From left: Lois Woolley: “Study for a Portrait;” Malgorzata Oakes: “Unceasing Birkenstocks” and “Unceasing;” Melanie Delgado: “Coyote Calm.”

Included in the show are Karen O’Neil’s still life August Late Afternoon Light; the bravura of Kate McGloughlin in A Heart at Sea II; Patty Mooney’s elegant wood sculpture Staff. There are some fine landscapes by, among others, Bruce Bundock, ES DeSanna, Christie Scheele, Hongnian Zhang, and John A. Varriano. The figure is represented by Lois Woolley and Claire Lambe – Woolley’s in a suite of oil sketches of three young people, each work deftly capturing a different aspect of the human condition of youth. Also there are some excellent abstracts including from Jenne M. Currie, Donald Elder, Jenny Nelson, and Meredith Rosiér. Last but not least, work from the print studio includes an extraordinary lithograph inked in green by Ron Netsky, a striking Karen Whitman linoleum cut, experimental silkscreen by Malgorzata Oakes, and more. All of this curator, Alan Goolman, must – as I write — knit together into a coherent exhibition.

John A. Varriano, “Evening Light,” oil on canvas. 18” x 30”

WSA is part of the fabric of Woodstock – dating back to 1906, it has its roots in the Art Students League of New York (ASL). Attracted by the fresh current of artistic innovation at the newly founded Byrdcliffe Artists’ Colony for which Woodstock was gaining a reputation, the ASL established a summer school that year in the building on Tinker Street that now serves as the Christian Science Reading Room – ASL held classes there through 1922. The lovely stone buildings at 2470 Route 212 with which many of us are familiar today were begun in 1939. They were commissioned as a school for arts and crafts under the National Youth Administration (NYA), one of the programs in FDR’s New Deal. The NYA program ended after World War II, and the ASL returned to Woodstock in 1947 and leased the campus to once again host their summer school.

Karen Whitman, “Rooftop Rhythms.” Linoleum Cut. 18.5” x 23.5”

In 1968, four artists affiliated with the League—Franklin Alexander, Robert Angeloch, Lon Clark, and Wallace (Jerry) Jerominek—established the Woodstock School of Art (WSA) and, in 1980, incorporated as a not-for-profit.

Bruce Bundock, “Octaparagon Nature Preserve.” 12” x 12”

Today, the WSA holds classes throughout the year in newly renovated and climate-controlled studios, including a new state-of-the-art print studio overseen by the always intrepid Kate McLoughlin. The print studio is particularly deserving of a mention as among those early teachers at the school was Bolton Brown, a master lithographer; Brown was also the person responsible for the Byrdcliffe Artists’ Colony being located in the Catskills instead of the Carolinas, the first choice of founders Ralph Radcliffe Whitehead and Jane Byrd McCall and, consequently, the WSA being established in Woodstock too. In 1900 Brown, a keen hiker and mountaineer, spied Woodstock from Overlook Mountain and persuaded Whitehead and Byrd McCall that this valley was the perfect location for the Arts & Crafts colony they planned to create. How Bolton Brown would have enjoyed making lithographs in the beautiful airy print studio that is, arguably, his legacy!

Patty Mooney, “Staff.” Mahogany and plaster, 90” x 4” x 5”
Christie Scheele, “Sundrenched.” Oil on canvas, 40” x 40”

The exhibition will be open from November 20, 2021 through December 30, 2021 and will be available for viewing both online on the gallery website, and in person. For in-person visits, the Lockwood Gallery is open Thurs-Sun 11am-6pm. It is located at 747 NY-28, Kingston, NY 12401.

The exhibiting artists are Bruce Bundock, Peter Clapper, Jenne M. Currie, Melanie Delgado, ES Desanna, Staats Fastold, Joan Ffolliott, Mary Anna Goetz, Tor Gudmundsen, Wendy Hollender, Claire Lambe, Polly M. Law, Lisa Mackie, Kate McGloughlin, Wayne Montecalvo, Patty Mooney, Jenny Nelson, Ron Netsky, Malgorzata Oakes, Karen O’Neil, Jeanne Bouza Rose, Meredith Rosiér, Christie Scheele, Murial Stallworth, John A. Varriano, Karen Whitman, Marlene Wiedenbaum, Lois Woolley, Hongnian Zhang.

