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JOE GOODWIN Photography by Edward Acker



EDWARD ACKER photographer

Time flies. Get pictures.


Kris Galli

Enigma, oil on canvas, 36x36

Represented by

Lauren Clark Fine Art 25 Railroad St. Great Barrington


Showing your passion is my passion

Pets • Children • Family gatherings • Weddings • Events

(518) 329-6239 •


Vault Gallery Great Barrington, MA. 413.854.7744 Lilly Clifford Gallery East Sussex, England



MArGUerIte BrIDe HoMe Studio at 46 GLorY driVe, pittSFieLd, Ma • 413-841-1659 or 413-442-7718 MarGeBride-paintinGS.coM FB: MarGuerite Bride WatercoLorS original watercolors, house portraits, commissions, fine art reproductions. Seasonal scenes always on exhibit at crowne plaza, pittsfield; Studio visits by appt. the old chatham Store and Gallery, June 3-July 27; “Jazz Visions”, this august at the Lichtenstein Gallery in pittsfield, Ma; church on the Hill Fine arts and crafts Show in Lilac park in Lenox, aug 20 & 21.

510 WArreN Street GAllery 510 Warren Street, HudSon, nY 518-822-0510 doris Simon: “Shimmering Lights”, May 6-May 29. opening reception May 7, 3-7pm Friday & Saturday, 12 - 6, Sunday 12 - 5 or by app /

A.P.e GAllery 126 Main St in nortHaMpton • 413-586-5553 June 8 – July 3 “House of Life”paintings by anna dibble, opening reception: Fri, June 10: 5-8 pm

SAMUel DOrSKy MUSeUM OF Art State uniV. oF neW York, neW paLtZ 845-257-3844 among the exciting exhibitions planned for 2016 are: Made for You: New Directions in Contemporary Design, investigating the ways in which contemporary design objects are customized for the individual whether hand-made or through 3d printing technology. Hours: Wednesday-Sunday: 11 am - 5 pm

CArrIe HADDAD GAllery 622 Warren St, Hudson, nY • 518-828-1915 25th anniversary exhibition, Leigh palmer, dale Goffigon, Ginny Fox, & Leon Smith, artists' reception: Saturday, May 28th 6-8pm; May 25, 2016 - Jul 10, 2016; Summer exhibit anne Francey, Stephen Walling, Marion Vinot, & Vincent pomilio. reception: Sunday, July 17th 2-4pm, Jul 13, 2016 - aug 28, 2016 ClAIre teAGUe SeNIOr CeNter 917 SoutH Main St., Gt. BarrinGton, Ma • 413-528-l881 see the newly rehung permanent collection. eunice agar paintings. regular Hours: MondayFriday, 8:00 aM - 3:30pm

Artist Cynthia Atwood, “Alphabet of Weapons” exhibit at No. Six Depot in West Stockbridge, MA 413. 232. 0205 / May 7-June 28. Opening reception May 7, 4-6pm An installation of 26 letters in sculpture and other forms. A 10 years’ long project being shown at its entirety for the first time.

DeNISe B CHANDler Fine art pHotoGrapHY & pHoto art 413-637-2344 or 413-281-8461 (leave message) *Lenox home studio & gallery appointments available. *exhibiting and represented by Sohn Fine art, Lenox, Ma *exhibiting as an artist member/owner at the 510 Warren Street Gallery, Hudson, nY

DIA Art 3 BeekMan St, Beacon, nY • 854-440-0100 / robert irwin: excursus: Homage to the Square. thru May 31, 2017 FrONt Street GAllery 129 Front St, HouSatonic, Ma • 413-274-6607 Housatonic gallery for students and artists, featuring watercolor & oil paintings by artist kate knapp

GOOD PUrPOSe GAllery 40 Main Street, Lee, Ma • 413-394-5045 kayla corby, Berkshire Revelations, thru May 17; Juried Student art Show, May 19 - June 21. the artists will be present at the opening reception on thursday, May 19, 5:30 to 7:30 ; Scott taylor and Joanie ciolfi, June 24aug 8, reception 5-7 on June 24. (9am - 4pm every day) JOHN DAVIS GAllery 362 1/2 Warren St, HudSon, nY • 518-828-5907 Maria Walker, Compass, thru May 22

lAUreN ClArK FINe Art 25 raiLrd. St, Gt. BarrinGton, Ma • 413-528-0432 Frank pellegrino, “as Was and as is”, works on paper. May 21 - June 6. reception Sat., May 28 from 4-7pm. also, fine art and framing. 2 • MAy 2016 tHe ArtFUl MIND

l’AtelIer BerKSHIreS 597 Main Street, Great Barrington, Massachusetts; • 510-469-5468, art reception on Friday May 27, 6-8 pm. Berkshire artist kiki dufault explores an evolution of time through her actions of pouring, scraping, expansion, and shifting of color in creating her paintings. art party May 27 live music by local guitarist patrick John tool.

leNOX HIStOrICAl SOCIety WeLLeS GaLLerY, Lenox LiBrarY 18 Main St., Lenox • 413-637-0197 Lenox Historical Society's opening of a photographic exhibition, Saturday June 18 from 2-5pm. "a Man and His camera from Lenox to Harlem" celebrating the work of african-american photographer and Lenox native James Van der Zee. donna Mussenden Van der Zee will speak briefly about her late husband's career. exhibition will run from June 18 - June 30

lISA VOllMer PHOtOGrAPHy neW Studio + GaLLerY 325 StockBridGe road, Gt. BarrinGton • 413-429-6511 / the Studio specializes in portrait, event, editorial and commercial photography : by appointment. the Gallery represents Sabine Vollmer von Falken, thatcher Hullerman cook, carolina palermo Schulze and tom Zetterstrom. a selection from portraits of trees, photographs by tom Zetterstrom, will be on view through the month of May 2016. (open daily from 11-4pm closed on Wednesdays)

SCHANtz GAllerIeS 3 eLM St, StockBridGe, Ma • 413-298-3044 a destination for those seeking premier artists working in glass

St. FrANCIS GAllery rte. 102, SoutH Lee (just 2 miles east from the Red Lion Inn) Friday thru Monday 10-5pm. reopening in spring 2016!

tHe GAllery at r&F 84 tenbroeck ave, kingston, nY • 854-331-3112 Marina thompson, new prints, ancient Wax, opening May 7, 5-7pm, thru July 16.

VAUlt GAllery 322 Main St, Gt. BarrinGton, Ma 413-644-0221 Marilyn kalish at work and process on view, beautiful gallery with a wonderful collection of paintings

DeB KOFFMAN’S ArtSPACe 137 Front St, HouSatonic, Ma•413-274-1201 Sat: 10:30-12:45 class meets. no experience in drawing necessary, just a willingness to look deeply and watch your mind. this class is conducted in silence. adult class. $10, please call to register.


ClArK Art INStItUte 225 SoutH Street WiLLiaMStoWn Ma 413-458-2303 / the Four nations ensemble, the nude Sacred and erotic, a concert to compliment Splendor, Myth, and Vision from the prado, June 18, 730pm. will sell out FaSt!

WHItNey CeNter FOr tHe ArtS 42 WendeLL aVe, pittSFieLd, Ma • 413-212-4459 / ron ramsay & Samantha talora with Michael Gillespie: a Sondheim trilogy, the Songs of Stephen Sondheim, Sat May 21, 7:30 tANNery POND CONCertS • 888-820-1696 Sat May 28, 6pm: kalichstein-Laredo-robinson trio:

Beethoven trio in B-flat major, op. 11, Brahms trio in c major, op. 87 and Mendelssohn trio in c minor, op. 66, no. 2. You can listen to the trio play the Beethoven at


AGlet tHeAtre COMPANy 91 Main St, SHeFFieLd, Ma • 860-435-6928 a Staged reading,ViSitinG Mr. Green by Jeff Baron directed by thomas Gruenewald, With Macey Levin and christopher-Michael Vecchia. an elderly Jewish widower is almost hit by a car driven by a young corporate executive. Found guilty of reckless driving, the young man is sentenced to six months community service: weekly “visits to Mr. Green.” What starts as a comedy about two people who resent being in the same room develops into a touching drama, as family secrets are revealed and old wounds are opened.

BIDWell HOUSe 100 art ScHooL rd., MontereY, Ma concert and opening reception, “She named Him adonijah”, with diane taraz, folk songs, costume of the times, 1716, voice and instrumental by colonial ladies. ClIMAte ACtION SUStAINABIlIty FAIr May 7 at the Shire city Sanctuary, pittsfield, Ma

HelSINKI CAFe 405 coLuMBia St, HudSon, nY • 518-828-4800 double Bill, the FiGGS, /the upper crust, Friday May 20, 9pm.

SPrING PArADISe CIty ArtS FeStIVAl tHree countY FairGroundS, nortHaMpton, Ma • 800-511-9725 / May 28, 29 & 30, Memorial day Weekend. one of america’s top-ranked shows of fine crafts, paintings and sculpture, paradise city features 250 outstanding artists in four

buildings, sensational cuisine, live music, creative activities, demonstrations, a benefit Silent art auction and an outdoor sculpture garden.

tHeatre COmpany presents... Lauren cLark Fine art 25 railroad St, Gt Barrington, Ma 413-854-4400 leave name and date, tele. FroM door to door, by James Sherman. a warmhearted, full-production play about three generations of woman spanning 63 years. a Mother’s day treat! directed by Bruce t. Macdonald; Leah Marie parker, Gayle Schechtman and Harryet candee. May 6 - 8, 7pm and May 13-15, 7pm. Matinees May 8 and May 15, 2pm. please call to reserve.

WAM tHeAtre We are returning once again to the gallery space at no. Six depot roastery and café in West Stockbridge at 3pm on Sunday afternoons starting on april 17 and including: May 15, photograph 51 by anna Ziegler, directed by kelly Galvin; June 19, the oregon trail by Bekah Brunstetter, directed by estefanía Fadul; august 21, Samsara by Lauren Yee, directed by Megan Sandberg-Zakian; and September 11, Grand concourse by Heidi Shreck, directed by Sheila Siragusa. WOODStOCK FrINGe Lake Hill, new York / HeaVenLY SunLiGHt by darryl curry - Heavenly Sunlight takes place in 1984 on a winter day in the home of a middle class black family from Haines, illinois, on the occasion of calvin thorne’s thirty-fifth birthday. “Heavenly Sunlight” is a hymn that cal sang when he was young and innocent. in the aftermath, after the relatives have gone, the thornes are forced to confront each other about dreams deferred, moments missed and great expectations. HoLY MetonYMY by paul Graham - a young city couple maneuvers through secrets and uncertainties on a climactic day which proves that fully grasping reality is a very rare thing. StroLL WitH a troLL by ariana Johns - a mother and daughter out for a country stroll encounter some strange denizens of the forest. FLYinG under tHe radar by Victoria Sullivan - two young men meet in a park, one white, one black, both disillu-

sioned. Will they form a bond of transgression against all that holds them back in today’s world or will they simply wander off in opposite directions? MaY 26 - 7pm


outdoor FaMiLY FiLMS in WiLLiaMStoWn Williamstown, Ma images cinema's Family Flicks under the Stars images cinema is pleased to announce its 10th season of Family Flicks under the Stars, its outdoor summer film series. each film screens at sundown (around 8:15/8:30pm) on Morgan Lawn at the top of Spring Street, Williamstown, Ma. Family Flicks is free to attend, fun for all ages. concessions will be available onsite. Bring your own chairs, blankets, and bug spray. iMaGeS cineMa presents FaMiLY FLickS under tHe StarS Sunday, July 10: pillow talk (1959) Sunday, July 17: inside out (2015) Sunday, July 24: Groundhog day (1993) Sunday, July 31: School of rock (2003)


SABINe VOllMer VON FAlKeN PHOtOGrAPHy please call for workshop schedule Studio 413 429 6510. Hm 413 298 4933

