The Art of memory walking

Debra Priestly has a one-person exhibit, memory walking, at 11 Jane Street Art Center in Saugerties through December 13. Priestly’s art is held in prestigious collections including Pennsylvania Academy for the Fine Arts, Schomburg Center for Research in Black Culture, The Sandor Family Collection and Petrucci Family Foundation. This exhibit shows the breadth of Priestly’s artmaking, including installation, painting, and drawing that examines memory and generational links through the backdrop of history.

Many of the objects featured in Priestly’s work are ordinary domestic objects found in every home. Priestly commented, “For many years, I have been interested in the way common rituals, such as the preparation and consumption of food, and the everyday objects used in these rituals can spark a dialogue.” And this is part of Priestly’s oeuvre – to honor the mythology that grows from the ordinary rituals that we practice in our daily life.

Immediately on entering the gallery visitors can view “looking glass 8,” a collection of mismatched teacups fashioned into a large wreath. Decorative imagery on the cups mingle with hand-painted portraits and photo transfers from the artists’ family photos. Priestly commented; “The conversations about the cups, sometimes over tea, always lead to a conversation about ancestry.”

copyright Debra Priestly, 1999 | looking glass 8

The ubiquitous canning jar is seen frequently in her work where we can understand the symbolism of preserving history. While most of the artworks spring from personal stories, in “strange fruit 2” Priestly has collected historic drawings featured in newspapers, advertising flyers for slave auctions and anti-slave meetings, and imagery of the 1800’s Black heroes, such as Sojourner Truth and Nat Turner. The 40 images encapsulated in canning jars and presented together in one piece create a strong statement about the history of America and the memories that all American Black families have in their lives.

copyright Debra Priestly | strange fruit 2

Priestly has several delicate drawings and paintings on exhibit: in one, she has traced points on a map and painted zodiac constellations that recall migrations to new lands. In another, a simple line drawing in the shape of a canning jar holds imagery within – sometimes a portrait of an ancestor painted from a photograph, or a rendering of the rack that fits inside of the pot when making preserves. These common objects are painted with reverence, acknowledging the place they hold in life’s order.

Proceeding ahead to Gallery North, see the installation, “somewhere listening,” where Priestly pulls together all the themes seen in her work weaving together family stories and memories that trace their histories. The portraits of Annie Laura Denny Priestly and William Henry Priestly at the far end of the gallery depict the artist’s ancestors beautifully rendered in vine charcoal. Three soup tureens are placed strategically on the path to the portraits where visitors will hear murmurings of recordings emanating from Priestly’s relatives recounting migration stories, songs and prayers. Altogether the sound and artworks create a shrine to family – the memories, stories, and the implication that every day we create our own history that will be remembered in the future.

North gallery installation by Debra Priestly | somewhere listening

Debra Priestly, memory walking is at 11 Jane Street Art Center through December 13, 2020, located at 11 Jane Street, Saugerties, NY.

Hours: Friday-Saturday: noon-6:00 p.m. and Sunday: noon-5:00 p.m., and by appointment: (508) 241-0273 or email: jen@11janestreet.com

www.11janestreet.com | https://www.facebook.com/11janest.artcenter/

This was originally published in the Poughkeepsie Journal Lifestyle, November 15, 2020.

The Art of Ransome

The Barrett Art Center mounted the one-person exhibit Ransome: The View From Here, showing a recent body of work from James Ransome. The spare exhibit encompassed 12 paintings, most of them of a generous size where it was advisable to stand back and take in all the details of the artworks before moving in close to examine details.

Outside the gallery entry Ransome provided his artist statement that stated that: “One of the things though, that has always afflicted the American reality, and the American vision, is this aversion to history. History is not something you read about in a book – history is not even the past – it’s the present. Because everyone operates, whether or not we know it, out of assumptions which are produced, and produced only by, our history.”

