Clark Hulingsat The Forbes Galleries, NYC

Transcription

Inside:
Raleigh on Film; Bethune on Theatre;
Behrens on Music; Lille & Trevens on Dance;
Seckel on the Cultural Scene;
Cole on Miró; Steiner on Clark Hulings;
Spencer ‘Speaks Out’ on African Art;
New Art Books; Short Fiction & Poetry;
Extensive Calendar of Events…and more!
ART TIMES
Vol. 27 No. 6
May/ June 2011
Clark Hulings at The Forbes Galleries, NYC
By RAYMOND J. STEINER
EYE, MIND, SOUL — pleasing the eye,
engaging the mind, speaking to the soul
— how rare to find artists today doing
all three at one and the same time!
They do exist, however — tucked away
in different corners of our country, heroically hewing to old traditions of skill
and craftsmanship in spite of all efforts
to sway them from the so-called “passé”
standards of by-gone days. Witness,
for example, the art of Clark Hulings,
presently on view at The Forbes Gallery
in NYC,* a show that features many
works of the recently-deceased artist
that have never been exhibited before.
As with so many representational
artists dismissed as “mere” illustrators by the modernist “pundits”, Clark
Hulings ignored the trend for imageless art, soldiering on while silently
honing his skills of fine draftsmanship
and subtly-toned color schemes on the
rural motifs he seemed never to tire
rendering. Hulings’ art, however, has
not been totally ignored, gaining both
recognition and awards from such
organizations as The Allied Artists of
Onteniente (Oil on Canvas) 1967
fine craftsmanship — a much welcome
allegiance now carried on by The Forbes
Gallery and their current exhibition of
Hulings’ work.
For the aficionado of classical fine
art, this is a show you ought not miss.
The groundwork for Hulings’ eye for
Looking for Shade (Oil on Canvas) 2003
America, the Hudson Valley Art Association and representation at the oncefamous Grand Central Art Galleries in
NYC — all organizations that have long
hewed to the traditional standards of
form and color had been long laid
down by “gruntwork” as a successful
illustrator whose innate eye for detail
had been finely-tuned by such master
Art Student League teachers as the late
George Bridgman and Frank Reilly —
both of whom led their talented student
to eventually focus on leaving the more
lucrative career of illustration to one of
pursing fine art. Already influenced in
his youth by the traditionally-trained
portraitist Sigismund Ivanowski, his
teachers could not have had a more
apt and willing learner — but it was
Hulings himself who transformed their
teachings into his own unique vision
and style of combining visual elements
stored in his memory to create his compelling compositions.
The fruits of Hulings’ progress are
evident in the 42 paintings and drawings presently on view in “An American
Master” — the designation of “master”
most definitely appropriate in this
instance. Viewers will assuredly have
their hungry eyes, minds and souls
sated by the sheer vitality of Hulings’
images — images gleaned from world
travels of rural land- and townscapes,
colorful flower and produce markets,
street vendors, farmyards, children,
still lifes — and, of course, his signature
placidly-patient donkeys. Never garish,
never saccharine, Hulings’ seems to hit
the right tone in whatever he chooses to
depict — even the famous, overweight
character “Suzy” of Art Student League
fame — a model that I had devoted a
chapter to in my book, The Art Students
League of New York: A History.
Close viewing will reveal how deftly
Hulings’ achieves his effects — subtle
shifting of values that compels color
to “hold its place” and form to avoid
domination of the overall motif — varied brush and broad palette strokes
to evoke detail and/or texture — all
blended by a masterful eye and hand
coordination — all of which comes
from a lifetime of looking, of noting,
of differentiating, of memorizing — of
near-flawless execution.
So — go treat yourself — if only to
fall in love with his donkeys or chuckle
at Suzy the model.
*“Hulings: An American Master”
(thru Jun 18): The Forbes Galleries,
62 Fifth Ave., NYC (843) 842-4433
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PO Box 730
Mt. Marion, NY 12456-0730
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ART TIMES
Commentary and Resource for the Fine & Performing Arts
ART TIMES (ISSN 0891-9070) is published bimonthly by CSS Publications, Inc. with copies
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Publisher:
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Editor: Raymond J. Steiner
Contributing Writers:
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Robert W. Bethune Ina Cole
Dawn Lille
Frank Behrens
Francine L. Trevens
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Letters
To the Publisher:
I’m hoping that the winter went well
for you two, and that spring now
brings abundant warmth and color
into all of our lives. I’ve had a quiet
winter myself, and it really has been
a very long time since I’ve seen you,
too long... hopefully we can change
that; I promise to get out more!…
Please send my very best to
Ray, and tell him I am still getting
responses to the article! [“Marlene
Wiedenbaum at The Bruynswick
Art Studio & Gallery, Nov/Dec 2010]
Marlene Wiedenbaum
Highland, NY
To the Publisher:
What a joy to see the coverage of our
present exhibit at Rockefeller. Thank
you so much for coming, sharing time
with us and displaying a picture and
mention.
I enjoyed seeing you after such a
long time.
With much appreciation.
Audrey Leeds, Curator
Norwood, NJ
To the Publisher:
Thank you very much for attending
our winter concert at the Ailey Citigroup Theater, and for mentioning
our company and performance in
the March/April 2011 issue of ART
TIMES.
Roberto Villanueva
Execitive/Artistic Director
BalaSole Dance Co., Inc., NY, NY
To the Editor: Receiving the Art Times is always
a highlight of my month; it’s such a
Peeks and Piques!
OVER THE YEARS I’ve given my
readers a “peek” into my life behind
my role as editor of this publication
— “Splitting Wood” back in March
of ’96; “The Stone Wall” in May ’04,
“Autumn in New York” in November
of ’07, and “City Boy, Country Boy” in
May of last year — a life that I jealously guard along with the solitude it
guarantees me. If you’ve kept track
over the years, I’ve given glimpses
into my home and environs that is
situated on a 2-acre plot on a deadend road about half-way between the
villages of Woodstock and Saugerties,
New York — even some first-hand
glimpses to those who’ve managed
to break my barrier of isolation for a
short visit (the “stone wall” described
in May of 2004 serves as a visible
warning to the idle curious). Anyway,
this time I want to share another peek
into my life in the woods — a visit to a
sugar maple farm about a mile down
the road from me. Many don’t know
that it is, in fact, not Vermont but
New York State that leads the country in the production of maple sugar.
Set back a few hundred feet from the
road on a piece of woodland riven by
a meandering brook, the maple sugar
“factory” is a one-story wooden building that deceptively hides a high-tech
operation which converts raw maple
sap into one of America’s favorite pancake toppings behind its rustic walls
— pure maple syrup. For countryliving cognoscenti, the maze of plastic lines running from surrounding
sugar-maple trees and converging on
the “factory” give away the game that
is largely hidden behind leafy foliage
during the rest of the year. But come
early Spring — when cold nights are
followed by warming days — the sap
begins to rise and the “factory” begins
to fill its waiting containers. Then
the day comes when smoke arises
from the open-end gable atop the
roof and all the neighbors know that
the process has begun! This year, the
event was heralded by an open-house
featuring free pancakes, sausages,
ham, and — of course — fresh maple
syrup! It was not long before the little
parking lot and adjoining woods were
awash in cars and people — Cornelia
and I among them. We wondered at
this close-up view of the building and
operation — having passed it almost
daily on our way to the Post Office
but never having actually driven
in to take a close look. We are not
exactly greenhorns when it comes
to making maple syrup — having
tapped the maple trees on our own
Contents
property in our early years and boiling down the raw sap into syrup — a
ratio, incidentally, of 40 to 1 — i.e. it
takes forty pints of raw sap to make
one pint of syrup — and a considerable amount of labor in getting and
cutting wood for the process during
the preceding season. We did that for
several years, until the sheer labor
of it finally got to us. The next best
thing then, was to visit the “factory”
— its two overhanging eaves on both
sides of the structure sheltering the
fire-stove-sized cut logs. As we approached, several young bloods were
steadily feeding the large cast-iron
wood-burner sitting in the middle of
the floor inside, while others cooked
up food and skimmed the boiling
container of fresh sap being converted
into “country sweetness” into waiting
cruets — trying to keep up with a
hungry horde led by their noses and
appetites taking it all in. Yep — give
me the rural life; you can keep your
city traffic, crowds, parking meters,
and noise. I’ll just visit now and then
to take in a promising art exhibit.
(See a short video of the process on
arttimes channel of YouTube)
Raymond J. Steiner
ef
Doretta Miller
Art ……………1, 3, 7
Film ………………13
Art Book Review…17
Letters  ……………2
Calendar of Events …4
Music………………15
Classifieds …………18
Opportunities ……16
Culturally Speaking…10
Peeks & Piques!……2
Dance ………………5, 9
Poets’ Niche ………15
Editorial ……………2, 3
Speak Out…………3
Fiction ………………14
Theatre ……………19
“Portrait of Chairs”
April 26 – May 21, 2011
Reception
May 7, 3-5 pm
First Street Gallery
526 W. 26th St, Suite 209
NYC, NY 10001
646-336-8053
firststreetgallery.net/millerd.html
Joyce Parcher
@ Ceres Gallery
April 26th - May 21nd
2011
Ceres Gallery
547 W. 27th St. NYC 10001
Hrs: Tues.- Sat. 12-6pm
212-947-6100
www.CeresGallery.org
delightful read. I must congratulate
Henry Raleigh on his “Sometimes
Curmudgeons Laugh” (January/February, 2011), which had me laughing
out loud. Later, I shared sections of
his piece with friends over breakfast,
so they could enjoy it too. In that same
issue, Robert Bethune’s “But oh, that
Tenth,” a description of the theater,
was itself a work of art — moving, reflective, poetic. I’ve clipped out both
pieces, so I can savor and share them
again. Best regards,
Lisa Wersal
Vadnais Heights, Minnesota
Continued on Page 18
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Speak
Out
African Art of the 20th Century & Beyond
By OLGA SPENCER
WHEN WE REFER to “African Art”,
what exactly comes to mind? Is it
sub-Saharan or African-American
art? Does it consist of art from Africa
only or any artist using African motifs? Or is it an umbrella for all of the
above?
My interest in the accurate definition of what represents African Art
was reactivated by an unexpected
experience. Several years ago, a local library inquired if I would be interested in lending them some of my
African paintings to exhibit during
African Pride month. A committee
came to review and select the artwork. However, a few days later I
was notified that they would not be
using the artwork in the exhibit because a few local African-American
artists protested the inclusion of art
from Africa.
This dichotomy reflects the deep
rift and confusion in the field of African art. Currently, the label “African
Art” does not require identification
of the country of origin. It can represent artifacts from equatorial or
North Africa, as well as works by Africans living in Europe, USA or elsewhere, that produce art using African motifs. For example, recently I
saw a replica statuette of an African
tribesman, made in China.
The confusion surrounding African art is not alleviated by the expertise of professional appraisers. To
the best of my knowledge there are
no certified or licensed appraisers of
20th century African art. In 1998 I
made a donation of African paintings
to a museum and could not locate an
expert in the New York area to provide a written opinion on the origin,
history or date of the paintings and/
or the background of the artists.*
One would expect that an expert
would recognize “airport art” from
the genuine old masters who started
the golden era of sub-Saharan art in
the 20th century before WWII and
that blossomed during the forties
and fifties.
While African artists rightly
claim the concept of “African art” as
a copyright for their territories, modern critics and dealers are divided on
the subject.
From a historic perspective, all
art originated from the universal
archetypes that were identical in
its symbolism, whether they were
produced in the caves of Alta Mira,
South Patagonia or other paleontologic locations. It would be difficult to
deny their universal connectedness
just because the were created on different continents. The need of primitive people originated in the urge to
capture meaningful events or pictures of local heroes as a message for
future generations. It was their testament that they had lived there. It
was their “veni, vidi, vici” statement,
long before writing existed. Artwork,
as produced in the “Cave of hands”
in 9,000 BC in Southern Patagonia
assured the artists immortality. Regardless of the continent and site of
the art, the fundamental archetypes
bind all arts with symbolic expression of artists about their world.
In former Portuguese colonies, idiographic images were already seen
in the 17th century when Africans
imitated pictures of saints and religious motifs brought by navigators
and traders. In Ethiopia, paintings
were produced by local artists since
the 13th century. They learned the
art of painting in Jerusalem where
they had workshops producing copies of the bible and pictures of holy
persons.
The indigenous imageries evolved
later during the 19th century on
the West Coat, as well as in various
parts of Equator Africa, after H.M.
Stanley crossed the unexplored continent from Zanzibar to the Atlantic
Ocean. As the traders, missionaries
and administrators from Europe colonized the territories, Africans were
exposed to non-religious works of art
that the colonists brought from Europe to decorate their homes. Suddenly there was a market for artwork
by Africans expressing their vision of
life and nature for arts’ sake and not
for ritualistic purposes.
Some of the artists were inspired
by the continental art form; however,
others developed their own unique
style. European connoisseurs visiting the colonies soon recognized the
talent of local artists and provided
the young African artists with needed tools and occasionally instructed
them on traditional techniques.
The influence of the Western art
form on African artists was not always welcome or integrated by local masters. Some westernized their
style, while others adhered faithfully
to their own techniques and vision of
African life that greatly differed from
western culture. For example, Bella,
an uneducated bushman, painted
with the tips of his fingers, refusing
to use brushes or change his vision
of life and death and the struggle of
African nature. Koyongondo, Futa,
N’zita, and Pili-Pili were talented
men that have grown to be recognized as African artists.
In the early 1960’s Albert N’Kusu
won the first prize during the Intercontinental Art Exhibit in Monte
Carlo, Monaco. Koyongonda, N’zita
and Bomolo exhibited in New York
under the auspices of the Monaco art
show.
After the dissolution of the colonies and the sub-Saharan territories
proclamation of independence, many
young artists developed skillful techniques, but were not truly dedicated
to art. These artists imitated the
old masters and flooded the market
with cheap reproductions that were
known as “airport art”. During the
1960’s and later, so called “African
Art” could be bought for less that
50 U.S. dollars. However, the works
of the old founding fathers became
difficult to obtain after the artists’
death.
While living in Paris in the early
1950’s, I frequently saw an artist
painting the Sacré Coeur Church,
a favorite tourist monument. The
painting was a very good imitation
of Utrillo’s style, known for his sceneries in Montmarte. In 1954 the artist was selling the painting for 3,000
francs, then the equivalent of $6.00.
There are many experts who can recognize an original Utrillo from an
imitation. However, who can distinguish an old African master from an
imitation?
As art becomes part of the global
market and economy, it is time that
universities, galleries and other artrelated institutions focus on African
art and shed some light on this new
field of creativity that is still, to a
large degree, a “terra incognito” to
the general public.
I wrote this article with the hope
that increased attention to the definition of “African Art” will help clarify all the various art forms currently
falling under the broad umbrella of
“African Art”.
*I had purchased the painting in the
early 1950’s in Zaire, Congo Republic.
(Olga B. Spencer, Ph.D, is an
author and lecturer living in
Southport, CT).
ef
Calendar
Because our Calendar of Events is prepared a month in advance
dates, times and events are subject to change. Please call ahead
to insure accuracy. The county (and state if not NYS) where the
event takes place is noted in bold at the end of each listing.
