Launched in 2012, AMR Open Studios Tour has grown into a major art destination, forging new and unexpected connections between artists, and their patrons from near and far. Given its success in previous years, in 2017 AMR – Artists Making aRt ™ – Open Studios Tours is expanding to include some 41 artists on a map that spreads from Margaretville and Roxbury to Stamford and Delhi. The tours take place on two different weekends: Saturday and Sunday, July 8 – 9 in Stamford-Delhi art community, and Saturday and Sunday, July 29-30 in Margaretville-Roxbury art community.
This weekend, Saturday and Sunday, July 8–9, from 11 am to 5 pm 18 artists in Stamford, Hobart, South Kortright, and Delhi will open their studios to the public, and show their working spaces, as well as demonstrate some of their techniques. Located in a bucolic scenery, all these studios provide a unique experience for visitors to witness the creation of new works of art, and ask questions that only an intimate space like an artist studio would allow for.
Participating artists include ceramicist Solveig Comer, painters Susan Goetz, Robert Schneider, and Tracy Jacknow, stained glass artist Barry Jacknow, woodwork artist John Virga, as well as Tim Touhey, owner of The Gallery on Main Street in Stamford.
Ceramicist Solveig Comer took art as a minor in college while majoring in mathematics. Her first pieces were more cerebral, and experimental objects rather than functional, but that changed over time. Asked about how mathematics might have influenced her work as a ceramicist, Solveig explained that mathematics does help her think things through and solve visual problems, and also figure out proportions when mixing glaze, and making choices on new decorative pieces. But overall mathematics plays a role more on the business rather than the creative side of her profession. Although Solveig has made all sorts of ceramics throughout her career, in recent years she has chosen to gravitate towards mugs, hence utilitarian art, which sells well. Every year the artist introduces new patterns, and explores new color palettes that enrich her collection.
Solveig’s studio is located at 10986 County Route 18 in South Kortright. This weekend she will be showing side by side earlier, less functional pieces, some of which have never been seen before, and more recent pieces which illustrate the transition towards utilitarian art. It will be interesting to see the artist’s evolution over time, and how her style and interests as a ceramicist have changed. Also at Solveig’s studio visitors will be seeing works by multi-media artist John Virga; John works in woodwork and graphic design, and in his own words “provides classic form and functional goods for the 21st century.” To learn more about Solveig’s studio, visit https://www.mostpreciouspottery.com.
Painter Tracy Jacknow was born in Brooklyn, and raised in Long Island in an artistic family. Growing up in a community of artists, actors, and retired vaudeville performers, she took art at an early age: “It was a childhood of inspiration and creativity,” she remembers. “My early experiences gave me exposure to a world of creative minds and alternative lifestyles.” In college Tracy spent some time in Siena, Italy, and later in life she and her husband Barry Jacknow, who is a stained glass artist, lived in San Miguel de Allende, Mexico. Their time in Mexico left a strong mark on both their artistic careers. Tracy works in various media: watercolor, oil, acrylic, and collage. But in all of them nature is a constant presence – her travels around the world with her family, the colors of the Catskill Mountains, and her own moods have all influenced her work. Although Tracy is in essence an abstract painter, her brushstroke and the use of light are reminiscent of Impressionism. Her website is http://www.tracy-art.com/.
Painter June Lanigan, Tracy’s mother, founded MURAL Gallery in Stamford in the 1980s; the family has had a long connection with the area – June went to school in Stamford, and later on moved to Long Island. Primarily a landscape painter, June continues to produce works at the age of 91. This weekend she will be showing alongside her daughter Tracy.
Barry Jacknow, Tracy’s husband, has been working in stained glass since the 1960s. His inspiration comes from the Art Deco movement, and the works of architect and designer Frank Lloyd Wright. In fact, this year marks the 150th anniversary of Wright’s birth – events are scheduled throughout the year to honor Wright’s legacy. Barry learned the stained glass art technique in New York City, but refined his style while living in Mexico. He has come to master the technique, but sometimes struggles with his design choices; that’s when his wife Tracy gets involved and helps with the process. Barry will be demonstrating some of his techniques this weekend during the open studios tour. He sums up humorously “I don’t know much about art, but I know what I like,” as the saying goes.
Tracy and Barry’s studios are located at 138 Layden Lane in Stamford.
The AMR – Artists Making aRt ™ – Open Studios Tour 2017, sponsored by MURAL Gallery in Stamford and participating artists, is made possible, in part, with public funds from the New York State Council on the Arts (NYSCA) Decentralization Grant Program, with the support of Governor Andrew Cuomo and the New York State Legislature, administered in Delaware County by the Roxbury Arts Group (RAG), and additional funding from The A. Lindsay & Olive B. O’Connor Foundation.
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.
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.
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.
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.
The annual Phoenicia Art Tour, formerly known as the Shandaken Art Tour, takes place this weekend Sat and Sun, July 16 – 17. Close to thirty artists participate, opening their studios to the public and making demonstrations. Concurrent art exhibitions take place at the Arts Upstairs Gallery in Phoenicia and the Catskill Interpretive Center (CIC) in Mt. Tremper, among other places. Start your tour at CIC where you’ll find plenty of brochures, maps, books, and memorabilia, including copies of “Art in the Catskills”.
The Arts Upstairs Gallery is hosting an opening reception and concert tonight from 6 to 9 pm. For more information, visit http://shandakenart.com/.