Ransome has created a narrative history of life grounded in being a Black person in America. Bounded by the past, but looking at the future, Ransome makes paintings that revere the artistic brilliance of Black persons that have taken this path. He references the work of Kerry James Marshall, a Black American artist that has dedicated his art career to depicting the lives of Black persons in their everyday life, as well as the quilters of Gee’s Bend, a collective of Alabama quilters who went on to exhibit their work at the Whitney Museum of American Art and beyond.

Gee’s Bend Quilter, Ransome

In a nod to this history, Ransome has used the design thinking of quilts as collage in many of these works. In the painting, “Quilt Folks,” the artist has composed the painting into three horizontal strips – the top two contain various papers collaged to create the feeling of a variety of quilt designs as seen in the work of the Gee’s Ben quilters. At the bottom of the artwork is what appears to be a parade of Black people, perhaps signifying that in that small Alabama community of Gee’s Bend, nearly everyone was a master quilt maker. Ransome uses scraps of papers, some that have been overpainted, to mimic the quilter’s bold designs. The gallery contains several paintings on corrugated cardboard, in a nod to the quilters who made their quilts out of worn everyday clothing.

Who Should Own Black Art, Ransome

In the painting, “Who Should Own Black Art,” viewers will see two figures posing proudly besides a large replica of Kerry James Marshall’s painting, “When Frustration Threatens Desire.” The painting within the painting has been slightly altered, with the black cat jumping into the foreground with the living humans. Ransome has referenced the question that has become key to the dialogue of art – who should be able to own original artworks? And in this particular instance, who gets to own artwork created by Black artists who have achieved fame?


The Ransome exhibit, “The View From Here,” was on exhibit October 10-November 14, 2020 at the Barrett Art Center: 55 Noxon Street, Poughkeepsie
845-471-2550 | info@barrettartcenter.org.

This article is an edited version originally published in the Poughkeepsie Journal Lifestyle, Sunday, November 1, 2020.

Photographs were courtesy of the artist Ransome, who reserves all rights over the images.

A Travel Memory

The mask that inspired our search for the artist.

The mask that inspired our search for Margarito Melchor Santiago

December 27, 2019:

We are walking through the small town of San Martín Tilcajete searching for the artist, Margarito Melchor Santiago. We had spotted a carved wood mask of his in the tiny museum Museo de Arte Popular Oaxaca in San Bartolo Coyotepec. We had only the name but we knew this was a small town and people should know the artist.

Asking around at the shops on the main street into town, a helpful merchant said he did know the artist and drew us a tiny map and pointed up the hill. We began walking up the hill and continued as the road went from cobblestones to hard-packed dirt. As we walked up hills we began seeing murals that had a similar theme.

We made a few wrong turns but finally found the studio and Margarito Melchor Santiago and his family warmly welcomed us inside. They were very pleased that we had sought them out after seeing their mask in the display of regional artists in the museum. They described how their family had a long tradition of mask carving beginning with his father, who stepped inside the showroom momentarily to say hello and to please excuse him for he had much work to so.

We inquired whether they had any more masks, but Margarito shook his head no. He explained they were busy making masks that had been commissioned for delivery in time for the big carnaval coming up in a few weeks. The carnaval begins in the morning when the boys and men paint their bodies with colors, some with motor oil, wear devil masks and parade throughout the village. The carnaval has been getting much attention in the past few years, attracting many from outside of this small village. Our hosts invited us to return for carnaval – someday we might.

Linda and Scott Marston-Reid pose with Margarito Melchor Santiago and family. Linda holds the Gallo, which did return home with us.   

The art of patterns

Another work day begins at home. I’ve created a place to focus and noticed this morning that greens and blues are the predominant colors in my space. The green bowl holds freshly cut sage from an overgrown side garden. Here it represents an honored place as a reminder that we are all tied to nature.

The small painting is by Penny Dell, featuring a collage of cubes created from the safety patterns seen on envelopes. Each cube is edged with gold encaustic paint, making the stacked cubes more precious.

Next to that is a jar created by Alexis Feldheim. This work has similar connections with the patterns Penny Dell uses – Alexis used her series of photographs and transferred the images onto the ceramic vessel. Having these things around me while I work reminds me how fortunate I am to be surrounded by a community of artists.

