Clark Hulingsat The Forbes Galleries, NYC - Art Times
Clark Hulingsat The Forbes Galleries, NYC - Art Times
Clark Hulingsat The Forbes Galleries, NYC - Art Times
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Inside:<br />
Raleigh on Film; Bethune on <strong>The</strong>atre;<br />
Behrens on Music; Lille & Trevens on Dance;<br />
Seckel on the Cultural Scene;<br />
Cole on Miró; Steiner on <strong>Clark</strong> Hulings;<br />
Spencer ‘Speaks Out’ on African <strong>Art</strong>;<br />
New <strong>Art</strong> Books; Short Fiction & Poetry;<br />
Extensive Calendar of Events…and more!<br />
ART TIMES<br />
Vol. 27 No. 6 May/ June 2011<br />
By RAYMOND J. STEINER<br />
EYE, MIND, SOUL — pleasing the eye,<br />
engaging the mind, speaking to the soul<br />
— how rare to find artists today doing<br />
all three at one and the same time!<br />
<strong>The</strong>y do exist, however — tucked away<br />
in different corners of our country, heroically<br />
hewing to old traditions of skill<br />
and craftsmanship in spite of all efforts<br />
to sway them from the so-called “passé”<br />
standards of by-gone days. Witness,<br />
for example, the art of <strong>Clark</strong> Hulings,<br />
presently on view at <strong>The</strong> <strong>Forbes</strong> Gallery<br />
in <strong>NYC</strong>,* a show that features many<br />
works of the recently-deceased artist<br />
that have never been exhibited before.<br />
As with so many representational<br />
artists dismissed as “mere” illustrators<br />
by the modernist “pundits”, <strong>Clark</strong><br />
Hulings ignored the trend for imageless<br />
art, soldiering on while silently<br />
honing his skills of fine draftsmanship<br />
and subtly-toned color schemes on the<br />
rural motifs he seemed never to tire<br />
rendering. Hulings’ art, however, has<br />
not been totally ignored, gaining both<br />
recognition and awards from such<br />
organizations as <strong>The</strong> Allied <strong>Art</strong>ists of<br />
<strong>Clark</strong> Hulings at <strong>The</strong> <strong>Forbes</strong> <strong>Galleries</strong>, <strong>NYC</strong><br />
fine craftsmanship — a much welcome<br />
allegiance now carried on by <strong>The</strong> <strong>Forbes</strong><br />
Gallery and their current exhibition of<br />
Hulings’ work.<br />
For the aficionado of classical fine<br />
art, this is a show you ought not miss.<br />
<strong>The</strong> groundwork for Hulings’ eye for<br />
Onteniente (Oil on Canvas) 1967<br />
George Bridgman and Frank Reilly —<br />
both of whom led their talented student<br />
to eventually focus on leaving the more<br />
lucrative career of illustration to one of<br />
pursing fine art. Already influenced in<br />
his youth by the traditionally-trained<br />
portraitist Sigismund Ivanowski, his<br />
teachers could not have had a more<br />
apt and willing learner — but it was<br />
Hulings himself who transformed their<br />
teachings into his own unique vision<br />
and style of combining visual elements<br />
stored in his memory to create his compelling<br />
compositions.<br />
<strong>The</strong> fruits of Hulings’ progress are<br />
evident in the 42 paintings and drawings<br />
presently on view in “An American<br />
Master” — the designation of “master”<br />
most definitely appropriate in this<br />
instance. Viewers will assuredly have<br />
their hungry eyes, minds and souls<br />
sated by the sheer vitality of Hulings’<br />
images — images gleaned from world<br />
travels of rural land- and townscapes,<br />
colorful flower and produce markets,<br />
street vendors, farmyards, children,<br />
still lifes — and, of course, his signature<br />
placidly-patient donkeys. Never garish,<br />
never saccharine, Hulings’ seems to hit<br />
the right tone in whatever he chooses to<br />
depict — even the famous, overweight<br />
character “Suzy” of <strong>Art</strong> Student League<br />
fame — a model that I had devoted a<br />
chapter to in my book, <strong>The</strong> <strong>Art</strong> Students<br />
League of New York: A History.<br />
Close viewing will reveal how deftly<br />
Hulings’ achieves his effects — subtle<br />
shifting of values that compels color<br />
to “hold its place” and form to avoid<br />
domination of the overall motif — varied<br />
brush and broad palette strokes<br />
to evoke detail and/or texture — all<br />
blended by a masterful eye and hand<br />
coordination — all of which comes<br />
from a lifetime of looking, of noting,<br />
of differentiating, of memorizing — of<br />
near-flawless execution.<br />
So — go treat yourself — if only to<br />
fall in love with his donkeys or chuckle<br />
at Suzy the model.<br />
*“Hulings: An American Master”<br />
(thru Jun 18): <strong>The</strong> <strong>Forbes</strong> <strong>Galleries</strong>,<br />
62 Fifth Ave., <strong>NYC</strong> (843) 842-4433<br />
ef<br />
America, the Hudson Valley <strong>Art</strong> Association<br />
and representation at the oncefamous<br />
Grand Central <strong>Art</strong> <strong>Galleries</strong> in<br />
<strong>NYC</strong> — all organizations that have long<br />
hewed to the traditional standards of<br />
Looking for Shade (Oil on Canvas) 2003<br />
form and color had been long laid<br />
down by “gruntwork” as a successful<br />
illustrator whose innate eye for detail<br />
had been finely-tuned by such master<br />
<strong>Art</strong> Student League teachers as the late<br />
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May/ June 2011 ART TIMES page 2<br />
ART TIMES<br />
Commentary and Resource for the Fine & Performing <strong>Art</strong>s<br />
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Publisher: Cornelia Seckel<br />
Editor: Raymond J. Steiner<br />
Contributing Writers:<br />
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Ina Cole<br />
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Letters<br />
To the Publisher:<br />
I’m hoping that the winter went well<br />
for you two, and that spring now<br />
brings abundant warmth and color<br />
into all of our lives. I’ve had a quiet<br />
winter myself, and it really has been<br />
a very long time since I’ve seen you,<br />
too long... hopefully we can change<br />
that; I promise to get out more!…<br />
Please send my very best to<br />
Ray, and tell him I am still getting<br />
responses to the article! [“Marlene<br />
Wiedenbaum at <strong>The</strong> Bruynswick<br />
<strong>Art</strong> Studio & Gallery, Nov/Dec 2010]<br />
Marlene Wiedenbaum<br />
Highland, NY<br />
To the Publisher:<br />
What a joy to see the coverage of our<br />
present exhibit at Rockefeller. Thank<br />
you so much for coming, sharing time<br />
with us and displaying a picture and<br />
mention.<br />
I enjoyed seeing you after such a<br />
long time.<br />
With much appreciation.<br />
Audrey Leeds, Curator<br />
Norwood, NJ<br />
To the Publisher:<br />
Thank you very much for attending<br />
our winter concert at the Ailey Citigroup<br />
<strong>The</strong>ater, and for mentioning<br />
our company and performance in<br />
the March/April 2011 issue of ART<br />
TIMES.<br />
Roberto Villanueva<br />
Execitive/<strong>Art</strong>istic Director<br />
BalaSole Dance Co., Inc., NY, NY<br />
To the Editor:<br />
Receiving the <strong>Art</strong> <strong>Times</strong> is always<br />
a highlight of my month; it’s such a<br />
Peeks and Piques!<br />
OVER THE YEARS I’ve given my<br />
readers a “peek” into my life behind<br />
my role as editor of this publication<br />
— “Splitting Wood” back in March<br />
of ’96; “<strong>The</strong> Stone Wall” in May ’04,<br />
“Autumn in New York” in November<br />
of ’07, and “City Boy, Country Boy” in<br />
May of last year — a life that I jealously<br />
guard along with the solitude it<br />
guarantees me. If you’ve kept track<br />
over the years, I’ve given glimpses<br />
into my home and environs that is<br />
situated on a 2-acre plot on a deadend<br />
road about half-way between the<br />
villages of Woodstock and Saugerties,<br />
New York — even some first-hand<br />
glimpses to those who’ve managed<br />
to break my barrier of isolation for a<br />
short visit (the “stone wall” described<br />
in May of 2004 serves as a visible<br />
warning to the idle curious). Anyway,<br />
this time I want to share another peek<br />
into my life in the woods — a visit to a<br />
sugar maple farm about a mile down<br />
the road from me. Many don’t know<br />
that it is, in fact, not Vermont but<br />
New York State that leads the country<br />
in the production of maple sugar.<br />
Set back a few hundred feet from the<br />
road on a piece of woodland riven by<br />
a meandering brook, the maple sugar<br />
“factory” is a one-story wooden building<br />
that deceptively hides a high-tech<br />
Contents<br />
<strong>Art</strong> ……………1, 3, 7<br />
<strong>Art</strong> Book Review…17<br />
Calendar of Events …4<br />
Classifieds …………18<br />
Culturally Speaking…10<br />
Dance ………………5, 9<br />
Editorial ……………2, 3<br />
Fiction ………………14<br />
delightful read. I must congratulate<br />
Henry Raleigh on his “Sometimes<br />
Curmudgeons Laugh” (January/February,<br />
2011), which had me laughing<br />
out loud. Later, I shared sections of<br />
his piece with friends over breakfast,<br />
so they could enjoy it too. In that same<br />
issue, Robert Bethune’s “But oh, that<br />
Tenth,” a description of the theater,<br />
was itself a work of art — moving, reflective,<br />
poetic. I’ve clipped out both<br />
pieces, so I can savor and share them<br />
again.<br />
Best regards,<br />
Lisa Wersal<br />
Vadnais Heights, Minnesota<br />
Continued on Page 18<br />
operation which converts raw maple<br />
sap into one of America’s favorite pancake<br />
toppings behind its rustic walls<br />
— pure maple syrup. For countryliving<br />
cognoscenti, the maze of plastic<br />
lines running from surrounding<br />
sugar-maple trees and converging on<br />
the “factory” give away the game that<br />
is largely hidden behind leafy foliage<br />
during the rest of the year. But come<br />
early Spring — when cold nights are<br />
followed by warming days — the sap<br />
begins to rise and the “factory” begins<br />
to fill its waiting containers. <strong>The</strong>n<br />
the day comes when smoke arises<br />
from the open-end gable atop the<br />
roof and all the neighbors know that<br />
the process has begun! This year, the<br />
event was heralded by an open-house<br />
featuring free pancakes, sausages,<br />
ham, and — of course — fresh maple<br />
syrup! It was not long before the little<br />
parking lot and adjoining woods were<br />
awash in cars and people — Cornelia<br />
and I among them. We wondered at<br />
this close-up view of the building and<br />
operation — having passed it almost<br />
daily on our way to the Post Office<br />
but never having actually driven<br />
in to take a close look. We are not<br />
exactly greenhorns when it comes<br />
to making maple syrup — having<br />
tapped the maple trees on our own<br />
Film ………………13<br />
Letters ……………2<br />
Music………………15<br />
Opportunities ……16<br />
Peeks & Piques!……2<br />
Poets’ Niche ………15<br />
Speak Out…………3<br />
<strong>The</strong>atre ……………19<br />
Joyce Parcher<br />
@ Ceres Gallery<br />
April 26 th - May 21 nd<br />
2011<br />
Ceres Gallery<br />
547 W. 27 th St. <strong>NYC</strong> 10001<br />
Hrs: Tues.- Sat. 12-6pm<br />
212-947-6100<br />
www.CeresGallery.org<br />
Be part<br />
of THE resource<br />
for<br />
ALL<br />
the <strong>Art</strong>s<br />
Call (845)<br />
246-6944<br />
www.<br />
arttimes<br />
journal.<br />
com<br />
property in our early years and boiling<br />
down the raw sap into syrup — a<br />
ratio, incidentally, of 40 to 1 — i.e. it<br />
takes forty pints of raw sap to make<br />
one pint of syrup — and a considerable<br />
amount of labor in getting and<br />
cutting wood for the process during<br />
the preceding season. We did that for<br />
several years, until the sheer labor<br />
of it finally got to us. <strong>The</strong> next best<br />
thing then, was to visit the “factory”<br />
— its two overhanging eaves on both<br />
sides of the structure sheltering the<br />
fire-stove-sized cut logs. As we approached,<br />
several young bloods were<br />
steadily feeding the large cast-iron<br />
wood-burner sitting in the middle of<br />
the floor inside, while others cooked<br />
up food and skimmed the boiling<br />
container of fresh sap being converted<br />
into “country sweetness” into waiting<br />
cruets — trying to keep up with a<br />
hungry horde led by their noses and<br />
appetites taking it all in. Yep — give<br />
me the rural life; you can keep your<br />
city traffic, crowds, parking meters,<br />
and noise. I’ll just visit now and then<br />
to take in a promising art exhibit.<br />
(See a short video of the process on<br />
arttimes channel of YouTube)<br />
Raymond J. Steiner<br />
Doretta Miller<br />
“Portrait of Chairs”<br />
ef<br />
April 26 – May 21, 2011<br />
Reception<br />
May 7, 3-5 pm<br />
First Street Gallery<br />
526 W. 26th St, Suite 209<br />
<strong>NYC</strong>, NY 10001<br />
646-336-8053<br />
firststreetgallery.net/millerd.html<br />
Location: Junction of Rtes. 35 &<br />
121 South, Cross River, NY 10518<br />
(914) 864-7317
Speak<br />
Out<br />
By OLGA SPENCER<br />
WHEN WE REFER to “African <strong>Art</strong>”,<br />
what exactly comes to mind Is it<br />
sub-Saharan or African-American<br />
art Does it consist of art from Africa<br />
only or any artist using African motifs<br />
Or is it an umbrella for all of the<br />
above<br />
My interest in the accurate definition<br />
of what represents African <strong>Art</strong><br />
was reactivated by an unexpected<br />
experience. Several years ago, a local<br />
library inquired if I would be interested<br />
in lending them some of my<br />
African paintings to exhibit during<br />
African Pride month. A committee<br />
came to review and select the artwork.<br />
However, a few days later I<br />
was notified that they would not be<br />
using the artwork in the exhibit because<br />
a few local African-American<br />
artists protested the inclusion of art<br />
from Africa.<br />
This dichotomy reflects the deep<br />
rift and confusion in the field of African<br />
art. Currently, the label “African<br />
<strong>Art</strong>” does not require identification<br />
of the country of origin. It can represent<br />
artifacts from equatorial or<br />
North Africa, as well as works by Africans<br />
living in Europe, USA or elsewhere,<br />
that produce art using African<br />
motifs. For example, recently I<br />
saw a replica statuette of an African<br />
tribesman, made in China.<br />
<strong>The</strong> confusion surrounding African<br />
art is not alleviated by the expertise<br />
of professional appraisers. To<br />
the best of my knowledge there are<br />
no certified or licensed appraisers of<br />
20th century African art. In 1998 I<br />
made a donation of African paintings<br />
to a museum and could not locate an<br />
expert in the New York area to provide<br />
a written opinion on the origin,<br />
history or date of the paintings and/<br />
or the background of the artists.*<br />
May/ June 2011 ART TIMES page 3<br />
African <strong>Art</strong> of the 20 th Century & Beyond<br />
One would expect that an expert<br />
would recognize “airport art” from<br />
the genuine old masters who started<br />
the golden era of sub-Saharan art in<br />
the 20th century before WWII and<br />
that blossomed during the forties<br />
and fifties.<br />
While African artists rightly<br />
claim the concept of “African art” as<br />
a copyright for their territories, modern<br />
critics and dealers are divided on<br />
the subject.<br />
From a historic perspective, all<br />
art originated from the universal<br />
archetypes that were identical in<br />
its symbolism, whether they were<br />
produced in the caves of Alta Mira,<br />
South Patagonia or other paleontologic<br />
locations. It would be difficult to<br />
deny their universal connectedness<br />
just because the were created on different<br />
continents. <strong>The</strong> need of primitive<br />
people originated in the urge to<br />
capture meaningful events or pictures<br />
of local heroes as a message for<br />
future generations. It was their testament<br />
that they had lived there. It<br />
was their “veni, vidi, vici” statement,<br />
long before writing existed. <strong>Art</strong>work,<br />
as produced in the “Cave of hands”<br />
in 9,000 BC in Southern Patagonia<br />
assured the artists immortality. Regardless<br />
of the continent and site of<br />
the art, the fundamental archetypes<br />
bind all arts with symbolic expression<br />
of artists about their world.<br />
In former Portuguese colonies, idiographic<br />
images were already seen<br />
in the 17th century when Africans<br />
imitated pictures of saints and religious<br />
motifs brought by navigators<br />
and traders. In Ethiopia, paintings<br />
were produced by local artists since<br />
the 13th century. <strong>The</strong>y learned the<br />
art of painting in Jerusalem where<br />
they had workshops producing copies<br />
of the bible and pictures of holy<br />
persons.<br />
<strong>The</strong> indigenous imageries evolved<br />
later during the 19th century on<br />
the West Coat, as well as in various<br />
parts of Equator Africa, after H.M.<br />
Stanley crossed the unexplored continent<br />
from Zanzibar to the Atlantic<br />
Ocean. As the traders, missionaries<br />
and administrators from Europe colonized<br />
the territories, Africans were<br />
exposed to non-religious works of art<br />
that the colonists brought from Europe<br />
to decorate their homes. Suddenly<br />
there was a market for artwork<br />
by Africans expressing their vision of<br />
life and nature for arts’ sake and not<br />
for ritualistic purposes.<br />
Some of the artists were inspired<br />
by the continental art form; however,<br />
others developed their own unique<br />
style. European connoisseurs visiting<br />
the colonies soon recognized the<br />
talent of local artists and provided<br />
the young African artists with needed<br />
tools and occasionally instructed<br />
them on traditional techniques.<br />
<strong>The</strong> influence of the Western art<br />
form on African artists was not always<br />
welcome or integrated by local<br />
masters. Some westernized their<br />
style, while others adhered faithfully<br />
to their own techniques and vision of<br />
African life that greatly differed from<br />
western culture. For example, Bella,<br />
an uneducated bushman, painted<br />
with the tips of his fingers, refusing<br />
to use brushes or change his vision<br />
of life and death and the struggle of<br />
African nature. Koyongondo, Futa,<br />
N’zita, and Pili-Pili were talented<br />
men that have grown to be recognized<br />
as African artists.<br />
In the early 1960’s Albert N’Kusu<br />
won the first prize during the Intercontinental<br />
<strong>Art</strong> Exhibit in Monte<br />
Carlo, Monaco. Koyongonda, N’zita<br />
and Bomolo exhibited in New York<br />
under the auspices of the Monaco art<br />
show.<br />
After the dissolution of the colonies<br />
and the sub-Saharan territories<br />
proclamation of independence, many<br />
young artists developed skillful techniques,<br />
but were not truly dedicated<br />
to art. <strong>The</strong>se artists imitated the<br />
old masters and flooded the market<br />
with cheap reproductions that were<br />
known as “airport art”. During the<br />
1960’s and later, so called “African<br />
<strong>Art</strong>” could be bought for less that<br />
50 U.S. dollars. However, the works<br />
of the old founding fathers became<br />
difficult to obtain after the artists’<br />
death.<br />
While living in Paris in the early<br />
1950’s, I frequently saw an artist<br />
painting the Sacré Coeur Church,<br />
a favorite tourist monument. <strong>The</strong><br />
painting was a very good imitation<br />
of Utrillo’s style, known for his sceneries<br />
in Montmarte. In 1954 the artist<br />
was selling the painting for 3,000<br />
francs, then the equivalent of $6.00.<br />
<strong>The</strong>re are many experts who can recognize<br />
an original Utrillo from an<br />
imitation. However, who can distinguish<br />
an old African master from an<br />
imitation<br />
As art becomes part of the global<br />
market and economy, it is time that<br />
universities, galleries and other artrelated<br />
institutions focus on African<br />
art and shed some light on this new<br />
field of creativity that is still, to a<br />
large degree, a “terra incognito” to<br />
the general public.<br />
I wrote this article with the hope<br />
that increased attention to the definition<br />
of “African <strong>Art</strong>” will help clarify<br />
all the various art forms currently<br />
falling under the broad umbrella of<br />
“African <strong>Art</strong>”.<br />
*I had purchased the painting in the<br />
early 1950’s in Zaire, Congo Republic.<br />
(Olga B. Spencer, Ph.D, is an<br />
author and lecturer living in<br />
Southport, CT).<br />
ef
May/ June 2011 ART TIMES page 4<br />
Because our Calendar of Events is prepared a month in advance<br />
dates, times and events are subject to change. Please call ahead<br />
Calendar to insure accuracy. <strong>The</strong> county (and state if not NYS) where the<br />
event takes place is noted in bold at the end of each listing.<br />
Ongoing<br />
May 7, 14, 21, 28, at 3pm Cintinuum: Gender Identities, a Big Conversation<br />
in a Small Town <strong>The</strong> Ridgefield Guild of <strong>Art</strong>ists 34 Halpin Lane Ridgefield CT<br />
203-438-8863 free www.RGOA.org<br />
May 14,15, 20, 21 Spring Salon Concert eba <strong>The</strong>ater with eba students eba <strong>The</strong>ater<br />
corner of Lark St. & Hudson Ave. Albany NY 518-465-9916 charge at 7:30 eba-arts.org<br />
Sunday, May 1<br />
11th ANNUAL GAGA <strong>Art</strong>s Festival GAGA <strong>Art</strong>s Center 55 W. Railroad Avenue Garnerville<br />
NY 845-947-7108 11am-6pm rain or shine charge www.gagaartscenter.org<br />
20th Anniversary Exhibition Carrie Haddad Gallery 622 Warren Street Hudson<br />
NY 518-828-1915 free (thru May 29) www.carriehaddadgallery.com<br />
BIRDS IN ART 2011: Annual Juried Exhibition Leigh Yawkey Woodson <strong>Art</strong><br />
Museum of Wausau, WI Newington-Cropsey Foundation, 25 Cropsey La., Hastings-on-<br />
Hudson, NY (914) 478-799 (thru May 26) www.newingtoncropsey.com Westchester<br />
Brush with Nature M & T Bank Hammond Museum 28 Deveau Rd. North<br />
Salem NY charge (thru June 18)<br />
Cintinuum: Gender Identities, a Big Conversation in a Small Town <strong>The</strong><br />
Ridgefield Guild of <strong>Art</strong>ists 34 Halpin Lane Ridgefield CT 203-438-8863 free (thru June<br />
3) www.RGOA.org<br />
David Tobey Paintings & Sculpture Friends of the White Plains Library & <strong>The</strong><br />
