THE ARTFUL MIND November 2013
Monthly Berkshire Artzine
Photography by Jane Feldman
CoroMo by Richard Britell
Several years ago a french tourist company decided to open a resort facility on our coast about 20 miles from my village. All of the town folk were excited, as this resort would be an opportunity for employment in the restaurant and hotel line. The worst paying but most lucrative jobs at the resort went to the waiters, who were paid nothing at all but who made huge amounts of money by our standards. Good-looking men from my village who knew the art of the shy dazzling smile did very well. one of my cousins named Coromo was an especially popular waiter. he became very friendly with three American women who asked him if he knew of any place in the area where they could rent horses for an afternoon excursion. So it happened that he went horseback riding with the women up into the hills, along paths that ran between the resort and our village. These women were all excellent riders, three sisters all raised on a horse farm in vermont. They were not the usual timid women, terrified of the locals, scared to death of anything outside the walls of the resort. They were bold and fearless happy healthy souls, intent on having a good time. during this sojourn the younger sister, who was unmarried, got into a lively conversation with my cousin with the result that gradually they fell behind and, taking a wrong turn on the path, became completely lost. Several hours elapsed before they were all united again, and during this time Coromo and that younger sister found they enjoyed each other’s company exceedingly. The three sisters were reunited in the middle of the wood, and it did not take two seconds for the sisters who had been absent to figure out in great detail exactly what had happened while they were gone. They figured it out by means of facial expressions in use between them since their high-school days. Coromo and the sisters returned to the resort, where everyone received a very abbreviated explanation of the day’s events. Soon the sisters went back to their homes in America and over the next year you can imagine how the resort, and their next vacation was a frequent
topic of conversation among them. The following year they again went horseback riding with Coromo, and with a specific purpose; they wanted to visit his village and see how natives in that part of the world lived. They were expecting to see grass huts, but what they found were plywood shacks in clusters, naked children, and a lot of old people suffering various ailments with hardly any cloths on. The sisters discussed what they had seen. They were moved to their depths, not with pity or compassion, but with curiosity, and a desire to somehow connect with the villagers, but they wanted to do this in a non-condescending way. So they hit upon a plan, they decided to return again with simple gifts for the children, very basic obvious things that the children they knew took for granted. They returned to the village with Coromo two weeks later, and this time they brought along sets of crayons, ball-point pens, pencils, magic markers, a number of sets of watercolor paints, drawing pads, and several sets of poster paints, the type used in grade school. Their idea was to give the children toys that were simple, and did not involve batteries or electricity. for the adults they had several wind- up clocks, mirrors, and some odds and ends of clothing. As you can imagine this visit was a big hit, and although the children were thrilled with the gifts, they loved the magic markers best. These children did not have any understanding of the mechanics of magic markers, and after their first long session with them, they were left on the ground with their caps off and the next morning they were all dried up and useless. Then they attacked the ballpoint pens, and this kept them occupied for the entire day but the pens suffered the same fate as the magic markers. The watercolor sets were a complete mystery to the children, who never managed to comprehend that water was required, and as for the poster paint, as soon as the covers were off it all turned rock hard in one afternoon. only the crayons held out for several days and then they all melted into a big multicolored glob at the bottom of a tin can. When the year came around again, and the tourist season was in full swing, Coromo gave some though to the three sisters, and their eventual return. he had hoped to be able to show them a lot of drawings and paintings done by the children, but that was not a possibility, because in his village there were no refrigerators on which a few paintings might have been preserved. Coromo decided to do a dishonest, but entirely understandable thing; he decided to do a set of little paintings and pass them off as the work of the children. he intended to give these little paintings to the three sisters as gifts, showing his appreciation for their generosity. There was the problem of the materials however, so he went to the store that supplied luxury items for the tourists, intent on buying just enough art supplies to do his paintings for the sisters. Coromo first set aside from his pay four dollars for the purchase of art supplies, but then on second thought increased the amount
