THE MAURICE D. HINCHEYCATSKILL 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.
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.
Amy Masters has been an artist all her life. Formally trained as a painter and printmaker, she pursued a degree in Interior Design at the Parsons School of Design, and worked as a draftsman for an engineering firm in New York City, before dedicating herself exclusively to painting and drawing. For over two decades, she taught in the New York City’s public school system, and spent her summers painting and drawing the world around. Moving to the Catskills in 2006, she was suddenly given far more space and limitless opportunities for inspiration. Amy likes to think about her work as being inspired by the natural world and the actual objects and vistas around her studios. But she likes to re-arrange and re-envision the landscape in the abstract. What is important to an abstract painter, says Amy, is the relationship between colors, lines and shapes, and the complexities of pattern and texture that emerge at the end of the process.
I spoke with Amy in her studio in Arkville, New York, earlier this summer.
Simona David: Amy, let’s talk a bit about your training.
Amy Masters: As an undergraduate student, I was a studio art major at Ohio State University in Athens, Ohio. I mostly studied painting and drawing. Then I wanted to come back to New York, and went to Sarah and Lawrence College in Westchester. I studied for about three years under Ansei Uchima, a phenomenal printmaker. And then I started my life, just working different jobs. I ended up working with my dad, who was an engineer. I worked as a draftsman, drawing plans – that was before computers. And then I went back to school and studied interior design. For a while I worked in an architecture firm, doing architectural design – I thought that was kind of a creative job. That’s where I met my husband, Ted Sheridan, who is an architect. All the while I was still painting; I had a couple of shows in the City. Fast forward, I went into teaching, and continued to paint, mostly throughout the summer, when I had time off from school. When I moved to the Catskills, ten years ago, I got all this space to work, and that’s when I feel like I got really serious about it.
SD: Do you think that moving to the country has helped your career as an artist?
AM: Absolutely. The environment informs my work. My work has always been about the place where I am.
SD: I’m reading a book What is Art? by Leo Tolstoy. Ultimately Tolstoy defines art as the transmission of an emotion felt by the artist, and calls it an infectious phenomenon. What moves you, as an artist?
AM: That changes. As an artist of course you’d like to think that your work has improved over time. You get better, just because you’re doing it: the muscles get stronger, you get more confident, the dexterity improves, everything. But going back to just what moves you, I think that has changed dramatically for me. The things that I’m drawn to now I wasn’t drawn to before. And I see things in other artworks that teach me something new or move me in some way I didn’t think possible.
SD: Where do you start a new project?
AM: That’s a really good question, because I do feel like I get onto something and I can’t stop. Sometimes it would be just the strangest thing. For instance, the feather print series – I don’t know where I first got the idea of this feather. There is something about the object itself, it’s very fluid. And I was thinking how unique, how individual each feather is, and that resonated with the process. Each time you make a print, it’s completely different.
SD: Let’s take a closer look at this series.
AM: There are different versions. Some are just monotypes, one-time prints, made with a soy based ink that I was experimenting with. I took a printmaking class in the City – an etching class, and had access to all sorts of equipment there, and began to explore what I could do with an etching. I made hard ground etchings where you just draw on a plate, and then etch it in a bath. I’ve also made actual impressions of feathers: you lay the feather onto the copper plate, it picks up the image, and then you remove the object, and etch it, and that’s what you get. It’s an amazing process.
SD: What kind of paper do you use?
AM: Some are done on rice paper, others on printing paper. A lot of the etching is done on printing paper.
SD: I see other types of prints in your collection.
AM: I was doing etchings, and just couldn’t stop. And from there I thought, oh, I could do other botanicals. And the leafy quality of the feathers made me think of roots. So I started doing a root series. From there I don’t know how I got into these.
SD: Bird nests?
AM: Yes. Keeping with the botanic idea, I started to do the nests. And inspired by the nests, I started doing a new kind of monotype: wiped monotypes. I would start with a plate full of ink; and then it’s more of a reductive process. I like these two images together. One reminded me of the sky at night – the galaxy; and the other one is a nest.
