Hudson River Museum & Gallery Guide Spring 2014

Museum & Gallery Guide Hudson River

www.hrmgg.com

Art in the Hudson Valley, Bershires and Connecticut Spring 2014

US $2.50

June 14 – September 14, 2014 An illuminating look at a key figure in contemporary art

161 Warren Street | Glens Falls, NY, 12801 | 518-792-1761 | hydecollection.org

Larry Kagan, American (b. 1946), Running Man, 2012, steel and shadow, 34 x 18 x 11 in., Private Collection, New York. Photo by Gary Gold, Gold Studios, Albany

Museum & Gallery Guide Hudson River

articles LETTER FROM THE EDITOR Doug Alderfer

2 – 11

ALONG HIS OWN LINES A retrospective of realist painter Eugene Speicher Lynn Woods

12 – 15

DU BOIS IN OUR TIME Cynthia Poten

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book reviews ENVISIONING EMANCIPATION Black Americans & the End of Slavery Deborah Willis and Barbara Krauthamer, reviewed by Lynn Woods

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BIRD MEDICINE The Sacred Power of Bird Shamanism Evan T. Pritchard, reviewed by Lynn Woods

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MUSEUM & GALLERY LISTINGS HUDSON VALLEY MAP

22 – 24

HUDSON RIVER VALLEY LISTINGS

26 – 36

Berkshires/Massachusetts Listings

36 – 37

Connecticut Listings Berkshires/Connecticut map

Editor & Publisher.............. Douglas Alderfer Design & Production.......... Katie Jellinghaus Advertising Sales..................... 845.679.6484 Spring 2014 • Volume 11 Hudson River Museum & Gallery Guide P.O. Box 88, Willow, NY 12495 845.679.6484 hrmgg.com Info@hrmgg.com ISSN 1556-0201 Cover art: Peony Still Life, Eugene Speicher.

Oil on canvas. Courtesty of the Samuel Dorskey Museum Published by Hudson River Museum & Gallery Guide P.O. Box 88, Willow NY 12495. Hudson River Museum & Gallery Guide name and logo are trademarks owned by Hudson River Museum & Gal­ lery Guide and violations of these rights will be prosecuted to the full extent of the law. © Hudson River Museum & Gallery Guide.

All rights reserved, May 2013.

37 38 – 39

House On Westkerley

Oil on Panel

24” X 36”

Joel Griffith

From The Editor

By Douglas Alderfer

After the long, cold, snowy, “old-fashioned” winter of 2013, the age-old pleasure of bathing in warm vernal sunlight is especially welcome, only enhanced by the activities of arriving birds, and debuts of the first flowers.

Hudson River Museum and Gallery Guide appeared in the spring of 2005, its invention inspired by the uniquely varied scenic quality of our landscape, and an awareness that the predominant history and contemporary vitality of the region’s preeminent visual arts continuum warranted a showcase worthy of its stature.

As a guide, it has been our mission to lead an engaged audience on the art trail, providing comprehensive maps that highlight the path to interconnected local destinations, and present a cohesive identity of the region’s arts for the proliferation of pilgrims who visit our profusion of venues.

With this issue we will be expanding our promulgation’s from a global bully pulpit on-line. We 2 • Hudson River Museum & Gallery Guide

greatly appreciate your support of H.R.M.G.G. and look forward to your digital input.

During the years I have been publishing the guide we have all witnessed exponential changes in print media, the weather, economy, communications, and the compacting of time. In their symbiotic role as cultural antennae, the art, and farming communities, have been most dramatically impacted, clearly reflecting shifting circumstances.

It is the creative spirit, and practical nature of this commune, which has galvanized the vision to transform abandoned inner cities, cultivate fallow rural towns and is drawing entrepreneurs to the creative economy.

In this moment of ever increasing speed and virtual distraction, all the world is still a stage. During his time on earth Pete Seeger sustained a remarkably long performance, which resonated until the final scene.

In 2012, when he visited the occupation of Wall

Street, assisted by canes, hardly able to croak his songs of equality, the millennial’s sang them for him.

Pete dropped out, and tuned in long before receiving a musical degree, or the arrival of Timothy Leary at Harvard, to instigate a rainbow coalition for the revival of old songs and Clearwater, locally, and globally.

underwritten by Duchamp’s French conception and commodified by Andy Warhol’s appropriation of the mechanized mediums of Polaroid, silkscreen, and super eight, defusing the continuum in a cacophony of information, technology, and previously marginalized forms of expression which displaced abstraction.

Like so many aspects of culture in the United States, the banjo is of African descent. The skin of our Hudson River homie’s five string bears an inscription transcribing a message he would broadcast until the last act: “this machine surrounds hate and forces it to surrender.”

The events in the political arena we recalled last year, demand more sober reflection. The celebration of the sesquicentennial of the emancipation proclamation still carries its stigma. The March on Washington in the spring of 1963 voiced a demand for the civil rights that had not been forthcoming in the century Much of the infrasince the issuance of structure in the early freedom. The subsequent days of the land of the assassination of JFK free was built by slaves, ruptured the Republic, who, in some states, thwarting the nation’s progressive hopes outnumbered their 1954 Ralph Wickiser for social justice, and masters, and proved Compassion Theme: Yellow 90”x73” functional bipartisanism. to be the dilemma in the Jeffersonian vision of an agrarian society. Slavery Until the resolution of this attack transparency will keep on houndin’ “the single bullet theory.” is framed as the cause of our Civil War that so quickly followed independence, but was rather the linchpin of an economic conflict between the Coincidentally, 1963 also marked the death of W. E. B. Du Bois in Ghana where he had moved at urbanizing northern states and the rural South. ninetyish, finally taking Lincoln’s suggestion that 2013 brought us, as engaged citizens, the oppor- freed slaves self-deport to Africa, and proving his tunity to acknowledge a number of profound early point that he was “at Harvard not of Harvard.” anniversaries in the nation’s story that emphasize the theaters of art and politics. Manhattan’s art The founder of the National Association for the world reviewed the 1913 Armory show, at which Advancement of Colored People was born on the the introduction of European modernism sparked banks of the Housatonic River in Great Barrington, an uptown sensation, fueled by Marcel Duchamp’s Massachusetts three years after the conspiratorial assassination of Abraham Lincoln. He proved an referential ready-made’s, heralding the suppressed eloquent observer of the arrival of the modern avant-garde’s storming of its figurative Academy, age and voiced early concerns for its threat to the deployment to New York, and reconfiguration as environment and lack of social equality. As an artist the next status quo, abstract expressionism.

Du Bois sought the tradition of truth and beauty expressed through African American experience.

We boomers revisited our own revolution that premiered with pop art’s bang in Soho 50 years The great migration of freed slaves from the rural south to northern cities propelled the search for ago, announced by a soup can. The ruckus was Hudson River Museum & Gallery Guide • 3

that unique cultural voice, epitomized by the Harlem Renaissance of which Du Bois was such an integral part.

His production of “The Star of Ethiopia” in 1913, alluded to what he characterized as a “veil” between the races. The timing of Du Bois’s almost one hundred years paralleled the transition from the romance of America’s first recognized school of painting through the internalized experimentation of modernism culminating in the ambiguous purview of contemporary art in America.

“Du Bois in Our Time,” a recent exhibition at UMass Amherst, marked the 50th anniversary of the death of a native son. Cynthia Poten considers his legacy and the diverse personal responses of the participating artists.

Du Bois may have been familiar with the work of Robert S. Duncanson (1821-1868) whose ancestors also earned freedom early in the century through military service.

Duncanson along Tug Hollow, Lithograph. 12” x 14.25” 1919 with contemporaries William L. Sontag and Worthington Whittredge was painting the Ohio River Valley in 1847 when Thomas Cole’s “Voyage of Life” caused a sensation at the Western Art Union in Cincinnati.

As a Negro painter in a world of white patrons, Duncanson addressed the issues of slavery in a subtle fashion, but Cincinnati had one of the largest free Negro populations in the country and he was deeply involved in the abolitionist movement. In 1855 he collaborated with his friend J. P. Ball , an African-American daugerran, to create an antislavery panorama. “Ball’s splendid mammoth pictorial tour of the United States” did just that, but was distinguished as having been “painted by Negroes.”

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Saratoga fiddler Solomon Northrup’s 1853 memoir “Twelve Years a Slave” from which the film was adapted, recounts that being a free colored person didn’t ensure safety. In 1863 Duncanson went to Canada, where, as an ex-patriot, he was influential in the creation of a national school of landscape painting. His tour of the British Isles brought him recognition from the critics as an important American painter , devoid of the specter of race. He returned home after the war with an international reputation.

The first exhibition of his paintings in the East didn’t occur until 2011 when the Thomas Cole National Historic Site mounted the exhibition, “Robert S. Duncanson, The Spiritual Striving of the Freed Men’s Sons,” which is a quote from W. E. Du Bois, finishing with “is the travail of the soul.” The writer’s insights into the “double consciousness” he, and the painter, faced as American Negroes, are cited throughout the accompanying Bolton Brown, Collection Eric Angeloch catalog.

The phenomenon of photography was introduced from France to this country in 1843 by the American painter, turned inventor, Samuel F. B. Morris. While it would take more than a century for the new technology to achieve the status of an artistic technique, it quickly became the reflection of the culture, recording images that often would have eluded the pen or brush. Its appearance just in time to capture the carnage of the Civil War, was portentous.

“Envisioning Emancipation, Black Americans and the End of Slavery” is an enlightening book by historians Deborah Willis and Barbara Krauthammer that surveys conditions before and after the proclamation. With the gallery of almost 150 photographs, some never published before,

Woodstock Church

Oil on Canvas

8” x 10”

they encapsulate the experience from antebellum days to the new deal. The thoughtful text provides personal narrative and historical context for many of the riveting images, but in some cases the picture is the only trace of a life that was.

As an assistant professor of history at UMass Amherst, Barbara Krauthammer was a participant in the panel discussions surrounding the Du Bois exhibition. In this issue Cynthia responds to the words and pictures documented in this compelling undertaking.

In 1825, when Thomas Cole made his first sketching trip to Kaaterskill Falls, it was already an international tourist destination and the drawing he made includes a railing and observation platform at the head of the falls. In his painting from 1827, he has replaced the architecture with the tiny figure of an Indian at the apex of the landscape, dwarfed, but at ease in the virgin wilderness.

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c. 1913

Bolton Brown

Collection Eric Angeloch

That same year Cole painted two versions of “the Death of Cora,” an episode from James Fenimore Cooper’s “Last of the Mohicans.” The paintings fueled the artist’s rise to prominence as the foremost painter of the American wilderness, but belied his premonition that, with the eradication of native culture, Paradise was already lost.

Twenty years later, when Robert Duncanson first painted an Indian into one of his pictures, he did not depict the natives who were desperately struggling to hold their homelands west of the Mississippi. Instead, he chose to appropriate the nostalgic leitmotif of the iconic noble savage, popularized in Longfellow’s poem Hiawatha, making it his own for the rest of his career.

It would appear that the successful, but still stigmatized, black painter emphatically retained the ghost of the displaced red hunter as an avatar in the forests of his own strivings for equality. In 1871, the year before his death, when the idealism of the Hudson River was being dissuaded by the Hudson River Museum & Gallery Guide • 5

realities of industry, Duncanson made a copy of Frederick Church’s “Heart of the Andes” of 1859, a “great picture” that had toured nationally at the height of the school’s popularity. Remarkably he adds a battle scene between an Indian and U.S. soldiers to the picture’s tranquility, whether the non sequitur was the work of the spirit of the deceased female artist who he believed possessed and assisted him in the creative process, or a last veiled commentary on the aggression of manifest destiny, is difficult to ascertain.

As the disenfranchised other, the challenge for African Americans was to create a new identity after being freed. For Native Americans, it was maintaining an old tradition after being conquered.

The further challenge for both groups was preserving the soul and spirit while assimilating the dominant culture.

