When it snows some rejoice and some groan. Painting by Carolyn Edlund.
When it snows some rejoice and some groan. Painting by Carolyn Edlund.
In the Hudson Valley region, there are a number of nontraditional venues that exhibit work of regional artists. The Moviehouse in Millerton is a fine example of a space that has mounted exhibits that allow artists to show a body of their work to a new audience that appreciates fine-art movies. The recent exhibit, Winter Showcase, provided an opportunity to see work by five regional artists that exhibit their work beyond the Hudson Valley.
Audrey Francis exhibited “Hill and Hollow,” an oil painting that captures a beautiful moment of the imagination. The bright yellow background sets the tone with an unlikely gathering of a variety of birds, perhaps symbolizing safety in numbers for a species. The vision of vibrant color paired with beauty from nature is alluring.
In Norm Magnusson’s “Decorating Nature” series of photographs, Magnusson paints on, or colors, pieces of nature. His approach to beauty takes a wry look at nature as the ultimate beauty, but with the possibility that the human hand might make a few improvements.
Magnusson states that; “We use nature how we see fit: we strive to bring order to it, we try to make it prettier…more profitable.” Magnusson continues to explore through his artistic practice the complicated aspects of our culture and how it relates to our lives.
Robert Hite is known for his three-dimensional sculptures of shack-like structures, which originally grew out of his paintings. The artist has stated: “There is an organic cross-pollination between painting and other ways in which I work.” In the painting “Birdstack Black,” visitors can see how Hite centers the object in the center of the canvas, similar to how religious portrait painters arrange their sacred subjects. The continuing exploration of the house structure at the bottom of the artwork creates a base for the stylized birds to gather. The image brings to mind the phenomena of birds gathering in one place at sunset.
Nadine Robbins is a portrait painter that depicts her subjects as the genuine humans that they are. Robbins states that in her work she “serves to echo the reality of the American experience, one that is diverse, fluid and multifaceted.” For instance, “Sativa Sunrise” is a realistic portrait of a young woman captured in the prime of womanhood: viewers could imagine that she might be a worker at the neighborhood grocery store or a student at the local university, but her fresh beauty and self-awareness are apparent. Robbins states that her “portrait paintings tell the stories of ordinary people from all walks of life paired with a sense of defiance and irreverence for societal norms regarding gendered ideas of behavior, identity, and sexuality.”
Roxie Johnson exhibited abstract and conceptual work layered with nuances of memory and loss. She states that: “Painting is an avenue through which I explore those innate passions that drive our humanity and lie embedded deep in the heart.” The surface of her work, “Lost G(LOVE)” bring to mind the memories of a night out. Viewers could create their own stories to support the visual clues worked into the painting by the artist; a woman’s lost glove, bits of newspaper, and fragments of textural pieces that create ethereal documentation of a memory.
This article was originally published January 25, 2019, in the Poughkeepsie Journal Enjoy!. Artists supplied the photos of their work and all copyrights remain with the artists.
Winter Showcase: Artists of the Hudson Valley featured the work of Audrey Francis, Robert Hite, Roxie Johnson, Norm Magnusson, and Nadine Robbins through February 5, 2019.
Every year The Center for Photography at Woodstock (CPW) invites a nationally known curator to create a contemporary photography survey exhibit utilizing their curatorial vision. This year they invited Elizabeth Ferrer, Vice President, Contemporary Art at BRIC, a major New York cultural organization to jury the exhibit Photography Now 2018: Still-Life, representing a variety of styles that contemplate a state of being, or a still-life. In her curator statement, Ferrer wrote: “Still-Life ventures into seemingly distinct territories – the realm of the inanimate, of things, and in tandem, of contemporary lived experience.”
Each of the thirteen artists exhibits several photographs, providing viewers the opportunity to see their vision and approach to photography. For instance, Pablo Lerma approaches his photographic practice by imagining what would happen if humans disappeared from the earth. His photo, Rock, from the series A Place to Disappear, shows rolling green hills, horizontal striations of the earth strewn with rock, where a single large rock becomes the focus of this landscape. Using a similar viewpoint, Cecilia Borgenstam photographed locations within San Francisco’s Golden Gate Park. These photos showcase the natural beauty of the park alongside the detritus that people left behind. For instance, in Perego Stroller. Red Flowers, viewers will see what was once a luxury baby carriage abandoned beneath the dramatic tree branches.