SD: What an unexpected association! Especially if you see them from a distance.
AM: Yes, I like that. From doing these, I got into this wiping process. I use a reverse surface roll. With an etching you push the ink into the etch line. With the surface roll, it’s reverse: it’s like a relief process, when you’re just keeping the ink on the surface, and you don’t want it to go into the etch line. It’s tricky. But you get a different kind of image. It’s interesting to try it a couple of different ways. For the past year or so I’ve only been doing prints – learning the medium, and the limitations of it. With printmaking there really aren’t any limits: you can do tremendous things.
SD: Let’s talk about your paintings. You’ve been a painter your entire life. Abstract painter. I know that your approach has changed over time, especially after moving to the country. How about your color palette?
AM: My palette changes a lot. I get into a color palette, and I work on it until I feel like I exhausted all the possibilities. Late last summer I did a series of white paintings. I don’t know how I got into this subtle palette, but I just wanted things to be very peaceful. I was looking for a way to convey that. I like to use a little bit of red, because it makes everything else look so much calmer. Generally, I like a limited palette. One reason I’m attracted to prints is their limited palette. Then you have to think about other things like the image, and the composition.
SD: What do these paintings represent?
AM: These are trees. It’s the landscape.
SD: I’m just wondering how you name your paintings. As an abstract painter, if you name your paintings in a fashion that doesn’t really give people any hint of what they’re looking at, I imagine it makes the whole experience more intriguing.
AM: The naming of work is a really curious thing to me. Sometimes it’s very obvious, other times more mysterious. For instance, some of the feather work I’ve done began to look very fossil-like to me. I began to name them “Fossil I,” Fossil II,” etc. They kind of look like something that was left in a stone.
SD: Let’s talk a bit about the artistic process.
AM: It’s always an idea that I start with. For instance, there is this orchard on the Thruway. In the winter all the trees look like big hands, and fingers. I wanted to pursue that idea for a while: the idea of these finger-like trees. I got distracted by printmaking, and were put aside for now.
SD: How do you know when a painting is done?
AM: It’s such an elusive thing. I guess when there is nothing more you can bring to it. You don’t want to overwork it.
SD: Talk about your transition to country life.
AM: I really struggled in the City. We have a very small apartment, so it’s very hard to set up things. I had periods when I had a lot of materials in the studio, and painted a lot. Printing, on the other hand, is very portable, I would just bring it back and forth with me. I could print all winter in the City.
SD: How has your daily routine changed after moving to the country?
AM: In the past few years it’s become really important to spend a few hours daily in the studio. Even if I’m not producing a new piece of work, it’s really important that I commit to spending time in the studio. I could be cleaning, or doing research, or just doing anything to be in this space. I like a book called Rituals – it’s about artists’ daily routines. It maps out what everybody does. For instance, some writers would take walks and think. I like to get up early, and garden for a bit, and then come in the studio and work six – seven hours. I try to get a swim in there, if I can.
SD: Who are your influences?
AM: I love Turner. Bonnard was an early influence of mine, for his colors. I like Morandi, an Italian painter of the early 20th century. Morandi is a painter who uses a very limited palette. I adore his still life bottles. You can really feel the artist’s presence in all his work.
SD: Looking back at all the work you’ve done as a painter and printmaker, is there any piece in particular that you can call your favorite work?
AM: It’s a painting called “Rocks in the Pool.” It was painted on an island in Maine. I think it’s my favorite, because it’s me – I think this painting really is me as a painter. The colors reflect what I was seeing. It’s a magical place that I like to remember. I struggled a bit, because I’m not a realist painter. But I just wanted to paint what I was seeing.
This weekend, Saturday and Sunday, July 30 – 31, from 11 am to 5 pm over twenty artists in Roxbury, Halcottsville, Margaretville, Fleischmanns, Halcott Center, Arkville, and Andes will open their studios to the public, and show their working spaces.
A good place to start the tour is the Wawaka (Halcottsville) Grange, which is true to its original function as a Grange and General Store. Refreshments, bathrooms, and handicap access are available at this location. Several artists will be showing at the Grange, including painters Sophia Maduri and Oneida Hammond.
