Writers in the Mountains (WIM) presents When Space Speaks with Sarah Blakley-Cartwright, a three-hour intensive workshop, Tuesday, September 21, 2021 from 1 to 4 p.m. Once they register and pay, participants will be given instructions on how to join the class.
In this class, students will explore vignette, ellipses, and space breaks, as we interpret the unsaid and sharpen our ear for silence. We will look at how the elliptical form can provide exhilarating leaps of energy—and explore how cutting one word, one sentence, one paragraph, one page can in fact sharpen meaning, leaving only prose that shines like a diamond.
Sarah Blakley-Cartwright is a Board member of Writers in the Mountains. She is also a #1 New York Times bestselling author; Publishing Director of the Chicago Review of Books; and Associate Editor of A Public Space. Her website is https://www.sarahblakleycartwright.com/.
To register for this class, e-mail email@example.com. To register online, visit writersinthemountains.org. Class fee is $35. Registration deadline is September 14.
Writers in the Mountains is a 501 ( c ) (3) not-for-profit organization with a mission to provide a nurturing environment for the practice, appreciation and sharing of creative writing. For more information, visit writersinthemountains.org.
As its first post-pandemic program, AMR Artists Inc. presents Paint The Town, a series of five events spanning over five months (from June to October), and taking place in a different town each month: Arkville – June 26; Roxbury – July 24; Halcottsville – August 14; Fleischmanns – September 5; and Margaretville – October 9. The fee for participating artists is $25 for all five dates. The artists can also sign up the day of the event.
This Saturday, July 24 from 10 am to 1 pm, artists will be painting at the Gould Church on Main Street in Roxbury. The location will be marked with colorful balloons to make it easy for visitors to find the artists. At 1 pm there will be a gathering to discuss the artworks produced throughout the day.
The organizers feel that this is an opportunity for the community to witness the creation of new works of art en plein air, and engage with the participating artists.
Launched in 2012 as AMR Open Art Studios Tour, AMR Artists incorporated in 2020, the year of the pandemic, as a non-profit organization to better serve the community of artists active in the Arkville, Margaretville and Roxbury area of the Central Catskills, upstate New York.
This program is made possible in part with funds from the Community Foundation of South Central New York, and the Delaware County Department of Economic Development.
“I have a feeling that in art the need to understand and the need to communicate are one,” remarked Hedda Sterne, revered Surrealist painter.
Coming out of a 14-month once in a century pandemic, we take a moment to reflect on this monumental experience and make sense of the changes we have witnessed around us thus far.
Artists have extraordinary perceptual abilities, an attribute that Marshall McLuhan referred to as “integral awareness,” something that will guide us through the process of re-gaining meaning in a post-pandemic world. Societal forces play their role as well in influencing the artistic product from idea to execution and reception of the artwork in the field as the artist and his or her social surroundings are interdependent.
The pandemic took a year out of our otherwise normal life – everything was turned upside down. The unexpected circumstance changed our mindset, and forced us to adapt like never before. It also provided the sudden opportunity to slow down and re-think priorities. The post-pandemic world will look a lot different than the pre-pandemic one.
But how exactly does the art world respond to this colossal transformation in our life? In her seminal book “Meaning and Expression: Toward a Sociology of Art,” first published in Germany in 1967, Hanna Levy Deinhard exemplarily illustrated how humans are able to distinguish in a work of art its visual expression from its meaning. While visual expression however remains relatively constant over time, its meaning is subject to change. Deinhard strived to reconcile the everlasting contradiction in art between the artwork as a timeless object and the artwork as an expression of its time.
With that in mind, we spoke with prominent Catskills artists to learn about their experience during the pandemic and how that might have impacted their creative life.