Ongoing
May 7, 14, 21, 28, at 3pm Cintinuum: Gender Identities, a Big Conversation in a Small Town The Ridgefield Guild of Artists 34 Halpin Lane Ridgefield CT
203-438-8863 free www.RGOA.org
May 14,15, 20, 21 Spring Salon Concert eba Theater with eba students eba Theater
corner of Lark St. & Hudson Ave. Albany NY 518-465-9916 charge at 7:30 eba-arts.org
Sunday, May 1
11th ANNUAL GAGA Arts Festival GAGA Arts Center 55 W. Railroad Avenue Garnerville NY 845-947-7108 11am-6pm rain or shine charge www.gagaartscenter.org
20th Anniversary Exhibition Carrie Haddad Gallery 622 Warren Street Hudson NY 518-828-1915 free (thru May 29) www.carriehaddadgallery.com
BIRDS IN ART 2011: Annual Juried Exhibition Leigh Yawkey Woodson Art
Museum of Wausau, WI Newington-Cropsey Foundation, 25 Cropsey La., Hastings-onHudson, NY (914) 478-799 (thru May 26) www.newingtoncropsey.com Westchester
Brush with Nature M & T Bank Hammond Museum 28 Deveau Rd. North
Salem NY charge (thru June 18)
Cintinuum: Gender Identities, a Big Conversation in a Small Town The
Ridgefield Guild of Artists 34 Halpin Lane Ridgefield CT 203-438-8863 free (thru June
3) www.RGOA.org
David Tobey Paintings & Sculpture Friends of the White Plains Library & The
City of White Plains The White Plains Museum Gallery 10 Martine Avenue, 2nd floor
White Plains NY 212-260-924 free (thru Jun 15) www.davidtobey.com
ELWOOD’S WORLD: Drawings and Animations (thru May 15); Witness: The Art
of Jerry Pinkney (thru May 30) Norman Rockwell Museum 9 Rte 183, Stockbridge, MA Free MA
Eric Lind - Revealed: Hidden Lives of the River Beacon Institute for Rivers and
Estuaries Beacon Institute Gallery at 199 Main Street 199 Main Street Beacon NY
845-838-160 free (thru Oct 2) www.bire.org
FIBER PLUS: Fiber with Mixed Media in the 21st Century Blue Door Gallery 13
Riverdale Avenue Yonkers NY 914-375-510 free (thru May 17) http://www.bluedoorgallery.org
HANK VIRGONA Etchings: Nothing Changes Satire and the 1970’s and Curator’s gallery talk on Thick and Thin: Ken Landauer and Julianne Swartz
Samuel Dorsky Museum of Art at SUNY New Paltz 1 Hawk Drive New Paltz NY 845257-3844 Opening Reception 5-7pm; Talk 2-3pm free (thru June 6) www.newpaltz.edu/
museum
Identity In Itself: Benjamin Duke and Lorraine Hall Lapham Gallery,
LARAC 7 Lapham Place Glens Falls NY free (thru May 6)
JOYCE PARCHER: Paintings Ceres Gallery 547 West 27th St. NYC (212) 947-610
free (thru May 21) [email protected]
Mary Anne Erickson Signs of the Times Oriole 9 17 Tinker Street Woodstock
NY 845-679-5763 free (thru May 10) www.vanishingroadside.com Ulster
visit us at
www.arttimesjournal.com
2011 Annual Members Show New Jersey Water Color Society Ocean County Artist’s Guild 22 Chestnut Ave. (Ocean & Chestnut Ave) Island Heights NJ
732-899-155Reception 2-4pm free (thru May 31) www.NJWCS.org
New Views of Our Old Neighborhood - Photographs of Dutchess
Ulster Counties Locust Grove Historic Site Locust Grove Gallery 2683 South Road
Poughkeepsie NY 845-454-450 free (thru May 23) www.lgny.org
New York Theatre Ballet performs works of Anthony Tudor Kaatsbaan International Dance Center 12Broadway Tivoli NY 845-757-5106 2:30pm charge
www.kaatsbaan.org
Recent Work by Shari Abramson, Roisin Bateman, Shelley Haven, Patricia
Mamatos Omni Gallery 333 Earle Ovington Blvd Uniondale NY free (thru June 12)
Robert Scott Duncanson: The Spiritual Striving of the Freeman’s Son
The Thomas Cole Historic Site 218 Spring Street Catskill NY 518-943-7465 charge
(thru Oct 31) www.thomascole.org
Spring Juried show Kent Art Association 21 South Main Street Kent CT 860927-3989 (thru June 5) www.kentart.org
Susan Phillips: Photographs Unison Arts Center Unison Arts Center 68 Mountain Rest Rd New Paltz NY 845-255-1559 Opening reception 1-3pm free (thru May 22)
www.unisonarts.org
That’s The Way I See It The Arts Upstairs The Arts Upstairs 6Main Street
Phoenicia NY 845-688-2142 free (thru May 14) www.artsupstairs.com
THICK & THIN: KEN LANDAUER AND JULIANNE SWARTZ (thru Oct 23);
THE UPSTATE NEW YORK OLYMPICS: TIM DAVIS (thru July 17) Samuel
Dorsky Museum of Art, SUNY New Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844
www.newpaltz.edu/museum
Monday, May 2
CLAY: The Art of Earth & Fire Tremaine Gallery, Hotchkiss School, 11 Interlaken
Rd., Lakeville, CT (860) 435-3663 (thru June 12)
ECCENTRICITY New Century Artists Gallery 530 West 25 Street New York NY 212367-7072 Opening Reception 3-6pm (thru May 28)
Tuesday, May 3
122nd ANNUAL EXHIBITION NATIONAL ASSOCIATION OF WOMEN ARTISTS Sylvia Wald—Po Kim Gallery, 417 Lafayette St. 4th Fl. NYC 212-675-1616 (thru
May 31) www.thenawa.org
Wednesday, May 4
AMERICAN MASTERS / DOUG ALLEN EXHIBITION / ROBERT LOUGHEED
EXHIBIT Salmagundi Club 47 Fifth Avenue, NYC (212) 255-7740 (thru May 20)
www.salmagundi.org
Thursday, May 5
Alison Hoornbeek - Solo Exhibition the National Association of Women Artists, Inc. the N.A.W.A. Gallery 80 Fifth Avenue - Fourth Floor New York NY 212-6751616 free (thru May 26) www.thenawa.org
“Seasons” solo art exhibit of paintings by Anne Johann Flat Iron Gallery,
Inc. 105 So. Division St. Peekskill NY 914-734-1894 free (thru May 29) www.flatiron.
qpg.com
Continued on Page 6
Arts in Cooperstown
Cooperstown The Smithy
Art
Pottery
Association Theatre
3 Galleries of Art
Events | Classes
Solo & Group Exhibits
Gallery Hours: Daily 11-4pm
Sunday 1-4pm
Closed Tuesdays after Labor Day
22 Main Street l 607-547-9777
www.cooperstownart.com
Film & More
Summer Concert Series
Gallery May-October
Wolf Kahn, Margaret Krug,
Honey Kassoy
Hours: 10-5 Tues.-Sat. 12-5 Sun.
55 Pioneer St l 607-547-8671
www.smithypioneer.org
OPEN JURIED SHOW 2011
The BENDHEIM GALLERY Greenwich Arts Council
299 Greenwich Ave., Greenwich, CT 06830
and
Salon des Refusés
Thirty (30) works rejected by the Open Jury Show.
exhibit the Hospital Office Building Gallery,
49 Lake Avenue, Greenwich.
June 16
thru
July 16
Reception – Thurs., June. 16, 6–8 pm
Juror and Judge:  George Nama, NA
(http://shepherdgallery.com/feature.html)
w w w. p a a r t i s a n t r a i l s . c o m
Receiving – Sunday, June 12, 3–5pm
& Monday – June 13, 10–12pm
Accepted Works for both Show & Salon des Refusé
notified by phone 4-8pm
Pickup unchosen artwork Mon. June 13, 10-4pm
no notification phone call
SEVEN UNIQUE TRAILS
Over 300 Artisans & Craftsmen, Fine Art Exhibits,
Workshops, B&Bs, Wineries & More…Make
your next roadtrip an “ART-FULL” EXPERIENCE
through Pennsylvania!
Bracelet, Billie & John Humberger, Rt 30W/40
Handmade Along the Highway
Accepted Work Pickup: Sat. July 16, 10-2pm
Categories:  Oil, Acrylic, Watercolor, Pastel,
Drawing/Graphics, B&W Photography & Color Photography, Other Media, Sculpture
Prizes:  $125-$100-$75-$50 - 1st-2nd-3rd-HM
Open to all area artists. Maximum width: 42" across. All
work must be properly framed and wired for hanging.
(Exposed glass edges cannot be accepted.) Sculptors must
provide a stable base for their work at entry. All entries
must be for sale; 30% Commission goes to the Greenwich
Arts Council.
Three (3) entries @$15 each
Scan smart phone QR code to visit
www.PAArtisanTrails.com
For more information: John Tatge
203-637-9949 • www.artsocietyofoldgreenwich.com
Dance
Nijinska, Stravinsky, Les Noces, Juilliard
By Dawn Lille
The name Nijinsky is recognized
by a wide circle. Say Nijinska and the
knowledgeable group gets smaller.
Bronislava Nijinska, the younger
sister of the legendary Vaslav Nijinsky, famed for his mesmerizing
performances and shocking choreography, was a key figure in 20th century
ballet. She was as innovative as her
brother, who worked out most of the
movement in Afternoon of a Faun and
Rite of Spring on her. Nijinska had a
long and successful career collaborating with avant- garde graphic and
theatrical artists and composers in
Russia and Europe, especially Paris,
in the 20’s and 30’s. Late in life she
came to America, where her work was
less well known.
Bronislava Nijinska’s amazing
ballet Les Noces has music by Igor
Stravinsky (scored for soprano, mezzo-soprano, tenor and bass soloists,
mixed chorus, timpani, percussion
and four pianos) that is simultaneously modern and very Russian in
feeling. It premiered in Paris on
June 13, 1923, in a performance by
Serge Diaghilev’s Ballets Russes de
Monte Carlo. The work was given
five performances by Juilliard Dance
in late March on a program that also
brother’s reputation was so overwhelming. Her own ideas probably
began to form during the time she
served as his muse.
When Nijinska left Diaghilev and
returned to Russia in 1914 she established a studio in Kiev, where she
worked with many artists, especially
the Constructivist Alexandra Exter.
This influence may be seen in the
many tableaux in Les Noces, several
of which are human pyramids with
bodies draped and posed as carefully
as an architect/builder would construct a tower. Basic structure and
use of space – and stillness – create
powerful theater when combined
with insistent music and the simple
brown and white costumes designed
by Nathalia Gontcharova, upon
which Nijinska had insisted.
She wrote down her theories on
movement, stressing rhythm, transition, form and design, trying to
reach the spectator “who hears with
his eyes the melody of the dancer’s
movement and who sees the form of
this movement.” She felt that each
ballet had a particular theme that
demanded its own style.
Howard Sayette, who staged
the work on thirty four Juilliard
students, has reconstructed it on
Juilliard students rehearsing Les Noces. (photo credits: Nan Melville)
included works by Mark Morris and
Eliot Feld.
Nijinska was born in 1891 in
Minsk and died in 1972 in California.
Although she won first prize when
she graduated from the Imperial
School in St. Petersburg, joined the
Maryinsky Ballet and was a member
of Diaghilev’s company from 1909
to 1913, she was never known as a
great dancer, possibly because her
thirteen different companies including the Maly and the Kirov in St.
Petersburg, the Tokyo Ballet and
the Dance Theatre of Harlem. A native of Los Angeles, he came to dance
late and was sneaking off to ballet
classes when his mother thought he
was studying at UCLA. He moved to
New York, danced at Radio City, with
the Ballet Russe de Monte Carlo and
the Metropolitan Opera Ballet. After
Juilliard students rehearsing Les Noces. (photo credits: Nan Melville)
he returned to California and opened
a school he was asked to be the ballet
master for the Oakland Ballet, which
was developing as a serious company.
It was here that Irina Nijinska, Bronislava’s daughter and the person who
continued her legacy until her own
death, set Les Noces in 1980 and he
began his relationship with it.
The ballet, based on a peasant
wedding, is twenty four minutes
long and is presented in four scenes,
as defined by Stravinsky: the Blessing of the Bride, the Blessing of the
Bridegroom, the Departure of the
Bride from the Parental Home, the
Wedding Feast.
The tale reveals a primitive wedding in the sense that it is a predetermined social ritual upon which
the entire community depends. The
event is inflexible, insistent and uncaring. The bride and bridegroom,
two very young frightened beings, are
shown no kindness or humanity; they
are symbols of a group rite that has
the iconic formality of the Russian
church.
It is the corps that is at the center
of the dance, the mass of people that,
somehow, represents the essence of
the peasant. In this sense the ballet is also very 20th century since
Nijinska’s presence in Russia during
the 1917 Revolution left her still excited about the possibilities inherent
in the proletariat. Additionally the
work is modern because the story is
really told from a feminine point of
Mc G L Y N N
AT T H E S A L M A G U N D I C L U B
New York, New York,
Annual Non-Members Juried Exhibitions
~ Paintings, & Sculpture Exhibition ~
~ Photography & Graphics Exhibition ~
August 8 - August 19
Entries postmarked June 6
Cash and Material Awards
Entry Fee $30 for 1 image, $35 for 2, $45 for 3. Digital entries only.
30% Commission. Send SASE for prospectus to Non-Members Exhibition
The Salmagundi Club, 47 Fifth Avenue, NY, NY 10003 for prospectus.
Email [email protected] • Website: www.salmagundi.org
opening reception 2 to 4 pm
SATURDAY, JUNE 11, 2011
47 Fifth Ave
New York City
( between 11th and 12th St )
JUNE 11 thru JUNE 19
Daily 1 to 6 pm / Sun 12 to 4 pm
view. The wedding is needed by the
community and does not promise joy
for the terrified bride and bewildered
groom, both of whose parents adhere
unsmilingly to the known script.
Nijinska believed in classical ballet as a training base for dancers, but
rejected traditional mime, classroom
steps and virtuosity. In Les Noces
the legs can rotate inward, the back
is rounded and the fingers often
curled in or made into fists. There is
a mechanistic, repetitive feeling, so
typical of Futurism, that suggests the
presence of an impersonal fate that is
part of human existence.
There is a process to staging a
Nijinska ballet, especially this one,
that shares the intricacies and possibilities inherent in a great artistic
work. When recreating the piece
Sayette, who feels that it is a ballet
that contains mystical and frightening elements and is a combination of
drawing and sculpture, stresses that
fact that Nijinska wished to express
inner feeling s, not objects. He likes
to quote H.G. Wells who called it “a
rendering in sound and vision of the
peasant soul.”
The students in the ballet were
at first negative, each feeling like an
unimportant part of a collective. They
noted the absence of the individual in
choreography that contains no real
stars or soloists. Here the group is the
central dancer and carries forth the
action. But as rehearsals progressed,
the creation of that communal group,
with the women wearing pointe
shoes with which they often seemed
to pierce the earth, the almost mechanical way they braided the bride’s
hair and then cut it off as a symbol
of the virginity that was to be lost,
the angular stoic movements of the
men in canon-like sections and the
increasingly architectonic nature of
the groupings, it became evident that
each dancer’s contribution made the
whole even stronger.
They established a momentum
and unity that, in its totality, is rarely
matched in dance. As Andra Corvino,
the faculty rehearsal director, commented after one run through, “When
you are truly moving together your
individuality is really evident.” This
was part of Nijinska’s genius.
ef
Calendar
Continued from Page 4
Friday, May 6
Art in the Garden, Studio Montclair’s small works sale Studio Montclair
Presby Memorial Iris Gardens 474 Upper Mountain Avenue Upper Montclair NJ 973744-1818 Opening Reception 6-9pm free (thru May 10) www.studiomontclair.org
ART on the Go East Fishkill Community Library 348 Route 376 Hopewell Junction
NY 845-221-9943 Opening Reception 7-8:30pm free (thru May 31)
http://www.eflibrary.org Dutchess
Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore
The Jewish Museum 1109 Fifth Avenue New York NY 212-423-3200 charge (thru Sept
25) http://www.thejewishmuseum.org/exhibitions/conecollection
Nina Rizzo: 2011 Alexander Rutsch Award and Exhibition Pelham Art Center
155 Fifth Ave. Pelham, NY 914-738-2525 Opening Reception 7-8pm free (thru June 25)
Saturday, May 7
Adam Handler: Paintings & Photographs Media Loft 50 Webster Ave., New
Rochelle, NY Closing reception 2-6pm
Against the Edges Longyear Gallery 785 Main Street Margaretville NY 845586-3270 Opening Reception 3-6pm free (thru May 30) www.longyeargallery.org
Arte Batura Limner Gallery 123 Warren St. Hudson NY 518-828-2343 Opening
Reception 5-7 PM free (thru May 28) www.limnergallery.com
ECCENTRICITY New Century Artists Gallery 530 West 25 Street New York NY 212367-7072 Opening Reception 3-6pm (thru May 28)
EDWARD WESTON: Life Work; Artists of the Stieglitz Circle The Heckscher
Museum of Art 2 Prime Avenue Huntington NY 631-351-3250 charge (thru July 24)
Lunch at the Live Bait Diner: Drawings by Joseph D. Yeomans and
Poems by Lewis Gardner Howland Cultural Center 477 Main St. Beacon NY
845-831-4988 Opening reception 3-5 pm free (thru May 29) howlandculturalcenter.org
Min Myar Retrospective & Bert Winsberg Current Work b. j. spoke gallery
299 Main Street Huntington NY 631-548-5106 Reception: Saturday, 2-5pm (thru May
29) www.bjspokegallery.org Suffork
The Avalon Quartet: Steve Reich, Osvaldo Golijov and
Schubert Close Encounters With Music Mahaiwe Performing Arts Center 14
Castle Street Great Barrington MA 800-843-0778 6:00PM charge www.cewm.org
The Improvised Shakespeare Company The Lycian Center 1352 Kings
Highway Sugar Load NY 845-469-2287 8:00 pm charge www.lyciancentre.com Orange
Sunday, May 8
Vista: viewing and observation Socrates Sculpture Park 32-01 Vernon Blvd. at
Broadway Long Island City NY 718-626-1533 Opening Reception 2 - 6pm free (thru
Aug 7) www.socratessculpturepark.org
Monday, May 9
Easton Arts Council’s Regional Open Juried Show Easton Arts Council
Easton Public Library 691 Morehouse Rd Easton CT 203-374-0705 free (thru May 21)
www.eastonartscouncil.org
Wednesday, May 11
Alison Hoornbeek - Solo Exhibition the National Association of Women
Artists, Inc. the N.A.W.A. Gallery 80 Fifth Avenue - Fourth Floor New York NY 212675-1616 Opening Reception 6-8pm free (thru May 26) www.thenawa.org
Arts
THE
AT HOTCHKISS
Friday, May 13
ART ON NO 4th Annual Spring Opening, Friday, May 13, 5-8 pm . Studio and gallery
tours by 16 artists, refreshments, entertainment by Blue Light Trio. 311 North Street,
Pittsfield, 2nd floor of the Greylock Building. Paintings, prints, videos, music, theatre,
photography, and more.