Alix Travis, one of the founding members of the tour, will once again open her studio located at 103 Bragg Hollow Road in Halcottsville. An established plein air painter, Alix has received several awards and recognitions, including signature status in the Pennsylvania Watercolor Society and the NY Plein Air Painters. In 2014 she published The Catskill Coloring Book, which includes twenty-six of her plein air watercolor paintings. This weekend, during the open studios tour, Alix will paint en plein air, and will demonstrate some of her techniques.
Urban realist painter Lisbeth Firmin will be showing her oil paintings and monotype prints at her studio located in the Commons Building in Margaretville. Lisbeth is known for works such as Fifth Avenue (1995), and Woman on a Train (2014). Just recently she opened a new show at Rice – Polak Gallery in Provincetown, MA where she has been exhibiting for many years. Lisbeth asserts that her work is really not about the colors, but about the light and shadow in the composition.
Multi-media artist Alan Powell and painter Lesley Powell will be showing their work at 993 Main Street in Fleischmanns, and painter Anthony Margiotta will open his studio located at 355 Route 3 in Halcott Center. Margiotta, who does not have formal training as an artist, draws inspiration from his surroundings, whether be the woods of the Catskill Mountains or the urban scenes of New York City.
In Arkville, painter and printmaker Amy Masters, and architect and printmaker Ted Sheridan will be opening their studios located at 222 Chris Long Road. Over the past year or so Amy has been working on a series of monotype prints inspired by feathers. The fragility and the uniqueness of this object has captivated her, and she has decided to set and explore various shapes and tones that come with the printmaking process. Her husband Ted Sheridan will be showing a series of metallic prints capturing the oxidation process, and in so doing, retaining the most spectacular shapes and forms on paper.
Poet and furniture designer Gary Mead will be showing his gallery at 1289 South Side Road in Margaretville, and sculptor Ken Hiratsuka will be opening his barn at 34325 State Hwy 28 in Andes.
Heading back over to Roxbury, you’ll have the opportunity to stop by weaver Tabitha Gilmore-Barnes, whose studio is located at 424 Carr George Road in Denver. Tabitha has in her studio a professional loom, and happily demonstrates how to work the weft and create the density that is desired for a new piece. Weaving is one of the oldest forms of a blend of art and function,” she explains. “And it’s gratifying that it isn’t forgotten.”
In Roxbury painters Ellen Wong and Helene Manzo, photographer Frank Manzo, ceramicists and printmakers Peter Yamaoka and Gerda Van Leeuwen, and sculptor John Sanders will all show new works produced over the past year. Studio visits trigger questions that aren’t often asked in formal settings such as galleries and museums, and provide access to an intimate space that the artist doesn’t often share with others.
For maps and more information, visit http://www.amropenstudios.org. As you drive around this weekend, look for the “OPEN STUDIO” signs and brochures with maps available for pick up at various business sponsors and community supporters.
The AMR Open Studio Tour 2016 is funded by public funds from the New York State Council on the Arts Decentralization Grant Program, with the support of Governor Andrew Cuomo and the NYS Legislature, and is administered in Delaware County by The Roxbury Arts Group, and with fiscal support from The MARK Project and participating artists.
Saturday and Sunday, July 30 – 31, over twenty artists in Andes, Margaretville and Roxbury area (AMR, for short) will open their studios to the public, and show their working spaces. During the tour, artists working in all media will talk about their styles and techniques, and the process of making art. Launched in 2012, AMR has been a great success, attracting a large number of visitors summer after summer. Similar tours take place all over the country, as open studios have become quite popular in recent years.
This year AMR features artists such as: painter and printmaker Amy Masters; architect, printmaker and photographer Ted Sheridan; urban landscape painter Lisbeth Firmin; ceramicists and printmakers Peter Yamaoka and Gerda Van Leeuwen; landscape painter Ellen Wong; weaver Tabitha Gilmore-Barnes; and poet and furniture designer Gary Mead, among others.
