded in convincing I want my life enhanced by viewing USA: $18 /1 year $34 /2years art was ‘born’ after World Wars I & artists that even human excretion in ‘good’ art and not reading about it Foreign: $35 /1 year $45 /2 years II, both of which harshly revealed our a jar or a crucifix in urine is not only ala some bloviator’s hyped jargon. Contact for Print and Online Advertising Rates: CSS Publications, Inc., PO Box 730, Mt. Marion, feckless ‘morality’ and the cruel and ‘art’ but relevant ‘art’. Persuading an To me, ‘crap’ in a jar is still ‘crap’ NY, 12456. Phone/ Fax (845) 246-6944; senseless underbelly of our so-called uncultured and aesthetically-igno- and, if I want such negatives in my email: [email protected] ‘civilization’. Whether rightfully or rant moneyed class to patronize such life, there’s always prime time news Web site: arttimesjournal.com not, philosophers, soothsayers, pun- that can supply it ad nauseum. ART Advertising reservations are due: Feb 15 Spring ‘art’ was easy — after all, middle- (Mar/Apr/May) May 15 for Summer (Jun/Jul/Aug); dits, politicians, theologians — and, men had been serving clueless and TIMES has managed to survive with Aug 15 for Fall (Sep/Oct/Nov); Nov 15 for Winter yes — even artists, aestheticians, wealthy royalty as art ‘pundits’ since its benighted views for over 30 years, (Dec/Jan/Feb). Items for inclusion in the Calendar must be uploaded to www.arttimesjournal.com/ and critics eagerly jumped on the they saw how easy it was to convince witnessing several “hip slicks” come submitevent.html and Opportunities listings must bandwagon, proclaiming the world Catherine the Great (and her father, and go during our tenure — so why be submitted by email/ fax or mail by the 18th of the rotten, corrupt, meaningless, ugly, preceding publication month. Email for guidelines. Peter) to buy ‘art’ by the truckload, fix what ain’t broke? and just plain ‘shit’, and that it was Guest articles on the arts are also considered but because whatever it ‘meant’, collect- Raymond J. Steiner must be preceded by a written Query. Our “Speak the artist’s ‘duty’ to ‘tell it like it is’ ing ‘art’ showed the world that they Out” section is a forum for reader’s relevant opin- ef ions on art-related matters; viewpoints expressed in the “Speak Out” section are not to be construed as positions held by the publisher, editor or staff arttimesjournal.com of this publication. Queries, Mss. without SASE Betsy acaruso Studio included will not be acknowledged. We do not accept J new essays & resources monthly electronic submissions. Sample copy: 9x12 SASE. Small Works 2014 Holiday Show Gallery ART TIMES welcomes your letters and comments. & Nothing in this publication may be reproduced Through January without written permission of the publisher. Paintings by Betsy Jacaruso Contents & Letters Cross River Artists Art …………………3, 8, 15 Letters …………………2 Art Book Review………14 Music ……………………7 To the Publisher: Many Small Works for $100 each ! Calendar of Events ……4 Opportunities …………18 Thank you for including Arts Mid- During the month of Dec the Gallery will be Classifieds………………16 Peeks & Piques! ………2 Hudson’s ribbon cutting at the new hanging small original watercolor paintings Poets’ Niche ……………6 location in Art Times Journal! We ($10 ea) on our Art for the HeART themed Dance…………………5, 13 really appreciate your support! tree, proceeds will be donated to the arts Editorial………………2, 3 Speak Out ………………3 Judith M. Brush, programs at The Astor Home for Children. Fiction ………………6, 12 Theatre ………………19 Board Member, Arts Mid-Hudson Film ……………………17 Travel and Culture ……1 Hrs: Thurs-Sat 11-5, Sun 11-4 . www.betsyjacarusoartist.com 43-2 E. Market Street . Rhinebeck, NY . 845-516-4435 To the Publisher: Thank you for accepting to be an Hon- orary Chairwoman for the Catharine N.A.W.A., but if not at least others was happy to see you included a photo services were provided in consider- Lorillard Wolfe Art Club’s 118th can briefly attend the edited ver- of Bob’s painting kits. John and I ation for this donation. Annual Open Exhibition. It will be sion of a wonderful evening among were honored to gather some of Bob’s Your continued unselfish patron- held at the National Arts Club from women’s art. work for others to enjoy. age of pastel artists contributes in a December 2nd — December 19th, Mary Alice Orito Our best to you and Ray. major way to the success and prestige 2014. Our Benefit Reception will be NAWA Board Member Be well, of each year’s exhibition and celebra- held on Friday, December 12th at 85 Fifth Ave., NYC, NY Paula Nelson tion of the medium. By providing the National Arts Club, located at 15 W. Hurley, NY critical support, your award furthers Gramercy Park South, New York City To the Publisher: the endeavors of an outstanding pas- from 5:30 — 8:00 pm. I just saw the Spencer article on the To the Publisher: tel artist and helps spread the word Thank you. site and then in the print journal, too, Thanks for sharing Art Times with about pastel as a fine art medium. Elissa Prystauk yes? I’m so delighted you were able us this month, especially since Skee- Enclosed please find a copy of the Morristown, NJ to fit it into the Fall print edition! I’d ts’s picture appeared with Ray. We exhibition catalog that includes a love to have some extra print copies, enjoyed reading your Culture Scene listing of your award, as well as the To the Publisher: if you can spare them. pieces and Ray’s thoughts and opin- name of the recipient. Cornelia — thank you for what you Rena Tobey ions expressed only the way he can. To further express our gratitude, do for ALL Art Organizations and Hamden, CT Kathy and Skeets all annual award donors and patrons Artists. You are amazing. to the 42nd Annual are listed on the To the Publisher: High Woods, NY Susan G. Hammond PSA website. Please send my compliments to poet Exec. Director To the Publisher: Once again, please accept our James B. Nicola for his poem “On Nat- National Association On behalf of the Pastel Society of deepest thanks for your patronage alie’s Definition that God is Alive”. of Women Artists, NYC America, I would like to thank you of pastel artists and the society. We Robin Burkhardt for your generous sponsorship of a hope you will join us again in 2015 To the Publisher: To the Publisher: $100 cash award in our 42nd Annual when PSA celebrates its 43rd Annual Grateful for your creative insight & Just read Culturally Speaking in Open Juried Exhibition, Enduring Exhibition in the Grand Gallery of the practical ‘technical skills…Memo- your online Fall issue, and want to Brilliance. Awards were distributed National Arts Club in New York City. ries of a wonderful evening live on at the awards ceremony on Septem- thank you for including the Angeloch Carrie Raeburn by visually sharing the event on ber 21, 2014. Please note that your Under Glass exhibition at the Wood- Awards Chair, PSA, NYC. video (November Online). Thank you. stock School of Art in your column. I donation is tax-deductible as PSA is Hopefully, interest will be piqued in a 501(c) (3) corporation. No goods or Continued on Page 16 Winter 2014/2015 ART TIMES page 3 Speak Out Investing in Art By Jeffrey Sussman There are numerous ap- ence when showing it to your friends the highest return when investing in Now, during our low interest rate en- proaches to investing in art. You can and colleagues. Ultimately, as both a art.” According to the AMR Art 100 vironment, a static global economy, ask dealers about art, artists, and thing of beauty and a thing of mon- Index, the price of art has increased and unattractive bond markets, art prices; you can consult art catalogues; etary value, it may be left to heirs, or more than 8% annually over the last as a financial asset is attracting ever you can attend auctions. sold at auction, or sold privately to 25 years. According to The European larger portions of the investment When encountering a work of another collector. If history is a guide, Fine Art Foundation, the global art community, including institutional art that captures your imagination, the value of the work will increase market is now approximately $56 bil- investors, who are seeking significant rather than consulting dealers who over the years. lion. Of course, the monetary benefits returns on their investments as well have a vested interest in your mak- While New York City is the center of owning art are considerable: it’s a as diversification of their portfolios. ing a purchase, you should begin by of the art market, where the high- hedge against inflation, it’s a hard while investing in art is a satis- researching the artist. Do an Internet est prices are paid at auction and asset, and it serves to diversify one’s fying pursuit for affluent collectors search. Learn about the artist’s edu- at prestigious galleries, there are so investment portfolio. In fact, studies who value a high return on their cation, commissions, and exhibitions. many galleries in New York City that have shown that art has frequently investments, there is much more that You may even be able to Google the one can find numerous works of art outpaced such equities as bonds, motivates the lover of art who is an work of art itself. Various sites, such that will one day be worth consider- CDs, money market funds, and other ardent collector: Works of art not only as artfact.com or even eBay may ably more than current valuations. conventional savings instruments. provide collectors with a high level of provide important pricing informa- Finding such galleries and the works The Mei Moses® World All Art Index prestige and status, but a collector, in tion. For further assurance, you may of art exhibited therein requires con- shows positive returns on the sale of addition to being admired for taste even choose to get an appraisal. With stant investigation. There are many art over the past 50 years. Art sales and sagacity, may also be perceived that panoply of information, it will wonderful surprises awaiting the have outperformed annuities, bonds, as a special individual who, by sup- still be your taste, sensitivity, and thoughtful and adventurous lover of and fixed income over the last 10 porting the world of art, has admi- economic wherewithal that will guide art. I know of many people, includ- years. As a quantity of measurable rable eleemosynary motivations. your judgment. ing myself, who have found wonder- value, art has shown to be an effec- altogether, investing in art has When deciding to purchase a work ful works of art that have increased tive hedge against increasing prices proven to be an important social, of art, you will surely consider its significantly in value over the years. when inflation rises. On average, art cultural, and financial activity, one monetary value as an investment, but And it is contemporary art, by the has performed significantly better that supports thousands of creative art should not be perceived as just a way, that holds out the greatest op- over the last 40 years when inflation artists, while enriching our culture commodity. It’s not like buying corn portunity for the collector. is rising. Returns on art are often and offering important and manifold or wheat futures. Art, unlike com- On a recent financial panel whose weakest when inflation is falling. opportunities to enhance our civili- modities, should give you pleasure for topic of discussion was Art as a Fi- In other words, the prices of art can zation. Those who invest in art are years. Art can inspire the collector’s nancial Asset, the panelists agreed be substantial and sustained when performing an activity that not only pride, not only pride of ownership, that high-end contemporary art is the the financial environment produces benefits themselves, but the entire but also the pride you will experi- “place to put your money right now for extended periods of mounting prices. world of art. ef

The next Print issue: Spring March, April, May If you missed getting an Opportunity or Calendar listing into this issue or an advertisement for your business or exhibit, contact us at [email protected]. We can accommodate you on our website within 24 hours of receiving your materials. Make sure to take a look online for exclusive web essays, videos, Calendar and Opportunity listings. www.arttimesjournal.com 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: MARC CHAGALL Jacob & the Angels, Lithograph Winter 2014/2015 ART TIMES page 4 Because our Calendar of Events is prepared months in advance Friday, December 5 dates, times and events are subject to change. Please call ahead Calendar to insure accuracy. Art-To-Go Studio Montclair Academy Square Galleries 33 Plymouth Street Mont- Monday, December 1 clair NJ 973-744-1818 Opening reception 6 to 9 pm free (thru Dec 7) ALAKANANDA MUKERJI exhibition Blue Mountain Gallery 530 25th Street New ASOG Holiday Show The Art Society of Old Greenwich YWCA of Greenwich 259 East York NY 646-486-4730 (thru Dec 20) Putnam Avenue Greenwich CT Opening Reception 6:30pm to 8:30pm free (thru Dec 31) Babes in Toyland The Woodstock Playhouse with the Rondout Savings Bank HOTCHKISS ENSEMBLES: HOTCHKISS ORCHESTRA AND RIGHT BRAIN Woodstock Playhouse 103 Mill Hill Road Woodstock NY 845-679-6900 charge (thru LOGIC JAZZ The Arts at Hotchkiss The Hotchkiss School 11 Interlaken Road Lakev- Dec 7) ille CT 860-435-4423 7pm BASAHART Open Studio: Basha Maryanska & International Artists 211 Fishkill “It’s a Wonderful Life” Half Moon Theatre at the Culinary Institute of Ave, Beacon, NY (thru Dec 20) America - Marriott Pavilion 1946 Campus Drive Hyde Park NY 845-235-9885 Fri. 8pm, Sat. 2pm & 8pm, Sun. 2pm charge (thru Dec 20) DECK THE WALLS: Holiday Exhibit and Sale Crawford Gallery of Fine Art 65 Main St, Pine Bush, NY (845) 744-8634 (thru Dec 30) “It’s A Wonderful Life” Up In One Productions The Center for Performing Arts 661 Route 308 Rhinebeck NY 845-876-3080 charge Adapted for the stage from Dutchess handmade - a pop-up shop local site for holiday gifts Arts Mid- Frank Capra’s beloved, holiday film. Tickets: 845 876 3080 Hudson 696 Dutchess Turnpike Poughkeepsie NY 845-454-3222 open M-F: 9:30-5:30 Sat: 12-5pm free (thru Dec 24) Jewelry Trunk Show Event Flat Iron Gallery 105 So. Division St. Peekskill NY 914-734-1894 4-9 pm free Holiday Show 2014 Blue Door Gallery 13 Riverdale Ave. Yonkers NY free (thru Dec 20) METAVERSES: Re-installation of exhibit originally presented at the Met Museum Westbeth Artists Residents Council Westbeth Gallery 55 Bethune Street Holiday Small Works Show Woodstock Jewish Congregation Gallery Lev New York NY 212-929-0378 4:30 -7:30PM IPads available. free Shalem, 1682 Glasco Tpke. (off Rt. 212) Woodstock NY 845-679-2218 free (thru Jan 5) Rago’s Silver, Coins and Currency Auction Rago Arts and Auction JOHN BEARDMAN Exhibition NoHo Gallery/ M55 Art 530 W. 25th St., 4th Fl Center 333 N. Main St. Lambertville NJ 609-397-9374 free New York NY 212-367-7063 (thru Dec 13) Seven x One: A Member Exhibit New York Art Teachers Association, Region JULIE HEDRICK: Alchemy Nohra Haime Gallery N730 Fifth Avenue Suite 701 7 Newburgh Brewing Company 88 Colden St. Newburgh NY Opening reception 6:30- New York NY 212-888-3550 free (thru Jan 3) 8:30pm free (thru Jan 1) Kiss Me You Fool Soho20 Chelsea Gallery 548 West 28th St Suite 333, NYC 212 The Nutcracker Ajkun Ballet Theatre Whitney Theater at New 367-8994 (thru Dec 20) Rochelle High School 265 Clove Road (off North Avenue), New Rochelle NY 212-868- Leah Macdonald’s encaustic, mixed media photographs: Unlocking 4444 charge Begin a truly special holiday season with Ajkun Ballet Theatre’s magical Whimsy Galerie BMG 17 Cricket Ridge Bearsville NY 845-679-0027 free (thru Jan 5) Nutcracker suite, filled with The Company’s great dancers and adorable children from the Public School District of New Rochelle. Marlene Wiedenbaum, PSA: New Pastels Dacia Gallery 53 Stanton Street New York NY 917-727-9383 free (thru Dec 5) Transitions Gallery 66 NY 66 Main St. Cold Spring NY 845-809-5838 open- ing reception 6-9 pm free (thru Dec 28) Small Works Holiday Show Betsy Jacaruso Studio and Gallery 43 E. Market Street Rhinebeck NY 845-516-4435 free (thru Jan 31) Saturday, December 6 Student Exhibition 11 The Woodstock School of Art 2470 Route 212 Woodstock 24th Annual Craft Fair Unison Arts Center New Paltz Middle School 2 S. NY 845-679-2388 Opening Reception 3-5 (thru Dec 20) Manheim (at Main Street & Route 299) New Paltz NY 845-255-1559 10am-5pm charge Thumb Box Exhibition Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 A Gift of Art Mamaroneck Artists Guild 126 Larchmont Avenue Larchmont NY (thru Jan 2) 914-834-1117 Holiday Reception 5-7pm. free (thru Dec 24) Tuesday, December 2 A Holiday Celebration - Best of the Baroque Close Encounters With Music The Mahaiwe Performing Arts Center 14 Castle St. Great Barrington 118th Annual Open Juried Exhibition Catharine Lorillard Wolfe Art MA 800-843-0778 6-8pm charge Club National Arts Club 15 Gramercy Park S. NYC (thru Dec 19) Art-To-Go Studio Montclair Academy Square Galleries 33 Plymouth Street Art After Hours: First Tuesdays Zimmerli Art Museum at Rutgers 71 Ham- Montclair NJ 973-744-1818 10 am to 5:30 pm free (thru Dec 7) ilton Street New Brunswick NJ 848-932-7237 5-9pm free Furuya Sisters Trio Concert at Forte Pianos NJ Furuya Sisters Concert Thursday, December 4 Series Forte Pianos NJ Schimmel Recital Hall 385 Route 17 South Paramus NJ 914- Choir of St. Luke in the Fields sings German Baroque Christmas music 200-3622 4pm charge Music & Arts at St. Luke in the Fields. Church of St. Luke in the Fields 487 Hudson Group Show #9: Color Galaxy - Works by 35 artists fueled by color. Mer- St New York NY 212-414-9419 8pm charge edith Rosier Presents the Drawing Galaxy The Wired Gallery 11 Mohonk Road HERE WE ARE, PHOENIX GALLERY ARTISTS Phoenix Gallery 548 West 28 High Falls NY 682-564-5613 Opening Reception 5-7 p.m. free (thru Feb 22) street, suite 428 New York NY Opening Reception 6-8pm free (thru Dec 20) HOLIDAY SALE The Woodstock School of Art 2470 Route 212 Woodstock NY 845- “Revealing Common Ground” Blue Hill Art & Cultural Center Blue Hill 679-2388 12-4PM Plaza 1 Blue Hill Plaza Pearl River NY 518-894-7845 Opening Reception 6-8pm free HOTCHKISS IN FIFTY OBJECTS The Arts at Hotchkiss Tremaine Gallery at (thru April 17) The Hotchkiss School 11 Interlaken Road Lakeville, CT 860-435-4423 (thru Jan 18) “Sparkling Gems, Glass Vessels, and Ornaments!” Flat Iron Gallery Intro to Small Metals: Ornament Center for Metal Arts 44 Jayne Street 105 So. Division St. Peekskill NY 914-734-1894 free (thru Dec 28) Florida NY 845-651-7550 8-4pm charge We are the clay; the work of Your hand SOHO20 Chelsea Gallery 548 W 28th Street, #333 New York NY 212-367-8994 Opening reception 6-8pm. free Continued on Page 12 (thru Dec 20) START THE NEW YEAR AT THE WOODSTOCK SCHOOL OF ART Speak Out The School will be reopening January 6, 2015