Brian Tolle (sculptor)
The pandemic and all the chaos that it created gave rise to a different mindset for many of us. On the one hand we were intensively connected to the world, unified in the global effort to control and contain the virus. On the other hand, were in lockdown, limited to our immediate cohabitants guarding ourselves from our families, friends, colleagues and neighbors. My time was spent obsessing over the news and worrying about my loved ones. That said there was little or no time for thinking about art. For the first time in my twenty-five-year career the mere thought of making ART felt gratuitous. However, I greatly respect and appreciate the work that so many artist friends produced during this most difficult time. I alas, did not, could not. What I did do was to reflect on what it meant to be an artist and art educator. My resolve for both pursuits is stronger than ever. Creative thinking is essential for the health and survival of humanity.
Recently I have begun to focus my energies locally, inspired by the communities that I live among. My work has always been engaged with history and my sights are currently on the history of the Catskills; the place my partner and I call home. More specifically I am studying the history of Roxbury, where I have a studio. Of particular interest are the lives and careers of John Burroughs and Jay Gould, two men who grew up in this place at the same time but pursued very different careers. Burroughs the great naturalist and Gould the capitalist represent very different world views that continue to shape the nation and the world that we inhabit.
Amy Masters (painter)
My most recent body of work centers around the idea of home and shelter. I had been exploring the iconic ‘house’ shape for many months, experimenting with its form and how accessible and recognizable it can be. When the pandemic forced so many of us inside and often isolated us, the house paintings took on a new and deeper meaning for me and pushed the work even further. The house became a symbol of safety; a shelter that protects but also isolates.
Gail Freund (painter, illustrator, and embroiderer)
It has been an unchartered time. Terribly sad, isolating, yet interesting. I was fortunate to have moved to the Catskills from New York City in 2016 and had already been familiar with leading a remote life in this beautiful region. Over the past year I had been missing social interaction and community, however. Pre-pandemic, I was working on a fabric book project called Verso-Recto at The Pine Hill Community Center. A few artists including Hedi Kyle and myself were meeting there regularly to work on our books. The pandemic put a stop to those meetings, but I continued to work independently at home. Because the book is heavily embroidered, I used to jokingly call it my “security blanket”. On the bright side, this was a rare occasion to literally have more time on my hands. Working on the book was meditative and handily portable. For three months last summer I had to take care of my 93-year-old mother in Long Island. It felt great to be able to bring this project with me.
Lisbeth Firmin (painter)
When the pandemic first hit, when we shut down in March 2020, I was stunned and afraid like everybody else. We did not know anything about Covid, and the panic about that combined with the isolation bred fear and anxiety. I was working on a few paintings for my gallery on the Cape, and for a while I continued to do that. But after those paintings were finished, I just did not do that much. I would go to the studio – I was very lucky that I was able to do that. My building was empty, and I was the only one there. So, I would just go there and read the news, and sit and worry. All my workshops and exhibitions were cancelled. My art income was gone. Then in the fall, I started a new series of oils. I have painted through so many tough times. I will continue to do so.
Tabitha Gilmore-Barnes (textile artist)
2020-2021 has been a time of great challenge for me. My husband fell critically ill last fall and winter, and I had very little time to spend in the studio and create new work. In the midst of such upheaval, I have been blessed however to be visited by producer Jan Albert and filmmaker Kent Garrett who interviewed me for “Catskilled Crafters” as part of a series hosted by The Pine Hill Community Center called “Getting to Know Your Neighbors.” The presentation is posted on my website at VIDEO: Tabitha Gilmore-Barnes Studio Visit | Tabitha Gilmore-Barnes Studio where people can learn more about my work as a weaver.
Alan Powell (media artist)
In May of 2020 I was asked by a colleague from Buffalo, NY, Dorothea Braemer, to take part in a global project to document our dream during the Covid pandemic. Many of us were having intense dreams due to the stress of the pandemic and the isolation that we were feeling. There were about twenty initial participants from as far away as Bulgaria and Arizona. These dreams were to be produced as video projects. I put together a team of ten former and current students to work on a 30-minute narrative called “A vacation in Covidville”. The narrative centered on two young women taking a road trip during the Pandemic. One woman was a rock and roller looking for her next gig. The other woman was a revolutionary looking for a home for her revolution. They would stop at homes along the way. Each home housed a dream. In the fall of 2020, I made collages from the dreams and showed them in a popup exhibition that was hung in the store windows in the town of Stamford, NY. The ad-hoc collective included artists such as Nat Thomas, Elaine Mayes, Amy Masters, and others. One such dream is what I titled Corona Diary #15, posted on Vimeo along with other videos that I created in the past year.