Artists using the urban landscape for their still-life include Ken Dreyfack, who captures the facades of buildings with dramatic lighting, reminiscent of a movie set. His photography series,
Silent Stages, is featured in this exhibit and each photo has a narrative quality. Jarod Lew’s works use Detroit’s urban spaces as a stage for the inhabitants to live their lives. Lew’s photo, Belle Isle, is a surprisingly alluring image of a young woman – her direct gaze is softened by a slight smile as she stands in water with the cityscape behind her.
Daniel Ramos exhibits four photographs from his series, The Land of Illustrious Men, a family narrative about life experiences between the United States and Mexico detailing vignettes of memory as still-life. As an example, in Self Portrait, 2002, the viewer can experience a room with objects in the artists’ home. A decorative mirror captures a portion of his face as if he is but a small piece of these narratives.
Ferrer also selected photographers using images of people as a way to explore notions of social responsibility. She commented: “Whether in work interrogating social issues or embodying a more philosophical reading of humanity, I am struck by the persistent desire to represent what is real, true, and beloved.” Laurent Chevalier explores self-identity of black men and brings social justice into the conversation. Channell Stone’s photographs strive to reclaim “the Black body as a recognized aspect of humanity.” Soohyun Kim uses traditional family portraiture photography to put faces on families faced with immigration hardships.
This photography survey shows that artists are at the forefront of opening a dialog that validates what is real in their lives from a variety of viewpoints and artistic practices.
This article originally appeared in the Poughkeepsie Journal Friday, November 16, 2018. Photography Now 2018: Still-Life was on exhibit through January 13, 2019. Featured artists include Ruth Adams, Keliy Anderson-Staley, Cecilia Borgenstam, Laurent Chevalier, Evan D’Arpino, Ken Dreyfack, Leah Edelman-Brier, Soohyun Kim, Pablo Lerma, Jarod Lew, Daniel Ramos, Niv Rozenberg, and Chanell Stone.
Artists retain copyright on all photos.
The Center for Photography at Woodstock (CPW) is located at 59 Tinker Street, Woodstock, New York 12498.
When I first learned about the customs around Día de los Muertos I felt surprisingly joyous, even though the holiday is focused on remembering family and friends who are no longer living. Celebrated in Mexico and many other Hispanic cultures, the holiday is similar to the Memorial Day in the United States including rituals around remembrances, stories, and family gatherings.
What better way to remember the quirks and family legends around the grandpa’s love of tequila, or Aunt Maria’s passion for cigarettes? These favorite items are placed on the graves along with bread of the dead, a sweet bread baked with a skull and crossbones into the dough, flowers, and candles.
During this time, families gather at the cemetery to clean and refurbish grave sites. After the work is done, many will bring food and drink and make a night of celebrating the lives of these important family members. Storytelling and reminiscences play a big part of the gatherings. Copal incense is burned to help guide the spirits of the dead back to the gathering so they may partake in the celebration of remembrance. Markets are filled with Marigolds or cempasuchitl (flower of the dead), which are much taller and bigger flowers than the Marigolds seen in most gardens, which are purchased to decorate the graves. The flowers add color and scent to the altars, to guide the dead back to celebrate with friends and family.
El Día de los Muertos is recognized across the entire community with altars to remember those passed, not only in homes but in stores, local plazas and community centers. The altars are creative and personal: sugar skulls are embellished with colorful frosting spelling out the names of the remembered sit alongside photos of the remembered, festooned with papel picado, cut paper banners.
If you are interested in seeing more about this beautiful cultural celebration, there is a 1957 film by Charles and Ray Eames that shows more about Día de los Muertos through its icons and artifacts. http://www.openculture.com/2014/10/charles-ray-eames-short-film-on-the-mexican-day-of-the-dead-1957.html
All photos copyright Linda Marston-Reid, 2018
During October, music photographers who have captured the essence of musicians from acoustic traditions exhibited their work in American Roots Music at The Howland Cultural Center in Beacon, New York. Roots music, also commonly called folk music in the United States, are musical forms created without the use of synthesizers and electronics, incorporating early blues, country, folk, rhythm and blues. Music journalist Frank Matheis organized and curated the American Roots Music exhibit inviting twelve prominent and internationally renowned music photographers in this exhibit of black and white fine art photography.