is your forum! ADVENTURES WITH COLOR CUT AND PAINTED PAPER PAINTERLY SOLARPLATE PRINTS with K. L. McKenna with Jenne M. Currie with Kate McGloughlin ART TIMES seeks your opin- January 14-17 February 6-27, Fridays 1-4 March 23-25

ions, viewpoints, ideas and ARTFUL USE OF WHAT’S AT HAND CONSTRUCTING/DECONSTRUCTING A NATURES LIBRARY: complaints on any aspects of with Polly Law THE LANDSCAPE MIXED MEDIA DRAWING January 24-25 with Christie Scheele with Margarete de Soleil the arts. If you have a point February 14-16 March 28-29 to make—no matter how POCHOIR with Kate McGloughlin ACTION ABSTRACTION controversial—all we ask is February 2-4 with Jenny Nelson that it be well reasoned and February 21-22 professionally presented. (No 845 679 2388 WHITE LINE WOODBLOCK for a complete listing of all classes and advertorials, please). Limit [email protected] with Anita Barbour March 3-5 events visit woodstockschoolofart.org yourself to three (3) double- The Woodstock School of Art, Inc. is a not-for- spaced typewritten pages STUDENT EXHIBITION 1 HANDMADE BOOKS AS ART with Loel Barr profit, 501(c)3, educational institution char- and send with a SASE to: March 7-8 tered under the laws of the State of New York.

“Speak Out,” ART TIMES, Work by students of a Funding made possible by the New York State Council on selection of School instructors ABSTRACTION AND the Arts with the support of Governor Andrew Cuomo and PO Box 730, Mt. Marion, NY LARGE SCALE DRAWING the New York State Legislature and County of Ulster’s Ulster 12456-0730. A by-line and with Meredith Rosier County Cultural Services & Promotion Fund adminstrated by March 14-15 the Dutchess County Arts Council. tag-line identifying the writer February 7-March 14 Reception, Saturday, February 7, 3-5 PM accompanies all “Speak Out” PO Box 338 • 2470 Route 212 articles. Woodstock NY 12498 Winter 2014/2015 ART TIMES page 5 Dance Batsheva at 50 By Dawn Lille The Batsheva Dance Company In the last few years he has also of Israel, under the Artistic Direction become know for Gaga, his approach of Ohad Naharin, just completed a to working with his own dancers that series of performances in the Opera has begun to spread like the clichéd House of the Brooklyn Academy of “wild fire,” attracting both dancers and Music (BAM) as part of a 50th Anni- non-dancers. versary tour of the U.S. and Europe. an exhibit at the New York Pub- They offered the American premiere lic Library for the Performing Arts of Sadeh21. (through January 5) is titled “Batshe- Batsheva was founded in1964 by va Dance Company at 50, American Baroness Bethsabee de Rothschild. Concepts and the Israeli Spirit.” It She convinced her long time friend contains photographs of the beginning Martha Graham to be the first Artis- years and archival excerpts from ten tic Advisor of this repertory company. early dances. There is also a documen- Graham and members of her own com- tary, The First Night, which shares the pany taught classes and staged seven current memories of some of the first of her works over a period of several participants. years. The auditions for the original The second part of the title of this ensemble resulted in fourteen Israeli exhibit really tells us why and how dancers, one of whom, Rena Gluck, the company became its 50 -year -old SADEH21 by Ohad Naharin (Photo Gadi Dagon) who danced several of Graham’s own self. The American “concepts,” start- constant flow of movement that comes space and turns their bodies into sculp- roles, calls the “founding” dancers. ing with the Graham technique, the from a suggestion by the teacher, it is ture. Some episodes suggest animals In the beginning Batsheva was a prevalence of American guest chore- an individual approach that begins and their instincts, others children or mix of Israeli culture, with the strong, ographers and the constantly chang- by creating an intimate connection to babies at play. explosive movement it produced, and ing Artistic Directors, most of whom one’s own body. It uses gravity without sadeh translates as leaf or section American modern dance, originally were American, were confronted by giving into it. Eventually it allows one and the number of each section is Graham, with its percussive, angular, the strong, expressive, passionate Is- to identify movement habits and, more shown on the high gray wall that is inward focused style. But in a reper- raeli bodies and spirits. Israelis were importantly, to expand and acquire the set. There are not really 21 differ- tory that grew via works by Robert often “assistants” or “acting” but never new capabilities that go beyond daily ent movement studies since 7-18 are Cohan, Anna Sokolow, Jerome Rob- really in the top position of control. Al- limits. lumped together. The piece is a series bins, Agnes De Mille, Donald McK- though there were occasional works by He refers to Gaga as a toolbox that of solos, duets (which can be merely ayle, Talley Beatty, Jose Limon, Glen Israeli choreographers, and, under the can help us discover what exists within two people dancing in proximity at Tetley, Paul Sanasardo and others, directorship of Paul Sanasardo, some our own bodies, but is not used. Naha- the same time) plus group sections. they acquired a wider and more varied new Israeli choreographers made con- rin feels it is easier to give up old ideas Company material refers to the work when you have new ones. His mantra as the “voyage of the body,” but it could is, “Listening to the body is a lot more also be considered a flowing picture of meaningful than telling it what to do.” human beings sharing abstract mo- when asked about his choreograph- ments of the lives we all live and the ic approach, he characterizes it as an emotions experienced therein. attempt to blend content and form, but The dance begins with a solo by each not narratively. He goes into the studio dancer that serves to introduce them and teaches the rules of a new piece as individuals. The different phrases to the dancers; they then teach him reveal sudden changes in shapes and to play with the material. Often they dynamics, from melting delicacy to contribute so much, as in Sadeh21, sudden bolts of movement. Some of that they are credited with part of the the sections have moments of silly choreography. He feels his dancers clownishness and others, like the one have developed an intuitive approach in which the dancers move with slow to what he wants and they can impro- deliberation in an ever - expanding vise from the sensation or energy of circle, project pure community energy a movement, while at the same time at its best. maintaining their own unique selves. section 20 was another series of He will only set a new work on his own solos with what seemed to be a scream- company. ing voice as accompaniment. Each SADEH21 by Ohad Naharin (Photo Gadi Dagon) Sadeh21 is a 75 -minute work for 18 dancer, using a different part of the dancers, set to a soundtrack by Maxim stage, reacted to this grating sound in American approach to dance. tributions, this was still a repertory Waratt of music by six composers, a different manner and one felt emo- Ohad Naharin became the Artistic company of mostly American choreog- including Brian Eno, Auleche and Jo- tionally drained watching them. The Director in 1990. Born on Kibbutz raphers. hann Pachabel, with sensitive lighting woman in the red top (Bobbi Smith) Mizra to a mother who taught dance Thus, when Naharin arrived he by Avi Yona Bueno (Bambi). Naharin was especially riveting. and movement, he also studied mu- was not only the first Israeli to be is the choreographer “in collaboration In section 21 the dancers climbed to sic extensively. He began his formal really in charge of the talents of this with Batsheva dancers, 2010-2011 the top of the wall from the back and dance training as an apprentice with often-rambunctious group, he was an season.” once there fell or jumped backward. Batsheva in 1974. Graham invited him internationally recognized choreogra- For most of the BAM audience this This could be interpreted as giving up; to join her company in New York where pher, a forceful dancer and a strong was a first viewing. But I saw the rather it was about taking risks and at he ended up studying for a year at personality. Although the company, piece when it premiered in May 2011, the end all 18 dancers were standing Juilliard under an Israeli scholarship. whose dancers are now international, in Jerusalem. With its sometimes ag- firmly on the wall. He also took classes in classical ballet. has danced works by his like-minded gressive, other times vulnerable, often Given the political turmoil in the Years later he said in an interview that European colleagues Jiri Kylian and sensual movement, and the varied world today and Israel’s spotlighted Graham’s movement did not satisfy William Forsythe, it has become an music that is frequently more back- position in it, Naharin is often ques- him, although her spirit and love of ensemble that dances only his works. ground than accompaniment, it was tioned about the role of the artist. His dance did. He went on to dance with In Israel the group performs in sold out one of those remembered experiences. answer is, “To NOT be a politician.” the Bat Dor Company in Israel and houses of the young, who react viscer- This time was no different, but it was Yet to him all art comes from pas- then Maurice Bejart’s Ballet du XXe ally to the movement and, often, the possible to see and feel some things sion and he realizes that, since it is Siecle in Brussels. music, some of which he has helped more clearly. always looking for new solutions and Back in New York in 1980, Naharin write. The first thing one observes is the advocates freethinking, “the byprod- made his choreographic debut, form- Gaga is a method of body awareness dancers. They are strong, unbeliev- uct of choreographic effort can oppose ing a company with his wife, Mari Ka- developed by Naharin for training his ably flexible (there is no visible ef- conventional and conservative politics jiwara (d. 2001). They also performed dancers. It is a movement language fort in their recovery from extreme and thinking.” He wryly suggests that abroad and he created works for sev- that resulted from his own moving backbends) and in full control of their maybe all government officials should eral international companies, among and thinking about movement and his bodies, which they allow to go as close participate in Gaga! In any case, them the Nederlands Dance Theater. studio attempts to create a new lan- to out of, control as is possible. In their watching the dancers of Batsheva is a Today this list has continued to grow guage in order to collaborate with his honesty and integrity they are beauti- pleasure. and includes the Alvin Ailey Company. company. Consisting of a stream of a ful in choreography that sculpts the ef Winter 2014/2015 ART TIMES page 6 Fiction Gulf One by J.A. Pollard Clement Lucius Clay huddled Damned awful bubbling! Maybe A big, incredible explosion and flash of and clearly calling-- and it didn’t say, on the sand dune starting a vision. one of THEM! The bastards. Dirty light. Blinding. Buildings crumbling, “Move yo butts!” Instead it spoke a He held his semi-automatic loosely, bastards! Killed his best friend! horrific scent of burning rubber, metal, language none of them understood keeping it pointed toward the ridge in He’d-- glass, stone, skin, bones, eyeballs, but all of them recognized, and it rose front, wondering where they’d got to, Vision jiggled. Swamp where the fingernails, steaming sewers. And he from underneath their feet. Almost. how close they were to enemy lines, to pond had been. Was now. Because he screamed, watching the pond erupt With a horrible sense of disaster they the oil field, wishing the goddamned seemed to be in it. in the park, evaporate in an instant. knew that a lookout was challenging. ‘dozers would hurry up-- the tanks “Clem!” said Charlie. “Clem, ole Watching the ocean boil. “Peace in the name of god!” the with big blades welded to the front-- buddy. Oh, my buddy!” And Charlie’s “Clem!” said Charlie. photographer whimpered. “Hum come on up and bury those ragheads face was there above him, Charlie’s “Gawd!” the photographer whined. delillah.” They stopped stock still. in their trenches. Run right over them goofy, gorgeous, dark brown face, “He’s dead,” pronounced the No reply. There was only the wind and bury them alive before they had teeth all white in the darkness. journalist. “And, Jesus, look at the and the stinging, obliterating sand, a chance to set off another rocket. “Go “Jesus, Clem, you-all hurt bad, expression on his face! What’d he say and the memory of Clement’s body git the goddamned SCUD!” Where buddy?” to you, Charlie? What was he tellin’ being buried back there, somewhere the hell were the air boys? Goddam But he couldn’t answer. you just then?” While the sand came back there, wherever “back” was. scent all around -- like when you “Dozers comin’. Hol’ on tight, harder, a sound like insects rubbing Charlie turned around and gut-shot a deer. Big stink of burning buddy. Hol’ on tight, ole pal. Bury the wings together, a quick, metallic scurried off in the opposite direction, oil downwind. Fuckin’ scorpions sons-a-bitches.” buzzing. the journalist and photographer scuttling everywhere. And the world appeared to rumble. But the dark-skinned man just sat following. He was thinking, ‘Shit! Charlie’d been babbling about And it was very confusing because there, holding the hand of his friend. Shit! Shit!’ leeches. Right out there in the desert Charlie was dead, and HE was “Heah come the ‘dozers. Gonna bury The journalist was thinking, babbling about his sister and how hunkered-- them sonsa bitches out there.” ‘What a story! What a story! If only I she’d died in childbirth, and how the He felt the semi slip from his “Yeah,” the journalist replied. “I can get it out!’ leeches had gotten all over them that fingers, pondered. ‘The bog is gone-- can hear ‘em screamin’.” While the photographer imagined, summer they’d swum in the brook along with part of the pond which is “Move yo butts!” ‘Jesus Christ! Nearly fell down on when they were little kids-- talking salt, now, open to the sea--‘ And they went scrambling away, toppa them!’ about leeches in the middle of the And the journalist kept poking his taking Clement’s semi with them, And, slithering, falling, choking, goddamned desert, Clement couldn’t head up, croaking, “Jesus! Jesus!” running along the hip of the dune, gagging, they came against a towering believe it. “Charlie!” And the photographer was getting his sliding down into gravel, plunging hulk of burnt-out vehicle blocking the Someone, somewhere, was crying. camera ready, fumbling with the film, away from the trenches where the way, and Charlie said, “Know ‘xactly Making a bubbling sound. And all his fingers shaking so he couldn’t enemy had dug, feeling the sandstorm where we are!” he could picture was the desert like wind it right. quicken, begin to come roiling over in # a pocked, grey pancake, riddled by ‘Jesus,’ thought Clement Lucius. a thick, red blast. Back in the tent, showered and wadis, dried up riverbeds, crumbling ‘Quite a guy. Nobody wanted to do “Where the hell are they, Charlie? fed, the photographer sidled up to cliffs, and gypsum shining in the what the Big Man told them to. Where’s that guy that yelled?” him. “What’d he say, Chuck? What’d sun. Nothing there to bubble. But the Everybody wanted to fight instead. The photographer was stumbling Clement say at the last of it?” vision included the pond, about the Jesus: quite a guy!’ ahead, white hair full of grit turning “Buried out there! Pushed right in size of a dime with all those buildings Wind seemed to be picking up. It it red, the journalist coughing and with the bastards. Dozer driver told around it, so tall they cut out the sun had been overcast, like being in a crouching, looking anguished. me so. Buried out there-- along with mostly, and the water gleaming like hot, brass bowl, the world one color, “Straight ahaid,” yelled Charlie, THEM!” a little, sad eye, looking up at clouds. the scent of-- something dry and dead thinking, BETTER be straight ahaid, “But what’d he say, Charlie?” Once it had been a marsh, they told and moonlike in the air. Dry bones. knowing he could get turned around And they both lit cigarettes. “Had him. A major ‘mother marsh’. With Sand came sprinkling on his face real easy. “Cover ya fuckin’ nose an’ a vision,” Charlie said. “Home-- ya a lake to the east. All filled in now. like fingers walking, everything on mouth!” coughing into his collar, know?-- big city with the park in the Nothing but buildings and roads and tiptoe. Charlie muttered. Then came pulling his shirt up high. “Where middle of it? Said he saw it goin’ up houses and people and cars. Reeking a sound like the groan of monstrous the hell ARE they?” hearing what in radiation like a mushroom cloud.” of oil and gasoline. Cement. Made of animals off to the south, something sounded like the rumble of engines, His mouth was grinning while his sand. Like the desert. ‘Home,’ by god! ominous and complaining. And the hearing the wind. eyes looked blank. “Like a mushroom At least ‘over there.’ Back there. Back wind picked up a little more. Sand It rose over them, then, and circled cloud, man, like a great, big, fiery where he wanted to be. spattered harder. around like a hound on a scent, rose furnace.” Only now he couldn’t get out of Clement Lucius said, “You’re thick and howling; and they scuttled, The photographer stood there, this position they had him in. Had to dead, baby. You are dead.” crouching, keeping close together, staring at his feet. Then his legs gave lie here-- Gawd! the smell was awful! “What the fuck?” Charlie began. Charlie handing Clement’s rifle to the way. He sat. Trembled. Couldn’t seem He’d been driving the jeep with the To which the journalist replied, journalist, the photographer hanging to stop. photographer in it, and the journalist, “Jesus, he’s hit bad.” onto his camera for dear life. “What the--?” crazy guys who wanted to “see the And he could hear the photographer They ran along the dune base, “S’true, Charlie. Journalist told real thing.” “Get us in close, Clemmy taking pictures, just a faint clicking. blinded by the sand, which was like a me. All we got left is sand, and baby, get us real close.” And they were Like an insect. reddish, choking snowstorm, thinking bulldozed bodies out there. Someone dead now. At least he thought they “Home.” of Clement’s body back there, trying nuked ol Boston yesterday.” were. Along with Charlie. Back where “Getcha outa this, Clemmy boy,” not to think of Clement’s body. And (J. A. Pollard, artist and past they’d been ambushed. Charlie was crooning. together they stopped. Because out fiction contributor toART TIMES, of the howl came a voice quite near Was someone crying? Charlie? “Naw--” and the vision took over: lives in Winslow, Maine) ef