Saturday, May 14
8th Annual YoHo Artists Spring 2011 Open Studio YoHo Artists Community
YoHo Artists Building 540-578 Nepperhan Ave. Yonkers NY 914-305-4296 free Come
meet the artists. There will be entertainment. Art can be purchased. www.yohoartists.
com
Bus Stop The Lycian Centre 1351 Kings Highway Sugar Loaf NY 845-469-2287 8:00
pm charge www.lyciancentre.com Orange
CHARLES GEIGER: Quasi-Botanics a Solo Exhibit Woodstock Artists Association
and Museum WAAM 28 Tinker Street Woodstock NY 845-679-2940 Opening Reception
4-6pm (thru June 5) www.charlesgeiger.com
INSTRUCTORS EXHIBITION Woodstock School of Art 2470 Rt 212 Woodstock NY
845-679-2388 Opening Reception 3-5pm (thru July 2) www.woodstockschoolofart.org
INTERNATIONAL CLAY SYMPOSIUM: lectures, reception, potter demonstrations & firings Tremaine Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT
(860) 435-3663 (thru May 15)
IRV SUSS: Fine Art Photography The Hudson, From The City The Highlands.
Bob’s Art and Framing 191 S. Main Street New City NY 845-634-6933 free (thru June
18) irvsuss.com
Karin Lowney-Seed: Recent Works TraillWorks: studio, gallery, lessons 214
Spring Street Newton NJ 973-383-1307 Opening Reception 5 - 8pm free (thru June 25)
www.traillworks.com
Millbrook Book Festival Sponsored by de.MO; Merritt Bookstore, Millbrook
Free Library, Millbrook Tribute Gardens, Millbrook Rotary Foundation, Community
Foundation of Dutchess County, Dutchess County Arts Council Village of Millbrook
Millbrook NY 10 am - 5 pm free millbrookbookfestival.org
“People and Animals” The Wurtsboro Art Alliance The Wurtsboro Art Alliance
Gallery 73 Sullivan Street Wurtsboro NY 845-985-7663 An opening reception 2pm to
6pm free (thru June 19) www.waagallery.org
PHOTOWORKS ‘11 Barrett Art Center, 55 Noxon St., Poughkeepsie (845) 471-2550
Opening Reception 4-6pm (thru Jul 14)
The Presence of Water: Photographs by Paul Moore Harrison Council
for the Arts Harrison Public Library 2 Bruce Avenue Harrison NY 914-835-0324 Opening Reception 2-4pm free (thru June 3) www.harrisonpl.org
Under the sea unframed artists gallery 173 Huguenot street new paltz NY Opening reception 4-7pm free (thru June 18)
Westchester Philharmonic with Orion Weiss, piano Westchester
Philharmonic The Performing Arts Center at Purchase College 735 Anderson Hill
Road Purchase NY 914-682-3707 8pm charge westchesterphil.org Westchester
Whispers with Horses, new work by Dawn Petrlik MURAL, Robinson-Broadhurst, CORE MURAL on MAIN 74 Main Street Stamford NY 607652-1174 Opening reception 4-6 pm free (thru June 24)
Continued on Page 8
Tremaine Gallery aT The hoTchkiss school
11 Interlaken road, lakevIlle, Ct
860-435-3663 • www.hotChkIss.org
gallery hours: Mon. - sat., 10 - 4; sun., 12 - 4
THE
South
AfricAn
Pottery
DORSKY
SAMUEL DORSKY MUSEUM OF ART
Giraffe Tureen,
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ
detail. Ardmore Ceramic
Art, 2010; 9.5”H x 12”W
x 12”D. Represented by
Amaridian Gallery
of New York.
Ardmore
Ceramic Art
Zulu Beer Vessels
Ken Landauer, Untitled (bed), 2009
Ink on Paper
Thick & Thin: Ken Landauer and Julianne Swartz
Through October 23, 2011
The Upstate New York Olympics: Tim Davis
Through July 17, 2011
Clay: The Art of Earth & Fire
International Symposium May 14 & 15
lectures / reception / potter demonstrations & firings
GALLERY EXHIBIT: MAY 2 - JUNE 12, 2011
Exercises in Unnecessary Beauty:
Hudson Valley Artists 2011
Opening Reception, Friday, June 24, 5 pm
Samuel DORSky muSeum OF aRt
State univeRSity OF new yORk at new paltz
w w w.n e w pa ltz.e d u / m u s e u m
Open wed. – Sun. 11 am – 5 pm | 845/257-3844
Art Review
By Ina Cole
Joan Miró: The Constellations
In 1939 the Catalan painter Joan
Miró (1893-1983) left Paris for Varengeville-sur-Mer in Normandy, and
it was here an important new body
of work was formed – a series of
twenty-three gouaches, which became
known as the Constellations. They are
amongst the artist’s most intricately
constructed works, exploring ideas
linked to the transformative processes
located within the natural world – the
regeneration of butterfly hoards, the
migration of birds, the ebb and flow
of tides, and the tracks of constellations and galaxies. The mysteries of
the universe provide a challenge that
has preoccupied artists and scientists
through time, in their search to find
meaning in the ubiquitous presence
of the intangible. The Constellations,
which were created during a particularly harrowing period in world
history – the Second World War – are
optimistic, even joyous, and can be
viewed as an emblem of hope at a
time of intense military and political
turmoil.
The Constellations reveal a mastery of observation in relation to the
artist’s ability to capture the minutiae of natural phenomena. As the
overriding title suggests, the series
depicts a microcosm of life revolving
in space, with the individual titles of
works particularly evocative – Woman
beside a lake whose surface has been
balance is broken”.
The Escape Ladder, a signature
work from this series, was painted
shortly before Miró left for Spain, as
a consequence of the Germans opening bombardments in the district of
Varengeville-sur-Mer. In this work
blacks are applied to a background
of muted tones, with the primary colours – predominantly reds and blues
– determined by the black contours
and silhouettes. Biomorphic forms are
introduced, free flowing and buoyant,
simultaneously humanoid, animal,
arthropod and amphibian, emerging
from their location deep within the
imagination. Their faces peer from
the canvas through spherical eyes,
amid the rotating primordial shapes
of the pyramid, sphere and cube. A
ladder, the key element that gives
the work its name, is positioned just
off-centre, and soars to a crescent
moon. The ladder provides a structure
to the work, creating the necessary
equilibrium that gives a sense of order to the levitating forms occupying
the picture space, as well as further
emphasising the feeling of ascension.
On fleeing Varengeville-sur-Mer,
Miró boarded a train carrying a portfolio containing the first of the Constellations, including The Escape Ladder.
He completed the series in Spain during the war years, a time when he lived
and worked in virtual isolation. The
Constellations represent a fantastical
Joan Miró, The Escape Ladder (1940), Gouache, watercolour and ink on paper,
Museum of Modern Art, New York, © Successió Miró/ADAGP, Paris and DACS,
London 2011
made iridescent by a passing swan;
The nightingale’s song at midnight
and morning rain; People in the night
guided by the phosphorescent tracks of
snails; and The passage of the divine
bird. The Constellations fuse Miró’s
interests into a coherent whole, while
creating a complex balance of forms
that reflect on the fragile, illusory
nature of existence. On viewing the
work one’s breath is held in anticipation, for fear that a false move could
bring this imaginary world to collapse.
In 1959 Miró wrote eloquently about
the pictorial order in his works, saying, “In my paintings there is a kind of
circulatory system. If even one form is
out of place, the circulation stops; the
world of imagery, truly unique in the
history of twentieth-century art. Scale
is dissolved and the picture space is
populated with regions that contain
both the wonders and the terrors of the
infinite. The series speaks a bewildering language, yet manages to instinctively engage the senses on a subliminal level. The forms are strongly
suggestive of reflections in water;
indeed at this time Miró lived on the
outskirts of Palma, Mallorca, where
he spent hours contemplating the
sea. In these works incomprehensible
mutations occupy the same space,
and these organisms unite to create
a seemingly utopian existence in an
unfathomable location, which could
Joan Miró, The Ladder of the Escaping Eye (1971), Bronze, Fundació Joan Miró,
Barcelona, © Successió Miró/ADAGP, Paris and DACS, London 2011
equally be planet earth, the ocean
floor, or even the realms of outer space.
In 1945 the Constellations were
smuggled out of Europe by diplomatic
pouch for an exhibition at the Pierre
Matisse Gallery in New York. The
series was hailed as the first artistic
message to arrive from Europe since
the fall of France. In fact, it was in
America that Miró felt able to fully
secure the success that had previously eluded him. He became key to
the development of a practise that
was associated with no clear representational aim, but the direct communication of the subconscious mind.
This was known as automatism, and
its revival became one of the central
facets of Surrealist art in the United
States, playing a significant role in
the liberation of post-war American
abstraction in the early 1940s. The
Constellations directly inspired the
emerging American Abstract Expressionist painters who, at the time, were
seeking to escape from the constraints
of Social Realism and Regionalism.
On a personal level, the Constellations represented a sense of freedom
for Miró, following the anguished
peintures sauvages of the 1930s, but
for the Americans they offered a new
compositional order, with the concept
of a set of works as a series establishing a groundbreaking precedent in
art during the 1950s. It was perhaps
the American painter, Robert Motherwell, who most vividly expressed
his views on the importance of Miró
and his work: “I like everything about
Miró – his clear-eyed face, his modesty, his ironically-edged reticence as
a person, his constant hard work, his
Mediterranean sensibility, and other
qualities that manifest themselves in
a continually growing body of work
that for me, is the most moving and
beautiful now being made in Europe.
A sensitive balance between nature
and man’s work, almost lost in contemporary art, saturates Miró’s art, so
that his work, so original that hardly
anyone has any conception of how
original, immediately strikes us to
the depths” (Miró in America, 1982).
In the Constellations Miró viewed
the interdependence of the great and
small as a network that holds the
world in balance, and he had an innate
understanding of the multifaceted
levels of existence spiralling out from
planet earth to infinity. The ladder
became a tool linking these disparate
elements, and metaphorically creating a stairway to the cosmos. The
concept of a ladder was a theme Miró
returned to later in life through the
medium of sculpture. In a bronze version of The Ladder of the Escaping Eye,
a section of animal bone is placed on
a stone above which a ladder ascends
skywards. In this work the ladder,
rather than solely offering a pictorial
solution, is perhaps a yearning for the
unattainable or a bridge between two
worlds. The tip of the ladder is crowned
by a spherical form – the “eye which
escapes” – as confirmed by an inscription in the drawing for this sculpture.
This all-seeing eye, equally prevalent
in the Constellations, here represents
the concept of untainted vision, where
a disembodied element exists independently from its organic source, in
an attempt to gravitate towards the
celestial domain of pure poetic sight.
Joan Miró: The Ladder of Escape,
Tate Modern, London (14 April
– 11 September 2011); Fundació
Joan Miró, Barcelona (14 October
2011 – 25 March 2012); National
Gallery of Art, Washington (6 May
– 12 August 2012)
ef
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Calendar
Sunday, May 15
Captured Light: eight artists image the landscape Renaissance Fine Art
Gallery Orangeburg, NY 20 B Mountainview Ave. Orangeburg NY 845-365-6008 Opening reception 2 to 4. free (thru June 18) renartgallery.com
INTERNATIONAL CLAY SYMPOSIUM: lectures, reception, potter demonstrations & firings Tremaine Gallery, Hotchkiss School, 11 Interlaken Rd., Lakeville, CT
(860) 435-3663 (thru May 15)
Northport ArtWalk Northport Arts Coalition and Northport Chamber of Commerce Northport Main Street Northport NY 631-754-3905 1-5pm free www.northportartwalk.com
“Seasons” solo art exhibit of paintings by Anne Johann Flat Iron Gallery,
Inc. 105 So. Division St. Peekskill NY 914-734-1894 Artist’s Reception 1-5 pm free
(thru May 29) www.flatiron.qpg.com
Westchester Philharmonic with Orion Weiss, piano Westchester
Philharmonic The Performing Arts Center at Purchase College 735 Anderson Hill
Road Purchase NY 914-682-3707 3pm charge westchesterphil.org Westchester
Thursday, May 19
122nd ANNUAL EXHIBITION NATIONAL ASSOCIATION OF WOMEN ARTISTS Sylvia Wald—Po Kim Gallery, 417 Lafayette St. 4th Fl. NYC 212-675-1616
Reception 6-8pm (thru May 31) www.thenawa.org
Friday, May 20
Art & Wine - A Grand Celebration Hudson Valley Wine Magazine Lyndhurst,
National Historic Site 635 Broadway Tarrytown NY 917-318-0562 Opening Night Gala
Benefit charge hudsonvalleyartandwine.com
ArtsBash 2011 Westchester Arts Arts Exchange 31 Mamaroneck Ave white
plains NY 914-428-4220 6-9 pm charge www.artswestchester.org
Considering Collage/ Next in Line, Montclair High School Students Pursuing the Visual Arts (2nd Fl.) Studio Montclair SMI Gallery @ Academy Square 33
Plymouth Street Montclair NJ 973-744-1818 Opening Reception 6pm-9pm free (thru
Aug 12) www.studiomontclair.org
Saturday, May 21
Art & Wine - A Grand Celebration Hudson Valley Wine Magazine Lyndhurst,
Nationa Historic Site 635 Broadway Tarrytown NY 917-318-0562 Grand Celebration May 21st charge hudsonvalleyartandwine.com
Edward Hopper, Prelude; The Nyack Years Edward Hopper House Art Center
82 N Broadway Nyack NY 845-358-0774 Tickets must be purchased in advance. Visit
www.edwardhopperhouse.org to buy tickets. charge (thru July 17)
Myth & Meditations: A Tribute to 20th Century Composers Hudson Chorale Irvington High School 40 North Broadway Irvington NY 914-462-3212 8:00pm
charge www.HudsonChorale.org
Springtime Around the World (includes Dinner, Dancing and Entertainment) Harrison Players, Inc. Community Theater Group Veterans’ Memorial
Building 210 Halstead Avenue Harrison NY 914-630-1089 7 pm charge www.harrisonplayers.org
Sunday, May 22
Concert The Chappaqua Orchestra Horace Greeley High School Auditorium 70
Roaring Brook Road Chappaqua NY 914-238-9220 3pm charge www.chappaquaorchestra.org
Concerto Time at the Yonkers Philharmonic Fine Arts Orchestral Society
Saunders Trade High School 183 Palmer Avenue Yonkers NY 914-631-6674 3:00 pm
free www.yonkersphilharmonic.org
CURATOR’S EXHIBITION Salmagundi Club 47 Fifth Avenue, NYC (212) 255-7740
(thru June 13) www.salmagundi.org
First Look III: work by MFA students Hudson Valley Center for Contemporary
Art 1701Main Street Peekskill NY 914-788-0100 charge (thru July 24) www.hvcca.org
Thomas Locker Hudson Valley Landscapes The Gallery in the Park at Ward
Pound Ridge Reservation Route 35 and 121 South Cross River NY 914-864-7317 Opening reception 2-4pm free (thru Sept 6) www.kandcgallery.com
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Dance
Tony Waag: Artistic Director American Tap Dance Foundation, Inc.