Featured Image: Karen O’Neil. “August Late Afternoon Light.” Oil on canvas, 16” x 16”

A husband-and-wife dual retrospective
Featuring fairy-tale fantasy and woodwork
Wired Gallery, 11 Mohonk Road, High Falls, NY.

Married for decades, Andrew Willner and Jo-Ellen Trilling share a bond of creativity. They’ve traveled on different artistic tracks, but side by side; embarked in New York City and arrived in The Hudson Valley, near Rosendale.

Wired Gallery presents Side by Side, a dual retrospective featuring works by Jo-Ellen Trilling and Andrew Willner, opening on Saturday, August 3, with a reception from 5:00 to 7:00 p.m.

Jo-Ellen Trilling in her studio in Rosendale

Trilling’s paintings and dolls exemplify Magic Realism. Appearances lure and trick with bright colors but incongruous details. Whimsical, Bosch-like hybrid creatures teeter on disturbing. Winged things cling to Grimm forest trees; a live rooster hat glares from a dog doll’s head. Disquieting toys have too-round faces, and ‘steampunk’ horses advance. Strange animals peer through Alice’s looking glass.

Andrew Willner in his studio in Rosendale

Nautical notes and textures pervade Willner’s woodwork: An elegant, slender ‘steamer trunk’ box; seawall posts settling unevenly in sand over time. He works utilitarian pieces into waves and swells, counter-current swirls, gentle lifts and ebbs on surfaces far from shore. Willner coopers and carves fine wood, sands to fluid flows, oils it to a rich sheen.

Jo-Ellen’s works have been avidly sought by private collectors, especially by prominent individuals in the entertainment world, such as Elton John, Carrie Fisher, Billy Crystal, David Letterman, Robin Williams, and Madonna, just to name a few.

Jo-Ellen Trilling, Second Chance in Cat Heaven (detail), Oil on canvas, 30x40in.

Jo-Ellen was born in Huntington, Long Island, in 1947 and grew up in Setauket, Long Island. She attended the State University of New York, New Paltz, during which time she focused on dollmaking. Also, at that time, Trilling began creating portrait figures in cloth, producing prototypes for her later works. She moved to New York City in 1972 where she studied pastel drawing at New York’s Art Students League with Dan Green.

Fashioned from cloth, wire, and other materials, her sculptures portray such subjects as lascivious pigs in flamenco costume and leering dogs in gangster suits or leather motorcycle outfits. Trilling’s sculptures have been exhibited at various venues. They may be found in the Topeka and Shawnee County Public Library, Kansas, and the Ito Doll Museum, Japan. Trilling began painting in 2001, and her first exhibition devoted to her oils in New York City took place in 2008.

The Philadelphia Museum will include 2 Jackets from the 1980’s, in an exhibit entitled Off The Wall, opening this November.  For more about JoEllen, visit her website.

Willner has been a sculptor, furniture designer, boat builder, city planner, environmentalist, permaculturist, transition advocate, storyteller, public speaker, and blogger. He is writing a book, Fish and Ships, a photo narrative of the people, places, and environment of one of the most beautiful and vulnerable estuaries in the world. Most of his photographs were taken while patrolling the New York/ New Jersey Harbor for 20 years on the Baykeeper skiff.

Andrew Willner, Horizontal Wave Stabile, Glue laminated poplar, 21x30x6in.

1969–70 Graduate study at Virginia Commonwealth University, Richmond, VA with instructor Alan Lazarus.1970–1974 Wood Working Resident at Peters Valley Craft Center, Layton, NJ. 1969 – 1989 Andrew Willner Designs, Furniture, Sculpture, and architectural woodworking. The objects created during that time were exhibited widely and are in museum and private collections in the United States and Europe. 2013-present, teaching wood working and boat building at the Hudson River Maritime Museum, lecturing and demonstrating woodworking techniques, helping to create maker spaces, and creating new works in wood in a new home studio. For much more about Andrew, go HERE

Wired Gallery, 11 Mohonk Road, High Falls, NY–
Hours: Saturday and Sunday 11 a.m. to 4 p.m.
TheWiredGallery.com
Facebook.com/wiredgallery

The 2020 Kingston Annual will be available to view starting Saturday, September 5, both at our galleries at 97 Broadway in Kingston and online at kingstonannual.art.

You must sign for a timed slot to visit the gallery on opening weekend. Please use our sign-up page. After the opening weekend, ASK’s Galleries are open Tue-Sat 1-6pm and Sunday 1-5pm.

Stagecraft Sundays

Join Little Ghost Theatre for their free monthly virtual theatre workshop, Sunday, September 6, from 1-3pm.

This free workshop features fun games and exercises to keep your theatre chops toned. There are two ways to participate. You may participate as a guest practitioner, in which you, the guest, can drop by and play for the first hour and a half, or you can participate as an ensemble member, wherein we ask for a commitment to all the for see-able sessions for the year as we work towards a larger, common goal in the second hour of Stagecraft Sundays.

The ensemble is currently devising a new play about regret.
Please note that this is the last session where you can join the ensemble.

“Tonalism” is curated by Karen Quinn, senior historian and curator, art and culture, at the New York State Museum. The exhibition will be on view from Aug. 28 – Dec. 8, 2019, in The Dorsky’s Morgan Anderson and Howard Greenberg Family Galleries. A public opening reception will be held on Saturday, Sept. 7, from 5–7 p.m.

Emerging in the years after the Civil War, Tonalism appealed to audiences seeking respite from the devastation of war, the political turmoil of Reconstruction, the rise of industrialization and urbanization, and related cultural issues.

In the broadest sense, Tonalism can be understood as an approach to representation that relied less on faithfulness to visual reality than on creating an evocative mood, often through memory. Tonalist artists achieved a prevailing sense of quiet by depicting subjects at either end of the day, in soft light and with a delicate range of colors – thus, “tonal.” Landscapes dominated, but figurative works were not excluded. Overall, Tonalism encouraged contemplation.

Tonalism has long been considered a conservative late 19th-century approach to painting, often discussed as the antithesis to Impressionism, but recent scholarship has begun to reassess Tonalism as innovative in its approach to representation both in concept and as realized.

This exhibition repositions Tonalism in this new context: as both an outgrowth of the Hudson River School (among other influences), and as an important foundation helping to lay the groundwork for Modernism.

George Inness, “Keene Valley, Adirondacks,” 1885, oil on board, Samuel Dorsky Museum of Art, gift of Elizabeth Koppitz

“Tonalism: Pathway from the Hudson River School to Modern Art” is organized by the Samuel Dorsky Museum of Art and the New York State Museum. Following their institutional missions, the exhibition builds on the work of well-known trailblazers such as James McNeil Whistler and George Inness, while also shedding light on the contributions of lesser-known masters with ties to New York.

Featured artists include Frederick Kost of Long Island, Birge Harrison of Woodstock, Alexander Wyant of Arkville and Keene Valley, and Walter Launt Palmer of Albany. Many of the included works are presented on load from private collectors, offering viewers a rare chance to see paintings and photographs that are not in the public domain.

Following its presentation at The Dorsky, the exhibition will travel to the New York State Museum in Albany, New York, where it will be on display from Feb. 15 – June 14, 2020.

About the Curator

Karen E. Quinn is senior historian and curator of art and culture at the New York State Museum. Currently she is researching and building the museum’s collection of art related to New York State, including decorative arts, paintings, works on paper, architecture, photography, popular culture, literature and music, and interpreting them for museum visitors. She is also working with colleagues to develop interdisciplinary exhibitions, public programs and publications that put works of art into their historical and cultural context. Quinn’s current and past exhibitions include Art of the Erie Canal (2018), The Historic Woodstock Art Colony: The Arthur A. Anderson Collection (2018–19), and Tonalism: Pathway from the Hudson River School to Modernism (2019–20).

Previously, Quinn was Kristin and Roger Servison Curator of Paintings, Art of the Americas at the Museum of Fine Arts, Boston, where she contributed to exhibitions and catalogues on the work of Fitz Henry Lane, Lawren Harris, Edward Weston and Martin Johnson Heade, among others, and also worked on thematic shows devoted to American landscape, Afro Brazilian art and American modernism. She was part of the team that developed and executed the museum’s Art of the Americas wing (2010). She also served as project manager and wrote for Paintings of the Americas (2012), the museum’s first online scholarly collection catalogue.

Featured Image: Birge Harrison, “Lawrence River Sunset,” n.d., oil on canvas, courtesy New York State Museum, Historic Woodstock Art Colony, Arthur A. Anderson Collection

About The Dorsky Museum

Through its collections, exhibitions and public programs, the Samuel Dorsky Museum of Art supports and enriches the academic programs at the College and serves as a center for Hudson Valley arts and culture. With more than 9,000 square feet of exhibition space distributed over six galleries, The Dorsky Museum is one of the largest museums in the SUNY system. Since its official dedication in 2001, The Dorsky has presented more than 100 exhibitions, including commissions, collection-based projects, and in-depth studies of contemporary artists including Robert Morris, Alice Neel, Judy Pfaff, Carolee Schneemann, and Ushio Shinohara.

Museum Hours: Wednesday–Sunday, 11 a.m. – 5 p.m.
Closed Mondays, Tuesdays, Holidays and Intersessions.
For more information about The Dorsky Museum and its programs,
visit    http://www.newpaltz.edu/museum or call (845) 257‑3844.

Installation view of Linda Mary Montano: The Art/Life Hospital at The Dorsky Museum. Photo by Bob Wagner.

Linda Mary Montano (b. 1942, Saugerties, NY) is a pioneer in contemporary performance art and her work since the mid 1960s has been critical in the development of video and performance by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano’s work explores her own art/life through shared experience, role adoption, and intricate life-altering ceremonies, some of which last for many years. Staunchly insistent about the interconnectedness of her art/life, Montano’s output resists categorization on a fundamental level and her legacy has been vastly under recognized by the establishment. Linda Montano: The Art/Life Hospital will address Montano’s interest and exploration of healing, aging, and death and will highlight rarely-screened video work, alongside new interactive commissions, and a durational performance.

Raised in a devoutly Roman Catholic household in Saugerties, NY, Montano’s fascination with ritual and desire to do humanitarian service led her to join the Maryknoll Sisters after studying art for one year at The College of New Rochelle. After two years with the order, and suffering from severe anorexia, Montano left the order to return to her former college where she received her degree in sculpture in 1965. Montano then went on to receive her MFA from the University of Wisconsin–Madison in 1969 where her thesis exhibition, titled The Chicken Show, featured a display of nine live chickens on the roof of the art building. Montano went on to live in San Francisco for a decade where she first devoted herself exclusively to performance art and established herself as an artist known for durational work. The unexpected death of her husband in 1978, led to the creation of the work, Mitchell’s Death, a twenty-two-minute video where Montano uses performance as a means of personal transformation and catharsis.

Linda Mary Montano, Mitchell’s Death, 1977, 22:20 minutes, video, black and white. Video still copyright of the artist, courtesy of Video Data Bank, www.vdb.org, School of the Art Institute of Chicago

In 1978, Montano continued her art-theology dialogue by moving into a Zen Monastery for three years and then to the Ananda Ashram in the 1980s, where she studied with Dr. Ramamurti Mishra for over thirty years. Upon meeting Taiwanese performance artist Tehching Hsieh, Montano joined him in his Art/Life One Year Performance 1983–1984 (Rope Piece) and they were bound together by a length of rope 24 hours a day for an entire year, from July 4, 1983 to July 3, 1984. From 1984 onwards, Montano performed 7 Years of Living Art, 1984–1991, in which she lived in her home in Kingston, NY wearing strictly monochromatic clothing, spent a portion of every day in a colored room, and listened to a designated tone, all of which corresponded to the energetic qualities of a specific chakra. She followed this performance with Another 7 Years of Living Art, (1991–1998).

Linda Mary Montano, Benares, 1998, 27:04 minutes, video, color, sound; video still copyright of the artist, courtesy of Video Data Bank, vdb.org, School of the Art Institute of Chicago

In 1998 Montano created an online school for artists wanting to use her recipes for making art from everyday life. This ongoing performance is titled: Another 21 Years of Living Art. After 1998, Montano focused upon freelance teaching of performance art, caring for Henry Montano (her increasingly-ill father), and counseling people. She practiced “Art/Life Counseling,” a technique she used for seven years at The New Museum, where curator Marcia Tucker had built a private room and allowed Montano to counsel people once a month in the window installation which was painted the same color that Montano wore for that year. At that time (1984–1991), Montano used tarot, palm, and psychic readings as tools of discovery as well as attentive listening so that she could respond to the questions of her clients, and she intended to find the most creative way to respond to their problems and difficulties.

