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.
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.
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.
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.
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.
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.
This article was originally published in the Poughkeepsie Journal Lifestyle section, May 10, 2020.
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.
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: firstname.lastname@example.org
This essay was originally published in the Poughkeepsie Journal, February 28, 2020.
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.
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.
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.”
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.
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.
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.
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.
Summer in the Hudson River Valley is magical and one destination worth visiting during this time is Wilderstein Historic site in Rhinebeck. Landscape designer, Calvert Vaux created a winding set of walks and trails meandering through the 40 acres of Wilderstein, which also features a stunning Queen Anne mansion. Visitors to Wilderstein can experience the sweeping views along with the 5th Outdoor Sculpture Biennial Exhibition up now through the end of October. This is the second time that local artist and curator, Franc Palaia, has organized the Outdoor Sculpture Biennial increasing the exhibiting artists to 25.
The works have been thoughtfully placed throughout the property, creating a great visitor experience of surprise and discovery. On Wilderstein’s front lawn, you cannot miss “Plastic Bottle Man,” Willie Cole’s larger-than-life sculpture created from 5000 plastic water bottles. The sculpture lounges against one of the grand trees, perhaps unaware that his essence is a major source of world pollution. Turning towards the incredible views of the Hudson River, see William Scholl’s “Portal 409,” a sculpture created from Bluestone and mounted in a large tree.
Circling around towards the back of the mansion, see Alison McNulty’s “Hudson Valley Ghost Column 4.” The artist stated that “The Ghost Columns echo the Hudson Valley’s industrial history and architectural ruins, formalizing traces of the region’s geological, social, and material history.” Visitors will note the stacked bricks and Cormo sheep wool sourced from a historic Hudson Valley fiber farm. Julia Whitney Barnes is another artist fascinated with the historical context that bricks hold in the Hudson River Valley region. She has installed “Hudson River of Bricks,” at the edge of the front lawn of the mansion; an homage to the historical brick industry of the past. Visitors will note the glazed historic bricks included in the installation – the shape of the installation defines the places on the Hudson River that the brickyards formerly operated.
Inside one of the rustic gazebos on the property, see Hans van Meeuwen’s sculpture, “Melvin,” casually seated as if he is surveying the landscape. Nearby on the tennis courts, Namoi Teppich’s sculpture, “Snowflake Cactus” is centered in that space, the cactus spines jutting out from copper outlines provide shape and interest to the simplified sculpture. Step over to the edge of the mansion’s lawn and appreciate the sculpture, “Here I Am,” by Andres San Millan. The life-size sculpture of a horse has leaves of silver and copper that shimmer in the sun.
Poughkeepsie artist Suprina exhibits, “Someone Else’s Shoes” featuring a pump created from found objects. From a distance, the sculpture is in a recognizable form of a pump, but on closer examination, the five-foot-high sculpture could be a bench, a place to take selfies or a place to imagine what it’s like to be in some else’s shoes. Visitors will discover other delightful sculptures placed on the property along the Calvert Vaux designed walking paths, including Joe Chirchirillo’s “Deciduous Rings,” as well as Dave Channon’s “Flâneur,” a sculpture created from rusted metal resurrected from the junkyard.
Details if you’d like to visit:
Wilderstein Historic Site is located at 330 Morton Road, Rhinebeck.
The exhibit will be on view daily 9:00 a.m.- 4:00 p.m. through October 31, 2019. Hiking trails and grounds are open to the public free of charge.
For further information: 845-876-4818 http://wilderstein.org/
Photos by Linda Marston-Reid
This article originally appeared in the Poughkeepsie Journal on July 26, 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.
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.
Unison Arts Center and SUNY New Paltz students have collaborated to create installations responding with ephemeral sculptural installations using an Eco Materialism theme. Inspired by Linda Weintraub’s forthcoming book, What’s Next? Eco Materialism & Contemporary Art, this exhibit responds to the urgent environmental neglect we witness in the world today. The exhibiting artists present their artworks as thoughtful responses, including the selection of materials.
The exhibit, What’s Next, also provides an ideal opportunity for a summer stroll with time to pause and consider each of the 29 stations where work has been constructed onsite, many times with items sourced from the Unison property. Michael Asbill, Visiting Lecturer at SUNY New Paltz involved students in his Collaborative Constructions course in this exhibit. Amanda Heidel, participated as a student and commented, “Starting with reading and interpreting Linda Weintraub’s text to form a proposal, to developing a list of artists to invite to respond to the text, contacting artists, reviewing of proposals, preparing the site at Unison, and assisting artists with installing their work, students were involved in every aspect of mounting this exhibit.” Visitors to the site will experience artworks that are about process, while some project a utopian viewpoint of beauty. At the gateway to the installation pick up a walking guide to get additional information on the artists’ process in approaching Eco Materialism in their pieces.
Moira Williams exhibits Matters of Care, featuring a stack of cannon-ball size soil filled with positive bacteria. The artist has researched Mycobacterium vaccae, known as the ‘happy bacteria’ living in soil and invites all who pass to take one home to share. Beth Haber’s installation To Be Written shows four paired slate tablets placed on podiums supported by the remains of four ash trees in a compass formation. Visitors have the opportunity to write messages, which will then be wiped clean by the natural process of rain, wind, or over-writing, suggesting that we have the power to start a new movement that considers nature first.
As you meander further down the path you might be drawn to the sound of water where Susan Togut’s Emergent Wisdom is installed above the Unison pond. Togut’s statement reads, “this environment seeks to evoke an appreciation for change, transformation, uncertainty, the magic of the unknown as in creativity, and the ephemerality of life.” Most of the pieces in the show focus on the transient, from the materials, used that naturally change over time, to the concepts presented in each piece. Jan Harrison and Alan Baer created Halcyon, a mythical nest-world for endangered and bird-like creatures that floats above in the tree limbs. The artists stated this is a “refuge and a place of rebirth in the global world of the sixth extinction, the Anthropocene.”
Exploring the exhibit heightens our sense of awareness towards the natural world. Perhaps this will extend our views on Eco Materialism as a life practice and new art movement that could change our world for the better, ensuring that we have a say in what’s next.
All photos in this essay by Linda Marston-Reid. All copyrights remain with the artists described in this essay.
This article was originally published in the Poughkeepsie Journal Enjoy! section July 27, 2018.
In science, catalytics speed up a chemical reaction while undergoing no permanent change. Recently this premise is actively being tested at the Arts Mid-Hudson gallery – two Hudson Valley curators Emilie Houssart and Xuewu Zheng are launching a series of artistic dialogues through group art exhibitions. Houssart explained that this is facilitated “by getting artists together so that we might ‘collide’ with each other in interesting ways.”
Altogether, eight artists are exhibiting work that could be wildly diverse without this premise. For instance, in Jinkook Hwang’s “Sushi Nam Yeo” series, rice is seen as the object of happiness and love, stemming from his cultural background. In “Couple Sushi,” the artist draws a man and woman resting on a bed of rice that has been magnified to signify its importance in his life.
Hayoon Jay Lee also creates work responding to food, which can be seen in many of her performance pieces and artworks. Hayoon said, “I try to communicate the tension points surrounding personal conflicts and social inequities. However, a central core and a function my work is an active collaboration by artists to inform and support underserved communities.” Hayoon exhibits “Silent Witness I,” where viewers can consider the artist’s rendition of a beautifully rounded spoon, filled to the brim with rice and contemplate the idea of what is enough.
Emilie Houssart and Xuewu Zheng both use their artistic practice to make sense of contemporary culture. With Zheng’s practice of rolling and tying newspapers, the work reflects his fascination with history and the idea that we create a new history as we live our lives. Zheng’s practice can be summed up in his succinct statement about his work: “My goal is to take the treasures of the people in my left hand and the masters of yesterday in my right hand and to clasp them together. I then want to blend them to create the Zheng Xuewu of today.” His installation “Century Text” placed in the center of the gallery features thousands of pages rolled and tied, reminding us that history is made up of thousands of tiny details from each day.
Houssart’s work “Spaces” responds to the different perceptions of value in society. Similar to Zheng, Houssart has a darkly humorous approach to contemporary culture, adding it all into the mix and allowing everything to exist side by side in a vaguely chaotic presentation.
Marieken Cochius exhibits her recent ink and shellac drawings on paper. The artist may be influenced by the natural world: her abstraction of color and bold line stands out as a direct emotional response articulated with paper and inks. While Cochius presents ethereal line and shading, Leigh Williams exhibits “Vessels,” two forms that can be viewed as positive and negative space. The hand-built wood-fired clay has delicate colorations that defy their dark, organic shapes.
Joe Radoccia’s larger than life portraits show a dignity and gravitas in each face. Each portrait features underpainting in the background that adds to the depth and nuance of each face. Radoccia places the soul of each person on display using a grand scale and the direct gaze of the subject.
Sumi Pak examines human emotions of happiness, sadness, fear, and curiosity through his daily portraits of his cat, Kopi. Pak’s gestural line and colorations describe the ordinary life of his cat, and perhaps our own lives as we go about our daily business.
This essay was originally published in print: the Poughkeepsie Journal – March 10, 2017