to eight dollars, and finally settled on ten dollars total, although he really couldn’t afford that much. What a terrible disappointment his trip to the resort department store turned out to be, and not just a disappointment but also a cultural shock. The store did not have a section of art supplies, instead it had what is called a “french landscape Painter’s easel,” complete with several blank canvasses, a set of oil paints, assorted palate knives and brushes. The item was a piece of furniture, with brass fittings, all for just under a thousand dollars, plus tax. Coromo stood looking at the easel for several minutes until a clerk disturbed him by asking what he was looking for. “Crayons,” he said to the clerk. “right this way,” the clerk replied. The department store did have a set of crayons, it was not the big set we know from our childhood, with the crayons in tiers, and six or seven tints of each color, it was a little set of eight colors for twenty dollars. Coromo did not leave the store right away; after the clerk departed he wandered back over to the french landscape Painter’s easel, and stood looking at it for a while longer. he tried to imagine a life in which such an object could be purchased and used somehow, but he came up with a complete blank. it sometimes happens that when one is faced with a dead end, some unexpected solution pops into the head; that now happened to Coromo. he left the department store and headed for the maintenance department. To solve his problem of how to do a set of paintings he came up with the idea of doing them on cardboard, of which there was an ample supply at the dumpsters, and for paint he was going to borrow several cans of paint from the maintenance department. in the maintenance department were thousands of small cans of all sorts of touch up paint, mostly in pastel shades, but he was not concerned about that. As for brushes, he would figure that out later. The foreman of the maintenance department was a friend of Coromo’s and was happy to let him have several cans of old paint. Coromo promised to bring everything back the next day, but he was told that the best thing would be to throw it all out, because it was no use to anybody. he put all of the paint cans in a box and headed for the door, but suddenly stopped. over in the corner of the maintenance room was a huge dumpster and sticking out of the dumpster was a practically new french landscape Painters easel, complete with all of its tubes of paint, brushes, palate knives and blank canvases. “The tourist ladies like to do a few paintings when they are here, but the thing is too big to take back on the plane, so they leave it in their rooms when they go, i got five of them, you want one?” said the maintenance foreman. (ConTinued in The deCeMber iSSue of The ArTful Mind)
You must realize that honorary degrees are given generally to people whose SAT scores were too low to get them into schools the regular way. As a matter of fact, it was my SAT scores that led me into my present vocation in life, comedy. -Neil Simon
The ArTful Mind noveMber 2013 • 21
Sculpture Portfolio Development One on One Instruction Beyond the Covered Bridge Painting in the Berkshires Watercolor Oil, Acrylic, Gouache Drawing Figure Drawing Open Studio Fun and Exploration Photography Fiber Arts Jewelry / Metals Mommy & Me Tap Dance Dance Choreography Acro/Tumbling Hip Hop Lyrical Jazz & Modern Theatre Voice more... ART STORE
2 â€˘ November 2013
Our mission is helping people to reach their highest creative potential. . .
The ArTful MiNd
CALENDAR OF ARTFUL EVENTS
Clinton Avenue, Albany, NY • 518-465-3334 Bill Maher, Nov 10; Warren Miller’s, Tilcket to ride’, Nov. 15. dark Star Orchestra, Nov 16; Afternoon with david hrigheschi,Nov. 17; Once upon a dream, The rascals, Nov. 24
museums & galleries
510 WARREN STREET GALLERY hudson, NY • 518-822-0510 The featured exhibit for November is John lipkowitz, Photographs of iceland: land Of Contrast.
POINT OF VIEW PLAYERS JCC, Whitehall rd, Albany, NY Theatre time: The ODD COUPLE (female Version) by Neil Simon. Showtime JANuArY 16, 18 & 19. directed by iris Singer.
BERKSHIRE ART GALLERY 80 railroad St, Gt Barrington, MA • 528-2690 www.berkshireartgallery.com 19th and early 20th Century American & european art and sculpture, contemporary artists
CARRIE HADDAD GALLERY 622 Warren Street, hudson, NY • 518- 828-1915 12534Carrie haddad Gallery is pleased to announce their next exhibit, “Storytellers and Conjurers”, featuring work by Kahn & Selesnick, eileen Murphy, louise laplante, Adam Cohen, and Claire lofrese. The exhibit will be on view through december 8, DENISE B. CHANDLER FINE ART PHOTOGRAPHY at email@example.com “Color & form”; St francis Gallery, now - Nov 18, “Color & line”; Guido’s fresh Marketplace Café, Nov 1 – Nov 30, “eyes On View”; St francis Gallery, Nov 22 – Jan 6, “inspiration of the Spirit”.
FRONT STREET GALLERY front St., housatonic, MA • 413-274-6607 / 413-528-9546, or cell at 413-429-7141 housatonic Gallery for students and artists. featuring watercolors by Kate Knapp (Saturday and Sunday 12-5pm or by appointment) GOOD PURPOSE GALLERY 40 Main Street, lee, MA / www.goodpurpose.org “emerging light”, by dmitri freund. November - January 2, 2014 LYDIA JOHNSTON NAACO Gallery, North Adams, MA • 413-664-4003 “Scratching the Surface” features oil paintings by lydia Johnston and ceramics by lori St. Pierre at NAACO Gallery, North Adams, Massachusetts, September 26 to November 25.
MARGUERITE BRIDE Nuarts Studios, Studio #9, 311 North Street, Pittsfield, MA • 413-841-1659 / margebride-paintings.com Original Watercolors, house Portraits, Commissions, lessons. exhibits of her winter paintings include a display at the Adams Town hall – Nov 15, and a return solo at Gallery 25 in Pittsfield for all of december and a weekend holiday show sponsored by Alchemy initiative december 7 – 8 at the Masonic hall in Pittsfield. in addition Bride has 10 winter paintings on display at North Adams hospital October – April.
NORMAN ROCKWELL MUSEUM rte 183, Stockbridge, MA .8 413-298-4100 Wendell Minor, Wendell Minor’s America, highlighting his 25th anniversary as a children’s book illustrator. Opening Nov 9, 68:30pm.
OMI INTERNATIONAL ARTS CENTER 1405 Country route 22, Ghent, NY • www.artomiartscenter.org Artist Jane dickson to Speak at Omi. "Out of here" exhibition extended to december 15, 2013 dickson's current exhibit at Omi, Out of here: Paintings 19992013 - five large-scale oil paintings on AstroTurf inspired by dickson's travels in the hudson Valley - has recently been extended through december 15, 2013
RODNEY HARRINGTON GALLERY The lichtenstein Center for the Arts • 413-499-9348 • discoverpittsfield.com exhibit: They dance for rain, Nov 1 - 30.
Roselle Chartok, collage “Nudes and Trucks” Artwork by Scott Taylor and Roselle Chartok Now through December 319 Main Street, Great Barrington, MA • 413-528-1660
SCHANTZ GALLERIES 3 elm St, Stockbridge, MA • 413-298-3044 www.schantzgalleries.com. A destination for those seeking premier artists working in glass. (11 - 5 daily) SOHN FINE ART GALLERY 6 elm Street, Stockbridge, MA “Nude”, October 4th, 2013 - february 2014
SPRINGFIELD MUSEUM 21 edwards Street, Springfield, MA •413-263-6800 evocative watercolors by artist Josie Vargas. The exhibit, titled fiesta: flora and fauna from Puerto rico, will be on display at the Michele and donald d’Amour Museum of fine Arts from September 10 through May 11, 2014 ST. FRANCIS GALLERY 1370 Pleasant St, rte 102, lee, MA • 413-717-5199 COlOr and liNe, Oct 4 - Nov 18, reception: Oct 12, 3-6pm. iNSPirATiON of the SPiriT, Nov 22 - Jan 6, reception dec 7, 3-6pm THE HARRISON GALLERY 39 Spring Street, Williamstown, MA • 413-458-1700 Stanley lielen and Janet rickus thru November (Wed - Sat 10-5:30, Sun 11-4, Closed Mon & Tues.)
THE STERLING AND FRANCINE CLARK INSTITUTE 255 South St. Williamstown, MA 150th anniversary of edvard Munch's birth with a screening of "Munch 150," part of the "exhibition: Great Art on Screen" series. WILLIAM BACZEK FINE ARTS 36 Main St., Northampton MA ph 413-587-9880 Mallory lake and eric Wert, Nov 13 - dec 14.
BERKSHIRE COMMUNITY CHURCH richmond, MA • www.pianobeautiful.com and berkshire community church website Jessica roemischer, award-winning pianist, performance. Concert Nov 23, 7:30pm. . PALACE THEATRE
HUDSON WINTER WALK Warren St., hudson, NY Saturday, Dec 7, 5 - 8pm... Don’t miss this!!!! There’s something for everyone, from belly dancers and the Can Can Girl to the hudson Valley Performing Arts Center’s ballet troupe, hip hop, and the Kuumba dance & drum ensemble to delicious food vendors. Galleries such as 510 Warren will be open.
THE MOUNT lenox, MA fOOTliGhTS AT The MeT: A peek behind the curtain with international costume designer Charles Caine. historical theatre fashions, jewelry and memorabilia to be shown at Nov 20. Tickets for this event are $15 and are available on
the Close encounters website – www.cewm.org or at 800-8430778. refreshments, courtesy of Chocolate Springs and Our daily Bread, are included following the presentation.
SABINE VOLLMER VON FALKEN PhOTOGrAPhiC WOrKShOPS • 413-298-4933 www.sabinephotoart.com, firstname.lastname@example.org
IS183 ART SCHOOL OF THE BERKSHIRES 13 Willard hill road, Stockbridge, MA Classes and workshops include:Teapots, Lids and Handles: Nov 13 – dec 11 (4 sessions) The teapot is the iconic form in the ceramic world. it is popular among potters to show their skill and style. Creating a teapot often seems like a daunting task but broken down it is just a cylinder with a lid, handle, and spout. in this class we will look at different styles of teapots and create them using both the wheel and slab techniques. This class is appropriate for intermediate to experienced students. Introduction to Experimental Animation (Nov 23 - 24) Jump into animation using direct and intuitive approaches to storytelling. We’ll develop and shoot a short film using stop motion, puppet and mixed media techniques.
SAMUEL DORSKY MUSEUM OF ART State university of New York, New Paltz Phone: 845-257-3844 Sunday, November 10, 11 am - 5 pm: final open day for Screen Play, including work by Patrick Kelley and Adie russell, recipients of the 2013 hudson Valley Artist Purchase Award. Send in your calendar submissions by November 15 for the DECEMBER issue of The Artful Mind artzine! H
THE ARTFUL MIND NOVEMBER 2013 •3
BerKShire ArT GAllerY
Gayler Clark, Apple Tree in Spring, O/C, 16 x 16, 1882-1945, American
80 rAilrOAd STreeT, GreAT BArriNGTON, MA 413. 528. 2690 OPeN SATurdAY ANd SuNdAY NOON TO 5PM ANd/Or BY APPOiNTMeNT WWW.BERKSHIREARTGALLERY.COM
JOhN liPKOWiTz, GeOTherMAl VAlleY
4 • November 2013
The ArTful MiNd
laurie donovan, Swimming Hole in the Berkshires, Blue Topaz
FRONT STREET GALLERY
Painting Classes on Monday and Wednesday mornings 10 - 1pm at the Studio and Thursday mornings 10am - 1pm out in the field.
Open to all.
GOLDSMITHS FINE JEWELRY GEMS
November is Topaz month Come see our fine collection
413-274-6607 413-429-7141 (cell) 413-528-9546 Gallery Hours: Saturday and Sunday 12-5 or by appointment FRONT STREET, downtown HOUSATONIC, MA
81 CHURCH ST. LENOX MA Idonovan@lauriedonovan.com www.lauriedonovan.com 413. 637. 1589 FAX: 413. 637. 8275
Nina Lipkowitz, No Strings, iPainting, Limited Edition-Archival Pigment Print
Featured December Artist
december 6 - december 29, 2013 Artist Reception December 7, 12 - 3pm
Continuing with gallery festivities all evening for The Hudson Winter Walk from 5 - 8pm.
510 Warren Street Gallery, Hudson, New York ninalipkowitz.com email@example.com 510warrenstgallery.com
Hours: First Saturday of the month, 12-8pm. The rest of the month: Friday & Saturday 12-6 and Sunday 12-5pm or by appointment
The ArTful MiNd NOVeMBer 2013 •5
THE ARTFUL MIND
“You must have chaos within you to give birth to a dancing star.” - Friedrich Nietzsche
THE MUSIC STORE
John Lawson Photography by Jane Feldman
John Lawson Stephen Dietemann...18
Planet Waves for November Eric Francis.....18 Simply Sasha Sasha Seymour......19
Architecture & Arcadia Stephen Dietemann..... 19 Richard Britell: Coromo .....21
Contributing Writers and Monthly Columnists Eunice Agar, Richard Britell Stephen Gerard Dietemann Eric Francis, Sasha Seymour
Photographers Stephen Donaldson, Lee Everett, Jane Feldman, Sabine Vollmer von Falken, Cassandra Sohn Publisher Harryet Candee
Copy Editor Marguerite Bride Proofreader Amy Tanner
Advertising and Graphic Design Harryet Candee
Box 985, Great Barrington, MA 01230 firstname.lastname@example.org issuu.com/theartfulmindartzine 413-528-5628 All submissions for December due :: November 17, 2013 (email or call) 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.
6 • November 2013 The ArTful MiNd
As the Berkshires bids farewell to its Autumn Symphony, we at The Music Store again prepare to celebrate the season’s coda at the end of the railroad Street extension in Great Barrington. Acclaimed as one of the area’s best music stores, The Music Store specializes in fine, folk and unusual musical instruments, accessories, supplies and music motif gifts. Music lovers and professional and amateur musicians alike will find an exciting array of both new and used name-brand and hand-made instruments, extraordinary folk instruments and one of the Northeast’s finest selections of strings and reeds. Professional musicians seeking the finest or unusual strings or accessories are welcome to call in advance. We will make every effort to satisfy the need! We continue to offer some extraordinary instruments this year. We proudly welcome the Cordoba guitar line - extraordinary professional voicing and elegant playability for a reasonable price! for travelers and lovers of the unusual and portable professional guitar the incomparable Composite Acoustic Cargo, with a body made in one piece of 100% carbon graphite, offers fullsized acoustic sound and professional grade electronics for the perfect gigging and traveling instrument in an almost indestructible body - aptly called the forever Guitar! for Guitarists seeking unique handmade premium instruments, The Music Store
offers guitars by American luthier dana Bourgeois as well as Steel and classical guitars by irish luthier John Beckett. Music Store customers enjoy fine luthier handmade classical and steel string guitars as well as new and used guitars from other fine lines including Alvarez, Avalon, Breedlove, Composite Acoustic, Cordoba, fender, loar, luna, recording King and Takamine. Acoustic and electric guitars from entry to professional level instruments are available. famous named guitars and basses join less-well known brands which appeal to those seeking high quality but are on tight budgets, providing any guitarist a tempting cornucopia of playing possibilities. excited by the uKelele CrAze (and you ShOuld Be!)? We offer one of the largest selections in the Northeast, with many tonewoods, shapes and sizes of acoustic as well as acoustic-electric instruments, resonators and the amazing acoustic/electric u-Bass! instrumentalists in search of the unusual will find the unique dr. easy’s Sonic Boxes - cigar box guitars made from recycled ingredients and vintage cigar boxes, the Serenity Bamboo flutes - cane and walking stick flutes which are handmade in Stockbridge, fluke and flea ukuleles - handmade in Sheffield, Catania Thumb Pianos, Gourd Pianos, fishtix and Catspaws - handmade in Pennsylvania, and a host of other varied and exciting instruments for musicians of all ages and abilities. expert luthiery, maintenance and restoration is available through Sean Barry’s Workshop - the repair side of the business. At the Workshop it is possible to rejuvenate an old friend, resurrect a zombie or simply make adjustments for a beloved partner. New and used student orchestral and band instruments are available, including violins from $159 to $3000. An extensive array of international strings and reeds provides choices for the newest student to the symphonic performer. Children’s instruments, as well as a fine line of international percussion including middle eastern and hand made African instruments along with many choices of industry standard drum heads, stands, and sticks, as well as tuners, forks and metronomes can be found as well. All new instruments are backed by The Music Store’s lifetime warranty which provides free set-up and adjustments on any new instrument sold through our Workshop! for repair and restoration and maintenance of fine stringed instruments - guitars, banjos, mandolins and the like - The Music Store’s repair shop offers expert luthiery at reasonable prices on instruments of all levels, as well as authorized repairs on lowden and Takamine guitars. Those in search of the perfect present for music lovers will find a treasure trove of gift favorites such as bumper stickers (“Caution: driver Singing,” “Go home and Practice,” Tune it or die” and more), tee shirts, caps, scarves, miniature musical instruments and instrument magnets, music motif mugs, socks, totes and ties. Small bronze and metal musician statues and cuddly ‘Music lover’ stuffed animals, lapel pins and earrings add additional possibilities to gift giving customers. A proud server of the community for over thirteen years, The Music Store’s warm and friendly staff