Installation view of Linda Mary Montano: The Art/Life Hospital at The Dorsky Museum. Photo by Bob Wagner.

The experience of caring for her dying father led Montano to return to Catholicism and ultimately to church attendance, and since 2005 she has taken gathered prayer requests to more than ten Catholic pilgrimage sites throughout the world. Since returning to Catholicism, Montano has made numerous videos exploring the faith. In 2013,her archive was acquired by Fales Library and Special Collections at NYU.

FEATURED IMAGE:

Linda Mary Montano, I’m Dying–My Last Performance, 2015, 29 minutes, video, color, sound. Video still copyright of the artist, courtesy of Video Data Bank, School of the Art Institute of Chicago.

Click HERE for more information about The Dorsky Museum and its programs,
or call (845) 257‑3844.

Kaete Brittin Shaw: ceramics

What also makes this event so special is the opportunity for art lovers and supporters to meet personally with the professional artists and learn first-hand about their creations.

Biti Besha : jewelry

Thursday, September 6th, 2018 | 5pm to 8pm
The Chateau | 240 Boulevard, Kingston, NY

Paola Bari : porcelain

featured image art:
by Marysa Sacerdote : jewelry/metalsmith
and Paola Bari : porcelain

Go HERE for a complete list of artists in the the show.

Ulster County Tourism & The Rosendale Theatre are co-presenting this special international showcase of award-winning short films from the past and present. The 38th Asbury Short Film Concert is recommended for ages 16 and way way above.

Asbury Shorts presents award-winning films from past years mixed with new international festival honorees, creating a rare opportunity for audiences to see world-class short films on a real cinema screen as opposed to You Tube, smart phones or computers. Academy Award nominated director Jason Reitman (JUNO, Up in the Air, Thank You for Smoking and Young Adult) calls Asbury Shorts: “The best short film show I’ve ever seen.” The highly entertaining evening features the best in short film comedy, drama and animation.

Highlights of the June 7th showcase include: “Food City, Feast of the Five Boroughs,” the multi festival honored documentary from filmmakers Lars Fuchs and Matthew Fleischman. Matt and Lars challenge themselves to serve a 4-course meal for 8 people using only ingredients that are farmed, fished, or foraged within New York City. The film follows them as they discover the rich diversity of food the city produces.

“The Caption”

Also, “The Caption” the story of a frustrated cartoon caption writer whose submissions are constantly rejected over many years by a famous New York magazine straining his health and marriage. Nick Miller and Jonny Zwick of Los Angeles are the co-directors of this smart comedy. There wiil be 10 globally honored shorts in total in the two act program.

The Asbury Short Film Concert has been presented at: The Museum of Fine Arts Boston; Summer Stage in Central Park, NYC; The Director’s Guild Theater in Manhattan; The AERO Theatre in Santa Monica, CA; The Osprey Arts Center in Nova Scotia, Canada; Royal Festival Hall in London, U.K.; The Vero Beach Museum of Art in Florida; The Algonquin Arts Theatre in Manasquan, New Jersey and the Leminske Theater in Berlin, listing just a few of the prestigious venues where audiences have enjoyed these amazing films…including The Rosendale Theatre.

The Rosendale Theatre Collective is dedicated to preserving the historic Rosendale Theatre and enhancing the cultural life and economic vitality of Rosendale and Ulster County through film, the performing arts and educational programming. With the emphasis on supporting local and regional artists, the Collective works together with other arts organizations to sustain diverse cultural activities and exchanges for a wide audience.

The Rosendale Theatre is located at 408 Main Street, Rosendale, New York. General admission tickets cost $12 and $10 for Rosendale Theatre members. Tickets can be purchased at Brown Paper tickets: https://bpt.me/4238214. For directions and more information please call: 845.658.8989.

Featured Image is from Sac de Merde