MEA CULPA (NOT!) VAN GOGH’S ROOM Poets’ Niche A second thrush-seat chair One day New York will be flooded for Theo or in case And icebergs will cannibalize their own remains he ever has a guest Like a FOX “news” team dissecting an El Rushbo flambé Descent into Madness though this most unlikely. While awaiting the results of the latest tickertape charade Music is passion His meager wardrobe On how to decide which “facts” are best called true. Passion is lust neatly hung up. The bed made. Meanwhile, polar bears will swim through the Battery I hear voices chant “in no one we trust” Nothing out of order. Chasing cub seals who’ve discovered Tiffany’s My head keeps on spinning, Newest Atlantean showroom, thus proving My knees are weak Even the sun held in check That robin’s-egg blue never goes out of style, The words in my mind won’t allow me to speak behind a window without a view. Not even when barnacle-bearded commando crews I’m going crazy But this is only half of the room. Of Chesapeake clams and hen-pecked crabs The pressure is more than I can bear, What he did not show us: an easel, Have colonised the basements of Fifth Avenue. I snap my fingers but no State Farm is there some drying canvases, his brushes I’m learning and striving and now I do know and old rags, and the despair For one day Nuevo New York will be flooded Madness in great ones must not unwatch’d go he couldn’t find a drawer for. And we’ll all miss it like The Evening News. Maddie Vincent Sarah Brown Weitzman —Missoula, MT —Delray Beach, FL Jack Vian —Beaumont, TX Winter 2014/2015 ART TIMES page 7 Music Healing the World with a Song By Leslie Herman ‘Did you buy ‘Feed the World’?’ factor emanating from all these A-list (Paul Young) ‘That’s not what it’s called, mum.’ artists in one room at the same time, It’s Christmas time here’s no need ‘Ok, did you buy Heal the World?’ coming together to make a record, to be afraid ‘That’s not what it’s called either and with the added emotional im- At Christmas time we let in light but… Yes.’ pact of it all being done in the name and we banish shade ‘How did you buy it?’ of charity. It really should move us (Boy George) (No answer, just a look.) powerfully and profoundly to make a And in our world of plenty we can (A look back.) contribution. spread a smile of joy ‘How do you think I bought it?’ well, we may be making the Throw your arms around the world ‘iTunes?’ contribution, but are we rising up, at Christmas time (A thumbs up). and are we moved as powerfully and (George Michael) ‘What do you think of it?’ profoundly as we should? But say a prayer pray for the other ‘It’s alright.’ Call me cynical, but I think not. ones ‘What about Ebola?’ I think not only have we reached an At Christmas time it’s hard ‘What about it?’ emotional saturation point generally (Simon LeBon) your window and it’s a world of ‘What do you think about it?’ for global disasters, diseases, deaths, But when you’re having fun there’s dread and fear ‘Yea, it’s bad.’ and other tragedies but it has be- a world outside your window (Dan from Bastille) Where a kiss This is how the conversation went come difficult to illicit the emotions (Sting) of love can kill you with a, believe it or not, switched-on, we should or might have otherwise And it’s a world of dread and fear (Angelique Kidjo) Where there’s very intelligent and highly literate for an event of this nature and scale Where the only water flowing is death in every tear 18-year-old Sociology and Media stu- because it just doesn’t feel sincere. (Bono joins in) (Chris Martin) And the Christmas dent at 7am this morning, Tuesday Nor is it original (this is the song’s The bitter sting of tears bells that ring there are the clang- 18 November 2014 -- the day after fourth time around; or spontaneous And the Christmas bells that are ing chimes of doom the Band Aid 30 version of ‘Do They (I’ve heard that the celebrities have ringing (Bono) Well tonight we’re reaching Know It’s Christmas?’ was released. been able to think about and prepare Are clanging chimes of doom out and touching you I have been thinking about the phe- (Bono only) (Seal) Bring peace and joy this nomenon that is Band Aid for weeks Well, tonight thank God it’s them Christmas to West Africa now, but this conversation inspired instead of you. (Ellie Goulding) A song of hope the angle I’ve taken. It may not have (Everyone) where there’s no hope tonight (ooh) been the most emotionally-charged And there won’t be snow in Africa (Sinead O’Connor) Why is comfort dialogue but, despite his unremark- this Christmas time. to be feared, why is to touch to be able response, the bottom line is that The greatest gift they’ll get this scared this young person and hundreds of year is life (Bono) How can they know it’s thousands of others effortlessly spent Where nothing ever grows Christmas time at all 99p (roughly US$1.65) to download No rain or rivers flow (One Direction) Here’s to you the single on the day of its release. Do they know it’s Christmas time (Olly Murs) Raise a glass to every- why? A. Because they can? B. at all? one Because they feel duty bound to? C. Feed the world (Bastille) Here’s to them Because they feel strongly about it? Let them know it’s Christmas time (Sam Smith) And all there is to Or, D. Because they love it? Feed the world come I haven’t done the market research Do they know it’s Christmas time their parts); and it’s all too easy for (Rita Ora) Can they know it’s and don’t have the answers, I’m just at all? punters to buy the single and then Christmas time at all asking the questions, but I have a (Paul Young) ‘BUY IT AGAIN!!!!. hunch it’s A. because it’s so easy to Here’s to you and yet, conversely, when I unlock Chorus (Everyone) do, with a significant smattering of raise a glass for everyone it and take it out of this context and Feed the world let them know it’s media pressure, so B. Here’s to them strip away all the hype, I am moved Christmas time again sales for this charity single actu- underneath that burning sun by the song and impressed that there Feel the world let them know it’s ally started before the release date. Do they know it’s Christmas time is so much mileage in it. I heard one Christmas time again Band Aid organizer Bob Geldof said at all? pundit saying that what the new Heal the world let them know it’s pre-orders for the latest version of Chorus (Everyone) version offers and ‘wins’ on technical Christmas time again the charity song, in aid of the Ebola Feed the world points, the original wins hands down Feed the world let them know it’s relief effort this time around, raised Feed the world for spirit and authenticity. I am par- Christmas time again £1m within minutes of the recording Feed the world tial to the original for many reasons Feel the world let them know it’s being previewed on Sunday night on Let them know it’s Christmas time and have been enjoying getting into it Christmas time again The XFactor here in the UK. again (again), but have also enjoyed watch- Heal the world let them know it’s speaking on BBC Radio 4’s Today Feed the world ing the videos of each version, putting Christmas time again program, Geldof said: ‘It’s gone manic. Let them know it’s Christmas time them into their nostalgia-riddled Feed the world let them know it’s That’s the digital age. We promoted again and historical musical contexts and Christmas time again the single on XFactor; Simon Cowell Feed the world singing out loud while calling out the Feel the world let them know it’s gave us five minutes of the show last Let them know it’s Christmas time names of the artists as they perform Christmas time again night; and within four or five minutes again their solos:- of leaving the show we had a million While the BandAid 30 single breaks quid. That’s extraordinary. From https://www.youtube.com/ (2014 artists listed alongside the all sales records and aims to make what we’re seeing now from iTunes watch?v=cIxj7Ew_99w lyrics here which have changed a difference on a global scale, it has it’s gone bonkers:-. The pre-orders of Original video, 1984 in some places to reflect change only skimmed my emotional surface. the thing were ridiculous.’ https://www.youtube.com/ of cause - So, with the passion that singing out Then, hailing the sales as watch?v=LpDdgfMS-jY The Ebola crisis):- loud has produced, circulating and ‘incredible’ and ‘beyond our wildest 1989 version (featuring Kylie (One Direction) It’s Christmas filling me up with feel-good enzymes, expectations’, Geldof released a Minogue and Cliff Richards) time – there’s no need to be afraid I’d like to offer an alternative recipe statement saying: ‘Here’s today’s ask. https://www.mtv.co.uk/band-aid-20/ (Ed Sheeran) At Christmas time – for healing the world: keep a song in EVERYONE who bought the track videos/do-they-know-its-christmas we let in light and we banish shade your heart, try to really notice who yesterday BUY IT AGAIN TODAY!!!! 2004 version (which kicks off with (Rita Ora) And in our world of and what surrounds you every day, Go. Go. Go UK!!! Keep buying this Chris Martin of Coldplay) plenty we can spread our smile of and stay connected to life in real time. record and don’t you DARE speak to https://www.youtube.com/ joy ef anyone who has not bought it!! It’s so watch?v=i1jeiC-JEsI (Sam Smith) Feel your arms Happy Holidays to you all. cool living in this country at times like around the world at Christmas time 2014 version (which kicks off with this. WOW!!!!’ (Paloma Faith) But say a prayer You can read Leslie's One Direction) wow with FourExclamation- and pray for the other ones previously published essays Marks?? This level of exclamation (1984 artists listed alongside the (Emeli Sandé) At Christmas time at: arttimesjournal.com/music/ really should get a rise from us. Es- lyrics here, which reflect the it’s hard but while you’re having fun musicarchive.htm pecially in this context, with the Wow cause: Famine in Ethopia) (Elbow) There’s a world outside Winter 2014/2015 ART TIMES page 8 Art Emerging Ways of Living and Working:

By Rena Tobey © Alice Barber Stephens After the Civil War, pressure escalated for American women’s lives way meant artists could then make committed herself to change. Women artists, particu- paintings considered significant by to not only build- larly illustrators, found an interested their colleagues and collectors. His- ing her own career, audience for unpacking the complexi- tory paintings with religious, liter- but also contribut- ties of the issues involved, when de- ary, and historical subjects relied on ing to developing picted in clear and cogent ways. One the beautiful depiction of the human paths for women art- particularly successful example came form. Traditionally, women were ists. Along with Em- from Alice Barber Stephens (1858- excluded from life drawing classes, ily Sartain, in 1897, 1932) with her illustration called considered inappropriate for a wom- she established the Woman in Business from 1897. In this an’s supposedly delicate sensibilities. Plastic Club, which one painting, she captured the transi- Consequently, women were unable provided women the tions, ambiguities, and forces grap- to compete for Academic recognition opportunity to learn pling both for change and sameness. and commissions. through lectures and When her family moved to Phila- The PAFA women advocating for exhibit, sorely lack- delphia from their New Jersey farm, life drawing classes were success- ing elsewhere. Frus- Barber Stephens began formal art ful, with the compromise solution trated by the limited training at the Philadelphia School of gender-separated classes. Barber work in engraving, of Design for Women, now the Moore Stephens got her first image credit she turned to illus- College of Art. Students learned prag- for Women’s Life Class, in “Scribner’s tration, a practical matic, income-generating forms of art Magazine” in ca.1879. In it, she pro- and fruitful new av- that were acceptable for women, such vides a glimpse of what the class was enue for both men as industrial design, illustration, and like. Although still revolutionary, and women artists. printmaking, and by the age of 15, the only nudes were women models, After the Civil Barber Stephens was making money while male models were modestly War, the literate from her engravings. Empowered, draped. The informality and collegi- middle class con- but perhaps not completely satis- ality of the students, along with their sumed a new enter- fied, in 1876, she was one of the first professional intent and focus, match tainment economy women to enroll in the prestigious similar depictions by men artists that included news- Alice Barber Stephens Pennsylvania Academy of Fine Arts historically. papers and maga- Reprinted from “Alice Barber Stephens” in Brush and Pencil, Vol. VI, No. 6, September 1900, 241. (PAFA). She then joined the women Barber Stephens pursued her zines. With advance- artists petitioning for more life draw- career with that kind of professional ment in technology, ing classes. ethos. She worked from models for these publications featured stories home actually supported traditional Life drawing was essential for any her illustrations, hiring them to pose that could be illustrated. Periodicals gender roles rather than challenged artist’s success. Being able to portray from 8 a.m. to 6 p.m. every week- proliferated to over 2000 publications them. Separate Spheres ideology, the figure in an anatomically correct day, with an hour for lunch. She published weekly or monthly, each prevalent in the 19th century, called demanding professional illustra- for men to venture into the Public tions. Becoming an illustrator was Sphere of work and politics, while a smart business choice for artists, women managed the domestic Pri- creating recognition and a stable, vate Sphere of the home and moral income-generating career path. development of families. Many of America’s most famous art- But societal changes during and THE CENTER FOR ists, such as Winslow Homer, began after the Civil War challenged those and sustained their careers as illus- traditional notions, particularly as THE DIGITAL ARTS, trators. the United States continued to shift Although commercial art did not away from its agrarian roots toward PEEKSKILL EXTENSION have the cachet of easel art, created as an affluent, urban, industrial society. Westchester Community College luxury goods for the high-end patron, The Progressive Movement of the lat- illustration increasingly became an ter half of the 19th century emerged acceptable career choice for women. out of the resulting social anxiety. Creating access to digital arts education in the 21st Century, As mores about art education con- The Woman’s Sphere was becoming the Center supports five post-production studios, 3D tinued to loosen, beliefs started to both a point of oppression and a point scanning and printing resources, computer graphics imaging change, too. Because exposure to art of departure for women who wanted including: 2D/3D animation, digital design and filmmaking, was long considered morally uplift- to influence their worlds. The early game design, web design, and e-publishing. In addition, ing and women were thought to have feminists began to leave the home it has a fine arts studio and prosumer video production innate sensitivity to art, the idea of to participate in clubs as moral and a career that could be conducted at cultural guardians, focused on clean- equipment. There are more than fifty general education courses to help fulfill liberal arts requirements, along with ESL and other non-credit courses for adults and children. CATSKILL Ballet THEATRE of Kingston, New York OPEN HOUSES presents DECEMBER 4 JANUARY 6 AND 15 The Nutcracker 5:30 – 7:30 PM performed in its entirety featuring Simone Messmer, former REGISTER NOW American Ballet Theater and San CLASSES START JANUARY 24 Francisco Ballet soloist Dec. 12th & 13th at 8PM sunywcc.edu/peekskill Dec. 14th at 2PM 914-606-7300 ULSTER PERFORMING ARTS CENTER KINGSTON, NEW YORK 27 North Division Street Tickets available at Ticketmaster Peekskill, NY 10566 800-745-3000 Or call UPAC Box Office 845-339-6088 Tickets $30 o S h e Seniors & Students $25 Group Rates Available Winter 2014/2015 ART TIMES page 9 ing up cities and helping African black soften what is a stark depic- plane, is the antithesis of the orna- Both were women in business in their Americans, impoverished women, tion of class separation. The coun- mental dog and well-heeled consum- day. The woman forced to work for working children, immigrants, and ter divides the clerks, squeezed by er. The hollow-eyed child, perhaps a living as a salesclerk had to learn other previously ignored groups. circumstance against shelves filled an immigrant, is already at work to maneuver in the Public Sphere These social improvement efforts with goods, from the customers in a as a shop assistant. Her workaday of the business world. Only white, were not the only agendas taking wide-open space. The counter is spot clothes contrast with the pampered privileged women were spared the women of leisure out of their homes. lit by the bright white bolt of fabric young lady dressed in her pinafore necessity to work. In the hierarchy With the boom-bust, industrialized under consideration by a wealthy and bonnet, shadowed in the rear, at of labor choices for women in the late economy, women assumed new du- customer, accompanied by her well- the far end of the diagonal. Stephens’ 19th century, this salesclerk was rela- ties and responsibilities. If they groomed, fancy dog, reinforcing this emphasis on the poor child forces tively well off. The affluent woman were leaving the Domestic Sphere, woman’s leisure class. Viewers can the viewer to consider the economic is also a woman in business, enact- they could bring their skills as sta- also read the class difference in the at- system that creates such disparity, ing her moral duty to consume the bilizers for the chaotic Public Sphere tire of the figures arranged along the while the affluent child almost blends products manufactured or imported, with them. Quite simply, they could long diagonal of the shop’s counter. into the background, minimizing her to participate in the economic engine assume the role of consumer. Tradi- Seated at the center of the diagonal, importance. that fueled America’s prosperity. tionally the male purview, women the woman consumer wears the latest The store is crowded and the faces Barber Stephens gives the viewer could now spend with a tinge of moral a knowing portrayal of the ways in certitude, as contributors and a calm- which women had to navigate the ing influence on temperamental eco- divided spheres of American culture. nomic markets. To further encourage By the latter part of the 19th century, consumerism, “Godey’s Lady’s Book” most women were engaged in some even started a shopping service for way with the Public Sphere, with readers, selling their advertisers’ their role class-determined. Barber products. Stephens, too, was complicit in the Barber Stephens was one artist woman in business moniker. Over who took advantage of the explosion her 50-year career, she made illustra- of illustration opportunities, includ- tions for pay, as a commercial artist, ing the opportunity to work from engaged in the business of boosting home. Like many women artists, sales, whether of magazines or prod- she married a fellow art classmate, ucts her illustrations advertised. In Charles Hallowell Stephens. She con- this subtle way, the Separate Sphere tinued to work as an illustrator, even ideology was being tampered with— after having their son. Her subjects acting in an acceptable home-based ranged widely from the Romantic to occupation of commercial artist, yet Quaker meetinghouses to almshouse using Public Sphere strategies of residents, demonstrating sensitivity marketing and salesmanship. With to social issues. her most popular image Woman in Woman in Business was part of a Business, Barber Stephens pushed six-part “American Woman” painting her contemporaries to see the broader series produced for “Ladies’ Home ways that women were becoming Journal” in 1897, when Barber Ste- more visible and central in the so- phens was at the peak of her career. Alice Barber Stephens, The Women's Life Class, (illustration for William C. cial and political world of America’s The series illuminated the expanded Brownell; 'The Art Schools of Philadelphia;' Scribner's Monthly 18; Sept. 1879), ca. Gilded Age. ef Woman’s Sphere by focusing not only 1879, Oil on cardboard, 12 x 14 in. Credit: Courtesy of the Pennsylvania Academy on middle-class Philadelphia women of the Fine Arts, Philadelphia. Gift of the artist. at home—as a mother, at church, and Photo courtesy of the Philadelphia Academy of Fine Art Read previously published at leisure—but also in the economic essays by Rena Tobey about: fashion of mutton chop sleeves and a blurred, except for the highlighted world. Woman in Business is set Lilly Martin Spencer (1822-1902) high-collared, crisp-white shirtwaist. features of the deferential shop clerk. at John Wanamaker’s department and Elizabeth Okie Paxton With gloved hands, she fingers the The title is Woman in Business, but store, elegant with its stained glass goods presented her. which central figure does it refer (1877-1971) at: arttimesjournal. window, like a cathedral of consump- On either end of the diagonal is a to—the woman with the economic com/art/artindex.htm tion. The store is crowded with cus- girl. One, pushed all the way to the upper hand or the highlighted clerk? tomers and clerks. extreme foreground of the picture The sumptuous tones of brown and 85 YEARS OF ART IN THE VILLAGE WASHINGTON SQUARE OUTDOOR ART EXHIBIT

FINE ARTS and CRAFTS 118th Annual Open Exhibition December 2 — December 19, 2014 ART-LOVERS and ART BUYERS Benefit Reception 2015 SPRING SHOW Friday, December 12, 5:30-8:00pm May 23, 24, 25 (Memorial Day weekend) National Arts Club, 15 Gramercy Park South, NYC Benefit for the Metropolitan Museum of Art May 30 and 31 Donation $25 (the following weekend)