City of White Plains <strong>The</strong> White Plains Museum Gallery 10 Martine Avenue, 2nd floor<br />
White Plains NY 212-260-924 free (thru Jun 15) www.davidtobey.com<br />
ELWOOD’S WORLD: Drawings and Animations (thru May 15); Witness: <strong>The</strong> <strong>Art</strong><br />
of Jerry Pinkney (thru May 30) Norman Rockwell Museum 9 Rte 183, Stockbridge,<br />
MA Free MA<br />
Eric Lind - Revealed: Hidden Lives of the River Beacon Institute for Rivers and<br />
Estuaries Beacon Institute Gallery at 199 Main Street 199 Main Street Beacon NY<br />
845-838-160 free (thru Oct 2) www.bire.org<br />
FIBER PLUS: Fiber with Mixed Media in the 21st Century Blue Door Gallery 13<br />
Riverdale Avenue Yonkers NY 914-375-510 free (thru May 17) http://www.bluedoorgallery.org<br />
HANK VIRGONA Etchings: Nothing Changes Satire and the 1970’s and Curator’s<br />
gallery talk on Thick and Thin: Ken Landauer and Julianne Swartz<br />
Samuel Dorsky Museum of <strong>Art</strong> at SUNY New Paltz 1 Hawk Drive New Paltz NY 845-<br />
257-3844 Opening Reception 5-7pm; Talk 2-3pm free (thru June 6) www.newpaltz.edu/<br />
museum<br />
Identity In Itself: Benjamin Duke and Lorraine Hall Lapham Gallery,<br />
LARAC 7 Lapham Place Glens Falls NY free (thru May 6)<br />
JOYCE PARCHER: Paintings Ceres Gallery 547 West 27th St. <strong>NYC</strong> (212) 947-610<br />
free (thru May 21) art@ceresgallery.org<br />
Mary Anne Erickson Signs of the <strong>Times</strong> Oriole 9 17 Tinker Street Woodstock<br />
NY 845-679-5763 free (thru May 10) www.vanishingroadside.com Ulster<br />
2011 Annual Members Show New Jersey Water Color Society Ocean County<br />
<strong>Art</strong>ist’s Guild 22 Chestnut Ave. (Ocean & Chestnut Ave) Island Heights NJ<br />
732-899-155Reception 2-4pm free (thru May 31) www.NJWCS.org<br />
New Views of Our Old Neighborhood - Photographs of Dutchess<br />
Ulster Counties Locust Grove Historic Site Locust Grove Gallery 2683 South Road<br />
Poughkeepsie NY 845-454-450 free (thru May 23) www.lgny.org<br />
New York <strong>The</strong>atre Ballet performs works of Anthony Tudor Kaatsbaan<br />
International Dance Center 12Broadway Tivoli NY 845-757-5106 2:30pm charge<br />
www.kaatsbaan.org<br />
Recent Work by Shari Abramson, Roisin Bateman, Shelley Haven, Patricia<br />
Mamatos Omni Gallery 333 Earle Ovington Blvd Uniondale NY free (thru June 12)<br />
Robert Scott Duncanson: <strong>The</strong> Spiritual Striving of the Freeman’s Son<br />
<strong>The</strong> Thomas Cole Historic Site 218 Spring Street Catskill NY 518-943-7465 charge<br />
(thru Oct 31) www.thomascole.org<br />
Spring Juried show Kent <strong>Art</strong> Association 21 South Main Street Kent CT 860-<br />
927-3989 (thru June 5) www.kentart.org<br />
Susan Phillips: Photographs Unison <strong>Art</strong>s Center Unison <strong>Art</strong>s Center 68 Mountain<br />
Rest Rd New Paltz NY 845-255-1559 Opening reception 1-3pm free (thru May 22)<br />
www.unisonarts.org<br />
That’s <strong>The</strong> Way I See It <strong>The</strong> <strong>Art</strong>s Upstairs <strong>The</strong> <strong>Art</strong>s Upstairs 6Main Street<br />
Phoenicia NY 845-688-2142 free (thru May 14) www.artsupstairs.com<br />
THICK & THIN: KEN LANDAUER AND JULIANNE SWARTZ (thru Oct 23);<br />
THE UPSTATE NEW YORK OLYMPICS: TIM DAVIS (thru July 17) Samuel<br />
Dorsky Museum of <strong>Art</strong>, SUNY New Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844<br />
www.newpaltz.edu/museum<br />
Monday, May 2<br />
CLAY: <strong>The</strong> <strong>Art</strong> of Earth & Fire Tremaine Gallery, Hotchkiss School, 11 Interlaken<br />
Rd., Lakeville, CT (860) 435-3663 (thru June 12)<br />
ECCENTRICITY New Century <strong>Art</strong>ists Gallery 530 West 25 Street New York NY 212-<br />
367-7072 Opening Reception 3-6pm (thru May 28)<br />
Tuesday, May 3<br />
122nd ANNUAL EXHIBITION NATIONAL ASSOCIATION OF WOMEN ART-<br />
ISTS Sylvia Wald—Po Kim Gallery, 417 Lafayette St. 4th Fl. <strong>NYC</strong> 212-675-1616 (thru<br />
May 31) www.thenawa.org<br />
Wednesday, May 4<br />
AMERICAN MASTERS / DOUG ALLEN EXHIBITION / ROBERT LOUGHEED<br />
EXHIBIT Salmagundi Club 47 Fifth Avenue, <strong>NYC</strong> (212) 255-7740 (thru May 20)<br />
www.salmagundi.org<br />
Thursday, May 5<br />
Alison Hoornbeek - Solo Exhibition the National Association of Women <strong>Art</strong>ists,<br />
Inc. the N.A.W.A. Gallery 80 Fifth Avenue - Fourth Floor New York NY 212-675-<br />
1616 free (thru May 26) www.thenawa.org<br />
“Seasons” solo art exhibit of paintings by Anne Johann Flat Iron Gallery,<br />
Inc. 105 So. Division St. Peekskill NY 914-734-1894 free (thru May 29) www.flatiron.<br />
qpg.com<br />
Continued on Page 6<br />
visit us at<br />
www.arttimesjournal.com<br />
<strong>Art</strong>s in Cooperstown<br />
Cooperstown<br />
<strong>Art</strong><br />
Association<br />
3 <strong>Galleries</strong> of <strong>Art</strong><br />
Events | Classes<br />
Solo & Group Exhibits<br />
Gallery Hours: Daily 11-4pm<br />
Sunday 1-4pm<br />
Closed Tuesdays after Labor Day<br />
22 Main Street l 607-547-9777<br />
www.cooperstownart.com<br />
w w w. p a a r t i s a n t r a i l s . c o m<br />
SEVEN UNIQUE TRAILS<br />
Over 300 <strong>Art</strong>isans & Craftsmen, Fine <strong>Art</strong> Exhibits,<br />
Workshops, B&Bs, Wineries & More…Make<br />
your next roadtrip an “ART-FULL” EXPERIENCE<br />
through Pennsylvania!<br />
Scan smart phone QR code to visit<br />
www.PA<strong>Art</strong>isanTrails.com<br />
<strong>The</strong> Smithy<br />
Bracelet, Billie & John Humberger, Rt 30W/40<br />
Handmade Along the Highway<br />
Pottery<br />
<strong>The</strong>atre<br />
Film & More<br />
Summer Concert Series<br />
Gallery May-October<br />
Wolf Kahn, Margaret Krug,<br />
Honey Kassoy<br />
Hours: 10-5 Tues.-Sat. 12-5 Sun.<br />
55 Pioneer St l 607-547-8671<br />
www.smithypioneer.org<br />
OPEN JURIED SHOW 2011<br />
<strong>The</strong> BENDHEIM GALLERY Greenwich <strong>Art</strong>s Council<br />
299 Greenwich Ave., Greenwich, CT 06830<br />
and<br />
Salon des Refusés<br />
Thirty (30) works rejected by the Open Jury Show.<br />
exhibit the Hospital Office Building Gallery,<br />
49 Lake Avenue, Greenwich.<br />
June 16<br />
thru<br />
July 16<br />
Reception – Thurs., June. 16, 6–8 pm<br />
Juror and Judge: George Nama, NA<br />
(http://shepherdgallery.com/feature.html)<br />
Receiving – Sunday, June 12, 3–5pm<br />
& Monday – June 13, 10–12pm<br />
Accepted Works for both Show & Salon des Refusé<br />
notified by phone 4-8pm<br />
Pickup unchosen artwork Mon. June 13, 10-4pm<br />
no notification phone call<br />
Accepted Work Pickup: Sat. July 16, 10-2pm<br />
Categories: Oil, Acrylic, Watercolor, Pastel,<br />
Drawing/Graphics, B&W Photography & Color Photography,<br />
Other Media, Sculpture<br />
Prizes: $125-$100-$75-$50 - 1st-2nd-3rd-HM<br />
Open to all area artists. Maximum width: 42" across. All<br />
work must be properly framed and wired for hanging.<br />
(Exposed glass edges cannot be accepted.) Sculptors must<br />
provide a stable base for their work at entry. All entries<br />
must be for sale; 30% Commission goes to the Greenwich<br />
<strong>Art</strong>s Council.<br />
Three (3) entries @$15 each<br />
For more information: John Tatge<br />
203-637-9949 • www.artsocietyofoldgreenwich.com
Dance<br />
By Dawn Lille<br />
<strong>The</strong> name Nijinsky is recognized<br />
by a wide circle. Say Nijinska and the<br />
knowledgeable group gets smaller.<br />
Bronislava Nijinska, the younger<br />
sister of the legendary Vaslav Nijinsky,<br />
famed for his mesmerizing<br />
performances and shocking choreography,<br />
was a key figure in 20 th century<br />
ballet. She was as innovative as her<br />
brother, who worked out most of the<br />
movement in Afternoon of a Faun and<br />
Rite of Spring on her. Nijinska had a<br />
long and successful career collaborating<br />
with avant- garde graphic and<br />
theatrical artists and composers in<br />
Russia and Europe, especially Paris,<br />
in the 20’s and 30’s. Late in life she<br />
came to America, where her work was<br />
less well known.<br />
Bronislava Nijinska’s amazing<br />
ballet Les Noces has music by Igor<br />
Stravinsky (scored for soprano, mezzo-soprano,<br />
tenor and bass soloists,<br />
mixed chorus, timpani, percussion<br />
and four pianos) that is simultaneously<br />
modern and very Russian in<br />
feeling. It premiered in Paris on<br />
June 13, 1923, in a performance by<br />
Serge Diaghilev’s Ballets Russes de<br />
Monte Carlo. <strong>The</strong> work was given<br />
five performances by Juilliard Dance<br />
in late March on a program that also<br />
included works by Mark Morris and<br />
Eliot Feld.<br />
Nijinska was born in 1891 in<br />
Minsk and died in 1972 in California.<br />
Although she won first prize when<br />
she graduated from the Imperial<br />
School in St. Petersburg, joined the<br />
Maryinsky Ballet and was a member<br />
of Diaghilev’s company from 1909<br />
to 1913, she was never known as a<br />
great dancer, possibly because her<br />
Nijinska, Stravinsky, Les Noces, Juilliard<br />
brother’s reputation was so overwhelming.<br />
Her own ideas probably<br />
began to form during the time she<br />
served as his muse.<br />
When Nijinska left Diaghilev and<br />
returned to Russia in 1914 she established<br />
a studio in Kiev, where she<br />
worked with many artists, especially<br />
the Constructivist Alexandra Exter.<br />
This influence may be seen in the<br />
many tableaux in Les Noces, several<br />
of which are human pyramids with<br />
bodies draped and posed as carefully<br />
as an architect/builder would construct<br />
a tower. Basic structure and<br />
use of space – and stillness – create<br />
powerful theater when combined<br />
with insistent music and the simple<br />
brown and white costumes designed<br />
by Nathalia Gontcharova, upon<br />
which Nijinska had insisted.<br />
She wrote down her theories on<br />
movement, stressing rhythm, transition,<br />
form and design, trying to<br />
reach the spectator “who hears with<br />
his eyes the melody of the dancer’s<br />
movement and who sees the form of<br />
this movement.” She felt that each<br />
ballet had a particular theme that<br />
demanded its own style.<br />
Howard Sayette, who staged<br />
the work on thirty four Juilliard<br />
students, has reconstructed it on<br />
Juilliard students rehearsing Les Noces. (photo credits: Nan Melville)<br />
thirteen different companies including<br />
the Maly and the Kirov in St.<br />
Petersburg, the Tokyo Ballet and<br />
the Dance <strong>The</strong>atre of Harlem. A native<br />
of Los Angeles, he came to dance<br />
late and was sneaking off to ballet<br />
classes when his mother thought he<br />
was studying at UCLA. He moved to<br />
New York, danced at Radio City, with<br />
the Ballet Russe de Monte Carlo and<br />
the Metropolitan Opera Ballet. After<br />
New York, New York,<br />
Annual Non-Members Juried Exhibitions<br />
~ Paintings, & Sculpture Exhibition ~<br />
~ Photography & Graphics Exhibition ~<br />
August 8 - August 19<br />
Entries postmarked June 6<br />
Cash and Material Awards<br />
Entry Fee $30 for 1 image, $35 for 2, $45 for 3. Digital entries only.<br />
30% Commission. Send SASE for prospectus to Non-Members Exhibition<br />
<strong>The</strong> Salmagundi Club, 47 Fifth Avenue, NY, NY 10003 for prospectus.<br />
Email info@salmagundi.org • Website: www.salmagundi.org<br />
Juilliard students rehearsing Les Noces. (photo credits: Nan Melville)<br />
he returned to California and opened<br />
a school he was asked to be the ballet<br />
master for the Oakland Ballet, which<br />
was developing as a serious company.<br />
It was here that Irina Nijinska, Bronislava’s<br />
daughter and the person who<br />
continued her legacy until her own<br />
death, set Les Noces in 1980 and he<br />
began his relationship with it.<br />
<strong>The</strong> ballet, based on a peasant<br />
wedding, is twenty four minutes<br />
long and is presented in four scenes,<br />
as defined by Stravinsky: the Blessing<br />
of the Bride, the Blessing of the<br />
Bridegroom, the Departure of the<br />
Bride from the Parental Home, the<br />
Wedding Feast.<br />
<strong>The</strong> tale reveals a primitive wedding<br />
in the sense that it is a predetermined<br />
social ritual upon which<br />
the entire community depends. <strong>The</strong><br />
event is inflexible, insistent and uncaring.<br />
<strong>The</strong> bride and bridegroom,<br />
two very young frightened beings, are<br />
shown no kindness or humanity; they<br />
are symbols of a group rite that has<br />
the iconic formality of the Russian<br />
church.<br />
It is the corps that is at the center<br />
of the dance, the mass of people that,<br />
somehow, represents the essence of<br />
the peasant. In this sense the ballet<br />
is also very 20th century since<br />
Nijinska’s presence in Russia during<br />
the 1917 Revolution left her still excited<br />
about the possibilities inherent<br />
in the proletariat. Additionally the<br />
work is modern because the story is<br />
really told from a feminine point of<br />
Mc G L Y N N<br />
AT T H E S A L M A G U N D I C L U B<br />
opening reception 2 to 4 pm<br />
SATURDAY, JUNE 11, 2011<br />
47 Fifth Ave New York City<br />
( between 11th and 12th St )<br />
JUNE 11 thru JUNE 19<br />
Daily 1 to 6 pm / Sun 12 to 4 pm<br />
May/ June 2011 ART TIMES page 5<br />
view. <strong>The</strong> wedding is needed by the<br />
community and does not promise joy<br />
for the terrified bride and bewildered<br />
groom, both of whose parents adhere<br />
unsmilingly to the known script.<br />
Nijinska believed in classical ballet<br />
as a training base for dancers, but<br />
rejected traditional mime, classroom<br />
steps and virtuosity. In Les Noces<br />
the legs can rotate inward, the back<br />
is rounded and the fingers often<br />
curled in or made into fists. <strong>The</strong>re is<br />
a mechanistic, repetitive feeling, so<br />
typical of Futurism, that suggests the<br />
presence of an impersonal fate that is<br />
part of human existence.<br />
<strong>The</strong>re is a process to staging a<br />
Nijinska ballet, especially this one,<br />
that shares the intricacies and possibilities<br />
inherent in a great artistic<br />
work. When recreating the piece<br />
Sayette, who feels that it is a ballet<br />
that contains mystical and frightening<br />
elements and is a combination of<br />
drawing and sculpture, stresses that<br />
fact that Nijinska wished to express<br />
inner feeling s, not objects. He likes<br />
to quote H.G. Wells who called it “a<br />
rendering in sound and vision of the<br />
peasant soul.”<br />
<strong>The</strong> students in the ballet were<br />
at first negative, each feeling like an<br />
unimportant part of a collective. <strong>The</strong>y<br />
noted the absence of the individual in<br />
choreography that contains no real<br />
stars or soloists. Here the group is the<br />
central dancer and carries forth the<br />
action. But as rehearsals progressed,<br />
the creation of that communal group,<br />
with the women wearing pointe<br />
shoes with which they often seemed<br />
to pierce the earth, the almost mechanical<br />
way they braided the bride’s<br />
hair and then cut it off as a symbol<br />
of the virginity that was to be lost,<br />
the angular stoic movements of the<br />
men in canon-like sections and the<br />
increasingly architectonic nature of<br />
the groupings, it became evident that<br />
each dancer’s contribution made the<br />
whole even stronger.<br />
<strong>The</strong>y established a momentum<br />
and unity that, in its totality, is rarely<br />
matched in dance. As Andra Corvino,<br />
the faculty rehearsal director, commented<br />
after one run through, “When<br />
you are truly moving together your<br />
individuality is really evident.” This<br />
was part of Nijinska’s genius.<br />
ef
May/ June 2011 ART TIMES page 6<br />
Calendar<br />
Continued from Page 4<br />
Friday, May 6<br />
<strong>Art</strong> in the Garden, Studio Montclair’s small works sale Studio Montclair<br />
Presby Memorial Iris Gardens 474 Upper Mountain Avenue Upper Montclair NJ 973-<br />
744-1818 Opening Reception 6-9pm free (thru May 10) www.studiomontclair.org<br />
ART on the Go East Fishkill Community Library 348 Route 376 Hopewell Junction<br />
NY 845-221-9943 Opening Reception 7-8:30pm free (thru May 31)<br />
http://www.eflibrary.org Dutchess<br />
Collecting Matisse and Modern Masters: <strong>The</strong> Cone Sisters of Baltimore<br />
<strong>The</strong> Jewish Museum 1109 Fifth Avenue New York NY 212-423-3200 charge (thru Sept<br />
25) http://www.thejewishmuseum.org/exhibitions/conecollection<br />
Nina Rizzo: 2011 Alexander Rutsch Award and Exhibition Pelham <strong>Art</strong> Center<br />
155 Fifth Ave. Pelham, NY 914-738-2525 Opening Reception 7-8pm free (thru June 25)<br />
Saturday, May 7<br />
Adam Handler: Paintings & Photographs Media Loft 50 Webster Ave., New<br />
Rochelle, NY Closing reception 2-6pm<br />
Against the Edges Longyear Gallery 785 Main Street Margaretville NY 845-<br />
586-3270 Opening Reception 3-6pm free (thru May 30) www.longyeargallery.org<br />
<strong>Art</strong>e Batura Limner Gallery 123 Warren St. Hudson NY 518-828-2343 Opening<br />
Reception 5-7 PM free (thru May 28) www.limnergallery.com<br />
ECCENTRICITY New Century <strong>Art</strong>ists Gallery 530 West 25 Street New York NY 212-<br />
367-7072 Opening Reception 3-6pm (thru May 28)<br />
EDWARD WESTON: Life Work; <strong>Art</strong>ists of the Stieglitz Circle <strong>The</strong> Heckscher<br />
Museum of <strong>Art</strong> 2 Prime Avenue Huntington NY 631-351-3250 charge (thru July 24)<br />
Lunch at the Live Bait Diner: Drawings by Joseph D. Yeomans and<br />
Poems by Lewis Gardner Howland Cultural Center 477 Main St. Beacon NY<br />
845-831-4988 Opening reception 3-5 pm free (thru May 29) howlandculturalcenter.org<br />
Min Myar Retrospective & Bert Winsberg Current Work b. j. spoke gallery<br />
299 Main Street Huntington NY 631-548-5106 Reception: Saturday, 2-5pm (thru May<br />
29) www.bjspokegallery.org Suffork<br />
<strong>The</strong> Avalon Quartet: Steve Reich, Osvaldo Golijov and<br />
Schubert Close Encounters With Music Mahaiwe Performing <strong>Art</strong>s Center 14<br />
Castle Street Great Barrington MA 800-843-0778 6:00PM charge www.cewm.org<br />
<strong>The</strong> Improvised Shakespeare Company <strong>The</strong> Lycian Center 1352 Kings<br />
Highway Sugar Load NY 845-469-2287 8:00 pm charge www.lyciancentre.com Orange<br />
Sunday, May 8<br />
Vista: viewing and observation Socrates Sculpture Park 32-01 Vernon Blvd. at<br />
Broadway Long Island City NY 718-626-1533 Opening Reception 2 - 6pm free (thru<br />
Aug 7) www.socratessculpturepark.org<br />
Monday, May 9<br />
Easton <strong>Art</strong>s Council’s Regional Open Juried Show Easton <strong>Art</strong>s Council<br />
Easton Public Library 691 Morehouse Rd Easton CT 203-374-0705 free (thru May 21)<br />
www.eastonartscouncil.org<br />
Wednesday, May 11<br />
Alison Hoornbeek - Solo Exhibition the National Association of Women<br />
<strong>Art</strong>ists, Inc. the N.A.W.A. Gallery 80 Fifth Avenue - Fourth Floor New York NY 212-<br />
675-1616 Opening Reception 6-8pm free (thru May 26) www.thenawa.org<br />
Friday, May 13<br />
ART ON NO 4 th Annual Spring Opening, Friday, May 13, 5-8 pm . Studio and gallery<br />
tours by 16 artists, refreshments, entertainment by Blue Light Trio. 311 North Street,<br />
Pittsfield, 2 nd floor of the Greylock Building. Paintings, prints, videos, music, theatre,<br />
photography, and more.<br />
Saturday, May 14<br />
8th Annual YoHo <strong>Art</strong>ists Spring 2011 Open Studio YoHo <strong>Art</strong>ists Community<br />
YoHo <strong>Art</strong>ists Building 540-578 Nepperhan Ave. Yonkers NY 914-305-4296 free Come<br />
meet the artists. <strong>The</strong>re will be entertainment. <strong>Art</strong> can be purchased. www.yohoartists.<br />
com<br />
Bus Stop <strong>The</strong> Lycian Centre 1351 Kings Highway Sugar Loaf NY 845-469-2287 8:00<br />
pm charge www.lyciancentre.com Orange<br />
CHARLES GEIGER: Quasi-Botanics a Solo Exhibit Woodstock <strong>Art</strong>ists Association<br />
and Museum WAAM 28 Tinker Street Woodstock NY 845-679-2940 Opening Reception<br />
4-6pm (thru June 5) www.charlesgeiger.com<br />
INSTRUCTORS EXHIBITION Woodstock School of <strong>Art</strong> 2470 Rt 212 Woodstock NY<br />
845-679-2388 Opening Reception 3-5pm (thru July 2) www.woodstockschoolofart.org<br />
INTERNATIONAL CLAY SYMPOSIUM: lectures, reception, potter demonstrations<br />
& firings Tremaine Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT<br />
(860) 435-3663 (thru May 15)<br />
IRV SUSS: Fine <strong>Art</strong> Photography <strong>The</strong> Hudson, From <strong>The</strong> City <strong>The</strong> Highlands.<br />
Bob’s <strong>Art</strong> and Framing 191 S. Main Street New City NY 845-634-6933 free (thru June<br />
18) irvsuss.com<br />
Karin Lowney-Seed: Recent Works TraillWorks: studio, gallery, lessons 214<br />
Spring Street Newton NJ 973-383-1307 Opening Reception 5 - 8pm free (thru June 25)<br />
www.traillworks.com<br />
Millbrook Book Festival Sponsored by de.MO; Merritt Bookstore, Millbrook<br />
Free Library, Millbrook Tribute Gardens, Millbrook Rotary Foundation, Community<br />
Foundation of Dutchess County, Dutchess County <strong>Art</strong>s Council Village of Millbrook<br />
Millbrook NY 10 am - 5 pm free millbrookbookfestival.org<br />
“People and Animals” <strong>The</strong> Wurtsboro <strong>Art</strong> Alliance <strong>The</strong> Wurtsboro <strong>Art</strong> Alliance<br />
Gallery 73 Sullivan Street Wurtsboro NY 845-985-7663 An opening reception 2pm to<br />
6pm free (thru June 19) www.waagallery.org<br />
PHOTOWORKS ‘11 Barrett <strong>Art</strong> Center, 55 Noxon St., Poughkeepsie (845) 471-2550<br />
Opening Reception 4-6pm (thru Jul 14)<br />
<strong>The</strong> Presence of Water: Photographs by Paul Moore Harrison Council<br />
for the <strong>Art</strong>s Harrison Public Library 2 Bruce Avenue Harrison NY 914-835-0324 Opening<br />
Reception 2-4pm free (thru June 3) www.harrisonpl.org<br />
Under the sea unframed artists gallery 173 Huguenot street new paltz NY Opening<br />
reception 4-7pm free (thru June 18)<br />
Westchester Philharmonic with Orion Weiss, piano Westchester<br />
Philharmonic <strong>The</strong> Performing <strong>Art</strong>s Center at Purchase College 735 Anderson Hill<br />
Road Purchase NY 914-682-3707 8pm charge westchesterphil.org Westchester<br />
Whispers with Horses, new work by Dawn Petrlik MURAL, Robinson-Broadhurst,<br />
CORE MURAL on MAIN 74 Main Street Stamford NY 607-<br />
652-1174 Opening reception 4-6 pm free (thru June 24)<br />
Continued on Page 8<br />
www.arttimesjournal.com<br />
<strong>Art</strong>s<br />
THE<br />
AT HOTCHKISS<br />
South<br />
AfricAn<br />
Pottery<br />
Ardmore<br />
Ceramic <strong>Art</strong><br />
Zulu Beer Vessels<br />
Tremaine Gallery aT <strong>The</strong> hoTchkiss school<br />
11 Interlaken road, lakevIlle, Ct<br />
860-435-3663 • www.hotChkIss.org<br />
gallery hours: Mon. - sat., 10 - 4; sun., 12 - 4<br />
Giraffe Tureen,<br />
detail. Ardmore Ceramic<br />
<strong>Art</strong>, 2010; 9.5”H x 12”W<br />
x 12”D. Represented by<br />
Amaridian Gallery<br />
of New York.<br />
THE<br />
DORSKY<br />
SAMUEL DORSKY MUSEUM OF ART<br />
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ<br />
Ken Landauer, Untitled (bed), 2009<br />
Ink on Paper<br />
Thick & Thin: Ken Landauer and Julianne Swartz<br />
Through October 23, 2011<br />
Clay: <strong>The</strong> <strong>Art</strong> of Earth & Fire<br />
International Symposium May 14 & 15<br />
lectures / reception / potter demonstrations & firings<br />
GALLERY EXHIBIT: MAY 2 - JUNE 12, 2011<br />
<strong>The</strong> Upstate New York Olympics: Tim Davis<br />
Through July 17, 2011<br />
Exercises in Unnecessary Beauty:<br />
Hudson Valley <strong>Art</strong>ists 2011<br />
Opening Reception, Friday, June 24, 5 pm<br />
Samuel DORSky muSeum OF aRt<br />
State univeRSity OF new yORk at new paltz<br />
www.newpaltz.edu/museum<br />
Open wed. – Sun. 11 am – 5 pm | 845/257-3844
<strong>Art</strong> Review<br />
May/ June 2011 ART TIMES page 7<br />
Joan Miró: <strong>The</strong> Constellations<br />
By Ina Cole<br />
In 1939 the Catalan painter Joan<br />
Miró (1893-1983) left Paris for Varengeville-sur-Mer<br />
in Normandy, and<br />
it was here an important new body<br />
of work was formed – a series of<br />
twenty-three gouaches, which became<br />
known as the Constellations. <strong>The</strong>y are<br />
amongst the artist’s most intricately<br />
constructed works, exploring ideas<br />
linked to the transformative processes<br />
located within the natural world – the<br />
regeneration of butterfly hoards, the<br />
migration of birds, the ebb and flow<br />
of tides, and the tracks of constellations<br />
and galaxies. <strong>The</strong> mysteries of<br />
the universe provide a challenge that<br />
has preoccupied artists and scientists<br />
through time, in their search to find<br />
meaning in the ubiquitous presence<br />
of the intangible. <strong>The</strong> Constellations,<br />
which were created during a particularly<br />
harrowing period in world<br />
history – the Second World War – are<br />
optimistic, even joyous, and can be<br />
viewed as an emblem of hope at a<br />
time of intense military and political<br />
turmoil.<br />
<strong>The</strong> Constellations reveal a mastery<br />
of observation in relation to the<br />
artist’s ability to capture the minutiae<br />
of natural phenomena. As the<br />
overriding title suggests, the series<br />
depicts a microcosm of life revolving<br />
in space, with the individual titles of<br />
works particularly evocative – Woman<br />
beside a lake whose surface has been<br />
made iridescent by a passing swan;<br />
<strong>The</strong> nightingale’s song at midnight<br />
and morning rain; People in the night<br />
guided by the phosphorescent tracks of<br />
snails; and <strong>The</strong> passage of the divine<br />
bird. <strong>The</strong> Constellations fuse Miró’s<br />
interests into a coherent whole, while<br />
creating a complex balance of forms<br />
that reflect on the fragile, illusory<br />
nature of existence. On viewing the<br />
work one’s breath is held in anticipation,<br />
for fear that a false move could<br />
bring this imaginary world to collapse.<br />
In 1959 Miró wrote eloquently about<br />
the pictorial order in his works, saying,<br />
“In my paintings there is a kind of<br />
circulatory system. If even one form is<br />
out of place, the circulation stops; the<br />
balance is broken”.<br />
<strong>The</strong> Escape Ladder, a signature<br />
work from this series, was painted<br />
shortly before Miró left for Spain, as<br />
a consequence of the Germans opening<br />
bombardments in the district of<br />
Varengeville-sur-Mer. In this work<br />
blacks are applied to a background<br />
of muted tones, with the primary colours<br />
– predominantly reds and blues<br />
– determined by the black contours<br />
and silhouettes. Biomorphic forms are<br />
introduced, free flowing and buoyant,<br />
simultaneously humanoid, animal,<br />
arthropod and amphibian, emerging<br />
from their location deep within the<br />
imagination. <strong>The</strong>ir faces peer from<br />
the canvas through spherical eyes,<br />
amid the rotating primordial shapes<br />
of the pyramid, sphere and cube. A<br />
ladder, the key element that gives<br />
the work its name, is positioned just<br />
off-centre, and soars to a crescent<br />
moon. <strong>The</strong> ladder provides a structure<br />
to the work, creating the necessary<br />
equilibrium that gives a sense of order<br />
to the levitating forms occupying<br />
the picture space, as well as further<br />
emphasising the feeling of ascension.<br />
On fleeing Varengeville-sur-Mer,<br />
Miró boarded a train carrying a portfolio<br />
containing the first of the Constellations,<br />
including <strong>The</strong> Escape Ladder.<br />
He completed the series in Spain during<br />
the war years, a time when he lived<br />
and worked in virtual isolation. <strong>The</strong><br />
Constellations represent a fantastical<br />
Joan Miró, <strong>The</strong> Escape Ladder (1940), Gouache, watercolour and ink on paper,<br />
Museum of Modern <strong>Art</strong>, New York, © Successió Miró/ADAGP, Paris and DACS,<br />
London 2011<br />
world of imagery, truly unique in the<br />
history of twentieth-century art. Scale<br />
is dissolved and the picture space is<br />
populated with regions that contain<br />
both the wonders and the terrors of the<br />
infinite. <strong>The</strong> series speaks a bewildering<br />
language, yet manages to instinctively<br />
engage the senses on a subliminal<br />
level. <strong>The</strong> forms are strongly<br />
suggestive of reflections in water;<br />
indeed at this time Miró lived on the<br />
outskirts of Palma, Mallorca, where<br />
he spent hours contemplating the<br />
sea. In these works incomprehensible<br />
mutations occupy the same space,<br />
and these organisms unite to create<br />
a seemingly utopian existence in an<br />
unfathomable location, which could<br />
Joan Miró, <strong>The</strong> Ladder of the Escaping Eye (1971), Bronze, Fundació Joan Miró,<br />
Barcelona, © Successió Miró/ADAGP, Paris and DACS, London 2011<br />
equally be planet earth, the ocean<br />
floor, or even the realms of outer space.<br />
In 1945 the Constellations were<br />
smuggled out of Europe by diplomatic<br />
pouch for an exhibition at the Pierre<br />
Matisse Gallery in New York. <strong>The</strong><br />
series was hailed as the first artistic<br />
message to arrive from Europe since<br />
the fall of France. In fact, it was in<br />
America that Miró felt able to fully<br />
secure the success that had previously<br />
eluded him. He became key to<br />
the development of a practise that<br />
was associated with no clear representational<br />
aim, but the direct communication<br />
of the subconscious mind.<br />
This was known as automatism, and<br />
its revival became one of the central<br />
facets of Surrealist art in the United<br />
States, playing a significant role in<br />
the liberation of post-war American<br />
abstraction in the early 1940s. <strong>The</strong><br />
Constellations directly inspired the<br />
emerging American Abstract Expressionist<br />
painters who, at the time, were<br />
seeking to escape from the constraints<br />
of Social Realism and Regionalism.<br />
On a personal level, the Constellations<br />
represented a sense of freedom<br />
for Miró, following the anguished<br />
peintures sauvages of the 1930s, but<br />
for the Americans they offered a new<br />
compositional order, with the concept<br />
of a set of works as a series establishing<br />
a groundbreaking precedent in<br />
art during the 1950s. It was perhaps<br />
the American painter, Robert Motherwell,<br />
who most vividly expressed<br />
his views on the importance of Miró<br />
and his work: “I like everything about<br />
Miró – his clear-eyed face, his modesty,<br />
his ironically-edged reticence as<br />
a person, his constant hard work, his<br />
Mediterranean sensibility, and other<br />
qualities that manifest themselves in<br />
a continually growing body of work<br />
that for me, is the most moving and<br />
beautiful now being made in Europe.<br />
A sensitive balance between nature<br />
and man’s work, almost lost in contemporary<br />
art, saturates Miró’s art, so<br />
that his work, so original that hardly<br />
anyone has any conception of how<br />
original, immediately strikes us to<br />
the depths” (Miró in America, 1982).<br />
In the Constellations Miró viewed<br />
the interdependence of the great and<br />
small as a network that holds the<br />
world in balance, and he had an innate<br />
understanding of the multifaceted<br />
levels of existence spiralling out from<br />
planet earth to infinity. <strong>The</strong> ladder<br />
became a tool linking these disparate<br />
elements, and metaphorically creating<br />
a stairway to the cosmos. <strong>The</strong><br />
concept of a ladder was a theme Miró<br />
returned to later in life through the<br />
medium of sculpture. In a bronze version<br />
of <strong>The</strong> Ladder of the Escaping Eye,<br />
a section of animal bone is placed on<br />
a stone above which a ladder ascends<br />
skywards. In this work the ladder,<br />
rather than solely offering a pictorial<br />
solution, is perhaps a yearning for the<br />
unattainable or a bridge between two<br />
worlds. <strong>The</strong> tip of the ladder is crowned<br />
by a spherical form – the “eye which<br />
escapes” – as confirmed by an inscription<br />
in the drawing for this sculpture.<br />
This all-seeing eye, equally prevalent<br />
in the Constellations, here represents<br />
the concept of untainted vision, where<br />
a disembodied element exists independently<br />
from its organic source, in<br />
an attempt to gravitate towards the<br />
celestial domain of pure poetic sight.<br />
Joan Miró: <strong>The</strong> Ladder of Escape,<br />
Tate Modern, London (14 April<br />
– 11 September 2011); Fundació<br />
Joan Miró, Barcelona (14 October<br />
2011 – 25 March 2012); National<br />
Gallery of <strong>Art</strong>, Washington (6 May<br />
– 12 August 2012)<br />
ef
May/ June 2011 ART TIMES page 8<br />
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Continued from Page 6<br />
Sunday, May 15<br />
Captured Light: eight artists image the landscape Renaissance Fine <strong>Art</strong><br />
Gallery Orangeburg, NY 20 B Mountainview Ave. Orangeburg NY 845-365-6008 Opening<br />
reception 2 to 4. free (thru June 18) renartgallery.com<br />
INTERNATIONAL CLAY SYMPOSIUM: lectures, reception, potter demonstrations<br />
& firings Tremaine Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT<br />
(860) 435-3663 (thru May 15)<br />
Northport <strong>Art</strong>Walk Northport <strong>Art</strong>s Coalition and Northport Chamber of Commerce<br />
Northport Main Street Northport NY 631-754-3905 1-5pm free www.northportartwalk.com<br />
“Seasons” solo art exhibit of paintings by Anne Johann Flat Iron Gallery,<br />
Inc. 105 So. Division St. Peekskill NY 914-734-1894 <strong>Art</strong>ist’s Reception 1-5 pm free<br />
(thru May 29) www.flatiron.qpg.com<br />
Westchester Philharmonic with Orion Weiss, piano Westchester<br />
Philharmonic <strong>The</strong> Performing <strong>Art</strong>s Center at Purchase College 735 Anderson Hill<br />
Road Purchase NY 914-682-3707 3pm charge westchesterphil.org Westchester<br />
Thursday, May 19<br />
122nd ANNUAL EXHIBITION NATIONAL ASSOCIATION OF WOMEN ART-<br />
ISTS Sylvia Wald—Po Kim Gallery, 417 Lafayette St. 4th Fl. <strong>NYC</strong> 212-675-1616<br />
Reception 6-8pm (thru May 31) www.thenawa.org<br />
Friday, May 20<br />
<strong>Art</strong> & Wine - A Grand Celebration Hudson Valley Wine Magazine Lyndhurst,<br />
National Historic Site 635 Broadway Tarrytown NY 917-318-0562 Opening Night Gala<br />
Benefit charge hudsonvalleyartandwine.com<br />
<strong>Art</strong>sBash 2011 Westchester <strong>Art</strong>s <strong>Art</strong>s Exchange 31 Mamaroneck Ave white<br />
plains NY 914-428-4220 6-9 pm charge www.artswestchester.org<br />
Considering Collage/ Next in Line, Montclair High School Students Pursuing<br />
the Visual <strong>Art</strong>s (2nd Fl.) Studio Montclair SMI Gallery @ Academy Square 33<br />
Plymouth Street Montclair NJ 973-744-1818 Opening Reception 6pm-9pm free (thru<br />
Aug 12) www.studiomontclair.org<br />
Saturday, May 21<br />
<strong>Art</strong> & Wine - A Grand Celebration Hudson Valley Wine Magazine Lyndhurst,<br />
Nationa Historic Site 635 Broadway Tarrytown NY 917-318-0562 Grand Celebration -<br />
May 21st charge hudsonvalleyartandwine.com<br />
Edward Hopper, Prelude; <strong>The</strong> Nyack Years Edward Hopper House <strong>Art</strong> Center<br />
82 N Broadway Nyack NY 845-358-0774 Tickets must be purchased in advance. Visit<br />
www.edwardhopperhouse.org to buy tickets. charge (thru July 17)<br />
Myth & Meditations: A Tribute to 20th Century Composers Hudson Chorale<br />
Irvington High School 40 North Broadway Irvington NY 914-462-3212 8:00pm<br />
charge www.HudsonChorale.org<br />
Springtime Around the World (includes Dinner, Dancing and Entertainment)<br />
Harrison Players, Inc. Community <strong>The</strong>ater Group Veterans’ Memorial<br />
Building 210 Halstead Avenue Harrison NY 914-630-1089 7 pm charge www.harrisonplayers.org<br />
Sunday, May 22<br />
Concert <strong>The</strong> Chappaqua Orchestra Horace Greeley High School Auditorium 70<br />
Roaring Brook Road Chappaqua NY 914-238-9220 3pm charge www.chappaquaorchestra.org<br />
Concerto Time at the Yonkers Philharmonic Fine <strong>Art</strong>s Orchestral Society<br />
Saunders Trade High School 183 Palmer Avenue Yonkers NY 914-631-6674 3:00 pm<br />
free www.yonkersphilharmonic.org<br />
CURATOR’S EXHIBITION Salmagundi Club 47 Fifth Avenue, <strong>NYC</strong> (212) 255-7740<br />
(thru June 13) www.salmagundi.org<br />
First Look III: work by MFA students Hudson Valley Center for Contemporary<br />
<strong>Art</strong> 1701Main Street Peekskill NY 914-788-0100 charge (thru July 24) www.hvcca.org<br />
Thomas Locker Hudson Valley Landscapes <strong>The</strong> Gallery in the Park at Ward<br />
Pound Ridge Reservation Route 35 and 121 South Cross River NY 914-864-7317 Opening<br />
reception 2-4pm free (thru Sept 6) www.kandcgallery.com Continued on Page 12<br />
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Dance<br />
May/ June 2011 ART TIMES page 9<br />
Tony Waag: <strong>Art</strong>istic Director American Tap Dance Foundation, Inc.<br />
How Did He Get Here from <strong>The</strong>re<br />
By Francine L. Trevens<br />
You can’t always tell how an interview<br />
will go. <strong>The</strong>y can be stiff and<br />
formal and still yield great information.<br />
<strong>The</strong>y can be silly and giggly and<br />
fun and leave you with insufficient<br />
information. <strong>The</strong>y can be friendly and<br />
relaxed and yield gold.<br />
Before I even set up an interview<br />
with the accomplished Tony Waag,<br />
who conceived and established the<br />
annual New York Tap City event,<br />
through his American Tap Dance<br />
Foundation, I knew we must have<br />
tons of friends and acquaintances in<br />
common. He is an easy interview with<br />
a personality as open and dazzling as<br />
his eyes, as well as a relaxed speaker.<br />
I took up too much of his time enjoying<br />
our interview, but he was cordial and<br />
pleasant throughout.<br />
An old saying claims the child is<br />
father to the man, so I began there<br />
in our meeting. I wondered how Tony<br />
Waag, growing up in Colorado, came<br />
to dance and how his family felt about<br />
it in the latter decades of the twentieth<br />
century.<br />
Tony, inspired by an uncle, an<br />
amateur sculptor, intended to sculpt.<br />
Tony thought his destiny was to be a<br />
pro at this very hands-on art. While in<br />
High School. Tony, who had appeared<br />
in a few High School musicals, including<br />
a stint as the Mad Hatter in Alice<br />
in Wonderland, found his true métier,<br />
tap dancing. His parents - both<br />
sets - (his mom and dad had divorced<br />
when he was quite young) were all<br />
supportive. He said it was probably<br />
a relief to them that he had not gone<br />
on to be a sculptor: tap dancing had<br />
more promise of supporting him as<br />
well as making him happy.<br />
Tony had studied tap with Diane<br />
Montgomery back home in Colorado,<br />
but it wasn’t until he took a tap dance<br />
workshop with Brenda Bufalino that<br />
he followed his dream. Ms Bufalino<br />
was equally impressed with him<br />
Tony took some famous advice<br />
after High School: “Go West, young<br />
man” - he went to college in Utah,<br />
where they presented 65 productions<br />
a year at the school. He called<br />
it “the Berlin of Salt Lake City.” Not<br />
the kind to sit around waiting for<br />
dreams to materialize; he left college<br />
and went to San Francisco, where<br />
he studied with the likes of tap heroes<br />
such as Eddie Brown and Tony<br />
Wing. (His early dance heroes were<br />
comic dancers, such as Ray Bolger<br />
and Donald O’Connor. That’s still<br />
one of his favorite forms of tap.) He<br />
performed in cabaret, choreographed<br />
a few musicals, waited tables, was a<br />
tour guide at a corporate building;<br />
(where he once got stuck in an elevator<br />
with a group of people and they<br />
all sang songs while awaiting rescue)<br />
and even posed nude for art classes …<br />
everything to survive until his career<br />
ripened.<br />
Rather serendipitously, when he<br />
ultimately made the move to New<br />
York, he ran into Brenda Bufalino his<br />
first day there. He worked with her<br />
American Tap Dance Orchestra as a<br />
dancer. He also fortuitously served<br />
as an administrator. <strong>The</strong>y toured the<br />
USA and around the world. He found<br />
he had an aptitude for administration<br />
and enjoyed it.<br />
Asked if he felt tap dancing itself,<br />
or administration, creativity or promotion<br />
was his favorite, he answered<br />
“all of the above.” His success in all<br />
of the above proves his flexibility and<br />
multi talents have really paid off.<br />
“I had NO idea that tap dance<br />
would take me all around the world<br />
and into the lives of so many incredible<br />
people. I have been influenced by<br />
Shim Sham from one of the popular Tap City performances<br />
- see Tony in the middle (photo by Debi Field)<br />
many of the great masters, and I am<br />
humbled by the cultures and people I<br />
have had the good fortune of getting<br />
to know over the years. I want so<br />
desperately to pass on their love and<br />
support for this amazing art form. I<br />
think young people especially, could<br />
use some of that positive energy right<br />
about now,” Tony declared. He has<br />
spent most of his life “passing it on,”<br />
Years ago, he went to 60 cities in<br />
Europe and Africa for two months as<br />
master of ceremonies of the Hoagie<br />
Carmichael Centennial Celebration.<br />
He found few tap dancing resources<br />
or schools. All that has changed, in<br />
part because of what he has done.<br />
“I feel I pulled the tap dance<br />
community together in New York,<br />
representing trap as it should be. “<br />
Taking that same spirit to countries<br />
Tony Waag - a delight on stage and off - (photo by Lois Greenfield)<br />
around the<br />
world awakened<br />
in those<br />
countries the<br />
love of tap and<br />
the desire to<br />
make it part<br />
of their culture<br />
as well.<br />
I n 1 9 8 6 ,<br />
Tony, Brenda<br />
and the late<br />
Charles “Honi”<br />
Coles, founded<br />
the American<br />
T a p D a n c e<br />
F o u n d a t i o n<br />
(ATDF). Tony<br />
served as <strong>Art</strong>istic<br />
Director<br />
long before<br />
he created,<br />
in 2001, Tap<br />
City - an event<br />
that offers allday<br />
classes on<br />
all levels and<br />
styles taught<br />
by a who’s who<br />
of tap, presents<br />
concerts of tappers from around<br />
the world, screens feature films and<br />
lectures on tap. Tony is usually the<br />
emcee for the shows.<br />
After months on the road, dancing<br />
one night stands throughout the<br />
world, Tony returned to New York to<br />
find there was nothing happening for<br />
tap dancers. He decided to do something<br />
for the art he loved. Turns out,<br />
he did an amazing thing. He founded<br />
Tap City.<br />
He contacted the best tap dancers<br />
to get them on board. Gregory Hines<br />
was one of the first he contacted, and<br />
Gregory instantly said yes. Today,<br />
Greg’s former wife, Pamela Koslow<br />
Hines is still on the board of Tap<br />
City.<br />
Tap City is one program of the<br />
American Tap Dance Foundation,<br />
founded to preserve the art, to<br />
educate people in tap - a dance form<br />
which needs no special body type.<br />
Through this foundation, he brought<br />
tap dancing back into the forefront<br />
of dance here and around the world.<br />
It is international again, Brazil, Germany,<br />
Japan, France China, Russia.<br />
“Even Estonia!” he enthused, “Estonia!”<br />
I admit, I had to check a map to<br />
see where little Estonia was! So, you<br />
name it, they teach tap and perform<br />
tap dancing in all those countries,<br />
“combining it with their own cultures<br />
and music,” Tony noted.<br />
Greg Hines was one of the mutual<br />
acquaintances I had assumed we had.<br />
One I did not expect was Armand Assante<br />
— not a dancer. Actor Assante<br />
had appeared frequently at Stage<br />
West in Springfield when I was a theater<br />
critic there, and we had become<br />
pals. Tony Waag met him on Tony’s<br />
first SAG film, with Meg Ryan and Armand.<br />
He was Armand’s understudy.<br />
Tap City will be alive and well in<br />
New York July 5-10. Earlier this year,<br />
May 16 the American Tap Dance<br />
Foundation is presenting at Symphony<br />
Space ‘RHYTHM IS OUR BUSI-<br />
NESS’ in Support of the Gregory<br />
Hines Youth Scholarship Fund<br />
(which offers financial help to serious<br />
and talented young tappers) with<br />
Guest Host Brian Stokes Mitchell.<br />
<strong>The</strong> evening also celebrates 25<br />
years of tapping, honoring the founding<br />
by Charles “Honi” Coles, Brenda<br />
Bufalino and Tony Waag of the American<br />
Tap Dance Orchestra, created<br />
in 1986, which evolved into Waag’s<br />
American Tap Dance Foundation.<br />
It celebrates 25 years of creating<br />
new venues for tap, presenting original<br />