How Did He Get Here from There?
By Francine L. Trevens
You can’t always tell how an interview will go. They can be stiff and
formal and still yield great information. They can be silly and giggly and
fun and leave you with insufficient
information. They can be friendly and
relaxed and yield gold.
Before I even set up an interview
with the accomplished Tony Waag,
who conceived and established the
annual New York Tap City event,
through his American Tap Dance
Foundation, I knew we must have
tons of friends and acquaintances in
common. He is an easy interview with
a personality as open and dazzling as
his eyes, as well as a relaxed speaker.
I took up too much of his time enjoying
our interview, but he was cordial and
pleasant throughout.
An old saying claims the child is
father to the man, so I began there
in our meeting. I wondered how Tony
Waag, growing up in Colorado, came
to dance and how his family felt about
it in the latter decades of the twentieth century.
Tony, inspired by an uncle, an
amateur sculptor, intended to sculpt.
Tony thought his destiny was to be a
pro at this very hands-on art. While in
High School. Tony, who had appeared
in a few High School musicals, including a stint as the Mad Hatter in Alice
in Wonderland, found his true métier, tap dancing. His parents - both
and went to San Francisco, where
he studied with the likes of tap heroes such as Eddie Brown and Tony
Wing. (His early dance heroes were
comic dancers, such as Ray Bolger
and Donald O’Connor. That’s still
one of his favorite forms of tap.) He
performed in cabaret, choreographed
a few musicals, waited tables, was a
tour guide at a corporate building;
(where he once got stuck in an elevator with a group of people and they
all sang songs while awaiting rescue)
and even posed nude for art classes …
everything to survive until his career
ripened.
Rather serendipitously, when he
ultimately made the move to New
York, he ran into Brenda Bufalino his
first day there. He worked with her
American Tap Dance Orchestra as a
dancer. He also fortuitously served
as an administrator. They toured the
USA and around the world. He found
he had an aptitude for administration
and enjoyed it.
Asked if he felt tap dancing itself,
or administration, creativity or promotion was his favorite, he answered
“all of the above.” His success in all
of the above proves his flexibility and
multi talents have really paid off.
“I had NO idea that tap dance
would take me all around the world
and into the lives of so many incredible people. I have been influenced by
Shim Sham from one of the popular Tap City performances
- see Tony in the middle (photo by Debi Field)
sets - (his mom and dad had divorced
when he was quite young) were all
supportive. He said it was probably
a relief to them that he had not gone
on to be a sculptor: tap dancing had
more promise of supporting him as
well as making him happy.
Tony had studied tap with Diane
Montgomery back home in Colorado,
but it wasn’t until he took a tap dance
workshop with Brenda Bufalino that
he followed his dream. Ms Bufalino
was equally impressed with him
Tony took some famous advice
after High School: “Go West, young
man” - he went to college in Utah,
where they presented 65 productions a year at the school. He called
it “the Berlin of Salt Lake City.” Not
the kind to sit around waiting for
dreams to materialize; he left college
many of the great masters, and I am
humbled by the cultures and people I
have had the good fortune of getting
to know over the years. I want so
desperately to pass on their love and
support for this amazing art form. I
think young people especially, could
use some of that positive energy right
about now,” Tony declared. He has
spent most of his life “passing it on,”
Years ago, he went to 60 cities in
Europe and Africa for two months as
master of ceremonies of the Hoagie
Carmichael Centennial Celebration.
He found few tap dancing resources
or schools. All that has changed, in
part because of what he has done.
“I feel I pulled the tap dance
community together in New York,
representing trap as it should be. “
Taking that same spirit to countries
around the
world awakened in those
countries the
love of tap and
the desire to
make it part
of their culture
as well.
In 1986,
Tony, Brenda
and the late
Charles “Honi”
Coles, founded
the American
Tap Dance
Foundation
(ATDF). Tony
served as Artistic Director
long before
he created,
in 2001, Tap
City - an event
that offers allday classes on
all levels and
styles taught
by a who’s who Tony Waag - a delight on stage and off - (photo by Lois Greenfield)
of tap, presents concerts of tappers from around ny Space ‘RHYTHM IS OUR BUSIthe world, screens feature films and NESS’ in Support of the Gregory
lectures on tap. Tony is usually the Hines Youth Scholarship Fund
(which offers financial help to seriemcee for the shows.
After months on the road, danc- ous and talented young tappers) with
ing one night stands throughout the Guest Host Brian Stokes Mitchell.
The evening also celebrates 25
world, Tony returned to New York to
years
of tapping, honoring the foundfind there was nothing happening for
ing by
Charles “Honi” Coles, Brenda
tap dancers. He decided to do someBufalino
and Tony Waag of the Amerthing for the art he loved. Turns out,
ican
Tap
Dance Orchestra, created
he did an amazing thing. He founded
in
1986,
which
evolved into Waag’s
Tap City.
American
Tap
Dance
Foundation.
He contacted the best tap dancers
It
celebrates
25
years
of creating
to get them on board. Gregory Hines
new
venues
for
tap,
presenting
origiwas one of the first he contacted, and
nal
productions
and
contemporary
Gregory instantly said yes. Today,
Greg’s former wife, Pamela Koslow choreography, and unique artists
Hines is still on the board of Tap from the U.S. and around the world,
also educating the next generation
City. Tap City is one program of the and building new audiences while
American Tap Dance Foundation, preserving and honoring the history
founded to preserve the art, to of the uniquely American art form
educate people in tap - a dance form of TAP!
It took years before Tony’s Ameriwhich needs no special body type.
can
Tap Dance Foundation found a
Through this foundation, he brought
home
in 2009 at 154 Christopher St.
tap dancing back into the forefront
It
has
about 190 kids and 300 adults
of dance here and around the world.
currently
enrolled - all levels and ages
It is international again, Brazil, Gerstudying
practicing,
and performing
many, Japan, France China, Russia.
tap-dancing.
It
offers
year round
“Even Estonia!” he enthused, “Esclasses,
rehearsal,
and
space
for taptonia!” I admit, I had to check a map to
pers
to
experiment
and
create.
see where little Estonia was! So, you
Tony still dances with great abanname it, they teach tap and perform
don
and glee. He’s earned the right to
tap dancing in all those countries,
kick
up his heels.
“combining it with their own cultures
Some
people might be content
and music,” Tony noted.
to
sit
back
on all those laurels. Not
Greg Hines was one of the mutual
Tony
Waag.
acquaintances I had assumed we had.
“I have spent 35 years dedicated
One I did not expect was Armand Asto
this
cause and I am proud to call
sante — not a dancer. Actor Assante
myself
a tap dancer. Everything is
had appeared frequently at Stage
copasetic
at the moment. So watch
West in Springfield when I was a theout,
there’s
more to come for sure!”
ater critic there, and we had become
(Francine
L.
Trevens’ latest book
pals. Tony Waag met him on Tony’s
is
available
on
e readers. Pixie
first SAG film, with Meg Ryan and ArTales
is 5
enchanted
illustrated
mand. He was Armand’s understudy.
read-to-me
stories
a
Little
Book
Tap City will be alive and well in
about
Wee
folk
for
Small
fry.
You
New York July 5-10. Earlier this year,
can also follow Francine on her
May 16 the American Tap Dance
blog: stagesandpages-francine.
Foundation is presenting at Sympho- blogspot.com)
ef
Culturally Speaking
By Cornelia Seckel
This issue marks the end of 27
years of publishing ART TIMES and
we look forward to beginning our 28th
year publishing in print every other
month and online each month. Take
a look at our ever evolving and growing website as there are new essays
and resources uploaded each month.
Become a “fan” of the ART TIMES
Facebook page and keep up on more
frequent news and information and
use that page to announce your
events and news.
In ART TIMES online during
April, I wrote about a number of
things in my Culturally Speaking
column: “Crowns” by Regina Taylor
at the Capitol Repertory Theatre
in Albany, NY where their current
(World Premiere) show is “Kingdom
of the Shore” by Terence Lamude.
Capital Repertory Theatre is now in
collaboration with Proctors and it
Unison Learning Center in New
Paltz and at the Doghouse Gallery
in Saugerties, NY along with some
other members of the 122 year old
National Association of Women
Artists • Dawn Howkinson Siebel
and Michael Fattizzi’s exhibit at
Oriole 9 in Woodstock, NY where
currently hangs work by Mary Anne
Erickson. Online during March and
April was a critique by Raymond J.
Steiner of Eva van Rijn’s exhibition
at Locust Grove in Poughkeepsie,
NY - the former home of Samuel
Morse, inventor and artist- where
currently you can see photographs by
Robert Lipgar.
Additionally I made 2 short videos,
one of the Harriet Tannin Retrospective at the Woodstock Artists
Association Museum in Woodstock,
NY and the other of The International Women’s Day Celebration
Walk across the Walkway in
The newly remodeled Frances Lehman Loeb Art Center at
Vassar College in Poughkeepsie, NY opened with the exhibit
Thomas Rowlandson: Pursuits and Pleasures in Georgian England.
is their staff handling ticket sales
& PR • the opening reception for
the Carolyn Haeberlin exhibit at
Woodstock School of Art (WSA)
and obit for Robert Angeloch,
artist, Woodstock teacher and cofounder of the WSA • Susan B. Phillips’ show at the Thaddeus Kwiat
Projects in Saugerties (that show is
over but you can still see her work at
Poughkeepsie. The videos are available on arttimes YouTube channel
and the other pictures and comments
can be found online in the list of previously printed and uploaded Culturally
Speaking columns or in the archived
issues of ART TIMES. Since Jan/Feb
2009, issues of ART TIMES, in pdf
form, are available on our website
Photographs by
ARLENE LIEBERMAN
PORTRAITS OF INDIA
(L to R) Kerry Henderson, Maria Todaro, Louis Otey at St Gregory’s Episcopal
Church in Woodstock, NY introducing VoiceFest 2011 a four-day festival (Aug. 4-7)
of opera, gospel, baroque, choral, and world music presented in Phoenicia, NY.
Editor Lauren Tamraz wrote to
us about Awosting Alchemy, begun
in 2010 when she was becoming frustrated with sending her own writing
out and hoping for the best. She was
seeing a lot of experimental, highquality websites, journals and projects being developed by young people
and realized she could be more effective as an editor and producer than a
“mere faceless writer”. She wrote that
the intension is to focus on short-ish
works and stunning art, with preference going to Hudson Valley locals
and/or talented young writers of the
Internet with quality being the main
deciding factor. They host events,
contests and maintain a blog. Take a
look at awostingalchemy.com.
Stephen A. Fredericks at carrierpigeonmag.com sent me the first
two issues of a new magazine, Carrier
Pigeon: Illustrated Fiction and Fine
Art, that he recently launched with
some other artists, which features
fine art, illustration, and fiction that
showcases writers, artists, illustrators, and one designer. Carrier Pigeon
springs from the Robert Blackburn
Printmaking Workshop and The
New York Society of Etchers
(along with other local arts organizations), with each issue containing at
least one original artwork signed by
the contributing artist.
The Mark Gruber Gallery is
celebrating 35 years of bringing
excellent regional artists to the
art-loving community of New Paltz,
NY and the Hudson Valley with artists including: Hardie Truesdale,
Will Cotton, Charles Fazzino,
Kevin Cook, John Variano, Keith
Gunderson, Jane Bloodgood
Abrams, Marlene Wiedenbaum,
Thomas Locker and trends like the
Cow Shows and Jacques Torres
Chocolates. The gallery continues
its efforts to support the New Hudson
River School of painters—bringing
you works in the classical, academic
tradition right through an impressionistic interpretation. Mark does
museum quality, affordable custom
framing—using quality materials
and 35 years of experience, no one else
can compare. Visit in person or online
markgrubergallery.com.
I always like to see innovative
venues to show art and so when I got
an invitation to the historic Adams
Horse Stable in Saugerties, NY I
headed over. Fritz Haller is a financial planner who decided that so
many of his clients were artists and
that many people wanted to see this
mid 19th century example of Gothic
Revival architecture which housed
fine ice racing horses that he would
open his walls for some of his clients
to show their work. Dave Campbell, a native of Saugerties showed
landscapes and illustrations from his
“Beginners Guide to Fishing” done
F e e l i n g s: A non sequential photographic narrative
and other recent works
May 12 - May 30, 2011
Mariela Dujovne Melamed
Artist’s Reception:
June 2 - July 31, 2011
Sunday, May 15 1:00 - 6:00 pm
Opening: Thursday, June 2nd, 6 - 8pm
Gallery Hours:
Thurs. & Sun. 1 - 6 pm • Fri. & Sat. 1 - 9 pm
Memorial Day 1- 4 pm
LAGUARDIA GALLERY OF FINE ARTS
LaGuardia Community College
Atrium of E Building
31-10 Thomson Avenue
Long Island City, New York 11101
Artist’s Information:
www.marielamelamedphotography.com
Mondays - Saturdays, 8 am - 10 pm
www.ArleneLieberman.com
Piermont Fine Arts Gallery
218 Ash St. Piermont, NY • 845-398-1907
www.piermontfinearts.com
in ink, line and wash. I bought one
of Dave’s books and hope to do some
fishing here and not wait till I get to
Florida.
The Pen and Brush, an organization for women in the visual, literary and performing arts since 1894
is located in NYC and has numerous
exhibitions and programs. Coming
up is a Multi-Media exhibit opening
on May 5th. A while ago I stopped in
to deliver papers and found myself at
an opening for Salon des Refusés.
Members submitted work that had
been rejected over the past year. It
was a fun show and the work very
competent. You just don’t know
what a judge or jury will choose and
although it is hard not to take it personally, these members had a chance
to have fun and still get their “rejects”
seen. Stop by for a visit to the gallery
they are just off 5th on 10th Street and
at penandbrush.org.
It was thrilling to go to a performance of Martha Graham Dance
Company’s 85th Anniversary Season. After a welcome and program
introduction by artistic director Janet Eilber, the audience—we were
at the Rose Theater, Frederick
P. Rose Hall, the Home of Jazz
at Lincoln Center— was treated
to Cave of the Heart and Deaths and
Entrances both Graham Classics and
Chasing, a world premier by choreographer Bulareyaung Pagarlava
that was commissioned by the Martha Graham Center and created as
a companion piece to Deaths and
Entrances. The Martha Graham
Dance Company was founded by
Martha Graham in 1926 and is the
oldest modern dance company in the
world. It presents the classic Graham
repertory and new choreography in
its home city of New York and on tour
and features an international roster
of today’s most talented dance artists. The Martha Graham School
of Contemporary Dance is the
global center for instruction in the
Martha Graham Technique and has
provided instruction to thousands
of students including such luminaries as Alvin Ailey, Twyla Tharp,
Paul Taylor, Merce Cunningham, Rudolf Nureyev & Mikhail
Baryshnikov. Martha Graham
Resources oversees licensing of the
Graham repertory, access to archives
that comprise one of the world’s great
collections of dance history, and arts
education programs that travel with
the Company around the world. See
the current schedule at marthagraham.org. As a teacher of Dance at
the Eastman School of Music her
experimentations proved to be the
sparks of a new mode of dance that
revolutionized theories of movement
in all of the performing arts. For
Graham, ballet’s concern with flow
and grace left behind more violent
traditional passions. I remember
when she received the Gold Medal of
Honor for Dance at the National
Arts Club, NYC the year before she
died. In her acceptance she said “it’s
about time that Dance is acknowledged and not treated like a third rate
art form”. She had a lasting and deep
impact on American art and culture
and her company continues her work
and reaches out to new audiences by
educational and community partnerships.