It might have been Red Cloud who queried question to his oppressors as to “who speaks for the eagle” proved ironic by the next century when our national brand almost went extinct from exposure to the poison we spread, in the Red Rooster II misguided attempts to eradicate plants and insects.

Oil on Canvas

Evan T. Prichard not only speaks for the eagle but to it, and all other birds, who, when treated with equanimity, are wont to communicate in marvelous ways.

“Bird Medicine the Sacred Power of Bird Shaman” is a tribute to Evan T. Prichard’s aunt Helen Hurley, a Mi’kmaq woman who invited him into her joyous struggle to preserve the “authenticity” of a disappearing world in Maine. The book is informed by his youthful observations of her healing and communicating with birds, and translating her practice for the media that attended the cultural battles she waged to preserve Maine’s Native history.

Through the transcendence of mythology, and 6 • Hudson River Museum & Gallery Guide

personal observation, that is scientific in spirit, Prichard offers the holistic epistemology of secret knowledge, as anecdotal medicine for a world out of balance. He points out that the U. S. government recognizes aspects of Native American spirituality as religion, placing it under the protection of the freedom of religion acts, remonstrating destruction of the kingdom constitutes obstruction of religion.

Cynthia follows The Red Road of The First Nations in her review of “Bird Medicine”.

Bolton Coit Brown was born the year after emancipation in Dresden, New York into the home of a strict Presbyterian minister and a mother who taught him to draw. Encouraged by John Ruskin’s books, the young atheist was soon seeking spirituality sketching the shores and forests of Lake Saranac. Brown began his teaching career at age 19 and by twenty-something was hired to start the art department at the newly formed Stamford University.

After eight years his position was terminated over a dispute regarding the appropriateness of coed life drawing classes.

It was through his activities as a Japanese print dealer, purchased off the boats at the San Francisco docks, that Brown met Ralph Whitehead and Hervy White the industrialist and activist poets. Both had connections to Ruskin’s circle, and were seeking a site to establish an art colony based on his philosophy. The original location in California having been deemed unsatisfactory, they engaged the artist, writer, and nationally famous mountaineer in their quest.

24” x 36”

Jeffrey Neuman

Brown came east in 1902, employing the climbing skills he had developed in the high Sierras to his exploration of the Catskill wilderness. On a challenging trek from Windham he came up the backside of Overlook Mountain to discover the magnificent vista of the Woodstock Valley, the Hudson a ribbon in the distance. The rustic arts and crafts colony on over 1200 acres of seven former family farms was receiving residents by the next

Visit the new exhibition

Master, Mentor, Master: Thomas Cole & Frederic Church at the Thomas Cole National Historic Site April 30 – November 2, 2014

Frederic E. Church, Scene on Catskill Creek (detail), 1847, oil on canvas, 21 ½” x 29 ¾”. Washington County Museum of Fine Arts, Hagerstown, Maryland

Open Wednesday through Sunday, 10 am to 4 pm.

Admission is $10 for adults or $9 for students and seniors.

Kids 12 and under are free!

Come to the Lecture and Open House, Sunday May 18 — FREE Admission 2 pm Curator’s Lecture by John Wilmerding, PhD, at the Arts Center Theater of Columbia-Greene Community College For map and directions visit www.thomascole.org The exhibition is sponsored by the Wyeth Foundation for American Art, Eli Wilner & Co., the Bay and Paul Foundations, the Bank of Greene County, the Greene County Legislature through the County Initiative Program administered by the Greene County Council on the Arts, and the Hudson River Valley National Heritage Area.

218 Spring Street, Catskill, New York 518.943.7465 • www.thomascole.org 7 • Hudson River Museum & Gallery Guide

spring, but its designer was gone by October, in dissatisfaction with Whitehead’s autocratic English attitude.

Brown remained on Byrdcliffe, building a house and studio where he offered instruction and painted in earnest. The remarkably luminous tonalist paintings he was producing bordered on abstraction, employing color rather than draftsmanship in their intention to capture the sublime of the mountains, or the image of the eternal Muse bathing in the woods, which had haunted him since his youth.

developing the technique, returning home with a press and his precious stones, determined in his crusade to reestablish the medium’s credibility through his “missionary work.”

Lithography provided a complementary vehicle for combining the confident Ruskonian line of his youth with the mysterious nocturnal tones, that suggest Ad Reinhardt’s black on black paintings yet to come.

Finances demanded that the master painter share his craft with fellow artists, and, in 1918, he In 1913, the painter engaged George Bellows published a book “The Self-liberated teenage woman with two Union soldiers, Jes- in a fruitful collabose L. Berch, quartermaster sergeant, and Frank M. Rockwell, Painter’s Palette and postmaster 1862—carte-de-visite. Photographer: James ration which produced How to Master It” and Presley Ball 1825-1905?—(Library of Congress, Prints and hundreds of editions. exhibited his painting Photographs Division, LC-DIG-ppmsca-10940) The following year he “Green Fire” in the Armory show. The show opened the print shop in Manhattan working inspired many artists to reconsider their positions with prominent artists including John Taylor in the debate that was already brewing between Arms, John Sloan, Rockwell Kent, and Arthur B. the modernists and traditionalists. Like many of Davies, among others. Bellows untimely death the two dozen artists connected to Woodstock in his prime shocked the arts community in in the American contingency of the show, Woodstock and New York. For Bolton Brown the Brown flirted with Modernism. A series of small event was crushing, emotionally and financially. impressionistic landscape panels, probably made His response was to drastically curtail printing as demonstration pieces in 1914, discovered by and turn his energies to writing “Lithography for Robert Angeloch seventy years later attest to his Artists” which was published in 1930. When he passionate experimentation with color theory and stopped printing altogether, Brown had made over paint handling. However at midcareer he left the 400 lithographs during his brief career, but was fray to merge the paths and resurrect a languished unable to support himself from their sale. medium.

In his last years, the father of lithography in In 1915, after his divorce, the painter moved to America took to making and selling pottery, the bombing in London, with a model half his age, incorporating designs he made at Byrdcliffe. He to learn lithography, a discipline that, despite its died alone, save for the wolf still frequenting his success in the hands of Goya and Daumier, after door, but not before incising one last stone, a its invention in 1798, had fallen into disrepute boulder from his yard which marks his place in as a means of cheap and accessible commercial the Woodstock Artist’s Cemetery. reproduction. He spent the next year and a half 8 • Hudson River Museum & Gallery Guide

Despite the eventual popularity of lithography as an art medium, and his place in the modernist continuum, the artist is remembered primarily by regional collectors, historians, and mountain climbers. There is a summit in the Sierras that bears his name. An exhibition early in the year, “Bolton Brown Strength and Solitude,” at Kleinart James Center for Arts, Byrdcliffe at Woodstock, is only the second extensive survey of his work since the memorial exhibition at the Woodstock Artists Association in 1937.

Eugene Speicher left the roar of Niagara Falls for the din of New York City on a scholarship to the League in 1907, where he studied with William Merritt Chase, and began spending summers in Woodstock pitching hay to pay for studies with Harrison.

“Strength and Solitude” gathered over 40 lithographs and drawings including two prints pulled for Bellows and eight oils, on canvas or board, about half of his extant paintings. The inspiring presentation of a passionate painter-master technician is supported by a worthy catalog that is currently available.

“The Black Revolutionary Gang”, later to be known as “The Ashcan School” had followed Henri from Philadelphia, and mounted an exhibition in 1908 that shocked New Yorkers. Henri opened his own school the next year, where Bellows took his new friend to become the dynamic teacher’s next prodigy. Their careers on a fast, both painters became academicians of the National Academy of Design in 1913, and Bellows was so involved with the Armory show that he attended every day.

Birge Harrison (18541929) was born in Philadelphia into a family of painters, but was convinced by John Singer Sargent to leave his studies at the Pennsylvania Academy of the Fine Arts and move to Paris in 1876.

On his return from years in Paris, and voyage around the world, he stayed in Santa Barbara, and then lived with the Moquis and Navajo tribes. Eventually moving to New York, he opened the school of experimental landscape painting in Woodstock in 1897, influenced by George Inness. With Brown’s departure, Harrison was recruited as painting instructor at Byrdcliffe, leaving after one season, echoing the complaints of his predecessor. In 1906, Harrison convinced the Art Students League to move their summer school, which he and John Twachman ran in Connecticut, to Woodstock, where he became Brown’s Tonalist competition.

George Bellows was studying at Chase’s New York School of Art with Robert Henri, supporting himself playing professional baseball and basket ball when Speicher introduced himself.

Speicher honeymooned in Europe in 1910 to take in the old masters and the work of Cézanne and Matisse on a visit to Leo Stein’s studio. He settled in Woodstock, and began fulfilling lucrative portrait commissions.

Charles Rosen, a Pennsylvania Dutchman, left his practice as a young photographer to study at Chase’s New York school in 1898. He honeymooned in New Hope, Pennsylvania and stayed on, with Edward Redfield and William Lathrop, to establish the Delaware River school of American Impressionism.

He was elected to the Academy in 1917, the next year, to the chagrin of his conservative friends and patrons. He abandoned his successful style, and

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came to Woodstock to direct the League’s summer school. Rosen became Speicher’s neighbor in 1920, the year Bellows began spending summers in town. Bellows soon built a house consummating an enclave where the friends held poker games, arranged sketching forays, painted one another’s families, creating a paradigm for the community of local artists, with national reputations.

It is impossible to say how Bellows’ legacy would have progressed had he not died in midcareer when his life and painting styles were maturing, especially as critics today consider the early work most important.

It seems unlikely that Rosen would have spent more than half each year teaching out West, away from family, and the New York art scene, had his decision, at age 40 to rethink his technique and relocate his family, not demanded it financially.

The first important review of Speicher’s paintings describes the work as “naively, freshly, almost rampantly American,” but the Armory show reiterated the influences he had experienced in Paris. He stopped exhibiting, spending the next decade mediating the contradiction of artistic independence, as a popular commercial portraitist. He emerged from the dilemma at midcareer, adapting Henri’s strategy of portraiture for its own sake.

In 1936, when Bolton Brown died in poverty, Eugene Speicher was lauded by Esquire Magazine as “America’s most important living painter.”

Nonetheless Speicher languished almost as long as Brown to be reconsidered with a retrospective at the Dorsky will Museum in New Paltz.

In her review of “Along His Own Lines” a retrospective of New York realist Eugene Speicher, Lynn Woods examines his once fashionable portraits, classic Woodstock landscapes and facile drawings. She also shares the story of his rediscovery and elicits insights from the curator and museum director as to the power of a work to remain timeless.

Ralph Lewanda Wickiser (1910-1998) had a distinguished 70 year career as artist, educator, and author which paralleled the odyssey of 10 • Hudson River Museum & Gallery Guide

American Art in the 20th century.

When the young painter got to Woodstock in 1939 to study color lithography with Emil Ganzo, he was exploring figuration and abstraction. What he discovered was a sublime landscape populated by bohemian pioneers. Wickiser returned to the hamlet every summer, eventually building a house with a path to the studio he would walk for 50 years.

Having embraced pure abstraction by the early fifties, Wickiser was at the center of postwar modernism. Exhibiting widely in major museums and forming close relationships with his prominent neighbors and contemporaries. By the sixties he was painting photo-based nudes provocatively reflected in studio mirrors, expanding into abstract-representation during the next decade.

The painter retired to the country in the mid-seventies, free from the responsibilities of teaching, to create what would prove to be his signature style.

He immersed himself in observation of light, as it shadowed his lawn, moved through his beloved apple trees, and reflected in the nearby stream.

A consummate photographer, he employed the camera’s lens in recording the elusive movement of light, to be interpreted in the studio through the painterly push-pull of form and color. In his last prolific decade, Wickiser completed a series of paintings that are remarkable in their transcendent contemplation of the inherent union of figuration and abstraction in nature.

“Ralph L. Wickiser, the Reflected Stream, the Early Years, 1975-1985” is currently on view at the Walter Wickiser Gallery in Chelsea. Three exceptional books chronicling the artist’s noteworthy life’s work are available.