productions and contemporary<br />
choreography, and unique artists<br />
from the U.S. and around the world,<br />
also educating the next generation<br />
and building new audiences while<br />
preserving and honoring the history<br />
of the uniquely American art form<br />
of TAP!<br />
It took years before Tony’s American<br />
Tap Dance Foundation found a<br />
home in 2009 at 154 Christopher St.<br />
It has about 190 kids and 300 adults<br />
currently enrolled - all levels and ages<br />
studying practicing, and performing<br />
tap-dancing. It offers year round<br />
classes, rehearsal, and space for tappers<br />
to experiment and create.<br />
Tony still dances with great abandon<br />
and glee. He’s earned the right to<br />
kick up his heels.<br />
Some people might be content<br />
to sit back on all those laurels. Not<br />
Tony Waag.<br />
“I have spent 35 years dedicated<br />
to this cause and I am proud to call<br />
myself a tap dancer. Everything is<br />
copasetic at the moment. So watch<br />
out, there’s more to come for sure!”<br />
(Francine L. Trevens’ latest book<br />
is available on e readers. Pixie<br />
Tales is 5 enchanted illustrated<br />
read-to-me stories - a Little Book<br />
about Wee folk for Small fry. You<br />
can also follow Francine on her<br />
blog: stagesandpages-francine.<br />
blogspot.com)<br />
ef
May/ June 2011 ART TIMES page 10<br />
Culturally Speaking<br />
By Cornelia Seckel<br />
This issue marks the end of 27<br />
years of publishing ART TIMES and<br />
we look forward to beginning our 28 th<br />
year publishing in print every other<br />
month and online each month. Take<br />
a look at our ever evolving and growing<br />
website as there are new essays<br />
and resources uploaded each month.<br />
Become a “fan” of the ART TIMES<br />
Facebook page and keep up on more<br />
frequent news and information and<br />
use that page to announce your<br />
events and news.<br />
In ART TIMES online during<br />
April, I wrote about a number of<br />
things in my Culturally Speaking<br />
column: “Crowns” by Regina Taylor<br />
at the Capitol Repertory <strong>The</strong>atre<br />
in Albany, NY where their current<br />
(World Premiere) show is “Kingdom<br />
of the Shore” by Terence Lamude.<br />
Capital Repertory <strong>The</strong>atre is now in<br />
collaboration with Proctors and it<br />
is their staff handling ticket sales<br />
& PR • the opening reception for<br />
the Carolyn Haeberlin exhibit at<br />
Woodstock School of <strong>Art</strong> (WSA)<br />
and obit for Robert Angeloch,<br />
artist, Woodstock teacher and cofounder<br />
of the WSA • Susan B. Phillips’<br />
show at the Thaddeus Kwiat<br />
Projects in Saugerties (that show is<br />
over but you can still see her work at<br />
Unison Learning Center in New<br />
Paltz and at the Doghouse Gallery<br />
in Saugerties, NY along with some<br />
other members of the 122 year old<br />
National Association of Women<br />
<strong>Art</strong>ists • Dawn Howkinson Siebel<br />
and Michael Fattizzi’s exhibit at<br />
Oriole 9 in Woodstock, NY where<br />
currently hangs work by Mary Anne<br />
Erickson. Online during March and<br />
April was a critique by Raymond J.<br />
Steiner of Eva van Rijn’s exhibition<br />
at Locust Grove in Poughkeepsie,<br />
NY - the former home of Samuel<br />
Morse, inventor and artist- where<br />
currently you can see photographs by<br />
Robert Lipgar.<br />
Additionally I made 2 short videos,<br />
one of the Harriet Tannin Retrospective<br />
at the Woodstock <strong>Art</strong>ists<br />
Association Museum in Woodstock,<br />
NY and the other of <strong>The</strong> International<br />
Women’s Day Celebration<br />
Walk across the Walkway in<br />
<strong>The</strong> newly remodeled Frances Lehman Loeb <strong>Art</strong> Center at<br />
Vassar College in Poughkeepsie, NY opened with the exhibit<br />
Thomas Rowlandson: Pursuits and Pleasures in Georgian England.<br />
Poughkeepsie. <strong>The</strong> videos are available<br />
on arttimes YouTube channel<br />
and the other pictures and comments<br />
can be found online in the list of previously<br />
printed and uploaded Culturally<br />
Speaking columns or in the archived<br />
issues of ART TIMES. Since Jan/Feb<br />
2009, issues of ART TIMES, in pdf<br />
form, are available on our website<br />
www.arttimesjournal.com<br />
Photographs by<br />
A R L E N E L I E B E R M A N<br />
PORTRAITS OF INDIA<br />
June 2 - July 31, 2011<br />
Opening: Thursday, June 2nd, 6 - 8pm<br />
LAGUARDIA GALLERY OF FINE ARTS<br />
LaGuardia Community College<br />
Atrium of E Building<br />
31-10 Thomson Avenue<br />
Long Island City, New York 11101<br />
Mondays - Saturdays, 8 am - 10 pm<br />
www.ArleneLieberman.com<br />
(L to R) Kerry Henderson, Maria Todaro, Louis Otey at St Gregory’s Episcopal<br />
Church in Woodstock, NY introducing VoiceFest 2011 a four-day festival (Aug. 4-7)<br />
of opera, gospel, baroque, choral, and world music presented in Phoenicia, NY.<br />
Editor Lauren Tamraz wrote to<br />
us about Awosting Alchemy, begun<br />
in 2010 when she was becoming frustrated<br />
with sending her own writing<br />
out and hoping for the best. She was<br />
seeing a lot of experimental, highquality<br />
websites, journals and projects<br />
being developed by young people<br />
and realized she could be more effective<br />
as an editor and producer than a<br />
“mere faceless writer”. She wrote that<br />
the intension is to focus on short-ish<br />
works and stunning art, with preference<br />
going to Hudson Valley locals<br />
and/or talented young writers of the<br />
Internet with quality being the main<br />
deciding factor. <strong>The</strong>y host events,<br />
contests and maintain a blog. Take a<br />
look at awostingalchemy.com.<br />
Stephen A. Fredericks at carrierpigeonmag.com<br />
sent me the first<br />
two issues of a new magazine, Carrier<br />
Pigeon: Illustrated Fiction and Fine<br />
<strong>Art</strong>, that he recently launched with<br />
some other artists, which features<br />
fine art, illustration, and fiction that<br />
showcases writers, artists, illustrators,<br />
and one designer. Carrier Pigeon<br />
springs from the Robert Blackburn<br />
Printmaking Workshop and <strong>The</strong><br />
New York Society of Etchers<br />
(along with other local arts organizations),<br />
with each issue containing at<br />
least one original artwork signed by<br />
the contributing artist.<br />
<strong>The</strong> Mark Gruber Gallery is<br />
celebrating 35 years of bringing<br />
excellent regional artists to the<br />
art-loving community of New Paltz,<br />
NY and the Hudson Valley with artists<br />
including: Hardie Truesdale,<br />
Will Cotton, Charles Fazzino,<br />
Kevin Cook, John Variano, Keith<br />
Gunderson, Jane Bloodgood<br />
Abrams, Marlene Wiedenbaum,<br />
Thomas Locker and trends like the<br />
Cow Shows and Jacques Torres<br />
Chocolates. <strong>The</strong> gallery continues<br />
its efforts to support the New Hudson<br />
River School of painters—bringing<br />
you works in the classical, academic<br />
tradition right through an impressionistic<br />
interpretation. Mark does<br />
museum quality, affordable custom<br />
framing—using quality materials<br />
and 35 years of experience, no one else<br />
can compare. Visit in person or online<br />
markgrubergallery.com.<br />
I always like to see innovative<br />
venues to show art and so when I got<br />
an invitation to the historic Adams<br />
Horse Stable in Saugerties, NY I<br />
headed over. Fritz Haller is a financial<br />
planner who decided that so<br />
many of his clients were artists and<br />
that many people wanted to see this<br />
mid 19 th century example of Gothic<br />
Revival architecture which housed<br />
fine ice racing horses that he would<br />
open his walls for some of his clients<br />
to show their work. Dave Campbell,<br />
a native of Saugerties showed<br />
landscapes and illustrations from his<br />
“Beginners Guide to Fishing” done<br />
F e e l i n g s: A non sequential photographic narrative<br />
and other recent works<br />
May 12 - May 30, 2011<br />
Mariela Dujovne Melamed<br />
<strong>Art</strong>ist’s Reception:<br />
Sunday, May 15 1:00 - 6:00 pm<br />
Gallery Hours:<br />
Thurs. & Sun. 1 - 6 pm • Fri. & Sat. 1 - 9 pm<br />
Memorial Day 1- 4 pm<br />
<strong>Art</strong>ist’s Information:<br />
www.marielamelamedphotography.com<br />
email: mariemel@optonline.net<br />
Piermont Fine <strong>Art</strong>s Gallery<br />
218 Ash St. Piermont, NY • 845-398-1907<br />
www.piermontfinearts.com
in ink, line and wash. I bought one<br />
of Dave’s books and hope to do some<br />
fishing here and not wait till I get to<br />
Florida.<br />
<strong>The</strong> Pen and Brush, an organization<br />
for women in the visual, literary<br />
and performing arts since 1894<br />
is located in <strong>NYC</strong> and has numerous<br />
exhibitions and programs. Coming<br />
up is a Multi-Media exhibit opening<br />
on May 5 th . A while ago I stopped in<br />
to deliver papers and found myself at<br />
an opening for Salon des Refusés.<br />
Members submitted work that had<br />
been rejected over the past year. It<br />
was a fun show and the work very<br />
competent. You just don’t know<br />
what a judge or jury will choose and<br />
although it is hard not to take it personally,<br />
these members had a chance<br />
to have fun and still get their “rejects”<br />
seen. Stop by for a visit to the gallery<br />
they are just off 5 th on 10 th Street and<br />
at penandbrush.org.<br />
It was thrilling to go to a performance<br />
of Martha Graham Dance<br />
Company’s 85 th Anniversary Season.<br />
After a welcome and program<br />
introduction by artistic director Janet<br />
Eilber, the audience—we were<br />
at the Rose <strong>The</strong>ater, Frederick<br />
P. Rose Hall, the Home of Jazz<br />
at Lincoln Center— was treated<br />
to Cave of the Heart and Deaths and<br />
Entrances both Graham Classics and<br />
Chasing, a world premier by choreographer<br />
Bulareyaung Pagarlava<br />
that was commissioned by the Martha<br />
Graham Center and created as<br />
a companion piece to Deaths and<br />
Entrances. <strong>The</strong> Martha Graham<br />
Dance Company was founded by<br />
Martha Graham in 1926 and is the<br />
oldest modern dance company in the<br />
world. It presents the classic Graham<br />
repertory and new choreography in<br />
its home city of New York and on tour<br />
and features an international roster<br />
of today’s most talented dance artists.<br />
<strong>The</strong> Martha Graham School<br />
of Contemporary Dance is the<br />
global center for instruction in the<br />
Martha Graham Technique and has<br />
provided instruction to thousands<br />
of students including such luminaries<br />
as Alvin Ailey, Twyla Tharp,<br />
Paul Taylor, Merce Cunningham,<br />
Rudolf Nureyev & Mikhail<br />
Baryshnikov. Martha Graham<br />
Resources oversees licensing of the<br />
Graham repertory, access to archives<br />
that comprise one of the world’s great<br />
collections of dance history, and arts<br />
education programs that travel with<br />
the Company around the world. See<br />
the current schedule at marthagraham.org.<br />
As a teacher of Dance at<br />
the Eastman School of Music her<br />
experimentations proved to be the<br />
sparks of a new mode of dance that<br />
revolutionized theories of movement<br />
in all of the performing arts. For<br />
Graham, ballet’s concern with flow<br />
and grace left behind more violent<br />
traditional passions. I remember<br />
when she received the Gold Medal of<br />
Honor for Dance at the National<br />
<strong>Art</strong>s Club, <strong>NYC</strong> the year before she<br />
died. In her acceptance she said “it’s<br />
about time that Dance is acknowledged<br />
and not treated like a third rate<br />
art form”. She had a lasting and deep<br />
impact on American art and culture<br />
and her company continues her work<br />
and reaches out to new audiences by<br />
educational and community partnerships.<br />
<strong>The</strong> March Gala Concert at St<br />
Gregory’s Episcopal Church in<br />
Woodstock, NY was an introduction<br />
to VoiceFest 2011, a four-day festival<br />
(August 4-7) of opera, gospel,<br />
baroque, choral, and world music<br />
presented under the stars and in various<br />
town venues in Phoenicia, NY.<br />
<strong>The</strong> centerpiece of the Festival will be<br />
Mozart’s Don Giovanni, conducted<br />
by Metropolitan Opera maestro,<br />
Steven White, featuring Louis<br />
Otey and Kerry Henderson. <strong>The</strong> 3<br />
founders of this fabulous VoiceFest<br />
sang at the church and what an exciting<br />
afternoon it was. Maria Todaro-<br />
Mezza Soprano, Louis Otey- Baritone<br />
and Kerry Henderson- Baritone<br />
were accompanied at the piano<br />
by David Mayfield and Babette<br />
Hierholzer. <strong>The</strong>se performers have<br />
gorgeous voices and treated us to a<br />
program of works by Lilburn, Puccini,<br />
Mitch Leigh, Cole Porter,<br />
Bellini, Mozart, Vivaldi, Wagner,<br />
Rossini and Goldrich. What a program<br />
— delicious. <strong>The</strong> audience was<br />
enchanted as it had been last August<br />
when over 3000 people attended the<br />
festival. This year they have added<br />
an additional day to the festival and<br />
there will be an orchestra. I went<br />
to several of the performances and<br />
made a short video of the program<br />
I attended (see arttimes channel on<br />
YouTube or online at arttimesjournal.com).<br />
Hearing world-class opera<br />
stars singing just 10 feet away was<br />
so very thrilling. Last year I wanted<br />
to attend every performance but just<br />
couldn’t manage the time. Take a look<br />
at the site, order tickets, as they will<br />
be sold out quickly, and send a donation<br />
to support this fabulous festival<br />
Dave Campbell (R) speaking with a visitor to his exhibit<br />
at the historic Adams Horse Stable in Saugerties, NY<br />
Irv Suss<br />
Photography<br />
<strong>The</strong> Hudson<br />
From <strong>The</strong> City to <strong>The</strong> Highlands<br />
May 14, 2011 to June 18, 2011<br />
In the Gallery at<br />
Bob’s <strong>Art</strong><br />
191 S. Main St.<br />
845-634-6933<br />
New City, New York<br />
irvsuss.com<br />
May/ June 2011 ART TIMES page 11<br />
and these outstanding performers<br />
who are adding such joy to the cultural<br />
offerings of our region. www.<br />
phoeniciavoicefest.com<br />
I went to the Powerhouse Party<br />
that introduced the upcoming 2011<br />
season of Vassar & New York<br />
Stage and Film’s Powerhouse<br />
<strong>The</strong>atre, a place for people in theatre<br />
to work without commercial<br />
pressures. <strong>The</strong> season opens June 24<br />
and concludes on July 31. 40 student<br />
apprentices from across the country<br />
will participate in this 27 th season<br />
taking part in the 2 mainstage productions<br />
(Patricia Wettig’s “F2M”<br />
and Rob Handel’s “A Maze”), 3<br />
musical workshops, 2 play workshops<br />
and 10 staged readings over<br />
an intense 8-week summer residency<br />
on the Vassar College campus in<br />
Poughkeepsie, NY. Student writers,<br />
directors, designers, actors all have<br />
a chance to work with professionals<br />
and the professionals get to explore<br />
new ideas and methods in a safe<br />
environment. It’s like summer camp<br />
where one can learn new things and<br />
stretch their abilities. Vassar wanted<br />
to establish a training program for<br />
young actors at the same time New<br />
York Film and Stage was looking<br />
for a nurturing environment for<br />
working actors, filmmakers and writers.<br />
It was and continues to be an excellent<br />
cooperative effort with many<br />
former apprentices having gone on<br />
to major careers and recognition in<br />
film and stage. Edward Cheetham<br />
is the Producing Director of the<br />
Powerhouse Program and Johanna<br />
Pfaelzer is the <strong>Art</strong>istic Director of<br />
New York Stage and Film. More at<br />
www.powerhouse.vassar.edu.<br />
Vassar College also reopened<br />
the Frances Lehman Loeb <strong>Art</strong><br />
Center with the exhibit Thomas<br />
Rowlandson: Pursuits and Pleasures<br />
in Georgian England. Rowlandson<br />
(1757-1827) was an English<br />
satirist, printmaker, and painter<br />
who commented via his watercolors,<br />
prints and drawings on his social<br />
and political worlds—the worlds of<br />
the West End, Covent Garden, and<br />
London politics in the late Georgian<br />
era. His work surely gives us a look<br />
at his world. <strong>The</strong> exhibit will be on<br />
view thru June 12. <strong>The</strong> galleries were<br />
reconfigured so that there are rooms<br />
for their large modern collection<br />
(even still only a small percentage of<br />
the holdings are on view), a gallery<br />
for student curators, a gallery for<br />
small works not usually seen, and<br />
a project gallery for work that the<br />
faculty is requesting to be on view for<br />
research by their students. <strong>The</strong> Prestel<br />
Museum Guide series has just<br />
published the new book <strong>The</strong> Frances<br />
Lehman Loeb <strong>Art</strong> Center, Vassar College:<br />
<strong>The</strong> History and the Collection.<br />
This makes the <strong>Art</strong> Center the first<br />
U.S. art museum and the only U.S.<br />
college or university museum to have<br />
its own Prestel Guide. You can learn<br />
more about the collection and <strong>Art</strong><br />
Center at www.fllac.vassar.edu<br />
See you out and about and don’t<br />
forget to write about your events and<br />
news on ART TIMES Facebook page.<br />
ef<br />
annual<br />
june 24, 25 & 26<br />
Altamont Fairgrounds<br />
Altamont, NY<br />
10 miles west of Albany<br />
the best in<br />
eclectic folk<br />
since 1981<br />
THE FREIGHT HOPPERS ARROGANT WORMS<br />
THE OUTSIDE TRACK • GUY MENDILOW BAND • LIBANA • FINEST KIND<br />
SCOTT AINSLIE • ELLIS • JEZ LOWE • QUICKSTEP • BABIK • MANYMORE<br />
3 MAIN CONCERTS • 120 DAYTIME SESSIONS • CRAFTS<br />
JAMMING • FAMILY ACTIVITIES • DANCING & SINGING<br />
COMPLETE DETAILS, incl. tickets, camping, concerts, & more, at:<br />
www.oldsongs.org/festival
May/ June 2011 ART TIMES page 12<br />
Calendar<br />
Continued from Page 8<br />
Monday, May 23<br />
57th Annual Exhibit National Society of Painters in Casein & Acrylic<br />
Salmagundi Club 47 Fifth Ave., <strong>NYC</strong> (212) 255-7740 (thru Jun 10)<br />
Thursday, May 26<br />
Featured Works of Susan Steeg & Dorothy Ehret Hines Upstream<br />
Gallery 26 Main Street Dobbs Ferry NY 914-674-8548 free (thru June 19) www.upstreamgallery.com<br />
PREVIEW OF FINE ART AUCTION: Benefit for <strong>Art</strong>s in Education Program<br />
at Woodstock Day School Fletcher Gallery, 40 Mill Hill Rd., Woodstock, NY (845) 679-<br />
4411 (thru May 28) www.fletchergallery.com<br />
sTRUCKtures - New paintings by Allan Gorman Phoenix Gallery 210 Eleventh<br />
Avenue, 9th Floor New York NY 212-226-8711 Opening Reception 6-8pm free<br />
(thru June 18) www.phoenix-gallery.com<br />
Friday, May 27<br />
Contemporary Bromoil: Photographs by Joy Goldkind Galerie BMG<br />
12 Tannery Brook Rd Woodstock NY 845-679-0027 free (thru July 4) www.galeriebmg.<br />
com<br />
PREVIEW OF FINE ART AUCTION: Benefit for <strong>Art</strong>s in Education Program<br />
at Woodstock Day School Fletcher Gallery, 40 Mill Hill Rd., Woodstock, NY (845) 679-<br />
4411 (thru May 28) www.fletchergallery.com<br />
54th Annual Members Exhibit South Bay <strong>Art</strong> Association Phoenix Gallery<br />
139 South Country Road Bellport NY 631-286-3521 free (thru May 30) southbayart@gmail.com<br />
Saturday, May 28<br />
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org <strong>NYC</strong><br />
Eldar Djangirov Trio - Jazz Concert Windham Chamber Music Festival<br />
Windham Civic & Performing <strong>Art</strong>s Center 5379 Main Street Windham NY 518-734-<br />
3868 8-10pm charge www.windhammusic.com<br />
Joy Gross: Recipes for Living Younger … Longer Blue Cashew Kitchen Pharmacy<br />
6243 Montgomery Street Suite 3, Rhinebeck, NY Signing 2-5pm<br />
NAWA 13 members of the National Association of Women <strong>Art</strong>ists <strong>The</strong> Dog<br />
House Gallery 429 Phillips Rd Saugerties, NY (845) 246-0402 Opening Reception<br />
4-7pm thru June 18)<br />
PREVIEW OF FINE ART AUCTION: Benefit for <strong>Art</strong>s in Education Program<br />
at Woodstock Day School Fletcher Gallery, 40 Mill Hill Rd., Woodstock, NY (845) 679-<br />
4411 (thru May 28) www.fletchergallery.com<br />
CALL FOR PHOTOGRAPHERS<br />
23 Depot Square on Garrison’s Landing, Garrison, NY 10524<br />
A JURIED PHOTOGRAPHY SHOW<br />
Jurors: Larry Fink & Stephen Perloff<br />
Open to amateurs, professionals<br />
All photo mediums, Fee $40/5 images<br />
Deadline for entry: June 15, 2011<br />
Exhibition Sept. 10 - Oct. 2, 2011<br />
Best in Show $1000, many more awards<br />
Exhibition Book of accepted artists<br />
See prospectus at garrisonartcenter.org<br />
23 Depot Square, Garrison, NY 10524<br />
garrisonartcenter.org 845.424.3960<br />
Catharine Lorillard Wolfe <strong>Art</strong> Club, Inc.<br />
115 th Annual Open Juried Exhibition for Women <strong>Art</strong>ists<br />
CALL FOR ENTRIES<br />
National <strong>Art</strong>s Club, New York, NY<br />
October 4 - October 28, 2011<br />
Open to Women <strong>Art</strong>ists.<br />
Media: Oil - Watercolor - Pastels - Graphics<br />
Acrylic - Sculpture<br />
Juried by CDs or Slides - Postmarked by June 10, 2011<br />
Over $10,000 in Awards<br />
Entry fee: $30/Members & Associates; $35/Non-members<br />
For Prospectus send #10 SASE to: Okki Wang,<br />
431 Woodbury Road, Cold Spring Harbor, NY 11724<br />
a prospectus is available online at www.clwac.org<br />
“Every Great Town Deserves a Great <strong>Art</strong><br />
Supply Store and Frame Shop.”<br />
Save Money<br />
Shop Rhinebeck<br />
& New Paltz<br />
56 East Market St., Rhinebeck<br />
845-876-4922<br />
Berks <strong>Art</strong> Alliance 34th Annual<br />
Open Juried <strong>Art</strong> Exhibition<br />
July 2 – Sept. 4, 2011<br />
Reading Public Museum, Reading, PA<br />
$4000+ total awards • Most media accepted<br />
Hand delivered entries only<br />
Entries accepted on June 17<br />
Jurors – Lisa Tremper Hanover,<br />
Dir. Berman Museum of <strong>Art</strong>,<br />
Nancy Campbell, Dir. Wayne <strong>Art</strong> Center<br />
For prospectus, log on to<br />
www.readingpublicmuseum.org<br />
www.berksartalliance.com<br />
or send #10 SASE to: BAA c/o Gurman, 305<br />
Sunshine Rd., Reading, Pa. 19601<br />
17 Church St., New Paltz<br />
845-255-5533<br />
Sunday, May 29<br />
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org <strong>NYC</strong><br />
FINE ART AUCTION: Benefit for <strong>Art</strong>s in Education Program at Woodstock<br />