Send in your events by the 5th of the month prior to publication. Welcome text files and images:

Read back issues and new issues of The Artful Mind on


tHe ArtFUl MIND MAy 2016 • 3

Denise B Chandler Fine Art Photography

Bridge of Flowers, Denise b Chandler


• sohn Fine Art Gallery 69 Church st., Lenox, MA


• 510 Warren street Gallery 510 Warren st., Hudson, NY



Mary Carol Rudin

Kate Knapp


painting classes on Monday and Wednesdaymornings 10-1pm at the studio in Housatonic and thursday mornings 10am - 1pm out in the field. also available for private critiques. open to all. please come paint with us!

gallery hours: open by chance and by appointment anytime 413. 274. 6607 (gallery) 413. 429. 7141 (cell) 413. 528. 9546 (home) Front Street, Housatonic, MA

4 • MAy 2016 tHe ArtFUl MIND

“Let Them Eat Cake, Chocolate”


Franco Pellegrino “As Was and As Is”

Works on “Miller’s Special” May 21 through June 6

Reception for the Artist • Saturday, May 28 4-7pm


25 Railroad Street, Great Barrington, MA 413-528-0432

tHe ArtFUl MIND MAy 2016 • 5

tHe ArtFUl MIND ArtzINe MAy 2016

I memorize your face in my mind and your wordsof love in my heart

Indian Creek Dream Sequence 45" x 135" acrylic on linen 2016 courtesy the collection of Claudia Perles

Joe Goodwin, Artist

Interview by H. Candee Edward Acker Photography page 12

Stephanie Anderson Artist Interview by H. Candee page 24

FICtION: Otis’ Dream Part I Richard Britell

page 32

Grandma Becky’s Recipes Laura Pian page 31 Planet Waves Astrology will be back this fall ‘16

Eric Francis

Contributing Writers and Monthly Columnists Eunice Agar, Richard Britell, Laura Pian Photographers Edward Acker, Lee Everett, Jane Feldman Sabine von Falken, Alison Wedd Publisher Harryet Candee

Copy Editor

Marguerite Bride

Editorial proofreading Kris Galli Advertising and Graphic Design Harryet Candee

Mailing Address: Box 985, Great Barrington, MA 01230 413 854 4400 All MAterIAl due the 5th of the month prior to publication

FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all graphics including text material. Copyright laws for photographers and writers throughout The Artful Mind. Permission to reprint is required in all instances. In any case the issue does not appear on the stands as planned due to unforeseeable circumstances beyond our control, advertisers will be compensated on a one to one basis. Disclaimer rights available upon request. Serving the Art community with the intention of enhancing communication and sharing positive creativity in all aspects of our lives. We at The Artful Mind are not responsible for any copyrights of the artists, we only interview them about the art they create.

6• MAy 2016 tHe ArtFUl MIND


as we celebrate the beautiful Berkshire Spring, we are mindful that the benefits of shopping locally are many. and as more and more small, independent stores close we think how thankful we are for our many loyal and hugely supportive customers. We continue our support for many of our local schools' art programs and performance groups. and we are able to showcase some of the fine work that independent instrument makers and luthiers are creating one at a time right here in Berkshire county including: - Brier road's Guitars' gorgeous oM acoustic Guitar made entirely from fine tonewoods sourced in Berkshire county, - undermountain ukuleles' lovely a/e Flame Maple Soprano, a big voice in a small, appealing package - our own dr. easy's drunk Bay cigar Box guitars, simply the most amazing bang for a box ever heard and featuring six brand new boxes so far for 2016, - the rowe Stick dulcimers - strum sticks par extraordinaire, provided for sale and for donation to outreach and Veteran's programs, - lovely Stockbridge made Serenity Bamboo Flutes and Walking Stick/cane flutes and - Whitmer acoustic guitars, lovingly made one at a time in pittsfield from fine tone woods, - don Waite's Gadjo Guitars - gorgeous and daring for a killer price. the Music Store has, for fifteen years, enjoyed helping the community, near and far to make music. and this is a rewarding and satisfying enterprise for us. We look forward to continuing this mission into the second half of our

second decade. and, as always, we offer wonderful musical instruments and accessories at competitive pricing. But there are just some things that we like to share with you, including support for our newest music makers, and Great deals, raffles and new and used instruments for everyone. come and join the fun . . . We welcome the lovingly Berkshire county individually (not factory) made Brier road Guitars, Whitmer Guitars, and undermountain ukuleles. play and own an absolute original. composite acoustic guitars (the forever guitar) and their peerless travel guitar, the cargo, a favorite of our own dr. easy, david reed, made of carbon graphite and impervious to most changes of temperature and humidity. You can see it often in his hands in performance locally and abroad. Guild Guitars - light, powerful, affordable, beautiful. terrific ukuleles 60+ different models: Soprano, concert, tenor and Baritone, acoustic and acoustic/electric, six string, resonator, the Maccaferri-like Makala Waterman uke (made all of plastic for easy portability almost anywhere!) the remarkable u-Bass, and the new Solid Body uke Bass by the Magic Fluke co. How about a cordoba cuatro? or Guitarlele? experience the haunting sound of High Spirits native american Flutes. How about a West african djembe with a smashing carry bag? or a beautiful set of african djun djuns? try a 'closeout corner' instrument to suit almost any budget. alvarez guitars - great tone and great value. Breedlove - beautiful, american, sustainable. and so many more brands and types, including Luthier Handmade instruments from $150-$5000. ever heard of dr. easy’s drunk Bay cigar Boxes? acoustic/electric cigar box guitars, exquisitely made, which bring the past into the present with a delightful punch, acoustically and plugged in! You can even hear them in concert if you catch dr. easy's act in local venues! Harmonicas, in (almost) every key (try a Suzuki Hammond ‘Mouth organ’). picks (exotic, too!), strings (!!), sticks and reeds. Violins, Mandolins, dulcimers, Banjos, and Banjo ukes. Handmade and international percussion instruments. dreamy locally made bamboo and wooden flutes and walking stick flutes. and the new Berkshire county rowe Stick dulcimers, easy to play and adore, the sales of which benefit Veteran's homes and outreach programs. and there is more to delight the eyes, intrigue the ears and bring warm joy to the heart! We remain your neighborhood music store, where advice and help are free and music is the universal language. Working with local luthiers and repairmen we offer stringed and band instrument repair. and we just may have something you haven’t seen before (have you heard the electric cigar Box Guitars?). We match (or beat) many on-line prices for the merchandise that we sell, and do so in person, for the most part cheerfully (though we reserve the right to glower a little when asked if we can ‘do better’ on the price of a pick)! The Music Store, located at 87 Railroad Street in Great Barrington, is open Wednesdays through Sundays and by appointment. Call us at 413-528-2460, visit us on line at, on Facebook as The Music Store Plus, or shop our online Reverb store at


...with all thats going on this summer, you’ll thank Artful Mind!

tHe ArtFUl MIND MAy 2016 • 7

lAUreN ClArK FINe Art Frank peLLeGrino


Lauren clark Fine art presents “as Was and as is”, works on paper by Franco pellegrino. in the late 1960’s George Miller of Miller Supply in pittsfield, Ma purchased reams and reams of “reject” paper from Mead paper. the paper was meant for use in photography but inconsistencies in the heft of the paper made it unworkable for the intended use. after storing the paper for almost 10 years, in the late ’70’s Miller began cutting it up and selling it in large rolls in 15 to 20 foot lengths. as a painter, pellegrino was intrigued by the sheer size, and as it turned out, the wonderful texture of the “no good for photography” paper. and although some of it had been damaged in storage he found inspiration in the damaged parts and often integrated them into the many large mixed media paintings he produced in the 1980’s and 90’s. as time went on the paper became available only in smaller and smaller sizes and only in pad form. pellegrino has continued to work on this special paper and in addition to the large paintings the show will be highlighting, there are many small paintings on this same paper making their gallery debut. in many of the works in this collection pellegrino manages to integrate drawing with painting in a most striking and effective way. the artist includes figurative, landscape and abstract work in his repertoire, some bright, some dark, but all with a wonderfully free and expansive feel. the show will run from May 21 through June 6 with a reception for the artist, Saturday, May 28 from 4-7pm. Lauren Clark Fine Art - 25 Railroad Street, Great Barrington, Massachusetts;, 413-528-0432.

l’AtelIer BerKSHIreS kiki duFauLt

L’atelier Berkshires will be hosting an art reception on Friday May 27 from 6-8 pm. Berkshire artist kiki dufault explores an evolution of time through her actions of pouring, scraping, expansion, and shifting of color in creating her paintings. intrigued by the figure and the landscape, they emerge through her dynamic painting process. Her paintings have a mesmerizing presence with the rare capacity to deepen our sense of reality. the art party on May 27 will also have live music by local guitarist patrick John tool. currently kiki dufault’s paintings investigate the environment and threats to water, our earth’s life blood. the Housatonic river is one of the precious waterways, she is concerned with protecting. dufault comes from a family with a rich cultural history here in the Berkshires, her great aunt and uncle were the original owners of aston Magna, now a cultural center for music, hidden up on a hill in Great Barrington. keeping with the cultural tradition of her family, she is an accomplished musician as well as an exquisite painter. discover fresh and innovative contemporary art at L'atelier Berkshires art Gallery and Studio. Glass, bronze, and ceramic sculpture as well as unique paintings by a variety of artists are on exhibition in a historic Great Barrington building. Glass sculpture classes offered in the sculpture studio. exhibiting artists: John ratajkowski, kiki dufault, Sarah Logan, eva connell and natalie tyler & designers Mick Galvin and anthony Bianco. the studio offers classes in glass sculpture. Sculpture casting and mold making services are available for artists and designers. check our website or email for exhibitions, special art events and class schedule. L’Atelier Berkshires – 597 Main Street, Great Barrington, Massachusetts; For more information contact Natalie Tyler at 510-469-5468,



the Good purpose Gallery is proud to present the Juried Student art Show. Local high school-aged students from Berkshire county were invited to submit their best artwork to be juried by the gallery’s art authorities. the jurors scored the submitted artwork based on quality, intention and content; excellence of craftsmanship; distinction in the use of design elements; and professional presentation. only preeminent artwork was selected to be displayed and for sale at the gallery from May 19 through June 21. the artists will be present at the opening reception on thursday, May 19 from 5:30 to 7:30 and the public is invited to join them for the festivities. Students from cip national centers across the country have also entered artwork that has been juried through the same process in conjunction with this exhibit. all students were invited to submit work in any medium and the results are phenomenal with a remarkable diversity of drawings, monoprints, mixed media, sculpture, and photography. the entire gallery is an innovative exhibit filled with versatility, skill, and overall interesting and outstanding work. the vision of this exhibit is to bring exceptional art to the gallery and to provide a showcase and sales outlet for Berkshire county high school students and cip students. the Gallery mission is to help integrate young individuals on the autism spectrum and other learning differences into community and to enrich their lives through the visual arts. the Good purpose Gallery and Spectrum playhouse are professional venues that exist to offer students with learning differences real-life training, experience, and integration with the community. Both venues host professional artists and events on a regular basis throughout the year, including student events such as plays, performances, art exhibits, and more. Good Purpose Gallery- 40 Main Street, Lee, Massachusetts. The gallery is open 9am - 3pm Wednesday - Monday. For more information on the Gallery, visit our website:

“To play needs much work. But when we experience the work as play, then it is not play anymore.” -- Peter Brook