As the touchstone of visual art, figuration requires only a simple stylus to record human perception of time and place. Until the introduction of art for its own sake, stylistic development unfolded in a realistic paradigm of which abstraction was a component. The modernist revolts against the Academy, in which it was so deeply rooted, was also an endemic innovation to preserve the tradition that was being overtaken by photography as the medium of commercial record. In

the process, the legacy of realism was relegated to adjectivized style.

communicate a panchromatic world view of sustainability and the quality.

Culture is defined by the matrix of sustainable food and art. The creation of whole food and realistic art both require knowledge acquired through extensive observation and practiced techniques.

While still exotics in the larger marketplace, the availability of these commodities is resurgent in our region.

In Pete’s well-versed endorsement of “Bird Medicine,” which immediately follows the book’s title, the late bard reminds us of who we are, where we’ve been, and the potential of the present in affecting what’s to come.

To check out what’s down on the farm, pick up a copy of the watershed agricultural Council’s annual “Pure Catskills Guide to Farm Fresh Products.” If you grow your own visit the Hudson Valley seed library in Accord, New York. Some of the heirloom packets feature commissioned illustrations, which are presented in an annual exhibition that tours nationally.

Appropriately, the current resurrection of family farms, microbreweries, and boutique distilleries in the region occurs in conjunction with the continued proliferation of the nascent exhibition spaces.

Jeffrey Neumann opened Neumann Fine Arts last year in Hillsdale, New York, in the foothills of the Berkshires, just above Bishbash Falls, to display the work of a select group of artists.

Joel Griffith joined the gallery’s stable of contemporary realists, with a show of his magical Hudson Valley landscapes and nocturnes earlier this winter.

His meticulously executed oil paintings attest to his first-hand study of the old Masters in Paris, each telling a story full of sentiment absorbed on site, sans the intrusion of photo-reference.

Griffith is the painter laureate of his hometown Tivoli, New York, where his paintings enliven the town hall’s walls.

More than alumnae of a prestigious university, Seeger and Du Bois were kindred activist artists who employed their talents as entertainers to

Pete Seegar

Photograph

© Elliott Landy

“Evan Prichard has put together a wonderful book showing how we mammals have learned and still learn from birds. History, history, history, history!

And future possibilities.”

The spring of 2014 offers the opportunity to acknowledge the canary’s song and nurture the seeds of wisdom sown by Pete Seeger and W. E. B. Du Bois.

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Eugene Speicher, Portrait of a Young Girl, 1923, oil on canvas

Courtesy Lois Wagner Fine Arts, Inc.

Along His Own Lines

A retrospective of realist painter Eugene Speicher

by Lynn Woods Like soda fountains, trolley cars and the Third Avenue El, the realist paintings of Eugene Speicher (1883-1962) have been relegated to the dustbin of history. That the Woodstock artist was destined for anonymity would no doubt have surprised his contemporaries, given that in the 1920s through the 1940s, he was one of America’s most celebrated artists, collected by the nation’s leading art museums. He was so successful that even after he decided to eschew commissioned portraits, on which his reputation had been built, in favor of painting who and what he wanted, he made a nice living from his art. Even during the Depression, 12 • Hudson River Museum & Gallery Guide

when most Woodstock artists struggled to survive, he prospered.

Art historian and freelance curator Valerie Ann Leeds, who stumbled upon Speicher while researching his teacher Robert Henri, one of the original eight “Ash Can” painters, thought the artist deserved a second look. “Speicher was such a close friend of Henri and [fellow Woodstock-based artist] George Bellows,” said Leeds, who is based in Stockton, New Jersey, in a recent phone interview.

“Knowing how big he was in his day, I thought he warranted more attention.” After joining forces

with a collector of Speicher’s work who was also a board member at SUNY New Paltz’s Samuel Dorsky Museum of Art, she successfully sold the museum on the idea of a retrospective.

“Along His Own Lines: A Retrospective of New York Realist Eugene Speicher” opened on February 8—it is on display through July 13—and is the first show of the artist’s work in 51 years. It was the New York art world’s obsession with abstraction in the 1950s, of course, that took down Speicher’s career. But with the flowering of modernism now as distant in time as Speicher’s floral still lifes, Woodstock landscapes, seated portraits, and breezy, wonderfully assured pencil drawings, visitors can assess his work “fresh.” At the very least, they can become acquainted with an aesthetic that was extremely popular in its day.

Speicher was so prominent that not only did institutions like the Museum of Modern Art and the Metropolitan Museum of Art collect him, but they collected him in depth, Leeds said. For example, the Met has five paintings by him (though they are seldom if ever displayed). Unfortunately MOMA, the Art Institute of Chicago, and the Carnegie Institute all later de-accessioned him, she added. “Occasionally you’ll see one in a museum. Detroit Institute of Arts for example often has a wonderful Speicher painting on view.”

essay in the exhibition catalog that Speicher was celebrated by art critic Homer St. Gaudens in 1941 as “the first among our native portrait painters.”

Indeed, Speicher’s strengths are perhaps best exhibited at the Dorsky show in several of the monumental , slightly larger than life seated portraits. The warm, harmonious earth tones, pensive figure, and masterful composition of The

Eugene Speicher, Girl in a Coral Necklace, 1935, Oil on Canvas, 24” x 20”, Private collection

Speicher, who was born in Buffalo, was one of Henri’s most talented students, earning a bunch of awards starting in the teens from the cultural expositions and prestigious art academies of the time and having his first solo exhibition at M. Knoedler & Company, in New York, in 1920.

He and his wife, a Vassar graduate, maintained a home in Woodstock as well as an Upper East Side apartment all their lives. In Woodstock, Speicher was a leading member of a group of artists that coalesced around the Whitney Studio Club, which hosted exhibitions of unknown or struggling artists and morphed into the Whitney Museum of American Art in the early 1930s. Leeds notes in her

Mountaineer and Polly, both of which are on loan from the Metropolitan Museum of Art, are examples of basic figurative painting at its most satisfying. In The Mountaineer, the grizzled but vigorous old man holds a cane on which is balanced his hat, signaling both his active life and presumed retirement, while the attribute of the statuette of an eagle with raised wings on a chest behind him is an elegiac touch. The subtle shadows lend depth.

In Polly, the strong vertical of the antique cupboard against the wall on the left anchors the space and creates a contrast with the sinuous curves of the chair and the woman’s slightly akimbo arms, crossed leg, and graceful hands (as well as the curl of hair on her cheek). The flowers on the right side

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of the painting bracket the figure with another vertical; they also harmonize with the dull reds and pinks of her clothing while the spiky blossoms enliven the somber, dusky space.

The show also includes one of Speicher’s most famous commissions, a standing portrait of actress Katherine Cornell in a flowing red gown depicted as the character of Candida, which she was playing in a Broadway production of the Shaw play. Here the heaviness of his style is less successful; the figure lacks the effervescent light, lustrous textures and uncanny presence of the society portraits by Sargent and Whistler.

Portrait of a French Girl and Portrait of a Young Girl—Speicher’s favorite subjects were women, frequently the daughters and wives of his artist friends—achieve a convincing aplomb: in the first instance a striking, dark-haired woman in black is caught holding a flower in a winsome pose in Pears Graphite on Paper which her shoulders are pulled back and hips twisted appealingly toward the viewer. In the second example, the depiction of a placid woman in a gray hat and red suit of some soft, fuzzy material is constructed of undulating curves recalling Matisse’s seated women from the same period. The detail of the projecting lace collar brings the composition to life, echoing as it does the collar of the jacket, the necklace, and the hat, while the ribbon-like fingers repeat the undulating pattern of stripes in her skirt.

Speicher’s landscapes are particularly lively. They are more loosely constructed and painted, combining the spontaneity of watercolor with the plasticity and opaque hues of oil. The eye moves back into space, from the foreground fence post and bush to the house and figures in the middle distance to the muted distant mountains, a motion counteracted by the thickly painted advancing clouds of the sky.

In these painterly sketches, you can practically smell the grass, hear the buzz of insects, sense the grand shadows sweeping over the land.

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Speicher’s drawings, ranging from the 1909 delicately rendered realistic portrait of his mother to a quick sketch of a woman seated at a table, in which the shaded planes are described as emphatic pencil strokes, also particularly appeal to the contemporary eye. His Study for Lilya, from 1930, in which the beautiful oval face with almond shaped eyes is framed in a draped headscarf, recalls Picasso’s delicate portraits of his ballerina wife, Olga. Speicher’s pencil lines are both spontaneous and precise, and he uses his tones and the white of the paper to great effect in suggesting space in his landscape sketches. Some of the figure drawings, however, have the facileness of illustration.

What seems dated about some of the works are a certain heaviness that makes even the abstracted backgrounds look woolly and a tonal approach that sometimes emphasizes atmosphere over form, resulting in muddied colors with an almost metallic cast. Leeds said Speicher’s “staid 8” x 11 .5” Eugene Speicher quality,” so in contrast to the gestural painterliness of Henri and Bellows, perhaps accounts for his fall from grace. While the pictures of Henri and Bellows “feel like they were painted a few minutes ago, Speicher was more deliberate,” she said. The high seriousness of his approach, the academic meticulousness, dates his works to a particular time and place, compared with the universality of Henri’s and Bellows’ hasty brushstrokes. But it’s this evocation that appeals to Leeds, who has a particularly fascination for the 1920s, 1930s, and 1940s. Perhaps time weighed more heavily on people back then; with fewer distractions, the moment took on greater significance, the spaces were more dimly lit, fabrics were bulkier, hairstyles more structured, poses more consciously modern—and the period’s streamlined and Deco styles fabulously sleek and elegant in comparison.

“I’ve just always love the aesthetics of that period,” said Leeds. “It was a time of great change in this country. Particularly in his portraits of women,

Speicher shows a slice of time from the period.

This show was intended to try to resurrect the conversation about him and changing tastes.”

Not knowing at all how people would react to the work, given its inaccessibility for so long, Leeds said she has been pleasantly surprised. “The response has been really exciting and kind of floored me,” she said. “It’s been enormously positive.”

In October 18, the show will open at the New York State Museum, the third such show curated by the Dorsky to do so (the others were the exhibitions on Eugene Ludens, another Woodstock artist, and designer Russell Wright). Given that the annual number of visitors to the New York State Museum is 750,000, compared with 12,000 to 15,000 at the Dorsky, the partnership results in “tremendous exposure to the artists’ work,” said Sara Pasti, Neil S. Trager director of the Dorsky. “The lion’s share of the work has been done, so it’s a win-win situations for both state institutions, given our limited resources.”

Pasti speculated that Speicher was bypassed by history mainly because “he’s not innovative. It’s the innovative artists who span generations. They have the staying power and the most impact.” Yet she noted as tastes change again, the jury may not be quite out. “Will there be a return to realism? Will students and young artists see the work and be influenced by it?” The Speicher exhibition is a kind of litmus test of our own tastes and tendencies, rejuvenating a dialog that died seemingly a long time ago and revealing a backwater of art history that if nothing else lends depth and dimension to the story we all know.

“Along His Own Lines: A Retrospective of New York Realist Eugene Speicher” is on view at the Samuel Dorsky Museum of Art through July 13.

From October 18 through March 22, 2015, it will be on display at the New York State Museum. The accompanying catalog has color plates and essays by curator Valerie Ann Leeds, Tom Wolf, and Daniel Belasco.

Along His Own Lines: A Retrospective of New York Realist Eugene Speicher THE

Curated by Valerie Leeds

Through July 13, 2014

DORSKY SAMUEL DORSKY MUSEUM OF ART

Eugene Speicher, Kingston, New York, 1935, oil on canvas mounted on masonite.