The March Gala Concert at St
Bellini, Mozart, Vivaldi, Wagner,
Rossini and Goldrich. What a program — delicious. The audience was
enchanted as it had been last August
when over 3000 people attended the
festival. This year they have added
an additional day to the festival and
there will be an orchestra. I went
to several of the performances and
made a short video of the program
I attended (see arttimes channel on
YouTube or online at arttimesjournal.com). Hearing world-class opera
stars singing just 10 feet away was
so very thrilling. Last year I wanted
to attend every performance but just
couldn’t manage the time. Take a look
at the site, order tickets, as they will
be sold out quickly, and send a donation to support this fabulous festival
Dave Campbell (R) speaking with a visitor to his exhibit
at the historic Adams Horse Stable in Saugerties, NY
Gregory’s Episcopal Church in
Woodstock, NY was an introduction
to VoiceFest 2011, a four-day festival (August 4-7) of opera, gospel,
baroque, choral, and world music
presented under the stars and in various town venues in Phoenicia, NY.
The centerpiece of the Festival will be
Mozart’s Don Giovanni, conducted
by Metropolitan Opera maestro,
Steven White, featuring Louis
Otey and Kerry Henderson. The 3
founders of this fabulous VoiceFest
sang at the church and what an exciting afternoon it was. Maria TodaroMezza Soprano, Louis Otey- Baritone and Kerry Henderson- Baritone were accompanied at the piano
by David Mayfield and Babette
Hierholzer. These performers have
gorgeous voices and treated us to a
program of works by Lilburn, Puccini, Mitch Leigh, Cole Porter,
and these outstanding performers
who are adding such joy to the cultural offerings of our region. www.
phoeniciavoicefest.com
I went to the Powerhouse Party
that introduced the upcoming 2011
season of Vassar & New York
Stage and Film’s Powerhouse
Theatre, a place for people in theatre to work without commercial
pressures. The season opens June 24
and concludes on July 31. 40 student
apprentices from across the country
will participate in this 27th season
taking part in the 2 mainstage productions (Patricia Wettig’s “F2M”
and Rob Handel’s “A Maze”), 3
musical workshops, 2 play work-
shops and 10 staged readings over
an intense 8-week summer residency
on the Vassar College campus in
Poughkeepsie, NY. Student writers,
directors, designers, actors all have
a chance to work with professionals
and the professionals get to explore
new ideas and methods in a safe
environment. It’s like summer camp
where one can learn new things and
stretch their abilities. Vassar wanted
to establish a training program for
young actors at the same time New
York Film and Stage was looking for a nurturing environment for
working actors, filmmakers and writers. It was and continues to be an excellent cooperative effort with many
former apprentices having gone on
to major careers and recognition in
film and stage. Edward Cheetham
is the Producing Director of the
Powerhouse Program and Johanna
Pfaelzer is the Artistic Director of
New York Stage and Film. More at
www.powerhouse.vassar.edu.
Vassar College also reopened
the Frances Lehman Loeb Art
Center with the exhibit Thomas
Rowlandson: Pursuits and Pleasures in Georgian England. Rowlandson (1757-1827) was an English
satirist, printmaker, and painter
who commented via his watercolors,
prints and drawings on his social
and political worlds—the worlds of
the West End, Covent Garden, and
London politics in the late Georgian
era. His work surely gives us a look
at his world. The exhibit will be on
view thru June 12. The galleries were
reconfigured so that there are rooms
for their large modern collection
(even still only a small percentage of
the holdings are on view), a gallery
for student curators, a gallery for
small works not usually seen, and
a project gallery for work that the
faculty is requesting to be on view for
research by their students. The Prestel Museum Guide series has just
published the new book The Frances
Lehman Loeb Art Center, Vassar College: The History and the Collection.
This makes the Art Center the first
U.S. art museum and the only U.S.
college or university museum to have
its own Prestel Guide. You can learn
more about the collection and Art
Center at www.fllac.vassar.edu
See you out and about and don’t
forget to write about your events and
news on ART TIMES Facebook page.
ef
Irv Suss
Photography
The Hudson
From The City to The Highlands
May 14, 2011 to June 18, 2011
annual
june 24, 25 & 26
Altamont Fairgrounds
Altamont, NY
10 miles west of Albany
est in
the b ic folk
t
eclec
1981
e
sinc
In the Gallery at
Bob’s Art
191 S. Main St.
845-634-6933
New City, New York
irvsuss.com
THE FREIGHT HOPPERS
ARROGANT WORMS
THE OUTSIDE TRACK • GUY MENDILOW BAND • LIBANA • FINEST KIND
SCOTT AINSLIE • ELLIS • JEZ LOWE • QUICKSTEP • BABIK • MANY MORE
3 MAIN CONCERTS • 120 DAYTIME SESSIONS • CRAFTS
JAMMING • FAMILY ACTIVITIES • DANCING & SINGING
COMPLETE DETAILS, incl. tickets, camping, concerts, & more, at:
www.oldsongs.org/festival
Calendar
Monday, May 23
57th Annual Exhibit National Society of Painters in Casein & Acrylic
Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 (thru Jun 10)
Thursday, May 26
Featured Works of Susan Steeg & Dorothy Ehret Hines Upstream
Gallery 26 Main Street Dobbs Ferry NY 914-674-8548 free (thru June 19) www.upstreamgallery.com
PREVIEW OF FINE ART AUCTION: Benefit for Arts in Education Program
at Woodstock Day School Fletcher Gallery, 40 Mill Hill Rd., Woodstock, NY (845) 6794411 (thru May 28) www.fletchergallery.com
sTRUCKtures - New paintings by Allan Gorman Phoenix Gallery 210 Eleventh Avenue, 9th Floor New York NY 212-226-8711 Opening Reception 6-8pm free
(thru June 18) www.phoenix-gallery.com
Friday, May 27
Contemporary Bromoil: Photographs by Joy Goldkind Galerie BMG
12 Tannery Brook Rd Woodstock NY 845-679-0027 free (thru July 4) www.galeriebmg.
com
54th Annual Members Exhibit South Bay Art Association Phoenix Gallery 139 South Country Road Bellport NY 631-286-3521 free (thru May 30) [email protected]
Saturday, May 28
81st WASHINGTON SQUARE OUTDOOR ART EXHIBIT Washington Square
Outdoor Art Exhibit, Wash. sq. E. & Univ. Pl. (212) 982-6255 www.wsoae.org NYC
Eldar Djangirov Trio - Jazz Concert Windham Chamber Music Festival
Windham Civic & Performing Arts Center 5379 Main Street Windham NY 518-7343868 8-10pm charge www.windhammusic.com
Joy Gross: Recipes for Living Younger … Longer Blue Cashew Kitchen Pharmacy 6243 Montgomery Street Suite 3, Rhinebeck, NY Signing 2-5pm
NAWA 13 members of the National Association of Women Artists The Dog
House Gallery 429 Phillips Rd Saugerties, NY (845) 246-0402 Opening Reception
4-7pm thru June 18)
CALL FOR PHOTOGRAPHERS
23 Depot Square on Garrison’s Landing, Garrison, NY 10524
Berks Art Alliance 34th Annual
Open Juried Art Exhibition
July 2 – Sept. 4, 2011
Reading Public Museum, Reading, PA
A JURIED PHOTOGRAPHY SHOW
$4000+ total awards • Most media accepted
Hand delivered entries only
Jurors: Larry Fink & Stephen Perloff
Entries accepted on June 17
Open to amateurs, professionals
All photo mediums, Fee $40/5 images
Deadline for entry: June 15, 2011
Exhibition Sept. 10 - Oct. 2, 2011
Best in Show $1000, many more awards
Exhibition Book of accepted artists
See prospectus at garrisonartcenter.org
Jurors – Lisa Tremper Hanover,
Dir. Berman Museum of Art,
Nancy Campbell, Dir. Wayne Art Center
23 Depot Square, Garrison, NY 10524
garrisonartcenter.org 845.424.3960
For prospectus, log on to
www.readingpublicmuseum.org
www.berksartalliance.com
or send #10 SASE to: BAA c/o Gurman, 305
Sunshine Rd., Reading, Pa. 19601
Catharine Lorillard Wolfe Art Club, Inc.
115th Annual Open Juried Exhibition for Women Artists
CALL FOR ENTRIES
National Arts Club, New York, NY
October 4 - October 28, 2011
Open to Women Artists.
Media: Oil - Watercolor - Pastels - Graphics
Acrylic - Sculpture
Juried by CDs or Slides - Postmarked by June 10, 2011
Sunday, May 29
FINE ART AUCTION: Benefit for Arts in Education Program at Woodstock
Day School Fletcher Gallery, Kleinert/James Art Ctr., 34 Tinker St., Woodstock, NY
(845) 679-2079 1pm www.fletchergallery.com
Monday, May 30
Tuesday, May 31
Wethersfield Academy for the Arts Premier Juried Competition
Wethersfield Academy for the Arts Hartford Fine Art & Framing 81 Pitkin St. East
Hartford CT 860-763-4565 free (thru Jun 30) www.wethersfieldarts.org
Wednesday, June 1
Viewpoints, SMI’s 14th Annual Exhibit Studio Montclair Co-Sponsored by
Aljira, a Center for Contemporary Art 591 Broad Street Newark NJ 973-744-1818 free
(thru June 25) www.studiomontclair.org
Thursday, June 2
Arlene Lieberman Photography: Portraits of India LaGuardia Gallery of
Fine Arts LaGuardia Community College 31-10 Thomson Avenue, Atrium of E Building Long Island City NY Opening 6-8pm free (thru July 31) www.ArleneLieberman.
com
Depth of Field, Alternative Photography Exhibit Studio Montclair Montclair Public Library 50 South Fullerton Avenue Montclair NJ 973-744-1818 Reception
6-8pm free (thru June 30) www.studiomontclair.org
Janice DeMarino: New Work Longyear Gallery 785 Main Street Margaretville
NY 845-586-3270 Opening Reception 3-6pm free (thru June 26) www.longyeargallery.
org
Friday, June 3
Frankie and Johnny in the Claire de Lune - By Terrence McNally KNOW
Theatre Binghamton City Stage 74 Carroll Street Binghamton NY 607-724-4341
charge Directed by Brandt Reiter, Starring Dori May Ganisin and Tim Gleason. http://
www.knowtheatre.org
Michele James: Mixed Media Works East Fishkill Community Library 348
Route 376 Hopewell Junction NY 845-221-9943 Opening Reception 7-8:30pm free (thru
Jun 30) http://www.eflibrary.org Dutchess
Saturday, June 4
44th ANNUAL ART IN THE PARK Art League of Long Island, Heckscher Museum
Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm www.artleagueli.net
49th ANNUAL WHITE PLAINS OUTDOOR JURIED ARTS FESTIVAL White
Plains Outdoor Arts Festival Committee, Tibbits Park, One North Broadway at Main
St., White Plains, NY (914) 993-8271 or (914) 949-7909 10am-5pm (thru June 5) www.
whiteplainsoutdoorartsfestival.com
CEWM: FIESTA! A Latin Splash of Music and Dance Close Encounters With Music Ozawa Hall at Tanglewood 297 West Street (Route 183) Lenox MA 800-843-0778
6:00PM charge www.cewm.org
LONGREACH IN BEACON Howland Cultural Center 477 Main St. Beacon NY 845831-4988 Opening Reception 3-5pm (June 26)
Lunch at the Live Bait Diner: Drawings by Joseph D. Yeomans and
Poems by Lewis Gardner Arts Society of Kingston 97 Broadway Kingston NY
845-338-0331 opening reception 5-8 pm free (thru June 30) askforarts.org
Premier Juried Competition Wethersfield Academy for the Arts Hartford
Fine Art & Framing 81 Pitkin St. East Hartford CT 860-763-4565 Opening Reception
6-8pm. free (thru Jun 30) www.wethersfieldarts.org
Sunday, June 5
44th ANNUAL ART IN THE PARK Art League of Long Island, Heckscher Museum
Park, 2 Prime Ave Huntington (631) 462-5400 10-5pm www.artleagueli.net
49th ANNUAL WHITE PLAINS OUTDOOR JURIED ARTS FESTIVAL White
Plains Outdoor Arts Festival Committee, Tibbits Park, One North Broadway at Main
St., White Plains, NY (914) 993-8271 or (914) 949-7909 10am-5pm www.whiteplainsoutdoorartsfestival.com
Susan Steeg and Dorothy Ehret Hines Upstream Gallery 26 Main Street
Dobbs Ferry NY 914-674-8548 Reception 2 - 5pm free (thru June 19) www.upstreamgallery.com
52nd Year of it’s Young People’s Scholarship Exhibition The Ridgewood Art
Institute 12 East Glen Ave. Ridgewood NJ 201-652-9615 free Open Reception Awards
Ceremony 2-4pm www.ridgewoodartinstitute.org
Over $10,000 in Awards
Entry fee: $30/Members & Associates; $35/Non-members
CALL for eNTrieS
431 Woodbury Road, Cold Spring Harbor, NY 11724
ALLied ArTiSTS of AmeriCA
For Prospectus send #10 SASE to: Okki Wang,
a prospectus is available online at www.clwac.org
“Every Great Town Deserves a Great Art
Supply Store and Frame Shop.”
Save Money
Shop Rhinebeck
& New Paltz
56 East Market St., Rhinebeck
845-876-4922
17 Church St., New Paltz
845-255-5533
98th Annual open exhibition
November 2 - November 23, 2011
at The National Arts Club Galleries, NYC
Open to all artists
Oil, Watermedia, Pastel,
Graphics, Sculpture
$24,000 awards in cash & medals
Rose Yannuzzi
Solo Exhibit Visual Poetry
Watercolors & Fine Photography
June 23 — July 10, 2011
Jpeg entries accepted.
Opening Reception June 26, 2-5pm
deadline September 12.
Piermont Flywheel Gallery
Piermont Landing, 223 Ash Street
Piermont, NY • (845)-365-6411
For prospectus go to website at:
www.alliedartistsofamerica.org
www.yannuzziwatercolor.com
Hrs: Th. & Su 1-6pm; Fr.& Sa 1-9pm
Classes starting
Film
Mr. Scott and Me
By HENRY P. RALEIGH
Now Mr. A. O. Scott, the N.Y. Times
film critic, and I have not always
agreed in our assessment of films.
That does happen now and then and
I certainly don’t hold this against him.
As a matter of fact I was much taken,
I might say, moved, by a piece of his
that appeared in the Times January
16 (‘Defy the Elite! Wait, which elite?’)
and which I’ve read over many times
since. Here Mr. Scott takes issue with
Mr. Neal Gabler, a cultural historian
and recently the fellow who introduces
the Saturday evening film on PBS. It
seems that Mr. Gabler, in an op-ed
article in The Boston Globe, proclaimed
the death of cultural elitism. Among
the decreased, of course, are those
elitist film critics. And this slaughter
is all because of the internet and the
ascendancy of those legions of film
bloggers who enjoy perfect freedom to
give vent to their opinions, informed or
not, and devil take the professionals.
You can see what this will do, and has
done, to Mr. Scott and me.
There is something plaintive in
Mr. Scott’s commentary, a sense
that something has been lost despite
a wistful belief that there remains
always the need for solid, analytic
criticism. He notes, with faint hope,
the revival of the old Siskel and Ebert
AT the Movies on PBS. Some may
remember those early days -- the iconic
thumbs up/thumbs down that became
a legend of sorts. There was a subdued
and serious scholarly atmosphere that
surrounded the two critics going at
each other. The new version is jazzier,
more visual than wordy, a show aimed
at a young audience who most likely
are devotees and products of blogging
as indeed are the two featured film
critics, both of who had made their
bones on movie sites. Both look as
perfectly grand on the screen as
their FaceBook and publicity shots.
Christy Lemire, film critic for the
Associated Press once came in 93 on
an independent film critics list of 100
of the most beautiful celebrity women.
Ignatiy Vishnevetsky is as cute as a
button and is clearly aware of it. After
all, Siskel and Ebert weren’t that
much to look at, were they?
The new show runs for 27 minutes
and zips through four current feature
films, each accompanied by unusually
long trailers; a spot titled “Hot and
New” in which each critic picks a
favorite from films available on VOD,
DVD, cable on on-line-- there’s no
escaping technology, you see; and a
special guest contributor, the most
fascinating so far an enthusiastic
young lady explaining why Natalie
Portman as the ballerina in “Black
Swan” was shown spending so much
time in a bathroom (to seek a bit of
privacy). All of these segments are
amply back with appropriate film
clips. Even Mr. Ebert gets a quickie
review.
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So out of 27 minutes
of running time how
much in-depth critical
discourse is possible?
Well, not much but that
probably doesn’t matter,
it’s fast, pretty to watch
and look, if Mr. Gabler
is right who cares what
a couple of youthful
blogger graduates have
to say, their opinions are
no better or worse than
any other roaming, willynilly, around cyberspace.