The Art of Wall Flowers

The Lockwood Gallery is known for mounting concept driven group shows featuring the work of exceptional Hudson Valley regional artists. During June, gallery proprietor and curator Alan Goolman invited artist Carol Struve to co-curate an exhibit, “Wall Flowers,” featuring six painters who are inspired by nature. The curators selected a body of work from each of the artists allowing viewers to appreciate each artists’ interpretation of the theme.

“Dreamtime” by Carol Struve

The front gallery features Carol Stuve’s lively monoprints filling the gallery with their exuberant colors and transparent layering of flower and leaf shapes. Struve commented, “While tending or walking about my gardens I witness colorful blossoms illuminated by the radiant morning light, dancing about in the gentle breeze.” Using these memories of her garden, Struve returns to her studio to capture the essence of color and light that are evident in her monoprints.

Joy Taylor also explores the natural world through her art and this exhibit includes paintings that suggest a narrative about the flowers she portrays. In one series, Taylor places the flower in a vessel; each painting describes an other-worldly flower as still-life with a curtain painted behind each vase. The work brings to mind the 70’s Hard-edge painters like Al Held and Ellsworth Kelly, however, Taylor’s style is unmistakably her own.

“Reflections of a Banana #5” by Joy Taylor

Kelly Schnurr exhibits 8 diminutive paintings with imagery that could also be successful on a grander scale. Schnurr is also inspired by the garden, citing that “a trail of sage highlighted in chartreuse, pops of vermilion, cornflower accents, and sprinkles of white lace ignites something inside of me.” The gouache paintings on paper exemplify the colors of the garden through gestural shapes and patterns.

Gabe Brown, “Untitled #573”

Gabe Brown exhibits ten sumptuous paintings on paper. Brown’s work contains layers of water color and gouache which she embellishes with Prismacolor Pencils. The paintings are filled with references to the ordinary world that we see every day, however, Brown has teased apart each image, color, and shape and reorganized them in a way that creates meaning to her.

Don’t miss the back gallery filled with the series of what at first appears to be traditional paintings by Thomas Sarrantonio. Upon closer examination, viewers will see these luscious paintings of the grasses, flowers, and fields of spring are also a way to immerse yourself into nature’s beauty and detach for a few moments of bliss.

“Convocation” by Thomas Sarrantonio

Sharing the back gallery are the magical ‘wall flowers’ created by Beth Humphrey, who provided this comment about her work: “I think about cycles in nature, gentle and violent forces at a moment of change and the shape of things at moments of transformation.” These whimsical paper creations are just what everyone needs dancing on their walls. Humphrey created these works by layering colors and embellishing with patterns, which the artist then cuts out into imaginative creatures. Humphrey’s wall flowers are displayed salon style on the entire wall and each creation has its own color, form and personality. Inviting one of these artworks into your space could bring the magic you’ve been seeking.

Beth Humphrey exhibits “End of Summer,” part of a series in the Wall Flowers show

The Lockwood Gallery is located at 747 Route 28, Kingston, NY 12401
Wall Flowers is on exhibit through June 20, 2020.
Phone: 845-532-4936 – Website: https://www.thelockwoodgallery.com/

This article was originally published in the Poughkeepsie Journal Lifestyle Section, Sunday, June 7, 2020.

All photos are courtesy of The Lockwood Gallery and the artists retain all rights to the images.


The Art of memory walking

Debra Priestly has a one-person exhibit, memory walking, at 11 Jane Street Art Center in Saugerties through December 13. Priestly’s art is held in prestigious collections including Pennsylvania Academy for the Fine Arts, Schomburg Center for Research in Black Culture, The Sandor Family Collection and Petrucci Family Foundation. This exhibit shows the breadth of Priestly’s … Continue reading “The Art of memory walking”

The Art of Ransome

The Barrett Art Center mounted the one-person exhibit Ransome: The View From Here, showing a recent body of work from James Ransome. The spare exhibit encompassed 12 paintings, most of them of a generous size where it was advisable to stand back and take in all the details of the artworks before moving in close … Continue reading “The Art of Ransome”

The Art of Architecture

The Hudson River Valley region is fortunate to have landmarks designed by notables such as Calvert Vaux, Andrew Jackson Downing, Frederick Clarke Withers and Frederick Law Olmsted. Many world-renowned landmarks came out of partnerships between these 19th century architects and landscape designers that set the style and fashion for America’s grand places.