We are all familiar with the folk music tradition led by world renown king of folk music, Pete Seeger. Fine art photographer and artist, Bibiana Huang Matheis, captured images of Seeger in concert and at his home. In the photo on display, Huang Matheis caught the moment when Seeger has one hand on his beloved banjo and one arm outstretched to the audience. Seeger’s expressive face is framed against the inky black background, capturing him in song.
Bill Steber has documented blues culture in Mississippi for the last 20 years, chronicling the state’s blues musicians and traditions that gave birth to or influenced the blues. Steber’s documentary photography of guitar evangelist Flora Fluker perfectly captures her intense singing style.
Many of the photographers that document the musicians also make music. Bill Steber performs with several bands and John Rocklin is the co-founder of the Honesdale Roots & Rhythm Festival, sings and plays guitar in several bands. Rocklin’s involvement with music started at a young age when his father took him to Washington Square Park exposing him to music. “I stood right next to Bob Dylan, Woody Guthrie, Sonny Terry, and Brownie McGhee.” Rocklin met and soon became friends with Little Sammy Davis, a blues harmonica legend. Inspired by his photographs of the musician, he pursued art photography and went on to capturing music legends such as B.B. King, Johnny Winter, and Odetta.
Douglas Baz is a freelance and fine art photographer residing in Dutchess County. The images in this exhibition are from a documentary project that he and Charles Traub photographed in Cajun Louisiana in 1974. A large exhibition and book of this work will be exhibited at the Historic New Orleans Collection Museum during 2019.
George Mitchell and Axel Küstner used a documentary approach to capture photography and field recordings of blues musicians; similar to a folklorists’ approach to documentation. Mitchell’s photo of Jesse Mae Hemphill on her porch shows that music was an everyday part of life. Axel Küstner is known as one of Europe’s blues experts. Küstner’s 1980 photo of Flora Molton sitting on a Washington D.C. corner performing to passerby depicts the essence of roots music – it is by the people and for the people.
The late Myron Samuels was a serious blues fan and photographer. Samuels was also a street musician playing blues harp at Portland, Maine area venues and farmers markets. His work in this posthumous exhibit includes photographs of Etta Baker, Ted Bogan, and John Cephas.
This article was originally published in the Poughkeepsie Journal Enjoy!, October 5, 2018. American Roots Music was on display at The Howland Cultural Center, 477 Main Street, Beacon, New York; October 6-28, 2018.
All copyrights belong with the photographers in this essay.
Public artworks are part of the public realm, and the public should be part of the process, which was what happened over the last 18 months in Poughkeepsie, NY. The Poughkeepsie Route 9 underpass at Main Street was a dark, stained, gray concrete place that all visitors to the city had to pass under, is now embellished with a mural created by Risa Tochigi, known as half of the BoogieREZ artist team. Boogie and her partner REZ (T.C. Weaver) are the dynamic duo that are creating some of the most original murals and artworks in the region. Boogie creates the concept and the realization of the murals with REZ lending the critical support that every creative artist needs, while documenting the process. A gifted photographer, REZ provided the photos that accompany this article.
This mural was named The Poughkeepsie Gateway Project and began with a public call for artists to envision what they could create on the underpass, which serves as one of the major gateways to Poughkeepsie. The collaborative effort included The Poughkeepsie Alliance, who sponsored the majority of costs for the project. Arts Mid-Hudson served as the organizing partner and O+ Festival brought in connections of mural artists and paint sponsor, Golden Artist Colors. Boogie is completing the mural with paint donated by Golden Artist Colors, using a combination of custom-mixed paints in buckets and spray paints. The City of Poughkeepsie and the New York Department of Transportation actively worked to ensure the project was complying with municipal and state regulations through the work of numerous staff from these offices. Local business Baxter Construction assisted with lifts and preparation of the site, which included the concrete spaces directly under Route 9 on each side.