Day School Fletcher Gallery, Kleinert/James <strong>Art</strong> Ctr., 34 Tinker St., Woodstock, NY<br />
(845) 679-2079 1pm www.fletchergallery.com<br />
Monday, May 30<br />
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org <strong>NYC</strong><br />
Tuesday, May 31<br />
Wethersfield Academy for the <strong>Art</strong>s Premier Juried Competition<br />
Wethersfield Academy for the <strong>Art</strong>s Hartford Fine <strong>Art</strong> & Framing 81 Pitkin St. East<br />
Hartford CT 860-763-4565 free (thru Jun 30) www.wethersfieldarts.org<br />
Wednesday, June 1<br />
Viewpoints, SMI’s 14th Annual Exhibit Studio Montclair Co-Sponsored by<br />
Aljira, a Center for Contemporary <strong>Art</strong> 591 Broad Street Newark NJ 973-744-1818 free<br />
(thru June 25) www.studiomontclair.org<br />
Thursday, June 2<br />
Arlene Lieberman Photography: Portraits of India LaGuardia Gallery of<br />
Fine <strong>Art</strong>s LaGuardia Community College 31-10 Thomson Avenue, Atrium of E Building<br />
Long Island City NY Opening 6-8pm free (thru July 31) www.ArleneLieberman.<br />
com<br />
Depth of Field, Alternative Photography Exhibit Studio Montclair Montclair<br />
Public Library 50 South Fullerton Avenue Montclair NJ 973-744-1818 Reception<br />
6-8pm free (thru June 30) www.studiomontclair.org<br />
Janice DeMarino: New Work Longyear Gallery 785 Main Street Margaretville<br />
NY 845-586-3270 Opening Reception 3-6pm free (thru June 26) www.longyeargallery.<br />
org<br />
Friday, June 3<br />
Frankie and Johnny in the Claire de Lune - By Terrence McNally KNOW<br />
<strong>The</strong>atre Binghamton City Stage 74 Carroll Street Binghamton NY 607-724-4341<br />
charge Directed by Brandt Reiter, Starring Dori May Ganisin and Tim Gleason. http://<br />
www.knowtheatre.org<br />
Michele James: Mixed Media Works East Fishkill Community Library 348<br />
Route 376 Hopewell Junction NY 845-221-9943 Opening Reception 7-8:30pm free (thru<br />
Jun 30) http://www.eflibrary.org Dutchess<br />
Saturday, June 4<br />
44th ANNUAL ART IN THE PARK <strong>Art</strong> League of Long Island, Heckscher Museum<br />
Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm www.artleagueli.net<br />
49th ANNUAL WHITE PLAINS OUTDOOR JURIED ARTS FESTIVAL White<br />
Plains Outdoor <strong>Art</strong>s Festival Committee, Tibbits Park, One North Broadway at Main<br />
St., White Plains, NY (914) 993-8271 or (914) 949-7909 10am-5pm (thru June 5) www.<br />
whiteplainsoutdoorartsfestival.com<br />
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org <strong>NYC</strong><br />
CEWM: FIESTA! A Latin Splash of Music and Dance Close Encounters With Music<br />
Ozawa Hall at Tanglewood 297 West Street (Route 183) Lenox MA 800-843-0778<br />
6:00PM charge www.cewm.org<br />
LONGREACH IN BEACON Howland Cultural Center 477 Main St. Beacon NY 845-<br />
831-4988 Opening Reception 3-5pm (June 26)<br />
Lunch at the Live Bait Diner: Drawings by Joseph D. Yeomans and<br />
Poems by Lewis Gardner <strong>Art</strong>s Society of Kingston 97 Broadway Kingston NY<br />
845-338-0331 opening reception 5-8 pm free (thru June 30) askforarts.org<br />
Premier Juried Competition Wethersfield Academy for the <strong>Art</strong>s Hartford<br />
Fine <strong>Art</strong> & Framing 81 Pitkin St. East Hartford CT 860-763-4565 Opening Reception<br />
6-8pm. free (thru Jun 30) www.wethersfieldarts.org<br />
Sunday, June 5<br />
44th ANNUAL ART IN THE PARK <strong>Art</strong> League of Long Island, Heckscher Museum<br />
Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm www.artleagueli.net<br />
49th ANNUAL WHITE PLAINS OUTDOOR JURIED ARTS FESTIVAL White<br />
Plains Outdoor <strong>Art</strong>s Festival Committee, Tibbits Park, One North Broadway at Main<br />
St., White Plains, NY (914) 993-8271 or (914) 949-7909 10am-5pm www.whiteplainsoutdoorartsfestival.com<br />
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org <strong>NYC</strong><br />
Susan Steeg and Dorothy Ehret Hines Upstream Gallery 26 Main Street<br />
Dobbs Ferry NY 914-674-8548 Reception 2 - 5pm free (thru June 19) www.upstreamgallery.com<br />
52 nd Year of it’s Young People’s Scholarship Exhibition <strong>The</strong> Ridgewood <strong>Art</strong><br />
Institute 12 East Glen Ave. Ridgewood NJ 201-652-9615 free Open Reception Awards<br />
Ceremony 2-4pm www.ridgewoodartinstitute.org<br />
Continued on Page 20<br />
CALL for eNTrieS<br />
ALLied ArTiSTS of AmeriCA<br />
98 th Annual open exhibition<br />
November 2 - November 23, 2011<br />
at <strong>The</strong> National <strong>Art</strong>s Club <strong>Galleries</strong>, <strong>NYC</strong><br />
Open to all artists<br />
Oil, Watermedia, Pastel,<br />
Graphics, Sculpture<br />
$24,000 awards in cash & medals<br />
Jpeg entries accepted.<br />
deadline September 12.<br />
For prospectus go to website at:<br />
www.alliedartistsofamerica.org<br />
Rose Yannuzzi<br />
Solo Exhibit Visual Poetry<br />
Watercolors & Fine Photography<br />
June 23 — July 10, 2011<br />
Opening Reception June 26, 2-5pm<br />
www.yannuzziwatercolor.com<br />
Piermont Flywheel Gallery<br />
Piermont Landing, 223 Ash Street<br />
Piermont, NY • (845)-365-6411<br />
Hrs: Th. & Su 1-6pm; Fr.& Sa 1-9pm
Film<br />
Mr. Scott and Me<br />
May/ June 2011 ART TIMES page 13<br />
lasses starting<br />
By HENRY P. RALEIGH<br />
Now Mr. A. O. Scott, the N.Y. <strong>Times</strong><br />
film critic, and I have not always<br />
agreed in our assessment of films.<br />
That does happen now and then and<br />
I certainly don’t hold this against him.<br />
As a matter of fact I was much taken,<br />
I might say, moved, by a piece of his<br />
that appeared in the <strong>Times</strong> January<br />
16 (‘Defy the Elite! Wait, which elite’)<br />
and which I’ve read over many times<br />
since. Here Mr. Scott takes issue with<br />
Mr. Neal Gabler, a cultural historian<br />
and recently the fellow who introduces<br />
the Saturday evening film on PBS. It<br />
seems that Mr. Gabler, in an op-ed<br />
article in <strong>The</strong> Boston Globe, proclaimed<br />
the death of cultural elitism. Among<br />
the decreased, of course, are those<br />
elitist film critics. And this slaughter<br />
is all because of the internet and the<br />
ascendancy of those legions of film<br />
bloggers who enjoy perfect freedom to<br />
give vent to their opinions, informed or<br />
not, and devil take the professionals.<br />
You can see what this will do, and has<br />
done, to Mr. Scott and me.<br />
<strong>The</strong>re is something plaintive in<br />
Mr. Scott’s commentary, a sense<br />
that something has been lost despite<br />
a wistful belief that there remains<br />
always the need for solid, analytic<br />
criticism. He notes, with faint hope,<br />
the revival of the old Siskel and Ebert<br />
AT the Movies on PBS. Some may<br />
remember those early days -- the iconic<br />
thumbs up/thumbs down that became<br />
a legend of sorts. <strong>The</strong>re was a subdued<br />
a new beginning...<br />
YOHO Center of the <strong>Art</strong>s<br />
Shared <strong>Art</strong>ist Space Avail at only $250/mo + Storage<br />
24/7 access<br />
Painters<br />
16' high ceilings<br />
Sculptors<br />
Enormous windows<br />
Musicians<br />
Bright light<br />
Dancers<br />
Designers<br />
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Studios Starting at $400/mo<br />
All <strong>Art</strong>ists Welcome<br />
Onsite Mgmt, . New Burner/Boliers, . New Roof, . New Passenger Freight Elevator<br />
(212) 317 - 1423 x 601 or<br />
and serious scholarly atmosphere that<br />
surrounded the two critics going at<br />
each other. <strong>The</strong> new version is jazzier,<br />
more visual than wordy, a show aimed<br />
at a young audience who most likely<br />
are devotees and products of blogging<br />
as indeed are the two featured film<br />
critics, both of who had made their<br />
bones on movie sites. Both look as<br />
perfectly grand on the screen as<br />
their FaceBook and publicity shots.<br />
Christy Lemire, film critic for the<br />
Associated Press once came in 93 on<br />
an independent film critics list of 100<br />
of the most beautiful celebrity women.<br />
Ignatiy Vishnevetsky is as cute as a<br />
button and is clearly aware of it. After<br />
all, Siskel and Ebert weren’t that<br />
much to look at, were they<br />
<strong>The</strong> new show runs for 27 minutes<br />
and zips through four current feature<br />
films, each accompanied by unusually<br />
long trailers; a spot titled “Hot and<br />
New” in which each critic picks a<br />
favorite from films available on VOD,<br />
DVD, cable on on-line-- there’s no<br />
escaping technology, you see; and a<br />
special guest contributor, the most<br />
fascinating so far an enthusiastic<br />
young lady explaining why Natalie<br />
Portman as the ballerina in “Black<br />
Swan” was shown spending so much<br />
time in a bathroom (to seek a bit of<br />
privacy). All of these segments are<br />
amply back with appropriate film<br />
clips. Even Mr. Ebert gets a quickie<br />
review.<br />
(917) 682 - 5172<br />
578 Nepperhan, Yonkers, NY<br />
So out of 27 minutes<br />
of running time how<br />
much in-depth critical<br />
discourse is possible<br />
Well, not much but that<br />
probably doesn’t matter,<br />
it’s fast, pretty to watch<br />
and look, if Mr. Gabler<br />
is right who cares what<br />
a couple of youthful<br />
blogger graduates have<br />
to say, their opinions are<br />
no better or worse than<br />
any other roaming, willynilly,<br />
around cyberspace.<br />
And besides paying<br />
much attention to the<br />
spoken argument may<br />
disappoint. When one of<br />
these critics importantly<br />
claims a director “uses<br />
lots of aesthetics” and<br />
without blinking throw<br />
in a “him and me”<br />
when simple grammar<br />
demands “he and I”<br />
you might question the<br />
literacy level of the speaker. Still,<br />
reviewing the prose of internet film<br />
bloggers you can see that grammatical<br />
niceties are not their strong suit.<br />
Mr. Scott concludes his essay with a<br />
jab at the relentless noise of consumer<br />
advertising which can so handily<br />
overwhelm those annoying elitists. In<br />
response, he reaffirms the real goal of<br />
criticism which is “...work of analyzing<br />
YOHOartists.com<br />
Audubon <strong>Art</strong>ists<br />
69 th Annual National<br />
All Juried Exhibition<br />
for Non-Members<br />
Sept. 10 th — Sept. 30 th , 2011<br />
at the Salmagundi <strong>Art</strong> Club <strong>Galleries</strong><br />
47 Fifth Ave., <strong>NYC</strong><br />
Visit our<br />
website:<br />
arttimesjournal.<br />
com<br />
for videos<br />
new and<br />
previously<br />
published<br />
essays<br />
and evaluating works of art honestly<br />
and independently as possible.” I’m<br />
with you a hundred percent, Mr.<br />
Scott but I suppose every film blogger<br />
figures he or she is doing exactly the<br />
same and so where does that leave<br />
us Goodness knows I have repeatedly<br />
warned that all those algorithms and<br />
stuff was going to get us — and they<br />
are, too.<br />
"Longreach in Beacon"<br />
Sat. June 4th-Sun. June 26th, 2011<br />
Opening Reception:<br />
Saturday June 4th, 3-5pm<br />
at the Howland Cultural Center<br />
477 Main Street<br />
Beacon NY 12508<br />
845-831-4988<br />
Gallery Hours:<br />
Thursday - Sunday 1:00PM thru 5:00PM<br />
special arrangements made by appointment<br />
www.howlandculturalcenter.org<br />
Mildred Cohen, Staats Fasoldt, Stacie Flint,<br />
Susan Fowler-Gallagher, Jose Gomez,<br />
Claudia Gorman, Rob Greene, Trina Greene,<br />
Robert Hastings, Carol Loizides, Basha Maryanska,<br />
Sherrill Meyers-Nilson, Ellen O’Shea,<br />
Carol Pepper-Cooper, Nancy Scott, Elayne Seaman,<br />
Michelle Squires, Marlene Wiedenbaum<br />
Save the Date! Sept. 29, 2011<br />
Longreach<strong>Art</strong>s at Vassar College<br />
ef<br />
Join us for the 2011 Millbrook Paint Out at its new location:<br />
<strong>The</strong> Fountains at Millbrook, 560 Flint Road, Millbrook, NY.<br />
2011 Millbrook Paint Out<br />
An auction of plein air works featuring artist<br />
Jack Neubauer of Millbrook.<br />
Saturday, June 4, 2011<br />
Fine art paintings & drawings of Millbrook scenes in oil,<br />
pastel, acrylic and watercolor by 50 professional artists.<br />
Auction Viewing & Reception: 4pm — 5pm<br />
Live Auction: 5:15 pm - 7:15 pm<br />
Hors d’oeuvres, wine and soft drinks will be served.<br />
This event is organized by the Dutchess County <strong>Art</strong><br />
Association/Barrett <strong>Art</strong> Center, 55 Noxon Street,<br />
Poughkeepsie, NY 12601<br />
(845) 471-2550 www.barrettartcenter.org<br />
Call for Digital Entries in<br />
Aquamedia, Collage & Mixed Media,<br />
Graphics, Oils, Acrylics, Pastels & Sculpture<br />
Open to living <strong>Art</strong>ists Residing in US<br />
$35/ one addit'l entries $5. cd entry only<br />
Active members will not be juried this year.<br />
…with over $20,000 in Awards<br />
Juror of Awards<br />
Beth Venn, Senior Curator of American <strong>Art</strong>,<br />
Newark Museum, NJ<br />
Send SASE for prospectus to: Raymond Olivere,<br />
Audubon <strong>Art</strong>ists, 1435 Lexington Ave., #11D, NY, NY<br />
10128 • Online Prospectus: www.audubonartists.org<br />
Entry Forms & Digital CD Postmarked<br />
Deadline July 23 th<br />
Additional information: Vinnie Nardone, Pres.<br />
732-903-7468 • nardoneart@comcast.net
May/ June 2011 ART TIMES page 14<br />
Fiction Keep This Object Carefully<br />
By Michael Edwin Q.<br />
Claudette places a bowl of hot<br />
he heard me. I jumped down; that got “He walked over to an easel. I Gospel. He sighed, ‘So, what should<br />
soup down in front of her husband;<br />
his attention.<br />
then understood why he smelled of I do now”<br />
she walks to the only window and<br />
“He stood up and wiped tears from turpentine. On the ground were an “Learn a proper trade; find a<br />
opens the shutters, letting in what<br />
his eyes with his shirtsleeve. It was artist’s palette and brushes. On the good, God-fearing woman…have<br />
little light left of the day into the one<br />
obvious he felt embarrassed…seen easel was a canvas covered in earthy children…plenty of children. Give up<br />
room stone hut.<br />
crying by another man.”<br />
colors and sweeping brushstrokes in on this…art, as you call it….and find<br />
Off to the west, the sun inches its<br />
“What did he look like” asks his shapes I could make little sense of. yourself some happiness.”<br />
way slowly down the horizon, sunset<br />
wife.<br />
“This is the love that brings me no “Happiness…’ he sighed, again.<br />
colors appear; in the east, dark menacing<br />
storm clouds gather.<br />
“Mid-thirties, clearly a foreigner; satisfaction; but still I cannot stop. I ‘<strong>The</strong> sadness will last forever.”<br />
his French was good, but he had a paint everyday with the voracity of a “No, you must not think that,’ I<br />
“It looks like…” she says, turning<br />
to her husband, but stops when<br />
strong accent…perhaps, German….I steam engine. Tell me, what do you said. ‘Please, come home with me and<br />
couldn’t tell. Well-kept, he was not. think’<br />
we can talk about this further. My<br />
seeing his head bowed, giving silent<br />
His clothes were old and dirty. His “I’m a farmer, not an art critic,’ I wife is a good cook. It will probably<br />
thanks. She waits for him to finish.<br />
hair was reddish-brown and in need said.”<br />
only be soup and bread, but you are<br />
“It looks like we might get some rain.”<br />
of cutting as was his beard. But most “I don’t care what an art critic has welcome.’<br />
“That would be a change,” he says,<br />
notable were his eyes. <strong>The</strong>re was a to say; tell me what a farmer sees’, “No,’ he said. ‘I thank you from the<br />
cutting two slices off a loaf of bread;<br />
combination sadness and madness he asked.”<br />
bottom of my heart. But I must finish<br />
he places one next to his wife’s spoon.<br />
in them. I couldn’t tell which more of “I took my time examining the what I have started. Good or bad, I<br />
She sits and joins him.<br />
one or the other was.<br />
canvas, but only to be polite. I knew must finish this painting.’<br />
“So, how did it go” she asks.<br />
“As I approached him, I became what my answer was before I said it. “<strong>The</strong>n he looked into my eyes and<br />
He reaches into his vest-pocket<br />
aware of a strange odor.”<br />
Jumbled strokes of color were all I spoke, ‘One-way or the other, this is<br />
and places three coins on the table;<br />
“Why…did he smell” asks his saw with only a slight resemblance my last painting…I swear.’<br />
she scoops them up and they disappear<br />
into a fold in her apron.<br />
wife.<br />
of the reality.<br />
“I couldn’t think of what to say<br />
“Yes…but, you’ll not guess of “Forgive me, but you asked me to next, so I remained silent. We shook<br />
“So…see anything interesting<br />
what. It took me a moment to recognize<br />
the scent. It was turpentine.” your feelings, but this is not a proper back onto the cart and drove away. I<br />
say what I see. I do not want to hurt hands, and parted friends. I hopped<br />
while you were in town<br />
He moves his head right to left,<br />
“Turpentine…”<br />
painting’, I said. ‘I realize this represents<br />
the wheat field we are looking As I rode over the crest of the hill, I<br />
rode the jig-jag trail through the field.<br />
“No”.<br />
“Yes, and he reeked of it.”<br />
“Think…did someone tell you<br />
“What was his name” she asks. at, but it seems no more than a representation<br />
of what I am seeing. <strong>The</strong>se painting franticly.”<br />
looked back to see him at his easel<br />
anything…a joke, perhaps,” she asks,<br />
“I know I asked his name, but for<br />
clearly desperate to hear news of the<br />
the life of me I can’t remember. It was jagged lines in the center I understand<br />
to be the road that goes though wife. “Could you, please, warm this<br />
Gerard hands his soup bowl to his<br />
world outside her own small one.<br />
some long German sounding name<br />
Again, he shakes his head.<br />
that escapes me. But I do remember the field, but again, it is nothing more up for me”<br />
“This just isn’t fair, Gerard. You<br />
he made a strange comment about than a simple representation of what “Is that all” she asks.<br />
go into town every week to make the<br />
his name.<br />
is…there is so little detail. And what “I’m afraid so,” answers Gerard.<br />
deliveries while I stay here. Can’t you<br />
“He said, ‘<strong>The</strong>y named me for my is this…the sky is as black as coal” She takes his bowl and stands. At<br />
think of anything”<br />
brother who died before me. Do you “That is the oncoming storm’, he that moment, a sharp sound, like the<br />
He gently places his spoon down.<br />
think it’s possible this should have replied.”<br />
crack of a whip, penetrates the air.<br />
“What do you want me to say” He<br />
been his life that I am living, and my “I realize that,’ I said. ‘But there is “Thunder…” asks Gerard.<br />
takes up his spoon, again. “If it’s so<br />
true life’s path denied me’<br />
more to a storm than blackness. And Claudette, bowl in her hand, walks<br />
important to you, why don’t come<br />
“I thought it an odd question, what are these floating in the sky” to the window and looks out. A crowd<br />
with me next time”<br />
but I answered, ‘I don’t think God… “Those are the blackbirds you see of blackbirds are scattering across<br />
“Oh, Gerard, could I”<br />
or fortune…whatever you believe is soaring over the field.”<br />
the sky.<br />
“Of course you can! You are my<br />
running the universe would be so “I see blackbirds, but what you “No,” she says, “It’s late…if I didn’t<br />
wife, are you not I don’t want to see<br />
easily fooled by the mere changing have painted is two stokes of black know better; I’d say it sounded like a<br />
you unhappy!” He smiles into his<br />
of a name.’<br />
paint against a dark background. gunshot.”<br />
soup.<br />
“He nodded as if my answer would Blackbirds are more than two strokes! (Michael Edwin Q. lives in Dallas,<br />
TX).<br />
“You old goat,” she laughs. “You<br />
suffice; then he smiled halfhearted This is not a proper painting!”<br />
were a flirt when I met you, and after<br />
and thanked me for stopping and “He seemingly took what I said as<br />
ef<br />
all these years, you’re still one.” <strong>The</strong>y<br />
showing concern. I told him it was no<br />
both laugh.<br />
trouble at all. I told him, being much<br />
A thoughtful look washes the smile<br />
older than he, perhaps if he unburdened<br />
himself to me, he might find<br />
from his face. “<strong>The</strong>re was something,<br />
though…very queer. It happened on<br />
peace. He shook his head, believing it<br />
my way back.”<br />
impossible, but I pressed him further.<br />
Her interest perked, she stops eating.<br />
“What”<br />
‘Have you no family’ I asked. ‘Yes, I<br />
do’, he said. ‘But I have been nothing<br />
“Well, you know that large dead<br />
but an outsider and a burden to them.<br />
tree in front of the road leading into<br />
My father is long gone; I’m sure, at<br />
the field As I was passing, I looked to<br />
his death, he hated me or at the least<br />
see a young man seated on the roots<br />
thought of me as a grave disappointment.<br />
I do have a brother, whom I<br />
of the tree, his back against the trunk<br />
and his head in his hands, weeping.<br />
love dearly; but I am nothing but a<br />
“Now, you know I never stick my<br />
thorn in his side. I could never repay<br />
nose in the business of others, but I<br />
him for the support he has shown me<br />
felt it would not be Christian of me to<br />
with undying encouragement and<br />
even ask if he needed help.”<br />
financial backing. This blessing only<br />
He dips his bread into his bowl.<br />
weighs me down with guilt.’<br />
“What are you doing” asks Claudette.<br />
“What happed next”<br />
“What of love’ I asked. ‘A good<br />
woman’s love strengthens a man;<br />
“I’d like to get some of this soup in<br />
makes him capable to withstanding<br />
me while it’s still warm, if you don’t<br />
anything and able to triumph over<br />
mind”<br />
any obstacle life may hold for him.’<br />
“Don’t worry; I’ll heat it up for you!<br />
“He shook his head in dismay, ‘I<br />
Now, finish the story!”<br />
am sure you are correct; but in ways<br />
Gerard realizes he will not eat his<br />
of the heart I have found no solace.<br />
meal in peace until he tells the entire<br />
<strong>The</strong> ones I have wanted did not want<br />
story. He places his spoon and bread<br />
me, and those who accepted me found<br />
down and continues.<br />
me lacking, and I them. No, there is<br />
“I stopped the cart and called to<br />
no love I can mention, save for one,<br />
him. He didn’t respond; I don’t think<br />
which is the core of my unhappiness.’
Music<br />
May/ June 2011 ART TIMES page 15<br />
Play Long Gone, Music Lingers On<br />
By FRANK BEHRENS<br />
Often a composer was commissioned<br />
to provide a score of “incidental”<br />
music for a play. And often the<br />
score would become far more popular<br />
than the play itself. For example,<br />
millions have heard Grieg’s music to<br />
Ibsen’s “Peer Gynt” without having<br />
read a single line from the play. <strong>The</strong><br />
ratio might decrease with Mendelssohn’s<br />
incidental music for Shakespeare’s<br />
“A Midsummer Night’s<br />
Dream,” and I dare say that the most<br />
ardent lovers of Bizet’s incidental<br />
music to Daudet’s “L’Arlesienne”<br />
might be entirely unaware that such<br />
a play exists.<br />
Alphonse Daudet was a French<br />
author, best known today for his<br />
“Lettres de mon moulin” (Letters<br />
from my mill), which appeared in<br />
1872. Part of that collection was a<br />
novel titled “L’Arlesienne” (<strong>The</strong> girl<br />
from Arles). It was good enough to<br />
attract the attention of an impresario<br />
who commissioned Daudet to turn<br />
the novel into a play, which was to<br />
contain three acts and five tableaux<br />
with music and chorus.<br />
Salmagundi Club<br />
Center for American <strong>Art</strong> since 1871<br />
~ Exhibitions ~<br />
May 4 ~ 20<br />
American Masters Exhibition & Sale<br />
May 4 ~ 20<br />
Doug Allen Exhibition<br />
May 4 ~ 21<br />
Robert Lougheed Exhibition<br />
May 22 ~ June 13<br />
Curator's Exhibition<br />
May 23 ~ June 10<br />
National Society of Painters in Casein & Acrylic<br />
June 13 ~ July 1<br />
3 Generations: Wiggins, Wiggins & Wiggins<br />
June 13 ~ July 15<br />
Scenes from Abroad<br />
~ Events ~<br />
Mother's Day Brunch<br />
Sunday, May 8, 11am-3pm, $20 + tax<br />
June 22 ~ June 26<br />
Weekend with the Masters Workshop<br />
sponsored by American <strong>Art</strong>ist Magazine<br />
For complete calendar of events & exhibits<br />
Please visit www.salmagundi.org<br />
47 Fifth Avenue, <strong>NYC</strong><br />
212-255-7740<br />
visit us at<br />
arttimesjournal.<br />
com<br />
Call for a brochure<br />
914-606-7500<br />
www.sunywcc.edu/arts<br />
For a composer, they turned to<br />
George Bizet, who was delighted to<br />
work with such an esteemed author<br />
and provided 27 miniatures, many of<br />
which are minor masterpieces of that<br />
genre. <strong>The</strong>re are some recordings of<br />
the complete score (some of which<br />
unwisely add lines of dialogue that seriously<br />
interfere with the music), the<br />
best of which in my opinion is the EMI<br />
CD with Michel Plasson conducting.<br />
As for the play itself, it is distinguished<br />
only by the titular female<br />
never appearing in the course of the<br />
action! In Provence, there are two<br />
brothers, one of whom is a simpleton;<br />
the other is obsessed with a girl from<br />
Arles. <strong>The</strong> latter cannot cope with<br />
learning that she has been “unfaithful”<br />
and leaps from a high window to<br />
end the play. After being shown to 21<br />
nearly empty houses, the play folded.<br />
Happily, Bizet’s music lived on.<br />
It is mostly played in a four-part<br />
suite arranged by Bizet himself and<br />
in a second suite arranged by Bizet’s<br />
pupil Ernest Guiraud (who also reset<br />
the spoken dialogue of “Carmen” to<br />
recitative form, so it could play as a<br />
through-sung work at the Opera).<br />
Quite some time ago, I heard<br />
an opera by Francesco Cilea titled<br />
“L’arlesiana,” which follows Daudet’s<br />
play fairly closely. It is pleasant<br />
enough, but the music will never<br />
eclipse that of Bizet.<br />
Franz Schubert was also asked<br />
to compose the incidental music for<br />
a play that not only was a failure<br />
but all copies of which have been<br />
lost! <strong>The</strong> play by Helmina von Chezy<br />
was called “Rosamunde, Furstin von<br />
Zypern” (Rosamonda, Princess of Cypress).<br />
<strong>The</strong> music too was lost. Lost<br />
that is until two gentlemen named<br />
George Grove and <strong>Art</strong>hur Sullivan<br />
hunted in basements and attics<br />
to restore to the world so much of<br />
Schubert’s music, among which was<br />
his Rosamunde score.<br />
<strong>The</strong> overture has become a familiar<br />
concert favorite, although the<br />
entire incidental music is seldom<br />
played. <strong>The</strong>re are, however, several<br />
recordings of the complete score. How<br />
interesting, though, it would be to<br />
have the play available also, as poor<br />
as it might have been.<br />
This discussion can be extended<br />
to film scores. In the case of “Laura,”<br />
the film is still shown frequently on<br />
television and its haunting theme<br />
song also turns up on CD collections<br />
of music from the cinema. But what<br />
about “<strong>The</strong> Warsaw Concerto” How<br />
many who still recall that melody can<br />
place it in the context of its film and<br />
even name the composer (See below<br />
for answer.)<br />
An interesting specialized collection<br />
can be found on an old Naxos CD,<br />
titled “Warsaw Concerto and other<br />
Piano Concertos from the Movies.”<br />
It includes nine examples of piano<br />
Poets’ Niche<br />
WHERE YESTERDAY, TODAY,<br />
AND TOMORROW MEET<br />
Happiness glows most<br />
when it’s pre or post.<br />
A spotlight on a long time<br />
casts a sweet nostalgic shine.<br />
“I was happy” is a discovered thing<br />
like gold in the sand or a mountain spring<br />
or pansy roots that were watered and fed<br />
and offer promise of pleasure ahead.<br />
Happiness is wavering net under our feet<br />
where yesterday, today, and tomorrow meet.<br />
—Lorraine Tolliver<br />
Richmond, IN.<br />
REGISTER NOW!<br />
Summer semesters<br />
2 Starting Dates<br />
May 23 & June 27<br />
W E S T C H E S T E R<br />
C O M M U N I T Y<br />
Westchester County C O Center L L E G E<br />
196 Central Ave., White Plains, NY 10606<br />
Formerly Westchester <strong>Art</strong> Workshop<br />
ART | DESIGN | CRAFT MEDIA | FILM | MUSIC | GENERAL ED.<br />
concertos heard in films either as<br />
background music or played by one<br />
of the characters as part of the plot.<br />
<strong>The</strong>y range from interesting to quite<br />
lovely, and each can exist as absolute<br />
music with no reference to the films<br />
for which they were composed.<br />
Again, I ask my readers if they can<br />
think of further examples of music<br />
that has outlived its play or film.<br />
Oh, as for “Warsaw Concerto,” it<br />
was heard in the 1941 film “Dangerous<br />
Moonlight,” the story of a concert<br />
pianist who does his bit during World<br />
War II. <strong>The</strong> composer is Richard Addinsell.<br />
ef<br />
GENITALS<br />
We attach genitals<br />
To professions and hobbies<br />
Slap color on<br />
Skills and abilities<br />
Retire individuals<br />
Still in their prime<br />
Kill in the name of<br />
Various gods<br />
Judge in the name of<br />
Morality<br />
Hate because of ignorance<br />
Silence<br />
Because<br />
Of<br />
Fear<br />
—Cathy Porter<br />
Omaha, NE<br />
GIRL WITH A PEARL EARRING<br />
I watch you tonight,<br />
<strong>The</strong> way a man inside a darkened room<br />
watches the rain,<br />
illuminated by the moon,<br />
splashing upon a deserted street.<br />
He imagines letting that sadness and beauty<br />
slowly soak into his soul,<br />
until, finally,<br />
he can capture its essence on paper.<br />
Your eyes tell me<br />
four centuries has not changed the rain,<br />
nor the man inside the darkened room,<br />
nor the futility of his quest.<br />
Your eyes say<br />
what even Vermeer would not deny:<br />
that for a subject to be worthy,<br />
it must be greater than the artist,<br />
greater than the art produced.<br />
—Barry W. North<br />
Hahnville, LA.
May/ June 2011 ART TIMES page 16<br />
Opportunities<br />
Published Writers: 2011 NY Book Festival<br />
Seeks books published prior to Jan 2004<br />
for award. Info and forms available online.<br />
www.newyorkbookfestival.com<br />
<strong>Art</strong>ists/Craftspeople: A.R.T.S. Gallery,<br />
Croton Falls, NY (914) 276-2209 Seeks<br />
entries for Eye Candy, Small Works exhibit<br />
(12”x12”) May 23- Jun 27. Submit sample<br />
images via email arts6gallery@gmail.com<br />
Deadline May 10.<br />
<strong>Art</strong>ists: Oil, Watermedia, Pastel,<br />
Graphics, Sculpture: Allied <strong>Art</strong>ists of<br />
America. Seeks entries for 98th Annual<br />
National Exhibition Nov 2 - Nov 23. 2011 at<br />
the National <strong>Art</strong>s Club, <strong>NYC</strong>. Jpeg entries<br />
accepted. For prospectus visit website.<br />
www.alliedartistsofamerica.org. Deadline<br />
Sep 12.<br />
<strong>Art</strong>ists: American <strong>Art</strong>ists Professional<br />
League, 47 Fifth Ave, <strong>NYC</strong> 10003. Call<br />
for Entries for the 83rd Grand National<br />
Exhibition, Nov 1 — Nov 11. Judges. Slides<br />
or digital accepted; representational or<br />
traditional realism only; Approx. $15,000<br />
in awards, cash and medals. Send #10<br />
SASE to AAPL or visit website. www.<br />
americamartistsprofessionalleague.org<br />
Deadline Aug 13<br />
Composers, Librettists, Playwrights:<br />
American Lyric <strong>The</strong>ater American Lyric<br />
<strong>The</strong>ater New York NY Seeks submissions<br />
from Composers, Librettists and Playwrights<br />
for American Lyric <strong>The</strong>ater’s Composer<br />
Librettist Development Program<br />
for the 2011-2012 Composer Librettist<br />
Development Program (CLDP) Program<br />
information and application details may be<br />
found online at www.altnyc.org Deadline<br />
is June 1, 2011.<br />
<strong>Art</strong>ists: <strong>Art</strong> Society of Old Greenwich,<br />
(203) 637-9949. Seeks entries in oil, acrylic,<br />
wc, pastel, drawing/ graphics, color & b/w<br />
photography, other media, for Open Juried<br />
show and Salon des Refusés at <strong>The</strong> Bendheim<br />
Gallery, Greenwich <strong>Art</strong>s Council, 299<br />
Greenwich Ave. Greenwich, CT. George<br />
Nama, NA, juror & judge. www.artsocietyofoldgreenwich.com<br />
Hand deliver to<br />
Bendheim Gallery on Jun 12, 1-2pm<br />
<strong>Art</strong>ists: <strong>Art</strong> Without Walls, Inc., PO Box<br />
341, Sayville, NY (631) 567-9418 or PO Box<br />
2066, NY, NY 10185-2066 Seeks entries<br />
for Annual Major <strong>Art</strong> Exhibition in Public<br />
Space: “People, Places, Animals” Jul 28 in<br />
Central Park; ALSO Seeks artwork of veterans<br />
from all wars for “Museum Without<br />
Walls — <strong>Art</strong> of the Soldier” at Battery park<br />
Jul 15. SASE with resume, CD photos, or<br />
slides to Sharon Lippman, Ex Dir., A.W.W.,<br />
PO Box 341, Sayville, NY 11782 www.<br />
artwithoutwalls.net Deadline Jun 15<br />
<strong>Art</strong>ists: <strong>Art</strong>ist Studio Residency, SOHO20<br />
Gallery Chelsea,547 W 27th St., <strong>NYC</strong> (212)<br />
367-8994 Seeks applicants for free studio<br />
space Info online. soho20@verizon.net<br />
www.soho20gallery.com Deadline Jun 4.<br />
Painters, Sculptures, Photographers,<br />
Graphics Designers: Salmagundi Club,<br />
47 Fifth Ave., <strong>NYC</strong> 10003 (212) 255-7740.<br />
Seeks entries for Annual Open Non-Member<br />
Juried Exhibition, Aug 8-19. Download<br />
prospectus from website or mail with<br />
SASE. info@salmagundi.org www.Salmagundi.org<br />
Postmarked Deadline: June 6.<br />
US <strong>Art</strong>ists: Audubon <strong>Art</strong>ists <strong>Art</strong> Society<br />
Entries of aquamedia, mixed media,<br />
graphics, oils, acrylics, pastels & sculpture<br />
(excluding photography and digital art) for<br />
69th Annual Juried Exhibit, Sept 10-Sep<br />
30, 2011 at the Salmagundi Club, <strong>NYC</strong>.<br />
Over $20,000 in awards. SASE to Raymond<br />
Olivere, 1435 Lexington Ave., #11D, New<br />
York, NY 10128 or go to website for prospectus.<br />
Additional info: Vinnie Nardone: (732)<br />
903-7468 nardoneart@comcast.net. www.<br />
audubonartists.org Deadline Jul 23.<br />
<strong>Art</strong>ists: b.j. spoke gallery, 299 Main St.,<br />
Huntington, NY 11743 (631) 549-5106.<br />
Seeks entries for Paperworks 2011 Competition.<br />
Download prospectus from website.<br />
www.bjspokegallery.com. Deadline May 27<br />
<strong>Art</strong>ists: Berks <strong>Art</strong> Alliance, 1100 Belmont<br />
Ave., Wyomissing, PA Seeks entries for 34th<br />
Annual Open Juried Exhibition Jul 2 - Sep<br />
4 at Reading Public Museum, Reading, PA.<br />
Jurors: Lisa Tremper Hanover, Dir. Berman<br />
Museum of <strong>Art</strong>, Nancy Campbell, Dir.<br />
Wayne <strong>Art</strong> Ctr. Hand delivered entries only.<br />
$4,000 awards. #10 SASE to: BAA c/o Gurman,<br />
305 Sunshine Rd., Reading, PA 19601.<br />
For prospectus log on either website. www.<br />
berksartalliance.com / www.readingpublicmuseum.org<br />
Deadline Jun 17.<br />
Women <strong>Art</strong>ists: Catharine Lorillard Wolfe<br />
<strong>Art</strong> Club, Inc., Seeks entries for the 115th<br />
Annual Open Juried Exhibition at the<br />
National <strong>Art</strong>s Club, Oct 4-28, 2011. Media:<br />
Oil, Acrylic, Watercolor, Pastel. Graphics,<br />
Sculpture. Over $10000 in awards. Entry<br />
fee $30 Members, $35 non-members. Juried<br />
by CD’s or Slides. SASE: Okki Wang,<br />
431 Woodbury Rd., Cold Spring Harbor,<br />
NY 11724 or download from website. www.<br />
clwac.org. Deadline Jun 10<br />
<strong>Art</strong>ists, All Media: Cooperstown <strong>Art</strong> Association,<br />
22 Main Street, Cooperstown,<br />
NY 13326. 76th National Juried Exhibition<br />
July 15-Aug 19. Jurors: Mary Anna Goetz<br />
and James Cox. All media. Possible $3500 in<br />
prizes. Catalog. Prospectus available online<br />
or send #10 SASE to “National Exhibition”<br />
www.cooperstownart.com Deadline May 15<br />
Craftspeople: Dutchess Community College<br />
Foundation Seeking crafters for 40th<br />
Annual Holiday Craft Fair, Nov. 26 & Nov<br />
27. For more information call Diane Pollard<br />
(845) 431-8403 or visit website. www.sunydutchess.edu/Alumni/foundationevents/<br />
annualCraftFair<br />
<strong>Art</strong>ists: Earlville Opera House <strong>Art</strong> Center<br />
<strong>Galleries</strong>, E Main St. Earlville, NY (315)<br />
691-3550 Seeks entries for 2012-2013<br />
exhibition schedule. Call or visit website<br />
for full info. www.earlvilleoperahouse.com<br />
Deadline May 16.<br />
<strong>Art</strong>ists: Gardiner Assoc of Businesses,<br />
35 Tuthilltown Rd, Gardiner, NY (845)<br />
641-4605 Seeks participants for Plein Air<br />
Painting Event & Auction Saturday Jun 11<br />
(rain or shine). Apps & guidelines available<br />
online or call for info. www.gardinernybusiness.com<br />
<strong>Art</strong>ists, Craftspeople: Pawling Chamber<br />
of Commerce, PO Box 19, Pawling,<br />
NY 12564 (845) 855-0500 Seeks entries<br />
for 19th Annual (Juried) Pawling <strong>Art</strong>s<br />
& Crafts Festival on September 24, 10-<br />
4pm. Send SASE to Chamber of Commerce<br />
or email Verna Carey, Event Chair:<br />
vernacarey@verizon.net (845) 855-5626<br />
Deadline Aug 15; Early bird Jun 15<br />
Photographers: Garrison <strong>Art</strong> Center,<br />
23 Garrison Landing, Garrison, NY (845)<br />
424-3960. Seeks entries for “PHOTOcentric<br />
2011” a juried exhibition Sept 10-Oct 2.<br />
Open to all photographic mediums. Categories<br />
are Landscape, Portrait, Architecture<br />
and Open Jurors: Larry Fink, photographer<br />
and Stephen Perloff, Editor of Photo Review<br />
& Photo Collector. $2,200 plus publication<br />
in Exhibition Book and more. $40 for 5 images,<br />
plus $5 for each additional submission.<br />
Download prospectus from website. info@<br />
garrisonartcenter.org www.garrisonartcenter.org<br />
Deadline Jun 15.<br />
Craftspeople: Guildford <strong>Art</strong> Center, 411<br />
Church St., PO Box 589, Guilford, CT 06437<br />
(203) 453-5947. Seeks entries for Guilford<br />
Craft Exposition July 14-17 Call fro Info or<br />
visit website for details. www.guildfordartcenter.org<br />
<strong>Art</strong>ists: Harrison Council for the <strong>Art</strong>s,<br />
Harrison Pubic Library, Bruce Avenue,<br />
Harrison, NY 10528 (914) 835-0324. Seeks<br />
entries for 2012 Exhibition schedule. Call or<br />
write for complete details. www.harrisonpl.<br />
org Deadline May 20<br />
<strong>Art</strong>ists: Hudson Valley Gallery, PO Box<br />
222, Cornwall-on-Hudson, NY 12520 (845)<br />
401-5443 Seeks entries for 2nd Annual “Just<br />
for Squares!” Competition, Sep 17 — Oct 16.<br />
$500 First Prize. Send SASE to gallery or<br />
download prospectus from website. www.<br />
hudsonvalleygallery.com<br />
<strong>Art</strong>ists: Jewish Federation of Ulster<br />
County, 159 Green St., Kingston, NY 12401<br />
845-338-8131 Seeks entries for Fall for <strong>Art</strong><br />
Juried Show & Sale Sep 8, 6-9pm, Wiltwyck<br />
Golf Club, Kingston, NY email for info of<br />
download entry form from website. info@<br />
fallforart.org fallforart.org<br />
<strong>Art</strong>ists, Craftspeople, Photographers:<br />
MC Miller Middle School, 65 Fording Place<br />
Rd., Lake Katrine, NY (845) 382-2960 Seeks<br />
vendors for 23rd Annual Fair Oct 22, 23..<br />
Email for details apps. eluksberg@kingstoncityschools.org<br />
Deadline Jun 1<br />
Young <strong>Art</strong>ists: Nat’l Foundation for Advancement<br />
in the <strong>Art</strong>s (NFAA) Seeks entries<br />
for 2012 Young<strong>Art</strong>s National Program. Visit<br />
website for details. awhitlow@youngarts.<br />
org youngarts.org Deadline Oct 14.<br />
<strong>Art</strong>ists: National Association of Women<br />
<strong>Art</strong>ists, 80 Fifth Ave., Ste. 1405, New York,<br />
NY 10011 (212)675-1616. Seeks membership<br />
of professional women artists who<br />
desire exhibitions throughout the U.S. For<br />
details download from website. www.thenawa.org<br />
Deadline Sep 15; March 15<br />