Today we can appreciate the mission of the Calvert Vaux Preservation Alliance to preserve the regional legacy of the 19th century architect, Calvert Vaux. To expand appreciation of the historical value of these places, Kitty McCullough and the Calvert Vaux Preservation Alliance invited Franc Palaia to curate a photography exhibit that featured the historic architecture and landscape design in the Hudson River Valley. Palaia commented, “In my selection process I tried to focus on well-known, as well as lesser-known architecture to give the show a sense of discovery for the viewer.” From over 100 images, he selected 29 photographers to show 70 images for the exhibit.

Olana is a stunning example of Calvert Vaux’s partnership with Frederic Church to complete a home sited on a rise where views of the Hudson River and the landscape seems to go on forever. Photographer Paolo Nigris used drone photography to capture Olana and the sweeping views of the surrounding landscape.

CVPaolo Nigris, Olana, color
Photographer Paolo Nigris used drone photography to capture Olana and the sweeping views of the surrounding landscape. 

Several photographs in the exhibit feature the abandonment and ruination of these grand structures. Liz Cooke’s photography, Convalescent Home Piano Room, is a wonderful example of the architectural details in these old buildings. The photograph allows us to imagine the grandeur of this room in its prime, filled with music appreciators for an afternoon concert. Cooke has created a collection of these memorials to grand architecture and is the founder of Abandoned Hudson Valley, a website devoted to sharing ideas and images of the forgotten places in the Hudson Valley region.

CVLiz Cooke, Convalescent Piano Room
Liz Cooke’s photography, Convalescent Home Piano Room, shows items that are left behind in abandoned buildings.

Now abandoned, the Hudson River State Hospital Psychiatric Center looms above Route 9, a major transportation corridor. The iconic buildings were designed by Frederick Clarke Withers and the grounds were designed by Calvert Vaux and Frederick Law Olmsted: both were known for their pioneering work of America’s Park Movement, as well as the design for New York City’s Central Park. Monica d. Church captured the existing building on a cold morning in her photograph, Cheney Building, Psychiatric Hospital.

CVMonicadChurch
Monica d. Church captured the existing building on a cold morning in her photograph, Cheney Building, Psychiatric Hospital.

Bannerman Castle is another spectacular architectural structure adjacent to the railroad corridor on the Hudson River. John Verner’s photo of Bannerman Castle shows the intricate architectural details of the structure up close.

CVBannerman Castle, John Verner
John Verner’s photo of Bannerman Castle shows the intricate architectural details up close. 

Wilderstein is an Italianate style home designed by John Warren Ritch in 1852, and 40 years later, Calbert Vaux completed a landscape plan for the grounds that were originally pasture. Wilderstein’s interiors were designed by Joseph Burr Tiffany featuring the finest decorative arts during that time, including stained glass windows. Photographer Pieter Estersohn captured one of Wilderstein’s large stained glass windows at the top of a stairwell. The window’s artistry continues to sparkle in the sunlight, providing beauty and grace to all who walk within the walls of this architectural gem.

PieterEstersohnWilderstein72
Photographer Pieter Estersohn captured a stained glass window at Wilderstein, one of the architectural treasures in the Hudson River Valley.


This article was originally published in the Poughkeepsie Journal Lifestyle section, May 10, 2020.

The Historic Architecture Photography exhibit is available for viewing online:
https://www.calvertvaux.org/index.php/online-exhibit-tour/
To learn more about the Calvert Vaux Preservation Alliance: https://www.calvertvaux.org/index.php/about-us/

 

 

 

 

The Place of Memory (The Memory of Place)

Jan Sawka was a world renowned artist with artwork held in collections of 60 museums. Originally from Poland, his life took on unexpected direction when he was exiled from his country during the Cold War. He landed in New York and eventually made his home in High Falls, where he continued to make art from 1985 until his death in 2012.