Amy Masters has been an artist all her life. Formally trained as painter and printmaker, she pursued a degree in Interior Design at the Parsons School of Design, and worked as a draftsman for an engineering firm in New York City, before dedicating herself exclusively to painting and drawing. For over two decades, she taught in the New York City’s public school system, and spent her summers painting and drawing the world around. Moving to the Catskills in 2006, she was suddenly given far more space and limitless opportunities for inspiration. Amy likes to think about her work as being inspired by the natural world and the actual objects and vistas around her studio. But she likes to re-arrange and re-envision the landscape in the abstract. What is important to an abstract painter, says Amy, is the relationship between colors, lines and shapes, and the complexities of pattern and texture that emerge at the end of the process.
Her color palette changes periodically. Last summer, for instance, she was working extensively in blue, green, and red. This summer she enjoys exploring the possibilities of various shades of white, beige, and grey. But she always likes to add an unexpected dot of red somewhere on the canvas to surprise and intrigue the viewer.
A couple of years ago Amy re-discovered her passion for prints, and after taking an etching class in the City and working in a printmaking studio, she began producing prints using a variety of techniques. She currently works on a series of prints inspired by feathers. “When I was doing these prints, I was thinking how unique and individual these feathers were, and that resonated with the process too. Because each time you make one of these monotypes, they’re completely different.”
Amy will be showing her prints during the open studios tour later this month, and will be talking about various printmaking techniques. Her studio is located at 222 Chris Long Road in Arkville.
Ted Sheridan is an architect, printmaker, and photographer. He has taught courses on architectural acoustics and the acoustics of musical instruments at the Parsons School of Design, and has lectured at the University of Virginia, Ryerson University, and the University of Toronto.
Six years ago, Ted began experimenting with metallic compounds, corrosion, and magnetic fields to create original patterns of rust on paper. For his very first project he used old, rusty car parts, and after leaving them out in the rain on a piece of paper, he discovered an immense array of shapes and shades that he did not expect. Coming from the world of architecture where everything is controlled and precise, Ted sat to explore the randomness of the oxidation process, and began working on more and more elaborate projects.
About a dozen prints are hanging in his studio at this time. Each one of them was produced by a different method and stylistic approach; some are concentric circles reminiscent of nebulas in space, others are rectangular stripes imposing in their own right. All these will be shown during the open studios tour on Saturday and Sunday, July 30 – 31.
Ted’s studio is located at 222 Chris Long Road in Arkville.
Lisbeth Firmin is a contemporary American realist known for her urban landscapes. For over four decades her work has been in hundreds of solo and group shows across the country and internationally. She was cover artist for the 2008 spring issue of Epoch, Cornell University’s literary magazine, and was the featured artist in the 2008 summer issue of the Gettysburg Review. Awards include a 2007 New York Foundation for the Arts Fellowship for printmaking (Lily Auchincloss Fellow) and a Merit Award at the 2007 Roberson Regional Art Exhibition, Binghamton, NY, juried by Philip Pearlstein. Lisbeth was awarded a Community Arts Funding Grant, New York State Council on the Arts in 2007. Other awards include a Pollock-Krasner Foundation Grant, the New York Print Club Emerging Artist Award, the CCVA Award at the Chautauqua Center for the Visual Arts, first prize in the LANA International Arts Competition; along with full fellowships to the MacDowell Colony, National Seashore Residency, the Vermont Studio Center and Saltonstall Arts Colony.
Asked about her artistic process, Lisbeth responded: “I can’t explain that. It’s a visceral thing. I could be walking around, and doing grocery shopping or some other mundane stuff like that. And I see something, and I say I want to paint that. I don’t even verbalize it. It’s more like I could paint that, I want to paint that. Now I always have my little iPhone with me. And what’s happening these days is that I see something about the light on a figure, and this is what interests me. And it just comes naturally to me: I know exactly where to put the paint, and how to capture the light. I’m moving away from buildings and streetscapes.” Lisbeth says that her work is not about the colors, but about the light and shadow in the composition, apparent in works such as Fifth Avenue (1995), and Woman on a Train (2014).