STATE UNIVERSITY OF NEW YORK AT NEW PALTZ

SAMUEL DORSKY MUSEUM OF ART • STATE UNIVERSITY OF NEW YORK AT NEW PALTZ • WWW.N EWPALTZ.E DU / M USE U M 15 • Hudson River Museum & Gallery Guide

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Du Bois in Our Time

by Cynthia Poten

W.E.B. Du Bois was born in 1868, during the social, economic and political upheaval that followed the Civil War. Congress had created a Freedman’s Bureau to alleviate the impact on African Americans. By any measure the Bureau’s task -- to provide medical care, schooling, land, paid employment and political justice to multitudes of destitute freed slaves -- was impossibly difficult.

And underlying these immense challenges was the racist ideology of white supremacy that enabled and rationalized slavery in the first place. Whether it was latent in the North or blatant and murderous in the devastated South, the newly liberated African Peony Of Hope Americans confronted new trials of suffering, subjugation and inferior status.

By the time Du Bois was a young scholar working on his doctorate at Harvard University, the failure of government attempts to integrate his people into the economy and culture of white America was painfully manifest. From his earliest writings he protested the continued injustices and impoverishment, and called on African Americans to take their destiny into their own hands -- to demand, not beg for, the rights that belonged to all human beings. And he worked tirelessly to encourage and inform this demand. The visionary challenge he offered the youth of his time glows now with 16 • Hudson River Museum & Gallery Guide

the aura of prophecy: “Here is the chance for young women and young men of devotion to lift again the banner of humanity and to walk toward a civilization which will be free and intelligent; which will be healthy and unafraid, and build in the world a culture led by black folk and joined by peoples of all colors and all races - without poverty, ignorance and disease!”

One can imagine an early 19th century nobleman in satin vest and tailcoat huffing and choking on the idea that people of all colors and all races would be led by black folk.

But Du Bois’ vision has come to pass. As he foresaw, the creative gifts of black musicians, writers, poets, visual artists, Carrie Mae Weems performing artists and clergymen have been and continue to be a transforming force of global dimension. It is somewhat startling to realize that this flowering of human spirit seeded from the continent of Africa occurred only a few hundred years after the ancestors of that spirit were taken as chattel for the expansion of Euro-American capitalism or forced to endure similar exploitation under colonial rulers in Africa.

Du Bois died in Ghana in 1963. Last year, to honor the fiftieth anniversary of his passing, the University Museum of Contemporary Art (UMCA) at the University of Massachusetts sponsored the exhibition, Du Bois in Our Time, as “an aesthetic contribution to a modern rethinking of Du Bois.”

The exhibit featured ten internationally acclaimed American, Canadian, and West African artists commissioned by UMCA to generate works based on investigations of the Du Bois Archives at UMass Amherst and on collaborations with five Du Bois scholars. The result was a research based, socially engaged approach that produced an inspired, impassioned and dynamic tribute to Du Bois and the contemporary relevance of work.

The three month exhibit, which ended December 8th, included painting, sculpture, graphic works, videos, multi-media installations, and a proposal for a Du Bois memorial garden.

This range of expression testifies to the inspiring power of his thought and to the profound creative energy coursing through today’s African and AfricanAmerican diaspora. What Du Bois wrote about art is as true to the art on display at the UMCA Museum as it is to his artistry as a writer: “But art is not simply works of art; it is the spirit that knows Beauty, that has music in its soul and the color of sunsets in its HairPortrait 5hr headkerchiefs that can dance on a flaming world and make the world dance, too.”

Du Bois was an innovative scholar in the social sciences and a poetic master of language. The main body of his work advanced on two fronts.

He fought for universal desegregation and for laws that insured equal opportunity for African Americans. He also wrote in support of women’s rights, environmental protection. He warned against nuclear proliferation. He was active in the Pan African movement and spoke vigorously against aggression aimed at people of color around the world. He traveled widely. At the end of his life he moved to Ghana to work on the Encyclopedia Africana.

Carrie Mae Weems’ work embraces a similar frame of reference. She considers American life in terms of race and class. Like Du Bois, she has become

increasingly interested in global struggles for equality and justice. She wants “people of color to stand for the human multitudes.” Her tribute to Du Bois began as a living one – a new hybrid peony registered as the William E. B. Du Bois flower or “The Peony of Hope.” This initiative expanded into a proposal for a Du Bois Memorial Garden.

Du Bois’ devotion to the struggles of the oppressed peoples is a compelling focus for Nigerian born artist Mary Evans as well. Her family migrated to Europe when she was five. She bases her work on historical events. The piece she did for the UMCA exhibit replicates one she did in Ghana, the point of exit for so many millions of enslaved men, women and children. A mural that covers three walls of an alcove, the piece employs two colors -- an ivory background against which warm brown silhouettes of standing and seated figures are positioned in a spatial arrangement of arches.

Evans sees the figures as the souls of black folk, an allusion to The Souls of Black Folk, the seminal work published by Du Bois MickaleneThomas in 1903.

Brendan Fernandes, whose performance and language-based work explores cultural identity and authenticity, was also influenced by Du Bois’ ideas of solidarity among minorities around the globe, particularly Africans and Asians seeking to define themselves after colonialism and imperialism. Fernandes was born in Kenya of Indian heritage, and is currently based in Toronto and New York. For the exhibit he created a performance that included poetry and a march of University Color Guard from the Du Bois Library to the museum. The marchers carried flags, banners and a symbolic version of the Encyclopedia Africana, which Fernandez feels could never in principle be realized.

Identity issues are central to Jefferson Pindar’s work. Pindar is an African American who teaches

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at Chicago’s School of the Art Institute. An interdisciplinary artist in the mediums of theater, music and experimental videos, Pindar explored a Du Bois pageant that was successfully performed in 1913 -- The Star of Ethiopia. Pindar’s installation included photo documentation of the production and multiple video shorts of iconic moments in the pageant. He focused on the character of the ‘Veiled Woman” who he sees as Du Bois’s icon of “Negro Womanhood and her quest to lead the untamed people of Africa to civilization.”

Womanhood is central to the work of African American artist Mickalene Thomas, whose themes are female beauty, sexual identity, and femininity.

Her 30-minute video Happy Birthday to a Beautiful Woman, a tribute to her mother, was screened throughout the duration of the exhibit.

The Du Bois exhibit also featured her Hair Series, a compilation of images that acknowledges the importance of hair in the Black community, a cultural value she traces to African ancestors.

Radcliffe Bailey Du Bois statue

The tension and the fine balance between past and possibility, between identity and society are the focus of Julie Mehretu, who was born in Ethiopia and raised in Michigan. She studied in Senegal as well as in the United States. Currently she lives in New York and Berlin. Her art combines family history, migration, geography, home, war, cultural history and personal narrative. For the Du Bois exhibit, she offered a series of five etchings and a recent painting which employ architectural drawing, characters, swarms, blurs and erasures to express these themes.

The political ramifications of the tension between identity and society that African Americans experience often border on the grotesque. The fact that Du Bois was classified as an enemy of the state at the age of 83 is but one reflection of this.

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The FBI’s redacted files of Du Bois were a natural focus for Ann Messner, the New York-based artist whose work explores the relationship between the individual body and larger social body as encountered within public space or discourse, She incorporated them into her presentation for the exhibit. Her goal was to dramatize what can be lost when dissent is not allowed.

New Jersey born Radcliffe Bailey explores memory and history with the intension to encourage healing and transcendence with his art. He created two sculptures for the Du Bois exhibit. His bronze of Du Bois in the pose of Rodin’s Thinker expresses appreciation for Du Bois’ creativity.

As Bailey explains it, Du Bois “was capable of taking in information and fashioning new and striking perspectives on history, sociology, culture and art that others with the same information had not produced,” an assessment that could be applied to all great thinkers and artists.

Latoya Ruby Frazier is an African American Photo: Stephen Petegorsky artist who grew up in the disenfranchised community of Braddock, PA where the industrialist Andrew Carnegie built his first steel mill on the Monongahela River, a mill that poisoned the river and impoverished its environs. She felt a strong connection to a 1930 Du Bois speech about the Housatonic River of his childhood, which he described as a “sewer, a drain, a place for throwing waste.” Frazier was inspired to do a series of photographs, A Despoliation of Water: From the Housatonic to Monogahela River (1930 – 2013). The two rivers represent all the world’s rivers that have been ravaged by imperial industrialism. Her images confirm her reputation as a socially engaged photographer working in the traditions of Walker Evans and Dorothea Lange. ”We study, admire and emulate Du Bois, but, moreover, we feel him.” These words are from participating artist Tim Rollins, summarizing

his response to Du Bois. Tim Rollins and K.O.S. (Kids of Survival) have been working with youth through art education for over 30 years, using a collaborative strategy that combines reading, writing and producing works of art. As an educator, Tim Rollins was drawn to Du Bois’ belief in the child, epitomized in these words from Du Bois’ first autobiography, Darkwater.

“In the treatment of the child the world foreshadows its own future and faith. All words and all thinking lead to the child, -- to that vast immortality and the wide sweep of infinite possibility which the child represents.”

LaToya Ruby Frazier U.S.S. Edgar Thomson Steel Works & Monongahela River

For the exhibit, Tim Rollins and K.O.S. team member Angel Abreu focused on Darkwater.

Students at the Renaissance School in Springfield, Mass. read the book together, beginning with the great “Credo.” After writing and illustrating individual credos of their own, the students “baptized” pages from a first edition of Darkwater by dipping them in a pool of furnace black ink laced with gold pigment. The result was “a painting that painted itself” and evoked the presence of Du Bois as “a loving ghost fully present before them.”

The UMCA exhibit has indeed evoked the loving ghost of Du Bois and sent him on another global journey. Ghana will host a Du Bois in Our Time/Accra in March 2014 to coincide with its Independence Day. The exhibit will be a distinct but related tribute to the visionary who believed black folk would lead the effort to build a world

culture in which peoples of all colors and all races live without poverty, ignorance or disease.

The Artists: Radcliffe Bailey, Mary Evans, Brendan Fernandes, LaToya Ruby Frazier, Julie Mehretu, Ann Messner, Jefferson Pinder, Tim Rollins& KOS, Mickalene Thomas and Carrie Mae Weems.

The Scholars: James T. Campbell , Stanford University; David Glassberg , UMass Amherst; Saidiya V. Hartman , Columbia University; Reiland Rabaka, University of Colorado; and William Strickland , UMass Amherst.

UMCA Director Loretta Yarlow Education Curator, Eva Fierst

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ENVISIONING EMANCIPATION

Black Americans & the End of Slavery Deborah Willis and Barbara Krauthamer Images have been used to alter feelings, perceptions, beliefs, behavior and institutions since humans began crafting them. The camera added a new dimension to this power of imagery – the visual record of an actual moment in time.

In their introduction to Envisioning Emancipation, Deborah Willis and Barbara Krauthamer note that photographs of black people taken during the period surrounding the end of slavery reflect a mix of intentions. Slave-owners attempted to portray slavery as benign. Racial supremacists were out to prove black inferiority, abolitionists to demonstrate human dignity and to gain support for emancipation. Blacks sought to portray the beauty, humanity and respectability of their race. White reformers and photographers often constructed idealized images.

Photographs representing all of the above are included in their book. Nevertheless, the images manage to both expose the malignant intentions of those we now judge as deluded and confirm the just intentions of those dedicated to emancipation.

Willis and Krauthamer offer their work as a “memorial to the free and enslaved men, women and children whose individual and collective actions made black people’s freedom central to the Civil War from the outset.” A project many years in the making, their memorial surveys the ante-bellum years of slavery, the rise of black abolitionists, the Civil War and emancipation, and its aftermath. Each section is introduced with text that provides related historical details, and where it was possible to ferret them out, stories of some of the individuals portrayed. The photographs bear witness to the odyssey of a people compelled to endure and to escape slavery, as well as to end it 20 • Hudson River Museum & Gallery Guide

and build a life free of brutality and bondage.