Currently, the Dorsky Museum has a one-person thematic exhibit of Sawka’s work, The Place of Memory (The Memory of Place), curated by the artists’ daughter, Hanna Maria Sawka and Dr. Frank Boyer. The artworks clearly show Sawka’s love for his new country and especially the Hudson Valley. This is seen in the large four-panel painting depicting the Ashokan Reservoir, a place that reminded Sawka of his home country. Hanna Sawka, the artist’s daughter, commented: “This was a favorite place for my parents to take walks. The Hudson Valley was a place tied to my father’s memories.”

Sawka, his wife and daughter would travel for summer vacations to Asbury, New Jersey. Sawka felt the urban decline of Asbury Park reminded him of the conditions in Soviet-dominated Poland. The painting, “Asbury Notebook,” contains a multitude of small sketches and paintings that describe one detail about the place. Together, the images create a symphony of visuals.

Sawka-Asbury-Notebook-HR-1536x970-2
Jan Sawka, Asbury Notebook, 1981 Acrylic, graphite, mixed media on Masonite Courtesy Jan and Michael Solow

An entire gallery space is devoted to Sawka’s series, “Post-Cards,” which includes 36 drypoint prints of places around the world that were meaningful to the artist. What is especially exciting about this exhibit is a recent discovery of a letter from Sawka to Elena Millie, who was the Fine Prints Curator at the Library of Congress, where he described the inspiration and memories that he associated for each print in the “Post-Cards” series. Visitors will find these descriptions available in the gallery to guide their exploration.

Sawka-Postcard #32
Jan Sawka, Post-Card #32 (from the series “Post-Cards”), 1987-89, printed 1990, collection Samuel  Dorsky Museum of Art, gift of the Dorsky Gallery Curatorial Programs

Each of the artworks was created using drypoint, which is a scratching tool to create line on thick sheets of Plexiglas. Hanna Sawka provided this memory of visiting her father’s studio: “The persistent sound of a steel needle scratching Plexiglas is a part of my earliest childhood, it was a sound that I would hear well into adulthood.”

Artists scribe lines into the Plexiglas to create the imagery for a finished print. Lines that are deep and thick will print darker when put through the printing press. Hanna Sawka explained, “The length and the rhythm of the scratches would change with the length of the lines or hatchings. It was not a quiet scratch, but a determined, loud sound as my father scratched hard to create lines deep enough to hold ink for the printing process.” The exhibit includes a glass vitrine that contains two Plexiglas plates for the printing process as well as Jan Sawka’s drypoint scribing tool.


This article was originally published in the Hudson Valley News Weekend, February 26, 2020

Special Events: Planned symposiums were canceled due to COVID-19 pandemic. An online symposium is planned for Saturday, May 2, 2020. https://www.newpaltz.edu/museum/programs/specialevents.html

Symposium: Jan Sawka: The Place of Memory (The Memory of Place): A two-day symposium co-hosted by The Dorsky Museum and The Kosciuszko Foundation in New York City including panels of scholars who will help illuminate aspects of Jan Sawka’s practice, his biography, and the social and historic context of his art. Speakers will include Peter Schwenger, Tom Wolf, Beth Wilson, the exhibition curators and others.

YouTube video exhibition views of Jan Sawka: The Place of Memory (The Memory of Place) Curated by Hanna Maria Sawka and Dr. Frank Boyer at The Samuel Dorsky Museum of Art.

View the catalogue:

Jan Sawka: The Place of Memory (The Memory of Place) is up through July 12, 2020.

The Samuel Dorsky Museum of Art is located at State University of New York at New Paltz, 1 Hawk Drive (75 S. Manheim Boulevard for GPS), New Paltz, NY.