Plein Air <strong>Art</strong>ists: Northport <strong>Art</strong>s Coalition,<br />
PO Box 508, Northport, NY 11768.<br />
Seeks participants for 5th Annual Plein Air<br />
juried event, June 10-12, 2011. Website for<br />
application and prospectus. www.northportarts.org.<br />
Deadline May 28.<br />
Soft Pastel <strong>Art</strong>ists: Pastel Society of<br />
America. Seeks entries for 39th Annual<br />
Open Juried Exhibition at National <strong>Art</strong>s<br />
Club, Sept 6 - Oct 1. Send SASE (#10) PSA,<br />
15 Gramercy Park South, New York, NY<br />
10003 for prospectus. Info: 212 533 6931 or<br />
download from website. pastelny@juno.com.<br />
www.pastelsocietyofamerica.org. Deadline<br />
for Slides: Jun 3.<br />
Visit ART TIMES online for<br />
additional opportunity<br />
listings<br />
American Painters over 45: Provincetown<br />
<strong>Art</strong> Assn & Museum (PAAM) Seeks<br />
applicants for Orlowsky / Freed Grants from<br />
$5,000 - $30,000. Apps online. www.paam.<br />
org Deadline Aug 15.<br />
<strong>Art</strong>ists: Smithtown Township <strong>Art</strong>s Council,<br />
660 Rte., 25A, St. James, NY 11780 Seeks<br />
entries for “Imagination” Jul 2- Aug 5.<br />
Prospectus at www.stacarts.org/exhibits<br />
or send SASE. www.stacarts.org. Deadline<br />
May 18.<br />
<strong>Art</strong>ists: Smithtown Township <strong>Art</strong>s Council,<br />
660 Rte., 25A, St. James, NY 11780 Seeks<br />
entries for “American Mosaic” Aug 13 - Sep<br />
16. Prospectus at www.stacarts.org/exhibits<br />
or send SASE. Deadline Jun 27.<br />
<strong>NYC</strong> Women <strong>Art</strong>ists: SOHO20 Gallery<br />
Chelsea,547 W 27th St., <strong>NYC</strong> (212) 367-<br />
8994 Seeks applicant for fellowship membership;<br />
and Seeks entries for 16th Annual<br />
Juried Exhibition. Apply online. soho20@<br />
verizon.net www.soho20gallery.com Deadline<br />
Jun 4<br />
Jewelers: <strong>The</strong> <strong>Art</strong> Jewelry Forum (AJF)<br />
(914) 282-9844 Seeks entrants for Emerging<br />
<strong>Art</strong>ist Award (EAA) for 2011 competition.<br />
$5,000 Award. www.callforentry.org for<br />
apps. Full info on website. info@artjewelryforum.org<br />
www.artjewellryforum.org.<br />
Deadline Sep 30.<br />
Watercolor <strong>Art</strong>ists: <strong>The</strong> <strong>Art</strong>s Center/Old<br />
Forge, Inc. P.O. Box 1144, Old Forge, NY<br />
13420 (315) 369-6411 Seeks entries for 30th<br />
Adirondacks Nat’l Exhibition of American<br />
Watercolors Aug 13 - Oct 2. download prospectus<br />
or send a #10 SASE Attn: “ANEAW”<br />
artscenteroldforge.org<br />
<strong>Art</strong>ists, Photographers: Tudor City<br />
Greens Annual <strong>Art</strong> Show Seeks work of<br />
artists and photographers for Outdoor <strong>Art</strong><br />
Show on June 16, 17, 18, 2011. For prospectus<br />
send SASE or call Anne Stoddard 5<br />
Tudor City Place, #1-E, New York, NY 10017<br />
(917) 327-4659.<br />
<strong>Art</strong>ists, All Media: Unframed <strong>Art</strong>ists<br />
Gallery, 173 Huguenot St., New Paltz, NY<br />
12561 (845) 255-5482. Seeks entries from<br />
“artivists” (artists + activists) for “Beneath<br />
the Surface” exhibit. Call for info or download<br />
application. unframedartist@yahoo.<br />
com. Deadline Jun 5<br />
<strong>Art</strong>ists, All Media: Washington Square<br />
Outdoor <strong>Art</strong> Exhibit, Inc., PO Box 1045<br />
New York, NY 10276 (212) 982-6255. Seeks<br />
participants for 81st <strong>Art</strong> in the Village<br />
outdoor exhibit, May 28,29,30 Jun 4,5 and<br />
Sep 3,4,5, 10, 11 Go online for registration<br />
form and info. jrm.wsoae@gmail.com www.<br />
washingtonsquareoutdoorartexhibit.org.<br />
<strong>Art</strong>ists, Craftspeople: Window on the <strong>Art</strong>s<br />
Festival, Windsor’s Village Green (607) 242-<br />
3282. Seeks entrants for 4th Annual Festival.<br />
email or call for details. skyblue1926@<br />
aol.com<br />
<strong>Art</strong>ists: Wurtsboro <strong>Art</strong> Alliance, PO Box<br />
477, Wurtsboro, NY 12790. Seeks entries<br />
for exhibit w/theme “Fields and Streams”<br />
Jul 9 thru Aug 7. Send SASE to PO Box or<br />
download from website. info@waagallery.<br />
org www.waagallery.org Deadline May 7.<br />
If you have an opportunity to list,<br />
email: info@arttimesjournal.com or<br />
write: ART TIMES PO Box 730, Mt.<br />
Marion, NY 12456. Please follow above<br />
format and include deadline and contact<br />
phone number.<br />
Did you miss the<br />
deadline for this<br />
issue You can<br />
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for a small fee.<br />
ARTTIMES Online:<br />
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with 2 million hits<br />
in the last year is<br />
your solution.<br />
National Society of Painters in Casein and Acrylic<br />
57 th National Juried Exhibition<br />
at the Salmagundi Club, 47 5 th Avenue, <strong>NYC</strong><br />
May 23 rd — June 10 th<br />
Reception Friday, June 10, 6-8pm;<br />
Awards Ceremony at 7pm<br />
610-264-7472 / doug602ku@aol.com<br />
www.nationalsocietyofpaintersincaseinandacrylic.com
New <strong>Art</strong><br />
Books<br />
ISBS: <strong>The</strong> Spirit of Vitalism:<br />
Health, Beauty and Strength in<br />
Danish <strong>Art</strong> 1890-1940 (Eds.) Gertrud<br />
Hvidberg & Hansen & Gertrud<br />
Oelsner. 459 pp.; 10 x11; B/W & Color<br />
Illus.; Index. $86.00 Hardcover. *****<br />
YALE UNIVERSITY PRESS: <strong>The</strong><br />
English Castle 1066-1650 by John<br />
Goodall. 480 pp.; 10 x 11 ½; 350 Illus.,<br />
250 in Color; Notes; Select Bibliography;<br />
Index. $75.00 Hardcover. *****<br />
Romare Bearden, American Modernist<br />
(Eds.) Ruth Fine & Jacqueline<br />
Francis. 304 pp.; 9 ¼ x<br />
11 3/8; 200 Illus., 105 in Color;<br />
Index. $70.00 Hardcover. *****<br />
Kings, Queens, and Courtiers:<br />
<strong>Art</strong> in Early Renaissance by<br />
Martha Wolff. 208 pp.; 9 ½ x 12 ¼;<br />
180 Color Illus.; Map; Genealogical<br />
Chart of Kings of France; Bibliography.<br />
$60.00 Hardcover. *****<br />
Rebecca Salter: Into the Light<br />
of Things by Gillian Forrester. 280<br />
pp.; 10 x 11 ½; 200 Color Illus.; List<br />
of Exhibited Works; Select Bibliography;<br />
Index. $60.00 Hardcover. ***<br />
Jim Nutt: Coming Into Character<br />
by Lynne Warren. 136 pp.;<br />
9 1/8 x 12; 75 Color Illus.; Selected<br />
Exhibitions; Selected Bibliography;<br />
Index. $35.00 Hardcover. **<br />
David Smith Invents by Susan<br />
Behrends Frank. I112 pp.; 7 7/8 x 11;<br />
80 Illus., 54 in Color; Illustrations;<br />
Chronology. $30.00 Hardcover ***<br />
Rooms with a View: <strong>The</strong> Open<br />
Window in the 19 th Century by<br />
Sabine Rewald. 204 pp.; 8 x 10 1/8;<br />
115 Illus., 110 in Color; Notes; Bibliography;<br />
Index. $30.00 Softcover ****<br />
<strong>The</strong> Bauhaus Group: Six Masters<br />
of Modernism by Nicholas Fox Weber.<br />
544 pp.; 6 ¼ x 9 ¼; 112 Illus., 25 in Color;<br />
Notes; Index. $27.50 Softcover. ****<br />
Picasso: Challenging the Past by<br />
Elizabeth Cowling, et al. 176 pp.; 9 x<br />
11; 166 Color Illus.; Chronology; Bibliography;<br />
Index. $25.00 Softcover ***<br />
George Inness in Italy by Mark D.<br />
Mitchell. 60 pp.; 8 1/8 x 11; 52 Illus., 40<br />
in Color; Notes. $18.00 Softcover. *****<br />
Bridget Riley: Paintings and<br />
Related Work by Colin Wiggins.<br />
78 pp.; 9 x 10 5/8; 50 Color Illus.;<br />
Chronology; Select Bibliography;<br />
List of Works. $18.00 Softcover. ***<br />
A Closer Look: Still Life / A Closer<br />
Look Frames by Erika Langmuir<br />
and Nicholas Penny (Respt). (Each)<br />
90pp.; 5 7/8 x 8 ¼; 90 Color Illus.;<br />
Further Reading. $15.00 Softcover.<br />
Guitar Heroes: Legendary Craftsmen<br />
from Italy to New York by<br />
Jayson Kerr Dobney. 48 pp.; 8 ½ x 11;<br />
80 Color Illus.; Exhibition Checklist;<br />
Selected Bibliography. $14.95 ****<br />
UNIVERSITY OF WASHINGTON<br />
PRESS: Fukami: Purity of Form<br />
(Ed.) Andreas Marks. 172 pp.; 10 x 11;<br />
125 B/W & Color Illus.; Appendices<br />
Selected Bibliography. $50.00 Hardcover.<br />
*****<br />
VASSAR COLLEGE/ D. GILES<br />
LTD. LONDON: Thomas Rowlandson:<br />
Pleasure and Pursuits<br />
in Georgian England by Patricia<br />
Phagan. 184 pp.; 9 x 12; B/W & Color<br />
Illus.; Notes; Selected Bibliography;<br />
Index. $40.00 Softcover. ****<br />
FORDHAM UNIVERSITY PRESS:<br />
Caterpillage: Reflections on Seventeenth-Century<br />
Dutch Still<br />
Life Painting by Harry Berger, Jr.<br />
116 pp.; 6 ¼ x 9 ¼; B/W & Color Illus.;<br />
Epigraph Sources; Notes; Index.<br />
$35.00 Hardcover. *****<br />
OXFORD UNIVERSITY PRESS:<br />
Taking Aim! <strong>The</strong> Business of Being<br />
an <strong>Art</strong>ist Today by Marysol<br />
Nieves. 200 pp.; 6 x 9’ B/W Illus.;<br />
Selected Chronology; Selected Bibliography.<br />
$22.00 Softcover. ****<br />
PRESTEL: British Watercolors,<br />
1750-1880 by Andrew Wilton & Anne<br />
Lyles. 288 pp.; 7 ¾ x 9 1/2; 389 Illus.,<br />
332 in Color; Glossary; Select Bibliography;<br />
Index. $19.95 Softcover *****<br />
Hiroshige: Prints & Drawings<br />
by Matthi Forrer. 256 pp.; 7 ¾ x 9<br />
½; 200 Color Illus., Glossary; Select<br />
Bibliography. $19.95 Softcover *****<br />
50 British <strong>Art</strong>ists You Should<br />
Know by Lucinda Hawksley. 160 pp.;<br />
7 ¾ x 9 ½; 140 Illus., 100 in Color;<br />
Index. $19.95 *****<br />
Compiled by Raymond J. Steiner<br />
ef<br />
Open and Limited Edition<br />
fine art landscape<br />
photographs<br />
Tom Chesnut<br />
Photographer<br />
Photographs exhibited in juried<br />
National & International exhibits of fine art<br />
Award winning images in both<br />
Regional & National exhibits<br />
All sales have a lifetime unconditional 100% money<br />
back guarantee. No questions asked.<br />
See you at the White Plains<br />
Outdoor <strong>Art</strong>s Festival,<br />
June 4 & 5<br />
May/ June 2011 ART TIMES page 17<br />
SUMMER 2011 PRE-COLLEGE<br />
DIGITAL ARTS PROGRAM<br />
AT THE WESTCHESTER COMMUNITY COLLEGE CENTER FOR THE DIGITAL ARTS<br />
914-606-7301<br />
For further<br />
program detail see<br />
www.sunywcc.edu/<br />
peekskillyouth<br />
<strong>Art</strong>work made by summer 2010 pre-college students, ages 7-17 years old<br />
Do you have a child from 7 years old to 17 who has an interest<br />
in creating artwork on the computer <strong>The</strong> Center for the Digital<br />
<strong>Art</strong>s offers access to cutting-edge post-production studios<br />
including software packages such as Adobe Creative Suite CS5,<br />
Maya, and Logic. Don’t miss out on building your portfolio with<br />
us this summer. At the end of each session students take away<br />
a portfolio piece and have a gallery exhibition. Our<br />
programming includes studio art courses in drawing, painting,<br />
cartooning, and multimedia storytelling (mixed media).<br />
We also offer game design! Contact us at 914-606-7301 or<br />
Peekskill@sunywcc.edu for further assistance, we hope to<br />
help your child create art in the digital age this summer.<br />
Westchester Community College<br />
Center for the Digital <strong>Art</strong>s<br />
www.sunywcc.edu/Peekskill<br />
Banner Hill School of Fine <strong>Art</strong>s & Woodworking<br />
~Courses for the beginner to advanced student and artisan~<br />
2011 Summer ~ Fall Classes<br />
Woodworking, Ceramics, Fine Painting & Drawing, Canvas Stretching, Calligraphy,<br />
Paper & Print Making, Stained Glass Making, Silk Screen, Basketry, Weaving, and more.<br />
741 Mill St. ~ P.O. Box 607 ~ Windham, NY 12496 ~ (518) 929-7821<br />
www.BannerHillLLC.com ~ BannerHillWindham@mac.com<br />
Pastel Society of America<br />
America's Oldest Existing Pastel Society<br />
PSA Call for Entries!<br />
39th Annual Exhibition – “Pastels Only”<br />
Entry Deadline: June 3, 2011<br />
Prospectus is available at<br />
www.pastelsocietyofamerica.org<br />
Exhibition at the historic National <strong>Art</strong>s Club, <strong>NYC</strong><br />
September 6 - October 1, 2011<br />
~ ~ ~ ~<br />
Upcoming Workshops at PSA…<br />
May 15 ~ Robert Carsten PSA…Painting Breathtaking Water<br />
Sept 26-28 ~ Doug Dawson, PSA…<strong>The</strong>ories of Painting: Master<br />
Concepts of Color & Design in Landscape<br />
Oct 9 ~ Robert Palevitz… Pastel Bodies – Pastel Heads<br />
Oct 21-23 ~ Maggie Price, PSA… Lively Landscape Paintings<br />
from Photographic Reference<br />
Nov 11-13 ~ Liz Haywood-Sullivan, PSA… Looking Up:<br />
Variations on the Landscape Sky<br />
“Earth and Water”<br />
White Mountain National<br />
Forest, New Hampshire<br />
www.tabortonmountain.com<br />
National <strong>Art</strong>s Club • 15 Gramercy Park South, <strong>NYC</strong><br />
For information contact: PSA office at (212) 533-<br />
6931 or email psaoffice@pastelsocietyofamerica.org •<br />
www.pastelsocietyofamerica.org
May/ June 2011 ART TIMES page 18<br />
Letters<br />
Continued from Page 2<br />
To the Editor:<br />
Thanks for doing such a nice remembrance<br />
of my dad [“Bruce Currie”:<br />
rjsteiner.wordpress.com]. It’s true<br />
he was one of the last of that “wave”.<br />
Such a remarkable period in American<br />
art history, really. A coming<br />
together of such a remarkable cast of<br />
characters! I realize now how fortunate<br />
I was to be this kid, a fly on the<br />
wall really, at all their parties just<br />
soaking it all up over all those years.<br />
Best wishes,<br />
Jenne Currie<br />
<strong>NYC</strong> & Woodstock, NY<br />
To the Editor:<br />
In response to Francine Trevens’<br />
article on dance, and also her online<br />
essay on information supplied to critics<br />
(and audiences as well), I have the<br />
following thoughts: It occurs to me<br />
that what Ms. Trevens describes is a<br />
cultural phenomenon: we are a society<br />
constantly seeking instant gratification,<br />
pre-digested information on<br />
blogs and websites, laugh tracks on<br />
sitcoms. I’m certain that there is a<br />
discreet group of people who simply<br />
read the NYT Book Review section<br />
instead of reading the books.<br />
What’s even worse, political activists<br />
seldom fact check or perform<br />
due diligence – hence Michelle Bachmann<br />
and Huckabee and Palin spout<br />
treasonous opinions and mis-state<br />
facts. Political polls are the de facto<br />
pulse of the nation, but they are in<br />
constant flux. Post-Bush, you would<br />
think that Americans would smarten<br />
up a bit. But the lazy populace is<br />
probably waiting for someone else to<br />
do it for them!<br />
Sincerely,<br />
Naomi Sanderson<br />
Roslyn, NY<br />
To the Editor:<br />
Wow…there it was on the cover<br />
already [“Rembrandt at <strong>The</strong> Frick”,<br />
Mar/Apr 2011]! I am stunned…what<br />
a lovely and thoughtful review, and<br />
your perspective really adds something<br />
to the discussion… thank you<br />
so much!<br />
Heidi Rosenau, Head of Media<br />
Relations & Marketing<br />
<strong>The</strong> Frick Collection<br />
New York, NY 10021<br />
To the Editor:<br />
<strong>The</strong> March/April issue feature Peeks<br />
and Piques! is by far your finest hour.<br />
<strong>The</strong> most insightful, intelligent and<br />
thoughtfully constructed piece of<br />
literature I have come across in decades.<br />
Keep up the good work.<br />
Seriously, thanks for the kind<br />
words.<br />
We will keep a light burning in the<br />
window<br />
Your Friend and Colleague<br />
John Frazee, Delray Beach, FL<br />
To the Editor:<br />
I have read with great pleasure<br />
your novel <strong>The</strong> Mountain. I particularly<br />
appreciated the history of the<br />
Woodstock School of <strong>Art</strong> and, being<br />
a painter, the insight into painting<br />
given through your characters’<br />
words. Congratulations on such an<br />
interesting book!<br />
I am writing to ask if in your research<br />
you have ever run across the<br />
work of the artist John F. Folinsbee<br />
who studied with John Carlson and<br />
Birge Harrison in Woodstock for several<br />
summers (via the <strong>Art</strong> Students<br />
League). He was my grandfather to<br />
whom I was very devoted, and lived<br />
and worked in New Hope, Pa. after<br />
his years as a student. <strong>The</strong>re was<br />
a show recently at the Woodmere<br />
Museum in Philadelphia of his work,<br />
which was a great success. It included<br />
one of the few landscapes extant that<br />
he did in Woodstock in those early<br />
years. Those works can be found on<br />
the catalogue raisonné website www.<br />
folinsbee.org. <strong>The</strong> director of the<br />
catalogue raisonné and members of<br />
the family often wonder if there are<br />
other works by Folinsbee scattered<br />
about in the Woodstock area, as he<br />
was prolific even back in the early<br />
years He was of course acquainted<br />
with many of the artists you mention<br />
in your book, and I kept wondering if I<br />
might run into his name in the novel!<br />
I would be so interested in hearing<br />
any information you might have uncovered<br />
about Folinsbee during those<br />
years, and if by chance you have ever<br />
seen paintings by him in the Woodstock<br />
area. I would also love to send<br />
you a catalogue of his recent show<br />
should you be interested. Thank you<br />
again,<br />
Joan Hooker<br />
Palisades, NY<br />
(Editor’s Note: Anyone having information<br />
that might help Joan Hooker<br />
in her search is welcome to contact me<br />
at rjs@arttimesjournal.com).<br />
ef<br />
visit us at<br />
www.arttimesjournal.com<br />
Classified<br />
NAWA National Association<br />
of Women <strong>Art</strong>ists, 80 Fifth Ave., Ste.<br />
1405, New York, NY 10011 (212) 675-<br />
1616. Invites women artists (18+, U.S.<br />
citizens or permanent residents) to<br />
apply for membership in the oldest professional<br />
women’s art organization in<br />
the U.S. (established in 1889). Juried.<br />
Regular Membership, Junior/ Student<br />
Membership, and Associate Membership.<br />
For details send SASE to NAWA or<br />
download from website. www.thenawa.<br />
