the artful mind may 2010

WWW.ARTFULMIND.NET MAY 2010 ~ THEARTFULMIND • 1

“View from Mt. Greylock, Brilliant Sky” 20” x 30” oil

MICHAEL FILMUS413-528-5471 www.michaelfilmus.com

MYRON SCHIFFER

413-637-2659 [email protected]

"Study in Greens" a selection from the "Urban Scenes" series.

NEW DIGITAL PHOTOGRAPHYOnline Galleries at

www.myronschiffer.comCome browse the over 250 photographs

currently for sale online.

2 • THE ARTFUL MIND MAY 2010

SCHANTZ GALLERIESc o n t e m p o r a r y g l a s s

3 Elm Street Stockgridge,MA

413-298-3044 www.schantzgalleries.com

CharlesMiner

Koi Shallows 6 x 22 x 6”

LAUREN CLARK FINE ARTpresents

WILTEDPROCESSEDCONVENTIONALUN

FOUR NEWLY PICKED GARDEN-FRESH ARTISTS

Joan Ciolfi, Susan Dibble, Abby DuBow, Lorraine KlagsbrunMay 29 through July 4

Reception for the Artists: Saturday, May 29, 5-8 pmLauren Clark Fine Art

402 Park Street, Housatonic, MA 413-274-1432LaurenClarkFineArt.com

RUTH KOLBERT“FRIENDS, ARTISTS & SPECIAL PLACES”

May 19 – June 13RECEPTION FOR THE ARTIST

SATURDAY, MAY 29 • 2 to 5 PM

FRONT ST. GALLERYHousatonic, MA • 413-274-6607

Gallery Hours: Friday 1-5 pm, Saturday, Sunday 12-5 pmor by appointment 413-229-0380

Reggie Oil on Canvas 56” x 50”

ROBERT CAPUTOLandscape Oil-Painting Workshop

Saturday & Sunday, June 5-6Sheffield, Massachusetts

All levels welcome. Robert will focus on drawing, color, and valuewith an emphasis on capturing a sense of light and atmosphere.

Offered by the Housatonic Valley Art League, 9-12 am, 1-4pm each day.Members $200, non-members $225. Limit 15 students.

For more info visit www.hvart.org or contact Leslie Watkins at860 542 3920 or [email protected]

You can see examples of Robert's paintings atwww.rcaputo.com

MUSEUMS &GALLERIES

ALBANY INTERNATIONALAIRPORTAlbany International Gallery, 3rd fl, 7am-11pm daily Material Witness, thru June20.

BERKSHIREART GALLERY80 Railroad St, Gt Barrington, MA• 528-2690www.berkshireartgallery.com19th and early 20th Century American &European art and sculpture, contemporaryartists

BERKSHIREART KITCHENCREATIVITY / CONNECTION / CHANGE400 Main St, Gt Barrington, MA• 413-717-0031www.berkshireartkitchen.comMon - Fri, 3:30-5:30, Sat 12-5, & by appt.Exhibition of mail art by Karen ArpSandel and Suzi Banks Baum, Mar -April.

BERKSHIRE GOLDANDSILVERSMITHTHE GALLERY152 Main St, Gt Barrington, MA• 528-5227May artist to be announced

CARRIE HADDAD GALLERY622 Warren St, Hudson, NY • 518-828-1915Carrie Haddad Gallery is pleased to announce an exhibit featuringthe works of James O’Shea, Russell Smith and Sarah Berney, onview fromApril 15th through May 23rd, 2010. A reception will beheld on Saturday,April 17th from 6 to 8 pm. Members of the publicare welcome.CARRIE HADDAD PHOTOGRAPHS318 Warren St, Hudson, NY • 518-828-7655IdaWeygandt & Eliot Kaufman, Mar 1April 18. Polaroids: Worksby William Wegman, Mark Beard, John Dugdale, Melinda Mc-Daniel and Tanya Marcuse. April 22 - May 30.

DAVID DEW BRUNER DESIGN610 Warren street, Hudson, NY • 914-466-4857Japanese textiles, mainly focusing on the abstract patterns. Therewill be several fireman's jacket as well as a fireman's hat. Therewill a early 19th century vermillion samurai's vest as well as a1860's cotton footman's jacket. The textiles range from a 1780'sjacket to a 1950's summer kimono in a wild blue and white wavepattern. The show will run through May14th. The gallery is openFriday through Monday 11-5 or appointment.

FERRIN GALLERY437 North St, Pittsfield, MA • 413-442-1622Paul Graubard: Stories from the Bible and Other Places a solo ex-hibition of constructed paintings through May 8th. Closing Con-versation with the artist and Ute Stebich, expert in Haitian andoutsider art, and director of the Ute Stebich Gallery, Lenox, 1990– 2004. , 2010. Saturday, May 8th, 5:00 pm

OLD CHATHAM COUNTRY STORE CAFÉ GALLERYVillage Square, Old Chatham New YorkPatrick Casey, Oil Paintings.April 30 through June 2 with an open-ing reception Sunday, May 2nd from 3 p.m. – 5 p.m

CHURCH STREET ART GALLERY34 Church St, Lenox, MA • 637-9600Significant folk art pieces. Also works by David Eddy,Paul Graubard, Paul Jarvis and Larry Zingale.(Fri-Mon, 11am-4:30pm or by appointment)

CRIMI STUDIOLocated 2 miles from theAncram/Hudson exit of the Taconic StateParkway. • Viewing by appointment518-851-7904Paintings of rich color and form. Crimi studio in idyllic setting.

DONMULLER GALLERY40 Main St, Northampton, MA • 586-1119Beautiful American crafts, jewelry and glass, more

FRONT STREET GALLERYFront St, Housatonic, MA • 413-274-6607www.kateknappartist.com

THE ECLIPSE MILLGALLERY243 Union StreetNorth Adams, MA When My Soul Dances, Curated by Julie Seitel. April 16-May 16. Opening Reception: Friday, April 16, from 6 to 8 PMGallery Hours: Saturday and Sunday from 12 to 5 PM

GALLERY AT ART ON NO.311 North Street, PittsfieldMay 15, 5-8 pm - Grand Re-Opening celebration of the UpstairsGallery at Art on No. See new art and meet the 17 artists and tourtheir studios. Music, refreshments. . Check us out at Pittsfield-contemporary.com/is/art-on-north-street and become our fan onfacebook

GLORIA MALCOLM ARNOLD FINE ARTUpstairs at 69 Church St, Lenox, MA • 637-2400Realistic art that never goes out of style, artwork that evokes themood and memories of yesterday. Rotating exhibitions of scratch-board by Lois I. Ryder and oils and watercolors by Gloria MalcolmArnold. Open year round.

HUDSON VALLEY ARTS CENTER337 Warren St, Hudson, NY • 800-456-0507 Regional and nationally-known artisans

JACOB’S PILLOW DANCE FESTIVALGALLERY EXHIBITBecket, MA • 413-243-0745 Lois Greenfield: Imagined Moments Blake's Barn(open Mon-Fri, 10am-5pm)

JOHN DAVIS GALLERY362 1/2 Warren St., Hudson, New York McWillie Chambers will open a solo exhibition of new paintings atthe John Davis Gallery. The work will be on display through May23rd with a reception for the artist on Saturday, May 1st from 6:00until 8:00 p.m.

LAUREN CLARK FINE ART GALLERY402 Park St, Housatonic, MA • 274-1432www.LaurenClarkFineArt.comUNWILTED, UNPROCESSED, UNCONVENTIONALFOUR NEWLY PICKED GARDEN-FRESH ARTISTSAbby DuBow, Joan Ciolfi, Lorraine Klagsbrun, Susan DibbleMay 29 through July 4. Reception for the ArtistsSaturday, May 29 5-8pmFine art and contemporary crafts and framing service.(Open Wed-Mon 11-5:30, Sun Noon-4, year-round)

MARGUERITE BRIDE STUDIOwww.margebride.comCustom House and Business Portraits, “Local Color”, watercolorscenes of the Berkshires, New Eng-

land and Tuscany. Original watercolors andFine Art Reproductions. Visit website for exhibitschedule

PARK ROW GALLERY2 Park Row, Chatham, NY • 518-392-4800John Sideli, Altered States. April 1 - May 31. Re-ception for artist April 10, 4 -6pm

RUTH KOLBERTFRONT SREET GALLERYFront Street, Housatonic, MA. • 413-229-0380“Friends, Artists & Special Places” will be onexhibit at Front Street Gallery May 19 throughJune 12.Gallery open Fridays 1 – 5 pm, Saturdayand Sunday 12 – 5pm, and / or by appointment.

SCHANTZ GALLERIES3 Elm St, Stockbridge, MA • 413-298-3044“Inspirations and Illuminations: Survey orWorks by Dan Dailey”. This exhibit runs May20 – June 30.Over 30 years of providing repre-sentation to internationally recognized artists toexhibit their work and share it with the world.(Open 11-5 daily.)

THE LENOX GALLERY OF FINE ART69 Church St, Lenox, MA • 413-637-2276 Featuring artists such as Stephen Filmus alongwith many others including Paula Stern, Sculp-ture

WILLIAM BACZEK FINE ARTS36 Main St, Northampton, [email protected] Baczek Fine Arts, in Northampton,

Mass. is pleased to announce the opening of the 2010 Annual Land-scape Exhibition. The show will be on display from Wednesday,April 21 through Saturday, June 5. The public is invited to an open-ing reception with the artists on Saturday, April 24 from 5 to 7 p.m.

MUSIC, THEATRE AND DANCEBOSSA TRIBA and the BERKSHIRE BATERIACrissey farm in Great Barrington, MA Playing bazilian Music-will be performing at a benefit for KON-BIT FOOTBALL AYITI a 501 c3 nonprofit organization - hasworked in Haiti for the past 4 years bringing Soccer, education,and food to small communities in Port au Prince. Now more thenever the need is great Together we can help feed, educate, andprovide recreation for children. Donation $25.00 Sat. May 8th atHAITI BENEFIT CONCERT 2nd Annual, from 8pm -12:00 pm

Berkshire Bach SocietyFirst Congregational Church, Stockbridge, MA • 413-528-9277Choral and Instrumental Works by Purcell and HaydnSat, May 22, 8pm

CLOSE ENCOUNTERS WITH MUSICThe Mahaiwe Performing Arts Center • 413-528-0100 / 800-843-0778 / www.cewm.org Chopin and His Circle, Sat, Apr 24, 6pm;Prague Spring - Czech Idyll, Sat, June 5, 6 @ 6pm

GHENT PLAYHOUSETown Hall Road, just off Route 66 in Ghent, adjacent to the GhentFirehouse. • 518-392-6264For the final production of the 2009-2010 season, the Ghent Play-house will present Neil Simon’s wry comedy “The Prisoner of Sec-ond Avenue” directed by Flo Hayle. The play opens on Fridayevening, May 14 and runs through Sunday, May 30.Performancesare Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m.TheGhent Playhouse is located on Performances are Fridays and Sat-urdays at 8 p.m. and Sunday matinees at 2 p.m. Tickets are $15each. Members’ price is $12.

MICRO THEATRE413-442-2223 / 413-212-7180 [email protected]“Lost and Found”, a theatrical event of satire, farce and absurdity.Featuring Bob Balogh, Michael Hitchcock and Becky Sterpka. SunMay 9, 3pm, Dewey Hall, 91 Main st, Sheffield, MA; Thurs May13, 7pm, Mason Library, 231 Main St, Fri, May 14, 7:30pm, Rams-daell Library, 1087 Main St, Housatonic, MA

THE MUSEUM AT BETHEL WOODSBethel, Rte 17, Exit 104, NY • bethelwoodscenter.orgThe Story of the ‘60s and Woodstock. Museum located at the siteof the 1969 Woodstock Festival. CONTINUED...

SPRING / MAY.2010. / CALENDAR

WWW.ARFULMIND.NET THE ARTFUL MIND MAY 2010 • 3

Donizetti's Lucia di Lammermoor - second major endeavor since revamping Commonwealth Opera into a professional opera company last fall. This fully staged opera will be directed by our Artistic Director Eve Summer and conducted by our Music Director Ian Watson. With brand new sets and costumes, this period opera - known as Donizetti's most compelling

work - will be presented at the Academy of Music Theater in Northampton, Massachusetts on Friday May7th at 7:00 pm and Sunday May 9th at 2:00 pm. The opera will be sung in Italian with projected English su-pertitles.Tickets are now on sale and I encourage you to attend -- and to forward this message to your col-leagues, friends & family. Ticket prices range from $10 up to $50 and we'll be offering an$8 student rush

prior to each performance.

4 THE ARTFUL MIND MAY 2010

IS183Cermamist, MaryBarringerKimberly Rawson 9

Terry Wise, Visual ArtistNanci Race 14

Planet Waves AstrologyEric Francis 18

Melissa Stafford, GalleristHarryet Candee

22

Greater Backfish RoundupBob Balogh 24

Architecture & ArcadiaStephen Dietemann 25

PUBLISHER Harryet Candee COPY EDITOR Marguerite Bride

PROOFREADER: Rae A. Eastman & Deborah Davis ADVERTISING AND LAYOUT DESIGN

Harryet Candee CONTRIBUTING WRITERS AND MONTHLY COLUMNISTSBob Balogh, Harryet Candee, Stephen Gerard Dietemann, Rae Eastman, Eric Francis, Nanci Race, Kimberly Rawson

PHOTOGRAPHERSJulie McCarthy

Sabine Vollmer von Falken

DISTRIBUTIONR. Dadook, John Cardillo

120 PIXLEY ROAD, GREAT BARRINGTON, MA 01230 [email protected]

413-528-5628 Deadline for the JUNE issue is MAY 15, 2010

FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all graphics including text material. Copyright laws for photographers and writersthroughout The Artful Mind. Permission to reprint is required in all instances

The Artful Mind • MAY 2010

THE ARTFUL MIND

Terry Wise, Visual Artistphotograph by Sabine Vollmer von Falken

Our Art....Our way

www.artfulmind.net

THE SPENCERTOWN ACADEMYNY Route 203 halfway between the Taconic Parkway and Route 22(5 miles east of the village of Chatham). • 518-392-5743.A BENEFIT FOR THE ACTORS’ ENSEMBLE: A performance ofMrs. Ripley's Trip and screening of Beautiful Hills of Brooklyn. When: Sunday, May 16 at 2 p.m.A reception with the actors willfollow the performance and screening. Tickets: $20 / $15 studentsDonations to support the production of Eugene’s Ghosts will be ac-cepted at the event.

WORKSHOPS & LECTURESINKBERRY AND PAPYRI BOOKS45 Eagle St, North Adams, MA • 413-664-0775Wordplay, a monthly reading series

is183 ART SCHOOL OF THE BERKSHIRESStockbridge MA • 413-298-5252 / www.is183.org

A weekend workshop “Venetian Lampwork Beads,” with in-structor Stephanie Maddalena, will be held on Saturday and Sunday,May 1 and 2, from 10 a.m. to 4 p.m. One of many fine workshopsthis upcoming season.

KATE KNAPP FRONT STREET GALLERYHousatonic, MA (next to the Corner Market) • 274-6607 www.kateknappartist.comalso ongoing painting classes Mon, Wed & Thurs 9:30am (galleryhrs: Sat & Sun 12-5, and by appt.)

ROBERT CAPUTOLANDSCAPE OIL-PAINTING WORKSHOPwww.hvart.org or contact Leslie Watkins at [email protected] & Sunday, June 5-6 Sheffield, MassachusettsAll levels welcome. Robert will focus on drawing, color, and valuewith an emphasis on capturing a sense of light and atmosphere.Offered by the Housatonic Valley Art League, 9-12 am, 1-4pm eachday. Members $200, non-members $225. Limit 15 students.

SABINE VOLLMER VON FALKEN PHOTOGRAPHYWORKSHOPS413-298-4933Sabine offers outdoor workshops for the advanced amateur photog-raphers in June. Dates are: June 6,13,20 and 27, 2010.

SPECIAL EVENTSLENOX ART WALKHISTORIC VILLAGE OF LENOX, MASaturday and Sunday, May 29 and 30, 11 - 5pm. 15 Art Galleriesand many artist demonstrations and gallery receptions

FILMIMAGES CINEMAWilliamstown, MA • 413-458-1039 www.imagescinema.orgAlways a good flick, please call for film listings and times.

THE BERKSHIRE INTERNATIONAL FILM FESTIVALwill showcase the best in independent feature, documentary,short, and family films, with panel discussions, and special eventswith filmmakers, producers, and actors 6/3-6/6 in Great Barring-ton at the Triplex and Mahaiwe and 6/4-6/6 in Pittsfield at theBeacon and Little Cinema at the Berkshire Museum. The openingnight film Thursday, June 3rd Joan Rivers: A Piece of Work willshow at the Mahaiwe at 7:30pm followed by a Disco InfernoDance Party in the Old Fire House on Castle Street in Great Bar-rington at 9pm with DJ BFG. Pittsfield will open on Friday, June4th at 7:30 pm with Atletu (The Althlete) at the Beacon Cinemaon North Street with an introduction from actor/co-director Ras-selas Lakew. BIFF will honor actress Patricia Clarkson this year.The tribute evening begins at 7:30pm on Friday June 4th and willinclude the New England premiere of her new film Cairo Time.

Deadline for calendar listings: May 15 for [email protected]

��

THE LENOX GALLERY

69 Church Street, Lenox, MA 01201 • (413) 637-2276over twenty-five artists • on two levels open year round - call for hours

O F F I N E A R T

paint ings • drawings • watercolor • sculpture • mixed media works • pastels • portrai t commissions

“...one of the finest and most charmingprivate galleries in New England.”

MMIICCRROO TTHHEEAATTRREE PPRREESSEENNTTSS""LLOOSSTT AANNDD FFOOUUNNDD""

AA TTHHEEAATTRRIICCAALL EEVVEENNTT OOFF SSAATTIIRREE,, FFAARRCCEE && AABBSSUURRDDIITTYYFEATURING:

BBOOBB BBAALLOOGGHHMMIICCHHAAEELL HHIITTCCHHCCOOCCKK

BBEECCKKYY SSTTEERRPPKKAASUNDAY, MAY 9, 3:00PM

DEWEY HALL, 91 MAIN ST., SHEFFIELD, MA

THURSDAY, MAY 13, 7:00PMMASON LIBRARY. 231 MAIN ST., GREAT BARRINGTON, MA

FRIDAY, MAY 14, 7:30PMRAMSDELL LIBRARY. 1087 MAIN ST., HOUSATONIC, MA

413-442-2223 / 413-212-7180 [email protected]

Waking up begins with fresh ideas and smelling the coffee.

WWW.ARTFULMIND.NET THE ARTFUL MIND MAY 2010 • 5

BERKSHIRE DIGITALAs Berkshire Digital begins its fourth year of operation, it is

celebrating the gallery openings of three local artists, twopainters and one photographer, for whom it made all of the Gi-clée prints hanging in the shows. Capable of producing archival,museum quality prints on a variety of surfaces up to 42x96inches, BD also offers complete photography services to captureartwork of any medium.To further help artists, BD offers graphic design capabilities,

to create show announcements, posters and collateral materials.In addition to its printing services, Berkshire Digital also

provides Photoshop™ tutoring and consulting for people whowant to get a better understanding of the digital workflow fromcamera to computer to printer in their workspace as well as man-age and manipulate their own images.

The owner, Fred Collins, has been a photographer for 30years with studios in Boston and the metro New York area. Fif-teen years ago, he began working with Photoshop™ and grad-ually added extensive retouching capabilities to help with hisclients needs. His commercial work for corporations has takenhim around the world. His wife Alison owns The Iris Gallery,above Pearls, in Great Barrington. Berkshire Digital: 413-644-9663, www.BerkshireDigital.com

““NNoo aarrtt wwaass eevveerrlleessss ssppoonnttaanneeoouuss

tthhaann mmiinnee.. WWhhaatt II ddoo iiss tthhee

rreessuulltt ooff rreefflleeccttiioonn aanndd

ssttuuddyy..””--EEddggaarr DDeeggaass

Spring 2010MAY 29 - 30 11am-5pm

15 Art Galleries in Historic Lenox Village

Many ArtistDemonstrations

and Gallery Receptions

BOB CRIMIWhen Bob Crimi entered the vibratory world of oil paints as

a teenager, he was soon playing for keeps…painting became alifetime of personal truth. After a period of ‘wood-shedding’* with his colors, at his stu-

dio/home in the Taghkanic Hills, a hand-picked selection of hispaintings will be presented for public viewing in July.Crimi’s paintings have a biorhythm of their own; sometimes

similar, familiar, and often as variegated as the chaos that comesfrom our inner lives.The eye wanders over surfaces that change constantly as they

remain the same. It’s so human to retrace the colors to see ifthey’ll again do for us what they did the first time. Is that a cad-mium red slithering into a pale pthalo blue? It’s ok…let them dotheir thing. The ancient art of oil painting still touts its powers.

*There’s a legend that the ‘Bird’, Charlie Parker, the Americanmusical genius, in search of privacy, practice, and meditation,would often retreat to a woodshed to conjure up the muses…theverb “to woodshed” then came into usage.An exhibition of Bob Crimi’s paintings will take place through

July at the Gallery at B&G Wines and Gourmet, Route 23, MainStreet, Hillsdale, NY. A reception will be held on July 9th from5-7pm.

BERKSHIREART

GALLERY

Spring Landscape, O/C, 20 x 24. Alice Judson, 1876-1948, American.

80 Railroad StreetGreat Barrington, MA

413-528-2690Open Saturday and Sunday

Noon to 5 pm and/or by appointment

WWW.BERKSHIREARTGALLERY.COM

6 THE ARTFUL MIND MAY 2010 WWW.ARTFULMIND.NET

CARRIE HADDAD GALLERYCarrie Haddad Gallery is featuring the works of James

O’Shea, Russell Smith and Sarah Berney, April 15 through May23

James O’Shea works with wax alongside oils and acrylics,imparting depth and complexity to his paintings. Deft, opaquemarks sit atop translucent backgrounds; these surface veils, as-sertive in their thickness, obscure the atmospheric world behind.O’Shea’s works both indulge and challenge the eye, revealingbits of deep space only to mask them, thwart them with auda-cious surface.Russell Smith, like O’Shea, endows surface with unexpected

voluptuousness. This exhibit, bringing together two very differ-ent artists, acquires coherence through the uncanny life-likequality that both Smith and O’Shea invest in inanimate or typ-ically lifeless forms. Smith’s palette comprises desolate graysand browns that, when working in relation with one another, ac-quire an unparalleled luminosity. Smith’s “Receptacle,” likemany of O’Shea’s works, is a record of a process: its mostprominent property is the sheet of warm gray paint wiped acrossthe paper’s surface. Smith lets us see the relative regularity withwhich he applies this hue by preserving the bristly trace of hiswide brush’s mark. Barely perceivable gradations in the paint’sconsistency break the opacity of this plane of color which, al-though functioning within the work as a wall, is described assomething organic, like skin or thick atmosphere. The meetingof the wall and the door’s contour—rendered as sharp, withjuicy, rich black paint—reads like a puncture. Smith amps uphis works with a lushness alien to the banal objects and eventshe depicts.

Sarah Berney has been exhibiting with Carrie Haddad sinceshe first opened her galleries in Hudson, NY. Her work for thisexhibit is lyrically mystical. The works on large canvases arecreated with a process of layered paint that is then peeled offin gestural patterns revealing a spattered canvas beneath.Blue and gold are the predominant colors remaining andswirl through the painted plane like a joyous roadmap. Thefeeling of the work is uplifting and optimistic.Carrie Haddad Gallery, 622 Warren Street, Hudson, NY.

Hours: open daily 11 a.m. - 5p.m. Thursday through Mon-day. For more information call the gallery at 518-828-7655;see show online at www.carriehaddadgallery.com

MYRON SCHIFFEREstablished as a pianist and teacher in the Berkshires since

the late 60s, Myron “Mike” Schiffer has an established historyof exploring the avant garde. Prior to living in the area, Schifferlived and worked in New York City, studying with John Mehe-gan and Hall Overton as well as playing, teaching and hangingaround the fringes of jazz.

Fascinated with music and the visual arts since childhood,Schiffer enrolled in photography at The Fashion Institute ofTechnology in New York. Working in black and white at thetime, he was most notably inspired by Richard Avedon’s fash-ion photography. Once introduced to color, he was deeplymoved by the mystical color fields of Georgia O’Keefe andMark Rothko and considers this work his strongest influence.

Now that he’s entered his ninth decade, he’s fulfilling hisdream of indulging his interest in photography, an interest hestarted to explore in the 1970s. For the last year he’s been busyexhibiting his work at galleries, frame shops, Kimball Farms re-tirement community, Castle Street Café and in the North AdamsOpen Studio show.

His current work is a minimalist expression of color, lightand space, also revealing a strong influence of contemporaryjazz and classical music, e.g. “Intuition” by Lennie Tristano,the first recorded example of spontaneous collective improvi-sation. Schiffer’s graffiti and urban “Street Art” follow alongthe same lines, capturing aleatory and found images.After a five month run, his Castle Street Café exhibit is tak-

ing a break until it reopens with new work in the fall. This showwill feature more canvases from his “Motion Capture” series.His website at www.myronschiffer.com showcases an ever-ex-panding gallery of this series and others such as Urban Scenes,Found Textures, Street Art, Graffiti, and Jazz Musicians.A small selection of Myron’s miniatures can also be seen at

the Red Lion Inn Gift Shop in Stockbridge, MA. See over 250 photographs at his online galleries at www.my-

ronschiffer.com and come back to see more. The collection isalways expanding. All photographs are available for sale ascanvases or archival quality photo prints. Prints are also avail-able from Fine Art America, www.myron-Schiffer.artistweb-sites.com and Zazzle, www.zazzle.com/MyronSchiffer. Myron Schiffer, 413-637-2659, www.myronschiffer.com

CONCERTS ATTANNERY POND

Twenty years ago, Tannery Pond Concerts had its inauguralseason in the beautiful wooden post and beam Shaker build-ing, once a tannery, where we have been ever since. That sea-son was emblematic of the aim of our artistic director,Christian Steiner, to present young talent working to establisha performing career as well as to bring established world-classperformers to our community. The very first Tannery concert featured the 21-year-old vi-

olinist Chee-Yun and pianist and famed chamber music pro-moter Charles Wadsworth. Chee-Yun had just won acompetition sponsored by the Young Concert Artists; over theyears since, she has become a sought-after violinist who hasperformed with the world’s major orchestras. Many of theyoung performers who have appeared at the Tannery havegone on to similar success, helped early in their career by thechance to perform at respected venues like Tannery that recog-nize and encourage burgeoning great talent. And though thatconcert did not sell out, others that season did, including theperformances of the already famous Jessye Norman and theEmerson String Quartet.The performers who have filled the Tannery these last 20

years are exceptional and read like a who’s who in the classi-cal music hall of fame: Midori, Gil Shaham, Jaime Laredo,Jeremy Denk, Maria Joao Pires, Stephen Hough, RichardGoode, Roberto Diaz, Carter Brey, Christopher O’Riley,David Finckel, Christine Brewer, Ben Heppner, Susan Gra-ham, Maureen O’Flynn, Todd Palmer, Paula Robison, the Bor-romeao, Emerson, Lark and St. Lawrence String Quartets toname but a very few.This summer, we also a program of wonderful musicians;

Brentano String Quartet, Paula Robison, Romero Lubambo &Cyro Baptista Trio, Jeremy Denk, Kirill Gerstein, VivicaGenaux & Craig Rutenberg, Jennifer Frautschi, Eric Rusk, &Pedja Muzijevic, and to end our season on September 25th,Alon Goldstein with actors, Robert Mackenzie, MarkusHirnigel & Stephanie Schmiederer.Located on the grounds of Darrow School, New Lebanon,

NY. For detail information, please go to www.tannerypond-concerts.org and/or 888-820-1696.

Unusual InstrumentsFine InstrumentsAccessoriesCrystal Flutes

Orchestral & Band Instruments

More than 100 guitars in stockClassical, Folk, Electric, Handmade

Something for Everyone - All levels, All budgets!

All Things Musical

Open Daily Except Mondays NOW ON ~87 RAILROAD STREET, Gt Barrington 413-528-2460

The Music Storeon Railroad Street

JIM O'SHEA, LOWWATER, 2010, 30 X 31 INCHES, OIL ON PANEL

“TThhee ccrreeaattiivvee ppeerrssoonn ffiinnddss hhiimmsseellff iinn aa ssttaatteeooff ttuurrmmooiill,, rreessttlleessssnneessss,, eemmppttiinneessss,, aanndd

uunnbbeeaarraabbllee ffrruussttrraattiioonn uunnlleessss hhee eexxpprreesssseesshhiiss iinnnneerr lliiffee iinn ssoommee ccrreeaattiivvee wwaayy..””

--SSiillvvaannoo AArriieettii

““WWhheenn yyoouu sseeee ssoommee--bbooddyy ddeeaadd ffoorr tthhee

ffiirrsstt ttiimmee,, yyoouu ccaann’’ttrreessiisstt mmaakkiinngg nnootteess

oonn tthhee wwaayy yyoouu yyoouurr--sseellff ffeeeell,, ttoo uusseewwhheenn ppooiiggnnaannccyy iiss

ccaalllleedd ffoorr..””--JJoohhnn GGiieellgguudd

SCHANTZ GALLERIES CONTEMPORARY GLASS

May in the Berkshires brings all types of beauty and theartwork at Schantz Galleries is no exception. Beginning thismonth, “Inspirations and Illuminations: Survey or Works byDan Dailey”. This exhibit runs May 20 – June 30.Dan Dailey’s career in glass has spanned more than 40

years. Emerging from the Studio Glass movement initiated byHarvey Littleton, Dailey’s work has branched out from themainstream by the incorporation of metal into many of thesculptures. He has taught at many glass programs and is a pro-fessor at the Massachusetts College of Art where he foundedthe glass program. Since 1971, Dailey’s work has been fea-tured in more than 90 solo exhibitions and included in over300 juried or invitational group shows.His work is included in over 50 public collections includ-

ing the Museum of Fine Arts, Boston, MA, the MetropolitanMuseum of Art, New York, the Philadelphia Museum of Art,and the Renwick Gallery, Smithsonian American Art Mu-seum, Washington, DC.Schantz Galleries in Stockbridge is committed to the con-

tinuation of over 30 years of providing representation interna-tionally recognized glass artists to exhibit their work andshare their art with the world. Representing over 40 of the world’s foremost living artists

exhibited on two floors, visitors are privy to experience thevery pinnacle of contemporary art glass right here in NewEngland. Schantz Galleries, 3 Elm Street, Stockbridge, MA 01262;winter hours are 11am – 5pm.413-298-3044, www.schantzgalleries.com

E Hlings!Don’t be shy!

Advertising for new arrivals!artfulmind.net413-528-5628

Down to EARTH rates!

2010 BERKSHIRE INTERNATIONAL FILM FESTIVAL

The Berkshire International Film Festival’s director KelleyVickery announced that Patricia Clarkson will receive the an-nual BIFF Achievement in Film Award at the Festival’s 5th An-niversary held June 3 – 6, 2010 in Great Barrington andPittsfield, MA. Ms. Clarkson will be honored on Fridayevening, June 4 at the historic Mahaiwe Theatre. BIFF willscreen her latest film CAIRO TIME, a romantic drama about abrief, unexpected love affair that catches two people completelyoff-guard against the romantic backdrop of Egypt. CAIROTIME will be released by IFC in August.

Ms. Clarkson’s film career spans some 25 years beginningwith her breakout role in “The Untouchables.” Her incredibleand diverse career has garnered twenty-two awards and sixteennominations including a Golden Globe and Oscar nominationfor her role in “Pieces of April.” Her roles include such filmsas “The Green Mile,” “Station Agent,” “High Art,” “Good Nightand Good Luck,” “Lars and the Real Girl, “Whatever Works,”“All the Real Girls,” and the recently released Scorcese film“Shutter Island.”

“We are thrilled to be honoring such a talented actress suchas Patricia Clarkson at this special 5th year anniversary of theBIFF,” said executive director Kelley Vickery. “She not onlyhas an incredible career as an actor in film, but also on stageand television. The Berkshire community is pleased to honorMs. Clarkson as one of the most talented, accomplished, beau-tiful and in-demand actors in the business today.”

The evening will begin with a cocktail party at AlliumRestaurant followed by the tribute. A selection of Ms. Clark-son’s films will be screened all day Friday at the Mahaiwe.For passes, tickets, sponsor and volunteer opportunities and

further information on the Berkshire International Film Festi-val, visit our website at www.biffma.com or call 413-528-8030.

BARBARA AND JOSEPHFIDDLERS TWO

After enjoying a long, successful multi-field musical careerin New York City, Barbara and Joseph-Fiddlers Two recentlymoved to Williamstown, MA in the beautiful Berkshires, wherethey now continue to perform as a strolling violin duo. FiddlersTwo will perform for a personal party of two people enjoying acandle-lit dinner at home or in a hotel suite; stroll through a hos-pitality suite or cocktail party for hundreds of guests; “bring themusic” to guests’ tables during dinner – and also play guests’ re-quests.The unique violin duo of Barbara and Joseph provides an el-

egant presentation of show tunes, the great American standardsand romantic continental songs that creates the perfect moodfor gracious dining and intimate conversation. Their repertoireof more than a thousand songs “from Broadway to Vienna” in-cludes some of the world’s most requested music. Visitors fromaround the world say: “I haven’t heard anything like FiddlersTwo, anywhere.” “Such imaginative musical arrangements.”“Sheer magic!” “At times, sounds rich as a string quartet.” “Vel-vet to the ears.” “Amazing how you know what to play, whento play it and how to play it!”Barbara and Joseph have entertained at some of the finest ho-

tels, restaurants and country clubs. They have appeared onradio, film, recordings, TV commercials, and were featured na-tionally on The Regis Philbin Show. They were staff membersof The Radio City Music Hall Symphony Orchestra and TheAmerican Symphony Orchestra, and have played under the ba-tons of Leonard Bernstein and Leopold Stokowski at CarnegieHall and at Lincoln Center. Barbara and Joseph have also sharedstages with Tony Bennett, Victor Borge, John Denver and haverecorded with Frank Sinatra.Barbara and Joseph are also founders of The Black Tie String

Quartet, with typical engagements at: The Four Seasons, TheRainbow Room, Tavern-on-the-Green, The Palace Hotel, ParkLane Hotel, St. Moritz Hotel, St. Regis Hotel, Stanhope Hotel,The Waldorf-Astoria Hotel, The Museum of Modern Art, TheLyndhurst Estate and on board the Cunard Princess. They havealso recorded the world’s first Christmas album in string quartetform.

Fiddlers Two has been heard in a wide variety of settings:from the top of Windows On The World, to a yacht “downbelow” passing by the Statue of Liberty - to The Museum ofNatural History “under the whale”! Some typical engagements:The Boardroom of The American Stock Exchange, Le PerigordPark, Maxim’s, The Metropolitan Museum, 21 Club, TheQuilted Giraffe, Union League Club, Westchester Country Club.They were also featured entertainment at the Garden City Hotel(for six months) and at the Sheraton Centre Hotel (held over forone year).Barbara and Joseph have performed at many prominent spe-

cial events, including: the wedding reception for Mr. & Mrs.Rodman Rockefeller, Brenda Vaccaro’s wedding, parties forMadeline Kahn and Lili Tomlin, receptions for Princess Dianaand Princess Grace of Monaco, and Frank Sinatra’s 75th birth-day dinner. Also at events for Presidents Johnson, Ford, Carter,Reagan, Bush and Clinton. Fiddlers Two “sets the tone” formany types of special events, from a corporate Awards Dinner,elegant dinner party or after-theatre supper, to a family birthdayor anniversary celebration. For booking information, pleasecall: (413) 458-1984.

MAY 2010 WWW.ARTFULMIND.NET THE ARTFUL MIND • 7

DAN DAILY

PATRICIA CLARKSON IN CAIRO TIME

“Barbara and Joseph – Fiddlers Two – performers for many years attheWaldorf-Astoria Hotel in NYC. Seen above at a Waldorf

NY’s Eve celebration.”

BERKSHIRE ART FESTIVALSKI BUTTERNUT JULY 2-4 2010

More than one hundred sixty-five exceptionally talented,jury selected artists and artisans from all over the country willpresent their artwork at the 9th annual Berkshires Arts Festival,held July 2-4 at Ski Butternut in Great Barrington, Massachu-setts. Over the last 8 years, the Berkshires Arts Festival has become

one of the most anticipated summer events in theBerkshires. Each year, the show brings together a selection ofsome of the finest artists in the America, offering outstandingworks in the following categories ceramics, painting, jewelry,glass, wood, mixed media, sculpture, fashion and photographyfor display and sale. “The work for sale at this show ranges from the most afford-

able hand-crafted items to once in a lifetime opportunities forcollectors,” said Director Richard Rothbard, himself a veteranartisan and the creator of Boxology.This year, BAF has increased its commitment to offering en-

gaging and educational experiences for festival goers with evenmore demonstrations, talks, and performance artists added tothe schedule. New educational content includes instruction insustainable historic New England timber homebuilding tech-niques by the Heartwood School, based in Washington, Mass. This year will also see the return of the Art of Clay tent, spon-sored by Sheffield Pottery, which will bring festival-goers be-hind the scenes of ceramic art creation, with features anddemonstrations from a wide variety of pottery styles.The show will be held Friday, July 2nd through Sunday, July

4th rain or shine at Ski Butternut under tents, outdoors and in theair-conditioned lodge, with musical performances, workshops,and activities for kids, magicians, fire-dancers and much morehappening throughout the entire weekend.Berkshire Art Festival, Ski Butternut, Route 23, Great Bar-

rington, MA; July 2, Friday 10am - 6pm, July 3, Saturday 10am- 6pm, July 4, Sunday 10am - 5pm. Admission: Adults- $11, Sen-iors - $9, Students - $5. Weekend pass - $13, Children under 10admitted free. Plenty of Free parking available. For more in-formation visit www. berkshiresartsfestival.com

RUTH KOLBERT“Friends, Artists & Special Places” will be on exhibit at

Front Street Gallery May 19 through June 12.Ruth Kolbert has been painting since early in her life. She

studied Fine Arts in college, concentrating her study with JohnFerren, and went on to study at The Art Student’s League inNew York. Ruth also studied with Oscar Kokoschka inSalzburg, Austria and Charles Cajori and Nicholas Carone inNew York.

Ruth has lived and painted in the Berkshires for 21 years,with a studio in Sheffield. She has exhibited in New York andthe Berkshires, and last showed a series of barn paintings atCastle Street Café. Her work is in private collections.The main focus of Ruth’s work is people in the creative arts

and in her life. These paintings are often life-size or larger, andseem to be barely contained within the canvas, revealing thevitality of her subjects in relation to their environment. Theportraits are infused with luminous color, emphasizing her sub-ject’s inner life.Front Street Gallery, Front Street, Housatonic, MA. Gallery

open Fridays 1 – 5 pm, Saturday and Sunday 12 – 5pm, and /or by appointment. To reach Ruth in her studio, please call413-229-0380

PARADISE CITY ARTS FESTIVAL

MAY 29-31, NORTHAMPTON The Paradise City Arts Festival in Northampton won the

Number 3 spot this year among hundreds of arts festivals acrossAmerica. Start with 258 juried artists traveling from 30 statesto show off their best and newest work, add in Paradise City’ssignature live music and gourmet food, enchanting theater offer-ings for all ages, a flowering sculpture garden filled with artfuldelights, a benefit silent art auction for WGBY… all excellentreasons to come on down to Paradise City. And you don’t wantto miss the third installment of our series of themed exhibitionscelebrating the art of love!

Love is in the air… and Paradise City artists delve into thegreat icons of romance for a special exhibit, “The Art of Love”.Often playful, sometimes sentimental, celebrating the power oftwo, the work on display shows us how central love is to ourvisual vocabulary. Actually, love is expressed in many ways atthe show this spring - infusing the food, the music and the the-ater, too.

Comedy! Drama! Let us entertain you with New CenturyTheater’s “The Artifice of Love”, lampooning matters of theheart. PaintBox Theatre keeps the kids enthralled with their in-teractive “Cinderella”, a most romantic play with a unique spin.

Grammy-winner Charles Neville joins Paradise City underthe Festival Dining Tent - first on Saturday, as part of local heroRoger Salloom’s back-up band. Sunday the sax legend returnswith his own band, and Monday jazz diva Barbara Ween bright-ens Memorial Day with her high-energy vocals. Relax to sets oflove songs, while dining on romantic offerings like oysters onthe half shell and Bavarian cream hearts, presented byNorthampton’s favorite chefs! At the 3 County Fairgrounds, Route 9 at I-91 Exit 19. From

the Mass Pike, take exit 4 to I-91 North. For complete show andtravel information, and discount admission coupons, visitwww.paradisecityarts.com or call 800-511-9725.


DYER, PENDANT

RUTH KOLBERT, ROB ROBBINS, 78” X 44”

““II tthhiinnkk tthhaatt tthheerree iiss nnootthhiinngg mmoorree aappppoosseedd ttoo ppooeettrryy,, aayy,,

mmoorree aappppoosseedd ttoo lliiffee iittsseellff,, tthhaann tthhiiss,, iinncceessssaanntt bbuussiinneessss..””

--HHeennrryy DDaavviidd TThhoorreeaauu

MAY 2010 THE ARTFUL MIND • 9

Mary Barringer is a ceramist with a mission. In June, she’llbe teaching an intensive weeklong workshop for adults at IS183Art School of the Berkshires called “Skin and Bones” that willfocus on the often complicated relationship ceramic artists havebetween the forms and surfaces of their pots.

“Students in the workshop will explore what part of theiridea of the pot involves the surface. It’s a charged subject for alot of people who say they love making things but they hateglazing them. I’m interested in carrying some of that excitementof engagement in the piece farther out, into the way we thinkabout surface. That’s the core of the class,” said Barringer. Theworkshop is not a temperature or technique specific course; bothhandbuilders and those who work on the wheel are welcomeand Barringer hopes to challenge ceramists of both disciplinesto expand their thinking about their artistic process in the studio.

“It’s a chance for me to explore with a group of people theinterplay between how we think about making things and thesurface of the work,” she said. “My experience is that many peo-ple focus on the clay, the feel, the technique—that’s where allthe juice is—but that as it goes through one firing and is thensubjected to glazes and other firings our involvement with thepiece often gets more indirect as the process goes on.

“For many of us there is a linear process to making a piece.In this class students will have the opportunity to test a varietyof finishes and have a chance to fire a piece early in the week,creating a feedback loop, so that thinking can go in both direc-tions. As you’re making something you’ll also be thinking aboutfinishes. In the “Skin and Bones” workshop students will trythings they haven’t ever done and will learn, through experi-mentation and technical intermediary methods, the ways theycan bring together the two parts of the process. It’s a good

chance for people to get more engaged with the surface.”Barringer, who lives in Shelburne Falls, Mass., has been a

studio artist since 1973, making both sculpture and functionalpottery. Her work has been exhibited internationally, most re-cently at AKAR (Iowa City), the Signature Shop (Atlanta), andat the World Ceramics Expo in Korea. She has taught at numer-ous art centers and universities including Ohio University, theBoston Museum School, and Penland School of Crafts. She re-ceived a BA in art from Bennington College, studied sculptureat the Pratt Institute and apprenticed with Michael Frimkess.

In addition to her studio work she has written and lecturedon ceramic history, and was named editor of Studio Potter(www.studiopotter.org) in 2003. Since its inception in 1972,Studio Potter has been “a magazine for the community of pot-ters everywhere. It is written by potters and directed toward fel-low-potters who earn their living by making pots.” Theadvertising-free, non-profit independent ceramics journal fo-cuses on aesthetic philosophy and is published twice-yearly inJanuary and July.

As of this writing, Barringer was busily at work on the sum-mer issue. “It’s kind of a labor of love and it’s immensely enjoy-able to do,” she said. “I like to think of it as The New Yorker ofceramic publications. There’s a different theme for each issueand for each I look for a wide range of opinions. A few issuesago the theme was ‘change.’ It encompassed articles about thechanges in your work in the studio over time: there was an ar-ticle about parenthood by someone who had adopted a baby andchange came quickly—and how it affected his studio work; weaddressed social change in a historical article; and wrote abouta woman who does installations of raw clay and then videotapesthe process of what happens to the clay as it alters over time.”

IS183 Art School ceramics intensive Skin and Bones with in-structor Mary Barringer will be held Monday through Friday,June 21 through 25, 9:30 a.m. to 4 p.m. Tuition is $600, plus$50 materials fee. IS183 is located at 13 Willard Hill Road in In-terlaken. For more information and to register, please call413.298.5252, e-mail [email protected] or visit www.is183.org

This intensive will focus on the chicken-and-egg question ofhow the forms and surfaces of pots relate to each other. Form-ing processes, surface texture, drawing under or on glaze, glazechoices, and firing methods can all be deployed to underscoreor counter the form. We will come at the possibilities from mul-tiple directions, with the aim of discovering new strategies forintegrating these two elements in our work. During the weekwe will focus on mid-range oxidation firing, but the workshopis suitable for all temperatures, and for either handbuilding orwheel work.

Kimberly Rawson is a writer, editor and communicationsstrategist who lives in Pittsfield.

CERAMISTMaryBarringerby Kimberly Rawson

“One of the often-mentioned pleasures of functional art such as pottery is its ability to bring heightenedawareness to ordinary acts – to intensify and “make special” the fundamental human activities of eating, drinking, andcooking. But it is equally wonderful that functional art has the power to disappear. Thus a handmade cup can tamp downthe art experience, push it below the threshold of attention, where it enters the user through the portal of the senses, ratherthan through the focused eye and conscious mind. It sneaks into your day and becomes part of the texture of your bodily life.”

What is studio pottery?According to Wikipedia, studio pottery is made by mod-ern artists working alone or in small groups, producingunique items or pottery in small quantities, typicallywith all stages of manufacturing carried out by one in-dividual. Much studio pottery is tableware or cookwarebut an increasing number of studio potters producenon-functional or sculptural items.

IS183 ART SCHOOL OF THE BERKSHIRES

—Mary Barringer

SPOUTED DISH, BARRINGER

10 • THE ARTFUL MIND MAY 2010 WWW.ARTFULMIND.NET

FRONT STREET GALLERYRemember during difficult times the best investment is

something that uplifts the spirit. There is no greater gift than awonderful painting. Please come pick one out and make everyday of your life richer. Ongoing large selection of still life andBerkshire landscapes. All work sold at “recession concession”prices. Time payments accepted by appointment or chance.

The Front St. Gallery was established fifteen years ago byseven local artists; Kate Knapp was one of the original founders.Designed as a cooperative showing many Berkshire artists’work, today it is not only a gallery but primarily Kate Knapp’sstudio. The space is obviously a working studio with many racksfilled with canvases new and old, offering a great choice to any-one interested in looking. Kate has been studying art for 40years. Her paintings are found in collections all over the country. Front St. Gallery is a beautiful and intriguing space located

next to the Corner Market looking out at the mountains andpassing trains. The paintings hanging on the walls are filled withcolor and light reflecting Kate’s training in the impressionistschool. There are portraits, still life’s and landscapes done in oiland watercolor. Wonderful paintings of the rivers, farms andflowers found in the Berkshires are inspiring. There are also vi-brant seascapes painted on Block Island, RI., where Kate has ahome and loves to paint. The key word here is “loves”. Thesepaintings are filled with an intense joy and passion for life. Thewild rapids of the river, old farm trucks parked in a field withcows and waves breaking on rocks and shore are painted withgreat feeling. Prices are negotiable. Spring and Summer Classes at Front Street studio now open

for registration...Monday, Wednesday and Thursday. PaintingClasses are held Monday and Wednesday from 9:30 to 1 pm atthe gallery/studio. Thursday class is planned, from 9:30 - 1 pmat different locations, and to be announced weekly. The cost is$30 per class and it is for beginners to advanced, all mediumsare welcome.

Front St. Gallery, Housatonic, MA. 413-274 6607,www.kateknappartist.com and 413-528-9546, 413-429-7141.

ART ON NOTHE UPSTAIRS GALLERYThe excitement has been building for months as the artists

of Art on No have been refurbishing the upstairs hall, soon to bere-opened as the “Upstairs Gallery” of Art on No. The publicis invited to attend the grand opening reception on Saturday,May 15 from 5 – 8 pm. Visit the new gallery, meet the artistsand tour the studios. Artists will be hanging works outside oftheir own studios for all to see. Refreshments and musical en-tertainment will be provided.

In October 2004, artist Annie Laurie spearheaded a projectto get empty offices on the 2nd floor of 311 North Street readyfor local artists to rent….soon the studios were at 100% capacityand completely transformed. Since then, the building owner Irv-ing Cohen has supported Annie’s vision of having affordableworking spaces for artists in downtown Pittsfield, and has mademany improvements to the building.

Our studios are filled with 17 artists in a diverse range ofmedia consisting of painters of all mediums, printmakers, silkscreen artists, musicians, videographers, sound recorders, jew-elry designers, photographers and more. We are one of thelargest concentrations of artists under one roof working indowntown Pittsfield. Our goal is to increase support for the artsin downtown Pittsfield and to keep the town lively and creative.In addition, Art on No will be open to the public during each

of Pittsfield’s Third Thursday Festivities, 5:30 – 8pm from Maythrough October.Art on No, 311 North Street, Pittsfield, MA. Grand Re-Open-

ing of Upstairs Gallery, May 15, 5-8 pm. Open during Pitts-field’s Third Thursday Festivities and by appointment.

CARRIE HADDAD PHOTOGRAPHS

Carrie Haddad Photographs is pleased to announce Po-laroids: Works by William Wegman, Mark Beard, John Dug-dale, Melinda McDaniel and Tanya Marcuse through May 30,2010. No other artist has conveyed the color, beauty and elegance

of the 20 x 24 large format Polaroid process quite like WilliamWegman. The fact that Wegman has also managed to use thisform of photography to bring humor, wit, intelligence and a hu-mane view of the world, most often via the eyes or visage ofone his beloved Weimaraners, is a great bonus for people every-where, both in the art world and beyond.Also on exhibit are Mark Beard’s Polaroid transfers of per-

sonal and compelling landscapes and portraits of downtownNew York performers, celebrities and friends. Tanya Marcusealso uses this method. In her jewel-like series Torso, the trans-ferred emulsion onto a sandwiched mylar material creates a lu-minous, transparent effect. John Dugdale’s use of 8 x10Polaroid film to capture his 19th century aesthetic results in im-ages that are remarkable in their other worldly beauty. MelindaMcDaniel uses the difficult to find SX 70 film to create abstractimages of rich color, shape and dimension in a continuation ofher distinctive body of contemporary work.

For more information, please visit our website www.car-riehaddadphotographs.com or visit us at the gallery 318 WarrenStreet, Hudson, NY, 12534.

WILLIAM WEGMAN, LITTLE RED, 1999, COLOR POLAROID, 24 X 20”

KATE KNAPP STILL LIFE

““AAllll tthhoossee mmiirrrroorrss kkeeeeppppuulllliinngg yyoouu bbaacckk.. YYoouu kkeeeepp oonn sseeeeiinngg

yyoouurrsseellff--tthhoouussaannddss ooff yyoouu..””--DDeeaannnnee BBeerrggssmmaa

TRANSILLUMINATIONSJONAS CAUFIELD

MAY 2010 ARTFULMIND.NET THE ARTFUL MIND • 11

“Transilluminations”, an exhibit at M Gallery in Catskill, N.Y. is a show of images printed onvarious media including backlit transparencies, metal, and traditional paper. The show runsthrough May 15.Woodstock photographer, Jonas Caufield, will display his photographs of trans-vestites, drag queens, and androgynous alternative fashionistas in an intimate setting along MainStreet, Catskill. The show focuses on the concept of gender identity and sexuality in dress. M Gallery owners, Patrick

and Alyson Milbourn, welcomed the exhibition as “an opportunity to view a lifestyle that so many of usknow nothing about. The photos bring forth a richness of emotions, an expression of vanity and overthumor which seemed prevalent to the collection. For Jonas’ subjects, it is life as usual – a romp in thepark, a day at the mall, or a night at the clubs – being true to themselves and their sense of pride.Caufield’s style developed early on – a childhood spent in his mother’s magical dark room. Studies

included landscapes and still life, and his portrait work brought him commercial assignments, modelshoots and live events. “My introduction to “drag” was Kingston’s night life scene and I was fascinatedwith the many applications of cross dressing. Some are comedians, some impersonators, some use trans-fashion to define themselves or their alter egos. The ephemeral nature of each evening’s artistic self-ex-pression drew me in – I was driven to document and preserve it”.Photographing under his pseudonym, Jack Flack captured images from underground clubs, nightlife

events, and nightlife personalities from New York, London, and the Hudson Valley. His subjects and theilluminated images themselves will shine light on the observer and our concept of non traditional self ex-pression in relation to gender roles.

M Gallery is located at 350 Main Street in Catskill, New York. More information at 518-943-0380. Gallery hours are Friday, Saturday and Sunday from noon to 4pm, by appointment or by chance.

Visit www.mgallery-online.com or contact [email protected]

RICHI M., CAUFIELDSHEALITAHIRES., CAUFIELD

KAORIHIRES., CAUFIELDOMEL, CAUFIELD


BERKSHIRE ART KITCHENThe BAK Directory of Creativity - BAK is building a

Blogroll Featuring links to Berkshire-based artists, graphic de-signers, musicians, writers, as well as galleries, museums andother venues for creativity.If you want to get the word out about the creative work you

are doing here in the Berkshires - send us the link and we’lladd it to the Berkshire Art Kitchen Blogroll as we update.Social Media for Artists, Musicians & Entrepreneurs -

BAK is helping artists, musicians, writers and small businessowners get started with social media. Join us in May for ournew series of low-cost hands-on seminars: MySpace Mon-days, Twitter Tuesdays, Wordpress Wednesdays and FacebookFridays — Short and sweet, you’ll quickly learn how to ex-pand your presence online, while increasing your fan base.Stay tuned for more info.If you’re anxious to get started, callor write to schedule a one-on-one tutorial.Volunteers & Interns - there’s a lot going on at BAK and

we would love your help! We’re looking for dynamic, self-motivated, efficient and well-organized folks who are excitedabout being involved in the arts. Is music your thing? How

about curating exhibitions? Grant writ-ing? Programming? Fundraising? Mar-keting? Social Media? Officemanagement? Bookkeeping? The listgoes on and on. We’re building teamsnow. Please feel free to contact us to findout more. Let us know your interests andtime availability.The Berkshire Art Kitchen is an artist-

run social experiment. Part gallery, partartists’ salon, part studio - BAK is com-mitted to providing unique opportunitiesfor creativity, connection & change.BAK needs your support in order to

continue fostering creativity, connectionand change! We love supporting artists,musicians, writers and enthusiasts -Please help us keep them inspired!!!TheBerkshire Art Kitchen is a fund of theStorefront Artist Project, a 501(c)3 PublicCharity.Berkshire Art Kitchen, 400 Main Street,Suite A, Great Barrington, MA 01230.BAK is open most days 11-3, by appoint-ment or good fortune, and regularly onFridays and Saturdays 12-5pm . 413-717-0031, [email protected]

SPRING BROOK, OIL/BOARD, 10” X 12”, ARTHUR J.E. POWELL(1864-1956), AMERICAN

BERKSHIRE ART GALLERYThe Hyde Collection, Glens Falls, NY, recently concluded

the exhibit An Enduring Legacy: American ImpressionistLandscape Paintings from the Thomas Clark Collection, a sig-nificant grouping of pre-1940 paintings from the last greatgeneration of impressionists who emerged during and in theaftermath of the American Impressionist movement (1880-1928). These artists, the students and sketching partners ofseminal figures such as Twachtman, Hassam, Chase andHenri, were successful in their own right, though obviouslynot as prominent as their predecessors. This second genera-tion flourished in places like Old Lyme, CT, Cape Ann, MA,New Hope, PA and Woodstock, NY, as well as areas of Ver-mont and California. Paintings by artists who were in An En-during Legacy, including Alice Judson (1876-1948), ArthurJames E. Powell (1864-1956) and Cecil Chichester (1891-1963), also are on exhibit at the Berkshire Art Gallery. Alice Judson, a student of John Twachtman, was one of the

foremost artists of her era, with numerous successful museumand prominent gallery (Milch, Babcock, Anderson, etc.) ex-hibits. She lived in Beacon, NY, and wove tender violets, puregreens and subtle browns in Spring Landscape into a charm-ing fabric of tone, light and shadow. The Gallery also has fourpaintings by Arthur Powell, a National Academy member whopainted near his Dover Plains home, such as Spring Brook(Ten Mile River). Cecil Chichester, a landscape artist, illustra-tor, and instructor at the Art Students League of New Yorkand the Woodstock School of Painting, experimented withboth impressionist and realistic painting styles. His AutumnGaiety offers beautifully painted trees with vivid foliage re-flected in a nearby stream. Chichester’s work is in the WhiteHouse.The Berkshire Art Gallery has a number of works by many

other artists from this significant era in American art.Berkshire Art Gallery, 80 Railroad Street, Great Barring-

ton, MA. Gallery hours are noon to 5PM, Saturday and Sun-day, or by appointment or chance. Parking for patrons isavailable in front of the Gallery. For information, contactJack Wood @ 413-528-2690 or berkshireartgallery.com

MICHAEL FILMUSIn Michael Filmus’ painting “View from Mt. Greylock, Bril-

liant Sky” a stand of majestic pines is silhouetted against agolden cloud. In the distance we see green fields stretching tothe horizon. From the summit the artist records a panorama,sometimes real, sometimes imagined.Michael Filmus has painted the Berkshire landscape for many

years. He has exhibited his work in one-man shows at the Berk-shire Museum in Pittsfield and at the Welles Gallery in Lenox.In New York he has been represented by Hirschl & Adler Gal-leries and David Findlay Jr., Fine Art. Filmus’ works are in nu-merous private and public collections including the Art Instituteof Chicago and the Butler Institute of American Art. Michael Filmus may be contacted in the Berkshires at 413-

528-5471 or through his website www.michaelfilmus.com

THE GALLERY AT THE GOLD AND SILVERSMITH

152 Main St, Great Barrington (next to Eagle Shoe and Boot)413 • 528 • 0013 (Tues - Sat 10:30-6 pm)

The Gallery at

The Berkshire Gold and Silversmith

Party MusicExtraordinaire!

Formerly at New York’s*Rainbow Room

*Waldorf-Astoria Hotel*Windows On The World

TThhee EEll eeggaanntt SStt rroo ll ll iinngg VViiooll iinn--DDuuoo

BARBARA & JOSEPHFIDDLERS TWO

...now residing in the beautiful Berkshires,will bring the melodies you love“from Broadway to Vienna”

to your special event.

Enjoy “magical” renditions of show tunes,Gershwin, Porter, Italian, French, Viennese favorites...

and your guests’ requests!

Perfect for your ...*Home Entertaining

*Formal Dinner *Gala Event*Civic/Business Function *Wedding!

For information & brochure, please call(413)458-1984

Fiddlers Two is a unit of The Black Tie Orchestra

“Barbara and Joseph – Fiddlers Two – performers for many years at the

Waldorf-Astoria Hotel in NYC. Seenabove at a Waldorf NY’s Eve celebration.”

COLLAGE, SANDRAARP-SANDEL

“VIEW FROM MT. GREYLOCK, BRILLIANT SKY” 20” X 30” OIL

““RRaaiissiinngg mmaarrbbllee iiss eevviiddeennccee tthhaatt aa nnuummbbeerr ooff mmeenn hhaavvee rreeaacchheedd tthhee ppooiinntt

wwhheerree tthhee oonnee tthheeyy wwoouulldd nnooww hhoonnoorr ffoorrmmeerrllyy ssttoooodd aalloonnee..””--WWaassssiillyy KKaannddiinnsskkyy

Gallery Space available for Artists to exhibit their art work.Great Lighting with intimate, natural wood environment.

Past art exhibits have been considered well attended and enjoyed.

If this interests you, please stop by or call the Gallery. We are always interested in seeing what you create.

““AAfftteerr ssiilleennccee,, tthhaatt wwhhiicchh ccoommeess nneeaarreessttttoo eexxpprreessssiinngg tthhee iinneexxpprreessssiibbllee iiss mmuussiicc..””

--AAllddoouuss HHuuxxlleeyy

DON MULLER GALLERYFor the third year in a row, the Don Muller Gallery has been

named one of the Top Ten Retailers of American Craft in NorthAmerica by Niche Magazine, one of the highest marks of dis-tinction in the American craft industry.

More than 18,000 craft artists from the United States andCanada are polled each year and nominate over 700 galleries,retail stores, and museum shops. Criteria for selection include: treating artists with courtesy and respect; paying ontime; promoting and marketing American crafts; giving backtime and energy to the craft community; mentoring emergingartists; and maintaining an inventory that is at least 85% Amer-ican craft.Don Muller Gallery was honored to be named among the top

galleries in the United States, and is particularly proud toachieve such an award for owning and operating a business indowntown, Northampton, Massachusetts, for over 25 years.Being one of the top 10 galleries in the nation is a real tributeto past and present employees and all of the artists that havebeen represented through the years. The gallery has also announced the launch of their new

website. The site features the work of many artists in jewelry,glass, wood, fiber, and more; it includes a tour of the gallery, adescription of their services, and an introduction to the gallerystaff. The site was produced by Positronic, a web development company based in Northampton.Don Muller Gallery, 40 Main St, Northampton, MA,

413-586-1119, www.donmullergallery.com Open Mon–Wed, 10-5:30, Thurs–Sat, 10–9, Sunday 12-5pm.

THE MUSIC STOREAs we revel in Berkshires’ Spring Symphony, we at the

Music Store begin to anticipate our second in our new loca-tion, at the end of the Railroad Street extension in Great Bar-rington. Acclaimed as one of the area’s best music stores, TheMusic Store specializes in fine, folk and unusual musical in-struments, accessories, supplies and music motif gifts. The Music Store offers music lovers and musicians of all

ages and abilities a myriad of musical merchandise that willhelp them illuminate the longest winter night and enliven theshortest day. Music lovers and professional and amateur musi-cians alike will find an exciting array of both new and usedname-brand and hand-made instruments, extraordinary folkinstruments and one of the Northeast’s finest selections ofstrings and reeds. Music Store customers enjoy fine luthier handmade classi-

cal guitars, the peerless Irish Avalon steel string guitars, thebrand new Baden Pantheon USA guitars as well as the hand-made Badens including the USA Handmade Bourgeois/Pan-theon Baden and guitars from other fine lines includingAvalon, Rainsong and Takamine, as well as Alvarez, and Lunaand from designers including Greg Bennett. Acoustic andelectric guitars from entry to professional level instrumentsare available. Famous names including consignment Ricken-backer, Gibson, Gretsch and Fender guitars and basses joinless-well known brands which appeal to those seeking highquality but are on tight budgets, providing any guitarist atempting cornucopia of playing possibilities. A wide varietyof Ukuleles (including the Connecticut made Flues and Fleas)join banjos, mandolins and dulcimers as well.Unusual instruments are also available, including the Con-

necticut-made Fluke and Flea Ukeleles and the peerless andlovely Stockbridge-made Serenity bamboo and walking stickflutes. New and used student orchestral and band instrumentsare available, including violins from $159 to $3000. An ex-tensive array of international strings and reeds provideschoices for the newest student to the symphony performer.Children’s instruments, as well as a fine line of internationalpercussion including middle eastern and hand made Africaninstruments along with many choices of industry standarddrums, stands, heads and sticks, as well as tuners, forks andmetronomes can be found as well. All new instruments are backed by The Music Store’s life-

time warranty which provides free set-up and adjustments onany new instrument sold. For repair and restoration andmaintenance of fine stringed instruments - guitars, banjos,mandolins and the like - The Music Store’s repair shop offersexpert luthiery at reasonable prices on instruments of all lev-els, as well as authorized repairs on Warwick Basses, andLowden and Takamine guitars. Those in search of the perfect present for music lovers willfind a treasure trove of gift favorites such as bumper stickers(“Driver Singing,” “Go Home and Practice,” Tune it or Die”and more), tee shirts, caps, scarves, miniature musical instru-ments and instrument magnets, nightshirts, music motif mugs,socks, totes and ties. Small bronze and metal musician statuesand cuddly ‘Music Lover’ stuffed animals, whistle pops andearrings add additional possibilities to gift giving customers. A proud server of the community for over nine years, The

Music Store’s warm and friendly staff are available for help intuning, stringing or instrument repair. Help in choosingtuners, capos, mutes shoulder rests and strings is as happilygiven as help in selecting instruments themselves. Since ourmission is to support and encourage our musical community,consultation and advice are always free.

For a magical, musical experience, visit The Music Storeat 87 Railroad Street in Great Barrington, Massachusetts,open Tuesdays through Saturdays from 10 to 6, and on Sun-days from 12 to 5. Call 413-528-2460 or email us at [email protected]. And look for us on Facebook at The Music StorePlus for special tips and events! We at The Music Store wishyou peace and harmony throughout 2010.

JAMES AUGUST WEBERPROFESSIONAL

WWW.BERKSHIRECONTRACTOR.COMJames August Weber, a professional woodworker since 1976,

has had an eclectic variety of experience. Boat building, siloconstruction, gazebos, decks, porches, barns sheds, as well asdozens of custom homes and structure renovation, you name itand Weber has probably done it.

Teaching Furniture Design and Building in Poughkeepsie,New York led Weber to open a successful shop and retail galleryon Martha’s Vineyard which he operated from 1979 until mov-ing to the Berkshires in 1986. Working on the Vineyard alsoprovided an opportunity to work on the interior of many finesailing vessels.In the Berkshires, Jim learned the craft of the Timber framer,

building post and beam homes and log timber homes, as well ascommon methods of “stick framing”, while applying the skill ofthe fine woodworker artisan.

“Our current undertaking is a custom home on Blunt Roadin Egremont, MA. It was designed in our office, and is sched-uled for completion this summer. Please contact me to have alook around. I love to talk shop!”You may have seen Weber as “the guy with the whistle” that

leads the Berkshire Bateria Samba drummers, but he also leadshis crew of experienced artisan builders.

Through the J.W. Construction, Webber has been offeringhis General Contracting and carpentry services in the Berkshiresfor over 20 years.

J.W. Construction: James Weber: 413-528-6575, website:www.berkshirecontractor.com

MAY 2010 ARTFULMIND.NET THE ARTFUL MIND • 13

““LLeett uuss pprrooccllaaiimm tthhaatt tthhee ssiiddeewwaallkk ccaann cclliimmbb uupp yyoouurr ttaabbllee,, tthhaatt yyoouurr hheeaadd ccaann ccrroossss tthheessttrreeeett,, aanndd tthhaatt aatt tthhee ssaammee ttiimmee yyoouurr hhoouusseehhoolldd llaammpp ccaann ssuussppeenndd bbeettwweeeenn oonnee hhoouussee aanndd

aannootthheerr tthhee iimmmmeennssee ssppiiddeerrwweebb ooff iittss dduussttyy rraayyss..”” --UUmmbbeerrttoo BBoocccciioonnii


I met artist Terry Wise at the Lauren Clark Fine Art Gallery in Housatonic, Massachusetts.I wanted to view her finished work the same way other gallery patrons view it rather than in astudio with unfinished pictures and paint supplies in evidence. I think this gave me a differentperspective on Terry as an artist and a professional. Although we talked about her multi-talentedand supportive family we concentrated more on delving into her process of constructing a paint-ing, why she feels the need to paint, and the influences on her work. I discovered that althoughat first glance Terry seems to be a rather quiet, introspective artist, deep down she’s somewhatconflicted about painting what she views as safe, and crossing the line into the unknown. Sheadmitted that when she has crossed the line the response from the public has been lukewarm,but although her forte is still lifes she’s not averse to trying her hand at the challenge of figuredrawing.

Nanci Race: Have you been painting for many years?Terry Wise: About 15 years. I studied fine art at Indiana University in the 70s, and I got at BFA de-gree in textile design. I took a painting course and did a lot of basic curriculum so I have some back-ground, but during the time my children were little I experimented in a lot of different things. I didsome printmaking, some textile work, liturgical design for a church and lots of different things. Ieven did a four year stint as a children’s clothing designer. Then ultimately I began to work withJoan Griswold, taking classes from her in her studio. That provided a real steady pace of being inthe studio setting every week and getting a feeling for that situation. She taught me more basics ofpainting than were being taught in the 70s in art school. At that point in art school the training yougot was sort of “do whatever you want,” and Joan was very good at teaching the basics. Classeswith her also taught me a different way of seeing when painting. The class took a number of paint-

ing trips to Europe and places in the United States, like Maine and California. I didn’t go on all thetrips, but I did take two trips to Italy and one to Ireland with her and the other students. I found thatlandscape painting was not my forte, my first love. I enjoy working in a studio setting better.

I’ve been working in my own studio for about 12 years. Still life has been my main focus, butmore recently I’ve been learning to do figures because it’s a challenge and something I always feltwas beyond my ability. I’ve taken some figure drawing classes and have been just playing aroundwith it. I don’t know how much that will enter into my work. I’m fascinated with it right now. I findthat commercial galleries often veer away from the human figure and I don’t want that to totallydefine what I do. The contemporary world is always forging ahead into areas that make people un-comfortable and I’m not really up there with the “young folks” doing crazy political stuff or what-ever, but I do like to keep up on what is happening. I like to see contemporary work. I seek it outwhenever I travel. I find it fascinating. But, then you have the dilemma of doing what sells and whatpeople are comfortable with versus pushing the edges a little bit. Whenever I push and try some-thing a little more experimental the reaction is generally pretty lukewarm.

NR: At least you have the courage to try you’re not just sitting back and deciding that you’re goingcontinue doing exactly the same old thing over and over again without ever stepping out of yourcomfort zone correct?TW: One of the real dilemmas of getting a following for your work is the people start expectingyou to turn out the same thing over and over for years. Some people can successfully do that andkeep it alive and fresh. I can’t. The reason I didn’t pursue textiles professionally or as an artist isthat you have to do a lot of repetitive work; the same techniques over and over again to create a

TERRY WISE Visual ArtistWritten by Nanci Race Photography by Sabine Vollmer von Falken

PHOTO: SABINE VOLLMER VON FALKEN

TERRYWISE, MINYAN, 10” X 10”, ACRYLIC + PLASTER ON WOOD PANEL, 2010POETRY BY TOVA GARDNER (PHOTO SUPPLIED BY TERRYW.)

MAY 2010 THE ARTFUL MIND • 15

body of work or product. The reason I like painting is that I canalways have a new subject to view, a new technique, or what-ever and it’s always starting fresh.

NR: What is your preferred medium?TW: I usually paint in oils but I also combine different materi-als. One technique that I’ve developed is where I under paint inacrylic. The acrylic allows me to layer colors very quickly. ThenI experiment with block printing on the under painting with dif-ferent patterns. There is a rubbery material that you can buy inan art store. It’s called “speedy cut” or something like that andit’s used for block printing. It’s a lot easier to cut and is a lotmore flexible than a linoleum block would be. It has sort of thesame effect. Unfortunately they do break down rapidly. Any-way, I fool around with stripes that can become checkerboardpatterns. I also have lots of floral patterns. I layer all of thesewith circles. I play with printing pattern onto the background.Sometimes it’s where a specific still life will be like a table orsometimes I’ll just print it, lean it against a wall and live with itfor a week or maybe three months before what needs to be onthere will come to me. At some point when I go back to it something totally different might happenthan what I originally thought. Then I paint on top of that. I might do something fairly abstract orI might paint a still life. It evolves. When I first started working with the printed surface in thepainting I was working on a specific still life and I would add in the printing of maybe the imageryof a tablecloth and a table or a wallpaper background. I had a specific goal in mind for that partic-ular piece. Slowly it’s metamorphosed into the process where something will come out of it but I’mnot quite sure what when I begin. It’s kind of fun to explore that way.

NR: How difficult is it for you to let go of a painting. By that I mean do you go back and contin-uously edit your painting or do you just finish it, do a quick review, and say that’s it’s done?TW: I would just say it’s done. When I go back into a painting and try to control details then Iknow I’m killing it. I like some artists whose work is very detailed, but when I start getting too de-

tailed, I feel like I’ve pushed too hard, and it gets too controlled for me. Sometimes I do paintingswhere I’m really working to capture exactly what it is. It’s the same thing with trying to do figures;I think I have to prove to myself that I’m capable. But I may not choose to use them on a detail.So I do want it to be a choice. Personally I like to be able to fill in for my own self what might beimplied, but might not actually be there as opposed to a photo realist painting where every detailis there. I try to avoid that.

NR: How much does the outside world influence your work? I don’t mean necessarily otherpainters or their work, but life in general.TW: I know that my mood will affect what I’m doing. The painting, “The Last Day,” that soldthrough the Lauren Clark Fine Art Gallery had a stripe of red down the back, and I think that cameout of being angry about something. I can’t remember now, because the issue has gone away, andthat generally happens. CONTINUED ON NEXT PAGE ....

PHOTO: SABINE VOLLMER VON FALKEN, INKING LETTERS

PHOTO:SABINE VOLLMER VON FALKEN, MINYAN, BY TERRY, POETRY BY TOVA GARDNER

TERRYWISE, DAYDREAM, 20” X 16”, OIL + ACRYLIC ON CANVAS, 2010(PHOTO SUPPLIED BY TERRYW.)

16 MAY 2010 WWW.ARTFULMIND.NET

It’s pretty rare, but there have been times that I have gone in with so much angry energy that I don’twant to spread all over the people in my life that sometimes it will come out of my paintings. I thinkthe love of visual beauty and harmony, and harmony can be anything like close values, it could behigh contrasts, experimenting with colors and things like that, comes out of my interest in life. Ihave a great life. I like having a great life where I have wonderful friends and family. I live in abeautiful house, that I enjoy and I have nice neighbors, and have a great husband. So things are goodand I look for that general sense of wellness to come out in my paintings; to be expressed in gor-geous color combinations or an interesting pattern or something like that. I am also influenced byother artists, although I try not to be a copycat.

NR: Have you passed on your creativity to your children?TW: I see myself reflected in my children. They are all very creative. Two in particular manage tokeep six or eight balls in the air at the same time. And I realize that that’s what I’ve always done;doing volunteer work or doing some creative project, and whatever else the family required. That’sthe way I always did it and I would be going in 1,000 different directions at once. At times it couldget kind of nerve-racking, but on the other hand, when things settle down and start getting very sim-ple I start getting antsy. I think in a way this does affect my studio practice because even though Itry to be very steady about getting into my studio every day and having expansions of time to settlein and do the work, I do get strung out in lots of different directions. I have to struggle to get otherthings done when the studio should always be first. However, life calls.

NR: How does that make you feel to see your creativity reflected so heavily in your children?TW: It’s amazing. I think it really hit home when both of my daughters at different times came outwith this statement, “I just like making things.” One went to Pratt and studied fashion design. Myother daughter studied other things, but was always making things; always knitting or crocheting,making felt, making paper, always trying something new. My son Pete is co-director of BerkshireFringe, a 21 day summer festival, which brings in theater, dance and music by artists from acrossthe United States, as well as local artists. It’s presented by Bazaar Productions Inc., a nonprofitarts organization. Although Pete studied music he’s gotten very involved in theater through Berk-shire Fringe. My husband on the other hand is a dentist, but he has a good eye for art. He has joinedin my love of art. I’ve gotten him into galleries and museums over the years. We’ve actually filledour house with art and many of the artists are local.

NR: How much of the art on display in your house is your own work?TW: I would say probably 30 or 40% because I do like to fill big spaces. I rotate my work in andout of the house as I need it elsewhere. However, over the years I’ve filled my house with other peo-ple’s work, which to me is really enjoyable and by purchasing other people’s art and displaying itin my home, I find it enhances my own artistic ability.

NR: Where do you see yourself in five or 10 years?TW: I’m not really sure. My hope would be to have some steady representation in maybe more thanone regional art center. I’m not sure where that would be. New York is a little scary and very fickle.But I’m not really thinking I want to be a big New York City artist. I would hope to have severalgalleries showing my work, which would push me to keep creating more work on a regular basis.I spent last September in residence at the Vermont Studio Center, in Johnson, VT, where visual

artists and writers come from all over the United States and the world to experience uninterruptedtime and ample studio space to work. Meals are provided and there are many opportunities for so-cial interaction and learning from each other’s work and from established visiting artists.

One result of this residency is a group show by the September residents, which is being organizedby a fellow artist in London. It will open in London on September 9, 2010 with the titleCOPYO9O9. I plan to be there and to reconnect with this vibrant group of fellow artists and writers.I think the best thing about the residency, and in turn the group show, is the huge range of ages, cul-tural viewpoints and artwork found in the group. Everyone was respectful of other artist’s workthough there were vast differences in subject and style. Other than that I’m not really sure of whatelse will happen. Every now and then I toy with other ways of getting my work out there.

NR: Terry, why do you paint?TW: What a great question. To quote my two daughters, “I just like making things.” It’s a very phys-ical, material process. Don’t know what started me on this path other than as a child getting a re-sponse to my drawings. People told me I was a good artist, and I only had a vision of myself as anartist. I made it clear from a very early age that this was what I wanted to do with my life. But ofcourse once you get out into the big wide world you find out that it’s not always as simple as youthink. In fact now that I’ve invested so much time in looking at art, I really get excited about visualthings. I really love living in a beautiful place; it really means a lot to me. When I’m in my studio,plugging along, doing rote things in preparation for whatever I plan to do then all of a sudden,something will start unfolding in terms of new work and that’s very exciting. I know that at somepoint that will become my old work and it won’t be exciting anymore. So I move on to somethingelse, but the process is pretty amazing. When something seismic happens and I look at what I’vejust done I think wow, “how did that just happen?” But it comes from years of skill and a certainfocus on experimenting in different directions or techniques. Painting sustains me and my studiofeels like a sanctuary even though it’s very small and very crowded. But it’s the place where I goto allow myself to settle in and take time to relax. I don’t bring general reading material in but Ikeep of tons of art related reading material nearby. My studio is where I read about the art world,I look at the pictures, read about other artists and I fill myself with that as I’m doing my own work.It’s where I give myself permission to let things unfold as I relax. That doesn’t happen as much athome or other places because I feel I have to fulfill certain obligations and do things in a timelyway.

NR: You mentioned certain obligations you have to fulfill at home. Are any of those art related?TW: We’re actually re-doing a room in our house right now and I came up with this notion of usinglarge-scale paintings as the doors. This is a project that is underway, where I will actually developthe imagery that will work in that space, but it’s a challenge for me. I have to create something thatworks using techniques that I’ve used before but it gives me the chance to do something big, whichI wouldn’t ordinarily do. Luckily I don’t have to please anyone but myself and my husband, andthat’s a good thing. So we’ll see how that goes.

NR: If you don’t generally do large size works, what is the size that you normally work with?TW: I’ve done a number of series of small paintings usually squares. I’ve done eight inch squares,12 inch squares, the ones in the gallery here are 11 inches plus frame. Most of my work ranges from

PHOTO: SABINE VOLLMER VON FALKEN, TERRY’S STILL LIFE SET-UP

TERRY WISE Visual Artist

TERRYWISE, INVITE, 60” X 60”, OIL ON CANVAS, 2009 (PHOTO SUPPLIED BY TERRYW.)

WWW.ARTFULMIND.NET THE ARTFUL MIND APRIL 2010 • 17

the smaller sizes to 24 or 36 inches. I did a large painting that was in four panels. It was donespecifically for an exhibit in Austria. It was intended to stay there but I ended up talking the galleryand returning it to me and I supplied him with another work. That is actually the piece that will bein Sanford Smith Art Gallery in Great Barrington, Massachusetts during May and June.

NR: Back in the day, so to speak, not a lot of people, especially women went to school and studiedart and became professional artists. What about your parents, what were their thoughts on you be-coming an artist?TW: I’ve learned to appreciate the fact that my parents supported me in what I wanted to do. Theydidn’t always agree with what I wanted to do. For example in high school, I decided I wanted tobe a foreign exchange student and they’d never traveled out of the country. I think that was a kindof scary process for them but they supported me, and they gave me those wings and made it pos-sible. I also knew I wanted to study art and they never said “Oh no you can’t do that.” I did haveanother relative who said, “You must take art education classes so you can teach.” But I never did.I feel that I grew up in a particular time in history when women were still expected to get marriedand have a family. That was really strong in my extended family, but also I was in high school andcollege at a time when women could opt out of all that, have a career and do something great inthe world and make a difference. I feel like what I have to give is based on the rich life that I havethrough my many relationships and associations. And as an artist I feel that as long as my eyes stillwork and I can coordinate my eyes and my hands then I can keep doing this. If I can be healthyfor that length of time I see myself painting until I am well into my 80s.

NR: Would you say that somewhere deep down inside of you there might be a spark of rebellion?TW: I was raised to be a very obedient girl. Sometimes I look at my life and think; it’s really notthat I even wanted to be an artist because to be an artist you need to put yourself out there. You haveto be the public view and people respond to your work, sometimes they like it sometimes theydon’t. But I was raised to be a good girl and to care a lot about what people think about me andI’ve really been battling with that all my life, and it’s not getting any better in terms of that littledevil on my shoulder that tells me to go for it. Because if I’m not able to let that little devil speak,I’m never going to make any progress or make any changes or put a red streak in a painting.

For more information about the Gihon River Collective visit their website athttp://www.gihonrivercollective.com. Terry Wise exhibits at the Lauren Clark Fine Art Gallery 402Park Street (Route 183) in Housatonic, Massachusetts. For more information call 413-274-1432or email [email protected]. Terry will also have a major work on exhibit at theSanford Smith Fine Art on Railroad St. in Great Barrington, Massachusetts during May and June.

�

TERRY WISE Visual Artist

TERRYWISE, WOMAN OF LETTERS 2, IMAGE 16” X 12”,COLORED PENCIL + ACRYLIC ON PAPER, 2010

(PHOTO SUPPLIED BY TERRYW.) TERRYWISE, DINNER FOR TWO, 60” X 126” IN 4 PANELS, OIL + ACRYLIC ON LINEN, 2008 (PHOTO SUPPLIED BY TERRYW.)

TERRYWISE, INTO THE DAYLIGHT, 11” X 11”, OIL + ACRYLIC ON BROCADE, 2008(PHOTO SUPPLIED BY TERRYW.)

TERRYWISE, LATE AUTUMN, 20” X 16”, OIL ON CANVAS, 2006(PHOTO SUPPLIED BY TERRYW.)


Micro TheatreAuditions for 2010 repertory castAll ages, All Levels of experience

To schedule an appointment:413-442-2223 or [email protected]

Micro Theatre(dedicated to experimental theatre) 311 North Street, Pittsfield, MA

MMaayy 22001100 bbyy EErriicc FFrraanncciiss

Mercury is retrograde for the first part of the month, thoughthis doesn't deserve as much energy as it usually gets. The trulymeaningful news is that Chiron is now in Pisces for the firsttime since the late 1960s. We get 90 days of this energy beforeChiron retreats back into Aquarius, then returns to Pisces in2011. Discovered in 1977, Chiron is still considered a new in-fluence on astrology, but its spiritual themes have, in the past 33years, gradually infused the work even of astrologers who havenever heard of it. In Pisces, Chiron is calling us to acknowledgethe reality of the soul; the inherently creative nature of what itmeans to be human; and the practical way we can manifest ourdeepest, most intimate fantasies.

Aries (March 20-April 19)Your life may be cast with a vague sense of the unfamiliar:

as if you're seeing places you've visited before for the first time.Beneath this is your process of assigning new meaning to yourexistence. We tend to think that life is definitive; we tend to for-get that most of what we experience is our interpretation ratherthan something objective or factual. You'll fare better if you flyby intuition rather than by seeking proof-positive or concretevalidation. You'll have a greater sense of freedom and potential,especially from the confines of one particular situation that youwere certain was holding you back. Now that you have somebreathing room, you get to test that theory.

Taurus (April 19-May 20)Are you having an odd illusion of living two lives at once?

Perhaps in two places, or with two people in separate worlds, orone version of yourself from the past and one from the future?Your charts tell such a story, and if you're having this sensationI suggest you either experiment with it boldly, or collect yourselfin one place. It's not the kind of thing I suggest you just let slideunconsciously. The opportunity is too beautiful, and the creativepotential sufficiently strange and unusual to allow you some au-thentic originality. One way to describe the setup is to say thatyou are gaining a new sense: as in a sixth sense, or an expandedsense of yourself.

Gemini (May 20-June 21)Significant, rare planetary events show a picture of you

stretching your capabilities in every direction. Yet I suggest thatdespite so much happening, you remind yourself of your firstpriority: your primary goal. You know, the one you normallycan't quite get a grasp on. For the next few weeks you will beable to keep that goal in sight and in mind long enough to eval-uate it carefully. You're likely to feel some sense of discomfortinitially, or of mild crisis, as if you're remembering somethingvitally important but long forgotten. You might be concernedabout how many years it's been since you remembered, butmaybe you'll feel better if I said we may be talking about life-times.

Cancer (June 21-July 22)Remember that you cannot control, only influence, how peo-

ple perceive you, and this must be done in subtle ways. Overthe next few weeks you may have the feeling that you're project-ing an image opposite of what you are intending. For example,you may express yourself as a relatively simple person and be

seen as complex. Ideas that are clear to you may be incompre-hensible to others. You may tell the truth, and others mightdoubt you to your face. I suggest that you not get emotionallyinvolved in these responses. Let people be responsible for whatthey see, while you are responsible for what you feel. You needthis boundary, and you'll benefit from having it available as atool.

Leo (July 22-Aug. 23)Leadership is the ability to be creative under unpredictable

or confusing circumstances. In our time, leadership is aboutideas. You're poised to be a source of approaches or conceptsthat will qualify as one of a kind, and potentially once in a life-time. Your mind is working with a kind of logic all its own, andI suggest you put no energy at all into doubting yourself. Evenif you think something that seems like it's not even vaguely ap-plicable, or have ideas that don't seem to apply to the situation,assume you're working on a good hunch. Trust yourself; trustyour perception; and moreover trust that you can treat any prob-lem as a puzzle that, if solved, can improve life for everyone.

Virgo (Aug. 23-Sep. 22)Nobody tests your faith except for you. If the planets mean

anything, you seem poised on the verge of significant progressin both your personal life and your professional life. Yet I sus-pect you're experiencing this more as a crisis. Step one is mak-ing some contact with the faith you have in yourself. It doesn'tmatter how you get there: remembering your past achievements,reminding yourself who thinks you're amazing, or following aninner sense of what is possible. However you manage it, remem-ber that faith in yourself is an essential ingredient right now.Second remember that you have options: not eventual options,but ones that are immediately available; the kind you can exer-cise right now.

Libra (Sep. 22-Oct. 23)In the long discussion of 'reuniting sexuality and spirituality'

we might ask how they got separated in the first place. The an-swer would involve the perception of sex as a source of powerrather than pleasure, considering people as property rather thanpartners, and other related concepts such as jealousy. Eventhough we know that intellectually these things are not neces-sary, we continually come up against two things: our own emo-tional programming, and a lack of options for what else ispossible. An unusual alignment in your solar chart this monthgives you some beautiful opportunities to get past these obsta-cles, and to embrace your relationships in a new way as sourcesof healing, comfort and pleasure.

Scorpio (Oct. 23-Nov. 22)Are you really that tangled up in the life of another person?

Or are you just in one of those emotional situations whereyou've lost track of who is who and what is what? Yes, someoneclose to you is working out something that looks complicatedand difficult to discern; fortunately, it's their stuff and not yours.You, on the other hand, are moving into new emotional territoryfor the first time in many months, which is another way of say-ing you're finding your confidence. As for who is wrapped up inwhom, it's a partner or close associate who doesn't know what

to make of you, or their emotional involvement with you. Noris it easy for them to face the fact that you know you're funda-mentally free.

Sagittarius (Nov. 22-Dec. 22)A past work partnership may prove to be vital this month.

Look for who, from the back pages of history, turns up or has re-cently turned up in your life, and make sure you don't bring yourold prejudices about the relationship. What you have with thisperson is an unusual depth of contact on the elusive theme ofvalues. Yet the planets suggest a change of roles; someone whowas once your boss could become your employee; someonewho was once your student could take over a crucial project;someone who was strictly a professional contact could becomea significant personal acquaintance. The overall theme is tomaintain your flexibility and stay firmly in the present, no mat-ter how old the story may be.

Capricorn (Dec. 22-Jan. 20)Take advantage of being relieved of some responsibility (or

your overdeveloped sense of responsibility) and indulge in someself-expression, romance or art: basically, trade in some workfor some play. If I must lure you with the prospect of productiv-ity, I promise you that you will feed the tree of accomplishment.Through most of the year, your pendulum has been swingingfar in the direction of taking the world onto your shoulders, andit's about time you put it down for a while. True, many peoplesucceed at great accomplishments without much balance in theirlives, and some of them are even happy. You, personally, needto work both sides of your brain, in honor of the fabulous chal-lenges that are ahead.

Aquarius (Jan. 20-Feb. 19)You're starting to get a taste of what it's like to not be under

constant pressure to improve yourself. For certain phases of life,it's necessary to define existence in terms of a healing agenda,and that can seem like the 'whole purpose' of existence. Myste-riously, that changes and some new purpose takes up life in yourheart and mind. You're now in a brief spell of experimentingwith that new agenda, a new vision for yourself. This will comewith the revelation of priorities you have not considered, andwhich have often slipped out of your grasp. You may not be ableto put all of them into action; I suggest being grateful for theopportunity to experiment in real life with one new priority.

Pisces (Feb. 19-March 20)For a long time I've been describing your life as the attempt

to see around a corner, or to peer into a veiled dimension. Alongwith this is a sense of being hidden from yourself. This month,Chiron enters your birth sign, potentially for the first time inyour life, or for the first time since you were a child. This willbring new experiences and a new sense of self-awareness; Ch-iron is famous for its focusing power, particularly where Piscesis concerned. Think of it this way: you're like a bottle of ink thatfinally has a pen; a projector that finally has a lens; a questionthat at long last is graced with a question mark.

~ Read Eric Francis daily at PlanetWaves.net

[email protected] THE ARTFUL MIND APRIL 2010 • 19

Ancient Quantum Healing“THE LUMINOUS ENERGY FIELD CONTAINS A TEMPLATE

OF HOW WE LIVE, AGE, HEAL AND MIGHT DIE.”-Dr. Alberto Viloldo

Masterʼs of Education, Certified by Healing theLight Body School of the Four Winds Society

to practice Luminous Healing & EnergyMedicine. Macrobiotic counseling is

also available when appropriate.

For information or to schedule a session pleasecall: 413-446-5712Nixsa M. Mills

231 Hartsville NM Rd., New Marlborough, MA SHARON TRUE, M.A., C.M.A., R.M.T.Somatic Movement Therapist and

Certified Pilates Instructor WholePerson Movement Mat Classes

Mondays 6:30 - 7:30 PMKinesphere Studio • 66 Main St, Lee, MA

Tuesdays 5:00 - 6:00 PMKilpatrick Athletic Center, Simonʼs Rock College

84 Alford Rd, Gt. Barrington, MAWholePerson Movement Private Sessions

Personal training in a quiet country setting featuring theReformer and other Pilates-designed apparatus

All WholePerson Movement Classes:• Increase strength and flexibility• Improve posture, balance, breathing, body awareness• Improve comfort, ease, grace in moving• Reduce lower back and other chronic pain• Reduce risk of re-injury from sports or occupation

Call for more information 413.528.2465

HELPFUL GO-TO’S

......VViissiitt:: www.artfulmind.net

KARI J. AMDAHL, MAPychotherapist

• Traditional Talk Therapy• Cognitive & Dialectical Behavioral Therapies• Mindfulness Approach• Art and Dream Work• Body-centered Approaches

413-528-6121 Great Barrington, MASliding Scale Fee • See press release in this issue

FUNDS RAISED DONATED TO NARSAD THE WORLD LEADING CHARITY DEDICATED TO BRAIN AND BEHAVIOR RESEARCH.

Please join us for the Third Annual Taking Strides Against Mental Illness Walk at Saddle River County Park in Ridgewood, New Jersey on May 16, 2010.

Open to all ages and abilities. Enjoy refreshments, DJ entertainment and a Taking Strides T-Shirt. The scenic park walk is 1, 3 or 5 miles on flat,

paved trails in beautiful Saddle River County Park.

To register or make a donation, and for more information:Visit: www.againstmentalillness.org Email: [email protected]


ERIN BURCH, PTBODYWHISPEREROLD INJURIES NEVER DIE

Old Injuries never die. I have had this experience in myown body, as well as observing it in countless others. I usedto work in an outpatient clinic and people would come to mewith neck pain. As part of the history and intake process, Iwould inquire if there had been any neck trauma (car acci-dent, fall, etc). It was evident by the visible distortion intheir neck that something; some force had disrupted it. Aftermuch questioning, it finally dawned on them that in fact,they were in a car accident…. “but that was 20 years ago!” The assumption is that once the acute phase of pain of a

trauma has passed, the problem has been resolved, and per-haps in a small percentage of cases, that may be true. How-ever, in my experience and observation this has not been thecase. When the small bones of the neck, for example areshifted out of their original position, by the forces from anaccident or fall, this creates an unnatural “fit” between thejoints therein. The body works amazingly hard to protect usfrom pain and so goes immediately into compensation. Thiscompensation works subtly throughout the body, taking a lit-tle from here and a little from there, until it can no longeraccommodate the distortion. In the meantime, inflammationcontinues at the original site. This process can take a coupleof decades for the body to run out of the available “slack”,and pain may resurface at the original area or at some otherlocation.

This all may seem like bad news indeed. However, thegood news is, that armed with this information, awareness,and connection to one’s body, as well as intelligent interven-tion, a great deal of pain can be understood, relieved and po-tentially avoided. Erin can be reached at 413-528-1623, cell: 201-787-

7293

KARI AMDAHLEmotionally overwhelmed? Stressed? Feel down on your-

self? Stuck? These are just a few symptoms of how one mayrespond to life’s challenges. But one doesn’t have to get trappedin these uncomfortable places.

Kari Amdahl utilizes a number of modalities in her psy-chotherapeutic work with clients to address such feelings, so asto allow for smoother transitions and resolutions to the issuespresented.“Mindfulness” and CBT (Cognitive Behavioral Therapy) are

two approaches that can be applied at any given time with veryfavorable results.Though “mindfulness” originated as a form of Zen Buddhist

meditation over two and a half thousand years ago, its essenceneed not be experienced in meditation solely. Rather, “mind-fulness” can be practiced within the therapeutic process, andeventually as a way of experiencing life in general, whether oneis driving on the freeway, working, taking a shower, or talkingto a friend.

In brief, exercising “mindfulness” allows for a moregrounded, in-the-moment experience of what is at hand. So,rather than fighting a problem, forcing solutions, or continuingto be gripped by uncomfortable feelings, becoming “mindful”nurtures a more neutral state of being, so acceptance of “whatis” becomes possible. Calmly accepting a circumstance thenfosters new insights, wisdom and compassion for one’s self andthe situation. As a result, unexpected resolutions arise, as wellas a more positive and open outlook.CBT is also very helpful in discovering and changing one’s

negative perspectives. Often we are not aware of our pessimisticconscious/unconscious thoughts that create our view of theworld and ourselves. With help one can bring these out into theopen, discovering if they are true or not. Often by catching theseself-defeating thoughts, one can not only prove them untrue but,one can also alter one’s whole outlook: more choices becomeavailable and positive life changes occur.

The thought manifests as the word;The word manifests as the deed;The deed develops into habit;And habit hardens into character.So watch the thought and its ways withcare,And let it spring from love,Born out of compassion for all human be-ings.As the shadow follows the body,As we think, so we become

—Das, L.S. 1997.For more information and to make an appointment, contact

Kari Amdahl at 413-528-6121. Great Barrington area. Slidingscale available.

THE ART OF PILATESThe art of Pilates? But isn’t Pilates a form of exercise? Yes,

but in Sharon True’s approach to teaching Pilates, this form ofmind-body exercise becomes an artful enterprise, where excesstension is smoothed away and new neuromuscular patterns arecreated that lead to a more balanced use of muscles. When mus-cles are balanced around the joints, the result is less pain, moregrace, functional strength, and a feeling of wholeness and bodyconfidence.Sharon True, owner of WholePerson Movement, has been in-

spiring clients in her studio in Great Barrington since 1998. Acertified Laban movement analyst and somatic movement ther-apist as well as a certified Pilates instructor, True brings heryears of intensive movement study to every workout sheteaches, looking at the various challenges her clients present asopportunities for creative problem-solving. Working with eachclient’s individual concerns and interests, she develops workoutsthat are challenging and effective without provoking pain. Shesees each person’s body as a kind of clay that can be workedboth from the inside (her client’s contribution) and the outside(her discerning eye and movement expertise) witht he goal offinding ease and harmony in movement.

In addition to providing one-on-one workouts at her fully-equipped Pilates studio in Great Barrington, True offers privateand duet Reformer workouts at Kinesphere Studio, located at66 Main Street in Lee, Mass. Group mat classes are also avail-able in Lee and in Great Barrington.

For a free phone consultation, contact Sharon True at413.528.2465 Mon-Sun 9 AM – 9 PM. Or email her at [email protected]. Gift certificates always available.

Hidden Pond Bed & Breakfast43 Deer Drive

Claverack, New York518-828-2939

www.hiddenpondbandb.com

Located in mid-Columbia County, on a rise in a clearing surrounded bytrees, Hidden Pond provides a serene

environment in a beautiful rural settingjust five short miles from

Hudson, New YorkMailing Address: PO Box 332

Hudson, New York 12534

Regional Italian Dinner Series $30 Prix Fixe

Monday, Tuesday and Thursday Nights

SHARON TRUE ON PILATES APPARATUS


IS183 ART SCHOOLSUMMER

IS183 Art School announces its 19th year of exceptional sum-mer theme-based art camps for children and adults. Classes aretaught by professional artists in a creative, nurturing and inspi-rational environment at the Berkshires only year-round commu-nity art school. Programs in painting, drawing, ceramics,printmaking, metal working, sculpture, photography, fiber andmixed media are taught in a fun-filled, child-focused atmos-phere at IS183’s historic landmark home in the Interlaken vil-lage of Stockbridge.

One and two-week sessions are available for children agesthree through 14, from June 28 through August 20, and include“Wear Your Art,” “Time Traveler’s Suitcase,” “Make Your OwnMuseum: From Mona Lisa to Pop Art,” “15 Pharaohs Walk intoa Pyramid” and “Kites, Flights and Wings.” Each young artist’scamp session concludes with an art show at IS183 Art School,which family and friends are invited to attend. Adults can renew their creative spirit in a week-long art in-

tensive, June 21 through 25, from 9:30 to 4:00. Programs in-clude “Photography Boot Camp” with Jason Houston, “Skin andBones” a ceramics intensive with Mary Barringer, and “ExploreColor” with painter Joan Griswold. For a complete listing of IS183’s Summer Art Camps please

visit www.is183.org. For more information or to register call413-298-5252 x100. Pre-registration is required. For more information, enrollment fees, scholarship opportuni-ties, faculty bios, or to register for classes, call 413-298-5252,e-mail [email protected] or visit IS183 Art School online atwww.is183.org

OUTDOOR OIL-PAINTINGWORKSHOP WITHROBERT CAPUTO

Landscape painter Robert Caputo will be teaching a two-dayoutdoor landscape oil-painting workshop in Sheffield, Massa-chusetts on Saturday June 5 and Sunday June 6. Consisting ofsix hours of hands-on painting instruction each day (9-12 AMand 1-4 PM), the workshop is open to all levels of artistic expert-ise. Caputo will focus on drawing, color, and value with an em-phasis on capturing a sense of light and atmosphere, twoqualities for which his work is known. He’ll also offer practicalapproaches to painting such things as water, clouds, and trees.The workshop is being offered through The Housatonic Val-

ley Art League and in conjunction with the Lenox Gallery ofFine Art, where Caputo’s show “Distant Light: New LandscapePaintings” will be on display from May 28 through July 5.Gallery owner Jerome Connoy, who has shown Caputo’s workfor the past decade, says, “Rob has really developed into one ofthe finest landscape painters in New England. Our clientsthroughout the country collect his paintings and eagerly awaitnew work.”The fee for the two-day workshop is $225 ($200 for HVAL

members). It is limited to 15 students. For more information visit www.hvart.org or contact Leslie

Watkins at 860 542-3920 or [email protected]

SABINE PHOTO ARTWhether it’s an amicable groom, an observant guest, a

family gathering, or a tree house, Sabine Vollmer von Falkenis in rapport with her subject. In the European photographictradition, her true talent and interest lays in photographingreal people and locations. The results are natural and direct,capturing the emotion of the moment or the mood of the envi-ronment.Sabine specializes in young children at play and creating a

photographic record of their growth. A master of the subtletiesof lighting and the nuance of background, her eye for detailprovides photos to be treasured for a lifetime. It is to no sur-prise that she is a sought-after wedding photographer, as well.Sabine’s photo studio and gallery is located in Glendale,

Massachusetts. She captures portraits there or on location.Each photo is tailored to meet her client’s needs—a black-and-white remembrance for a special occasion or a logoimage to create an authentic online presence.Her photographs have been published in a variety of maga-

zines and books. Her latest book Woodland Style will be pub-lished by Storey Publishing in August, author Marlene H.Marshall. Other volumes include Full of Grace: A Journeythrough the History of Childhood, Making Bits & Pieces Mo-saics and Shell Chic.A member of the American Society of Media Photogra-

phers, the International Center of Photography ICP and theWedding Photojournalist Association WPJA, Sabine offersoutdoor workshops for the advanced amateur photographersin June. The dates are: June 6, 13, 20 and 27.Sabine Vollmer von Falken, 20 Glendale Road, Glendale,

MA, 413-298-4933; www.sabinephotoart.com,[email protected]

““TThhee aarrttiisstt wwhhoo uusseess tthhee lleeaasstt ooff wwhhaatt iiss ccaalllleedd iimmaaggiinnaattiioonn wwiillll bbee tthhee ggrreeaatteesstt..””

--PPiieerrrree--AAuugguussttee RReennooiirr


Harryet Candee: Tell me what goes in to creating a photo exhibit? What qualifies a person’sart to be qualified to show their work?

For me, the process of creating a new show usually begins with some sort of inspiration, be ita particular piece or body of work, or a theme or subject that intrigues me. If it is a group exhibit,I seek out (through recommendations from colleagues, or my own searches) relevant artists whobring their own unique voice or viewpoint along with strong, professional presentation. Whetherit is a solo or a group exhibit, I really enjoy working closely with each artist so that by the time theshow opens, we are both proud of the collaboration. I take a lot of pride in the shows I produce. Inmy opinion, a curator is not just a presenter or an information filter; a good curator is a facilitator,a designer, and an educator, helping viewers understand something outside their own experience.This is why we go to museums, galleries, the movies: to experience something outside our ownlives for a brief moment. Hopefully we leave energized and connected through experiencing astory that is not simply told, but shared.

Melissa Stafford: What do you like best about being a gallerist? The relationships I have with the artists we represent are by far some of the best parts of this

job; many of them have become great friends. I feel completely grateful for the opportunity to visitan artist’s studio, to learn more about them, and their work, more intimately. It is a huge bonus.Some of these people are like rock stars to me. I also love sending them checks for sold work, andknowing that this means they can now afford, or be encouraged to create more.

What career plan did you have in mind when you first got out of school?I wanted to be some combination of Walt Disney, Steven Spielberg, and Peter Gabriel. I was

pretty obsessed with information and media from as far back as I can remember - movies, books,music, computers - I couldn’t get enough. My mom used to joke that books were permanently at-tached to my hands. All I ever really wanted was to just tell a story. A really great story. I still wantto do this, but I now realize that I can tell a story many different ways, and I don’t need a big screenor a published book to do it. It is a wonderful challenge to determine how to engage an audience and ultimately affect them.

I enjoy the research, the writing, the conceptual elements - all of the parts that, when combined,make an exhibition. And then the moment when that exhibition opens - it’s magical, in much thesame way film always was, and always will be to me.

I remember when I was 14 years old. My father brought me to a local store’s parking lot becausethere was this crazy ride, set up for just the day. It was called the Mindblender and it was producedby Peter Gabriel. I think it was the very first motion video ride ever made or very close to it. Any-way, this ride - it blew my 14-year-old mind. I walked out of there and my eyes were huge and allI wanted to know was, HOW COULD I LEARN TO MAKE THINGS LIKE THAT? (And, wherewas Peter Gabriel so I could marry him?)

Were you expecting to be in the art world?I always wanted to do something creative, so to that end, yes. Would I have imagined working

in a gallery? Probably not. I used to imagine myself more on the producing, and not the presentingside of things, but I’ve had a blast so far. I try to not plan too much for things most of the time. Ihave ideas and larger things I hope to accomplish, but I never know how one thing may lead to thenext, so I am always open. Even how I came to be here at the gallery is a bit by chance - about sevenyears ago I decided to take a drive to Hudson (I had been here only once before on a day trip witha friend). It was late summer, and it was one of those perfectly quiet, lazy days. I remember itstarted raining - no, pouring, and it just wouldn’t stop - so I ducked into the nearest store to staydry. It happened to be Carrie’s gallery. It felt like I stayed there for hours, taking my time lookingat each and every piece, and I fell in love with the place. I asked Carrie if she needed help and shedid - so I started volunteering, coming down on the weekends (I lived in Albany at the time) andlearning about her artists. The rest, as they say, is history.

How did the Carrie Haddad Photographs gallery start?Ever since I first started working for Carrie, she had always wished to open a second location

solely for Photography. We glossed over it many years ago, but nothing too serious. Then, in thesummer of 2008, I had decided that I might leave and go back to school. I picked a University inLondon and was mid-way through the process when Carrie asked me to look at some buildings intown with her. We took a look at the space at 318 Warren Street and she presented her idea to me,which involved my staying here, and running her Photography gallery. It was definitely exciting,and just the challenge I was craving at the time.

Things happened pretty fast from that day forward - within four months we were officiallyopened. It was kinda crazy to tell you the truth! Everyone thought we were completely out of ourminds. And, we probably were. The economy was at its lowest, everyone was depressed - it wasterrifying. But it was also immensely thrilling and satisfying because of the appreciation we feltfrom the community and our customers. Their support has been immeasurable.

What have you learned from running a gallery?In running the gallery over the course of the last year I felt like I have been studying for both

my MBA and my MFA in Photography (with some crash courses in Psychology thrown in alongthe way). I have learned that if you are going to run a business where you want to create awe-in-spiring experiences, that it’s a lot of work, and it requires passion. And it better be worth losingsleep over, because the idea of the normal 8-hour work day will no longer apply to you. I’ve alsolearned not tot be scared of failure, and that it is OK to make mistakes (because you will. trustme.)

Melissa StaffordGallerist

photograph by David Halliday

Interviewed by Harryet Candee


Melissa, can you read people? I just listen to people. You would be amazed what a stranger will talk about, reveal about them-

selves, when they know they have an open ear and someone willing to give them five minutes oftheir day. These conversations are probably my second most favorite thing about my job - theyopen my eyes, educate me, surprise and entertain me.

I don’t go to work to sit for eight hours starring at artwork or a computer screen. I want tointeract with people! I want to hear opinions - the stronger the better! You love this piece? Great!Why do you love it? You didn’t like the show? OK. How come? Being available to answer ques-tions and talk with visitors is wonderful - it’s a great place to learn, one interaction at a time.

What are the resources you tap into that keeps the gallery on a cutting edge?I subscribe to 147 photography or art/design related blogs. I try to read these blogs every week.

It is very important to me that I keep up with what work is being produced, and what work othergalleries/museums are showing, so I can feel like I can participate in a dialogue, or contribute onsome level. Unfortunately, because of my job, and the necessity for me to be in the gallery mostdays, I don’t get the opportunity to get out as much. Books, magazines, blogs and the internet ingeneral provide me with the ability to “see” as much as I can.

Have you come lately come across any artists that are original?Curtis Mann, an artist who manipulates and erodes photographic images with bleach, has some

fascinating work (which you can catch through May 30 at the Whitney Biennial). I also recentlycame across the work of Matt Lipps, an artist who lives out in Los Angeles. I love his series titled‘Home’, and I’m dying to see them in person.

One of my FAVORITE photographers - and, coincidentally, one we happen to represent - isDavid Lebe. He was a professor at the Philadelphia College of Art for 18 years, and I am wildlyjealous of his regular students because I never had the opportunity to formally study under him.However, I can safely say that, whether he knows it or not, David has really taught me how to lookat photography. I value every conversation we have ever had. David’s own work, be it light draw-ings from the 1970’s, his singular photograms, or the recent images from his garden continue toinspire me.

Supposing I am a photography student—fresh out of college. I want to show my work! I needadvice! If you are an artist ready to begin looking for representation, the best advice I could give would

be this: really do your homework. Spend time researching galleries to find the one that will be thebest fit with you and your work. If you can, actually VISIT the gallery first. Speak with the ownerand ask questions (not about your work, or how you can submit, at least not in this first interaction)- ask him or her about the work they love, about the artists they work with, ask why they started

the gallery. Pretend you are on a date. Are you impressed? If you are, make sure they do not alreadywork with an artist who does something similar to what you do (This happens a lot unfortunately.Your work could be absolutely wonderful, but I can only show so many photographers who shootflowers/animals/landscapes, etc. Understand that the gallery you are approaching needs to be re-spectful to the artists they already work with). Once you have gone through all this criteria, and you are confident that you and this potential

gallery should be the best of friends - contact them and ask what their submission policy is. Followtheir instructions. If they request a CD with images, an email, or slides - send them exactly that.Make sure to label everything so that even your grandmother could figure it out if she had to. Most important: Follow Up. Don’t be annoying about it, but definitely follow up, whether with

a phone call or an email. Be gracious no matter what. AND, since you have done your homeworkfinding a great gallery match, you’ll be less likely to collect a pile of rejection letters.

Melissa Stafford is at the Carrie Haddad Photographs gallery, located at 318 Warren Street inHudson, New York. 518-828-1915.

�

JULIE MCCARTHY PHOTOGRAPHER

from “THE HOMER PROJECT”413. 298. 3370

[email protected] •WWW.JULIEWMCCARTHY.COM

by Bob Balogh

I have a letter here from Francine Gilgamesh. She lives in ahouseboat on Lake Mansfield.

Dear Bob:I guess I’m like most women. I don’t tell anybody how old

I am. My age is something I just don’t talk about. It ain’t no-body’s business and that’s all there is to it.But you, Bob. You’ve been saying on the radio that you’re turn-ing 60 this year. I heard you mention that more than once.Sixty!!! Damn, Bob. That kind of makes me feel sick to mystomach, no offense. I mean, I didn’t realize you were that old.What’s it like, Bob? Aren’t you scared? Sorry if I’m hurtingyour feelings. But think how I feel. I’ve been listening to you onmy radio for years and I just kind of figured you were a decentage.But now you’re gonna be 60!!! Oh my god. It’s like you violatedme somehow. Why did you pull such a sneaky trick like thatand turn old?

Francine:Go take a shower. Soak your head and try to wash my image

out of your hair. And fix your radio so that my voice never leaksinto your that precious space between your ears. Change thespot on your radio dial. Or maybe put on one of your StevieNicks albums.Wait. Forget about Stevie Nicks. She’s older than I am.

Look, Francine. People get old and right away they buy into abrand of panic relative to their mortality. They get freaked outabout dropping dead.

Me, I only get scared that I won’t die. Or won’t die soonenough. I sure as hell have had enough. Much to my misfortune,I’ve been part of this farcockteh generation nicknamed “babyboomers,” who are a spiritually and morally bankrupt mob ofgreedy, whining, namby-pambies.So, right about now, my generation is pretty much wrapped

up in some phase of the fear of dying, or else they are still en-joying the comfortable insulation of living in denial.I, on the other hand, only fear not dying. It doesn’t matter if

I croak now or later—as long as I croak.And, oh yes. There is something else I dread about joining

the ranks of the most seasoned of citizens. And that would be thesmell. Eventually, my personal stink will increase, so I must al-ways have easy access to indoor plumbing and such, that is,lavatory services. Soap and water and deodorant and talcumpowder and mouthwash.And those nose hairs. Must check those nostrils up close to

the bathroom mirror and clip those nasty nose hairs. And shavethe face meticulously. That means get those whiskers I keepmissing way down on my turkey neck.Good hygiene and good grooming goes a long way if you’re

getting to be an old gasbag like me. After age 60, the stink setsin and wild hairs sprout up. And you can ignore it, but no oneelse will be able to. And they’ll wish you would just go some-where and die. Which you might as well do because at that pointyour life won’t be worth living.Or you can stay strong and upbeat and as relevant as possible

until your final exhale, and understand that getting old ain’t forsissies.

ALL PURPOSE HOROSCOPEOne Sky Fits All

Throughout the universal frame of the astral system, in thegrand design of the visible world, right smack in the gross na-tional scheme of things, here you are all hunkered down on yourbed of roses acting very blasé.You are where you want to be, playing out the latest reinven-

tion of yourself. You’ve become the new darling of the tiny townartsy-craftsy circuit, up all night at what’s-her-name’s sippingand sniffing and swapping stories about your latest artistic leap.And here comes a perfectly mysterious Bohemian-type, unques-tionably deserving to be on the neighborhood A-list, a late-nightsophisticate without a morning deadline. Like everyone else inthe room.And you consider making small talk with this alluring char-

acter and offering an invite back to your place for a diet cola,until you picture how that scene would unfold. This new ac-quaintance, this fashionably jaded dilettante, would not under-stand why your cubbyhole apartment is so organized and clean.And once your bookcase is examined — with names like StellaAdler, Jimmy Breslin, Kinky Friedman, Lillian Hellman, El-more James, Jack London, Richard Price, Annie Proulx, “12Steps and 12 Traditions” and a King James Bible – well, forgetabout it. You’ll get dropped from the neighborhood A-list withwicked expediency and exiled to Pittsfield, Massachusetts.So, you remind yourself that your strategy these days is to re-

main blasé. Socialize just enough for self-promotion, but keepyour true identity close to the vest. Hum along to the companyline, while masking the pedigreed schizophrenia that never letsyou stay in one sanctuary for too long. Act bored and they’lllike you. But give an unpopular opinion on anything from theweather to whether or not God is a Republican, and you will bedumped.

Your latest reincarnation fits in well within this small circleof devotees to nonchalance. But between you and me and yourastrological chart, the game won’t last long.By next week, this trendy indifference will spur your hiber-

nating attention deficits, and you’ll be showing up for appoint-ments unprepared. You’ll come across as an uninspired goon,while power pointing your strokes of genius.In desperation, you will try to save face by oversimplifyingyour hipster brilliance with humility, which will dumb youdown even dumber than the knuckleheads you are trying towin over.Is this what you really want? A one-way ticket to isolation,restlessness and no free lunches?I think you’ve crawled along that level of hell before. It’s

the breeding ground for your shoot-from-the-lip hostility. Andwhen the artsy-craftsy , neo-beatniks of tiny town get a tasteof your short fuse, they will start deportation proceedingsagainst you. Trust me.

Nevertheless, the lunar crater Aristarchus is in alignmentwith that pockmark on your check, which indicates that youmust stay put and work a little harder at being aloof and dull.It’s okay to keep hanging out with your new artist wannabeefriends, but keep your eyes peeled for the time when they start

copying you. That’s when you won’t have to give a damn aboutanybody or anything anymore, because you’ll know that you’veachieved pure, organic blasé. And in the world of fine arts, whatcould be better?

OBITUARYYolanda Yalta Yeltsin, 54, died after many years of telling

lies. Only last week, both her primary care physician and herFreudian psychotherapist warned her that she was approachingher personal lifetime limit of 93,500 lies.But she continued telling cock-and-bull stories with no regard

for her health. Yolanda Yalta Yeltsin figured she could fudge herway through another decade or two since she came from goodRussian stock, like her uncle Boris Yeltsin. But, in fact, she wasnot even remotely related to the former Russian president. Herreal ancestors actually came from Panama and went by the nameof Balboa. Yolanda Yalta Yeltsin adopted the surname Yeltsin to honor

the memory of a burly truck driver, Bubba Yeltsin, who gaveher a ride when she was hitchhiking on the New Jersey Turn-pike. Until that ride, she never knew there was so much legroomin the cab of a tractor-trailer.

Of all the tens of thousands of lies told by Yolanda YaltaYeltsin over the span of her dubious life, her biggest whopperwas that she played one of the Oompa Loompas in the 1971 film“Willy Wonka and the Chocolate Factory.”

She earned a sizeable amount of undeclared income pre-tending to be a minor movie star posing for pictures with chil-dren and signing autographs. She marketed herself as an OompaLoompa at carnivals, shopping malls, street fairs, children’sbirthday parties, gambling casinos and truck stops. And peoplewere all too happy to give her money for a quick brush withcelebrity.

However, Yolanda Yalta Yeltsin was caught in her scam bynone other than Gene Wilder, himself, the star of “WillieWonka,” who has remained in close contact with his fellow ac-tors. Upon discovering the gross misrepresentation, Wilder de-clared: “I know the Oompa Loompas and Yolanda Yalta Yeltsinis no Oompa Loompa.”

The last lie uttered by Yolanda Yalta Yeltsin, the one thatpushed her beyond her 93,500-lifetime lie limit and transformedher from liar to fatality, was her false claim to her landlord thatthe check was in the mail.Yolanda Yalta Yeltsin, dead at 54. She was a Red Sox fan.

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Greater Backfish Roundup

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TThheerree aarree iinnffiinniittee wwaayyss ttoo ffaaiill..””--KKaarreenn LLaauubb--NNoovvaakk

Architecture & Arcadia

Literary Construction :Jorges Luis Borges’ ‘Library of Babel’

The universe (which others call the Library) is composed ofan indefinite, perhaps infinite number of hexagonal galleries.In the center of each gallery is a ventilation shaft, bounded bya low railing. From any hexagon one can see the floors aboveand below – one after another, endlessly. The arrangement ofthe galleries is always the same: Twenty bookshelves, five toeach side, line four of the hexagon’s six sides; the height of thebookshelves, floor to ceiling, is hardly greater than the height ofa normal librarian. One of the hexagon’s free sides opens ontoa narrow sort of vestibule, which in turn opens onto anothergallery, identical to the first – identical in fact to all. To the leftand right of the vestibule are two tiny compartments, One isfor sleeping, upright; the other, for satisfying one’s physical ne-cessities. Through this space, too, there passes a spiral stair-case, which winds upwards and downwards into the remotestdistance. In the vestibule there is a mirror, which faithfully du-plicates appearances. Men often infer from this mirror that theLibrary is not infinite – if it were, what need would there be forthat illusionary replication? I prefer to dream that burnished

surfaces are a figuration and promise of the infinite…. Light isprovided by certain spherical fruits that bear the name “bulbs”.There are two of these bulbs in each hexagon, set crosswise.The light they give is insufficient, and unceasing.

Jorges Luis Borges, excerpted from the short story, “The Li-brary of Babel” (Jorge Luis Borges / Collected Fictions / trans-lated by Andrew Hurley / Viking )

Architecture is nothing more than the manifestation of ideasand beliefs, conscious and unconscious. Initially, of course, allarchitecture exists solely in the realm of imagination. Some-times it assumes physical form, draping its conceptual under-pinning in concrete, wood, steel, glass, metal and plastic; othertimes it remains a shadow, a thought, a daydream. Such isBorges’ ‘Library of Babel’.

Each piece of art is a unique world unto itself. Sometimesthat world is quite familiar, sometimes decidedly alien. Still,any work of art — a painting, a dance, a piece of architecture,a novel, short story or poem, for instance – creates, and mustlive by an internal logic, a set of self-contained ‘rules’ theviewer ‘buys’, much as we daily accept the internal logic of ourlives and notice (often with alarm) when these rules – both spo-ken or unspoken — are violated. Further, to qualify as art, we

must also care about the world created, it must somehow rever-berate within us, move us, draw us in (even if reluctantly) andchallenge our previous suppositions about our own world and itsunderlying assumptions. And, in the end, change these suppo-sitions utterly. It is a difficult task, but Borges is more than upto the challenge. His library is perhaps the most elegant reflec-tion of the totality of human existence ever written, encompass-ing both the beginning of human consciousness and its eventualending, incorporating within its precise walls all that is knownor can ever be known (truthful and fabrication), the (possible)presence of the divine, human savagery, compassion and ordi-nariness. We have no options; we are a part of the library, it isthe constant and enduring backdrop of our lives. Paradoxically,we are its sole inhabitants but not essential to its existence.

Long after mankind is gone, Borges notes, “the Library –enlightened, solitary, infinite, perfectly unmoving, armed withprecious volumes, incorruptible, and secret – will endure.”

-Stephen Gerard Dietemann

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LAUREN CLARK FINE ART GALLERY

The bright fresh green of spring is upon us. That not-quite-lime, not-quite-kiwi green of the new season, this most antici-pated and colorful time of year. From equinox to solstice, as thecurtain is drawn to summer, redolent of warmth, we are onceagain welcomed out of doors to stimulate all our senses and cel-ebrate the death of winter.It is in this spirit that Lauren Clark has hatched a new show.

As the lambing season begins, four new artists have joined themore than forty represented at the gallery, with “Unwilted, Un-processed, Unconventional” highlighting their work, beginningon May 29th. Four different perspectives, mediums, attitudesand angles.Susan Dibble, a choreographer by trade, has “had the privi-

lege and freedom to fill spaces with people who can be colorful,dynamic, passionate, funny”. Working with mixed media onpaper, her work, reminiscent of Marc Chagall, abounds withplayfulness and movement. “The paintings are representative ofthe most treasured elements of nature and human placement inrooms, houses, and landscapes that live in my head, and in mybody.”

An artist who works in many different mediums, AbbyDuBow has contributed monotype prints to the show, colorfulabstractions that “do not replicate what I see, but rather reflectwhat I see and feel.” With an influence by artists as varied asHenri Matisse, Bill Traylor, and Franz Kline, her work is an ex-ploration of the unexpected, and not easily described by thewritten word. “For me art is not an end but a constant begin-ning, a path that continues to lead to new places with doors thathave to be opened.”In addition to the work of Ms. Dibble and Ms. DuBow, there

will be the vibrant and expressive oil paintings of Joan PalanoCiolfi, the offbeat paper collages of Lorraine Klagsbrun, and afreshly-painted, not-quite-lime, not quite-kiwi green wall.

“Unwilted, Unprocessed, Unconventional” Four NewlyPicked Garden-Fresh Artists, May 29-July 4. Reception for theArtists, Saturday, May 29, 5-8pm.Lauren Clark Fine Art Gallery is located at 402 Park Street

(Route 183) in Housatonic, Massachusetts. Business hours areThursday through Monday from 11:00 until 5:30 and on Sun-day from Noon until 4:00. For more information call413.274.1432, or visit the website at www.LaurenClarkFin-eArt.com

SUSAN DIBBLE"BALANCING CUPS"

(DETAIL), WATERCOLOR,GOUACHE & PASTEL ON

PAPER, 18 X 24

JOAN CIOLFI"TULLE NOIR"(DETAIL), OIL ON CANVAS,

18 X 24

ABBY DUBOW "FRANKSFOLLY #13" (DETAIL),MONOTYPE, 30 X 22

JEFFREY L. NEUMANNOIL AND WATERCOLOR PAINTINGS“My aim is to create deeply personal work that speaks about

the soul of America.” - Jeffrey L. Neumann“Boy, it doesn’t take long for a Neumann work to get a hold

of you. Kind of like a big oak taking root for the long haul.” --Allen Kovler.

“For me, a major part of the charm and interest in yourwork is the ideas or feelings that you get from looking at a baror restaurant or motel from the outside. They are constructedand decorated in such a way as to welcome or lure you in, buta lot of the appeal of a place is the mystery of what it will belike to be in that place, or the memories of what has happenedthere. Somehow you capture the instant of those feelings orthoughts.” -Mark Caldwell “What memories! We use to swim at their pool as they sold

“passes” during the summer. I love that you got the Wind-horses’ old gas station in the background too, they didn’t havethe package store then but he and his wife use to drive schoolbus for Taconic Hills.” -Wendy Hutchins Mullins“I really like the sky in your oil panting. When I first looked

at it, I was reminded of the days when I used to drive down toplaces like Catamount and Brodie for evening pro ski races.The road would always have that wetness from the salt and I’dtell Shelly that if we won some big money, we’d stay over at amotel instead of driving back up to Berkshire East. Some nightswe stayed and some...we drove back.” -William L. Farrell

“Neumann’s presentation is straightforward and precisewithout being overly fussy, and – at his best – he achieves someof the eerie stillness of the great American painter Edward Hop-

per, though Neumann’s vision tendstowards more rendered details. Hisnocturnes succeed because the flat,black night encourages greater ab-straction and acts as ground for thebright boldness of neon and backlitsignage.

Lota-Burger pushes these virtuesthe furthest and resonates with theweird abandoned energy of 3 a.m.road trippin’. The sensation of silenceis thick. Forward motion has stopped.The engine is finally quiet. The blareof the radio ceases abruptly. The placeis all lit up, but nobody’s home. We’veall been there, and Jeffery Neumann’sLota-Burger grasps the mood per-fectly. I want a green-chile cheese-burger with fries and a vanilla shakeif they’re still open.

In this new century (and hasn’t itbeen fabulous so far) of big box retailand corporate conformity from coastto coast, Neumann performs the valu-able service of recording the funky, el-egant architectural remnants of aworld that is careening madly towardsoblivion, fast going, going, gone.” JonCarver, for “THE Magazine”

Neumann Fine Art, Studio &Gallery, located on the corner of An-thony & Coldwater Streets in Hills-dale, NY is open Tuesday – Saturday10 – 4 and by appointment. Tel: 413-246-5776 www.jeffreyneumann.com.


LORRAINEKLAGSBRUN,

(DETAIL), COLLAGE,BROOKLYN RETREAT,

6 X 7 1/2

The Artful Mind

Dedicated to the Arts

Advertising rates ... Editorial ... Calendar ...Press Releases ... just go to:

www.artfulmind.net

Simple as that.

BOB BRIMI STUDIOVISIT AN OIL PAINTING TODAYDrawings, prints, water colors lose far less of the original

meaning and quality in reproduction than do oil paintings. Thecamera, first stage in producing a reproduction, can photographonly what it sees on the surface. The power of a splendid oilpainting is dependent to a large degree on what is known asunder-painting, the pigments applied as initial steps in buildinga final image. This dimension is overlooked entirely by the lens.––from How To Start And Build An Art Collection by IrwinSolomon.

If a pigment, which appears transparent or translucent in athinly applied layer, is piled up or applied to a surface in a thicklayer, it appears more opaque because the light then travelsthrough a greater number of separate particles. Each pigmentparticle impedes the light ray’s progress by refracting it. Also,it appears opaque because there is more refraction of light fromthe points where the pigment particles and their surroundingmedium meet. The increased absorption of light, due to the thenincreased number of particles, contributes to the illusion ofopacity. Pigments vary in transparency in indirect ratio to their-refractive indices, but all of them are transparent to some extent.––from The Artist’s Handbook by Ralph Meyer. Bob Crimi’s paintings can be viewed at hisStudio/Gallery by appointment. – 518-851-7904.

FRONT ST. GALLERYHousatonic Mass.

413-274-6607 • 413-429-7141 • 413-528-9546

WWW.KATEKNAPPARTIST.COM

Please visit Lew at his studio / house in Monterey, MA. See his many oils, watercolors and

drawings done over 40 years

For appointment 413-528-6785

Lewis Scheffey

Lewis Scheffey, Looking North - Early Winter, 1983 (cropped version)


Spring and Summer Classes at Front Street studio now open forregistration...Monday, Wednesday and Thursday. Painting Classes

are held Monday and Wednesday from 9:30 to 1 pm at the gallery/studio. Thursday class is planned, from 9:30 - 1 pm at different

locations, and to be announced weekly. The cost is $30 per class and it is for beginners to advanced,

all mediums are welcome.

Kate Knapp

James O’Shea �� Russell Smith �� Sarah Berney April 15 through May 23

� Carrie Haddad Gallery �

622 Warren Street, Hudson, NY. Hours: open daily 11 a.m. - 5p.m Thursday through Monday 518-828-7655 www.carriehaddadgallery.com

Sarah Berney, Luvee, 2010, 54” x 72”, oil on canvas

the artful mind may 2010

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