Nursing Home Pantoum
By Sharon Israel
I call to hear my mother’s voice
She eats so little, drinks Ensure
So sorry I can’t visit now
We say I love you at the end
She eats so little, drinks Ensure
I keep disaster from my voice
We say I love you at the end
She worries that I’m not all right
I keep disaster from my voice
I hear fear in every word
She worries that I’m not all right
Everyone’s so strange here
I hear fear in every word
I’m in a hospital, she thinks
Everyone’s so strange here
Nursing staff wear bunny suits.
I’m in a hospital, she thinks
Friends disappear from the dining room
Nursing staff wear bunny suits
The dead visit her in dreams
Friends disappear from the dining room
I call to hear my mother’s voice
The dead visit her in dreams
So sorry I can’t visit now
This poem first appeared in the May 2020 issue of Chronogram magazine. The pantoum, a form from 15th century Malaysia, consists of four-line stanzas in which the second and fourth lines of each stanza serve as the first and third lines of the next stanza. The last line is the same as the first. Poet Sharon Israel used it in her poem for its repetitive and incantatory qualities. Her mother died on June 28th, 2021 at the age of 99 and a half.
As we’re coming out of the pandemic, 2021 appears to be a year dedicated to women in the arts as several museums and art centers in Europe and the United States are hosting programs devoted to female artists, far too long left out of the history books.
When speaking with art historians and scholars, the often-cited reasons that left women behind were: they had no access to education, they were living reclusive lives and did not have as much access to sources of inspiration as men, women painters were not accepted in art shows and museums, they also did not sign their paintings, and finally they were deliberately left out.
In recent years books were written to correct that, including The Trouble with Women Artists by Laure Adler and Camille Vieville, published in 2019, and Broad Strokes by Bridget Quinn, published in 2017. They provide a wider perspective on the significant achievements and contributions made by women in the arts.
Earlier this year the Rijksmuseum in Amsterdam included for the first time ever works by women artists in the Gallery of Honor, alongside works by 17th century Dutch Golden Age masters such as Rembrandt, Vermeer, and Frans Hals. Paintings by Judith Leyster, Gesina ter Borch, and Rachel Ruysch are now exhibited in the Gallery of Honor as a move by the Museum to highlight women’s contribution to Dutch cultural history.
Musée du Luxembourg in Paris is hosting the exhibition “Peintres Femmes 1780 – 1830”, which includes seventy paintings by forty female painters, most notably Élisabeth Vigée Le Brun and Adélaïde Labille-Guiard, both members of the famous l’Académie Royale de Peinture et de Sculpture (the precursor of the Louvre Museum), and Marguerite Gérard, the sister-in-law of Jean-Honoré Fragonard. Curated by Martine Lacas, the exhibition can also be explored virtually.
Centre Pompidou is hosting the exhibition “Women in Abstraction” featuring one hundred and six artists, and more than five hundred works dating from the 1860s to the 1980s in various disciplines. Included in this exhibition are works by Louise Bourgeois, Barbara Hepworth, Verena Loewensberg, and many others. Centre Pompidou is also hosting an online class through June this year, free of charge, titled Elles font l’art and presenting a different history of modern art, one that focuses on women artists in the 20th and 21st centuries. This class is held in French.
In New York, of course, there is a long tradition of women being active in the art world going back to Sarah Cole, the sister of Thomas Cole, founder of the Hudson River School of Painting (Luminism); Georgia O’Keeffe (Modernism) – married to photographer Alfred Stieglitz, O’Keeffe enjoyed painting Lake George where she vacationed extensively; and Hedda Sterne (Surrealism), who was married to The New Yorker cartoonist Saul Steinberg – both Sterne and Steinberg were born in Bucharest but met in New York.