8 • 2016 MAy tHe ArtFUl MIND

MArGUerIte BrIDe

JenniFer paZienZa Work in proGreSS FroM SprinG Suite

MarGuerite Bride, park oF Honor, WatercoLor


Like many artists, i am often asked, “do you listen to music when you’re painting and if so, what genre?” When i am in Becket it is npr’s, WaMc 88.5. in my keswick ridge, new Brunswick studio, when i am not listening to itunes or cds it is canada’s cBc2 FM, all music, all day. But there is more to the question than meets the eye, or ear! Music, musica, musike, from the Latin and Greek is the art of the muses, is itself a muse. Sometimes the connections between visual art and music are obvious to the artist and the viewer. other times less so and it takes some defining moment to see it. Such is the case with the current series of paintings i am working on. the first drafts were underway when a dear friend from grade school posted a link on Facebook to coldplay’s, Yellow. Have you heard it? Seen the accompanying video? i love it! i played it over and over. i was immediately transported to my youth; time spent at the Jersey shore, memories of adolescent love and longing and back again to my loving life here on the ridge. Look at the stars, Look how they shine for you, And everything you do, Yeah, they were all yellow. as fate would have it, i am working with yellow! now, the series nearly complete, i turn my mind to the pr for it. i intend to show the paintings in the 510 Warren Street Gallery June invitational Group exhibition. i choose the collective title Spring Suite for the ensemble of four paintings and the individual titles i borrow from over the rainbow. not coldplay’s Yellow. i see how the lyrics, I drew a line, I drew a line, I drew a line for you, Oh what a thing to do, And it was all yellow influence the tone and tenor of my work. their effect however, triggers something much more profound in me than just the felt memory of teenage angst. thanks to my stepdaughter, i have a cd with 20 versions of over the rainbow. the song my mother sang to me in childhood, as she taught me the practice of navigating familial chaos by looking to the sky for guidance, the song that Judy Garland immortalized in the Wizard of oz. in Spring Suite, i realize yet again, that the life experiences i make visible in paintings are infused with landscapes of childhood. Where the dreams that i dare to dream really do come true. Jennifer Pazienza’s work is held in Public, Private and Corporate Collections in the US, Italy and Canada. Website: email: She has exhibited her paintings in the Berkshires at both Good Purpose and St. Francis Galleries and will have work in the 510 Warren Street Gallery’s June Invitational Show. Jennifer is represented in Canada by Art + Concepts Gallery in Fredericton, New Brunswick and The Jonathan Bancroft-Snell Gallery in London, Ontario.


PArADISe CIty ArtS FeStIVAl aron LeaMan, BLoWn GLaSS BoWLS


it’s Springtime in paradise! the paradise city arts Festival in northampton marks its 22nd year as new england’s premier showcase for fine and functional art, with a breadth of exhibitors and activities that will keep you enthralled and entertained all weekend long. one of the most spectacular fairs of fine craft, painting and sculpture in the whole country, this fair is lauded for its fresh, innovative approach. Meet 250 outstanding artists traveling from every corner of the country to show off their latest work, enjoy sensational cuisine by northampton's best chefs and catch live performances by nationally and regionally acclaimed musicians. Stroll through a flowering sculpture garden filled with artful delights, enjoy special exhibits, demonstrations and activities, bid in an exciting benefit art auction ... all housed in four buildings and under tents at the historic three county Fairgrounds in northampton. themed “show-within-a-show” exhibitions have been inspiring artists and intriguing patrons at paradise city arts Festivals for years. in “american Beauty: From Landscape to dreamscape”, paradise city artists and makers offer fresh interpretations of the landscapes that surround them. using paint, clay, metal, glass, fiber and wood, they weave together a visual panorama of america’s great outdoor spaces. no online experience can replace the person-to-person contact offered by the Festival. Founding director Linda post says, “While websites like etsy give art lovers instant access to the works of countless artists, the paradise city arts Festival continues to draw hundreds of exhibiting artists and many thousands of visitors from near and far to the northampton show. it’s really the personal touch, the conversations with artists that are a vital part of what makes fairs like paradise city valuable to the arts community in the 21st century. Whether it’s a hand-thrown coffee mug or a painting, when you bring something home from a show like this, there’s a narrative to it,” she explains. “those stories give an extra dimension to the objects that surround you in your home. they add texture and warmth to your life.” See why Boston Magazine called paradise city “the coolest collection of for-sale art around!” Paradise City Arts Festival, May 28, 29 & 30, at Northampton’s 3 County Fairgrounds, on Old Ferry Road off Rt. 9. From the Mass Pike, take exit 4 to I-91 North to Exit 19. For complete show and travel information and discount admission coupons, visit or call 800-511-9725.

the old chatham country Store and Gallery, old chatham, nY will feature the original paintings of Marguerite Bride and the work of fabulous abstract artist, karen Jacobs June 3 – July 27. it will be a lovely mix of abstract oils and watercolors with each artist contributing 10-12 original pieces. the opening reception is Sunday, June 5, 3-5 pm. Visit their website for hours, menu and directions ( and if you cannot make the reception, do stop by for lunch! For the past two years Bride has been preparing for a special exhibit called “Jazz Visions” that will happen this august at the Lichtenstein center for the arts in pittsfield….focusing on the influence jazz has played in her creative life. this month-long exhibit will feature 12-15 new paintings, mostly watercolor on canvas, along with the exciting fine art jazz photography of Lee everett. opening reception Friday, august 5, 5-8 pm during the august pittsfield arts Walk. Bride will also be exhibiting in two weekend shows this summer: church on the Hill Fine art and crafts Show in Lilac park, Lenox on July 30 and 31, and the Stockbridge Summer arts & crafts Show, august 20 and 21. known primarily for her custom house portraits and watercolors of the Berkshires, Marguerite Bride’s repertoire includes far more than that. take a look at her online portfolio (website) for a visit to italy, ireland, France, Mexico, england and other far flung destinations. You will also see lighthouses from near and far (even Lake Superior), quaint new england scenes, and some fascinating moonscapes. Soon to be added will be the Jazz Visions page. Fine art reproductions and note cards of Berkshire images and others by the artist are available at the red Lion inn Gift Shop (Stockbridge), Lenox print & Mercantile (Lenox), and Hancock Shaker Village. Seasonal scenes are always on display in the public areas of the crowne plaza in pittsfield. Marguerite Bride – Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only. Call 413841-1659 or 413-442-7718;;; Facebook: Marguerite Bride Watercolors.

Life, like the stage, is ephemeral. It is . . . and then it ain't. In order to truly experience it - you gotta be there - or you'll miss it. -- bMac.

tHe ArtFUl MIND MAy 2016 • 9



Brilliant colors is the name of the art show running June 24 – august 8 at the Good purpose Gallery. the show opens on June 24 with an opening party from 5-7 pm. Both Scott taylor and Joanie ciolfi are well known for their dynamic use of color in their work. taylor has been creating art for most of his life and his use of color has become his signature, which is apparent when looking at his work. Vibrant color first catches the eye, and through its movement and energy one is drawn further into his work. taylor’s work in Brilliant colors will feature pieces he has painted over the past winter that include florals, landscapes and of course old trucks with attitude. taylor said “i’m excited to be showing at the Good purpose Gallery this summer, especially with Joanie. We’re good friends, we’ve shown together before… and it’s always a lot of fun!” inspired by the beauty of the Berkshire’s, artist Joanie ciolfi will be showing selected oils on canvas. known for her use of saturated color and interplay of light, ciolfi’s subject matter ranges from expressive abstracts, to atmospheric landscapes, larger than life barns and dress portraits. as a former textile designer, the common thread that holds all of these works together is the passion she has for expressing herself through color. Good Purpose Gallery - 40 Main Street, Lee, Massachusetts. The gallery is open 9am - 3pm Wednesday Monday. For more information on the Gallery, visit our website: To see the exhibiting artists’ work visit the gallery or their websites at and

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Fine Line Multimedia provides single or multi-camera video of music, dance and theater performances. Services include: scripting and storyboard art, videography with professional high definition cameras, high quality audio recording, sensitive lighting design and creative editing with the latest non-linear editing system. For the past 45 years Fine Line Multimedia has provided audio/video performance production for the Boston Symphony orchestra at tanglewood, Berkshire performing arts center, national Music Foundation, recording for the Blind and dyslexic, united Way of the Berkshires, arlo Guthrie, rising Son records, Bobby Sweet, World Moja, phil Woods, Grace kelly, Heather Fisch, opera nouveau, ellen Sinopoli dance company and many more. Fine Line was established in 1970 by Lee everett in Lenox, Massachusetts. everett came to the Berkshires after studying advertising design and Visual communications at pratt institute and working for years as an art director in new York. He taught art in local schools and began a full-service multimedia studio in Lenox specializing in the performing and Visual arts and other business and industry. With photography, Graphic design, advertising, Marketing, audio/Video production, Website, Social network creation and administration together under one roof, Fine Line can satisfy the artistic communications and promotional needs of a wide range of clients. please look at some examples from our portfolios of work on our website and use the contact information on the site to get further information, to see more samples, photographs or video reels, for professional and client references or for a free project consultation. Fine Line Multimedia - 66 Church Street, Lenox, MA; Contact: Lee Everett, 413-637-2020,


although we have had an unusually mild winter this year, and some of us are still longing for a wonderful snowstorm to complete our hibernation, spring will soon be upon us. eLixir can help you make the seasonal transition a joyful experience. come in and ask about our 21 day restorative cleanse that does just that…cleanses and restores!! if the commitment seems too much at this moment, remember we have delicious fresh pressed juices, enlivening smoothies, and an array of elixirs and tonics to help you move from winter to spring. We offer our cleanse people a 4 course luncheon of healing, balancing, whole foods that others may partake of, preferably with a reservation, or by chance. everything is 100% organic, freshly prepared with love, intention and expertise, with your healing, wholeness and well-being in mind. Stop by for a soothing cup of tea in our quiet, calm, tea salon atmosphere. reflect, read, converse, play a board game with a friend, draw, write… Later in March, look for your loose teas, herbs and spices from eLixir. our shipment is on its way and we are thrilled to be offering these to our community. We invite you to future tea tastings. think of having an eLixir tea party for birthdays, showers, anniversaries, or just for fun! Last but not least, check our facebook page for the wide variety of evening events we host from the Berkshire herbalist collaborative workshops, to artist talks, and Musical chordination interactive music workshops. We look forward to greeting you for all of these offerings. Elixir - 70 Railroad Street Great Barrington (next to the Triplex); 413-644-8999,, fb: elixir

DIANA FelBer GAllery

a new contemporary Fine art and craft Gallery opening in West Stockbridge, on May 1, 2016, located at 6 Harris St., around the corner from 6 depot café and rouge restaurant. a Grand opening is scheduled for Saturday, May 21, 2016, from 6:00-8:00. diana Felber Gallery was begun and is operated by diana Felber, in a beautifully refurbished space, for the purpose of displaying and selling fine contemporary painting and crafts. diana has long been an art aficionado, and decided to open a gallery to showcase some of her favorite artists and artisans and to discover and bring new wonderful artists and craftspeople to the Berkshires. known for her lovely garden, diana has always loved and appreciated beauty in all its forms and looks for ways to enhance a relationship with nature. the crafts featured are made of clay, wood, alabaster, glass plus jewelry. the opening line-up of artists, for the first six week show are: Huge (150lbs) clay tablets by paul chaleff. paintings by Murray Hochman, a treasure of an artist from within our midst. 4 strong spiritual figurative images from kathleen cammarata's "edgewater" series. amazing tulips and other plant life from the imagination of petula Bloomfield. a few dancing lines of Shawn Baker. More of these to come in future. the brilliant, strong, saturated watercolors of nava Grunfeld, lighting up the crafts gallery. Life-sized, wordy wire sculptures of naomi Grossman, plus some really fun ipad paintings from her daily train rides to her studio. and finally, some beautiful, subtle photographic images printed on metal by Birgit Blyth. West Stockbridge, MA / diana@


denise B chandler is a fine art photographer who has had her work exhibited at the Berkshire Museum, Sohn Fine art Gallery, Lichtenstein center for the arts, iS -183 art School of the Berkshires, St. Francis Gallery, chesterwood, the Hudson opera House, Spencertown academy arts center, and tivoli artists Gallery. in 2012, chandler completed the photography residency program at Maine Media Workshops & college. While in Maine, she was guided, encouraged and her work critiqued by renowned photographers: Michael Wilson, andrea Monica, peter ralston, arthur Meyerson, david turner, Brenton Hamilton, david Wells, and Syl arena. chandler has continued her formal workshop training with master photographers, Seth resnick, Greg Gorman, and John paul caponigro. denise B chandler, a lifelong Lenox resident where she maintains her studio and private gallery. the majority of chandler’s work is contemporary and concentrates on the details of a subject frequently embracing bold colors, geometric shapes and patterns. denise B chandler is represented by Sohn Fine art Gallery at 69 church St. in Lenox, Massachusetts where various selections of her work can be seen throughout the year. Chandler offers private gallery visits at her personal studio/gallery by appointment only...please call either number listed below. A member of 510 Warren Street Gallery, Hudson, NY., her fine art photography can now be viewed Friday and Saturday 12 - 5, and Sunday 12-5 or by appointment.Denise B Chandler, Studio & Gallery visits by appointment only. 415 New Lenox Rd, Lenox, MA. Please call 413-6372344 or 413-281-8461 (cell). Website: / :