org. Deadline: Sept 15 & March 15 of<br />
each year.<br />
GICLEE: Large Format Printing<br />
Attentive Fine <strong>Art</strong> Reproduction<br />
Scans, Papers-Canvas, Est. 1997<br />
Cold Spring, NY: 845-809-5174<br />
www.thehighlandstudio.com<br />
ARTIST STUDIO SPACE Available:<br />
Potters, painters & poets, join the artistic<br />
community at Barrett Clay Works,<br />
Poughkeepsie, NY. Private, semiprivate<br />
and communal studio spaces<br />
$75 - $300/month. 24/7 access. Gallery<br />
space for shows. Kilns, wheels etc. for<br />
communal use. Separate floor for nonceramic<br />
artist. Contact Russ: 845-471-<br />
2550. www.barrettartcenter.org.<br />
ADVERTISE in ART TIMES online.<br />
We are offering advertising on our<br />
website: banners & classifieds. Take<br />
a look online at www.arttimesjournal.<br />
com. For advertising rates: call (845)<br />
246-6944 or email ads@arttimesjournal.com.<br />
NEW CENTURY ARTISTS: 530 West<br />
25th St., Suite 406, New York, NY<br />
10001, (212) 367-7072 is seeking new<br />
members for group and solo exhibitions.<br />
All media welcome, $325 annual<br />
fee. Send e-mail to newcenturyartists@<br />
msn.com for further information.<br />
ART TIMES is distributed along the<br />
cultur al corridor of the Northeast with<br />
a concentration in the Metropolitan<br />
New York and Hudson Valley Regions,<br />
New Jersey, Connecticut, and Massachusetts.<br />
Next time you’re having an<br />
exhibit in or out of your area, let everyone<br />
know about it. Call for advertising<br />
rates: ART TIMES (845) 246-6944 or<br />
email: ads@arttimesjournal.com<br />
ART APPRAISER: Jane St. Lifer <strong>Art</strong>,<br />
Inc., <strong>NYC</strong> <strong>Art</strong>ists’ Estates, Donation &<br />
Insurance. Corporate, Institutional &<br />
Private. www.stliferart.com 212-580-<br />
2102 stliferart@aol.com<br />
SUPPORT for Struggling <strong>Art</strong>ists.<br />
Mental Health Professional with a<br />
great deal of experience working with<br />
artists has opened a Counseling Office<br />
in Forest Hills, Queens, NY, for Individuals<br />
and Couples. Sliding scale, flexible<br />
scheduling. Cathy Langer-Sharkey R.C<br />
718-551-1308 czeldas@aol.com<br />
BOOKS BY RAYMOND J. STEINER:<br />
Heinrich J. Jarczyk: Etchings 1968-<br />
1998 ($30) and <strong>The</strong> Mountain $18.<br />
Please include $5 for tax and shipping.<br />
Order from CSS Publications, Inc. PO<br />
Box 730, Mt. Marion, NY 12456. More<br />
information available about these<br />
books on the website: www.raymondjsteiner.com<br />
or www.arttimesjournal.<br />
com.<br />
ARTISTS: All Media Summer/Fall<br />
Exhibitions. Wall or floor rentals 12’x8’<br />
$120. Viewing fee $25.00 for 5 images<br />
on CD include bio. Mail entries to 170<br />
Canal Street, Ellenville N.Y. 12428<br />
(make check payable to 162-170 Canal<br />
St. LLC.) Call: 646-325-5527<br />
WORKSHOP: How to photograph<br />
your art. 2D & 3D. Group rates at<br />
your location. Howard Goodman 914-<br />
737-1162<br />
WORKSHOP: <strong>The</strong> Craft Of Painting<br />
Workshop at the Beacon, New York<br />
studio of painter Kathy Moss. Learn<br />
professional preparation of supports:<br />
stretching canvas, glue size, acrylic,<br />
chalk-and-oil and other gessoes, and oil<br />
grounds. Wood panel preparation will<br />
also be covered. Two-day workshops<br />
will be held May 14 th and 15 th , June 11 th<br />
and 12 th , July 9 th and 10 th , August 13 th<br />
and 14 th . Please contact at 845 440 8355<br />
for additional information. Materials<br />
list will be available with registration.<br />
THOUGHTFUL, innovative & resourceful<br />
approaches to stonework and<br />
the structural, textural aspects of landscape.<br />
Hudson Valley, Westchester &<br />
the Bronx. Kevin Towle (914) 906-8791<br />
ARTISTS: Piermont Flywheel Gallery<br />
located in picturesque Piermont on the<br />
Hudson, now accepting application for<br />
new members starting in Sept. Call<br />
Howard, 201 836.8576 or visit: piermontflywheelgallery.com.<br />
ART STUDIO SPACE available with<br />
waterfront views. Located in Port<br />
Washington, Long Island. Shared<br />
space. Free parking. Call the <strong>Art</strong> Loft:<br />
516-767-8804<br />
VENDORS: Miller Craft Fair - October<br />
22-23, 2011. Space: $75. due by<br />
June 1. For details: Kristin Rotella<br />
krotella@kingstoncityschools.org or<br />
845-943-3941<br />
EASEL TO SELL PERSON TO<br />
HIRE SPACE TO RENT SERVICES<br />
TO OFFER Place your classified ad<br />
in ART TIMES. $33/15 words, $.50 for<br />
each additional word. All classified ads<br />
must be pre-paid. Send check/credit<br />
card # (exp. date & code) w/ copy to:<br />
ART TIMES, PO Box 730, Mt Marion,<br />
NY 12456-0730. For questions call 845-<br />
246-6944; email: ads@arttimesjournal.<br />
com<br />
19 th Annual Pawling <strong>Art</strong>s & Crafts Festival<br />
2011<br />
Exhibitors Invited<br />
A juried event Outdoors and Under Tents<br />
on Charles Colman Blvd. in the Village of Pawling<br />
sponsored by the Pawling Chamber of Commerce<br />
Saturday, September 24, 10am - 4pm<br />
APPLICATION DEADLINE: AUGUST 15 th<br />
(Early Bird Discount Deadline: June 15 th )<br />
For Application Requests: Verna Carey, Event Chair<br />
845-855-5626 • email: vernacarey@verizon.net<br />
SASE to: Pawling Chamber of Commerce<br />
P.O. Box 19 Pawling, NY 12564
<strong>The</strong>atre<br />
By ROBERT W. BETHUNE<br />
Terry Teachout, of the Wall<br />
Street Journal, is an admirable critic,<br />
particularly because he will actually<br />
go out into the benighted jungle lands<br />
west of the Hudson River to discover<br />
what the primitive peoples of that<br />
land are doing in their theaters. He<br />
is also a rather fascinating case-inpoint<br />
about what he will and won’t<br />
go to see.<br />
He is a case-in-point because he<br />
is both personally and professionally<br />
far more interested in theater than<br />
the vast majority of the audience. If<br />
we could chart such things, he’s got<br />
to be at least two or three standard<br />
deviations to the right of mean on<br />
that—in other words, something like<br />
99 th percentile.<br />
He provides an even more interesting<br />
data point because he publishes<br />
an annual description of what<br />
he’s interested in on his blog.<br />
Last but hardly least, he is the<br />
only national-media critic who still<br />
travels.<br />
So what does the uber-audience<br />
want to see<br />
First of all, and very prominently:<br />
“I won’t visit an out-of-town company<br />
that I’ve never seen to review<br />
a play by an author of whom I’ve<br />
May/ June 2011 ART TIMES page 19<br />
What the heck, I’m already here, how bad can it be<br />
never heard. What I look for is an<br />
imaginative mix of revivals of major<br />
plays—including comedies—and<br />
newer works by living playwrights<br />
and songwriters whose work I’ve<br />
admired.”<br />
In other words, first-time playwright<br />
Kiss it goodbye. That creates<br />
an obvious problem for an art form<br />
that will swiftly strangle and die<br />
without fresh work by fresh talent.<br />
I don’t blame him. He has to draw<br />
the line somewhere, as he himself<br />
points out when he states why he<br />
doesn’t do dinner theater or children’s<br />
theater. So does every audience member.<br />
Nobody can see everything, and<br />
nobody wants to have a bad evening<br />
at a bad play. Everyone needs some<br />
form of third-party quality control,<br />
not just on entertainment, but on<br />
everything.<br />
<strong>The</strong> problem, however, is obvious:<br />
without any mechanism in today’s<br />
theater to provide a trusted thirdparty<br />
view of brand new work and<br />
brand new talent, the fresh blood the<br />
theater needs will be very hard to<br />
come by. Nobody trusts blood from an<br />
unknown blood bank. Word of mouth<br />
is extremely difficult, because all theater<br />
is very, very local and brand-new<br />
untried theater is even more so.<br />
In the olden days, when news and<br />
ideas and information generally traveled<br />
at the speed of a walking horse or<br />
a sailing boat, there was an institution<br />
that promoted the dissemination<br />
of new things and new ideas—the<br />
fair. Anyone who thought they had<br />
an attractive new idea, and had a<br />
bit of wherewithal to travel and pay<br />
some fees, could take their act to the<br />
fair each year, and have a decent shot<br />
at getting seen. In today’s theater<br />
world, the only such “fair” I know<br />
Speak Out<br />
of is the Edinburgh Fringe. Anyone<br />
who can solve the logistics can show<br />
up there—not easy, of course, when<br />
transatlantic travel is involved, but<br />
at least people in the UK and Europe<br />
have a reasonable shot.<br />
Maybe we need something like<br />
that Something that would draw<br />
the artists, the critics, and the audiences<br />
into the same airspace in an<br />
atmosphere that would encourage<br />
thoughts like, “What the heck, I’m<br />
already here, how bad can it be”<br />
ef<br />
is your forum!<br />
ART TIMES seeks your opinions, viewpoints, ideas and<br />
complaints on any aspects of the arts. If you have a point<br />
to make—no matter how controversial—all we ask is that it<br />
be well reasoned and professionally presented. (No advertorials,<br />
please). Limit yourself to three (3) double-spaced<br />
typewritten pages and send with a SASE to: “Speak Out,”<br />
ART TIMES, PO Box 730, Mt. Marion, NY 12456-0730.<br />
A by-line and tag-line identifying the writer accompanies<br />
all “Speak Out” articles.<br />
40th Annual Holiday Craft Fair<br />
November 26 & 27, 2011<br />
10 am to 4 pm<br />
Juried Show<br />
Hand-Crafted Items Only<br />
For an application or more information go to<br />
http://www.sunydutchess.edu/alumni/foundationevents/<br />
Poughkeepsie, NY<br />
Call for Entries<br />
83 rd Grand National Exhibit<br />
November 1 st — November 11 th<br />
Salmagundi Club, <strong>NYC</strong><br />
Open to all <strong>Art</strong>ists,<br />
Representational or Traditional Realism<br />
Original Oil, Acrylic, Watermedia, Pastel,<br />
Graphics & Sculpture<br />
Approximately $15,000 in awards, cash & medals<br />
One or two works may be submitted.<br />
Members $20, $15 for 2 nd entry;<br />
Non-Members $40, $25 for 2 nd entry.<br />
Slide or digital submissions accepted<br />
Deadline August 13 • Receiving October 29<br />
For Prospectus send #10 SASE to: AAPL, Dept. AM<br />
47 Fifth Ave, NY, NY 10003 or visit our website:<br />
www.americanartistsprofessionalleague.org<br />
Call for Entries<br />
2 nd Annual Painting Competition<br />
First Prize: $500<br />
“Just for Squares!”<br />
Maximum Painting / Drawing Size<br />
6"x 6"(Maximum Framed Size 10"x10")<br />
Sept. 17 to Oct. 16, 2011<br />
For more information and a Prospectus<br />
(SASE) to 246 Hudson Street • PO Box 222<br />
Cornwall-on-Hudson, NY 12520 • 845-401-5443<br />
or visit www.hudsonvalleygallery.com<br />
UPCOMING WORKSHOPS<br />
MONOTYPE PROJECTS<br />
w/ Kate McGloughlin, May 5-26, Thursdays<br />
DRAPERY & THE FIGURE<br />
w/ Judith Reeve, May 7-8<br />
IMPRESSIONIST APPROACH<br />
TO LANDSCAPE PAINTING<br />
w/ Joan Jardine, May 14-15<br />
THE POETIC LANDSCAPE<br />
w/ Paul Abrams, May 21-22<br />
ABSTRACTION & LARGE SCALE DRAWING<br />
w/ Meredith Rosier, May 28-29<br />
SIMPLIFYING THE LANDSCAPE 1<br />
w/ Kate McGloughlin, June 2-23, Thursdays<br />
WOODLAND INTERIORS<br />
w/ Robert Carsten, June 20-22<br />
INTERPRETING THE LANDSCAPE<br />
w/ Christie Scheele, June 27-29<br />
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May/ June 2011 ART TIMES page 20<br />
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exhibition opening june 11<br />
Ice Age<br />
to the<br />
Digital Age!<br />
<strong>The</strong> 3D Animation <strong>Art</strong><br />
of Blue Sky Studios<br />
final weeks!<br />
Witness: <strong>The</strong> <strong>Art</strong> of Jerry Pinkney<br />
on view through May 30<br />
Elwood’s World:<br />
<strong>The</strong> Drawings and Animations of Elwood H. Smith<br />
on view through May 15<br />
nrm.org • open daily • 413-298-4100 • 9 Rt. 183, Stockbridge, MA<br />
Rio ©2011, Twentieth<br />
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All Rights Reserved.<br />
Calendar<br />
Continued from Page 12<br />
Wednesday June 8<br />
Pat Adams - Solo Exhibition <strong>The</strong> National Association of Women <strong>Art</strong>ists, Inc.<br />
N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Opening<br />
Reception 4-7pm free (thru June 29) www.thenawa.org<br />
Thursday, June 9<br />
Viewpoints, SMI’s 14th Annual Exhibit Studio Montclair Co-Sponsored by<br />
Aljira, a Center for Contemporary <strong>Art</strong> 591 Broad Street Newark NJ 973-744-1818<br />
Reception: Thurs., June 9 6-9pm free (thru June 25) www.studiomontclair.org<br />
Friday, June 10<br />
57th Annual Exhibit National Society of Painters in Casein & Acrylic<br />
Salmagundi Club 47 Fifth Ave., <strong>NYC</strong> (212) 255-7740 Awards presentation 7pm (thru<br />
Jun 10)<br />
Saturday, June 11<br />
Judith Weber: Beneath the Surface: An Exploration of Color on Ceramic<br />
Tile Harrison Council for the <strong>Art</strong>s Harrison Public Library 2 Bruce Avenue Harrison<br />
NY 914-835-0324 Opening Reception 2-4pm free (thru July 7) www.harrisonpl.org<br />
Hudson Valley <strong>Art</strong> & Wine - A Grand Celebration M Gallery 350 Main<br />
Street Catskill NY 518-943-0380 Opening Reception 6-8pm free (thru July 11) www.<br />
mgallery-online.com<br />
ICE AGE TO THE DIGITAL AGE: <strong>The</strong> 3D Animation <strong>Art</strong> of Blue Sky Studio<br />
Norman Rockwell Museum 9 Rte 183, Stockbridge, MA Free MA<br />
Joe McGlynn at the Salmagundi Club 47 Fifth Avenue, <strong>NYC</strong> (212) 255-7740 Opening<br />
Reception 2-4pm (thru June 19)<br />
OPENING CELEBRATION for fine art show “Beneath the Surface” Unframed<br />
<strong>Art</strong>ists Gallery 173 Huguenot Street New Paltz NY 845-255-5482 4PM-7PM free www.<br />
unframedartistsgallery.com<br />
Plein Air Painting Event and Auction- ART in Gardiner Gardiner Association<br />
of Businesses Gardiner, NY 845-641-4605 free www.gardinernybusiness.com<br />
Sunday, June 12<br />
Member Show II Kent <strong>Art</strong> Association 21 South Main Street Kent CT 860-927-<br />
3989 free (thru July 17) www.kentart.org<br />
Monday, June 13<br />
3 GENERATIONS: WIGGINS, WIGGINS & WIGGINS (thru Jul 1); SCENES<br />
FROM ABROAD (thru July 15) Salmagundi Club 47 Fifth Avenue, <strong>NYC</strong> (212) 255-<br />
7740 (thru July 1) www.salmagundi.org<br />
Thursday, June 16<br />
80th ANNUAL EXHIBITION Hudson Valley <strong>Art</strong> Association Lyme <strong>Art</strong> Association,<br />
90 Lyme Street, Old Lyme CT (thru July 30) www.hvaaonline.org<br />
Annual <strong>Art</strong>ist-Craftsmen of New York Exhibition ACNY Members New<br />
Century <strong>Art</strong>ists Inc. 530 West 25th Street suite 406 New York NY 516-767-0538 Receptions<br />
5-8pm free (thru July 2) www.artistcraftsmenofnewyork.com<br />
GREENS OUTDOOR ART SHOW Tudor City Place (between East 41st and East<br />
43rd Streets), <strong>NYC</strong> 8am-6pm<br />
OPEN JURIED SHOW <strong>Art</strong> Society of Old Greenwich 299 Greenwich Avenue, Greenwich<br />
CT 203 637-9949 Opening Reception 6-8pm (thru July 16)<br />
SALON des REFUSÉS <strong>Art</strong> Society of Old Greenwich Hospital Office Building Gallery,<br />
49 Lake Avenue, Greenwich (thru July 16)<br />
Friday, June 17<br />
GREENS OUTDOOR ART SHOW Tudor City Place (between East 41st and East<br />
43rd Streets), <strong>NYC</strong> 8am-6pm<br />
Saturday, June 18<br />
GREENS OUTDOOR ART SHOW Tudor City Place (between East 41st and East<br />
43rd Streets), <strong>NYC</strong> 8am-6pm<br />
Sunday, June 19<br />
Northport <strong>Art</strong>Walk Northport <strong>Art</strong>s Coalition Northport Main Street Northport<br />
NY 631-754-3905 1-5PM free www.northportartwalk.com<br />
Opening of Open Space: El Museo del Barrio’s Biennial Socrates Sculpture<br />
Park 32-01 Vernon Blvd. at Broadway Long Island City NY 718-626-1533 5pm-7pm<br />
free eg@socratessculpturepark.org<br />
Tuesday, June 21<br />
Summer Solstice Celebration Socrates Sculpture Park 32-01 Vernon Blvd.<br />
at Broadway Long Island City NY 718-956-1819 5pm-Sunset free http://www.socratessculpturepark.org<br />
Wednesday, June 22<br />
WEEKEND WITH THE MASTERS Salmagundi Club 47 Fifth Avenue, <strong>NYC</strong> (212)<br />
255-7740 (thru June 26) www.salmagundi.org<br />
Thursday, June 23<br />
Rose Yannuzzi Solo Exhibit: Visual Poetry - Watercolors and Photography<br />
Piermont Flywheel Gallery 223 Ash Street Piermont NY 845-365-6411 free (thru July<br />
10) www.piermontflywheel.com<br />
Friday, June 24<br />
31st ANNUAL OLD SONGS FESTIVAL: Music with Roots Altamont Fairgrounds,<br />
Altamont, NY (518)765-2815 (thru June 26) www.oldsongs.org/festival<br />
80th ANNUAL EXHIBITION Hudson Valley <strong>Art</strong> Association Lyme <strong>Art</strong> Association,<br />
90 Lyme Street, Old Lyme CT Opening Reception 5-7pm (thru July 30) www.hvaaonline.org<br />
HUDSON VALLEY ARTISTS 2011: Exercises in Unnecessary Beauty Samuel<br />
Dorsky Museum of <strong>Art</strong>, SUNY New Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844<br />
Opening Reception 5pm (thru Nov 13) www.newpaltz.edu/museum<br />
Saturday, June 25<br />
31st ANNUAL OLD SONGS FESTIVAL: Music with Roots Altamont Fairgrounds,<br />
Altamont, NY (518)765-2815 (thru June 26) www.oldsongs.org/festival<br />
Sunday, June 26<br />
31st ANNUAL OLD SONGS FESTIVAL: Music with Roots Altamont Fairgrounds,<br />
Altamont, NY (518)765-2815 (thru June 26) www.oldsongs.org/festival<br />
Rose Yannuzzi Solo Exhibit: Visual Poetry - Watercolors and Photography<br />
Piermont Flywheel Gallery 223 Ash Street Piermont NY 845-365-6411 Opening Reception<br />
2 - 5pm free (thru July 10) www.piermontflywheel.com<br />
ef<br />
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