And
besides
paying
much attention to the
spoken argument may
disappoint. When one of
these critics importantly
claims a director “uses
lots of aesthetics” and
without blinking throw
in a “him and me”
when simple grammar
demands “he and I”
you might question the
literacy level of the speaker. Still,
reviewing the prose of internet film
bloggers you can see that grammatical
niceties are not their strong suit.
Mr. Scott concludes his essay with a
jab at the relentless noise of consumer
advertising which can so handily
overwhelm those annoying elitists. In
response, he reaffirms the real goal of
criticism which is “...work of analyzing
Visit our
website:
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new and
previously
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essays
Audubon Artists
69 Annual National
th
All Juried Exhibition
for Non-Members
Sept. 10 — Sept. 30 , 2011
at the Salmagundi Art Club Galleries
th
th
47 Fifth Ave., NYC
Call for Digital Entries in
Join us for the 2011 Millbrook Paint Out at its new location:
The Fountains at Millbrook, 560 Flint Road, Millbrook, NY.
2011 Millbrook Paint Out
An auction of plein air works featuring artist
Jack Neubauer of Millbrook.
Saturday, June 4, 2011
Fine art paintings & drawings of Millbrook scenes in oil,
pastel, acrylic and watercolor by 50 professional artists.
Auction Viewing & Reception: 4pm — 5pm
Live Auction: 5:15 pm - 7:15 pm
Hors d’oeuvres, wine and soft drinks will be served.
This event is organized by the Dutchess County Art
Association/Barrett Art Center, 55 Noxon Street,
Poughkeepsie, NY 12601
(845) 471-2550 www.barrettartcenter.org
Aquamedia, Collage & Mixed Media,
Graphics, Oils, Acrylics, Pastels & Sculpture
Open to living Artists Residing in US
$35/ one addit'l entries $5. cd entry only
Active members will not be juried this year.
…with over $20,000 in Awards
Juror of Awards
Beth Venn, Senior Curator of American Art,
Newark Museum, NJ
Send SASE for prospectus to: Raymond Olivere,
Audubon Artists, 1435 Lexington Ave., #11D, NY, NY
10128 • Online Prospectus: www.audubonartists.org
Entry Forms & Digital CD Postmarked
Deadline July 23th
Additional information: Vinnie Nardone, Pres.
732-903-7468 • [email protected]
and evaluating works of art honestly
and independently as possible.” I’m
with you a hundred percent, Mr.
Scott but I suppose every film blogger
figures he or she is doing exactly the
same and so where does that leave
us? Goodness knows I have repeatedly
warned that all those algorithms and
stuff was going to get us — and they
are, too.
ef
"Longreach in Beacon"
Sat. June 4th-Sun. June 26th, 2011
Opening Reception:
Saturday June 4th, 3-5pm
at the Howland Cultural Center
477 Main Street
Beacon NY 12508
845-831-4988
Gallery Hours:
Thursday - Sunday 1:00PM thru 5:00PM
special arrangements made by appointment
www.howlandculturalcenter.org
Mildred Cohen, Staats Fasoldt, Stacie Flint,
Susan Fowler-Gallagher, Jose Gomez,
Claudia Gorman, Rob Greene, Trina Greene,
Robert Hastings, Carol Loizides, Basha Maryanska,
Sherrill Meyers-Nilson, Ellen O’Shea,
Carol Pepper-Cooper, Nancy Scott, Elayne Seaman,
Michelle Squires, Marlene Wiedenbaum
Save the Date! Sept. 29, 2011
LongreachArts at Vassar College
Fiction
Keep This Object Carefully
By Michael Edwin Q.
Claudette places a bowl of hot
soup down in front of her husband;
she walks to the only window and
opens the shutters, letting in what
little light left of the day into the one
room stone hut.
Off to the west, the sun inches its
way slowly down the horizon, sunset
colors appear; in the east, dark menacing storm clouds gather.
“It looks like…” she says, turning to her husband, but stops when
seeing his head bowed, giving silent
thanks. She waits for him to finish.
“It looks like we might get some rain.”
“That would be a change,” he says,
cutting two slices off a loaf of bread;
he places one next to his wife’s spoon.
She sits and joins him.
“So, how did it go?” she asks.
He reaches into his vest-pocket
and places three coins on the table;
she scoops them up and they disappear into a fold in her apron.
“So…see anything interesting
while you were in town?
He moves his head right to left,
“No”.
“Think…did someone tell you
anything…a joke, perhaps,” she asks,
clearly desperate to hear news of the
world outside her own small one.
Again, he shakes his head.
“This just isn’t fair, Gerard. You
go into town every week to make the
deliveries while I stay here. Can’t you
think of anything?”
He gently places his spoon down.
“What do you want me to say?” He
takes up his spoon, again. “If it’s so
important to you, why don’t come
with me next time?”
“Oh, Gerard, could I?”
“Of course you can! You are my
wife, are you not? I don’t want to see
you unhappy!” He smiles into his
soup.
“You old goat,” she laughs. “You
were a flirt when I met you, and after
all these years, you’re still one.” They
both laugh.
A thoughtful look washes the smile
from his face. “There was something,
though…very queer. It happened on
my way back.”
Her interest perked, she stops eating. “What?”
“Well, you know that large dead
tree in front of the road leading into
the field? As I was passing, I looked to
see a young man seated on the roots
of the tree, his back against the trunk
and his head in his hands, weeping.
“Now, you know I never stick my
nose in the business of others, but I
felt it would not be Christian of me to
even ask if he needed help.”
He dips his bread into his bowl.
“What are you doing?” asks Claudette. “What happed next?”
“I’d like to get some of this soup in
me while it’s still warm, if you don’t
mind?”
“Don’t worry; I’ll heat it up for you!
Now, finish the story!”
Gerard realizes he will not eat his
meal in peace until he tells the entire
story. He places his spoon and bread
down and continues.
“I stopped the cart and called to
him. He didn’t respond; I don’t think
he heard me. I jumped down; that got
his attention.
“He stood up and wiped tears from
his eyes with his shirtsleeve. It was
obvious he felt embarrassed…seen
crying by another man.”
“What did he look like?” asks his
wife.
“Mid-thirties, clearly a foreigner;
his French was good, but he had a
strong accent…perhaps, German….I
couldn’t tell. Well-kept, he was not.
His clothes were old and dirty. His
hair was reddish-brown and in need
of cutting as was his beard. But most
notable were his eyes. There was a
combination sadness and madness
in them. I couldn’t tell which more of
one or the other was.
“As I approached him, I became
aware of a strange odor.”
“Why…did he smell?” asks his
wife.
“Yes…but, you’ll not guess of
what. It took me a moment to recognize the scent. It was turpentine.”
“Turpentine…?”
“Yes, and he reeked of it.”
“What was his name?” she asks.
“I know I asked his name, but for
the life of me I can’t remember. It was
some long German sounding name
that escapes me. But I do remember
he made a strange comment about
his name.
“He said, ‘They named me for my
brother who died before me. Do you
think it’s possible this should have
been his life that I am living, and my
true life’s path denied me?’
“I thought it an odd question,
but I answered, ‘I don’t think God…
or fortune…whatever you believe is
running the universe would be so
easily fooled by the mere changing
of a name.’
“He nodded as if my answer would
suffice; then he smiled halfhearted
and thanked me for stopping and
showing concern. I told him it was no
trouble at all. I told him, being much
older than he, perhaps if he unburdened himself to me, he might find
peace. He shook his head, believing it
impossible, but I pressed him further.
‘Have you no family?’ I asked. ‘Yes, I
do’, he said. ‘But I have been nothing
but an outsider and a burden to them.
My father is long gone; I’m sure, at
his death, he hated me or at the least
thought of me as a grave disappointment. I do have a brother, whom I
love dearly; but I am nothing but a
thorn in his side. I could never repay
him for the support he has shown me
with undying encouragement and
financial backing. This blessing only
weighs me down with guilt.’
“What of love?’ I asked. ‘A good
woman’s love strengthens a man;
makes him capable to withstanding
anything and able to triumph over
any obstacle life may hold for him.’
“He shook his head in dismay, ‘I
am sure you are correct; but in ways
of the heart I have found no solace.
The ones I have wanted did not want
me, and those who accepted me found
me lacking, and I them. No, there is
no love I can mention, save for one,
which is the core of my unhappiness.’
“He walked over to an easel. I
then understood why he smelled of
turpentine. On the ground were an
artist’s palette and brushes. On the
easel was a canvas covered in earthy
colors and sweeping brushstrokes in
shapes I could make little sense of.
“This is the love that brings me no
satisfaction; but still I cannot stop. I
paint everyday with the voracity of a
steam engine. Tell me, what do you
think?’
“I’m a farmer, not an art critic,’ I
said.”
“I don’t care what an art critic has
to say; tell me what a farmer sees’,
he asked.”
“I took my time examining the
canvas, but only to be polite. I knew
what my answer was before I said it.
Jumbled strokes of color were all I
saw with only a slight resemblance
of the reality.
“Forgive me, but you asked me to
say what I see. I do not want to hurt
your feelings, but this is not a proper
painting’, I said. ‘I realize this represents the wheat field we are looking
at, but it seems no more than a representation of what I am seeing. These
jagged lines in the center I understand to be the road that goes though
the field, but again, it is nothing more
than a simple representation of what
is…there is so little detail. And what
is this…the sky is as black as coal?”
“That is the oncoming storm’, he
replied.”
“I realize that,’ I said. ‘But there is
more to a storm than blackness. And
what are these floating in the sky?”
“Those are the blackbirds you see
soaring over the field.”
“I see blackbirds, but what you
have painted is two stokes of black
paint against a dark background.
Blackbirds are more than two strokes!
This is not a proper painting!”
“He seemingly took what I said as
Gospel. He sighed, ‘So, what should
I do now?”
“Learn a proper trade; find a
good, God-fearing woman…have
children…plenty of children. Give up
on this…art, as you call it….and find
yourself some happiness.”
“Happiness…?’ he sighed, again.
‘The sadness will last forever.”
“No, you must not think that,’ I
said. ‘Please, come home with me and
we can talk about this further. My
wife is a good cook. It will probably
only be soup and bread, but you are
welcome.’
“No,’ he said. ‘I thank you from the
bottom of my heart. But I must finish
what I have started. Good or bad, I
must finish this painting.’
“Then he looked into my eyes and
spoke, ‘One-way or the other, this is
my last painting…I swear.’
“I couldn’t think of what to say
next, so I remained silent. We shook
hands, and parted friends. I hopped
back onto the cart and drove away. I
rode the jig-jag trail through the field.
As I rode over the crest of the hill, I
looked back to see him at his easel
painting franticly.”
Gerard hands his soup bowl to his
wife. “Could you, please, warm this
up for me?”
“Is that all?” she asks.
“I’m afraid so,” answers Gerard.
She takes his bowl and stands. At
that moment, a sharp sound, like the
crack of a whip, penetrates the air.
“Thunder…?” asks Gerard.
Claudette, bowl in her hand, walks
to the window and looks out. A crowd
of blackbirds are scattering across
the sky.
“No,” she says, “It’s late…if I didn’t
know better; I’d say it sounded like a
gunshot.”
(Michael Edwin Q. lives in Dallas, TX).
ef
Music
Play Long Gone, Music Lingers On
By FRANK BEHRENS
Often a composer was commissioned to provide a score of “incidental” music for a play. And often the
score would become far more popular
than the play itself. For example,
millions have heard Grieg’s music to
Ibsen’s “Peer Gynt” without having
read a single line from the play. The
ratio might decrease with Mendelssohn’s incidental music for Shakespeare’s “A Midsummer Night’s
Dream,” and I dare say that the most
ardent lovers of Bizet’s incidental
music to Daudet’s “L’Arlesienne”
might be entirely unaware that such
a play exists.
Alphonse Daudet was a French
author, best known today for his
“Lettres de mon moulin” (Letters
from my mill), which appeared in
1872. Part of that collection was a
novel titled “L’Arlesienne” (The girl
from Arles). It was good enough to
attract the attention of an impresario
who commissioned Daudet to turn
the novel into a play, which was to
contain three acts and five tableaux
with music and chorus.
For a composer, they turned to
George Bizet, who was delighted to
work with such an esteemed author
and provided 27 miniatures, many of
which are minor masterpieces of that
genre. There are some recordings of
the complete score (some of which
unwisely add lines of dialogue that seriously interfere with the music), the
best of which in my opinion is the EMI
CD with Michel Plasson conducting.
As for the play itself, it is distinguished only by the titular female
never appearing in the course of the
action! In Provence, there are two
brothers, one of whom is a simpleton;
the other is obsessed with a girl from
Arles. The latter cannot cope with
learning that she has been “unfaithful” and leaps from a high window to
end the play. After being shown to 21
nearly empty houses, the play folded.
Happily, Bizet’s music lived on.
It is mostly played in a four-part
suite arranged by Bizet himself and
in a second suite arranged by Bizet’s
pupil Ernest Guiraud (who also reset
the spoken dialogue of “Carmen” to
recitative form, so it could play as a
through-sung work at the Opera).
Quite some time ago, I heard
an opera by Francesco Cilea titled
“L’arlesiana,” which follows Daudet’s
play fairly closely. It is pleasant
enough, but the music will never
eclipse that of Bizet.
Franz Schubert was also asked
to compose the incidental music for
a play that not only was a failure
but all copies of which have been
lost! The play by Helmina von Chezy
was called “Rosamunde, Furstin von
Zypern” (Rosamonda, Princess of Cy-
Salmagundi Club
Center for American Art since 1871
~ Exhibitions ~
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American Masters Exhibition & Sale
May 4 ~ 20
Doug Allen Exhibition
May 4 ~ 21
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press). The music too was lost. Lost
that is until two gentlemen named
George Grove and Arthur Sullivan
hunted in basements and attics
to restore to the world so much of
Schubert’s music, among which was
his Rosamunde score.
The overture has become a familiar concert favorite, although the
entire incidental music is seldom
played. There are, however, several
recordings of the complete score. How
interesting, though, it would be to
have the play available also, as poor
as it might have been.
This discussion can be extended
to film scores. In the case of “Laura,”
the film is still shown frequently on
television and its haunting theme
song also turns up on CD collections
of music from the cinema. But what
about “The Warsaw Concerto”? How
many who still recall that melody can
place it in the context of its film and
even name the composer? (See below
for answer.)
An interesting specialized collection can be found on an old Naxos CD,
titled “Warsaw Concerto and other
Piano Concertos from the Movies.”
It includes nine examples of piano
visit us at
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WHERE YESTERDAY, TODAY,
AND TOMORROW MEET
Happiness glows most
when it’s pre or post.
A spotlight on a long time
casts a sweet nostalgic shine.
“I was happy” is a discovered thing
like gold in the sand or a mountain spring
or pansy roots that were watered and fed
and offer promise of pleasure ahead.
Happiness is wavering net under our feet
where yesterday, today, and tomorrow meet.
—Lorraine Tolliver
Richmond, IN.
REGISTER NOW!
May 23 & June 27
—Cathy Porter
Omaha, NE
I watch you tonight,
The way a man inside a darkened room
watches the rain,
illuminated by the moon,
splashing upon a deserted street.
He imagines letting that sadness and beauty
slowly soak into his soul,
until, finally,
he can capture its essence on paper.
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Call for a brochure
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L L E G E
Westchester
196 Central Ave., White Plains, NY 10606
Please visit www.salmagundi.org
47 Fifth Avenue, NYC
212-255-7740
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To professions and hobbies
Slap color on
Skills and abilities
Retire individuals
Still in their prime
Kill in the name of
Various gods
Judge in the name of
Morality
Hate because of ignorance
Silence
Because
Of
GIRL WITH A PEARL EARRING
June 13 ~ July 15
Scenes from Abroad
For complete calendar of events & exhibits
GENITALS
Fear
Summer semesters
2 Starting Dates
June 13 ~ July 1
3 Generations: Wiggins, Wiggins & Wiggins
sponsored by American Artist Magazine
ef
Poets’ Niche
May 23 ~ June 10
National Society of Painters in Casein & Acrylic
June 22 ~ June 26
Weekend with the Masters Workshop
concertos heard in films either as
background music or played by one
of the characters as part of the plot.
They range from interesting to quite
lovely, and each can exist as absolute
music with no reference to the films
for which they were composed.
Again, I ask my readers if they can
think of further examples of music
that has outlived its play or film.
