#mapleseason #thecatskills #ILoveNY
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 email@example.com, 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 firstname.lastname@example.org. 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.
Visit the exhibition online at https://zadockprattmuseum.org/prattsville-clews-exhibition/
First published by The Overlook Press in 2017, The Quarry Fox earned rave reviews. From the New York Times: “A poignant and modern reminder of untamed creatures so close to home.”
From Library Journal: “This engaging portrait of the Catskill wilderness will appeal to nature enthusiasts of all stripes.”
Silver Hollow Audio will be releasing the audiobook edition of The Quarry Fox narrated by the author herself in June this year.
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, 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. Her poems for children have appeared in Ladybug Magazine. Leslie has taught writing and editing at Columbia University, New York University and the City College of New York.
Earlier this month the art world was shaken by news that a banana duct-taped to a wall sold for $150,000 at Art Basel Miami. Maurizio Cattelan’s installation called Comedian, that included, yes!, a real banana taped to a wall, has become some kind of a sensation with some calling it conceptual art and others calling it a prank (read the background story here). The fact that someone would pay $150,000 for a banana taped to a wall calls into question the value of art and complicates an appraisal’s work even further.
Cattelan’s created three editions of his installation, two of whom sold for $120,000 to collectors identified by Artsy as Billy and Beatrice Cox of Miami, and Sarah Andelman, founder of Colette concept store in Paris, and part-time Catskills resident. Andelman’s vacation home in the Catskills was subject to a feature in Architectural Digest in the summer of 2018.
But is it art? The perishability of a mere banana contrasts significantly with what artists have traditionally sought in art – immortality. And how about artistic skills? Is it really any artistry involved in taping a banana to a wall?
Brands have capitalized on this commotion by creating their own duct-taped “art,” anything from a sandwich to a bottle of water, and more. All there is needed is a random object and duct tape, plus of course access to a wall. Read full story in Ad Age magazine.
Artnet has covered the topic and made it easy for readers to access the coverage all in one place: “To document for posterity how this humble piece of produce became a global phenomenon, we have pulled together all of our coverage in one place.”
Defining art has always been both challenging and disputed. In the 18th century, philosopher Moses Mendelssohn, grandfather of composer Felix Mendelssohn, argued that art is the carrying forward of the beautiful, obscurely recognized by feeling, until it becomes true and good; the aim of art is moral perfection, he claimed.
In What is Art? published in 1896, Leo Tolstoy argued that art is the transmission of an emotion felt by the artist (joy, exaltation, anger, sadness, etc.) – not all beauty, but all infectious emotion that the common man can experience. Tolstoy’s argument was an attack on formalism and the doctrine of art for art’s sake, an attack on unintelligibility and exclusiveness. He did not believe in professional artists, who, he thought, perverted art; instead he argued that all men can and should make art, thus proclaiming the universality of art.
In the 20th century, Roy Lichtenstein defiantly declared that organized perception is what art is all about. For Wassily Kandinsky, making art was an internal necessity that impelled the artist to create as a spiritual impulse and the audience to admire art as a spiritual hunger. It was that simple.
Tolstoy didn’t think that taste was the final arbiter of what was good and bad art; he defined taste as the capacity of an individual to be aesthetically pleased by certain works and displeased by others. He conceded however that taste can be educated, and artistic activities can be made accessible to all.
We wish you an artful New Year!
The Hyde Collection Art Museum in Glens Falls, Warren County, includes a wide array of artworks and antiques – paintings, sculptures, pottery, books and furniture – spanning from the early Renaissance to modern and contemporary era. The collection was established by Charlotte Pruyn Hyde and her husband Louis Fiske Hyde, who acquired art from the Renaissance to the 19th century. Later on, the collection expanded to include 20th century modern and contemporary works.
Housed in the Hydes’ 1912 American Renaissance mansion, the collection includes works by Italian Renaissance masters Domenico Tintoretto, Raphael, and Sandro Botticelli; Spanish Renaissance painter, sculptor and architect El Greco; Baroque painters Peter Paul Rubens and Rembrandt van Rijn; French Neo-Classical painter Ingres; French Impressionists Edgar Degas and Pierre-Auguste Renoir; Post-Impressionist painters like Paul Cézanne and Vincent Van Gogh, as well as modern painters such as Henri Matisse and Pablo Picasso. American masters including Winslow Homer are also represented in the collection. In addition to its permanent holdings, the museum hosts temporary exhibitions and other educational programs.
Because of its growing collection, in the 1980s the Museum expanded with a large Education Wing, comprised of three galleries, an auditorium, an art studio as well a storage and visitor amenities area, complementing the adjacent historic Hyde House.
In 2015 we interviewed Erin Coe, then executive director at The Hyde Collection – Coe is currently director of the Palmer Museum of Art at Penn State. In 2013, while at The Hyde Collection, Coe organized the acclaimed O’Keeffe and Lake George exhibition in association with the Georgia O’Keeffe Museum in Santa Fe, New Mexico, which brought together 58 paintings from public and private collections, created between 1918 and 1934, when O’Keeffe summered at Lake George in the company of Alfred Stieglitz and his family. In fact, Coe co-authored the book Modern Nature: Georgia O’Keeffe and Lake George, which presented groundbreaking scholarship that shed new light on O’Keeffe’s work.
Painters affiliated with the Hudson River School of Painting, founded by Thomas Cole in 1825 and considered the first authentic American art movement, had painted at Lake George, including Thomas Cole, Asher B. Durand, John F. Kensett, Sanford Gifford, and others. The Hyde Collection’s most significant Hudson River School painting in its permanent collection is a painting by Albert Bierstadt, who did not paint at Lake George, however. His Yosemite Valley oil on canvas, painted in 1865, is on display at The Hyde Collection in the Downstairs Guest Room. Because of his interest in the West, Bierstadt is often grouped with the Rocky Mountain School as well. In the 1850s, he studied in Düsseldorf, under the influence of the prestigious Düsseldorf Academy, characterized by detailed, plein air paintings in muted colors. Düsseldorf School exercised influence over the Hudson River School.
In the summer of 2015, The Hyde Collection hosted the exhibition The Late Drawings of Andy Warhol: 1973 – 1987, organized in partnership with The Andy Warhol Museum in Pittsburg. Drawing was critical to Warhol’s development as an artist from his early years as an art student to the last few days of his life in 1987. The show included fifty large drawings from the artist’s late period. It was a prolific time in Warhol’s life, when the artist used as inspiration celebrities, flowers, and ads, as seen in his most iconic works. Some of these drawings were shown for the first time at The Hyde Collection. The show drew visitors from all over the world and across the United States.
Currently on view is a modern art exhibition dedicated to Pablo Picasso, Georges Braque and Fernand Léger, which explores exclusively the three artists’ work as printmakers. Organized by Contemporary and Modern Print Exhibitions, the show includes Picasso’s print series Suite des Saltimbanques (1904-1905) and Le Cocu Magnifique (1968), Braque’s L’Ordre des Oiseaux (1962), and Léger’s Les Illuminations (1950). The exhibition will remain on view through January 5, 2020.
The museum is open Tuesday through Saturday from 10 a.m. to 5 p.m., and Sunday from 12 noon to 5 p.m.
For more information about The Hyde Collection, and current hours of operation, visit http://www.hydecollection.org/.
161 Warren Street, Glens Falls, NY 12801