Call or email to check gallery hours: 845.257.3844 | sdma@newpaltz.edu

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Featured image: The Letter #3, 1979 Acrylic, watercolor, ink, varnish on board. Courtesy Jean Feiwel | Gallery photo by Linda Marston-Reid

 

The Art of Collecting

Gallery view with Carrying in the foreground.

One of the most important milestones in the career of an artist is to have their work included into a permanent museum collection. The Samuel Dorsky Museum of Art has established an annual purchase award and acquired artwork over the past 12 years through the Alice and Horace Chandler Art Acquisitions Fund. The exhibit, Collecting Local: Twelve Years of the Hudson Valley Artists Annual Purchase Award is a rare opportunity to see selections of the collection together.
Entering the gallery, it’s apparent that the collection has been built with a discerning, yet diverse eye. The exhibit includes video, sculptural installation, paintings, photography, mixed media and ceramics, yet all these artworks together create a vivid picture of the work of contemporary Hudson Valley artists.
Many of the artworks included in this exhibit turn the mirror back onto our culture as they examine climate change, violence in our society, and displacement. Curt Beishe and Lise Prown collaborated on the installation, Carrying (Pistol Packing Pupils) 2010, an artwork that makes a statement on our gun culture and gun laws in schools across the United States. Seen in a context of when the sculpture was created, we have seen ten additional years of gun deaths in our schools.

Libby Paloma creates wall hung multi-media pieces that memorialize her Chicanx and queer culture. In Chingona AKA Libby, she remembers her family roots while she claims her own individuality. The piece is embellished with seed beads and tiny objects that depict her world.
Several paintings are featured using a variety of style and approaches to working with paint. Nestor Madalengoitia’s work, Simon Bolivar – Hero 2, uses the artists’ trademark signature of portraiture with lettering and designs that feel inspired by Incan civilization from centuries ago. Thomas Sarrantonio’s small paintings on paper show us the birds eye view of forests with waterways from his series, Forest Paintings. Charles Geiger’s works are not only beautiful, but also a statement on the environment as shown in his painting, Out of Sight, inviting the viewer to search within the jungle of flowers and plant-like objects. In Stephen Niccolls’ painting, Strapat, the artist has pared down shapes to explore the essence of painting. Looking closely at the artwork, you will see the deliberate brushstrokes and placement of color.

 

Strapat – painting by Stephen Niccolls

There are several fine examples of photography in the exhibit from François Deschamps series, Available, where the artist places an image of a person alongside an empty storefront, to Richard Edelman’s dramatic piece, Rebekah Creshkoff in Search of Matilda, a study of shadow and light.
Several artists use existing materials to reconceptualize the work, such as Barbara Leon’s Homo Naturalis, where the artist has taken an existing poster and painted over the images. Don’t pass by the grouping of steel engravings; look closely to see how Jean-Marc Superville Sovak has inserted images that change the perception of these formerly bucolic landscapes.
As you depart this exhibit, pause a few moments at the gallery entrance to enjoy Patrick Kelley’s ethereal video, 175 Rome Churches.

The exhibit Collecting Local: Twelve Years of the Hudson Valley Artists Annual Purchase Award is on exhibit until July 12, 2020 at The Samuel Dorsky Museum of Art.
State University of New York at New Paltz, 1 Hawk Drive, (75 S. Manheim Boulevard for GPS), New Paltz, NY. Phone: 845.257.3844 Email: sdma@newpaltz.edu

This essay was originally published in the Poughkeepsie Journal, February 28, 2020.

 

Xoloitzcuintli

Originally posted during winter 2015 – I’ve revised it to include more photos of recent collections.

Once again we departing for Mexico in a couple of weeks, leaving snow and slush behind – nothing these little Mexican hairless dogs would likely experience. Xoloitzcuintli, or Xolo for short, has been popular in Mexico for centuries. The dog was named by the Aztecs after Xolotl, the God of lightning and death.

xolosnoThese small effigies can be seen at street markets as freshly baked clay folk arts, and also nearly identical to the Xolos at the National Museum of Anthropology in Mexico City. The dog statues were buried alongside their masters to protect and guide them in the afterlife.