212-474-3424 • Mon-Fri. 12-6pm; Sat & Sun 1-6pm P.O. Box 1045, New York, NY 10276 Sculpture Gallery open daily 1-6 pm • www.clwac.org wsoae.org • 212 982 6255 • [email protected] Winter 2014/2015 ART TIMES page 10 Travel and Culture Fredericksburg, Texas: Hill Country’s new American Art Destination By CORNELIA SECKEL Continued from Page 1 Pacific War Studies and the National and the focus was to establish a new Museum of the Pacific War. This Germany on Texas soil by means of an museum is the only institution in the organized mass emigration. This group US dedicated exclusively to telling the transported thousands of Germans to story of the Pacific Theater in WW II Texas between 1844 and 1847 with more (pacificwarmuseum.org). I was told it than 7,000 Germans reaching the new was a moving and enlightening experi- land. The German settlers that came ence. The other morning’s choice was to with Meusebach were solid middle- go the Lyndon B. Johnson National class peasants. They were land-owning Historical Park (nps.gov/lyjo) and to families, artisans, and, in a few cases, visit the “Texas White House”. What university-educated professional people an experience to walk thru Lyndon B. and intellectuals, not poverty stricken Johnson’s family home, through the or oppressed, and could afford the sub- kitchen, the living room, LBJ’s Bedroom, stantial cost of migration. The majority his closet and bathroom, Lady Bird’s were farmers with some experience in bedroom and closet, to be 4 feet away trade. They were ambitious farmers from the bed Johnson died in— he was and artisans who believed their futures just 64 years old. This is a very comfort- were curtailed by the social and economic able and cozy home and other than the system at home. Each settler received “rogue’s gallery” with heads of state and one town lot and ten acres of farmland other very well known people and the ex- nearby. Religion and education were traordinary art work it could be the home important to these settlers and after of any financially comfortable family. Of their homes, churches and schools were course the kitchen had a restaurant oven Sculpture by John Bennett at the Agave Gallery built soon after their arrival. Germans and large refrigerator for entertaining. great stories he had to tell. There were in North America by Franciscan priests learned about Texas as a result of Karl LBJ is buried in the family plot, as is 120,000 visitors last year and every once around 1662. As European settlers Anton Postl’s novel/ travlog The Cabin Lady Bird whose name was Claudia, in a while visitors are treated to a house followed the development of mission Book, written in 1941, that was a best something very few of us remembered. tour by Luci Johnson during which she outposts, they brought more grape- seller in Europe. He described Texas as The original home, built in 1894 of native will speak so familiarly about furnish- vine cuttings, developing the industry “a boundless field of green”. So, today limestone for German immigrants was ings and objects adding a great flavor to through the 1800s. Texas is now the the tour. There is a car collection of the country’s fifth largest wine producer, Cadillacs both he and LadyBird drove having over 270 wineries (42 wineries and a Model T given to LBJ by Henry around Fredericksburg). Consumption Ford. Air Force 1 is “parked” just out- of Beer in Texas is still #1 with Wine side the back door. The front yard of the slowly gaining. We started out at the house was the meeting place for heads Becker Vineyards, one of the earliest of state and visitors who all sat in lawn vineyards in the Hill Country of Texas, chairs typical of the 1960’s. Added to the and after the tour of the processing house was an office where LBJ spent ¼ enjoyed a Library tasting. We had the of his presidency working from the Texas same wine of 3 successive years paired White House. He could do that given new with the scrumptious-tasting luncheon technology — a satellite phone. To begin they served. On our tour we tried same with, there were 76 phone lines and 3 wines in different Oak barrels (American full-time operators to handle the many & French), wines in steel tanks, wines calls he made. He was never more than from light, medium and heavily charred a minute away from a phone. Numer- barrels. I had no idea there was so much ous heads of state and cabinet members to know. came to the ranch to meet with LBJ and We continued on to the Grape Creek there were planes flying in and out daily. Vineyard, reminiscent of a Tuscan villa LBJ referred to the ranch as “our hearts (they also have a B&B), and primarily home”. It has been said that, “he was a “Wine Club Winery” and supplier to formed by the land where he lived and fine restaurants. From there we went was comforted.” to Pedernales Cellars, specializing Living Room at the LBJ Ranch as it was during President Lyndon B. Johnson's The afternoon was spent visiting in Spanish and Rhone-style wines; presidency in the mid 1960's wineries, enjoying tastings and learning they offered us their Tempranillo and about wines and what grapes will grow Voignier wines. Wine Road 290 (13 many in Fredericksburg give credit to where the Johnson family had Christ- in Texas. According to the Texas Wine Wineries along this route) has tourist an art form – literature — as being in- mas and other family celebrations and and Growers Association, Texas was traffic of wine tasters that has, they say, strumental in the founding of the town. entertained neighbors and friends. LBJ the site of the first vineyard established surpassed Napa Valley. At the winer- Today I can see the lingering effect of purchased the home/ ranch from his aunt the German settlement in the names in 1951 and Lady Bird lived here until of stores, festivals, and surnames. The her death in 2007. On her Tombstone is town was named for Prince Fried- engraved “a gentle heroine of nature and rich Wilhelm Ludwig of Prussia. mankind”. The Johnson’s had decided to Several years after, Meusebach came give the house and about 1/3 of the total with intellectuals, artists and writers; acreage (the rest going to daughters other professional artists arrived, many Luci & Lynda) to the state of Texas as painting and sketching while earning a a National Historic Park to preserve living in other ways. This legacy from their time in history. They had a large artists gives a visual record of the de- movie screen and Johnson would invite velopment of this part of the Texas Hill his neighbors to come and watch 1st run Country and is beautifully documented movies with him. They held a BBQ each in Fredericksburg, Texas: 150 Years year and this tradition has continued. of Paintings and Drawings by Jack Johnson’s accomplishments with educa- Maguire is an excellent visual history tion, job core, the nations interstate, civil of this community published in 1996 on rights, public broadcasting, Medicare, the occasion of the 150th Anniversary of Medicaid, environmental protection and the founding. world events were immense. It is said that Lady Bird had a great influence on Day 1 began when we were picked up LBJ regarding the Park Bills and other at 7:30 am and brought to Java Ranch legislations. Expresso Bar and Café, clearly the Russ Whitlock, Superintendent of coffee stop for people who work in town. the Lyndon B. Johnson National Histori- A group went to the George H. W. cal Park, was our tour guide and what Bush Gallery and The Center for Das Peach Haus Winter 2014/2015 ART TIMES page 11 ies you can taste, tour and take part in Wieser bought 60 acres of land on the a multitude of events. Take a look at southern edge of Fredericksburg, Texas, wineroad290.com for a list of the winer- and planted a peach orchard. In 1969, ies, their events, hours and specialties. their son Mark founded Fischer & Wi- Our dinners were often paired with eser’s Das Peach Haus® as a roadside wines from these wineries. I particularly fruit stand. Years later they became liked the tasting menu where we had a the #1 gourmet food company in Texas chance to sample what the restaurants when Case Fischer joined Mark and are best known for and the best wines they began making all sorts of sauces, for those entrees. salsas, appetizers, pasta sauces and jel- lies. I tasted a good number of them and Day 2 we visited galleries, artists’ brought quit a few home. studios, learned about peaches, And on to Chocolát where we had an chocolate and Fredericksburg. excellent chocolate education and tast- Fredericksburg is being, and right- ing courtesy of Lecia C. Duke, founder fully so, touted as an American art des- and President of Quintessential Choc- tination. There are currently 15 galleries olates (est. 1984). We learned about in town (many shops and restaurants are the growing, harvesting and making of also showing work that is for sale) and chocolate. Lecia has perfected the slugs we visited many of them. We also had that are filled with spirits, and dipped an opportunity to speak with artists rep- in deep dark chocolate. My mouth is still resented by those galleries and to visit watering from the tastes. several studios. The Agave Gallery And then, a tasting dinner at Bejas also houses the studio of sculptor John Grill & Cantina trying out their new Bennett whose figures are just exquisite menu with a great variety of burgers. Phil Bob Borman in his studio. Note the very large adjustable easel. showing fine detail and movement. This small gallery is filled, salon style, with Is it a surprise I came back with sev- very large space lent itself to abstract accommodations, beautiful landscape the work of 20 painters, sculptors and eral extra pounds? work, not something we were seeing and delightful people who are following fine craft artisans. All the artists are much of in other galleries. their dreams. Day 3: artists and galleries and a The rest of the afternoon we visited from Texas but not necessarily doing wonderful farewell dinner. Additional things I learned: “Texas themes”. The Gallery began as RS Hanna Gallery, Good Art Compa- The Fredericksburg Art Gallery ny and Artisans before a reception at • LBJ played a lot of Dominoes. John’s studio and then evolved into a has excellent art by 42 well-known and gallery where he showed work of other Insight Gallery. So much art and they • Ladybird was really focused on beau- all seem to be doing well. Insight Gal- tification of body mind and soul, not just lery is owned by Meredith and David wildflowers. Plesko, art collectors, and (like so many • There are numerous festivals, art business owners in Fredericksburg) events, 1st Friday Art Walk, and the followed their dream to have a gallery. draw of winery tour tastings makes this a They have 60 artists with one-third from very popular tourist destination with an Texas. The Fredericksburg Art Guild economic footprint of $89 million dollars is an artist run/ owned organization with each year 26 members and 9 associate members. The artists have a wide range of styles • Streets are very wide so that an ox cart can make a u-turn. in different mediums. So many galleries with very fine art- • So many gallery owners, lodging ists’ work, many representing mostly owners and restaurateurs are in their Texas Artists and some galleries with 40’s having left work, often as architects, nationally known artists. Generally the computer scientists, engineers, to relocate work I saw was representational oils and followed their dream. and figurative sculpture with much of • An artist wanting to visit and study the work a “cowboy” theme. There is can do that with several different teach- always work that is outstanding and ers and schools including The Freder- other work I could pass by in the studios icksburg Art Academy, Yellow Door and galleries I visited —for the most part Studio and The Fredericksburg Art- the work I saw was excellent and what ists School. Die Künstler von Freder- was most unique was “The Horses”, a icksburg is a group of local artists with 70”H x 30”W x 36”D copper sculpture over 100 members who bring in speakers/ Lecia Duke, President of Chocolát, speaks with us about her European-style liquid by Stevie Jo Lake currently at the RS artists who give educational programs centered chocolate production; the first creator of this in the US Hanna Gallery. during their monthly meeting artists he has a personal relationship emerging artists from Texas and beyond. You can see a listing of all the gal- • People choose to live here for the with. There was work for every size pock- Many of the artists who live in town came leries at: visitfredericksburgtx.com/ lifestyle: 1.5 hours from San Antonio and etbook with prices ranging from $100 to to the breakfast to “visit and greet”. In attractions-categories/arts/ as well as Austin for shopping, sports, University. specific websites for information on any many thousands of dollars. 1986 Donna Strickland opened the • Economy depends on Tourism, agri- of these wineries, restaurants, lodging We visited the studio of Nancy Bush gallery along with her husband Jim. culture and medicine. who, along with her husband Bill Bush Donna has been in the art gallery busi- and galleries can be found on the CVB operates the Fredericksburg Artists ness since 1976 and in Fredericksburg site visitfredericksburgtx.com • Tourists coming mostly from Texas School. They offer seminars and work- she specializes in representational Early in the morning of Day 4 as I was then internationally: Germany, Great shops where the focus is to learn to be a wildlife, western, still life, portraiture, brought to the airport to head on home Britain, Canada and China. professional artist. Their artist/ instruc- and landscape in various mediums and I left with the overall feeling that this is • Plan your visit at: tors (who are all making a living from styles. truly an excellent destination for people visitfredericksburgtx.com) their art, not from teaching) come from We visited the studio of Phil Bob who enjoy art, wine, the outdoors, unique ef across the country. Nancy’s landscapes Borman, painter of gorgeous skies are stunning, radiating light depth and and landscapes. New to art, Phil was a a soft and impressionist feeling. cowboy years ago and now is a minister, After a fine lunch at theFarm Haus teacher, sculptor and painter. He has Bistro we went to Das Peach Haus, always played the harmonica, banjo home to Fischer and Wieser Special- and guitar and treated us to a tune on ty Foods where we tasted sauces, jams, his harmonica. He delighted us with his and spreads. It was a great surprise to stories but more importantly impressed me that peaches were grown and did us with his artwork. so well in the Hill Country of Texas. George & Kay Northup Studios Apparently in 1921, Benjamin Lester was equally delightful. George is a Enderle and his wife began growing fine award-winning figurative sculptor peach trees to pay off their land and and Kay an excellent award-winning house. The climate and soil were well painter. Kay spoke about her palette suited for peach production. The area’s changing since moving from Jackson altitude (1,700 feet above sea level) and Hole, Wyoming to Fredericksburg. diurnal temperature variation is excel- Lunch at Vaudeville and a visit to lent for the production of Fredericksburg their gallery where Art Curator Mary peaches. Soon the Enderles encouraged Parker introduced us to visual artist others to grow peaches by conducting Rodolfo Choperena who puts his im- Stevie Jo Lake and her work “The Horses”, a 70"H x 30"W x 36"D seminars. In 1928, Joseph and Estella ages on fabric, plastic and metal. This copper sculpture currently at the RS Hanna Gallery Winter 2014/2015 ART TIMES page 12 Calendar Continued from Page 4 Fiction Nativity Friday, December 6 continued By CHANCHO COX Jane Brennan-Koeck: Watercolors Spring Street Art Center 145 MARY SCRUBBED CROCKERY in the archway. His Pepto rattled in a Spring Street Newton NJ 973-551-0502 Opening Reception 6-8pm free (thru Dec 31) the kitchen, as the first wave —green shaking fist. Jonathan Pazer, Photographer: Sharpening the Edges 510 Warren Street yellow brown — rolled through her “Teck you some of this.” Gallery 510 Warren St. Hudson NY 518-822-0510 Opening reception 6, 4-7pm free guts. She dropped a saucer and a she used the sink to steady her (thru Dec 28) chipped cup. Fat Daddy lay perched frame, the dreams. Albino deep in L/Inked: A Collaboration with Artists, Insects and Oak Trees Miranda Arts in a rust red recliner, legs spread- deep woods, dry twig snapped. Mary Project Space 6 N Pearl Street Port Chester NY 5-8pm free eagle, wide. Strips of frayed rot-cloth heard the water’s flow.S he turned to NY Creates Holiday Craft Fair Brooklyn Historical Society and New York Foun- molted off a pit-stained tee. When the faucet. Dry as the fat man’s soul. dation for the Arts 128 Pierrepont Street Brooklyn NY free he heard the tight crack of shattered Her neck bent down. She found the Sunday, December 7 earthenware. His face clinched — a drip. Yellow before the contraction hit. 24th Annual Craft Fair Unison Arts Center New Paltz Middle School 2 S. mixture of confusion, disgust, an- The contraction is red, like a pepper. Manheim (at Main Street & Route 299) New Paltz NY 845-255-1559 10am-5pm ger and despair. His claws scraped Mary fell on her rump, landing in a charge through ocher carpet grasping for a swamp of pee-pee and broken dishes. Art Exhibition and Sale The National Art League 44-21 Douglaston Park- hushpuppy loafer. He lung his arm Mary howled. way Douglaston 3 to 6 pm back, then flicked it to over heel “Deddy!” Art-To-Go Studio Montclair Academy Square Galleries 33 Plymouth Street through tobacco stained air. It landed but Fat Daddy fled the scene. Back Montclair NJ 973-744-1818 1 to 4pm free square on Mary’s wobbled thigh. Fat to TeeVision and cigarettes, mutter- Becoming...... Artists Talk with Deborah Brown, Gregory Curry, Mary Daddy’s eyes jerked towards the TV ing Dwyer and Alice Momm Odetta Gallery 229 Cook Street Brooklyn NY 203-598- as his lips nipped. “Mah progrum’s on May program’s 1517 3pm free “Mah progrum on, gawt dam’t! on” NY Creates Holiday Craft Fair Brooklyn Historical Society and New Mah progrum on!” as Mary wept. York Foundation for the Arts 128 Pierrepont Street Brooklyn NY free But this irritation wouldn’t let him He tilted the volume full blast and Spotlight on Women: Poets, Performers and Panelists be. He ripped a clod of ones out of sank; exhausted, old, and corpulent HVCCA Hudson Valley Center for Contemporary Art 1701 Main Street Peekskill his back pocket, waving the clutched into a carmine nest. NY 914-788-0100 charge greenery in Mary’s vicinity. Mary’s voice drifted above electro- Wednesday, December 10 “I pait fur em. They my gawt dam phonic noise. ZEMKA CARRA & CAROL NIPOMNICH DIXON: winners of the 2014 Small dishes! They mine!” “Deddy, I need a docter, I think I” Works Exhibition National Association of Women Artists, Inc. N.A.W.A. Gallery Mary whispered. Fat Daddy threw the Pepto at 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 free (thru Jan 2) “huspital” Mary. It bounced off a foot. He turned Thursday, December 11 “Whut?” away. his face set. Mary dreams. A hospital, clean, “It’s just peppers. gotdamit.” Celebrate the Artist: A variety of works by local artist Atria Senior Living 50 Ledge Road Darien CT 203-662-1090 Opening Reception where doctors’ nurses feign antiseptic Mary eyed her father through 5-7pm free (thru Jan 7) solicitude towards bulging bellies, sweat-matted locks. She spit. Wheth- Reposing on Water: Solo Exhibition Mari Ogihara Ceres Gallery green yellow brown. er she was aiming for Fat Daddy or 547 W 27th St #201, New York, NY 10001 NYC NY 212-947-6100 Opening Recep- Mary screamed. linoleum tile, it came out a brackish tion 6-8pm free (thru Dec 13) “I want a huspital Deddy!” and bloody drool skimming the hem Friday, December 12 Fat Daddy waved her off. of her dress. She reached for a chair 118th Annual Open Juried Exhibition Benefit Reception Catharine Loril- “It’s them gawt damt.” with her toes, pulled it towards her lard Wolfe Art Club National Arts Club 15 Gramercy Park S. NYC 5:30-ipm (thru Fat Daddy dreams. red. and tried to ease up. The piss made Dec 19) “Peppers.” her slip, but she righted herself right Holiday CraftMorristown Artrider Productions Inc Mor- Confusion farted out of Mary be- well, then shuffled towards the door, ristown Armory 430 Western Avenue Morristown NJ 845-331-7900 tween cramping’s crinkled folds. grabbing keys from a nail in the wall. Mohonk Mountain Stage Company: “The Big Meal” Unison Arts “Whut Deddy?” Fat Daddy slid his eyes over her Center 68 Mountain Rest Road New Paltz NY 845-255-1559 8pm charge He leaned forward in his recliner, thick haunch. The Nutcracker Catskill Ballet Theater Ulster Performing Arts Center 601 straining. “Whur you gon?” Broadway Kingston NY 845-339-1629 8pm charge “It’s dem peppers. They give you.” “Deddy help me. This yur fault.” But he crossed his arms, a bitter, Saturday, December 13 He lifted half ass and blew. “I aint et no peppers Deddy.” withered old buzzard, alone with Gallery Talk: Regine Basha on Sol LeWitt Dia:Beacon 3 Beekman Fat Daddy fiddled on the coffee his 6:00 TV news. Mary opened the Street Beacon NY 845-440-0100 2pm free table. The Pepto lay under his Home screen door and eased down wooden Holiday Celebration Art Centro 485 Main Street Poughkeepsie NY 845- and Garden magazine. He waved the planks. She hobbled barefoot through 454-4525 1-4pm free bottle up and down, left and right. grass and weed as the afternoon Holiday CraftMorristown Artrider Productions Inc Mor- A B-movie priest warding off Nosfo- burned purple-brown around her. Fat ristown Armory 430 Western Avenue Morristown NJ 845-331-7900 ratu, or oily meatballs. Daddy ignored the child for his world Mohonk Mountain Stage Company: “The Big Meal” Unison Arts “You teck this.” in a box. Center 68 Mountain Rest Road New Paltz NY 845-255-1559 8pm charge Mary held her paunch, rocking (Chanco Cox lives in Winston The Nutcracker Catskill Ballet Theater Ulster Performing Arts back and forth by inches. Salem, NC.) Center 601 Broadway Kingston NY 845-339-1629 8pm charge “I need.” ef The Nutcracker New Paltz Ballet Theatre Bardavon 1869 Opera Mary dreams, stirruped shanks. House 35 Market Street Poughkeepsie NY 845-473-2072 2 & 7:30pm charge Guests Fat Daddy strutted to the televi- from NYC Ballet & Brooklyn Academy of Music. sion and yanked it off, then took Look for exclusive THE WINTER SHOW: a Group Show of Westbeth artists - all media Westbeth long cowboy strides towards his Artists Residents Council Westbeth Gallery 55 Bethune Street New York City NY web essays, videos, 212-929-0378 Opening Reception 6-9pm free (thru Jan 6) daughter’s churning body. But fear Continued on Page 16 squeezed his innards, and he froze in Calendar and Opportunity list- ings that can only be TAI CHI found online at: Paint in IN MIDTOWN MANHATTAN Maine Introduction to Part I www.art- of The Yang Family Style Plein Air Workshops & Studio Classes in Oils 501 Fifth Ave (near 42nd St) at Pilates on Fifth timesjournal. Mid-Coast Locations — Tues. 8am, $110 for 10 weeks, Damariscotta, Monhegan, starts January 6 com Boothbay Harbor For info: Book now for Spring, Summer [email protected] or Fall to suit your travel schedule. The journey of a thousand miles 207.226.0974 • www.kefauverstudio.com starts with the first step. -Lao Tzu Winter 2014/2015 ART TIMES page 13 Dance Way Down Yonder in Chelsea By PHYLLIS GOLDMAN was nourished. Under the direction of not knowing the language, the Nestled in lower Manhattan, Lawrence Rhodes, the classes made culture, the climate, but there surrounded by numbers of new res- her into a dancer. Proof was her per- were no regrets. “Learning the taurants, chic clothing stores, and formance in “Sir Isaac Apple,” the GAGA technique from its cre- brazen new art galleries is the home famous Ramp dance created by Eliot ator was invaluable.” of the Cedar Lake Dancers, a com- Feld, as a supreme torture exercise From there she moved on pany that reads like the roll call of and a brilliant test of endurance. to “Les Grands Ballets Cana- the United Nations. These dancers, “Oh, I’ll never forget it,” Williams diens,” a classical and modern drawn from a multitude of different laughed. “It was like a mediation, dance company where her per- backgrounds and training, are a quiet down this amazing ramp structure, forming skills were polished, addition to the dance community of turn around and up the sides. 96 and then on to Cedar Lake New York, but nonetheless a fresh counts—and if you became unfocused where she has been for the past and exciting one. They are amazing and missed a count, it was hopeless four years. technicians. They can do anything to find your spot. If you could last In July of this year, the with their formidable limbs and they through ‘Ramp Dance’ you could do company inaugurated their possess unending stamina. anything.” first season of choreography Navarra Novy-Williams, is one of Having conquered the Feld piece by members, called “Cedar Lab.” Navarra Novy-Williams was one of the dancers who took up the challenge of cre- ating new choreography for this two-night presentation. Entitled “Muse” she used 3 women “muses” –each with a wide range of dance capabili- ties, both athletic and aesthetic Navarra Nickemil and a great stage presence. It was beautifully presented and an opportunity to learn more about performed. my craft without incurring expenses Williams is a delicate fresh-faced I couldn’t handle. We’re dancer with long limbs that seem Cedar Lake Ballet Company has strong enough to move mountains. been home to Williams for the past Now she wants to flex her choreo- 4 years. The new director, Alexan- graphic ideas and with “Muse” she dra Damiani, wants to show off the has mounted a successful beginning. varied, strong technique and elegant Each company member who quali- lines of this extraordinary company fied for the Cedar Lab program was in the coming season. She hopes to given 15 hours of rehearsal time in Navarra Nickemil and Tuplet Christopher Dugen (courtesy of Jacobs Pillow) create pieces within the company the lavish studios at Cedar Lake. Not rather than buying ballets to set on those dancers. She began to train at she then attracted the attention of much, when one considers Jerome the dancers.” This is a dream op- home in New Jersey in a community Ohad Naharin, the director of Batshe- Robbins was permitted to rehearse portunity for this group of dancers ballet school under the eye of two va in Tel Aviv, and she was invited to 6 months for his show, “Jerome who are given a year-round contract, prominent teachers, Elaine Kudo and study with him. “Ohad encouraged Robbins Broadway.” Nonetheless, insurance benefits, great clean studio Buddy Balogh, former members of me to come to Israel to see how I felt William was eager to take up the space to work in, and a home base the- American Ballet Theater. But it was about living so far from home and gauntlet of moving bodies in a design ater in Chelsea. Williams sums up: at Juilliard, the famous music school working with this company. And so I of her choosing, finding music, and We’ve explored a lot, and I’m certain now known for its amazing dance pro- did.” It was a struggle for Williams, mounting her own piece on stage. “I we are still exploring.” gram as well, that her love of dance kept reminding myself that this was ef