The dignity emanating from the images of those who lived this odyssey is stunning. The occasional back stories add substance to the strength, honor, pride and intelligence evident in the faces and postures of the subjects -- plantation slaves, escaped slaves, black Union soldiers, nurses, cooks and washerwomen working for the Union army, as well as in the freed black intelligentsia represented by men and women like Frederick Douglas and Sojourner Truth. Other images and stories testify to the depth of family and communal bonds forged under oppression, bonds passionately evoked by black abolitionist leaders and joyfully celebrated upon emancipation.

The portrait of black freedom’s aftermath is a legacy still unfolding. On the one hand black towns, visionary black leaders creating new institutions for their people, an emerging class of blacks with access to education and professions, and rural family life. On the other, the scars, the chain gangs, the poverty.

Envisioning Emancipation is a luminous memorial of black Americans who lived during the emancipation era. The photographs are an indelible imprint of their courage, moral power and spiritual nobility. I found myself using a magnifying glass, not wanting to miss any trace of their beauty, even as I pondered the compelling questions the text poses. What did freedom feel like to those able to expand under its mantle and what did it mean to those who remained impoverished under new forms of terror and oppression?

Cynthia Poten

BIRD MEDICINE

The Sacred Power of Bird Shamanism Evan T. Pritchard This book has wings. It flutters into your heart and you soon find yourself gliding with ease and astonishment into the numinous realm of interspecies communication, a rich landscape that encompasses Native American traditions, ancient shamanic journeying, ornithological studies, natural history, Euro-American history, and contemporary encounters with living messenger birds.

To inform and delight you along the way, Bird Medicine carries in its beak sparkling bits of bird lore and field observations about the other two-legged species inhabiting earth, such as the observation that bird behavior has profoundly influenced the evolution of human culture and spirituality, and continues to do so. With a conversational style that incorporates considerable scholarship, Evan Pritchard muses on these influences -- links between birdsong and human speech and music for example, and between bird parenting and human parenting. And dancing.

Snowy egrets have a mating circle dance in which multiple pairs participate, cranes get together to dance in a double circle that evokes some of the world’s ritual dances of death and fertility. And there’s more: crows conduct funerals and councils, blue jays create burial mounds.

But Evan Pritchard makes clear at the outset that his primary goal in writing Bird Medicine is not to expand our knowledge of bird behavior. His purpose is to illuminate Native American spiritual practices that help humans to follow the “right path in life,” one that is grounded in, and perpetuates, the awareness that all living beings are one, that we all share in the soul of the world, that we can be attuned to and guided by animal messengers of the

one Spirit. Further, that our cultural and spiritual health depends on being responsible to the world soul as it manifests in plants and animals. Birds are in the center of Pritchard’s spotlight because they serve as intermediaries between the human and the spirit world, providing vital medicine for helping humans walk the right path.

Evan Pritchard’s engaging narrative does not proclaim the truth of Native America’s bird medicine; it reports on how it works. Stories gathered from interviews and personal experiences with his Mi’kmaq relatives fill page after page.

These tales of bird visitations document that birds carry our prayers to Spirit and bring back answers.

Birds give us warnings and healings. Stories from other indigenous traditions, and from history and science, confirm the Native American experience of bird medicine -- a gift of sacred power that we are on the brink of losing.

The chorale of aboriginal birds that sang in the precolonial prairie dawn was a symphony that died with the arrival of alien birds who didn’t know the music and eventually crowded out native birds.

Today the loss of birds is happening on a global scale. Shrinking habitat, human generated electromagnetic fields and other aspects of industrialized modern life kill millions of birds a year -- another indicator of the extent to which human enterprise has wrought havoc with earth’s life stream. There is ancient medicine for this, and Pritchard has done a brilliant job of revealing it.

Cynthia Poten Producer for KIDE Hoopa Tribal Radio and former Delaware Riverkeeper

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ALBANY (D-2)

CAZENOVIA

HOWES CAVE (C-2)

Margaretville

Albany Center Galleries Albany Institute of History & Art Albany Internat’l Airport Gallery Mark LaSalle Fine Art New York State Museum Opalka Gallery, The Sage Colleges University Art Museum, SUNY Albany

Chapman Art Center at Cazeno­ via College

Iroquois Indian Museum

Longyear Gallery

CHATHAM (F-5)

HUDSON (E-5)

MILAN

American Museum of Fire­ fighting BCB Gallery Carrie Haddad Gallery David Dew Bruner Galerie Gris Hudson Opera House Hudson and Laight Gallery J.Damiani Gallery John Davis Gallery Limner Gallery Nicole Fiacco Gallery MCDARIS Fine Art Olana State Historic Site Ornamentum Peter Jung Fine Art Time & Space Ltd/TSL Ware­ house

Briggs Mountain Gallery

HUNTER (B-5)

Delaware Valley Arts Alliance Dyberry Weaver Nature’s Art LLC

Art View Gallery Joyce Goldstein Gallery Park Row Art Gallery Sarris Quilts

ANDES (A-6)

CLINTON CORNERS (F-8)

Blink Gallery Chace-Randall

Joanne Klein Studio

COLD SPRING (C-11)

ANNADALE-ON-HUDSON (D-7)

Ellen Hayden Gallery Marina Gallery Putnam County Historical Soci­ ety & Foundry School Museum The Gallery at Butterfield Library

CCS Bard Hessel Museum, Bard College

ARKVILLE (A-5) Catskill Center Erpf Gallery

BEACON (C-10) Back Room Gallery Bannerman Island Gallery BAU (Beacon Artist Union) Beacon Cultural Foundation Beacon Institute for Rivers & Estuaries Bulldog Studios Daniel Aubry Gallery Dia:Beacon Fovea Exhibitions Howland Cultural Center Hudson Beach Glass Marion Royael Gallery Monk Sculpture Project Morphcism Mount Beacon Fine Art Open Space RiverWinds Gallery Spire Studios

COOPERSTOWN (A-2) Fenimore Art Museum Baseball Hall of Fame

corning Rockwell Museum of Western Art

CORNWALL-ONHUDSON (C-11) Hudson Valley Gallery

COXSACKIE (E-4) Bronck Museum Coxsackie Library

EAST HAMPTON

Kaaterskill Fine Arts Gallery at Catskill Mountain Foundation

HYDE PARK (D-8) Historic Hyde Park Vanderbilt Mansion & Historic Site

KATONAH (G-12) Katonah Museum of Art

Kinderhook (E-3)

Pollock-Krasner House and Study Center Surface Library Gallery and Atelier

Columbia County Historical Society Martin Van Buren, Historic Home

FREEHOLD (C-4)

KINGSTON (C-7)

CANAJOHARIE

HASTINGS-ONHUDSON (D-14)

Arkell Museum of Canajoharie Picture Perfect Gallery

Newington Cropsey Foundation

Air Studio A.S.K. Gallery Cornell St. Studio Fire House Studio Friends of Historic Kingston & The Fred J. Johnson Museums Gallery at Keegan Ales Gallery at R&F Inspired!

Kingston Museum of Contem­ porary Art Little Shop of Horses Living Room One Mile Gallery Photo Synthesis Senate House Museum Store Front Gallery Storm Photo Studio 331

HAVERSTRAW (D-13)

CATSKILL (D-5)

River Stone Antiques & Design Center River Stone Arts Gallery

LARCHMONT

BETHEL Museum at Bethel Woods

BLUE MT. LAKE (B-1) Adirondack Lakes Center for the Arts Adirondack Museum

BOICEVILLE (A-7) Steve Heller’s Fabulous Furniture

BRONX (D-16) Wave Hill

BRONXVILLE (D-15) Noel Fine Art

Brik Cedar Grove, Thomas Cole Nat. Historic Site Gallery 42 Day & Holt Gallery and Framing The Galleria Catskill GCCA Catskill Gallery M Gallery Open Studio Terenchin Fine Art

Broderick Fine Art Gallery

GARNERVILLE (D-13) Garnerville Arts & Industrial Center

GARRISON (C-11) Boscobel House and Gardens Russel Wright Design Center

GHENT (G-4) The Fields Sculpture Park at Art Omi

GLENS FALLS (D-1) The Hyde Collection Tom Myott Gallery

HIGH FALLS (B-9) Kaete Brittin Shaw Westcote Bell Pottery

hillsdale Neumann Fine Art Gallery

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MILLERTON (G-7) Belboir Gallery Green River Gallery Eckert Fine Art Renaissance Art & Collectibles

MONTGOMERY (A-10) James Douglas Gallery Wolfgang Gallery Wallkill School & Gallery

MT. TREMPER (A-7) Emerson Gallery Mt.Tremper Arts Robert Jacobson Studio

NARROWSBURG (A-10)

NEW PALTZ (B-9) Mark Gruber Gallery Mohonk Images Gallery Samuel Dorsky Museum of Art, SUNY New Paltz Unison Gallery

NEWBURGH (C-11) 188 Liberty “Community Living Room” Ann Street Gallery Arts Alliance of the Lower Hudson Valley Bedinotti Photo Crawford House Museum Downing Film Center Karpeles Manuscript Library Museum Living Skin Gallery Newburgh Artisans Gallery Newburgh Free Library Gallery Peter Billman Gallery

new windsor (B-11) Storm King Art Center

NORTH SALEM Hammond Museum & Japanese Stroll Garden

NYACK (C-13) Hopper House Art Center

OLD CHATHAM (F-3) Domas and Gray Gallery

ONEONTA (A-3)

Kenise Barnes Fine Art PG Artventure

Yager Museum of Fine Art

MANHATTAN (C-16)

Elizabeth V. Sullivan Gallery Art Students League

D. Wigmore Fine Art, Inc. DC Moore Gallery Godel & Co. Fine Art New York Historical Society National Academy Museum Questroyal Fine Art Ricco Maresca Gallery

orangeburg

PEEKSKILL (D-12) Casola Gallery Flat Iron Gallery Hudson Valley Center for Contemporary Art William Maxwell Fine Arts

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PHOENICIA (B-6) The Arts Upstairs Cabane Studio

PIERMONT

Orphic Gallery 8 Track Museum

SALSBURY MILLS (A-11)

Piermont Flywheel Gallery

Bethlehem Gallery

POUGHKEEPSIE (D-9)

SARATOGA SPRINGS (D-1)

Arlington Art Gallery Artist’s Palate Restaurant & Gallery Barrett Art Center Barrett Clay Works Cabaret Voltaire Art Center, Children’s Media Project Cunneen-Hackett Arts Center Frances Lehman Loeb Art Center Franc Palaia Photography G.A.S. Gallery & Performance Space Locust Grove, Samuel Morse Historic Site James Palmer Gallery, Vassar Marist College Art Gallery Mid Hudson Heritage Center Mid-Hudson Children’s Museum Mildred I. Washington Art Gallery D.C.C. Mill Street Loft

PORT EWEN Duck Pond Gallery

PURCHASE (E-14) Donald M. Kendal Sculpture Gardens at PepsiCo Neuberger Museum of Art

Gallery 100 National Museum of Dance Saratoga Auto Museum Saratoga Fine Art Tang Teaching Museum and Art Gallery at Skidmore College

SCARSDALE (E-15) Madelyn Jordon Fine Art Weber Fine Art

SAUGERTIES (D-6) Catskills Gallery Doghouse Gallery Fotoquest Gallery Image Factory Justin Love Studio/Gallery Opus 40 Woodstock Museum

SCHENECTADY (C-2)

STONE RIDGE (B-8)

SUGAR LOAF (A-12)

WINDHAM (B-4)

WURTSBORO

WEST POINT

WHITE PLAINS (E-14)

Exposures gallery

GCCA Gallery Windham fine Arts

TARRYTOWN (D-13)

WOODSTOCK (C-7)

Kykuit

ROSENDALE

TIVOLI (D-6)

Lovebird Studio Roos Gallery

Tivoli Artist’s Co-op

TROY

ROXBURY (A-5)

Casper Land Digital Artist Space

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Eric Angeloch

Ellenbogen Gallery Gallery at Wheelbarrow New Media Center Washington Irving’s Sunnyside

WEST NYACK (C-13)

West Point museum US Military Academy

Riverfront Studios Little Down Under Gallery

20” x 20”

Anthony Krauss Studio Lotus Fine Art Maverick Arts Center Basha Ruth Nelson Studio Photosensualis Robin-Elliott Gallery Varga Gallery West Woodstock Project Space Woodstock Artists Association & Museum Woodstock Framing Gallery Woodstock Graphics Studio Woodstock School of Art Elena Zang Gallery

SCHUYLERVILLE

RHINEBECK (D-8)

Martin Lerner gallery Roxbury Arts group

Kisnet Gallery Martinez Gallery Rockland Center for the Arts

Betsy Jacaruso Studio & Gallery Pig Farm Framing Albert Shahinian fine Art Gallery Lodoe Mona Lisa Gallery Sawkille Co.