Oh, as for “Warsaw Concerto,” it
was heard in the 1941 film “Dangerous Moonlight,” the story of a concert
pianist who does his bit during World
War II. The composer is Richard Addinsell.
Formerly Westchester Art Workshop
ART | DESIGN | CRAFT MEDIA | FILM | MUSIC | GENERAL ED.
Your eyes tell me
four centuries has not changed the rain,
nor the man inside the darkened room,
nor the futility of his quest.
Your eyes say
what even Vermeer would not deny:
that for a subject to be worthy,
it must be greater than the artist,
greater than the art produced.
—Barry W. North
Hahnville, LA.
Opportunities
Published Writers: 2011 NY Book Festival Seeks books published prior to Jan 2004
for award. Info and forms available online.
www.newyorkbookfestival.com
Artists/Craftspeople: A.R.T.S. Gallery,
Croton Falls, NY (914) 276-2209 Seeks
entries for Eye Candy, Small Works exhibit
(12”x12”) May 23- Jun 27. Submit sample
images via email [email protected]
Deadline May 10.
Artists: Oil, Watermedia, Pastel,
Graphics, Sculpture: Allied Artists of
America. Seeks entries for 98th Annual
National Exhibition Nov 2 - Nov 23. 2011 at
the National Arts Club, NYC. Jpeg entries
accepted. For prospectus visit website.
www.alliedartistsofamerica.org. Deadline
Sep 12.
Artists: American Artists Professional
League, 47 Fifth Ave, NYC 10003. Call
for Entries for the 83rd Grand National
Exhibition, Nov 1 — Nov 11. Judges. Slides
or digital accepted; representational or
traditional realism only; Approx. $15,000
in awards, cash and medals. Send #10
SASE to AAPL or visit website. www.
americamartistsprofessionalleague.org
Deadline Aug 13
Composers, Librettists, Playwrights:
American Lyric Theater American Lyric
Theater New York NY Seeks submissions
from Composers, Librettists and Playwrights for American Lyric Theater’s Composer Librettist Development Program
for the 2011-2012 Composer Librettist
Development Program (CLDP) Program
information and application details may be
found online at www.altnyc.org Deadline
is June 1, 2011.
Artists: Art Society of Old Greenwich,
(203) 637-9949. Seeks entries in oil, acrylic,
wc, pastel, drawing/ graphics, color & b/w
photography, other media, for Open Juried
show and Salon des Refusés at The Bendheim Gallery, Greenwich Arts Council, 299
Greenwich Ave. Greenwich, CT. George
Nama, NA, juror & judge. www.artsocietyofoldgreenwich.com Hand deliver to
Bendheim Gallery on Jun 12, 1-2pm
Artists: Art Without Walls, Inc., PO Box
341, Sayville, NY (631) 567-9418 or PO Box
2066, NY, NY 10185-2066 Seeks entries
for Annual Major Art Exhibition in Public
Space: “People, Places, Animals” Jul 28 in
Central Park; ALSO Seeks artwork of veterans from all wars for “Museum Without
Walls — Art of the Soldier” at Battery park
Jul 15. SASE with resume, CD photos, or
slides to Sharon Lippman, Ex Dir., A.W.W.,
PO Box 341, Sayville, NY 11782 www.
artwithoutwalls.net Deadline Jun 15
Artists: Artist Studio Residency, SOHO20
Gallery Chelsea,547 W 27th St., NYC (212)
367-8994 Seeks applicants for free studio
space Info online. [email protected]
www.soho20gallery.com Deadline Jun 4.
Painters, Sculptures, Photographers,
Graphics Designers: Salmagundi Club,
47 Fifth Ave., NYC 10003 (212) 255-7740.
Seeks entries for Annual Open Non-Member Juried Exhibition, Aug 8-19. Download
prospectus from website or mail with
SASE. [email protected] www.Salmagundi.org Postmarked Deadline: June 6.
US Artists: Audubon Artists Art Society Entries of aquamedia, mixed media,
graphics, oils, acrylics, pastels & sculpture
(excluding photography and digital art) for
69th Annual Juried Exhibit, Sept 10-Sep
30, 2011 at the Salmagundi Club, NYC.
Over $20,000 in awards. SASE to Raymond
Olivere, 1435 Lexington Ave., #11D, New
York, NY 10128 or go to website for prospectus. Additional info: Vinnie Nardone: (732)
903-7468 [email protected]. www.
audubonartists.org Deadline Jul 23.
Artists: b.j. spoke gallery, 299 Main St.,
Huntington, NY 11743 (631) 549-5106.
Seeks entries for Paperworks 2011 Competition. Download prospectus from website.
www.bjspokegallery.com. Deadline May 27
Artists: Berks Art Alliance, 1100 Belmont
Ave., Wyomissing, PA Seeks entries for 34th
Annual Open Juried Exhibition Jul 2 - Sep
4 at Reading Public Museum, Reading, PA.
Jurors: Lisa Tremper Hanover, Dir. Berman Museum of Art, Nancy Campbell, Dir.
Wayne Art Ctr. Hand delivered entries only.
$4,000 awards. #10 SASE to: BAA c/o Gurman, 305 Sunshine Rd., Reading, PA 19601.
For prospectus log on either website. www.
berksartalliance.com / www.readingpublicmuseum.org Deadline Jun 17.
Women Artists: Catharine Lorillard Wolfe
Art Club, Inc., Seeks entries for the 115th
Annual Open Juried Exhibition at the
National Arts Club, Oct 4-28, 2011. Media:
Oil, Acrylic, Watercolor, Pastel. Graphics,
Sculpture. Over $10000 in awards. Entry
fee $30 Members, $35 non-members. Juried by CD’s or Slides. SASE: Okki Wang,
431 Woodbury Rd., Cold Spring Harbor,
NY 11724 or download from website. www.
clwac.org. Deadline Jun 10
Artists, All Media: Cooperstown Art Association, 22 Main Street, Cooperstown,
NY 13326. 76th National Juried Exhibition
July 15-Aug 19. Jurors: Mary Anna Goetz
and James Cox. All media. Possible $3500 in
prizes. Catalog. Prospectus available online
or send #10 SASE to “National Exhibition”
www.cooperstownart.com Deadline May 15
Craftspeople: Dutchess Community College Foundation Seeking crafters for 40th
Annual Holiday Craft Fair, Nov. 26 & Nov
27. For more information call Diane Pollard
(845) 431-8403 or visit website. www.sunydutchess.edu/Alumni/foundationevents/
annualCraftFair
Artists: Earlville Opera House Art Center
Galleries, E Main St. Earlville, NY (315)
691-3550 Seeks entries for 2012-2013
exhibition schedule. Call or visit website
for full info. www.earlvilleoperahouse.com
Deadline May 16.
Artists: Gardiner Assoc of Businesses,
35 Tuthilltown Rd, Gardiner, NY (845)
641-4605 Seeks participants for Plein Air
Painting Event & Auction Saturday Jun 11
(rain or shine). Apps & guidelines available
online or call for info. www.gardinernybusiness.com
Artists, Craftspeople: Pawling Chamber of Commerce, PO Box 19, Pawling,
NY 12564 (845) 855-0500 Seeks entries
for 19th Annual (Juried) Pawling Arts
& Crafts Festival on September 24, 104pm. Send SASE to Chamber of Commerce or email Verna Carey, Event Chair:
[email protected] (845) 855-5626
Deadline Aug 15; Early bird Jun 15
Did you miss the
deadline for this
issue? You can
still publicize your
event or business
for a small fee.
ARTTIMES Online:
www.arttimes
journal.com
with 2 million hits
in the last year is
your solution.
Photographers: Garrison Art Center,
23 Garrison Landing, Garrison, NY (845)
424-3960. Seeks entries for “PHOTOcentric
2011” a juried exhibition Sept 10-Oct 2.
Open to all photographic mediums. Categories are Landscape, Portrait, Architecture
and Open Jurors: Larry Fink, photographer
and Stephen Perloff, Editor of Photo Review
& Photo Collector. $2,200 plus publication
in Exhibition Book and more. $40 for 5 images, plus $5 for each additional submission.
Download prospectus from website. info@
garrisonartcenter.org www.garrisonartcenter.org Deadline Jun 15.
Craftspeople: Guildford Art Center, 411
Church St., PO Box 589, Guilford, CT 06437
(203) 453-5947. Seeks entries for Guilford
Craft Exposition July 14-17 Call fro Info or
visit website for details. www.guildfordartcenter.org
Artists: Harrison Council for the Arts,
Harrison Pubic Library, Bruce Avenue,
Harrison, NY 10528 (914) 835-0324. Seeks
entries for 2012 Exhibition schedule. Call or
write for complete details. www.harrisonpl.
org Deadline May 20
Artists: Hudson Valley Gallery, PO Box
222, Cornwall-on-Hudson, NY 12520 (845)
401-5443 Seeks entries for 2nd Annual “Just
for Squares!” Competition, Sep 17 — Oct 16.
$500 First Prize. Send SASE to gallery or
download prospectus from website. www.
hudsonvalleygallery.com
Artists: Jewish Federation of Ulster
County, 159 Green St., Kingston, NY 12401
845-338-8131 Seeks entries for Fall for Art
Juried Show & Sale Sep 8, 6-9pm, Wiltwyck
Golf Club, Kingston, NY email for info of
download entry form from website. info@
fallforart.org fallforart.org
Artists, Craftspeople, Photographers:
MC Miller Middle School, 65 Fording Place
Rd., Lake Katrine, NY (845) 382-2960 Seeks
vendors for 23rd Annual Fair Oct 22, 23..
Email for details apps. [email protected] Deadline Jun 1
Young Artists: Nat’l Foundation for Advancement in the Arts (NFAA) Seeks entries
for 2012 YoungArts National Program. Visit
website for details. awhitlow@youngarts.
org youngarts.org Deadline Oct 14.
Artists: National Association of Women
Artists, 80 Fifth Ave., Ste. 1405, New York,
NY 10011 (212)675-1616. Seeks membership of professional women artists who
desire exhibitions throughout the U.S. For
details download from website. www.thenawa.org Deadline Sep 15; March 15
Plein Air Artists: Northport Arts Coalition, PO Box 508, Northport, NY 11768.
Seeks participants for 5th Annual Plein Air
juried event, June 10-12, 2011. Website for
application and prospectus. www.northportarts.org. Deadline May 28.
Soft Pastel Artists: Pastel Society of
America. Seeks entries for 39th Annual
Open Juried Exhibition at National Arts
Club, Sept 6 - Oct 1. Send SASE (#10) PSA,
15 Gramercy Park South, New York, NY
10003 for prospectus. Info: 212 533 6931 or
download from website. [email protected].
www.pastelsocietyofamerica.org. Deadline
for Slides: Jun 3.
Visit ART TIMES online for
additional opportunity
listings
American Painters over 45: Provincetown Art Assn & Museum (PAAM) Seeks
applicants for Orlowsky / Freed Grants from
$5,000 - $30,000. Apps online. www.paam.
org Deadline Aug 15.
Artists: Smithtown Township Arts Council,
660 Rte., 25A, St. James, NY 11780 Seeks
entries for “Imagination” Jul 2- Aug 5.
Prospectus at www.stacarts.org/exhibits
or send SASE. www.stacarts.org. Deadline
May 18.
Artists: Smithtown Township Arts Council,
660 Rte., 25A, St. James, NY 11780 Seeks
entries for “American Mosaic” Aug 13 - Sep
16. Prospectus at www.stacarts.org/exhibits
or send SASE. Deadline Jun 27.
NYC Women Artists: SOHO20 Gallery
Chelsea,547 W 27th St., NYC (212) 3678994 Seeks applicant for fellowship membership; and Seeks entries for 16th Annual
Juried Exhibition. Apply online. soho20@
verizon.net www.soho20gallery.com Deadline Jun 4
Jewelers: The Art Jewelry Forum (AJF)
(914) 282-9844 Seeks entrants for Emerging
Artist Award (EAA) for 2011 competition.
$5,000 Award. www.callforentry.org for
apps. Full info on website. [email protected] www.artjewellryforum.org.
Deadline Sep 30.
Watercolor Artists: The Arts Center/Old
Forge, Inc. P.O. Box 1144, Old Forge, NY
13420 (315) 369-6411 Seeks entries for 30th
Adirondacks Nat’l Exhibition of American
Watercolors Aug 13 - Oct 2. download prospectus or send a #10 SASE Attn: “ANEAW”
artscenteroldforge.org
Artists, Photographers: Tudor City
Greens Annual Art Show Seeks work of
artists and photographers for Outdoor Art
Show on June 16, 17, 18, 2011. For prospectus send SASE or call Anne Stoddard 5
Tudor City Place, #1-E, New York, NY 10017
(917) 327-4659.
Artists, All Media: Unframed Artists
Gallery, 173 Huguenot St., New Paltz, NY
12561 (845) 255-5482. Seeks entries from
“artivists” (artists + activists) for “Beneath
the Surface” exhibit. Call for info or download application. unframedartist@yahoo.
com. Deadline Jun 5
Artists, All Media: Washington Square
Outdoor Art Exhibit, Inc., PO Box 1045
New York, NY 10276 (212) 982-6255. Seeks
participants for 81st Art in the Village
outdoor exhibit, May 28,29,30 Jun 4,5 and
Sep 3,4,5, 10, 11 Go online for registration
form and info. [email protected] www.
washingtonsquareoutdoorartexhibit.org.
Artists, Craftspeople: Window on the Arts
Festival, Windsor’s Village Green (607) 2423282. Seeks entrants for 4th Annual Festival. email or call for details. skyblue1926@
aol.com
Artists: Wurtsboro Art Alliance, PO Box
477, Wurtsboro, NY 12790. Seeks entries
for exhibit w/theme “Fields and Streams”
Jul 9 thru Aug 7. Send SASE to PO Box or
download from website. info@waagallery.
org www.waagallery.org Deadline May 7.
If you have an opportunity to list,
email: [email protected] or
write: ART TIMES PO Box 730, Mt.
Marion, NY 12456. Please follow above
format and include deadline and contact phone number.
NationalSocietyof Painters in Casein and Acrylic
57th National Juried Exhibition
at the Salmagundi Club, 47 5th Avenue, NYC
May 23rd — June 10th
Reception Friday, June 10, 6-8pm;
Awards Ceremony at 7pm
610-264-7472 / [email protected]
www.nationalsocietyofpaintersincaseinandacrylic.com
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Pastel Society of America
America's Oldest Existing Pastel Society
PSA Call for Entries!
39th Annual Exhibition – “Pastels Only”
Entry Deadline: June 3, 2011
Prospectus is available at
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Exhibition at the historic National Arts Club, NYC
September 6 - October 1, 2011
~~~~
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Oct 21-23 ~ Maggie Price, PSA… Lively Landscape Paintings
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Nov 11-13 ~ Liz Haywood-Sullivan, PSA… Looking Up:
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Letters
To the Editor:
Thanks for doing such a nice remembrance of my dad [“Bruce Currie”:
rjsteiner.wordpress.com]. It’s true
he was one of the last of that “wave”.
Such a remarkable period in American art history, really. A coming
together of such a remarkable cast of
characters! I realize now how fortunate I was to be this kid, a fly on the
wall really, at all their parties just
soaking it all up over all those years.
Best wishes,
Jenne Currie
NYC & Woodstock, NY
To the Editor:
In response to Francine Trevens’
article on dance, and also her online
essay on information supplied to critics (and audiences as well), I have the
following thoughts: It occurs to me
that what Ms. Trevens describes is a
cultural phenomenon: we are a society constantly seeking instant gratification, pre-digested information on
blogs and websites, laugh tracks on
sitcoms. I’m certain that there is a
discreet group of people who simply
read the NYT Book Review section
instead of reading the books. What’s even worse, political activists seldom fact check or perform
due diligence – hence Michelle Bachmann and Huckabee and Palin spout
treasonous opinions and mis-state
facts. Political polls are the de facto
pulse of the nation, but they are in
constant flux. Post-Bush, you would
think that Americans would smarten
up a bit. But the lazy populace is
probably waiting for someone else to
do it for them!
Sincerely,
Naomi Sanderson
Roslyn, NY
To the Editor:
Wow…there it was on the cover
already [“Rembrandt at The Frick”,
Mar/Apr 2011]! I am stunned…what
a lovely and thoughtful review, and
your perspective really adds something to the discussion… thank you
so much! Heidi Rosenau, Head of Media
Relations & Marketing
The Frick Collection
New York, NY 10021
To the Editor:
The March/April issue feature Peeks
and Piques! is by far your finest hour.