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Peonies Through December 30th Lynne Tobias Opening night Nov. 29th 5:30-8-00 Oil Paintings Great Small Works of Art February 19 — March 8 CALL for ENTRIES “Over the river and through the woods… it’s FINE ARTS • FINE CRAFTS worth the trip to Pine Bush, for the gift of art 53rd Annual Juried Show that will be remembered forever” MAY 30 & 31, 2015 Piermont Fine Arts Gallery For application (click apply) or information: www.WhitePlainsOutdoorArtsFestival.com 218 Ash Street, Piermont Landing, Piermont NY 10968 65 Main Street Pine Bush N. Y. 12566 White Plains Outdoor Arts Festival Committee 845-398-1907 Hrs: Thurs. & Sun. 1-6pm; Fri. & Sat. 1-9pm; 845-744-8634 [email protected] P.O. Box PMB 441 • 333 Mamaroneck Ave. [email protected] • www.lynnetobias.com White Plains, NY 10605 • 866.210.7137 Winter 2014/2015 ART TIMES page 14 Stewart. 144 pp.; 7 x 10; B/W & Color New Art Illus.; Bibliography; Index. $40.00 Books Hardcover. **** ACC DISTRIBUTION/Reel Art UNIVERSITY OF PENNSYLVA- Press: Billy Name: The Silver NIA PRESS: The Brandywine: An Age: Black & White Photographs Intimate Portrait by W. Barksdale from Andy Warhol’s Factory Maynard. 276 pp.; 6 1/8 x 9 ¼; B/W (Ed.) Dagon James. 448 pp.; 9 ¾ x & Color Illus., Bibliography; Index. 11 ½”; 400 B/W Illus.; Index; Bib- $34.95 Hardcover ***** liography. $95.00 Hardcover. **** UNIVERSITY PRESS OF FLOR- ACC/Roads Publishing: Reservoir: IDA: Mary Ann Carroll: First Sketchbooks & Selected Works by Lady of the Highwaymen by Alice Maher. 192 pp.; 6 ¾ x 9 ½; 102 Gary Monroe. 175 pp.; 10 1/8 x 8 Color Illus. $70.00 Hardcover **** 3/8; B/W & Color Illus.; Acknowl- Fernando Vicente by Fernando Vi- edgments. $39.95 Hardcover. ***** cente.160 pp.; 9 ½ x 11; 93 Color Illus. Enchantments: Julian Dimock’s $40.00 Softcover *** Photographs of Southwest Flor- WASHINGTON UNIVERSITY ida by Jerald T. Milanich / Nina J. PRESS: Ming: 50 Years that Root: 158 pp.; 8 ¼ x 10 ¼; B/W Illus.; Changed China (Eds.) Craig Clu- Bibliography; Index. $34.95 Hard- nas / Jessica Harrison-Hall; 312 cover *** pp.; 9 7/8 x 11 3/8; Notes; Bibliog- TRAFALGAR SQUARE PUB- raphy; Index. $60.00 Hardcover. LISHING: The Botanical Illustra- ***** tor’s Handbook by Sally Pinhey, YALE UNIVERSITY PRESS: Art 128 pp.; 8 ½ x 11; B/W & Color Illus.; NY of the American West: The Haub Appendices; Bibliography; Glossary; Index. $29.95 Softcover ***** 845-679-2303 • • • lotuswoodstock.com Family Collection at Tacoma Art Museum by Laura F. Fry et al. PENGUIN RANDOM HOUSE: 312 pp.; 9 ¼ x 11 ¼; 323 Color Il- Foundations in Comic Book lus.; Index. $65.00 Hardcover ***** Art: Fundamental Tools and Alexander Gardner: The West- Techniques for Sequential ern Photographs, 1867-1868 by Artists by John Paul Lowe, 147 Putnam Arts Council, Mahopac Jane L. Aspinwall. 180 pp.; 11 ¼ pp.; 8 ½ x 11; B/W & Color Il- Call to Artists: x 11 ¼; 275 Duotone Illus.; Cat- lus.; Index. $24.99 Softcover ***** alogue Raisonne; Selected Bibli- Daily Painting: Paint Small and Annual Members’ Show, March 1-20, ography. $60.00 Hardcover **** Often To Become a More Creative, Reception: Sunday March 1, 3-5pm Vincent van Gogh: Ever Yours, The Productive, and Successful Artist Essential Letters (Eds.) Leo Jansen, Join online or at drop off • hand delivery by Feb. 22 by Carl Marine. 192 pp.; 7 7/8 x 8 ½; Col- et al. 784 pp.; 7x10; B/W Illus.; Index or Illus.; Index. $22.99 Softcover ***** in the A. Eric Arctander Gallery @ the Belle Levine of Names. $50.00 Hardcover. ***** Monstrously Funny Car - Art Center, 521 Kennicut Hill Rd., Mahopac, NY Navigating the West, George toons by Christopher Hart. 160 Caleb Bingham and the River Gallery Hours: Tues – Fri 11-3, Sundays 1-4 pp.; 8 ½ x 11; 500 B/W Illus.; by Nenette Luarca-shoaf et al. 200 Directions/prospectus: putnamartscouncil.com or 845.803.8622 Index. $19.99 Softcover ***** pp; 10 ¾ x 11 ¼; 184 Color & B/W Sketch! The Non-Artist’s Guide Illus.; Exhibition Checklist; About to Inspiration. Technique, and the Authors; Index. $45.00 ***** Drawing Daily Life by France (Metropolitan Museum of Art) Belleville-Van Stone. 144 pp.; 7 3/8 x Treasures from India: Jewels 9; B/W & Color Illustrations; Index. from the Al-Thani Collection by $18.99 Softcover ***** Navina Najat Haidar / Courtney Ann ef

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12 Tannery Brook Rd. Salmagundi.org Back Room Gallery 475 Main Street, Beacon, NY [email protected] [email protected] • 845-838-1838 845-679-6066 Open: Th, Fr, Sa 12-6; Su 12-5pm Winter 2014/2015 ART TIMES page 15 Art Terry Frost: The Sun and Moon By Ina Cole The painting career of Terry wanted to do things for real reasons’ Frost (1915-2003) started somewhat (St Ives 1939-64, 1985). At this time later than many artists of his genera- Frost’s colours brightened, his paint yet Frost was undoubtedly drawn to tion. In a way, it was only the disas- thickened, and his forms evolved into the work of Robert Motherwell and ters of the Second World War and endless variations of abstracted boat Bradley Walker Tomlin. In 1960 the consequent breakdown of class and harbour shapes, the most famous Frost was given his first one-man barriers that led him to become an of which resulted in the series Walk show in New York by the gallerist artist at all. He began to paint whilst Along the Quay, developed in the Bertha Schaefer. Here he visited a prisoner of war, where he found the early 1950s. This series refers to a ha- the studios of Barnett Newman and first in a series of in-roads into the bitual early morning stroll along the Robert Motherwell, while Clem- British art world through the painter quay in St Ives, which Frost often de- ent Greenberg introduced him to a Adrian Heath who he met at Stalag scribed in connection with his work of younger generation of artists includ- 383. Frost’s tormented wartime ex- that time. Viewing the shapes of the ing Kenneth Nolan and Jules Olitski. perience ejected him from his class boats from looking down as opposed Reflecting on his time in America and background, and the front-line to straight on, the wash of the incom- Frost said, ‘They all came to my ex- action he encountered and four years ing tide seemed to create an illusion hibition, de Kooning, Rothko, Kline, of incarceration in German prison of complex patterns and reflections, Newman, Motherwell…They were all camps made him realise that life was with the boats rocking in the water painters struggling to get somewhere too precious to waste. He first moved and the verticals of the masts cross- like I was’ (Terry Frost, 2000). This to Cornwall in 1946, living there in- ing over in repetition. The resulting cross-fertilisation of ideas between termittently until eventually settling paintings were a moment’s response the St Ives and New York painters in the small fishing port of Newlyn to the movement of man-made objects is well documented yet Frost’s work, in the 1970s. Frost found a house in in nature, where Frost removed him- although insatiably experimental, re- an elevated position, which offered self from the familiarity of the object mained true to innate rhythms found panoramic vistas that inspired some itself to focus on an abstract vision closer to home. His paintings typified of his most important works. As he based entirely on motion and shape. a kind of immersion into a new world explained, ‘I like the sun, I’m always The 1950s were an intensely pro- of imagery, which was inspired by looking at it. I live where I can see it ductive period for the development but did not depict the idea of place. rise in the mornings and set in the of Frost’s work. He established a Indeed, at this time St Ives gained evenings. And I can see the moon out modernist repertoire of recurring ge- Sir Terry Frost, Lament for Ignacio Sanches Mejias (1989); Etching on Somerset over the water…Sometimes I see a ometric shapes: circles, semi-circles, satin paper; Austin / Desmond Fine Art; © The Estate of Sir Terry Frost black moon, that’s marvellous, and a chevrons and wedges, which were blue moon is wonderful’ (Terry Frost, juxtaposed and interchanged with a distinct reputation for ‘otherness’, formed the core of his practise. Frost 2000). remarkable zest, and epitomised by inspiring the development of a style became increasingly taken with the titles such as Moon of painting that offered radical new idea of natural forms as emblems Quay 1950; Blue ways of linking man with the land- of abstract forces, with the sun and Moon 1952; and scape. the moon effectively becoming his Yellow Triptych Frost often emphasised intuition ‘two gods’. One can understand 1957-9. The reduc- before calculation in relation to his why, as circular and spiral forms tion of landscape work, ‘Seeing is a matter of looking pre-dominated his work during the elements into geo- and feeling, for things do not look 1990s, often in combinations of red, metric forms and exactly like you think they do. To black and white. They can be seen colour accentuated look with preconceived notions of as symbols of eternity, as Frost suc- the shallowness of visual experience is to destroy the cessfully established a career on his the picture space, possibility of creating again that ex- belief in the universality of responses, and the symbols perience in paint. If you know before not only to colour and form, but also Frost used were you look, then you cannot see for the sun and the moon. As he best strengthened by looking’ (Painting the Warmth of the explained, ‘Twilight...quiet of sound their brilliant Sun, 1995). Frost developed a visual except the wind and sea shore swish, hues, repetition vocabulary that remained constant my surprise at suddenly seeing a and equilibrium, through time. He discovered the blood red circle about to descend into revealing a con- impact of harmony, contrast and dis- the full-bellied sea. I turned to tell fident and inno- sonance relatively early on, and his my companion and my speech was vative manner experiments with colour and form to trapped by a black silhouette of a hill of painting. The an established format sustained him behind which was creeping up, the 1950s marked a throughout his life. The energising biggest circle of nearest orange. Wow. particularly af- forces of the wash of the tide, the Trapped again between two gods. It’s firmative period fullness of the moon, and the warmth for me a moment of fear, of excite- for St Ives art- of the sun provided Frost with a ment, of breath-stopping awe...that ists; there was a multifarious subject that could be contact with forever, being part of feeling of interna- applied to many themes he explored everything and being nothing’ (Terry tionalism as the during his long and prolific career. Frost, 2000). town was actively This is clearly apparent in Harvest sought by art world Moons 1962; Yellow, Moonship 1974; 2015 is the centenary of Terry trailblazers from Sun-up, Cyprus Series 1986; Blue for Frost’s birth and UK exhibitions around the world. Newlyn 1989; and Lament for Lorca include: Terry Frost: Eleven Po- Eminent visitors 1989. In particular paintings such ems by Federico Garcia Lorca, Sir Terry Frost, A Study for Orchard Sunburst 4 (1999); flooded the mean- as Sunblast 1998, with its radiating Pallant House Gallery, Chiches- Acrylic and canvas collage on paper; ©The Estate of Sir Terry dering streets of lines exploding from a sphere, re- ter (to 15 February 2015); Taking Frost; Photo courtesy Belgrave St Ives this idyllic retreat, tains a sense of compositional control Flight: St Ives in the 1950s, Abbot many from the US, which reveals that the techniques Hall Gallery, Cumbria (26 June On recalling the spirit of the after- to 3 October 2015); Terry Frost: including painters Mark Rothko, learnt during the 1950s were still math of the war Frost said, ‘All that Paintings and Prints 1948-2003, John Hultberg and Helen Frank- proving useful four decades later. energy for goodness was released, en- Belgrave St Ives (10 to 31 Octo- enthaler; critics Clement Greenberg Frost achieved widespread ac- ergy to try to do something and so the ber 2015); Terry Frost, Tate St and Hilton Kramer; and art dealer claim, not only in Britain and the US, whole system that had been a closed Ives (10 October 2015 to 10 Janu- Martha Jackson. but also throughout Europe. Wher- shop before the war was opened up ary 2016). His work is also held When the exhibition Modern Art ever he travelled, San José, Cyprus, to people for writing, painting and in the following US collections: in the United States came to the Tate Ontario, or the Arizona Desert, his acting who never thought they could Yale Centre for British Art, New in 1956 opinion amongst the British ability to immerse himself in his im- take part in it...There was no materi- Haven, CT; Brooklyn Museum, art world was simultaneously divided mediate environment, then transfer alistic greed at that time, people just New York; and Albright-Knox Art by feelings of acceptance and denial, that experience to the picture space, Gallery, New York. ef Winter 2014/2015 ART TIMES page 16

Continued from Page 12 Calendar Classified BOOKS BY RAYMOND J. STEIN- Sunday, December 14 ER: Hudson Valley Impressions: THOUGHTFUL, innovative & re- Paintings and Text 5 ½ x 8 ½; 57 Holiday Concert with Sheila Hamilton & Liam Wood Unison Arts Center 68 sourceful approaches to stonework Mountain Rest Road New Paltz NY 845-255-1559 2-4pm charge Full Color Illus. $15.95; Heinrich J. and the structural, textural aspects Jarczyk: Etchings 1968-1998 ($30) The Colonial Nutcracker Dance Theatre in Westchester of landscape. Hudson Valley, West- and The Mountain ($18). For each Brooklyn Center for the Performing Arts 2900 Campus Road Brooklyn NY 718-951- chester & the Bronx. Kevin Towle 4500 2-4pm charge book, please include $5 for tax and (914) 906-8791 The Nutcracker Catskill Ballet Theater Ulster Performing Arts Cen- shipping. Order from CSS Publica- tions, Inc. PO Box 730, Mt. Marion, ter 601 Broadway Kingston NY 845-339-1629 2pm charge ADVERTISE in ART TIMES — NY 12456. More info available about The Nutcracker New Paltz Ballet Theatre Bardavon 1869 Opera Quarterly in print, monthly on- these books on the website: www. House 35 Market Street Poughkeepsie NY 845-473-2072 3pm charge Guests from line. For rates call: (845) 246-6944 • NYC Ballet & Brooklyn Academy of Music. email: [email protected] or raymondjsteiner.com or www.art- The Symphony of Westchester All-Baroque Concert The Sym- check online: www.arttimesjournal. timesjournal.com. phony of Westchester Christopher J. Murphy Auditorium - Iona College 715 North com. For advertising rates Ave. New Rochelle NY 914-654-4926 3:00 p.m. charge ADVERTISING SALES Position available for arttimesjournal on- You Are the Music Schola Cantorum on Hudson Church of the Immac- NEW MEMBERS: N.A.W.A. Na- ulate Conception 30 North Fullerton Ave. Montclair NJ 888-407-6002 5pm charge tional Association of Women Artists, line. Call for specifics 845-246-6944 or email [email protected] Wednesday, December 17 80 Fifth Ave., Ste. 1405, New York, ZEMKA CARRA & CAROL NIPOMNICH DIXON: winners of the 2014 Small NY 10011 (212) 675-1616. Invites EASEL TO SELL? PERSON TO Works Exhibition National Association of Women Artists, Inc. N.A.W.A. Gallery women artists (18+, U.S. citizens or HIRE? SPACE TO RENT? SER- 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Reception 5-7pm free permanent residents) to apply for VICES TO OFFER? Place your (thru Jan 2) membership in the first professional classified ad inA RT TIMES. $33/15 Thursday, December 18 women’s art organization in the U.S. words, $.50 for each additional word. THE MUTATION SHOW - film screening of Open Theater performance (established in 1889). Juried. Regu- All classified ads must be pre-paid. Westbeth Artists Residents Council Westbeth Community Room 55 Bethune Street lar Membership, Junior/ Student Send check/credit card # (exp. date New York City NY 212-929-0378 7pm free Membership, and Associate Mem- & code) w/ copy to: ART TIMES, Friday, December 19 bership. For details send SASE to PO Box 730, Mt Marion, NY 12456- Paint and Sip, Elaine Kurie ‘Tuscan Villa Spring Street Art Center 145 N.A.W.A. or download from website. 0730. For questions call 845-246- Spring Street Newton NJ 973-551-0502 6:30-8:30pm charge www.thenawa.org. Deadline: Sept 6944; email: ads@arttimesjournal. Saturday, December 20 15 & March 15 of each year. com 1st ANNUAL WOODSTOCK WORKS ARTS & CRAFTS FAIR Woodstock Works 12 Tannery Brook Road, Woodstock, NY (845) 679-6066 email: info@woodstock. works 11-5pm New essays, resources, videos, calendar and Comedy with Mikhail Horowitz & Gilles Malkine Unison Arts Center 68 Mountain Rest Road New Paltz NY 845-255-1559 8-10pm charge opportunity listings uploaded each month Sunday, December 21 at arttimesjournal.com 1st ANNUAL WOODSTOCK WORKS ARTS & CRAFTS FAIR Woodstock Works 12 Tannery Brook Road, Woodstock, NY (845) 679-6066 email: info@woodstock. Letters Continued from Page 2 works 11-5pm and I would like to ask permission to To the Editor: Saturday, January 1 use the story for that purpose. If ac- Thank you for sending contributor ceptable to our board, the play would H. David Stein: Frigid Fractals 510 Warren Street Gallery 510 Warren St. Hudson copies of the Fall issue of ART TIMES NY 518-822-0510 Opening reception: 3-6pm free (thru Jan 25) be produced by the Lake Plains Play- which includes my poem, Rodin’s ers of Medina, Orleans County, New Lynne Arriale, piano & Larry Coryell, guitar in Concert Windham Chamber “Hand of God.” Music Festival Windham Civic Centre Concert Hall 5379 State Rte. 23, Main Street York. Thank you for your time and I am writing to say that I am very Windham NY 518-734-3868 8-10pm charge I look forward to hearing from you. proud to be published in ART TIMES, Tuesday, January 5 Sincerely, a journal of such a long-standing sign Junior & Scholarship Exhibition Salmagundi Club 47 Fifth Ave., NYC of excellence. Rich Lovelace (212) 255-7740 (thru Jan 24) I know I have a long wait for the Lake Plains Players of Medina Thursday, January 8 other accepted poem, Van Gogh’s Orleans County, New York Annamarie Trombetta Central Park Imagery “En Plein Air” Room, to appear. Annamarie Trombetta The Union League Club Gallery 38 East 37th Street New again, thank you. (Editor’s Note: Busted! R. Jayess, York NY 212-427-5990 Opening Reception 6-8:30pm free (thru Jan 31) R.J.S., and R.J. Steiner would be Sarah Brown Weitzman honored on both accounts! Who knew Annual Juried Small Works Exhibition Upstream Gallery 8 Main Delray Beach, FL 33483 Street Hastings-on-Hudson NY 914 965-3397 (thru Jan 26) our little publication would attract such astute readers? My thanks to GRETL BAUER & CHRISTA TOOLE Phoenix Gallery 548 West 28 St, Suite 428 To the Editor: NYC Opening Reception 6-8pm free (thru Jan 31) Elaine Kiesling Whitehouse and I look forward to reading every copy of Rich Lovelace.) Saturday, January 10 ART TIMES! The most recent edition, New Year/New Works: A joint exhibition with the Columbia County Fall 2014, included, in my opinion, To the Publisher: Council on the Arts Tivoli Artists Gallery 60 Broadway Tivoli NY 845-757-2667 the perfect short, short story, Noctur- I loved the poem [sic] Nocturnal Opening reception 6pm free (thru Feb 1) nal Vibrato, by R. Jayess. Now, Mr. Vibrato and Googled the poet. I Sunday, January 11 Steiner, judging from the author’s didn’t come up with anything. Are American String Quartet in Concert Newburgh Chamber Music St. name, I’m sure I can’t be the only you aware of any compilation of his George’s Church 105 Grand Street Newburgh NY 845-534-2864 3pm - 4pm charge reader who believes that you are the poems? I would love to read more Artwork by RAC instructors and their students. Rowayton Arts actual author of this story! by him. Have a happy, HEALTHY, Center 145 Rowayton Arts Center Rowayton CT 203-866-2744 Opening reception I would love to use this little jewel New Year. 4-6pm free (thru Jan 25) in an upcoming writing class I plan to with warm regards, Small Works 2015 Exhibition Upstream Gallery 8 Main Street Hastings- teach to illustrate character develop- Judy Lewis on-Hudson NY 914 965-3397 Opening Reception 2-5pm (thru Jan 25) ment, dialogue, mood and other story Kingston, NY Thursday, January 15 elements. I hope this is all right with (Editor’s Note: See above Ed. you. Of course, I would credit ART Coffee and Conversation with our Artists Spring Street Art Cen- Note). ter 145 Spring Street Newton NJ 973-551-0502 12-2pm free TIMES and R. Jayess. Friday, January 16 Elaine Kiesling Whitehouse To the Editor: Fully Committed Half Moon Theatre at the CIA 1946 Campus Drive Hyde Sayville, NY What a lovely surprise to find Park NY 845-235-9885 charge (thru Jan 25 my INTERMEZZO in your Poets’ Paint and Sip with Viktoria Majestic Spring Street Art Center 145 To the Editor: Niche! Many thanks for that honor. Spring Street Newton NJ 973-551-0502 6:30-8:30pm charge I am writing to ascertain whether you We ol’ Geezerettes need as much vali- Sunday, January 18 are the author of ‘Nocturnal Vibrato’ dation as possible and yours made as featured in the fall 2014 Art Times. LADIES NIGHT with Eugenia Zukerman, Babette Hierholzer, Kimberly Ka- my day! han and The Kleio Quartet Rhinebeck Chamber Music Society The Church of the I picked the paper up on a recent trip all the best, Messiah 6436 Montgomery Street (RTE 9) Rhinebeck NY 845-876-2870 3-5pm charge through the Catskills and found this Cristina Ferrari-Logan piece most compelling. I believe it Continued on Page 20 Lafayette, CA would be suitable as a ten-minute play ef Winter 2014/2015 ART TIMES page 17 Film To See or Not To See By HENRY P. RALEIGH I’ve still not seen Woody Allen’s so hopeless if the gulf between “Magic in the Moonlight”. Perhaps “Magnificent” (the Observer again) I never will. You see I find myself and “incompetent” had not been so caught in a quandary, a rock and wide, so absolute. There’s just no a hard place, between Scylla and wiggle room in there to budge up a Charybdis and it’s necessary to keep compromise. my critical skills pure, unsullied, It certainly can be expected that justice and fairness at all cost- I could some disagreement may exist among go on this way-you get my concern, I critics over a film. W e’re only human think. Now the facts of the matter are you know. Just look at the range of these: The New York Observer had critics rating listed in Entertainment called Mr. Allen’s 44th film a Weekly. Here, for example, is a “master strike of enchantment”, four Boston Critic who gives a C+ for star worthy by a usually nasty two “Sex Tapes” where the Los Angeles star critic but Salon.com dismissed critic only a D. The Denver critic “Magic in the Moonlight” as “tedious, refused to rate the film and went offensive, and incompetent” while to see “Tammy” instead. Well, this The New York Times simply yawned, might tell you something about what seeing the film as “formulaic and may be going on in the northeast. artificial”, a waste of time. Ok, the However, the cases I’ve cited here, New Yorker found it little better than of top-drawer critics viciously pretty. So there you have it. To see disagreeing about a major film by an “Magic in the Moonlight” means outstanding independent filmmaker being forced into taking up one side (“...one of the few legitimate or the other with fellow critics or cinematic geniuses of the modern worse, conclude all have lost their cinema…” the Observer again) leaves marbles. Things are bad enough in one sick at heart. Can there be any professional film criticism nowadays explanation for this? Should one or bullet and issue the contemporary time”. I fear these are not possible; without suggesting we should be another of these warring critics, for favorite- “I misspoke” or “my the damage has been done and is put out to pasture. It wouldn’t seem the good of the profession, bite the review was inappropriate at this irreparable. I’m sorry Mr. Allen. ef

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Senior Curator at the Jane Voorhees Zimmerli Art Museum, Dawn Lille: The Gods of Egypt Rutgers University from 1978 to 2012 Robert W. Bethune: Threading a Needle Cash Awards Henry P. Raleigh: Movie Ads $40 entry fee for three images Raymond J. Steiner: It's all about Me All work must be original All media accepted (including videos and installations) Cornelia Seckel: The Cultural Scene January 24, 2015: Submission deadline Online entry form available at: Video by Cornelia Seckel of http://studiomontclair.org/?p=6824 the National Association of Women Artists' Contact: [email protected] 125th Annual Members' Exhibition

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Opportunities from website. Deadline April 20, 2015 prospectus or email Deadline Dec 15. Filmmakers (all categories): Sun www.bowerygallery.org [email protected] Valley Film Festival Seeks entries Artists in Suffolk, Nassau, Brook- for 2015 Film Festival Mar 4-8, lyn & Queens: Art League of Long Actors: Coach House Players, Kings- Soft Pastel Artists: Pastel Society 2015 Visit website for full details, Island, 107 East Deer Park Rd, Dix ton, NY Auditions will be held for Ken of America. Seeks entries for 43rd requirements. Deadline December Hills, (631) 462-5400 x 227. Seeks Ludwig’s comedy “Fox on the Fair- Annual Juried Exhibition “Enduring 19 [email protected] entries for 57th Long Island Artists way” at the Coach House Players The- Brilliance” at National Arts Club, • www.sunvalleyfilmfestival.org/ Exhibit April 6-May 7, 2015. Juror ater, 12 Augusta St., Kingston, NY on NYC, Sept 8-26. Send SASE (#10) submissions Andrea Wells, of Tibor de Nagy Gal- Dec 8, 10 & 11 from 7-9 pm. Need 3 PSA, 15 Gramercy Park South, New lery, NYC. For prospectus, call (631) men ages 25-ish (1) and 40-ish (2) and York, NY 10003 for prospectus. Info: Artists: The Lake George Arts 462-5400 or visit www.artleagueli. 3 women same ages. Show dates will 212 533 6931 or download from web- Project Gallery Committee, Court- org. Deadline February 24. Be April,10, 11, 12, 17, 18 &19, 2015. site. Deadline Jun 16, 2015. psaof- house Gallery, 1 Amherst St, Lake Visit website for more information [email protected] • George, NY 12845 (518) 668-2616. Artists: Arts Society of Kingston Submissions of exhibition proposals (ASK), 97 B’way, Kingston, NY Deadline Dec 8. jtdwyer@earthlink. www.pastelsocietyofamerica.org. net • www.coachhouseplayers.org for Courthouse Gallery’s exhibition (845) 338-0331 Seeks work for Artists: Putnam Arts Council, 521 schedule. Email or visit website Regional Juried Show April 4-25. , New Jersey Sculptors: Essex Kennicut Hill Rd., Mahopac, NY, for information. Deadline: Jan 31. Juror: James Cox, James Cox Gal- County Exec and South Mountain 845.803.8622. Seeking entries for [email protected] • www. lery. $25/ 2 pieces members; $35/2 Conservancy seeks applications Annual Member’s show March 1-20. lakegeorgearts.org. pieces non-members. $5 additional for one-year Wildflower Sculpture Call for details or visit online for entry Website for prospectus. Drop Park in Essex County Memorial Day prospectus. Join online or at drop off: Photographers: Upstream Gal- off March 31 [email protected] • 2015-April 1, 2016 E-mail or visit hand delivery by February 22. www. lery, 8 Main St, Hastings on Hudson www.askforarts.org website for details, apps. Deadline putnamartscouncil.com. (914) 965-3397 Seeks entries for Jan 1, 2015 [email protected] / “Photography Takes Over - 2015” Artists: b.j. spoke gallery, 299 Main Artists, Craftspeople: Red Hook [email protected] • www. to run Jan 29 - Feb 22. Submit up St., Huntington, NY 11743 (631) CAN / Artists Collective Gallery 7516 essexcountynj-org / www.somocon. to 8 jpgs to upstreamphoto@gmail 549-5106. Seeks entries for EXPO N. Broadway, Red Hook, NY Seeks org or [email protected] Deadline 34 Nat’l Juried Competition. Juror: entries for juried competition “Works Dec 19. [email protected] Adrienne Rooney, Curatorial Asst, Artists, Craftspeople: Guilford on Paper” March 6-April 6. See web- or [email protected] • www. The Whitney Museum Full info Art Center, 411 Church St., PO Box site for submission requirements. upstreamgallery.com on website. Deadline Dec 10 www. 589, Guilford, CT 06437 (203) 453- Feb 3, 2015 [email protected] bjspokegallery.com. 5947. Seeks entries for Guilford Art • www.rhcan.com Artists, All Media: Washington Center’s Craft Expo 2015 July 17-19, Square Outdoor Art Exhibit, Inc., Artists, All Media: Blue Door Art Artists, Craftspeople: Red Hook 2015 Call for Info or visit website for PO Box 1045 New York, NY 10276 Center, 5 Hudson St., Yonkers, NY Community Arts Network (RCAN)’ details. guilfordartcenter.org/expo (212) 982-6255. Seeks participants (914) 375-5100 Seeks entries that MEMBER Member of RHCAN seek- for app forms. Deadline Jan 11. expo@ for 85th outdoor “Art in the Village” relate to African American themes ing new vendors for new shop at guilfordartcenter.org exhibit May 23, 24, 25,; May 30 & for exhibition “Out of Bounds: Free- 62 E. Market St., Red Hook (across 31 Go online for registration form dom from Restraints” Feb 14-Mar Dancers, Dance companies, Cho- from Mercato) If interested send and info. [email protected] • 14, 2015. Visit website for details/ reographers: Indo-American Arts description of items and pics to gal- www.washingtonsquareoutdoorar- info. Deadline Jan 9, 2015 eselpe@ Council, 517 E. 87th St Suite 1B, NYC [email protected] (NOT to texhibit.org. optonline.net • www.bluedoorart- 10128 (212) 594-3685 Seeks entries RHCAN) center.org for “Erasing Borders: Festival of In- Artists, Craftspeople: White Artists: Ridgewood Art Institute, 12 dian Dance” Aug/Sep 2015. email or Plains Outdoor Arts Festival Com- Artists, photographers, writers: East Glen Ave., Ridgewood, NJ (201) visit website for info. Deadline Apr 1, mittee, P.O. Box 273, White Plains, Blue Door Art Center, 5 Hudson 652-9615. Seeks entries for 35th Re- 2015 [email protected] • www. NY 10605 (914) 949-7909 or (914) St., Yonkers, NY (914) 375-5100 gional Open Juried Show Jan 25-Feb iaac.us 993-8271. Seeks entries for 53rd Seeks submissions for Blue Door 10. Call or visit website for details Annual Juried Show, May 30 & Quarterly, a journal of literature Women Artists: National Associa- Deadline Jan 10 www.ridgewoodar- May 31, 2015, 10am-5pm at Tib- and art. Go online for submission tion of Women Artists, 80 Fifth Ave., tinstitute.org. bits Park, White Plains. Children’s guidelines Deadline December 15 Ste. 1405, New York, NY 10011 Artists, All Media (including workshop, student art exhibits and [email protected] • www. (212)675-1616. Seeks membership of videos and installations): Stu- more! Free admission; food avail- bluedoorartcenter.org professional women artists who de- dio Montclair, 108 Orange Road, able. See website for application sire exhibitions throughout the U.S. Artists: Bowery Gallery, 530 W Montclair, NJ 07042 (973) 744-1818 www.whiteplainsoutdoorartsfesti- For details download from website. 25th St., NYC 10001 (646) 230-6655 Seeks entries for the 2015 Open Ju- val.com Deadline: Sep 15; March 15. www. A national call for entries for Annual ried Exhibition “Viewpoints 2015” at thenawa.org If you have an opportunity to Juried Competition 2015, July 28 - Aljira, a center for Contemporary Art, list, email: info@arttimesjour- Aug 15 at the Bowery Gallery, 530 Artists: New Rochelle Municipal Newark, NJ June 4 - 28, 2014. Juror: nal.com or write: ART TIMES West 25th St., NYC. Juror: Stephen Arts Commission and City’s Dept Jeffrey Wechsler, independent cura- PO Box 730, Mt. Marion, NY Westfall, American painter, critic, of Development Seeks muralists tor. SASE for prospectus or download 12456. Please follow above for- professor at Rutgers Univ. Down- with colorful, creative, and ‘outside from website www.studiomont- mat and include deadline and load application and prospectus the box’ solutions. Go to website for clair.org. Deadline Jan 24, 2015. contact phone number.

Did you miss the deadline for this issue? You can still include a calendar item or opportunity listing for a small fee. Banner ads on the arttimes homepage available to publicize an event or your business. Be part of the resource ARTTIMES Online: www.arttimesjournal.com for ALL THE ARTS and reach the cultural corridor of the Bowery Gallery Northeast. Annual Juried Competition Juror: Stephen Westfall, To advertise your American painter, critic, and professor at Rutgers University. His work is in the collections of The MFA, Boston; The Albertina Mu- exhibition, concert, seum, Vienna; The Whitney Museum of American Art, NYC, and performance or The Baltimore Museum of Art. His writing has appeared in Art in America, Vogue, The New York Times, Art News, and The business New Criterion. He is represented by Lennon,Weinberg Inc., NYC. phone ART TIMES Show dates: July 28, 2015 - Aug 15, 2015 Reception: July 30, 5-8p.m. (845) 246-6944; email: 530 W. 25th St., 4th Flr., NY, NY 10001 ads@arttimesjournal. To apply: www.bowerygallery.org/juried.html com Deadline: April 20, 2015 Winter 2014/2015 ART TIMES page 19 Theatre Can theater still do its job? By ROBERT W. Bethune We all know, and have heard end- Theater, to exist at all, must es- ing the present as approximately the between performers and audience in lessly, that theater, once a primary tablish a direct, personal connection last 150 years---personal interactions a shared space. They are impersonal art form and powerful cultural force, between performer and audience, were the primary stuff of life. Urban both in size and nature, based on pro- is no longer either of those things. A existing in the same space, breathing centers were small and dense. Most cesses that occur far from us, carried theatrical production once had an ex- the same air, exchanging physical, people did not live in such centers out by people unknown to us. Even cellent chance of catching the eye and mental, and emotional responses anyway; most people lived in small, in politics, where there is a layer of ear of people who mattered, who had directly. Nor can theater, as a me- rural, agricultural communities; known names and faces, our relation- the access and the power to respond dium of communication, convey all across whole nations, far and away ships to those names and faces are in real, broadly efficacious, publicly things to all people. The medium is the dominant occupation was farm- not personal. In other areas of life, visible ways to what that theatrical suited to conveying dynamic interac- ing. ; In such communities, whether we cannot even name the names or production conveyed to them. That is tions and relationships at a personal urban or rural, direct personal expe- know the places; decisions taken by no more, and has not been for a very level, between known individuals rience lay at the heart of life. currency traders in Tokyo or bankers long time. and small groups who exist, usually That is no longer true. The modern in Shanghai or economists in Brus- we point our fingers at various fictionally, in the same space and world developed systems of transpor- sels or investment bankers in New causes—the movies, TV, short atten- time, within physical reach of each tation and communication, as well as York affect us profoundly without tion spans, the economics of the art other. Even mass enactments, such systems of logistics and administra- our knowledge and beyond the range form, et cetera, et cetera, et cetera, as Olympic opening ceremonies or tion, that supported, even forced, the of our voices. ad infinitum, ad nauseam. Have we the mass performances done in Ger- development of communities—if one Theater cannot deal with such missed the point? many in the thirties and forties, place can call them that—at extremely a world. Theater cannot deal with as Shakespeare pointed out so the participants and audience in the large scales. Between 1810 and the impersonal, faceless processes car- pithily, it is and has always been the same space. As soon as we lose that present, the world went from one ried out at immense distances and job of theater to show the very age physical presence—as when a theat- city of at least one million people to unknown directions. The only strat- and body of the time his form and rical performance is broadcast—we over 300 of them. In that same time, egy available to it—to find a way to pressure. But can it do its job? are not present at a theatrical event; the overall population of any given portray some element of such a world It is not reasonable to expect we are merely watching TV. area on earth increased dramatically; at a personal level—simply misses someone or something to do its job if Theater communicates at this communities at every level got bigger the point. the conditions under which it must direct, personal level because it and bigger, and did so rapidly. That is why theater has slid to the work no longer permit successful job deals in the direct and personal. The Along with that came a change in the margins of our culture. It can’t do its performance. No matter what the individual experience, the personal way the world works. The decisions job any more. The only job it can do purpose of a thing may be, it requires relationship, the dynamics between and dynamics that affect our lives no remains somewhat interesting, but certain external conditions to exist in individuals and among small groups. longer occur at personal levels that fundamentally marginal—showing order to function. In every age up to the present—tak- can be expressed in the dynamics us not the form and pressure of the time, but what individual lives are like in an age when individual lives just don’t matter much anymore, and neither do performances of them. Our worlds have outgrown our arts. ef ~ Upstream Gallery Small Works 2015 ~ January 8th to 25th. Opening Reception, January 11th, 2 to 5pm ~ Photography Takes Over ~ January 29th to February 22nd Opening Reception, Sunday, February 1st, from 2 to 5 pm Deadline for submissions Dec 19. Email up to eight JPEGs to 56 E.Market St., Rhinebeck 845-876-4922 [email protected] or [email protected] 188 Main St., New Paltz 845-255-5533 8 Main Street, Hastings-on-Hudson, NY 10706 791 Broadway, Kingston 845-338-2838 914-674-8548 • upstreamgallery.com Hours: Thursday — Sunday, 12:30 to 5:30pm

ART CLASSES: Adults, Teens and Children Spring semester starts January 24 CLASSES IN: Ceramics Jewelry Drawing Photography Sculpture Sunday, December 7, 3pm Painting 85TH ANNUAL Beyond Words OPEN JURIED Written and Performed by Bill Bowers Digital Arts Directed by Scott Illingworth EXHIBITION ~ • Workshops Saturday, December 13, 8pm • Talks May 4 thru May 30, 2015 LoHud Comedy Night at The Schoolhouse ~ • Exhibitions WESTCHESTER Seeking entries in all media COMMUNITY Sunday, January 18, 7:30pm COLLEGE except photography and craft The 27th Annual Winter Jazz Concert $2,000 in Prize Awards Featuring The Houston Person Quarter ~ For prospectus, send SASE or download February 27 - March 22 from website: www.nationalartleague.org Convenient location: The Effect of Gamma Rays on Man-in-the-Moon Marigolds Entry deadline March 27 By Paul Zindel; Directed by Pamela Moller Kareman White Plains, Westchester County Center Fri & Sat at 8pm, Sat & Sun at 3pm For more info: 914-606-7500 National Art League Email: [email protected] 44-21 Douglaston Parkway, Studio C 3 Owens Road, Croton Falls, NY Douglaston, NY 11363 • 718.225.4985 924-277-8477 • www.schoolhousetheater.org www.sunywcc.edu/arts Winter 2014/2015 ART TIMES page 20 Calendar Continued from Page 16 Tuesday, January 20 Organizational meeting - Gallery Coalition of NW New Jersey Spring Street Art Center 145 Spring Street Newton NJ 11 am free Thursday, January 22 ART TIMES In the Paint: Basketball in Contemporary Art William Benton Museum of Yes! I want my copy of ART TIMES Add $15 to your 1 year subscription Art, University of Connecticut 245 Glenbrook Road Storrs NY 860-486-4520 Open- mailed directly to me. and we will send a 1 year subscrip- ing reception 4:30-7pm free (thru Mar 29) __1 yr. $18 ___2 yrs $34 ___ tion to ART TIMES as a gift from you. Workshop for Art Teachers, Artists and Educators Spring ___Foreign: $30/1yr; $55/2yrs Note to read______Street Art Center 145 Spring Street Newton NJ 973-551-0502 1-3:30pm free ______Sunday, January 25 Name______Please mail my gift subscription to: 35th Annual Regional Juried Show The Ridgewood Art Institute 12 Address______East Glen Ave Ridgewood NJ Opening Reception 2-4pm (thru Feb 10) Name______City______ST______Zip______Glorious Colors of Chorus and Brass Hudson Chorale Irving- Address______ton High School 40 North Broadway Irvington NY 914-332-0133 3-4:40pm charge Phone______City______ST______Zip____ Tuesday, January 27 email:______Phone______BLACK & WHITE EXHIBITION Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Feb 14) Make check payable to ART TIMES PO Box 730 Mt. Marion, NY 12456 or Thursday, January 29  visa /  mc /  disc / code______David Shuler, organist - Bach Music & Arts at St. Luke in the Fields. card # ______/______/______/______exp date______Church of St. Luke in the Fields 487 Hudson St New York NY 212-414-9419 8pm charge Photography Takes Over 2015 Upstream Gallery 8 Main Street Hastings- on-Hudson NY 914 965-3397 (thru Feb 22) Friday, January 30 Peggy Reeves: Black & Blue 510 Warren Street Gallery 510 Warren St. Hudson NY 518-822-0510 free (thru Feb 22) Saturday, January 31 Marvels and Mirages of Orientalism: Benjamin-Constant in His Time Montreal Museum of Fine Arts 1380 Sherbrooke West Montreal QC 514-285-2000 charge (thru My 31) Exhibitions in the N.A.W.A. Gallery Sunday, February 1 80 Fifth Avenue, Suite 1405, NYC “Inspiration” Juried, all media exhibition Rowayton Arts Center 145 Rowayton Avenue Rowayton CT 203-866-2744 Opening Reception 4-6pm free December 10 – January 2, 2015 (thru Feb 22) Zemka Carra and Carol Nipomnich Dixon Yonkers Philharmonic Tchaikovsky Sym #2, Arial Rudiakov guest conducts FAOS Saunders Trade High School 183 Palmer Road Yon- (Winners of the 2014 Small Works Exhibitions) kers NY 914-631-6674 3pm free Reception: Wednesday, December 17, 5-7pm Wednesday, February 4 ~~~ SMALL WORKS Exhibition National Association of Women Artists, Inc. N.A.W.A. February 4 – February 25, 2015 Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 (thru Feb 25) Small Works Exhibition Thursday, February 5 ELISE ANSEL Phoenix Gallery 548 WEST 28 STREET, SUITE 428 NYC 212-226- Reception: Wednesday, February 11, 2015, 5-7pm 8711 Opening Reception 6-8pm free (thru Feb 28) ~~~ Saturday, February 7 New Members applications due March 15 Color and Technique Spring Street Art Center 145 Spring Street Newton See: www.thenawa.org for application NJ 973-551-0502 Opening Reception 6-8pm free (thru Feb 28) Student Exhibition 1 The Woodstock School of Art 2470 Route 212 Wood- National Association of Women Artists, Inc. stock NY 845-679-2388 Opening Reception 3-5 (thru March 14) Empowering women artists since 1889 Wednesday, February 11 SMALL WORKS Exhibition National Association of Women Artists, Inc. 80 Fifth Avenue • Suite 1405 • NYC * (212) 675-1616 N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Recep- www.thenawa.org tion 5-7pm (thru Feb 25) Friday, February 13 Wine & Cheese with Sculpture Demonstration Spring Street Art Center 145 Spring Street Newton NJ 973-551-0502 6:30-8:30pm free Sunday, February 15 THE HORSZOWSKI TRIO Rhinebeck Chamber Music Society The Church of the Messiah 6436 Montgomery Street (RTE. 9) Rhinebeck NY 845-876-2870 3-5pm charge Wednesday, February 18 ATRAC: “Inspiration” Exhibit Artists’ Talk Rowayton Arts Center 145 Roway- ton Avenue Rowayton CT 203-866-2744 6:30-8pm free Thursday, February 19 SCNY SPRING AUCTIONS SALE Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Mar 28) Lynne Tobias Exhibit Piermont Fine Arts Gallery 218 Ash Street Piermont NY 845-398-1907 (thru March 8) Friday, February 20 Paint and Sip with Jane Brennan-Koeck Spring Street Art Center 145 Spring Street Newton NJ 973-551-0502 6:30-8:30pm charge Saturday, February 21 Pines in the Snow by Raymond J. Steiner Scholastic Art & Writing Awards Exhibition: Nationwide travel- 4"x6" oil on canvas board ing exhibit of the country’s best high school artists. Catskill Art Society CAS Arts Center 48 Main Street Livingston Manor NY 845-436-4227 Opening reception We wish you all a very Healthy, 2-4pm. free (thru Mar 22) Creative, Peaceful, and Joy-filled For additional Calendar listings Holiday Season and New Year. go online: arttimesjournal.com