Mixed Media

Mandeville Gallery at the Nott Memorial

The Drawing Room Muroff Kotler, SUNY Ulster Pearl Arts Gallery Wired Gallery

RED HOOK (E-7)

Ibrug

Ai Earthling Gallery The Art Studio at Woodstock Byrdcliffe Art Colony Center for Photography at Woodstock Fletcher Gallery James Cox Gallery Kleinert/James Arts Center

Red Eft Gallery

YONKERS (D-15) Hudson River Museum

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HUDSON RIVER VALLEY Albany Albany Institute Of History & Art 125 Washington Ave Albany NY 12222 518-463-4478 | www.albanyinstitute.org New York State Museum Cultural Education Center, Albany, NY 12230 518-474-5877 | www.nysm.nysed.gov Albany Airport Gallery Albany International Airport, 737 Albany-Shaker Road, Albany, NY 12211 518.242.2241 | arts@albanyairport.com.

7:00 a.m. - 11:00 p.m. daily.

Annandale-on-Hudson CCS Bard Hessel Museum Bard College, Annandale-on-Hudson NY 12504 845-758-7598 | www.bard.edu/ccs Wed–Sun 1–5, free admission.

Arkville The Catskill Center’s Erpf Gallery 43355 State Highway 28, Arkville, NY 12406 845-586-2611

Geronimo’s Lookout Oil on Canvas 32” x 36” 2013 Katharine McKenna

Beacon Art Along The Hudson www.beaconarts.org Dia:Beacon 3 Beekman St, Beacon NY 12508 845-440-0100 | www.diaart.org November–December: Thursday–Monday 11 am–4 pm; January–March: Friday–Monday 11 am–4 pm Carl Andre: Sculpture as Place, 1958–2010 May 5, 2014 - March 2, 2015

Riverwinds Gallery 172 Main St, Beacon NY 12508 845-838-2880 | www.riverwindsgallery.com Wed–Mon 12–6, Beacon 2nd Sat 12–9

Bethel The Museum At Bethel Woods 200 Hurd Rd, Bethel NY 12720 1-866-781-2922 | www.bethelwoodscenter.org The Museum at Bethel Woods, located at the site of the 1969 Woodstock festival at Bethel Woods Center for the Arts, explores the unique experience of the Woodstock festival, its significance as a culminating event of a decade of radical cultural transformation, and the legacies of the sixties and Woodstock today. Visit the website for more information on the concert, film, and speaker series. Open April through December 31.

Blue Mountain Lake Adirondack Museum PO Box 99, Blue Mountain Lake NY 12812 (Route 28N / 30, just north of Blue Mountain Lake) 518-352-7311 | www.adirondackmuseum.org

Canajoharie The Arkell Museum At Canajoharie 2 Erie Blvd, Canajoharie NY 13317 26 • Hudson River Museum & Gallery Guide

1/2 mile from NYS Thruway (I-90) exit 29 518-673-2314 | www.arkellmuseum.org

Catskill Thomas Cole National Historic Site 218 Spring St, PO Box 426 Catskill NY 12414 518-943-7465 | www.thomascole.org By tour Thur–Sun 10–4, last tour at 3 or by appt.

The 2014 exhibition, Master, Mentor, Master: Thomas Cole & Frederic Church is on view April 30 - November 2, 2014.

We are pleased to announce the first exhibition to explore one of the most influential teacher-student relationships in

the history of American art – that between the founder of the Hudson River School of painting, Thomas Cole (1801-1848) and his most celebrated student and successor, Frederic Church (1826-1900). Church was first introduced to the Hudson Valley as an 18–year-old when he came to live and study with Cole at the property known as Cedar Grove in Catskill, New York, from 1844 to 1846. Curated by John Wilmerding, Sarofim Professor of American Art, Emeritus, at Princeton University and former Senior Curator and Deputy Director of the National Gallery of Art in Washington, the exhibition presents Church’s early works from this formative two-year period, as well as later works that speak to a deep and lifelong connection between two painters who defined American art.

Cooperstown Fenimore Museum 5798 State Hwy 80, Cooperstown, NY (607) 547-1400 www.FenimoreArtMuseum.org Summer hours: Open daily 10am - 5pm

Corning Rockwell Museum of Western Art 111 Cedar St., Corning NY 14830 607-937-5386 | www.rockwellmuseum.org Painted Journeys: In the Spirit of the American West will be on display through May 2014 at the Rockwell Museum of Western Art. The exhibition showcases a collaboration of three Woodstock, NY artists. The paintings of Judy Abbott, K.L. McKenna and Eva van Rijn, while individual in style, share a common intention to capture the spirit of place in the American western landscape. Abbott’s paintings are quiet, almost meditative in their inquiry. McKenna’s work celebrates the warm color and dynamic structure of the landscape, and van Rijn’s paintings are rich in subtle color and atmospheric depth. The paintings of these three artists strongly evoke the spirit of the American West. Painted Journeys showcases their artistic interpretation and conveys the artists’ contemporary journey in the tradition of the nineteenth century Hudson River Valley Artists. The Rockwell Museum of Western Art is located at 111 Cedar Street in Corning, NY.

27 • Hudson River Museum & Gallery Guide

Hud­

General admission fee $8

Flamme’s View

Oil on Board

16” x 24”

2012 Judy Abbott

Garrison / Cold Spring

The Hyde Collection is a historic house and art museum complex with a distinguished collection consisting of works

by American and European artists such as Botticelli, Rubens, Rembrandt, Picasso, Homer and Eakins, as well as important decorative arts and antique furnishings. The Museum provides changing exhibitions in two gallery spaces, lectures, concerts, family activities and school programming. From June 14 through September 14, 2014 in the Wood Gallery, Larry Kagan: Lying Shadows is on view. This exhibition will feature twenty wall-mounted steel sculptures, illustrating the development of a conceptual idea, by the contemporary artist. An exhibiting artist whose work has been collected and shown by museums and galleries worldwide, Kagan is

Art Along The Hudson www.garrisonartcenter.org Boscobel 1601 Route 9D, Garrison, NY 10524 (845) 265-3638 | info@boscobel.org

Glens Falls Hyde Collection 161 Warren St., Glens Falls, NY 518-792-1761 l www.hydecollection.org Tuesday- Saturday 10am- 5pm; Sunday 12noon5pm; Closed Mondays and national holidays.

Road to Canyon Lands Oil on Canvas 20” x 28”

William Durkin’s 2014 Collection

“Fish Works”

www.WJDurkin.com 28 • Hudson River Museum & Gallery Guide

2013

Eva van Rijn

also a faculty member of the art department of Rensselaer Polytechnic Institute in Troy, New York. In Hoopes Gallery, as a counterpoint to Lying Shadows, Emerging from the Shadows: Edward Hopper and His Contemporaries will feature approximately twenty-five works on paper by ten artists, primarily etchings on loan from museums, private collections, and selected from The Hyde’s permanent collection.

High Falls Kaete Brittin Shaw Rte 213 High Falls NY 12801 845-687-7828 | www.kaetebrittinshaw.com Functional, sculptural porcelain

Hillsdale Neumann Fine Art 65 Cold Water Street, Hillsdale, NY www.neumannfineart.com Tel: 413-246-5776 Open Thursday - Sunday 11 - 4 and by appt.

One block off Route 23 in the historic and scenic Hamlet of Hillsdale. Presenting world class art in a small town setting.

Hudson Art Along the Hudson www.artinhudson.org Limner Gallery/Slow Art Productions 123 Warren St, Hudson NY 12534 518-828-2343 limnergallery.com & slowart.com

Spawning 74”x40” Acrylic, Metal on Canvas 2013 Naomi Campbell

experience your playground

[

U L S T E R

C O U N T Y ,

N . Y .

]

The Hudson River Maritime Museum is one of many Ulster County gems!

You’ll also find: Places to Stay - Resorts, Lodges and Campgrounds Things to Do - Shopping, Golfing, Rock Climbing, Apple Picking, Wine Tasting and more To Book Your Stay in Ulster County, visit UlsterCountyAlive.com today.

Hudson Valley/Catskill Regions 29 • Hudson River Museum & Gallery Guide

Hudson River Museum & Gallery Guide • 29

Kingston Art Along the Hudson www.artalongthehudson.org www.KingstonHappenings.org Arts Society of Kingston www.askforarts.org The Storefront Gallery 93 Broadway, Kingston, NY. Gallery hours are Friday, Saturday 1-6pm and 24/7 through the storefront windows. Also by appt. TheStorefront­ Gallery.com | 845-338-8473 Tools Arrested

Acrylic

1996

Judith Lindbloom

Olana State Historic Site 5720 State Rt 9G, Hudson NY 12534 | 518-828-0135 | www.olana.org Carrie Haddad Gallery 622 Warren St, Hudson NY 12534 | 518-828-1915 carriehaddadgallery.com | Thurs–Tue 11–5 Under the Influence (of the New York School) Lionel Gilbert, Judith Lindbloom, William Bond Walker and Russell DeYoung Reception: Saturday, April 26th, 6-8pm April 19, 2014 through June 1, 2014. New York City during the 1950s and 60s was a melting pot of visionary artists, writers, jazz musicians, and dancers. Abstracted forms, bold palettes, and gestural displays of human emotion explored by artists such as de Kooning, Kline, and Pollock are the iden­ tifiable influences internalized by other artists of the period.

Judith Lindbloom’s career was jumpstarted at the age of 23 in the mid fifties when her work appeared in the Whitney Museum’s Under 35 exhibit of young American painters. This exhibit will feature a selection of abstract paintings from the 90s. William Bond Walker describes each of his abstract and representational paintings as a “new beginning”, allowing for intuitive development rather than relying on a preconceived plan. Lionel Gilbert is well known for the large murals painted in public buildings while employed through the nation’s W.P.A program. This exhibit will include his abstract figurative paintings, Reminiscent of Hans Hoffman. Our next exhibit will feature work by Jeff Briggs, Kim McLean, Jerry Freedner and Lanie Cecula. On view June 5th – July 13th.

30 • Hudson River Museum & Gallery Guide

June 7- June28. Jim Fawcett, “Shelfies”

Margaretville Longyear Gallery Upstairs in the Commons 785 Main St., Margaretville, NY 12474 | 845-586 3270 longyeargallery.org

Newburgh Art Along the Hudson www.artalongthehudson.org | 845-561-5522 www.NewburghArtsCalendar.com

New Paltz Art Along the Hudson www.newpaltzarts.com www.greaternewpaltzarts.com Samuel Dorsky Museum of Art State University of New York at New Paltz 1 Hawk Dr, New Paltz, NY 12561 845-257-3844 | www.newpaltz.edu/museum Wed–Sun 11–5, closed school holidays Mark Gruber Gallery New Paltz Plaza, New Paltz, NY 12561 845-255-1241 | www.markgrubergallery.com Mon 11–5:30, Tue–Fri 10–5:30, Sat 10–5, Sun 12–4

New Windsor Storm King Art Center 1 Museum Road, New Windsor, NY 12553 Phone: 845-534-3115 | Fax: 845-534-4457 info@stormkingartcenter.org | www.stormking.org Storm King is one of the world’s leading sculpture parks, en­ compassing over 500 acres of rolling hills, verdant fields, and woodlands. These provide space for a collection of more than 100 large-scale sculptures by some of the most acclaimed artists of our time, including Alexander Calder, Mark di Suvero, Andy Goldsworthy, Maya Lin, Claus Oldenburg, Louise Nevelson, Isamu Noguchi, Richard Serra, David Smith, and Zhang Huan, among others. For 2014, Storm King presents Zhang Huan: Evoking Tradition, the first major outdoor exhi­ bition in U.S. devoted to influential the Chinese artist, May 3 – November 9. Concurrently on view, Outlooks: Virginia Overton, a new site-specific installation. Storm King offers a range of public programs free with admission.