In 2019 the exhibition “Hilma af Klint: Paintings for the Future” hosted by Guggenheim attracted more than 600,000 attendees, becoming the museum’s most visited show in its 60-year history, according to Artsy. This year, The Metropolitan Museum of Art is hosting “Alice Neel: People Come First”, a retrospective that positions Neel as a radical painter, champion of social justice.
Art in the Catskills has consistently featured works by women artists who have maintained studios in the Catskill Mountains including Amy Masters, Ann Lee Fuller, Ellen Wong, Helene Manzo, June Lanigan, Lisbeth Firmin, Molly Rausch, and many others.
Listen to this week’s Kaatscast podcast to learn about arts and culture in the Catskills, creative writing and publishing with Simona David, Sharon Israel, Anique Sara Taylor, and Leslie T. Sharpe, authors affiliated with Writers In The Mountains (WIM). Kaatscast is a biweekly podcast produced by Silver Hollow Audio delivering history, travel guides, arts and culture, outdoor adventures, sustainability news and local interviews from New York’s Catskill Mountains and Hudson Valley. Celebrate the Catskills with Kaatscast!
Simona David is a media consultant, author of How Art Is Made: In the Catskills (2017), and former president of Writers In The Mountains (2012 – 2019), currently working as an advisor to the Board. Her website is simonadavid.com.
Sharon Israel hosts the radio show Planet Poet-Words in Space on WIOX 91.3 FM (WIOXradio.org) in the Catskills, and hosts a podcast by the same name (available on Spotify, Apple iTunes and Google Play, and on her website at sharonisraelpoet.com). Sharon’s debut chapbook Voice Lesson was published in 2017 by Post Traumatic Press. She was a 2020 “quarterly challenge” winner in four lines Poetry and Art Magazine online at https://www.4lines.art/challenge/winners . Sharon has served on the Writers In The Mountains’Board of Directors for over a decade.
Anique Sara Taylor is the author of Where Space Bends published in May 2020 by Finishing Lines Press. Her works have appeared in Rattle, Common Ground Review, Adanna, Earth’s Daughters, St. Marks Poetry Project’s The World, and many anthologies. She has co-authored works for HBO, Scholastic, Simon & Schuster, and others. Anique holds an MFA in Poetry from Drew University, an MFA in Drawing from Pratt Institute, and a Diplôme from the Sorbonne University in Paris. An award-winning artist, Anique’s paintings have been featured in numerous museums and galleries throughout the tri-state area. She teaches creative writing for Writers In The Mountains and Bard LLI.
Leslie T. Sharpe is an author, editor, and educator. She began her editing career at Farrar, Straus & Giroux and is currently an editorial consultant specializing in literary nonfiction, literary fiction, and poetry. A member of PEN American Center, she is the author of Editing Fact and Fiction: A Concise Guide to Book Editing (Cambridge University Press, 1994), which is regarded as a “modern editing classic” and “On Writing Smart: Tips and Tidbits,” featured in The Business of Writing (Allworth, 2012). Leslie has been a regular contributor to Newsday’s “Urban ‘I’” column, and her essays and articles have appeared in a variety of publications including the Chicago Tribune, Christian Science Monitor, Global City Review, International Herald Tribune, The New York Times, New York Tribune, Philadelphia Inquirer, San Francisco Chronicle, and Village Voice; The Villager; The Writer; and Psychology Today. Her latest book The Quarry Fox and Other Critters of the Wild Catskills, a lyric narrative look at the wild animals of the Catskill Mountains, was published by The Overlook Press in the spring of 2017. The Quarry Fox audiobook was published by Silver Hollow Audio in June 2020. Leslie has taught writing and editing at Columbia University, New York University and the City College of New York as well as Writers In The Mountains.
Writers In The Mountains (WIM) was founded almost three decades ago in Roxbury to promote literary arts in the Catskills and beyond. Over the years the organization has grown into a major cultural force in the region by significantly expanding its programs and outreach. In addition to its core mission, to offer creative writing workshops year-round, WIM has ventured into other arenas as well, by hosting a popular annual Literary Festival and a quarterly Literary Salon that bring together a variety of publishing professionals: whether be writers, illustrators, editors, literary agents, educators, consultants, and publishers.
Writers In The Mountains promotes literary arts while at the same time builds community.
The pandemic however has forced the organization to re-invent itself. After New York went into lockdown in the spring of 2020, WIM took a pause, then re-emerged with a series of online programs that catapulted the organization into the national limelight virtually overnight. Once the programs were moved online, nationally recognized professionals from all over were able to participate, in addition to local communities in the Catskills, Hudson Valley, and New York City metropolitan area. Consequently, our literary community has grown bigger and moreover happier, because we get to learn from one another, and grow professionally at a different pace, which makes the experience ever more fulfilling.
CREATIVE WRITING WORKSHOPS
WIM offers creative writing workshops year-round with established professionals and covers anything from creative nonfiction, fiction, poetry, and publishing advice. For instance, this year WIM has offered for the first time a Micro-Memoir workshop taught by Linda Lowen, a book reviewer for Publishers Weekly – participants learn how to submit stories to The New York Times’ Tiny Love column. Several have already been published.
WRITERS UNBOUND ANNUAL CATSKILLS LITERARY FESTIVAL
Launched in 2014, the festival had been taking place every year in the spring at Union Grove Distillery in Arkville. In 2020 the festival was canceled due to the pandemic. Beth Lisick, a New York Times bestselling author, was scheduled to be the keynote speaker; Beth is also an actress – she has appeared at the Cannes Film Festival and other events. Silver Hollow Audio was scheduled to be on the Publishing Panel to address the rise of audiobooks. The festival has been a great opportunity for authors to network and have a platform.
RANDOM CONTEXT LITERARY SALON
A few years ago, WIM launched a literary salon to give writers taking its workshops the opportunity to share their work with the public, and also give the community a chance to get to know the writers. In between readings, there were opportunities to mingle, exchange ideas, and make connections. The pandemic has put this successful program on pause as well. It will be revived with a series of online readings.
PARTNERSHIPS WITH OTHER ORGANIZATIONS
Over the years WIM has partnered with other organizations in the region to enrich the Catskills cultural life. In 2017, for instance, WIM hosted a series of Artist – Writer Talks called “The Arts Converge – Mutual Muses in the Catskills” in partnership with the Catskill Center. There were writers in conversation with visual artists or music composers to a great effect. In 2018 WIM hosted a series of workshops and readings at the Zadock Pratt Museum in Prattsville, partly funded by Poets and Writers, and New York State Council on the Arts. Leslie taught a nature writing workshop, Simona taught an art writing workshop, and Sharon performed music and poetry with composer Robert Cucinotta. That was a perfect example of synergetic artistic endeavors.
UPCOMING LITERARY JOURNAL
WIM is currently working on launching a literary journal dedicated to authors who have an affiliation with the organization. More details will be revealed soon. Read about Writers In The Mountains at writersinthemountains.org.
The Zadock Pratt Museum has just released a coloring book for adults, essentially a collection of historical quilts accompanied by text and drawings that provide a unique perspective of the region’s settlement history. Inspired by the 2018 exhibition titled “Undercover Stories,” the book was funded by The A. Lindsay and Olive B. O’Connor Foundation and The Nicholas J. Juried Family Foundation. The exhibition, the brainchild of Carolyn Bennett, the Museum’s Executive Director, included thirteen quilts, all of which are also included in the book along with an additional thirteen from the Museum’s historical textile collection. All text and drawings are by Suzanne M. Walsh, who curated the 2018 exhibition. The Iroquois Indian Museum in Howes Cave assisted with fact checking. The book is endorsed by Dr. Michelle Delaney, Assistant Director for History and Culture at the Smithsonian National Museum of the American Indian, among other notable endorsements.
After the 2018 exhibition closed, there was a spontaneous desire to keep the quilt stories alive, which is how the coloring book idea came about in 2020. The preservation work to keep the quilts intact is a tedious process that requires re-folding in acid free paper every three to six months. Volunteers at the Museum help keep the tradition alive. There is a vibrant community of quilters in the area that met regularly before the pandemic. They often helped at the Museum with the preservation efforts.
Quilting has been described by scholars as “the art of necessity.” When textiles were scarce, women patched old blankets, coverlets, and table runners with cloth they had available and ready to use. European settlers brought this practice to the New World, and it flourished here and took on a new life. A utilitarian activity at first, quilting did eventually become an American folk art. American Folk Art Museum in New York City has an impressive textile collection, and has begun the New York Quilt Project to locate, document, preserve, and create an archive for New York State quilts. Dr. Jacqueline M. Atkins, a curator who worked at the Folk Art Museum, wrote the introduction for the The Zadock Pratt Museum Coloring Book, and shared “the thrill of the hunt, as one is never sure just what new and exciting quilts, patterns, and designs will turn up in addition to renewing acquaintances with many old favorites.”
As part of her research, Walsh was able to date the quilts and also found fascinating details about their making. During the Civil War, the region stopped using cotton from the South and that is when imported cotton was largely introduced to the Catskill Mountains. After studying the quilts, Walsh felt inspired to draw them in a way that best reflects their personality. “The art dictated itself,” she explains. She followed the thread and each quilt led to a different approach and style whether whimsical, serious, or as a cartoon. For each quilt Walsh had to make the decision whether to use pen or ink, or what other approach the style might have required. They are all different and carry fascinating stories.
For instance, the Lost Ships quilt cover was made in 1893 by Frankie Drum, a thirteen-year-old girl who learned the art of quilting from her grandmother. Quilting was a required skill for girls in the Catskills around that time. The project took two years to complete and includes 8,460 individual little pieces of fabric. If you look closely, you will see a horseman depicted in one of the patterns, suggesting Frankie’s love for horses.
The Crazy Quilt bedcover resembles a Surrealist painting by Marc Chagall, who incidentally had a studio in the Catskills in the 1940s. The “crazy quilt” pattern reached the height of its popularity in the 1890s, the Gilded Age in America, when the industry provided an immense variety of fabric choices in color, prints, and textures. Dr. Atkins, a quilt expert, explains that American women’s fascination with the crazy quilt was inspired by the Japanese kimono which was introduced to the American public at the Centennial International Exhibition of 1876 in Philadelphia.
Another popular pattern throughout the 1800s was the octagon. The Octagon quilt included in the book is made of 352 individual octagonal pieces in different colors and patterns. As Walsh explains, the octagon has held a spiritual significance for centuries signifying “the infinity of eternal rebirth.” The octagonal shaped houses also gained in popularity around the same time, and there is still one in existence not too far from the Pratt Museum.
From 2013 until 2020 Walsh had been tour guide, exhibition designer, curator, and archivist at the Zadock Pratt Museum. Undergraduate work in the arts and post-graduate work in early childhood education, including American Montessori certification, became her background credits for the many years in the professional theatre world that followed, working both on stage and behind the scenes in costuming, scene building, playwriting and children’s puppet theatre production. Walsh’s life-long love for fabrics, their history and women’s fashion has coalesced in her serendipitous collaboration with all the people who had an impact on the Pratt Museum’s Historical Quilting Designs Coloring Book. She sums up her experience in one attitude-altering sentence: “Every single one of these wonderful quilts really deserves a history book unto itself.” Walsh is currently working as an independent artist, author and art history consultant.
The book is available at the following retailers: Blooms & Fabrics in Margaretville; Roxbury General in Roxbury; Carrot Barn–Schoharie Valley Farms in Schoharie; The Conglomerate in Middleburgh; Catskill Mountain Country Store in Windham; Windham Pharmacy in Windham; Taconic Orchards in Hudson; Mahalo Gift Shop in Catskill; Plaid Palette in Cherry Valley; The Iroquois Indian Museum in Howes Cave; The Jefferson Historical Society in Jefferson; The Gilboa Museum and Nicholas J. Juried History Center in Gilboa; What The Soap & Company in Prattsville; Young’s Ace Hardware in Prattsville; Prattsville Diner, and the Zadock Pratt Museum.
The book can be ordered by phone at (518) 299-3395, email at firstname.lastname@example.org, or mail at Pratt Museum, PO Box 333, Prattsville, NY 12468. To learn more, visit zadockprattmuseum.org.
Writers in the Mountains (WIM) presents Micro-Memoir, a six-week long workshop with Linda Lowen, January 8 – February 12, 2021. The class will be held online Fridays, from 10 am to 12 noon. Once they register and pay, participants will be given instructions on how to join the class.
Memoir doesn’t have to cover decades to tell a story. Sometimes a single moment, vividly depicted, illuminates a life. If you’ve wanted to write memoir but are overwhelmed at the immensity of the task—or you’re already writing but need a fresh approach—consider micro memoir. The smaller format can be freeing, allowing you to focus on an event that serves as a microcosm of the larger experience. In this workshop you’ll write short 200-word pieces and discover less is more. Weeks 5 and 6 we’ll focus on Tiny Love Stories, relationship tales of 100 words or less, and you’ll come away with one piece suitable to submit to the New York Times column of the same name.
A book reviewer for Publishers Weekly, Linda’s nonfiction has been published in the New York Times and is forthcoming in “Tiny Love Stories: True Tales of Love in 100 Words or Less” from Artisan Books in December. Her writing advice has appeared in The Writer and Writer’s Digest magazines. She teaches creative nonfiction at the Downtown Writer’s Center in Syracuse, NY, and has led workshops at the Chautauqua Writers’ Festival and HippoCamp, the annual CNF conference sponsored by Hippocampus magazine. Her website is lindalowen.com
To register, e-mail email@example.com. To register online, visit writersinthemountains.org. Class fee is $100, if you register and pay by December 18, and $125 after that.
Writers in the Mountains is a 501 ( c ) (3) not-for-profit organization with a mission to provide a nurturing environment for the practice, appreciation and sharing of creative writing. Learn more at writersinthemountains.org.
The Zadock Pratt Museum in collaboration with Prattsville Art Center presents Prattsville Clews – A Case Study by Clover Archer, an online exhibition exploring micro or granular histories – small ordinary moments in everyday lives that fill in the vast amount of time around lifetime milestones or what is more generally considered “important.”
In the summer of 2019, as an artist in residence at the Prattsville Art Center, Clover Archer worked closely with the Zadock Pratt Museum to learn more about the history of the area. During this time, she met with Prattsville citizens who generously shared their family histories, stories, photographs, and memorabilia. While meeting with local residents, the artist made notations on large family tree charts documenting their stories as the Prattsvillian contributors reminisced. The artist calls these small human histories “clews.” Our contemporary word “clue” is derived from the word “clew,” originally meaning a ball of yarn or thread. In one Greek myth a “clew” or ball of yarn is used to lead the way out of a labyrinth, which is how we have come to understand the word to mean something that leads to a solution or an answer. Thinking of the labyrinth as a metaphor for life, the artist considers these granular histories to be the moments that lead us through the maze of our existence – guiding the way and filling the time between the more memorable and more commonly documented occasions. Based on this information, the artist has created a series of graphite drawings illustrating a small sampling of the clews that are connected to Prattsville. These small details are both particular to Prattsville and yet not geographically specific. Looking at these illustrations of the ordinary (i.e., a broom, a sled, a car, a cow, etc.), we all have associations with them – we see them as familiar and share the humanity of the small particulars. All drawings are 8 x 10 inches, graphite on paper, made in 2019 and 2020.
The project is funded in part by the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and by public funds from the Greene County Legislature through the Cultural Fund administered in Greene County by CREATE/Greene County Council on the Arts, the O’Connor Foundation, New York University, and others.