Now you can find Xolos as simple clay or embellished folk art pieces, such as the one on the left we discovered two years ago. This type of ceramics is created in Tonolá, a ceramics-centric town outside of Guadalajara. The artist, Chon Chon, signed their name on both of these fantastical creatures. Different from its sibling we found two years later on the right, they both have lively expressions on their faces.perros chon chon

#FolkArtCollectors #MexicanFolkArt

In Pursuit of Color

The Lockwood Gallery is one of the latest galleries to the Hudson River art scene and they finish off the year with a flourish with their exhibit In Pursuit of Color. Michael Lockwood, owner of The Lockwood Gallery and curator Alan Goolman organized the exhibit that includes 24 of the Mid-Hudson region’s extraordinary visual artists. Visitors can explore the smaller galleries organized around colors that showcase a variety of paintings, sculptures, drawings, and mixed media.

Enjoy-Andrew-Lyght-Painting-Structures-645C
Andrew Lyght’s artwork, Painting Structures 645C

Andrew Lyght’s artwork, Painting Structures 645C, is prominently situated in the first gallery. Lyght created the three-dimensional piece with red oak and plywood, building negative and positive spaces that were informed by his observations of built structures during his early life in Guyana. The piece is embellished with drawings that may remind viewers of the Peruvian Nazca Lines. In the same gallery Stephen Pusey’s lively abstract painting, Nexus, is executed with colorful lines that dance on a rhodamine red background.

Enjoy Joseph Conrad-Ferm Cornu
Cornu, by Joseph Conrad-Ferm

Joseph Conrad-Ferm’s painting, Cornu, was inspired by music. The artist stated, “My mood picks the music that drives my spirit in the studio: Monk, Coltrane, Davis, Parker, and others were in the studio with me.”

OLYMPUS DIGITAL CAMERA

Congruence by Stephen Niccolls

In the same gallery space, see three of Stephen Niccolls’ exquisite paintings including Congruence, where the artist has created an abstract composition that quivers with energy using color and design.

David Provan’s petite sculpture, Primary Structure, is big on presence. The sculpture is created from rods painted the three primary colors; yellow, red, and blue, that crisscross forming interactions with the colors. Provan also exhibits Trance Stance, a painting with color gradations that suggest states of meditation and consciousness.

Enjoy-Susan Spencer Crowe Floating on Blue, 2019
Floating on Blue by Susan Spencer Crowe

Susan Spencer Crowe’s work is informed by early training and work as a sculptor. Floating on Blue is a recent work where she has created a three-dimensional wall-hung painting by cutting and folding the artwork. As viewers walk around the artwork, each angle brings a fresh view of this complex work.

Enjoy-Talya Baharal
Untitled by Talya Baharal

 

Talya Baharal’s painting practice has evolved out of her work as a studio art jeweler and sculptor. Her paintings bring unlikely colors together on one surface. For instance, in Untitled, pink and goldenrod yellow intertwine with an organic black line. The work is overpainted with layers and the surface bears markings where the artist has added and subtracted color, adding to the depth of the work.
Laura Gurton’s work explores patterning and color, as does Ralph Moseley‘s One-Over-One color field abstract landscapes.
Several artists depict the human form including Angela Voulgarelis’ delicate study, Portrait of a Young Woman, and D. Jack Solomon‘s diminutive abstractions of the female form. Don’t miss Mike Cockrill’s collage paintings that present the humorous side to art school.
In this exhibit, the exuberant use of color is the focus until you approach Carole Kunstadt’s mark-making drawings that showcase color in a subtle way. The line of the pencil is the star of these drawings and the introduction of small bits of color teases the viewer, who may try to read the markings as a centuries-old text.


This article was originally published in the Poughkeepsie Journal Enjoy! magazine November 13, 2019

The artists retain all rights to images in this post.

The Lockwood Gallery is located at 747 Route 28, Kingston, New York.
In Pursuit of Color was on exhibit November 2019 through January 4, 2020.
Phone: 845-532-4936
Webpage: https://www.thelockwoodgallery.com/