These collaborations were critical to making the project move ahead. Boogie commented, “Without everyone you can’t do big projects like this.” REZ added, “Teamwork makes the dream work.” Boogie mentioned the positive energy that is created in doing a large-scale public artwork like this: “I feel like I am not doing this for me, but for the community.”
And the community approves – in the times I was present at the mural location, people stopped by to thank Boogie for the beautiful reimagination of the space. Many parents have been bringing their children to the site and encouraging them to meet Boogie and thank her for the artwork.
Boogie’s signature style blends joyful, bright colors with a hip-hop cartoon vibe. The yellow background serves as a cheery base color for flowers and imaginary animals with big googly eyes marching across the expanse. Boogie’s world includes ducks with bunny ears, flowers with eyes and other creatures straight out of the artist’s imagination. Uplifting messages, such as “Aspire to Inspire” are woven into the composition. Boogie mentioned that one aspect of her job as an artist is to “continue to inspire the youth in our community to pursue their passions. Everyone has different ways to express themselves.”
Katherine Hite, a neighboring resident was passing by during my visit and commented, “We’re so excited to see this uplifting and affirming project for Poughkeepsie – it makes me happy to be a homeowner in the city.”
This article was originally published in the Poughkeepsie Journal’s Enjoy Magazine on August 10, 2018.
The Poughkeepsie Gateway Mural Project is located on Main Street at the Route 9 underpass in Poughkeepsie.
All photos are copyright and courtesy of Rezones/Boogierez 2018.
Paper has been in use for over two thousand years, first as a surface for important writings and then becoming more commonplace for printed materials available to the general public. As the uses of paper have evolved, artists have turned to paper for drawings, prints, and paintings; pushing the medium further by folding and deconstructing paper into three-dimensional objects or using paper pulp. Barrett Art Center’s current exhibit explores the medium of paper as an artistic medium through a national juried show, Pushing Paper.
Paul Wong, master papermaker and former artistic director of Dieu Donné, served as the juror for this national exhibit selecting 45 artists from 700 submissions. Wong described the process in his juror statement: “I looked at the intent of the exhibition and didn’t want to exclude in my selection any media that was submitted, hoping to represent the best of what I found exemplary, albeit attractive to my vision.”
As you enter the first room in the exhibit, you cannot miss Memory is a Ghost, Leah Hamel’s paper re-creation of a bed and coverlet; or Emanuelle Schaer’s, paper mâché sculpture, An Isolated Perspective. Thom Williams repurposed folded photo paper for Catch The Wave. There are also a number of smaller pieces exhibited salon style that deserve attention, for instance, Christine B. Miller’s narrative graphite drawing on paper featuring skulls and hands, brings to mind outsider artworks.
In the next gallery room, Michelle Samour’s piece, Eye Aggregation, was created using pigmented abaca fibers. The sculpture features layers of the fibers bound together in circular shapes, resulting in an object that appears feminine, including the glass case that could belong in a boudoir.
Jessica Elena Aquino’s wall-mounted paper sculpture, Abundance II, was created with recycled paper towels. The organically shaped piece rises up the gallery wall like a cyclone.
Tayler Allen-Galusha received the Juror’s Award for Boundless, an installation that takes over the far gallery wall. What appears to be a castle door and brick archway has been created with a set of deconstructed National Union Catalogs. The door is shut and locked, perhaps to safeguard the secrets held within. In his artist statement, Allen-Galusha commented that “books are much more than just the paper and glue that makes them, they are places to be, puzzles to solve and portals to knowledge.”
The back gallery continues the exploration of paper. One of the standouts in this space is Lennox Commissiong’s portrait, 2pacalypse, made with mosaic-size color aid paper. The artist on this series: “These African-descended men lived by strong ideals, faced great adversity, and refused to bend to the demands of societal power structures… My homage in small dots of color represents the many lives they have touched across various races and cultures and their political legacies.”
Curator Paul Wong commented on this exhibit: “Paper can be a material we take for granted in our daily routine; something that is becoming invisible; or at best, where we appreciate and collect it in the form of these aspiring artistic expressions.”
This article was originally published in the Poughkeepsie Journal Enjoy! magazine August 24, 2018.
Pushing Paper was on exhibit at Barrett Art Center through September 22, 2018.
All artworks are courtesy of the artists and copyright remains with the artists.