Artists Peter Yamaoka and Gerda Van Leeuwen met in a Boston airport in the early 1980s as they were both traveling to and from Provincetown. They married three years later. Peter studied at the prestigious Rhode Island School of Design, while Gerda received a degree in art from the University of Utrecht in her native Netherlands. In college both Peter and Gerda studied painting. Later in their artistic careers, they specialized in printmaking: Peter chose lithographs, while Gerda directed her attention to etchings. Since moving to the Catskills in the early 1990s both artists switched to ceramics: Peter prefers voluminous mythology-inspired vases, while Gerda makes small porcelains inspired by animal life. In Tribeca Peter and Gerda operated a printmaking shop. In the Catskills, they opened a fully equipped ceramics studio, where they both work and teach classes. Both artists have exhibited extensively in New York City and throughout the Catskills.
Peter’s vases are inspired by ancient Chinese motifs, Greek mythology, Mexican folklore, and the Catskills scenery. All his vases are both functional and decorative at the same time: “they’re sculptures,” Peter tells me. They withhold on top whimsical cities or mythological figures, an invitation to imagining and exploring. He also makes dioramas, fully employing the narrative feature of this form of art. All his vases and bowls are hand-made out of clay, then fired on an electrical kiln, and glazed in expressive, telling ways.
Gerda makes small porcelains inspired by animal life – primarily dogs and coyotes that we ordinarily see in the Catskills. Her anthropomorphic approach often leads to scenes of dancing dogs in a very human-like posture – portrayals that remind me of Matisse’s Dance. Victorian era practice of combining human heads and animal bodies or vice versa to awing effect in art also pops into my head. Gerda makes monotype prints on rice paper and canvas, similarly inspired by highly anthropomorphic pursuits. A large printing press occupies the central space of one of the studios.
On occasion Gerda makes woodblock prints. She currently works on a large scale wall piece using water based ink on paper and wood panel. A metal template is used to create a specific pattern that recurs throughout the composition. This particular work is done primarily in blue and gold hues. It will soon hang in a New York City apartment.
Both Peter and Gerda are proud of their garden: the artists craft copious outdoor pieces that blend organically with the landscape. The tree of life reappears sporadically throughout the garden. Peter and Gerda have participated in the AMR Open Studios Tour ever since the tour first launched in 2012. Every summer they open both their studios and the garden, and demonstrate ceramics and printmaking techniques. Peter and Gerda’s studios are located at 777 Carroll Hinkley Road in Roxbury.
The recipient of many grants and fellowships, including the New York State Council on the Arts Decentralization Grant Program, as well as a National Endowment for the Arts Fellowship, Ellen Wong is an accomplished painter and educator whose works have been exhibited both in New York City and the Catskills, going back to the 1970s. Ellen studied in the Art Department at Brooklyn College with Philip Pearlstein, known for reviving realist figurative painting in the 1960s. Pearlstein’s departure from Abstract Expressionism back then made him a renegade in the art world. It’s that kind of artistic sensibility and daring attitude that Ellen learned from Pearlstein.
Ellen herself was initially trained as an abstract painter, but in time she discovered that what she really wanted to do in life was landscape painting: “I noticed that every time I went somewhere I always brought with me my watercolors, and I always sketched where I was; somehow that’s how I got to understand, absorb or take in a new environment – I felt very sensitive to place,” she says. “And it was a good way for me to get to know a place. And I discovered that I had this desire to work outside, to work from life, and to work in watercolors, and that became in a way my primary medium,” she added.
Ellen’s studio is located at 121 Shephard Lane in Roxbury.
Tabitha Gilmore-Barnes is a professional weaver residing in Delaware County. She studied at the Fashion Institute of Technology (FIT), and the Center for Tapestry Arts in New York City. She designs both functional and aesthetic products using traditional American patterns. Her work can be seen in museums and gallery exhibits, and at various arts and crafts fairs throughout the region.