The most insightful, intelligent and
thoughtfully constructed piece of
literature I have come across in decades. Keep up the good work.
Seriously, thanks for the kind
words.
We will keep a light burning in the
window
Your Friend and Colleague
John Frazee, Delray Beach, FL
To the Editor:
I have read with great pleasure
your novel The Mountain. I particularly appreciated the history of the
Woodstock School of Art and, being
a painter, the insight into painting given through your characters’
words. Congratulations on such an
interesting book!
I am writing to ask if in your research you have ever run across the
work of the artist John F. Folinsbee
who studied with John Carlson and
Birge Harrison in Woodstock for several summers (via the Art Students
League). He was my grandfather to
whom I was very devoted, and lived
and worked in New Hope, Pa. after
his years as a student. There was
a show recently at the Woodmere
Museum in Philadelphia of his work,
which was a great success. It included
one of the few landscapes extant that
he did in Woodstock in those early
years. Those works can be found on
the catalogue raisonné website www.
folinsbee.org. The director of the
catalogue raisonné and members of
the family often wonder if there are
other works by Folinsbee scattered
about in the Woodstock area, as he
was prolific even back in the early
years? He was of course acquainted
with many of the artists you mention
in your book, and I kept wondering if I
might run into his name in the novel!
I would be so interested in hearing
any information you might have uncovered about Folinsbee during those
years, and if by chance you have ever
seen paintings by him in the Woodstock area. I would also love to send
you a catalogue of his recent show
should you be interested. Thank you
again,
Joan Hooker
Palisades, NY
(Editor’s Note: Anyone having information that might help Joan Hooker
in her search is welcome to contact me
at [email protected]).
ef
visit us at
Classified
NAWA National Association
of Women Artists, 80 Fifth Ave., Ste.
1405, New York, NY 10011 (212) 6751616. Invites women artists (18+, U.S.
citizens or permanent residents) to
apply for membership in the oldest professional women’s art organization in
the U.S. (established in 1889). Juried.
Regular Membership, Junior/ Student
Membership, and Associate Membership. For details send SASE to NAWA or
download from website. www.thenawa.
org. Deadline: Sept 15 & March 15 of
each year.
BOOKS BY RAYMOND J. STEINER:
Heinrich J. Jarczyk: Etchings 19681998 ($30) and The Mountain $18.
Please include $5 for tax and shipping.
Order from CSS Publications, Inc. PO
Box 730, Mt. Marion, NY 12456. More
information available about these
books on the website: www.raymondjsteiner.com or www.arttimesjournal.
com.
ARTISTS: All Media Summer/Fall
Exhibitions. Wall or floor rentals 12’x8’
$120. Viewing fee $25.00 for 5 images
on CD include bio. Mail entries to 170
Canal Street, Ellenville N.Y. 12428
(make check payable to 162-170 Canal
GICLEE: Large Format Printing
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will be held May 14th and 15th, June 11th
and 12th, July 9th and 10th, August 13th
ADVERTISE in ART TIMES online.
and 14th. Please contact at 845 440 8355
We are offering advertising on our
for additional information. Materials
website: banners & classifieds. Take
list will be available with registration.
a look online at www.arttimesjournal.
com. For advertising rates: call (845) THOUGHTFUL, innovative & re246-6944 or email ads@arttimesjour- sourceful approaches to stonework and
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NEW CENTURY ARTISTS: 530 West
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10001, (212) 367-7072 is seeking new ARTISTS: Piermont Flywheel Gallery
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msn.com for further information.
Howard, 201 836.8576 or visit: piermontflywheelgallery.com. ART TIMES is distributed along the
cultural corridor of the Northeast with ART STUDIO SPACE available with
a concentration in the Metropolitan waterfront views. Located in Port
New York and Hudson Valley Regions, Washington, Long Island. Shared
New Jersey, Connecticut, and Massa- space. Free parking. Call the Art Loft:
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exhibit in or out of your area, let everyVENDORS: Miller Craft Fair - Ocone know about it. Call for advertising
tober 22-23, 2011. Space: $75. due by
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ART APPRAISER: Jane St. Lifer Art, 845-943-3941
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SUPPORT for Struggling Artists. each additional word. All classified ads
Mental Health Professional with a must be pre-paid. Send check/credit
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718-551-1308 [email protected]
19th Annual Pawling Arts & Crafts Festival
2011
Exhibitors Invited
A juried event Outdoors and Under Tents
on Charles Colman Blvd. in the Village of Pawling
sponsored by the Pawling Chamber of Commerce
Saturday, September 24, 10am - 4pm
APPLICATION DEADLINE: AUGUST 15th
(Early Bird Discount Deadline: June 15th)
For Application Requests: Verna Carey, Event Chair
845-855-5626 • email: [email protected]
SASE to: Pawling Chamber of Commerce
P.O. Box 19 Pawling, NY 12564
Theatre
What the heck, I’m already here, how bad can it be?
By ROBERT W. BETHUNE
Terry Teachout, of the Wall
Street Journal, is an admirable critic,
particularly because he will actually
go out into the benighted jungle lands
west of the Hudson River to discover
what the primitive peoples of that
land are doing in their theaters. He
is also a rather fascinating case-inpoint about what he will and won’t
go to see.
He is a case-in-point because he
is both personally and professionally
far more interested in theater than
the vast majority of the audience. If
we could chart such things, he’s got
to be at least two or three standard
deviations to the right of mean on
that—in other words, something like
99th percentile.
He provides an even more interesting data point because he publishes an annual description of what
he’s interested in on his blog.
Last but hardly least, he is the
only national-media critic who still
travels.
So what does the uber-audience
want to see?
First of all, and very prominently:
“I won’t visit an out-of-town company that I’ve never seen to review
a play by an author of whom I’ve
never heard. What I look for is an
imaginative mix of revivals of major
plays—including comedies—and
newer works by living playwrights
and songwriters whose work I’ve
admired.”
In other words, first-time playwright? Kiss it goodbye. That creates
an obvious problem for an art form
that will swiftly strangle and die
without fresh work by fresh talent.
I don’t blame him. He has to draw
the line somewhere, as he himself
points out when he states why he
doesn’t do dinner theater or children’s
theater. So does every audience member. Nobody can see everything, and
nobody wants to have a bad evening
at a bad play. Everyone needs some
form of third-party quality control,
not just on entertainment, but on
everything.
The problem, however, is obvious:
without any mechanism in today’s
theater to provide a trusted thirdparty view of brand new work and
brand new talent, the fresh blood the
theater needs will be very hard to
come by. Nobody trusts blood from an
unknown blood bank. Word of mouth
is extremely difficult, because all theater is very, very local and brand-new
untried theater is even more so.
In the olden days, when news and
ideas and information generally traveled at the speed of a walking horse or
a sailing boat, there was an institution that promoted the dissemination
of new things and new ideas—the
fair. Anyone who thought they had
an attractive new idea, and had a
bit of wherewithal to travel and pay
some fees, could take their act to the
fair each year, and have a decent shot
at getting seen. In today’s theater
world, the only such “fair” I know
of is the Edinburgh Fringe. Anyone
who can solve the logistics can show
up there—not easy, of course, when
transatlantic travel is involved, but
at least people in the UK and Europe
have a reasonable shot.
Maybe we need something like
that? Something that would draw
the artists, the critics, and the audiences into the same airspace in an
atmosphere that would encourage
thoughts like, “What the heck, I’m
already here, how bad can it be?”
ef
Speak Out
is your forum!
ART TIMES seeks your opinions, viewpoints, ideas and
complaints on any aspects of the arts. If you have a point
to make—no matter how controversial—all we ask is that it
be well reasoned and professionally presented. (No advertorials, please). Limit yourself to three (3) double-spaced
typewritten pages and send with a SASE to: “Speak Out,”
ART TIMES, PO Box 730, Mt. Marion, NY 12456-0730.
A by-line and tag-line identifying the writer accompanies
all “Speak Out” articles.
Call for Entries
40th Annual Holiday Craft Fair
November 26 & 27, 2011
10 am to 4 pm
Juried Show
Hand-Crafted Items Only
For an application or more information go to
http://www.sunydutchess.edu/alumni/foundationevents/
Poughkeepsie, NY
2nd Annual Painting Competition
First Prize: $500
“Just for Squares!”
Maximum Painting / Drawing Size
6"x 6"(Maximum Framed Size 10"x10")
Sept. 17 to Oct. 16, 2011
For more information and a Prospectus
(SASE) to 246 Hudson Street • PO Box 222
Cornwall-on-Hudson, NY 12520 • 845-401-5443
or visit www.hudsonvalleygallery.com
UPCOMING WORKSHOPS
MONOTYPE PROJECTS
w/ Kate McGloughlin, May 5-26, Thursdays
Call for Entries
83 Grand National Exhibit
rd
November 1st — November 11th
Salmagundi Club, NYC
Open to all Artists,
Representational or Traditional Realism
Original Oil, Acrylic, Watermedia, Pastel,
Graphics & Sculpture
Approximately $15,000 in awards, cash & medals
One or two works may be submitted.
Members $20, $15 for 2nd entry;
Non-Members $40, $25 for 2nd entry.
Slide or digital submissions accepted
Deadline August 13 • Receiving October 29
For Prospectus send #10 SASE to: AAPL, Dept. AM
47 Fifth Ave, NY, NY 10003 or visit our website:
www.americanartistsprofessionalleague.org
DRAPERY & THE FIGURE
w/ Judith Reeve, May 7-8
IMPRESSIONIST APPROACH
TO LANDSCAPE PAINTING
w/ Joan Jardine, May 14-15
THE POETIC LANDSCAPE
w/ Paul Abrams, May 21-22
ABSTRACTION & LARGE SCALE DRAWING
w/ Meredith Rosier, May 28-29
SIMPLIFYING THE LANDSCAPE 1
w/ Kate McGloughlin, June 2-23, Thursdays
WOODLAND INTERIORS
w/ Robert Carsten, June 20-22
INTERPRETING THE LANDSCAPE
w/ Christie Scheele, June 27-29
visit woodstockschoolofart.org for complete listings
845 679 2388
[email protected]
ONLINE
NewYorkArtists.net
The Number One
Website for
New York Artists
Top Rankings on all Major
Search Engines
Artists: List Your Website
for Only $25.00
6 month promotional (limited time) offer
Contact: Gloria Rabinowitz
718-465-5111
[email protected]
Calendar
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exhibition opening june 11
Thursday, June 9
Viewpoints, SMI’s 14th Annual Exhibit Studio Montclair Co-Sponsored by
Aljira, a Center for Contemporary Art 591 Broad Street Newark NJ 973-744-1818
Reception: Thurs., June 9 6-9pm free (thru June 25) www.studiomontclair.org
Friday, June 10
57th Annual Exhibit National Society of Painters in Casein & Acrylic
Salmagundi Club 47 Fifth Ave., NYC (212) 255-7740 Awards presentation 7pm (thru
Jun 10)
Saturday, June 11
Judith Weber: Beneath the Surface: An Exploration of Color on Ceramic
Tile Harrison Council for the Arts Harrison Public Library 2 Bruce Avenue Harrison
NY 914-835-0324 Opening Reception 2-4pm free (thru July 7) www.harrisonpl.org
Hudson Valley Art & Wine - A Grand Celebration M Gallery 350 Main
Street Catskill NY 518-943-0380 Opening Reception 6-8pm free (thru July 11) www.
mgallery-online.com
ICE AGE TO THE DIGITAL AGE: The 3D Animation Art of Blue Sky Studio
Norman Rockwell Museum 9 Rte 183, Stockbridge, MA Free MA
Joe McGlynn at the Salmagundi Club 47 Fifth Avenue, NYC (212) 255-7740 Opening Reception 2-4pm (thru June 19)
OPENING CELEBRATION for fine art show “Beneath the Surface” Unframed
Artists Gallery 173 Huguenot Street New Paltz NY 845-255-5482 4PM-7PM free www.
unframedartistsgallery.com
Plein Air Painting Event and Auction- ART in Gardiner Gardiner Association of Businesses Gardiner, NY 845-641-4605 free www.gardinernybusiness.com
Monday, June 13
3 GENERATIONS: WIGGINS, WIGGINS & WIGGINS (thru Jul 1); SCENES
FROM ABROAD (thru July 15) Salmagundi Club 47 Fifth Avenue, NYC (212) 2557740 (thru July 1) www.salmagundi.org
to the
Digital Age!
The 3D Animation Art
of Blue Sky Studios
Witness: The Art of Jerry Pinkney
on view through May 30
Wednesday June 8
Pat Adams - Solo Exhibition The National Association of Women Artists, Inc.
N.A.W.A. Gallery 80 Fifth Avenue - Suite 1405 New York NY 212-675-1616 Opening
Reception 4-7pm free (thru June 29) www.thenawa.org
Sunday, June 12
Member Show II Kent Art Association 21 South Main Street Kent CT 860-9273989 free (thru July 17) www.kentart.org
Ice Age
final weeks !
Rio™ ©2011, Twentieth
Century Fox Film Corporation,
All Rights Reserved.
Elwood’s World:
The Drawings and Animations of Elwood H. Smith
on view through May 15
nrm.org • open daily • 413-298-4100 • 9 Rt. 183, Stockbridge, MA
Thursday, June 16
80th ANNUAL EXHIBITION Hudson Valley Art Association Lyme Art Association,
90 Lyme Street, Old Lyme CT (thru July 30) www.hvaaonline.org
Annual Artist-Craftsmen of New York Exhibition ACNY Members New
Century Artists Inc. 530 West 25th Street suite 406 New York NY 516-767-0538 Receptions 5-8pm free (thru July 2) www.artistcraftsmenofnewyork.com
GREENS OUTDOOR ART SHOW Tudor City Place (between East 41st and East
43rd Streets), NYC 8am-6pm
OPEN JURIED SHOW Art Society of Old Greenwich 299 Greenwich Avenue, Greenwich CT 203 637-9949 Opening Reception 6-8pm (thru July 16)
SALON des REFUSÉS Art Society of Old Greenwich Hospital Office Building Gallery, 49 Lake Avenue, Greenwich (thru July 16)
Friday, June 17
Saturday, June 18
Sunday, June 19
Northport ArtWalk Northport Arts Coalition Northport Main Street Northport NY 631-754-3905 1-5PM free www.northportartwalk.com
Opening of Open Space: El Museo del Barrio’s Biennial Socrates Sculpture
Park 32-01 Vernon Blvd. at Broadway Long Island City NY 718-626-1533 5pm-7pm
free [email protected]
Tuesday, June 21
Summer Solstice Celebration Socrates Sculpture Park 32-01 Vernon Blvd.
at Broadway Long Island City NY 718-956-1819 5pm-Sunset free http://www.socratessculpturepark.org
Wednesday, June 22
WEEKEND WITH THE MASTERS Salmagundi Club 47 Fifth Avenue, NYC (212)
255-7740 (thru June 26) www.salmagundi.org
Thursday, June 23
Rose Yannuzzi Solo Exhibit: Visual Poetry - Watercolors and Photography
Piermont Flywheel Gallery 223 Ash Street Piermont NY 845-365-6411 free (thru July
10) www.piermontflywheel.com
Friday, June 24
31st ANNUAL OLD SONGS FESTIVAL: Music with Roots Altamont Fairgrounds,
Altamont, NY (518)765-2815 (thru June 26) www.oldsongs.org/festival
80th ANNUAL EXHIBITION Hudson Valley Art Association Lyme Art Association,
90 Lyme Street, Old Lyme CT Opening Reception 5-7pm (thru July 30) www.hvaaonline.org
HUDSON VALLEY ARTISTS 2011: Exercises in Unnecessary Beauty Samuel
Dorsky Museum of Art, SUNY New Paltz, 1 Hawk Dr., New Paltz, NY (845) 257-3844
Opening Reception 5pm (thru Nov 13) www.newpaltz.edu/museum
Saturday, June 25
Sunday, June 26
Rose Yannuzzi Solo Exhibit: Visual Poetry - Watercolors and Photography
Piermont Flywheel Gallery 223 Ash Street Piermont NY 845-365-6411 Opening Reception 2 - 5pm free (thru July 10) www.piermontflywheel.com
ef
If you missed getting information into this issue contact us at [email protected]
We can meet your needs on our website with listings & banner ads. www.arttimesjournal.com

Clark Hulingsat The Forbes Galleries, NYC

Transcription

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