Orangeburg The Elizabeth Sullivan Gallery Set in the historic home of modernist painter Vaclav Vytlacil, the Elizabeth V. Sullivan Gallery focuses on solo exhibitions by the Art Students League of New York’s exceptional faculty and its circle. May 3 – July 6, 2014, the Elizabeth V. Sullivan Gallery is pleased to present Naomi Campbell, “Spawning: Conversations that go on with the Virtual Identity,” curated

by Susanne Karbin and G. L. Sussman. Join us for the Opening Reception: Saturday, May 3, 2–5 pm. Also housed on the former Vytlacil estate is The League Residency at Vyt, the Art Students League of New York’s international artist-in-resi­ dence program. Every month, on the last Saturday before the 28th, The League Residency at Vyt hosts Open Studios. We invite you to tour our gardens and artist studios while en­ joying a glass of wine. Free and open to the public. For more information, call 845-359-1263 or see www.TheArtStudent­ sLeague.org/Residency.aspx. Driving directions: 241 Kings Highway, Orangeburg, NY, 10962.

Ossining Art Along the Hudson www.artalongthehudson.com | 914-734-1292

Sojourner Truth / Isabella - as an 11 yr old slave with no last name, as depicted in the sculpture by Trina Greene

Peekskill Art Along the Hudson www.artalongthehudson.com www.peekskillartsalliance.org

Phoenicia The Arts Upstairs 60 Main St, Phoenicia NY 12464 | 845-688-2142 www.phoeniciarts.com

Poughkeepsie The Frances Lehman Loeb Art Center at Vassar College 124 Raymond Ave, Poughkeepsie NY 12604 845-437-5632 | http://fllac.vassar.edu/

May 3 – November 9

STORM KING ART CENTER Mountainville NY 10953

www.stormking.org 31 • Hudson River Museum & Gallery Guide

Hudson River Museum & Gallery Guide • 31

LIMNER GALLERY 123 123 WARREN WARREN ST ST HUDSON, HUDSON, NY NY

SLOWINSKI PAINTINGS

www.slowart.com Locust Grove The Samuel Morse Historic Site 2683 South Rd. (Rt. 9 S.), Poughkeepsie, NY 845-454-4500 | www.lgny.org Mildred I. Washington Art Gallery Dutchess Community College, Washington Center 53 Pendell Rd, Poughkeepsie NY 12601 | 845-431-8610 www.sunydutchess.edu Mon–Thurs 10–9, Fri 10–5

POUGHKEEPSIE / HYDE PARKe Art Along the Hudson www.SPARCPoughkeepsie.com www.hydeparkartists.com

Purchase Neuberger Museum of Art State University of New York Purchase College 735 Anderson Hill Rd, Purchase NY 10577 914-251-6100 | www.neuberger.org Check website for hours

Rhinebeck Betsy Jacaruso Studio & Gallery 43-2 E. Market St., Rhinebeck, NY 12572 845-516-4435 | www.betsyjacarusostudio.com 32 • Hudson River Museum & Gallery Guide

Thursdays & Sundays from 11 am -5 pm, Fridays & Saturdays from 11 am-6 pm, and by appointment or chance. We are also open until 7 pm every 3rd Saturday of the month for the Rhinebeck/Red Hook’s 3rd Saturdays ArtsWalks!

Albert Shahinian Fine Art Upstairs Galleries 22 East Market Street, Suite 301, Rhinebeck, NY (845) 876-7578 or (845) 758-0335 Fall Hours: Thur – Sat, 11-6; Sun, 12-5 & by appt or chance www.ShahinianFineArt.com Art Along the Hudson www.rhinebeckchamber.com | 845-876-5904

Roxbury The Roxbury Arts Group (RAG) Roxbury, NY 12498 | 607.326.7908 www.roxburyartsgroup.org For more information call or or visit our website Orphic Gallery Eight Track Museum 53525 State Highway 30, Roxbury, NY 12474 www.orphicgallery.com | 607-326-6045 The Orphic Gallery – where Art and Music collide - exclusively features music-related art including photography, musical instruments, portraits of musicians, specimens of musical technology, etc. The gallery presents exhibits on local music and musical traditions from afar. The gallery is pleased to

announce the opening of Images & Objects, Stories & Sounds, an exhibit of sculptures by Lenny Kislin and photographs by Catherine Sebastian. Lenny creates sculpture from antique rarities and oddities transforming them into intriguing assem­ blage pieces. For this exhibit, Lenny has chosen a variety of his musically inspired works, some that function as musical instruments and others that suggest evocative narratives.

Catherine will exhibit a selection of music photography from her time in California and New York. She will show portraits, concert photos, and intimate behind the scenes shots includ­ ing pictures of Levon Helm, Muddy Waters, Taj Mahal, John Sebastian, Pete Seeger, and Richie Havens. The exhibit will run from May 24th to June 29th with an artists’ reception on June 7th from 5-7.

West Point Museum

Preserving America’s Military Heritage

West Point Museum

UNITED STATES MILITARY ACADEMY

Preserving America’s Military Heritage

UNITED STATES MILITARY ACADEMY

Saratoga Springs The National Museum of Dance 99 South Broadway, Saratoga Springs, NY 12866 Phone 518.584.2225 | Fax 518.584.4515 www.dancemuseum.org Saratoga Automobile Museum 110 Avenue of the Pines, Saratoga Springs, NY 12866 Phone 518.587.1935 www.saratogaautomuseum.org

Saugerties

Open Daily Open Daily 845.938.3590

845.938.3590

10:30 am - 4:15 pm

10:30 am - 4:15 pm

(Closed Thanksgiving, Christmas and (Closed Christmas and New Year’s Thanksgiving, Day)

New Year’s Day)

Located on Route 218 adjacent toLocated the Thayer entrance onGate Route 218 adjacent totoWest the Point Thayer Gate entrance

to West Point Free Admission

Art Along The Hudson www.artalongthehudson.com www.DiscoverSaugerties.com.

Opus 40 50 Fite Road, Saugerties NY 12477 www.opus40.org | 845-246-3400

Free Admission

West Point

Stone Ridge Muroff Kotler Visual Arts Gallery Ulster County Community College Route 209, Stone Ridge NY 12484 845-687-5113 | SUNYulster.edu Mon-Fri 11– 3, closed school holidays April 30 – May 15: Student Works 2014. May 22 – June 6: Future Voices 2014. Opening reception May 22, 5 – 7pm

West Point Museum United States Military Academy 2110 South Post Rd, West Point NY 10996 845-938-3590 | www.usma.edu/Museum Open daily, 10:30-4:15, admission free.

The West Point Museum is the oldest federal army museum in the nation and exhibits the largest diversified public collection of militaria in the Western Hemisphere. As a department of the United States Military Academy, the museum supports cadet academic, military and cultural instruction—representing more than two centuries of preserving America’s Military Heritage.

STUDENT WORKS GRADUATING ART MAjoRs EXHIBITIoN April 30 - May 15

opening reception Wednesday, April 30, 1-2 pm & Thursday, May 1, 2014, 4-5:30 pm

Drawing, painting, ceramic sculpture, photo, digital art, mixed media

Kelli sillik

ceramic & encaustic

Vanderlyn Hall, Room 265 stone Ridge, New York 12484 845.687.5113 www.sunyulster.edu

MUROFF KOtleR

Music Visual arts Gallery Art Design Communication Theater

sEE lIsTING foR GAllERY scHEDUlE 33 • Hudson River Museum & Gallery Guide

Hud­

NEW CLASSES IN 2014 include

PASTEL PAINTING with Christopher Seubert STILL LIFE with Peter Clapper THE CONTEMPORARY PORTRAIT FROM LIFE with Claire Lambe

AN EXPLORATION OF YOUR PERSONAL MYTHOLOGY with Tricia Cline MIXED MEDIA: RECYCLE AND REUSE WORKSHOP with Jenne M. Currie and much more 845 679 2388 wsart@earthlink.net woodstockschool of art.org

Woodstock Art Along the Hudson www.artalongthehudson.org Bill Durkin Studio Please send all inquiries to wjdurkinjr@gmail.com My art is simply about the few moments we have to enjoy the transitory beauty and colors of the many species in our waters..

While playing with my daughter in the studio we opened ma­ ma’s sewing kit and made some fish out of pins, needles, safety pins, clips and buttons. I was inspired and started experiment­ ing with the buttons, learning about buttons and acquiring buttons. Buttons are an intimate part of our daily lives and when we lose them it’s a hassle. They are not only functional and stylish but the variety is beautiful as it is endless. I dye, re-dye, cut, trim, back cut them, and use them as my paints to create my Fish Art and stay connected.

Center for Photography at Woodstock 59 Tinker St, Woodstock NY 12498 845-679-9957 | www.cpw.org Wed–Sun 12–5 & by appt Esopus Art Lake Hill NY | 845-679-8440 for by appointment judyabbott@email.com | www.judyabbottart.com West Woodstock Exhibition Project Space PO Box 88, Willow NY 12495 845-679-6484 by appt Woodstock Artists Association & Museum 28 Tinker St, Woodstock NY 12498 845-679-2940 | www.woodstockart.org Fri & Sat noon–6, Sun, Mon & Thurs noon-5 3rd Annual Benefit Splash! Saturday, May 17, 5:30-8 pm.

Food, Wine, Art, Music & More! Since its beginnings in 1919, the Woodstock Artists Association & Museum has been com­ mitted to exhibiting and collecting work in all media by area artists and supporting the tradition of Woodstock as the “Col­ ony of the Arts.” Located in the center of the village of Wood­ stock, New York, the WAAM functions as a cultural center as well as a repository for the work of American artists associated with the Woodstock Art Colony. The Main Gallery hosts month­ ly group exhibitions, the middle gallery features solo shows 34 • Hudson River Museum & Gallery Guide

The

PRINT SHOW

A Juried Exhibition April 26-May 31, 2014 see website for prospectus

of contemporary artists and the Phoebe and Belmont Towbin Wing is devoted to art from the Permanent Collection. Works created by students and children through the Education Pro­ gram are featured in Youth Exhibition Space.

Woodstock Byrdcliffe Guild 845-679-2079 | www.woodstockguild.org Visit website for more info.

Woodstock Framing Gallery 31 Mill Hill Road Woodstock, NY 12498 (845) 679-6003 | WFGgallery@gmail.com www.WFGgallery.com

Woodstock School of Art 2470 Rt. 212, Woodstock NY 12498 845-679-2388 | www.woodstockschoolofart.org THE PRINT SHOW: A national competition of traditional hand pulled prints. April 26-May 31. INSTRUCTOR’S EXHIBITION: Work by School faculty. June 7-July 12. Reception, Saturday, June 7, 3-5 PM. Students select classes and workshop pro­ grams conducted by more than thirty professional instructors.

The WSA holds classes throughout the year, in air-conditioned or radiant heated studios, newly renovated but retaining the charm of the original stone and timber buildings. An average of more than four hundred students from the US and countries abroad currently enroll in any given year. The schedule includes daily classes in drawing, painting, composition, sculpture and printmaking, with workshops in specialized techniques under the guidance of experts in their respective fields.