“Weaving is one of the oldest forms of a blend of art and function. The techniques of twisting fibers to make them stronger and durable started out probably in the earliest times of mankind history. From those twisted fibers men and women learned to do basketry, learned to create fabric, and also to use it for decoration. For instance, in a lot of the Native American pottery from the South-Western U.S. and Central and South America you will see that twisted fibers have been pressed up against the clay to create a pattern on that clay. It’s been made as an impression on the clay to make it look as it was woven. In reality, it is a three-dimensional structure that was never plated or twisted in itself,” explains Tabitha.
Tabitha says she loves the fact that weaving isn’t a forgotten art. She particularly enjoys the mathematical structure of setting up the loom, and is excited about what it takes to create fabric. Her favorite part is mixing the colors, and the texture of the yarns together. “To me that’s magical – how I get a piece of fabric: something out of nothing.”
Poet and furniture designer Gary Mead grew up on a farm in New Kingston, and fell in love with wood as a teenager, when he began working in a sawmill. In 1979 he opened his own company Fruitful Furnishings, and for many years designed and built custom furniture for clients all over the country. “The woodworking passion would not leave me alone, so as I was running the mill and raising my three sons, I was working on my home in Arkville composing pantries, kitchen cabinets, furniture, floors, walls and ceilings from wood, practically turning my home into a museum of woods,” he says.
Gary’s artistic eye and his understanding of the wood led him in recent years to creating compositions from curved and more unusual wood. In 2011 he opened his art gallery, dedicated exclusively to wood. While some pieces are both functional and aesthetic, others are purely decorative. The floor in his gallery is representative of all the trees growing in the Catskill Mountains from walnut, beechnut, butternut, maple, cherry, and birch trees to various kinds of pine. All these have been used to designing durable tables, cabinets, and pantries. Gary proudly proclaims that all the compositions in his gallery are actually from woods within a fifty-mile radius from his galley. “I am excited to teach people about the wealth of wood we have right here in our back yard,” he says. He will be showing his gallery during the open studios tour on Saturday and Sunday, July 30 – 31. His studio is located at 1289 South Side Road in Margaretville.
The AMR Open Studios Tour takes place Saturday and Sunday, July 30 – 31, from 11 am to 5 pm both days. For maps and more information, visit http://www.amropenstudios.org/.
The AMR Open Studio Tour 2016 is funded by public funds from the New York State Council on the Arts Decentralization Grant Program, with the support of Governor Andrew Cuomo and the NYS Legislature, and is administered in Delaware County by The Roxbury Arts Group, and with fiscal support from The MARK Project and participating artists.
Fenimore Art Museum is located in a monumental Neo-Georgian (also known as Neo-Colonial) mansion built in the 1930s on the shores of the Otsego Lake in Cooperstown. It was built on the site of James Fenimore Cooper’s 19th century farmhouse. The town itself was founded by Cooper’s father, Judge William Cooper. Cooper is best known for the Leatherstocking series, which includes novels such as The Pioneers (1823) and The Last of the Mohicans (1826).
Fenimore Art Museum, operated by the New York State Historical Association, hosts permanent American fine and folk art collections, and includes works by Gilbert Stuart, Thomas Cole, Asher B. Durand, and other American artists. The building and some of its most important collections were donated by Stephen C. Clark, a collector and benefactor, who also founded the Baseball Hall of Fame.
On May 23 this year I spoke with curator Christine Rossi, and talked about two temporary exhibitions on view at Fenimore Art Museum this summer: The Perfection of Harmony: The Art of James Abbott McNeill Whistler (on view through October 2) and Henri de Toulouse-Lautrec in Bohemian Paris (on view through September 5). Henri de Toulouse-Lautrec in Bohemian Paris is from the collection of Herakleidon Museum in Athens, Greece, and includes an array of sketches, drawings, books, albums, and original posters made by Toulouse-Lautrec in the late 1800s. The exhibition also includes costumes from The Metropolitan Opera in New York City, used in various productions of La Bohème, a story representative of La Belle Époque
Click link below to listen to my conversation with Christine Rossi: