Saturday, May 27, 2017
Catskill Interpretive Center
Saturday, May 27, 2017
Catskill Interpretive Center
WRITERS IN THE MOUNTAINS (WIM)
ARTIST – WRITER TALK SERIES
MUTUAL MUSES IN THE CATSKILLS
“THE ARTS CONVERGE”
THE MAURICE D. HINCHEY CATSKILL INTERPRETIVE CENTER
MT. TREMPER, NY
SATURDAY, MAY 27 AT 1 P.M.
Art Writer Simona David in Conversation with Painters Margaret Leveson and Lisbeth Firmin, Printmaker and Ceramicist Peter Yamaoka, and Textile Artist Tabitha Gilmore-Barnes
Art writer Simona David will discuss her latest book, How Art Is Made: In the Catskills (2017), and share the stage with several acclaimed artists who live and work in the Catskill Mountains: painters Margaret Leveson and Lisbeth Firmin, ceramicist and printmaker Peter Yamaoka and textile artist Tabitha Gilmore-Barnes. How Art Is Made: In the Catskills pays homage to the place where American art was born through a series of conversations with creatives who live and work in the Catskills. Recent works will also be exhibited.
Artists featured in this book include sculptor Brian Tolle, known for The Irish Hunger Memorial in Battery Park City (2002), and more recently for Miss Brooklyn and Miss Manhattan, two replicas of Daniel Chester French originals that sit on the façade of the Brooklyn Museum – Tolle’s replicas were installed on Flatbush Avenue by the Manhattan Bridge in December 2016.
SATURDAY, AUGUST 12 AT 1 P.M.
Poet Sharon Israel in Performance and Conversation with Composer Robert Cucinotta
Composer Robert Cucinotta and poet and soprano Sharon Israel will discuss their unique roles as each other’s muses. Cucinotta will play electronic works inspired by Israel’s poems, feature the poet’s voice, or both. Israel will read from her new chapbook Voice Lesson, including poems set to music by Cucinotta or inspired by his compositions.
Israel is the host of Planet Poet–Words in Space, an edition of The Writer’s Voice on WIOX 91.3 FM in Roxbury, NY. Her debut chapbook Voice Lesson was published by Post Traumatic Press earlier this year, and her work has appeared in Per Contra, SPANK the CARP, 5:2 Crime Poetry Weekly, Medical Literary Messenger, and Spry Literary Journal. In 2016, Israel appeared as a panelist at the Massachusetts Poetry Festival in Salem, MA.
Born in Brooklyn, Cucinotta studied composition and electronic music at the Conservatory of Music at Brooklyn College with Jacob Druckman, Robert Starer and Charles Dodge. His work MASQUE: the Tempest was premiered at the 2015 Phoenicia International Festival of the Voice by mezzo-soprano Maria Todaro, bass Bradley Smoak and pianist Doug Martin. Recent recordings include Divertimento For Mr. Brooks (2013), Koool Kitchen (2013), Dracula: Harker’s Journal (2014) and Life On The Screen (2016).
SATURDAY, SEPTEMBER 23 AT 1 P.M.
Nature Writer Leslie T. Sharpe in Conversation with Photographer Rudd Hubbell
Photographer Rudd Hubbell, who’s been documenting the natural beauty of the Catskills since the 1970s, will be in conversation with nature writer Leslie T. Sharpe.
A descendent of the area’s first settlers, Hubbell has captured thousands of photographs of our spectacular wilderness. He enjoys looking closer than the broad view, and always tries to focus on the things most of us overlook or take for granted. “Every scene is constantly changing and transforming, and I strive to capture that,” Hubbell says.
Sharpe is a writer, editor and educator. 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). Her new book, The Quarry Fox and Other Critters of the Wild Catskills (The Overlook Press, 2017), is a lyric narrative look at the wild animals of the Catskill Mountains. Sharpe will read from this work and discuss the genre of nature writing as it relates to the Catskills.
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.
The Maurice D. Hinchey Catskill Interpretive Center is a partnership between the Catskill Center and the New York State Department of Environmental Conservation, with generous financial support by the New York City Department of Environmental Protection and Catskill Watershed Corporation and generous staff and volunteer support from Catskill Mountainkeeper, Catskill Mountain Club, Catskill 3500 Club, and the New York-New Jersey Trail Conference. To learn more, visit catskillinterpretivecenter.org.
The Catskill Center has been promoting the Catskill Mountain Region through regional advocacy, environmental education, arts and culture programming, invasive species management, and land protection for over 45 years. The Center stimulates, conducts, and supports integrated actions to protect vital ecosystems and unique landscapes, to enhance economic opportunities for all the region’s residents, to preserve cultural and historic assets and to further a regional vision and spirit. For more information about the Catskill Center visit catskillcenter.org.
The University at Albany’s Art Museum celebrates its 50th anniversary this year. The Museum opened in October 1967 with an exhibition titled Painting and Sculpture from the Nelson A. Rockefeller Collection, which featured over fifty works by some of the most prominent artists of the 20th century: Picasso, Miro, Braque, Klee, de Kooning, and Calder, among others.
In 2015 the Museum hosted a retrospective show titled Bordering Utopia: Sculptures by Brian Tolle, dedicated to alumnus Brian Tolle, an internationally acclaimed sculptor known for The Irish Hunger Memorial in Battery Park City (2002), and more recently for Miss Brooklyn and Miss Manhattan, two replicas of Daniel Chester French originals that sit on the façade of the Brooklyn Museum – Tolle’s replicas were installed on Flatbush Avenue by the Manhattan Bridge in December last year. He is one of the artists featured in our book How Art Is Made: In the Catskills.
To learn more about the University at Albany’s Art Museum, visit www.albany.edu.
Situated on the east bank of the Hudson River in Hyde Park, Dutchess County, Vanderbilt Mansion is a classic example of the Gilded Age country estate in America. The Gilded Age spanned from 1870 to 1900, and was an era characterized by rapid economic growth and wealth accumulation.
Frederick William and Louise Vanderbilt bought the estate in 1895, and expanded and re-modeled the property in the Beaux-Arts architectural style. The interiors are lavishly decorated with European antiques and period reproductions. The estate also includes gardens, designed in the Italian style, and overlooks the Hudson River and the Catskill Mountains. Guided tours are offered every day, year round.
119 Vanderbilt Park Road, Hyde Park, NY 12538
For more information and current hours of operation, visit
How Art Is Made: In the Catskills is a collection of interviews with some of the world’s most accomplished artists who live and work in the Catskill Mountains, New York. Five painters and illustrators, two ceramicists and printmakers, one sculptor, one weaver, and one writer discuss what inspires and moves them, what draws them to their medium of choice, what materials they use, how they approach a new artistic project, how they deal with setbacks, and how they celebrate success. Nine are formally trained at prestigious art schools; one is self-taught. What they all have in common is a rigorous studio practice, discipline, and the desire and curiosity to learn new things, and share them with the world.
In December last year The New York Times reported that Miss Manhattan and Miss Brooklyn, two replicas of Daniel Chester French’s original sculptures re-created by Brian Tolle, were installed on Flatbush Avenue in Brooklyn by the Manhattan Bridge.
Read excerpts from my interview with Mr. Tolle, conducted in November 2015 when we discussed this project among others. Mr. Tolle is one of the artists featured in our upcoming book How Art Is Made: In the Catskills.
Brian Tolle has exhibited his work in galleries, museums, and public spaces around the world. His projects include Skid Rows for the Queens Museum (2005), Witch Catcher at City Hall, New York City (2003), The Irish Hunger Memorial in Battery Park City, New York (2002), Waylay for the Whitney Biennale and the Public Art Fund in Central Park (2002), Man’s Achievement on a Shrinking Globe in an Expanding Universe for Crossing the Line, Queens Museum of Art, New York (2001), and Eureka for Over the Edges in Ghent, Belgium (2000), as well as more recent projects such as Outflow in Calgary, Canada (2015), and Origin at the University of Houston in Texas (2015). Brian’s work emphasizes a formal and iconographic dialog with history and context to produce striking and subtle works that engage the public. Using a variety of media, his works draw themes from the scale and experience of their surroundings, provoking a re-reading by cross-wiring reality and fiction. Brian received his MFA from Yale University, BFA from Parsons School of Design, and his BA from SUNY at Albany. He is currently on the graduate faculty at Parsons School of Design, and is the recipient of the Art Commission of the City of New York Award for Excellence in Design in 2008; the Irish American Historical Society, Irish American Heritage Committee – Irishman of the Year in 2003, and the Louis Comfort Tiffany Foundation Award, also in 2003. He is represented by CRG Gallery in New York City. Brian has a studio in the Catskills, in the historic town of Roxbury, Delaware County.
Simona David: Let’s talk about the Manhattan Bridge project, which will be completed soon.
Brian Tolle: It’s eight years in the making. If any of you have been on the Brooklyn side of the Manhattan Bridge, until very recently it was a very chaotic spot. About ten years ago the City decided to create a green belt across Flatbush Avenue, and created more order there. I was the first to be commissioned to make what we hope to be a series of sculptures that will be introduced along the Avenue in future years. As part of my research, I wanted to understand why it was that on the Manhattan side of the very same bridge there is a more elegant entry, while on the Brooklyn side there was this no man’s land. As it turned out, it wasn’t always the case. There once was a very grand entrance, so grand in fact that included two sculptures, two allegories by Daniel Chester French, who some of you may know sculpted Lincoln for the Lincoln Memorial, among other noteworthy sculptures. Those two sculptures were removed, and brought to the Brooklyn Museum when Robert Moses, the great power broker, was planning the trans-Manhattan expressway, which would have destroyed what we know as the SoHo neighborhood. On the Manhattan side the historical preservationists were far more organized, and they prevented that from happening there, but on the Brooklyn side they weren’t so organized, and Moses went away, and destroyed this grand plaza. And then the project was halted, and we were left with this mess. In the 1960s Moses saw history and art as an obstruction to progress. And here in the 21st century I am being asked to enhance the neighborhood by bringing art there. It made perfect sense to me that we bring the two ladies back. The two sculptures that Chester French sculpted for the bridge are allegories: one represents Miss Brooklyn, and the other one represents Miss Manhattan. They currently sit on the façade of the Brooklyn Museum which cooperated greatly with us to make this project happen. So I’ve re-created the two sculptures, cast in a beautiful translucent, white acrylic. I’ve set them on top of a pedestal that is 26 feet high – the design is inspired by the footing of the Manhattan Bridge. In fact the base is being painted Manhattan Bridge blue, to make the connection back to the bridge. The two sculptures sit on top of this pedestal, very close together. Miss Manhattan and Miss Brooklyn will dance over Flatbush Avenue because the two figures actually rotate, and they can survey their surrounding area, and gaze into each other’s eyes periodically. And they’re lit at night. I have to say, this entire project is made by crafts people in New York City.
SD: Do you ordinarily work with many crafters to help you materialize your ideas? Is it you who decides what materials should be used, and how to be used? Do you have lots of engaging conversations with these crafters to see your work completed the way you envision it? I know you don’t start a new project with preconceived ideas, but how does it work?
BT: I know what I’m looking for when I see it, but I rely on people who are spending a lot of their time doing certain things, like this man Ovidiu at Colbar – he’s the most remarkable craftsperson, and he’s committed his life to making beautiful things. Once I saw the material, I opened up to learning more about the material, what its capabilities are, what the possibilities are. So, it’s part of this fortification process where the craftsperson is actually teaching me something. The biggest mistake an artist can make is to force people to make something they may know it’s not going to be optimal. My position has always been “speak to the people who know better, let them show you what they can do.” Every instance the project is better than if I had gone ahead with what I thought I had wanted.
SD: When we allow ourselves this kind of freedom, we discover things we couldn’t have imagined before.
BT: Precisely. We make changes until the very end, which is a little nerve-racking for the clients.
SD: You’ve created quite a few public art projects as well as museum and gallery pieces. How do you feel about showing in public spaces as opposed to galleries and museums?
BT: It’s very different. I teach a course at Parsons on public art. We go through the different art movements, let’s say from the 1960s onward when artists who have influenced me like Agnes Denes and Robert Smithson were making art in public spaces by choice. These are people who rejected the gallery system, because they understood that it was commercially driven and in some cases limiting. I came out of school after the economy had collapsed in the late 1980s and well into the 1990s, and graduating even from a place as prestigious as Yale in 1994 there wasn’t a whole lot of hope to get gallery representation. There wasn’t something that we expected. I guess the difference is that when you show in a museum or gallery you have a captive audience – you have people who frequent these places, you have a collector base who supports these places. There is no way of controlling, nor would you want to control the audience in a public space, so you never know who is going to come across a project, and how they might respond to it. In the case of The Irish Hunger Memorial, it’s been a privilege that so many important writers of our time have written about, Simon Schama wrote a piece for The New Yorker magazine, Roberta Smith did a wonderful piece for The New York Times, but Verlyn Klinkenborg, who is on the editorial board of the Times, wrote a beautiful piece, and the most resonant thing he said was that the power of The Irish Hunger Memorial is that it trusts the intelligence of its audience.
Read full interview at https://artinthecatskills.com/2015/11/30/featured-artist-brian-tolle/.
© Simona David