Bronx Wave Hill 675 West 252 St, Bronx, NY 10471 718-549-3200 | www.wavehill.org visualarts@wavehill.org Prickly, Tender and Steamy: Artists in the Hothouse, through May 18, celebrates Wave Hill’s Winter Workspace program with artworks by former Workspace artists inspired by the Marco Polo Stufano Conservatory. Gregory Crewdson: Fire­ flies, May 23 August 24, offers the rare opportunity to view

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Crewdson’s 61 black and white photographs—being shown for the first time as a series—in an exquisite natural setting.

With Hidden Noise, May 23 July 6, presents sound art that invites visitors to become absorbed in the act of listening.

This traveling exhibition is curated by artist Stephen Vitiello and organized by Independent Curators International. In the Sunroom Project Space: April 8 May 18, Brandon Neubauer; May 23 July 6, Kristyna and Marek Milde.

Manhattan WEBL AB, LLC

THE WEB

dosen’t have to be UGLY! ® See our work @ HRMGG.com

D. Wigmore Fine Art, Inc. 730 Fifth Ave, Suite 602, New York NY 10019 212-581-1657 | www.dwigmore.com DC Moore Gallery 535 West 22nd St., New York, NY 10011 p. 212-247-2111 | f. 212-247-2119 info@dcmooregallery.com | dcmooregallery.com Questroyal Fine Art 903 Park Ave, Suites 3A/B, New York NY 10075 212-744-3586 | www.questroyalfineart.com gallery@questroyalfineart.com Mon-Fri 10-6, Sat 10-5, and by appt

www.mfmweblab.com 35 • Hudson River Museum & Gallery Guide

Hudson River Museum & Gallery Guide • 35

Ricco Maresca Gallery 529 West 20th Street, 3rd Floor NYC 10011 212.627.4819 | f 212.627.7191 | Tues- Sat 11-6 www.riccomaresca.com | info@riccomaresca.com Walter Wickiser Gallery 210 Eleventh Avenue, Suite 303, New York, NY 10001 212-941-1817 | www.walterwickisergallery.com April 3rd - May 10th, 2014, Ralph L. Wickiser, June 19th - August 20th, 2014, Gallery Artists Part XI, Opening Reception: Thursday, June 19th, 2014, 6 pm - 8pm

A Drum With Balls

44” X 60”

Lenny Kislin

Pittsfield Berkshire Museum 39 South St. (Route 7), Pittsfield, MA 01201 413-443-7171 | berkshiremuseum.org

CONNECTICUT Bridgeport Red and Rough II

36” X 59”

1955

Ralph Wickiser

BERKSHIRES & MASSACHUSETTS Andover Addison Gallery of American Art Phillips Academy |180 Main Street, Andover Massachusetts 01810 978 749 4000 | www.andover.edu

Housatonic Museum of Art 900 Lafayette Blvd., Bridgeport, CT 06604 203-332-5052 | www.housatonicmuseum.org

Hartford The Wadsworth Atheneum Museum of Art 600 Main St, Hartford CT 06103 | 860-278-2670 www.wadsworthatheneum.org

Northhampton Smith College Museum of Art Elm Street Bedford Ter, Northampton MA 01063 413-585-2760 | www.smith.edu/artmuseum Massachusetts Museum of Contemporary Art 1040 MASS MoCA Way, North Adams MA 01247 413-MoCA111 | www.massmoca.org

Williamstown Sterling & Francine Clark Art Institute 225 South St, Williamstown MA 01267 413-458-2303 | www.clarkart.edu Check website or call for hours

36 • Hudson River Museum & Gallery Guide

Life’s a Messy Acrylic on Canvas 42” x 32” 2011 Tim Slowinski

IMAGES & OBJECTS STORIES & SOUNDS

Catherine Sebastian, Photography Lenny Kislin, Sculpture

Taj Mahal

A special exhibit marking the 50th anniversary of The Beatles arrival in America

May 24 – June 29, 2014

Artists’ Reception Saturday, June 7, 5-­7 PM

THE ORPHI C G ALLERY Where A rt and Mus ic Collide Main & Bridge Streets , R ox bury , N Y (6 0 7 ) 3 2 6 - 6 0 4 5 orphicgallery . com

Kent The Gallery at Kent Art Association 21 South Main St, Kent, CT 06757 860-927-3989 | www.kentart.org

Unseen photos of the Fab Four’s first U.S. visit by LIFE photographer Bill Eppridge & Beatlemania memorabilia from the Rod Mandeville collection.

Mashantucket Mashantucket Pequot Museum & Research Center 110 Pequot Trail, PO Box 3180 Mashantucket CT 06338-3180 800-411-9671 www.pequotmuseum.com

On view in the special exhibit gallery

THRU AUGUST 17, 2014 This exhibition is made possible in part by MIKE WATKINS/WOODSTOCK DEVELOPMENT, LLC

VISIT OUR WEBSITE FOR INFORMATION ABOUT SPECIAL EXHIBITS, SPEAKER, FILM & CONCERT SERIES.

Tickets at BethelWoodsCenter.org

By Phone 1.800.745.3000 | Bethel Woods Box Office Ticketmaster.com | Info at 1.866.781.2922

Bethel Woods Center for the Arts is a not-for-profit cultural organization.

Tea Party

44” X 60”

by Steve Sax

37 • Hudson River Museum & Gallery Guide

Hud­

BERKSHIRES GALLERIES & MUSUEMS ANDOVER Phillips Academy

Sanford Smith Fine Art Vault Gallery

AMHERST

HINSDALE

Amherst College Museum of Natural History Amherst Herter Art Gallery Emily Dickinson Museum Eric Carle Gallery of Picture Book Art Hampshire College Art Gallery Mead Art Museum at Amherst College National Yiddish Book Center Univ Gallery of UMass Amherst

BECKET Becket Arts Center of the Hilltowns

DALTON Blue Horse Art

DEERFIELD Historic Deerfield GREAT BARRINGSTON Geoffrey Young Gallery Godwin & Lundquist Hayloft Art Center Housatonic Valley Art League Iris Gallery Kasten Fine Art Gallery Mill River Studio Gallery Eight Pink Cloud Gallery

Atelier Stritch Art Gallery HOUSATONIC Great Barrington Pottery Lauren Clark Fine Arts Housatonic Artists Community Housatonic Museum of Art

MILLERTON Green River Gallery MONTEREY Joyous Spring Pottery

LENOX B.J. Faulkner Gallery Charles L. Flint Art & Antiques Church Street Art Gallery Devries Fine Art Ferrin Gallery Gallery Boreas Hanback Gallery Hoadley Gallery Lenox Gallery of Fine Art Pine Hill Gallery at Kimball Farms Rothschild Gallery Towne Gallery Wit Gallery DeVries Fine Art

NORTH ADAMS

SPRINGFIELD

Brill Gallery Eclipse Mill Gallery Gallery 51 Ice Cream Art House Kolok Gallery Massachusetts Museum of Contemporary Art North Adams Open Space Studio Works

Springfield Museums

NORTHAMPTON Don Muller Gallery Northampton Center for the Arts Oxbow Gallery R. Michelson Galleries Smith College Museum of Art William Baczek Fine Art William P. Carl Fine Prints

PITTSFIELD Berkshire Museum Hancock Shaker Village Le Petit Musée Lichtenstein Center for the Arts Storefront Artist Project Loring Gallery

SOUTH HADLEY Mount Holyoke College Art Museum

STOCKBRIDGE An American Craftsman Gallery Chesterwood Museum Schantz Galleries IS 183 Art School Norman Rockwell Museum Origins Gallery Stage & Story Gallery

TYRINGHAM Tyringham’s Gingerbread House

WEST STOCKBRIDGE Contemporary Sculptors Guild Hoffman Pottery Gallery Hotchkiss Mobiles Inner Vision Studio New England Stained Glass Studios Train Station Gallery

WILLIAMSTOWN Beaverpond Gallery Gallery 37 Harrison Gallery Sterling and Francine Clark Art Institute Williams College Museum of Art

GALLERIES & MUSUEMS, CONNECTICUT ASHFORD Fenton River Gallery

Lois Richards Galleries Quester Gallery

BANTAM

GUILFORD

Bantam Fine Arts

BETHLEHEM The Five Fifty Gallery

BRIDGEPORT Housatonic Museum of Art at Housatonic Comm. College

CHESHIRE Barker Animation Art Gallery

CHESTER Leif Nilsson Spring St Studio & Gallery The Caron Gallery

CORNWALL BRIDGE Spotted Dog Gallery IO Gallery

GOSHEN Purpledoor Gallery

GRANBY Stagecoach Gallery

GREENWICH Bruce Museum Cavalier Galleries, Inc. Flinn Gallery Greenwich Arts Center Gallery

Artful Eye Gallery

HAMDEN Don Barese Fine Art

HARTFORD Artworks Gallery Paesaggio Gallery Real Art Ways Wadsworth Atheneum Museum of Art

HIGGANUM Blue Circle Studio

KENT Alison Palmer Studio & Gallery Art Within Gallery Foreign Cargo & The Gallery Upstairs Good Sports Art Gallery Gregory James Gallery Kent Art Association Morrison Gallery Northern Exposure Photography Ober Gallery Paris - New York - Kent Gallery

LAKEVILLE Argazzi Art Morgan Lehman Gallery

38 • Hudson River Museum & Gallery Guide

Tremaine Gallery at the Hotchkiss School White Gallery

LITCHFIELD Bantam Fine Arts Marie Louise Trichet Art Gallery New Arts Gallery P.S. Gallery Risley Gallery Thomas McKnight Gallery

MIDDLETOWN Wesleyan Potters

MILFORD Gilded Lily Gallery

NEW BRITAIN New Britain Museum

NEW CANAAN Butler Fine Art

NEW FAIRFIELD Sculpture Barn

NEW HARTFORD Act II Gallery Gallery Forty Four New Hartford Art League

NEW HAVEN Arts and Literature Laboratory Artspace City Gallery

City Spirit Artists Creative Arts Workshop Down Under Pottery Elm City Artists Gallery Endleman Gallery Erector Square Gallery Exposure Gallery Gallery 195 Haskins Laboratories Gallery John Slade Ely House Kehler Liddell Gallery Knights of Columbus Museum Seton Art Gallery University of New Haven Small Space Gallery The Frame Shop and Westville Gallery Corvus Art Center Thomas Colville Fine Art Wave Gallery White Space Wunderlee Arts Yale Center for British Art Yale University Art Gallery

39 • Hudson River Museum & Gallery Guide

Hud­

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40 • Hudson River Museum & Gallery Guide

2014 WOODSTOCK PHOTOGRAPHY

WORKSHOP & LECTURES SERIES

with offerings focused on ANTIQUARIAN PROCESSES DIGITAL IMAGING & PRINTING DOCUMENTARY PRACTICES FINE ART LIGHTING MULTIMEDIA PORTRAITURE PROFESSIONAL DEVELOPMENT WORKSHOPS FOR TEENAGERS and beyond...

featuring classes led by DAWOUD BEY DOUG BEASLEY DAN BURKHOLDER ELINOR CARUCCI VINCENT CIANNI RON HAVIV CHRISTOPHER JAMES KAHN & SELESNICK ED KASHI BOBBI LANE MARY ELLEN MARK ANDREA MODICA FAWN POTASH BRIAN ULRICH and many more...

THE CENTER FOR PHOTOGRAPHY AT WOODSTOCK 59 TINKER ST. WOODSTOCK NEW YORK 12498 | WWW.CPW.ORG 41 • Hudson River Museum & Gallery Guide

hudsonriverguide_spring_Layout 1 2/20/2014 11:24 AM Page 1

O U R P O S T W A R FOCUS 1960s1970s

Top: Richard Anuszkiewicz (b.1930) Texas Red, 1969, 36”x36” Bottom: Paul Jenkins (1923-2012) Phenomena Sufi Procession, 1974, 49” x 75”

D. WIGMORE FINE ART, INC. 730 FIFTH AVENUE, SUITE 602, NEW YORK, NY 10019 TELEPHONE 212-581-1657 DWIGMORE.COM