FrONt Street GAllery kate knapp

pastels, oils, acrylics and watercolors…..abstract and representational…..landscapes, still lifes and portraits….a unique variety of painting technique and styles….you will be transported to another world and see things in a way you never have before…. join us and experience something different. painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and thursday mornings out in the field. these classes are open to all...come to one or come again if it works for you. all levels and materials welcome. private critiques available. classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt. perfect if you are seeking fresh insight into watercolors, and other mediums. a teacher for many years, kate knapp has a keen sense of each student’s artistic needs to take a step beyond. perfect setting for setting up still lifes; lighting and space are excellent. peek in to see! Front Street Gallery – Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. 413-528-9546 at home or 413-429-7141 (cell).

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Interview by Harryet Candee

Harryet Candee: I was at your recent opening at the Berkshire Museum. It’s a grand and beautiful exhibition, and the ellen Crane Memorial room is a dream gallery space! How did it go? Did the evening live up to your expectations in terms of turnout and feedback? Joe Goodwin: the opening was beyond what i had imagined! i was told it was a record-breaking crowd for an opening there, with 238 people attending. Friends and collectors from pa, nJ, nYc, nY, ct, and Ma came, and i was barely able to move from one spot for the whole evening. i got a tremendous amount of positive feedback about the work and the installation.

And did you meet any new and interesting people? Joe: i met a number of new people—friends of friends, and friends of the museum. one in particular was a tenyear-old girl named Maya, who is an artist and came with her father to see the show and to meet me. a mutual friend arranged our introduction. When i was a

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Photography by Edward Acker

young artist, this kind of event would have left a strong impression on me and would have been encouraging, so i welcomed the opportunity to speak with her and hear her impression of the show.

the introduction board on the wall, where people could read and learn more about your art was clear, interesting and informative. Do you feel your art needs to be explained at most of your public exhibitions? Joe: i can’t remember any museum exhibition that i’ve been to that didn’t have an introduction text at the beginning of the show. this being my first museum show, it was new to me, but i feel that it was very useful and gave the viewers a context to proceed from. it’s never been part of any gallery exhibition that i’ve had, but those are for a specific audience that’s usually already informed. a museum’s job is to educate, and that’s why the curator of the exhibit, in this case Van Shields, director of the Berkshire Museum, posts an information

text with the exhibition. a number of people commented that it helped them understand the work more, and to understand me as well.

I find that I fall into your art without any struggle— just float right into this world, these worlds! No explanation needed for me. I completely enjoy each individual canvas and the unique experience it gives to me. But, since you do offer a good amount of textual information, then you must want people know what goes on behind the scenes. So, who is Joe? And what do his paintings mean? lets start with explaining the title of this show, liminal Artifacts. Joe: Well Harryet, i think you are prone to and practiced at looking at art, and have developed that inclination over the many years you’ve been publishing the artful Mind. as i just said, the textual info was provided by the museum. i just usually present the work and leave it at that. the work isn’t about me, and anyone can appreciate it without knowing anything about me. What

Joe Goodwin, Conjunct II, 18" x 24", acrylic on canvas on wood, 2015

goes on behind the scenes is such a mixture of domestic routine, procrastination, distraction, and hours of painting and repainting, that it wouldn’t hold anyone’s interest for very long. Somehow, i manage to get the work done and out there. the informational aspect began last year when i was invited to be a plenary presenter at an art and psyche conference that took place in Siracusa, Sicily. they asked me to present my work, along with a paper that addressed the theme of the conference, which was “Layers and Liminality.” (For many years i’ve had an interest in Jungian psychology and theory. i’ve claimed the “collective unconscious,” one of Jung’s primary theories, as the elemental source of my work.) as i started writing this paper, with the audience of about 200 Jungian analysts in mind, i realized it had to take the form of an abbreviated autobiography. My paintings develop by layering and sanding the paint. Some pieces have up to 80 layers of paint, so subjectively; i fit the theme, halfway. Liminality on the other hand required some research into its definition. Basically, it refers to a state of mind or being that is on a threshold, perhaps a stage of metamorphosis. in anthropological terms, liminality describes that place in the initiation of an adolescent to a warrior or adult where he is not one or the other, a transitional state of mind and spirit in a suspended state. i recognized this as the state of mind i go to when i’m painting without distraction or interruption. a painting has layers of this experience before it is finished, so the “layers” part of the theme shifted from physical to metaphysical.

as i reviewed the different stages of my work from realistic depictions to surrealistic ones, hyper-realistic to abstract, those transitions corresponded to life changes of liminal proportions, hence more layers. i had never considered writing an autobiography before, but by doing so in order to make sense of the progression of my work, i came to an understanding of how my life’s transitions corresponded to my art, and that they became one in the same. i now look upon each painting as a liminal artifact.

you’ve told me that in your early days living in NyC, you were a delivery/errand person—a personal gofer. tell me a little about the personal and artistic journey that led you to the Berkshires and where you are today. Joe: in my early days in nYc, i had a job as a “guy Friday” for ringo Starr’s manager, among some other people in the music industry. it was a very interesting and exciting time in the early ’80s in new York. in the studio, i was working on a small scale, mostly works on paper, for lack of space. i would have to lean my mattress against the wall and work on the floor in my bedroom. around that time i met Leon polk Smith, who was an under-recognized but successful artist who was also from oklahoma—born there when it was still indian territory. From Leon i learned how to paint minimalist and free-hand hard edge. i remember the odd feeling when i saw one of his paintings that i had done, hanging in the Metropolitan Museum. Leon was very generous in letting me be present when a collector, cu-

rator or dealer came around. i learned how to conduct a studio visit and sell my work by his example. We decided after about two years of my being his assistant that it was too much of an influence on my work, so i left his employ, but we remained good friends. around this same time, my partner and i sublet a loft in Soho, where i had a good studio space. My work began to blossom, because i work best on a human scale—door- and window-sized canvases. i began to travel at that time to places like Greece, France, turkey, Morocco, and italy. these places had a profound influence on my imagery. at first i would draw and take lots of pictures, and then return to the studio and try to develop new work. i began to see that what emerged was more genuine after these planned attempts failed—that is to say, what came from the unconscious and my memory was more successful on canvas. i stopped spending my time drawing when on a trip, and concentrated more on having a mindful experience. (Since i’m mainly a colorist and build imagery from color interactions and form, the closest thing i do to drawing now is monotypes. they develop fast and i can explore layers, transparencies, viscosities, etc. in much the same way a painting progresses, but in much less time.) through Leon polk Smith, i met a number of artists and collectors that i socialized with. We mainly hung out at one university place, a restaurant/ bar owned by Micky ruskin, who also owned Max’s kansas city. Julian Schnabel was cooking there (that’s where he got most of his broken plates) and there was a constant flow of art-world celebrities coming and going. it was fun Continued on next page....

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Joe Goodwin OK Car Lot 49 5 x 60, oil on canvas 1974

and interesting, but sometimes the politics got complicated and i didn’t see myself as a player, but more of an observer. in the mid ’80s we built a house with our own four hands in columbia county, nY, which took me out of the weekend new York art world, and into the upstate second-homeowner crowd. Shortly after getting that house to a livable state, we sold it and bought a cottage on a lake in connecticut. there, i became friends with a young professional crowd mostly from new York— people with whom an artist like me wouldn’t normally associate. Many of these people remain my closest friends today. as friendships and acquaintances expanded, i found an audience for my work and started making more of a living from it. i also did some work in the visual merchandising business with wholesale showrooms in nYc, which helped pay the rent but also expanded my exposure as an artist with an international reach.

In your studio hangs a painting that you told me was from your early days of painting. Is it hanging there to remind you of where you came from in your art, and perhaps where you’re traveling? Joe: i suppose it inadvertently serves that purpose, but it hangs there for lack of a better place to put it. i don’t want to mix it with my current work. When people who aren’t familiar with abstract painting come for a studio visit, it’s always good for getting a conversation going and they often wonder why i paint abstractly if i have the skill to paint hyperrealist. this gives me the opportunity to speak about the difference in the intent and source of where imagery comes from and how my work has evolved. When i was doing that kind of work, i was young and in college, in competition with others doing the same. it wasn’t until graduate school at the university of illinois that i got challenged to explain why i 14 • MAy 2016 tHe ArtFUl MIND

painted that way, and as i searched for an answer, i realized i had not considered painting in all of its forms and implications. this became a crisis, and i stopped painting for a while to experiment with other media. i did installations of organic materials combined with neon, among other things. When i returned to paint and canvas, it was in a more physical approach—scrubbing the paint into the canvas, then cutting holes in it, replacing them with a nylon mesh, which created an illusion other than a painted one. this set me in the direction of searching for a more genuine voice as opposed to copying a photograph. i should say here that there are many artists making fine and important work from photographs. as for me, it was a stop on my way to better understanding my inclinations. So, what advice would you give to someone who is curious but intimidated looking at abstract painting? Joe: When looking at abstract art, many people become uncomfortable, fearing that they won’t “get it,” that it is some distortion of a reality that must be identified in order to pass some sort of test. please relax. My work demands nothing of you but an open mind. there are no hidden messages or images for you to decipher or distill, and although you will most likely find faces, objects, landscapes, explosions, etc., they are not by my intent; they are from your psyche. i will confirm that many of my paintings have landscape characteristics. a horizon line often appears and sky, water and reflections have a definite presence. While i don’t set out to establish these elements of terrestrial origin, they manifest in the process of developing the painting. they come from my unconscious as fragments from observations—phenomena taken out of context; conglomerate in a new one that includes elements of painting style, color combinations, textures, etc.

So you’re saying that your paintings don’t have a planned idea? Joe: not like they used to. i used to draw and try to plot out an image but they never came out the way i wanted them to. problems would arise with the vision and by the time they were solved, i had something much different than what i imagined. in spite of my intentions, something would evolve out of the effort that was much better than i could have planned. i learned to dismiss the frustration of not getting my way, and let the piece evolve on its own in a way. My best and most satisfying work seems totally out of my control. i’m just the perpetrator who has the knowledge of color and technique needed to render whatever is dictated from a source that i cannot identify. is it from outside or from within? i cannot locate it, but that isn’t important anyway. it happens and i have been reliant on it as my reason for being for several decades. this is a practice, a state of mind that connects me to a larger interface if i can detach from my ego and my world enough to make the transition. Is it what you would call your “Muse?” Joe: the title i gave to my paper for the art and psyche presentation was “Moving with the Muse.” You don’t hear contemporary artists use that term very often but i thought it was appropriate for that audience and the place, Siracusa, Sicily—the home of archimedes! the best description that i’ve heard is carl Jung’s idea of the collective unconscious. the place where archetypes, anima and animus perform their dynamics of human existence, generating myths and iconic examples of human traits throughout eternity. From this place flow the inspirations to the language of the humanities that give us music, poetry, painting—all forms of art. it’s a place that all humans can access. this is only my personal opinion derived from my experience as a painter,

Joe Goodwin Odic Force 48" x 60" acrylic on canvas 2015

but it seems to fit with both the idea of the muse and several of Jung’s theories.

By allowing the “Muse” to steer your creativity without your control, do you sometimes have trouble with how people interpret the paintings? Joe: i try to keep an open mind but sometimes it gets frustrating when others want to tell me what they objectively see in my images and then hope for confirmation. this leads me back to your previous question of what advice to give to the viewer. i would say that when you look at my work, and allow yourself to let go of the search for meaning or identification of objective reality, you might be able to enjoy them for how they affect the senses with color, form, vibration, texture, dynamic, sensation and so on. By circumventing the associative recognition trap, one can transcend to the sensory level and have a personal experience with the painting related to what those elements in the work might elicit. Many collectors report what i know myself, that these paintings have a fluidity that changes the viewer’s perception of them over time. the painting isn’t changing, but the viewer’s familiarity generates more observations and questions with regard to its content and their associations. as some impressions get fortified, others are rejected. this can happen as well in figurative work, but abstraction is less likely to be confined to one story. as a viewer acclimates and grows familiar with a painting, it can become the catalyst for self-reflection on a psychic and emotional level akin to meditation. Much in the same way one does not latch on to any specific thought in a meditation, i would encourage the same approach to looking at one of my paintings—remain unfixed to any solid definition but benefit from the questions and insights that occur as a result of openminded consideration.

How would you describe how your everyday life and your art-making life might interweave, and then be totally separate? Would there be times for you when philosophy, religion and love are directly connected to art? Joe: there is always that inseparable braid of studio time and all other activities. When i’m working in the garden i feel guilt for not being in the studio. When i’m in the studio, i often get pangs about chores that need to be done. i try to get the domestic obligations out of the way so that i can go to the studio with a clear conscience, but that rarely balances out. i have to accept that it’s all one thing, and if i didn’t spend time in the garden with nature, my work would be incomplete. the same goes for what i cook for dinner, when i find time to read, exercise, etc., etc. i guess it’s true that being an artist is a lifestyle and not a job. When i plate a meal, it’s there; when i plant a flowerbed or arrange a room— whatever i do seems to call on the muse.

Did you always wish to be an artist? Was it always a given? What made you decide, this is it, I will do this, I will spend my life making art? Joe: i became an artist by necessity. My mother was an ardent Southern Baptist and dragged me to church every Sunday. the preacher was always upset and animated, yelling about behavior that would lead to eternal suffering and pain. Mom discovered that if she gave me crayons and paper, i would sit still and stop trying to leave. i discovered that i could draw a preferable place to be, and go there. When i got into school, the teachers were always impressed by my ability to illustrate what we were studying (except for math!). i was adHd, which back then was called “a discipline problem.” i couldn’t concentrate on lessons unless i was composing a visual story about them, and that kept me quiet and

out of trouble most of the time and got me by academically. i had no interest or talent for sports but i could do the banners and posters for sports rallies, which kept me on the right side of the jocks and student council. i’ve used my art all of my life to fit in and participate. When it came time to go to college, my father wanted me to join the army and go to Vietnam. i chose to go to college, and had to work my way through with loans and savings. i chose an art major after failing at industrial drafting. if i was paying for it myself, i didn’t have to answer to anyone else. i surprised my family and my hometown by making the dean’s List every semester while at oklahoma State university. after i graduated, i decided to go to grad school, where i’d be able to make art full-time. i figured i could get it out of my system in two years and then get a job and join regular society. it didn’t happen that way; i became more involved in art, and with my MFa, moved to new York city. How else would you have expressed yourself as a child, if not through art? Joe: Most likely through pyromania and vandalism.

traveling to Germany was a huge experience for you. Can you recall some of the pivotal experiences you had? Joe: one of the companies that i did display work for in nYc was from Germany. the people who owned it were of the aristocracy, people of title. they saw my work while on a business trip to new York and invited me to have a show in Frankfurt. this was in 1987 when everyone was driving fast cars and wearing designer everything, in a global competition to some unknown end—to me anyway; much the same as it was here in the uSa. the openings that i had there were attended by some of the most famous names in Germany, europe Continued on next page....

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Joe Goodwin, Long Pond, 80” x 35”, acrylic on linen, 2013

and in history. My work was well-received, as the europeans embrace abstraction much more readily than other cultures do, and with the several shows that i had in Germany, my work went to many private and corporate collections. i made many friends there and visited their homes, some of which were family castles that went as far back as 1050. it was a valuable education for me to spend time in a culture that has a history going back so far, where family histories mingle with world events—and some notorious individuals. it was interesting to me that one family had planted a forest so that their son would have a source of income by the time he was grown and had a family. that family had also established industries in order to keep the workers in that region from immigrating. i came away with an enhanced perspective on who they are, and also on myself as an american; particularly how the family name and tradition are upheld and protected there, but not so much here. We hardly know who our ancestors are beyond two or three generations. i also became friends with Bodo tungler, a photographer in Berlin who had defected from the east. He gave me directions and information that aided in my explorations of east Berlin before the wall came down. one of my most inspiring places to go there is the pergamon Museum, which has the actual temple to Zeus that was taken from it’s original site in pergamon, turkey—i had been on the site the previous year on a trip through turkey. Bodo and i have remained good friends since then and have traveled to France, turkey and Sicily together.

Joe Goodwin, Involution, 52" x 44" acrylic on canvas 2016 courtesy from the collection of Margie and Lew Steinberg

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then in 2015, off you went to Italy, to the “Art and Psyche” conference in Sicily. Small world, running into Jennifer Pazienza while at the same symposium! What would you say was your primary reason for wanting to take part in this event? Joe: Some of the founding members of art and psyche, an organization that formed in new York city a few years ago, have been aware of my work and the influence on it of c.G. Jung. i had been invited before to present at their conferences, and this time i had no conflict. i had never been to Sicily either! With my interest

in Jung, psychology, archeology and travel, i was eager to accept their invite this time. as you can see by the title of my solo show currently at the Berkshire Museum, what i took away from that conference was important to me. i wanted to learn more about the connection between art and the psyche for myself, and to further incorporate it into my work. i felt that by attending i would broaden my scope and experience in the very realm around which my work revolves. this conference lasted four days, with multiple presentations going on simultaneously for eight hours a day, along with field trips and social events. it was hard to choose from all of the offerings. i met Jennifer pazienza after her presentation, and in the course of our conversation we discovered that we both have homes in Berkshire county, mine full-time now and hers part-time. We’ve had a growing personal and professional friendship since, with a mutual respect for and interest in one another’s work and point of view. one of the presenters at art and psyche Sicily is a friend, analyst and writer Joseph cambray. He did a presentation, which had several aspects, but the one that stayed with me was about some new technologicallyaided research that worked with the calculations of the designs in mosaic tiles of ancient mosques. one in particular had an infinity calculation that implied the nature of God. islam does not permit images of beings, so mosques are decorated with patterned designs. i had no idea that they were such sophisticated calculations that could allude to ideas or deity. another of cambray’s examples was a set of design calculations that coordinate with equations for space-age materials, including a form of teflon. i find this kind of information

thrilling, much like when i discovered that mandalas can function as a navigational tool into the afterlife for Buddhists, and that they can also serve as a sort of prescription for different states of mind. i like art that represents the metaphysical in such definite examples.

Was there a language barrier? there must have been a large percentage of Italian-speaking folks in the audience. I suppose you had ways to manage the interpretation end of things. Joe: there was some language barrier, but i find that among educated europeans, most speak enough english to communicate well, and it makes me regret not having studied foreign languages in school. there were, however, enough non-english speaking attendees for the sponsors to ask presenters to have an italian translation of their papers available for the conference. Some of the papers, including Jennifer’s and mine, will be published in an italian psychology magazine, enkelados, this summer, and presented to the kyoto 2016 international association of analytical psychology conference. Do you have plans to exhibit your art outside of the US in the near future? Joe: no plans for any shows beyond these borders. it’s prohibitive now, with Vat and shipping charges. the last time i shipped paintings to europe, because the crate was larger than the x-ray machine, i had to open and unpack the crate for security at JFk, and then repack it. it took the whole day. You also have to have a customs broker on the other end and someone to accept the shipment and post a customs bond.

Joe Goodwin, Studio

Photograph by Edward Acker

Joe, I have a quote from you… “Painting allows my subconscious perceptions to register graphically, similar to the way they do in dreams.” I think you have summed up a thought here that many artists can dwell on for a long time. Can you cite an example of this with a particular painting, so we can have a deeper understanding of it? Joe: the best example that i can offer here is a painting called Gyro. i named it that because of a gesture that resembles a gyroscope. after looking at it for a few days, i realized that the painting was making reference to cyprus, where i had last traveled. the colors were light and earthy pastels, the surface was gritty and dry, and the light was strong and warm. Suddenly i recognized a familiar shape. it was the shape of cyprus itself, but upside-down. the map must have imprinted on me, since i was the navigator and a friend was driving as we explored the island. Maybe “gyro” referenced the sandwich too! this is what dream imagery and abstract imagery have in common—they appear as characteristics and dynamics, not always true or direct to what they reference, but the sensation and understanding come through if pondered—sometimes slowly and incrementally, and other times with a punch or an “aha!” Do books lead you to ideas for painting? Joe: Yes, sometimes directly but usually indirectly. i like topics on Gnosticism, shamanism, ancient cultures and things of that sort. i rarely read fiction, but one of my recent favorites is pattern recognition by William Gibson. Some of the literature that has had an influence on my work and thinking were all of the works by carlos castenada, when i read them back in the ‘80s. More

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landscape, with emphasis on color relationships appeals to me, and i find a kinship with his work in that way. When i fly, i get a window seat and love to watch the landscape changes from above, and it was a pleasant surprise when i learned that a lot of diebenkorn’s work comes from that vantage point.

Do you write? Play music? listen to anything in particular? Joe: i’ve done more writing in the last year than ever before and i kind of like it, but it takes a lot of time that i would prefer to spend on painting and printmaking. Most of the writing i’ve done is about my work and life, which are inseparable. i found that out when i set out to write the paper for my presentation to art and psyche, Sicily. that is the only published writing that i’ve done. When i was in undergraduate school, i was the drummer in a band with two other art students. We wrote a few songs but mostly covered the music of david Bowie, Mott the Hoople, roxy Music and others of that genre. When it came time to graduate, they went to L.a. and i went on to get an MFa at the university of illinois. as for listening, i’m all over the place. in the studio i like to listen to something with a beat so that usually takes me to house and some electronic dance music, with world music included. artists like de-phazz, denis Ferrer, dJ Flood, Miguel Migs, Stephane pompougnac, on and on. i still like the club music from the ‘90s. Some days i listen to country western, and i love the old twangy stuff like ernest tubb and tammy Wynette. i hated that stuff when i was growing up in oklahoma, but now it has a humor and nostalgia that i can appreciate. Are you an educator? Joe: no. i have a degree in education but an internship revealed that i have no patience with children. i had a teaching assistantship in grad school and loved teaching at that level, but didn’t want to spend the rest of my life navigating faculty politics. i was destined to be an independent artist. How did you become interested in C.G. Jung? What fascinates you about dreams and the collective unconscious?

Joe Goodwin photographed by Edward Acker

recent reading that i’ve found inspiring are Synchronicity: nature and psyche in an interconnected universe by Joseph cambray; and the alchemy of paint: art, Science and the Secrets of the Middle ages by Spike Bucklow. other books that have had an impact on my thinking: Buddha Mind in contemporary art by Bass/Jacob, creative Meditation and Multi-dimensional consciousness by Lama anagarika Govinda, and What painting is by James elkins, to name a few of the important ones. What and who inspires you? Joe: nature is my biggest inspiration. Sky, water, weather, plant and wildlife all have a continuous influ-

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ence on me. i can become engrossed looking at lichen, minerals, fractals, microscopic photography, insects and so on. i love riding amtrak from nYc to albany, looking out of the window on the Hudson river side, especially late in the day. all of the colors, textures, and light patterns give me great pleasure and visual stimulation that shows up in many of my works. in the art world, Gerhard richter is probably my biggest inspiration and anselm kiefer comes in next. My work or method is nothing like either of them, but their intellect, devotion and commitment to what they do, i find admirable and inspiring, and i get the strongest feelings from their art. i’ve also been a big fan of richard diebenkorn—especially his works from the ‘50s. His interpretation of the

Joe: in grad school, i had reason to speak with a counselor who happened to be practicing with some Jungian methods. He introduced me to mandalas and their function, and suggested that i look at them more closely and make one. He also suggested that i read Jung’s Man and His Symbols. From then on i was a fan of Jung. Years later, at a wedding, i met two Jungian analysts who became close friends. they’ve taught me a lot, and through them i have many other Jungian friends. one of those analysts was an expert on dreams (Jung used dream interpretation in his analytic process) who inspired my interest in working with dreams. a dream can often be a message from the psyche to consciousness. it can give you a direction or bring your attention to a problem or concern that you could be in denial about. i like how space and time can morph and combine in different ways in a dream. two people or things can be the same thing in a dream. this happens in painting too. an idea or a revelation can emerge from either. a few years ago, i did some extensive dream work by going to workshops, dream groups and reading various books on the subject. the australian aboriginal culture have what they call “dream time,” and it’s an important component of their everyday life. i believe that it interfaces with

Joe Goodwin Fissure 12" diameter acrylic on canvas on wood Courtesy Brent Kintzing Telluride, Colorado

the collective unconscious and that dreaming is one of our ways of accessing it, and that important psychic work is being done in this state.

your art, in many ways, is so personal. It’s interesting that you’re so open with the ideas that you live, grow and constantly work with, but do you have a private side to you that you never reveal or share? Joe: although art comes from a personal place, i don’t see it as being totally personal. i put it out there to communicate on a human level and to see if there is any resonance with others. i do see myself as an introvert, and i prefer to be alone most of the time. i abhor drop-ins and usually don’t want to spend much time socializing, although once i get into it, i’m often one of the last to go home. i’m not a fan of big crowds, and although the recent reception for my show at the Berkshire Museum was a record crowd, i enjoyed it at the time but felt low for a couple of days after. i don’t really have any secrets or a secret life. if i did, i wouldn’t be inclined to divulge it in print!

I’m wondering… what, if anything, scares you? Joe: the current state of the world is pretty scary to me. a small percentage of individuals control 90% of the

world’s wealth and they use that power politically, and to exploit natural resources on a horrendous scale that has never been seen before. War and terrorism is cropping up in all parts of the globe, genocide and ethnic cleansing, rogue governments, weapons proliferation— all threaten the stability of the world. the extremism in this country i find quite disturbing, especially the kind that has already shut down our government, wants to reverse civil liberties, has seriously compromised voting rights, women’s rights, LGBQt rights, blocked legislation and presidential appointees, denies climate change, and has a disdain for intellectualism and science. it’s like we’re on a broken bus speeding downhill with mindless clowns fighting for the wheel! Joe, you are a colorist. On a recent visit to your studio, I wanted to know why I could never get an eggplant hue in my pastel work, and you instantly began to mix up some colors. you showed me which ones were needed to make this color I have a passion for but could never get. I felt I was watching a magician, an alchemist at work. Do you think there are colors the world has not yet seen? Joe: there will be no new color to the human eye until we are able to see other spectrums of light. new tech-

nologies are generating new finishes and mixtures of existing color that make them seem new because they are products of advanced processes, but they all exist on the spectrum that is perceptible to the human eye. Do you find yourself trying to create art that is original? Or is that not as important to you as being known for your style and thought process? Joe: When i moved to nYc after grad school, i thought i had to invent something new, find my niche. it nearly drove me crazy because i didn’t have the money or space to experiment with new materials, etc. and it seemed like everything had already been done. i began to wonder why i was even trying to make art in the first place, and then i remembered how much it had served me as a child. it was clear that i needed to find that again and proceed from there, in an honest way, with an effort to locate a pathway relevant to my current education and sensibilities. With that intention and a revived intuition, i have been staying engaged in a progression that keeps me interested and productive in painting. it matters less and less to me if it is perceived as new or uncharted territory in terms of art history. i know that it isn’t. i would have to give up painting to achieve that and move into other mediums—not some-

Continued on next page....

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who combs the second-hand shops for materials. We had a joke that my collection contained many lapses in good taste, and we created a Lapse of taste of the Month club. She would send some crazy stuff that she knew i would love, but the collection got too big to maintain and we ended it. Many of the items i showed you were things that i’ve owned all of my life, arrowheads that i found on my grandparents’ land, “fragmentos” that i bought at Mitla and other sites in Mexico, and some folk-art wood carvings from an artist in my hometown, calvin Berry, whom i’ve known all my life. i have my first pair of cowboy boots! Most artists collect things, sometimes for inspiration, but i think it’s more of an aspect of the identity. the objects that i keep help me see myself, they’re markers on the path.

Joe Goodwin, home Photograph by Edward Acker

thing i am willing to do. i’ve found that style isn’t something you invent— it’s the characteristics that you bring out and evolve. From time to time, i’ve tried painting in another way but never succeeded, because once the ‘flow’ kicks in, i revert to my individual language. it is futile for me to try to change my style because painting would become just a job with quality control rather than an exploration with personal growth potential. i know artists who have a formula and well-defined methods that generate an identifiable result, or some that confine themselves to an intellectual or ideological paradigm that determines what they make. that’s what some need to do to satisfy the un-qualitative need to make things, to expand and express their ideas. Mine is different, and maybe traditional, which doesn’t qualify as “new” or even “original.” there is room for everyone to do what he or she needs to do, in my opinion. 20 • MAy 2016 tHe ArtFUl MIND

Walking into your home, I was immediately mesmerized by your collection of odd things in a glass case. you showed me bird callers, old Indian artifacts, art finds—such a world you’ve collected of organic, raw, natural, discarded, recycled, buried and dug up things! Just so wonderfully intriguing—as if you still haven’t lost the boy in you. And here we find another art of yours… Why do you collect? What do you see in these objects that others would assume have no meaning or use? (exception would be me, of course—I bet I could answer this question! But I would love to hear what you have to say.) Joe: the inner child is a very important part of the psyche and i’ve always allowed myself to keep in contact with it to some degree. My fascination with nature remains nearly as strong as it was when things were new to me in childhood. i always respond to unusual things, whether they’re useful or not. the quirkier the better! i have a good friend in oklahoma, a jewelry designer

If you could change one thing about the world we live in, what would that be? Joe: that’s a difficult choice. the question, however, brings to mind something Joseph campbell once said that has stayed with me ever since. campbell said, “Man has only one problem and that is the misperception of the self; from this problem, all other problems stem.” that has always made sense to me, so i guess i would choose that we all have a clear and true self-perception (myself included).

What part of history sets your heart on fire, and why? Joe: the period of the egyptian pharaohs fascinates me. i believe there are a lot of lost knowledge that we could benefit from today—not only their engineering and building skills, but their knowledge of astronomy and alchemy as well. the Mayan and incan cultures hold the same interest for me. i’ve visited archeological sites of both, and find them much more intriguing than, say, similar sites in Greece or italy. i think it’s the mystery of the meaning, and the reasons why the architecture of those cultures corresponded so precisely to astronomical configurations. i understand that a lot of it had to do with agricultural timings, but these people were so aware and in tune with nature and the night sky, they must have had knowledge that goes beyond what we know today. Going back to technique, how do you figure what colors work best with each other? Aside from the color wheel, cool and warm colors, etc… how do you

intuit putting colors near each other in a painting? What do you do when it doesn’t work out? Joe: in my work, opposites on the spectrum frequently work for me, whether they are bright and pure, or mixed together to make a range of grays. Selection is ninety percent intuitive, so i try to have a good supply of color already mixed and at hand in order to have uninterrupted flow. When i was a sophomore at oklahoma State university, i was fortunate to take a class with a man who had studied with Joseph albers. By mid-semester, he had eleven of us familiar enough with the spectrum and color analysis that we could give him a formula for any color sample that he presented to us. to me, this was amazing knowledge—finally, something concrete or tangible about making art that became an intuitive tool for me. that’s about the time that i started looking to hyper-realism to test my skill and understanding of color. in my senior year, i painted in that style to develop the skill and produce a portfolio for grad school applications. Since my work now is mostly expressed through color relationships, it is mostly trial and error. When a color combination doesn’t work, i paint over it with other colors with some of the original showing through. often that works, but if it doesn’t, another layer or two go on. With intermittent sanding between layers, a conglomerate of trial and error emerges into a harmony that i had not anticipated or designed. textures and edges evolve that mimic the lichen or fractals i mentioned before, or it goes vaporous and atmospheric, and often a combination of all of that. (Most of

Joe Goodwin, Gyro, 44” x 46”, acrylic on linen, 2000, courtesy of Merilee Noonani, London

my paintings have an average of 40-50 layers of paint.) Within all of this trial and error are included the formal aspects of color: warm, cool, distant, etc., and color psychology playing its role. i describe this as a dynamic of alchemical intuition that i am the perpetrator of, but not fully in control of. i do, however, get to take credit for it, however it comes about. What is the most complicated thing to you, something that you are still trying to figure out? Joe: it used to be humanity, but after doing that long enough, i decided that i’m better off not trying to figure anything out. My well-being is best served by being present and handling what comes my way, the best that i know how to in that moment. the world and its circumstances are fluid and in constant flux. By the time you think you’ve figured something out, it has changed again.

Joe: i have a strong interest in the history of civilization. new innovations in technology are revealing new information about places like Stonehenge, Gobekli tepe, in turkey, and Mes aynak in afghanistan. i’m also curious about new findings in genetics and neuroscience that are giving us a bigger picture of who we are. i know this sounds like the task of trying to figure out humanity again, but i like collecting the evidence, which leads to more, and letting understanding rather than opinion take place. Joe Goodwin abstract paintings on Facebook and G

When you find yourself repeating an old saying, truism, or quote, what is it? Joe: this one comes to mind: “We should not pretend to understand the world only by the intellect; we apprehend it just as much by feeling. therefore, the judgement of the intellect is, at best, only the half of truth, and must, if it be honest, also come to an understanding of it inadequacy.” c.G. Jung, psychological types Is there something you’d still like to learn or be educated in?

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eleANOr lOrD



11am-6pm Thursday - Monday, Saturday dinner 6pm-8pm closed Tues and Wednesday 70 Railroad Street, Great Barrington, MA 413. 644. 8999

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Works in progress for 510 Warren Street Gallery June Invitational

Photo: Joy Cummings



510 WArreN Street, HUDSON, NeW yOrK FridaY & SaturdaY 12 - 6, SundaY 12 - 5 518. 822. 0510 510WarrenStreetGaLLerY.coM



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Harryet Candee: How early in your life did you start to draw/paint? Stephanie: early childhood, i suppose. there was always drawing material available.

What was your childhood journey... what helped promote your art education and your love of art? Stephanie: it probably began in second grade at richmond School when my art teacher, ellen campbell, told me i had talent. it had never occurred to me that i had any special ability, but after that i was known as an artist. Between school and amazingly supportive parents and family, i have never been dissuaded from this path.

Did you study other disciplines in the arts as well? Music? Other venues? Stephanie: i prefer the arts that keep me out of the public eye. i’d rather be in the audience than in front of it. that said, there is so much to explore in the visual arts that i dream about trying someday . . .

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Where and when did you have the most fun making art? Stephanie: i think i’ve really enjoyed making theatrical, over-the-top still lifes, because they challenge me but also give instant gratification, in the sense that all of the visual information is in front of me. i just have to get it on paper before things start to shift, rot, etc. Aside from being an illustrator and painter, do you have another, unrelated career that you consider the bread and butter? Or is art the main source for you at this time? Stephanie: currently, art is my primary career. considering my staggering lack of business acumen, i won’t be getting rich from it. In the field of art, have you found it helpful to have a partner, (Stephen Dietemann) alongside of you to stimulate ideas and be there to share in the experience? Stephanie: Stephen has designed amazing homes and is a great architect, and he’s a painter himself!

How does he help you, and vice versa? Stephanie: Steve is remarkable in so many ways, and invaluable as an artistic mentor and partner. He has an innate visual understanding that can precisely pinpoint what works and what doesn’t in a painting, and i value his input, especially when i feel stuck or frustrated. We have very different approaches to painting, and it’s great to be able to discuss ideas with someone with such a vast understanding and exposure to the arts. i think we compliment each other well in terms of giving and taking guidance, but without him i would feel paralyzed with indecision and less likely to take risks. How has living in the Berkshires enhanced your experience of being an artist? Stephanie: i was born in the Berkshires, and have always felt very attached to the area, so i believe living here gives me a sense of calm and well-being that is conducive to my creative drive.

Do you feed off of going into the city or being in the country, to inspire your work? Stephanie: truly, i love staying home. ideas come from all sides now, with such incredible access to visual info. So many readily available books, movies, the internet, print… there is no end to the flow. nothing compares to seeing original work, but i am willing to accept reproductions if it means i can stay comfortably in my studio. this drives Steve nuts, because he loves visiting galleries and museums, and we always leave such places uplifted and amazed by what we have seen. But still, getting me there can be difficult.

How has your artwork developed with regard to your personal style? Has it been a matter of seeing better, coordinating the senses better, opening your eyes to things around you, experimenting with different mediums, etc.? Stephanie: i’d like to think they are evolving into something better, as they are constantly changing in small ways as i learn new things. creativity is involved in nearly everything we do, whether it’s cooking, gardening, arranging our personal space, etc., and they all cross-pollinate. Sometimes practicality drives me to try something new, and all of a sudden i love that new thing that i never would have thought of before. it’s one of the perks of being a grownup, i guess.

What do you consider the most important mental disciplinary tools that help you in making a satisfying piece of art? Being able to accept that not every painting, drawing, etc. succeeds. Being able to say, “that’s awful,” even after trying hard to salvage something. also, deadlines are a good motivation.

Stephanie Anderson Acorn squash

When you are illustrating a book, what general guidelines do you have to follow? establishing a relationship with the writer must be one of the keys to a successful project. Others? Stephanie: My experience is that the writer, art director, and editor all contribute to the process, but the illustrator has a great deal of freedom within the relationship. the bulk of the work is in the preliminary sketches and dummy, figuring out the visual concept, and then drawing it out through a series of drawings that the writer, director, and editor review and comment on during the process. By the time i get started on the final artwork, i know what i have to do, having worked it all out in the drawing stage, so painting is the fun part!

Have you illustrated for adult books, or solely for children’s books? What do you love most about this kind of work? Stephanie: i love how versatile children’s book illustration is. there is an incredible range of approaches, and you can see it in any library or bookstore when you peruse the shelves. each of those illustrators could interpret the same text in radically different ways, and it’s wonderful to be surprised and delighted by what you find. you had a show at Deb Koffman’s gallery in Housatonic, and have art in lauren Clark Fine Art in Great Barrington. What is the process you go through when choosing what to exhibit? your personal work that you love, or what may be considered saleable? Is this a difficult or easy part of being an artist for you? the self-marketing of being a successful artist—people always think this is a bitch of a task. Stephanie: My personal work is all i have to present, since i really can’t anticipate what will or will not sell. i know there is certain things i have done in the past that people really responded to, but i won’t force what doesn’t belong in my current work. i think i am at my best when i enjoy

what i’m doing, but i will never be able to figure out the business part of it all, as there are too many variables out of my control. as a consumer, i know that it is a strong commitment to pay a lot of money to buy a piece of art, especially when there are so many demands for those same dollars. i deeply appreciate it when someone does that for me. How have things changed in that respect, and what is your method for getting jobs? Stephanie: Word of mouth, my website, and commissions. i love commissions, as they often expose me to new subject matter.

How do you separate your fine art from your commercial art? Are there times when they overlap in style and feel? Stephanie: they are beginning to overlap in my current work more than ever, as i’ve figured out how i want to fuse them together. it’s the same hand, so they don’t visually clash, but the process behind each is very different, so it takes longer.

An artist can be a colorist or work in black and white. you do both! How do you determine whether your next work will be in black and white or color? Do you ever do the same thing in pencil, then in watercolor just to see the difference? Stephanie: i’ve never seen it as either/or. However, i can’t have too many mediums going at once, or they all suffer. if i draw, i take the time i need to finish the project, whether a few days or months, then move on to a different medium. Having too many things going on at once not only leads to chaos in the studio, but chaos in my head as i try to decide what to prioritize. i will never understand why multitasking is a good thing. Continued on next page...

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Stephanie Anderson Watermelon Arrangement

Stephanie Anderson Bird and Nest 2 your black and white drawings are exquisite. I’m wondering what is most in demand—art for the public, for the commercial side, for the fine-art side? How do you end up with time and freedom to create what you desire? Stephanie: What i am producing is exactly what i desire to make. currently, that means taking paintings, cutting them apart, and assembling them into collaged configurations. then, finishing an illustration project with watercolors and pastels, and when that’s done, returning to a series of drawings and collaged paintings that have been in my head for too long.

What in particular from your training and curriculum at school do you think helps you the most in what you work on now? Stephanie: Working from life will always be how i ground myself. in school, i learned by doing, listening during crits, and doing again having learned from that feedback. What i absorbed from the conflicting ideas put before me is that i personally need to see my subject matter; that whatever truth, inspiration, etc. starts with something i can observe and absorb. From there, i can extrapolate at will, and change what i want.

Did a teacher ever steer you wrong, or did you have any disagreements? I did, and as it turns out now, I now see 26 • MAy 2016 tHe ArtFUl MIND

his point of view—though I still see mine as well. We learn to compromise, but never settle! Stephanie: Yes, i did have a couple of experiences like that in a drawing class, and i floundered trying to figure out what my teacher wanted, believing that i had been “wrong” in my approach. What followed was a semester of crap that instructed me in what not to do, and perhaps one could argue that i needed to go through that struggle, but it certainly didn’t feel helpful at the time. i think that, often, big ideas are attached to the process of drawing and painting, as if such things are too frivolous without the gravitas of a conceptual, esoteric foundation. as a student, you are exposed to the myriad experiences of your teachers, but you can pick and choose what to keep or discard over the course of your life as an artist. i had great instructors at riSd, whose words will sustain me for the rest of my career because they continue to push me toward becoming a better artist. they are also the teachers who kept it simple, direct, and free of “artspeak,” which is what i need. Do you have good school memories? Stephanie: i have very positive memories from school, though i too struggled with math. My brother used to help me with my homework every night, and there would be this “aha!” moment where it all made sense. then, the following morning, it was gone. He was like Sisyphus, trying to teach me. Fortunately for me, there was no mandatory

math class at art school! i wish i had understood math better, as it is the key to so many disciplines i find fascinating. i realize that i’m speaking in the past tense, but there is no way i’m going through that ordeal again. i’m an avid reader, and i credit the emphasis on books and comprehension from my school days as keeping me intellectually curious. Art is an all-consuming affair of the heart! How do you find the time to do anything but art making? What is your daily schedule like for you? I ask you this because your watercolors look like they take an incredibly long time to finish. Stephanie: i’m easily distracted, so i work in small chunks of time. Working from life demands that i work quickly enough to capture what i need before my subject matter starts to change, so looking at a work in progress, you might see a fully-realized flower floating on the paper. often, the mutability of things determines the order in which they are done, so after starting with a basic pencil sketch, i work in pieces. oddly enough, the drawings are the most labor intensive, as they tend to be very detailed and controlled. A question you must hear a lot: “How did you train your eyes, brain and hands to get that realism?” So tell, what is the secret to getting what you see to be ex-

Stephanie Anderson Indigo Arrangement with Old Master

actly the same on paper? What is it that you have mastered? Stephanie: i think that when i look closely at something and figure out the patterns, then i can re-imagine them, as i want. i’m not a slave to my subject, in the sense that creating something convincing is not the same as precisely recording the actual. i refer to my subject for guidance, proportions, specific details, but i’m happy to see what happens with the paint, or whatever medium i’m using, and adapting. not every bit of visual information is necessary.

If time provides, and you happen to look for another form of art to study, what would that be? Stephanie: i really want to explore ceramics, but then i think about all the paintings i want to do, and maybe getting back into oils, and wouldn’t it be fun to do mortarless masonry. …i’ll be busy with my current projects for at least a couple more years. Thank you, Stephanie! The self portrait on the opening of this interview was drawn by Stephanie, and so was the Oak Leaf rendering. H

Stephanie Anderson Citrus Circle

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(dedicated to tHe FincH tHat Landed on Bernie’S podiuM)

From, “No Cure For the Medieval Mind” Part I by Richard Britell

the first thing in the morning, otis the Wolf related his dream to the rooster and asked the rooster for an interpretation. You must not find it strange that otis would go to a rooster for insight into the meaning of his dream, at least not if you have been reading this narrative from the beginning. consider for a moment the word, ‘augury.’ augury refers to the practice of predicting the future by interpreting the flight of birds. this function was so important in ancient times that a special priest was appointed to carry

it out. individuals and cities undertook nothing important without the advice of the augur. certainly the activities of many species of plants and animals could have been used instead of the flight of the birds. the ancients might have consulted the crawling of worms or snakes instead. perhaps they would have found the mooing of cows insightful; or the bleating of sheep might have given them precious insights into the future. upon reflection however, it becomes obvious why it was the birds whose actions were discovered to contain useful information. the most important time for knowing the future in ancient times was the anxious minutes before the onset of a battle. now, i ask you, would worms or snakes have any special insight into the outcome of battles? Would cows and goats standing in fields just to the left of a big battlefield have any ideas about how to predict the outcome of the conflict? the answer is no. the cows and sheep might even be surprised, amazed, and even filled with consternation at the sudden onset of a huge conflict. “What on earth do those people yonder think they are doing to each other,” they would have wondered, mistaking some big historic battle for the preparation of a cannibalistic feast day. cows and sheep would only understand the cutting off of heads as something one does when preparing dinner. all species of birds however have an entirely different perception of human events. it is their great good fortune to be able to view everything from above and at a great distance. consider for a moment how this special birdlike ability relates to predicting the outcome of battles. until the invention of the hot air balloon on december 14, 1782, no person had even viewed a battlefield from above. is it any wonder then that from 1782 on, predicting the future from the flight of birds began to taper off, after years of decline that previously had only been caused by the superstitious idea that birds don’t know anything about the future? anthologies of history, replete with descriptions of countless battles, impress the reader again and again with the observation by the writers that the outcome of a battle was decided by unseen forces hidden in ditches, or riding to the rescue over distant hills in the form of cavalry. the point being: birds can see what is coming, and people can’t. Seeing something coming and suspecting what the result might be is a far cry from knowing the future, and only those birds that have an unrealistic and inflated opinion of their own prognosticating powers make any such claim. Most birds only state that their observations contain important intelligence of use when plotting a military strategy. it is this simple fact that has led commanding generals over the ages to gradually come to the realization that the activities of birds are the best source of information about the outcome of battles. the explanation is this: with their superior knowledge derived from their unique vantage point, birds are more often than not correct in their predictions. But this tendency to be correct must never be confused with actual knowledge of the future. For thoughtful persons a thorny question therefore arises, and it is this: do the birds know what they are doing, or to put it more strongly, “do birds actually know anything.” there are two schools of thought on the question of whether

Enjoy the Unique Comfort

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birds know what they know, and those schools of thought are not simply divergent, they are positively antagonistic to each other. For those who know that birds know the things they know, the problem to be faced is one of language; it is a semantic question. in general birds do not speak english, and the ancient race of birds spoke neither Latin or Greek, for the most part. there were exceptions no doubt, but they were so rare as to not be worth considering. Birds communicate with people by their series of flight patterns. these flight patterns are not infinite, even if they appear to be infinite to the untrained eye. an alphabet would be useless if it contained millions of letters, and so bird flight patterns are limited in number, and there are about 40 of them that can be clearly identified. “But,” you may object, “obviously every time a bird takes flight, its movements must be infinitely varied, because the temperature or the air and the movement of the wind would conspire to make every flight of a bird as varied as the shapes of snowflakes. Flight would vary infinitely like snowflakes and for exactly the same reasons!” God, i can just see your smug expression because you surely feel that you have presented me with an infallible argument abolishing all my silly notions about bird communications. You sit there across the table from me, puffing on your pipe and you have an expression on your face like a person who has just won a game of chess with the well known four-move checkmate, the one that always confounds the beginner. Hold on for a moment while i find a way to extricate myself from my obvious theoretical embarrassment. it is true that every snowflake is different, and therefore, for the same reasons the flight of every bird is different, but even though there are only 26 letters in the alphabet, nevertheless, every time you write one of those letters the shape of it is going to be slightly different. consider the birthday card a five-year-old brings home from school for their mom. the word “Mom” will be written in a large, characteristically clumsy hand, perhaps in red crayon. in the child’s card we instantly recognize the letter M, and there can be no doubt the word “Mom” was intended even if the marks trail off and are uneven. in the five-year-olds scrawl of the word “Mom” can be seen so many other things both tender and profound that there is many a mother who, coming across such an old card might be moved to tears. the M has this deeper content only for one single reader and is only quaint to all others. So, yes, the M’s are as infinite as snowflakes, but all snowflakes though they are different, are always and everywhere the same. and all M’s are different and yet always and everywhere they are the same also. the letter M is capable, in its variations, of evoking the most myriad reactions; so too, with the flight of birds. a million crows may land on a million tree branches employing that often seen triple back stroke of their wings, but as many times as they land they always are saying the same thing, “Stop here now for a while, and rest, and then go on your way.” even if you accept that birds have a limited vocabulary of flight movements rather than an infinite number of movements, still the larger question must be considered, and it is this: if one accepts that the flight of birds contain messages, what is the source of the messages that they are communicating? one school of thought, and it has the most adherents, claims that the birds have no idea whatsoever what they are doing or saying, and their movements and actions are directed by a divine intelligence that takes possession of them for a moment and directs them to communicate some necessary message. this notion has a long and illustrious history and anyone interested in the subject will invariably point out to you how athena was constantly taking the form of various birds and landing on various branches and fences, when she wanted to have a little chat with odysseus, in “the odyssey.”


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RT M A   E m N p E 2  FI y W K a R d L n A u L A S  C N d N I n E a F R m U 7p LA • y 5 a d 1 un S 3 y and 1 y turda a M y, Sa a d i r F

Directed by Bruce T. MacDonald Musical Arrangement by Alexander sovronsky Gayle schechtman Leah Marie parker Harryet puritzman Candee

Tickets at door: $20 (special Senior and Student rush rates available) reservations: 413. 854. 4400

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11th ANNUAl BerKSHIre INterNAtIONAl FIlM FeStIVAl June 2 - 5

the 11th annual Berkshire international Film Festival (BiFF) announces its forthcoming packed weekend line-up of films which is marked with stronger international programming and continues its dedication to presenting the best in documentary film. the BiFF will showcase 70 of the latest in independent feature, documentary, short and family films from some 26 countries. the festival, which takes place from June 2 - 5 in Great Barrington and June 3 - 5 in pittsfield, Ma, will bring films, filmmakers, industry professionals and film fans together for a four-day celebration of independent film featuring 26 documentaries, 26 narrative features and 17 short films. Some of the 26 countries represented this year are Germany, afghanistan, Brazil, australia, iran, england, india, France, china, italy, israel, austria, norway, Hungary, argentina and iceland. details about the films and ticket information can be found on the BiFF website. to quote BiFF Founder and executive director, kelley Vickery: “i believe this is one of the best festivals we have ever programmed. i am absolutely thrilled not only with our special events, but also our incredible line-up of foreign films, documentaries, narrative dramas, and shorts. once again, we have secured the best in independent film which is what our audience has come to expect. it is exciting to have Yo-Yo Ma, Bruce dern, karen allen, doug trumbull, noah Baumbach, Gregory crewdson, Jake paltrow and kent Jones as highlights in our program. it doesn’t get better than that! the BiFF’s programming has combined our community’s sense of wonder, curious spirit, intellectual needs, and desire to engage in and explore the world around us, as well as to learn about stories close to home. With 26 countries represented, the BiFF truly brings the world to the Berkshires!” Berkshire International Film Festival - Triplex Cinema and the Mahaiwe Theater, Great Barrington, MA; Beacon Cinema, Pittsfield, MA.

B. DOCKtOr pHotoGrapHer

B. docktor is a photographer who aims to show the kernel of magnificence of whatever she’s witnessing: children, families, weddings, pets, events, and the beauty of our region. Why does she make photographs? to preserve the essence of something happening now in a way that brings joy, to spark our memories later, to show future generations who we are, what and who we love. B says, “What i love to do is photograph you and the beings you adore in a way that will be fun and memorable and bring a smile to your face every time you see the images. My pictures let you relive the energy and emotion, the big events and small wonders, the amazing moments and minor miracles that make up your life. i don't just make your pictures, i tell your story. i know how close to get, when to snap, and when to wait and wait and wait until the essential moment is there. “there is an easy, natural quality to my work that allows what's special about you and your life to shine through. i love photographing all facets of life. the people, places, animals, and events you want to hold onto. there's an urgency and importance in doing that. children grow up, landscapes change, celebrations come to a close—but the pictures will last forever.” B loves to create art that will last, and have an emotional impact—gorgeous albums, art for your walls, or slideshow videos for events. if you are planning a party to honor a loved one, these beautifully edited slideshows can incorporate old photos, new photos, and video that are very moving when projected for your family’s special event. To see the range of B’s work: Videos are on the page called “Moving Images.” 518-329-6239 or

"We cannot remind ourselves often enough that conflict is the essence of theatre. Unless every speech and action of every character reveals in some way, however slight, the cross purposes of one character against another or against a group, or a tradition, or a conventional standard, or a law, or some such, we have no drama. -- Donald Wait Keyes, 1980. (Donald and I performed in several shows together when he was quite elderly. He was a student of Richard Boleslavsky and Maria Ouspenskaya's in the 1920's at The American Laboratory Theatre, and was one of the first members of Actor's Equity. He was very supportive of my work. -- bMac.)

30 • MAy 2016 tHe ArtFUl MIND


June 11 GaLa concert “MuSic tHat SHook tHe WorLd”

the 20th century saw a series of cultural earthquakes that shook the music establishment and scandalized audiences. now that modernism has receded, we can view them in perspective and see how they entered the mainstream and vitalized our concert experience. Stravinsky’s rite of Spring, debussy’s breaking through the German hegemony with impressionism; granting Jazz concert hall respectability; coupling music with film (from “Bad Boy of Music” George antheil and Fernand Léger’s 1924 Ballet Mécanique); and the advent of Latin american vernacular—all radically transformed our notion of classical music. amplifying the music, passages from igor Stravinsky’s and antheil’s memoirs will be threaded through the program and read by brilliant comedienne alison Larkin. as paris was the nexus of all the art forms and isms of the early part of the 20th century, the first half of the program includes claude debussy’s Sonata for cello and piano; olivier Messiaen’s “Louange a l’Éernité de Jésu” from his transcendent Quartet for the end of time; as well as (paris adopted son) igor Stravinsky’s the rite of Spring in its piano version. perhaps no one composer shook the musical establishment and revolutionized what followed so much as Beethoven. His magnificent final violin sonata, no. 10 in G Major opus 26 receives a performance along with the effervescent and irreverent café Music by paul Schoenfield. Schoenfield’s music attracts listeners with its combination of exuberance and seriousness, originality, lightness and depth, often with sly twists in the spirit of the French musical iconoclasts. this program brings to the fore some of the direct predecessors of John cage, philip Glass and John adams. performers are pianist Michael chertock, violinist Yehonatan Berick, cellist Yehuda Hanani, and comedienne alison Larkin. Tickets, $50 (Orchestra and Mezzanine) and $30 (Balcony), are available at The Mahaiwe Performing Arts Center box office, 413.528.0100. Visit our website at Patron’s Preferred Package: $150 includes Preferred Patron seat and Patron-only dinner reception. Contact Close Encounters With Music at.800.843.0778 or

Grandma Becky’s Recipes by Laura Pian

Sweet? Sour? – Why not sweet AND sour?! Oy don’t macht mir meshuggah (make me crazy). Grandma Becky and her lady friend Sara, would frequently disagree on their cooking shtik. As I child, I would sit at the kitchen table and listen to them discuss the better ways to cook, speaking in broken English/Yiddish. They would compete with one another by secretly changing up the ingredients. Ultimately, Grandma Becky’s Sweet & Sour Cabbage Soup was perfected (with much help from Sara). A traditional Eastern European bowl filled with love. Grandma Becky enjoyed telling the story about the Brooklyn cabbage man. He would stand on her corner with his cart once a week selling his vegetables. Cabbage soup was a healthy and easy dinner to prepare during tough times. It was inexpensive and quite satisfying. A pot of this soup would easily fill the bellies of Becky’s family of seven, sometimes with some left over for friends and neighbors. On a good day, you might even look in your bowl and find a chunk or two of flanken (short ribs) on the bone! The flavors of Becky’s Sweet & Sour Cabbage soup were layered with simple, yet delightful ingredients. The perfect balance between lemon juice and sugar created a flavor like none other. Her soup danced upon my tongue directly into my heart! Today, I typically use the basic ingredients. Feel free to add beef or even bacon for a hearty, smoky flavor (shhhh!)

Becky’s Basic Sweet & Sour Cabbage Soup

1 head of cabbage (approximately 2 pounds) 1 quart water 1 quart beef broth (or change it up for vegetable broth to keep it vegetarian) 2 pounds beef (optional) 2 onions, chopped 3 large carrots, sliced 1 (28 oz) can of whole tomatoes and juice (break up into small pieces with hands right into pot) 1 can tomato paste (to thicken) 1 handful of golden or brown raisins (optional) 1 cup sugar (brown or white) Juice of one whole lemon 1 tsp kosher salt Pepper to taste

Instructions Combine water and broth in large pot, bring to a boil (if using meat, add it here). Add onions, carrots. slice cabbage into quarters, then slice into ¼”-½” shreds and add to pot. Break up whole tomatoes with your fingers into pot. Add juice from tomatoes and tomato paste into pot. Add sugar, lemon juice, salt and pepper. Bring to a boil, stirring occasionally and cover. Lower heat and simmer for about 1 hour (2 hours if using meat). If using raisins, add to pot approximately half-way through cooking. Of course – dip your spoon in and taste. You may need to adjust the spices and lemon juice for that perfect balance of sweet and sour. If at any point the soup gets too thick, simply add more water/broth. Serve with your choice of bread (my favorite is pumpernickel). Enjoy & esn gezunt (eat well in good health)!

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