are available for help in tuning, stringing or instrument repair. help in choosing tuners, capos, mutes shoulder rests and strings is as happily given as help in selecting instruments themselves. Our mission is to support and encourage our musical community, so consultation and advice are always free. for capos to kazoos, guiros to congas, rainsticks to rosin, bows to bodhrans, mandolins to microphones, reeds to rods, Strats to stands, local artist’s Cds and harmonicas to picture frames and music motif ornaments, instruments and more, The Music Store is the place to be. The Music Store, 87 Railroad Street, Great Barrington, Massachusetts, open Tuesdays through Thursdays from 10 to 5, Fridays from 10-6, Saturdays 10-5 and on Sundays from 12 to 5. Call 413-528-2460 or visit us on line at themusicstoreplus.com
When a woman is talking to you, listen to what she says with her eyes. -Victor Hugo
il.c ma @g oto ph an ldm efe jan m .co an ldm efe
After seven years of working for artists and photographers as Berkshire digital, we have changed our name to collins|editions. We are a fine art reproduction service that offers the highest quality digital photography & reproduction of paintings as well as Giclée printing on archival papers and canvas with sizes up to 42” x 90”. Artists & photographers use us to create limited editions of their images. Private collectors and galleries use us to document their collections. Whether the reproduction needs are for archiving, printing, books, magazines, postcards or internet use, Bd adheres to very strict color controls along with delivering stunning detail by using either a large format camera with a Better light™ digital scanning back for making giclee prints as well as the best dSlr cameras for publication & internet uses. in addition to the photography and printing services, collins|editions also offers graphic design, enabling clients to create show announcements, post cards and brochures. The website, www.Collinseditions.com has a complete overview, lots of information and pricing. The owner, fred Collins, has been a commercial photographer for over 30 years having had studios in Boston and Stamford. he offers 20 years of experience with Photoshop™ enabling retouching, restoration and enhancement. The studio is located in Mt Washington but dropoff and Pu can be arranged at other locations. Collins|editions studio, 220 East St, Mt Washington, Massachusetts; 413-6449663, www.Collinseditions.com
COLLINS/EDITIONS formerly BERKSHIRE DIGITAL
“Scratching the Surface” features oil paintings by lydia Johnston and ceramics by lori St. Pierre at NAACO Gallery, North Adams, Massachusetts, through November 25. Vermont artist lydia Johnston’s new landscapes are complex and full of vitality. Johnston, best known for her vibrant use of color, has been incorporating carved lines and printed patterns in her new body of work. Johnston applies multiple layers of oil paint, using both transparent and opaque colors, to achieve a richness and depth. Some of the paintings in this show have an arched wall or trellis with flowers, from which you look out across an intriguing landscape. A number of smaller pieces have an urban sensibility created by overlaying printed patterns. Johnston works with wide color shapers, instead of brushes, that give her work its distinctive look. in addition, she carves marks into the wet paint with the edge of these tools, as well as printing patterns on the surface. All of these markings bring alive the skies and grounds of her landscapes. NAACO Gallery, 33 Main Street, North Adams, MA (diagonally across from MASS MoCA) 413-664-4003. Hours: Monday, Wednesday thru Saturday 11-6 pm, Sunday 12-4 pm, closed Tuesday. www.naacogallery.org or www.lydiajohnston.com
John lipkowitz, a retired New York City attorney with his wife Nina has traveled widely to many parts of the world during the past fifteen years. Now living in Great Barrington they continue traveling, most recently to iceland and Greenland. An ardent photographer, John has exhibited his work at Art on Main at Barnbrook Gallery, the Berkshire Gold and Silversmith and Bard College at Simon’s rock all in Great Barrington as well as other locales in the area. A founding member of 510 Warren Street Gallery in hudson, John will be the its featured artist during November 2013, exhibiting photographs of iceland: land of Contrasts. Geologically the newest of nations, iceland was volcanically “born” about 16 million years ago and continues to form from several volcanoes classified as active. Just south of the Arctic Circle, iceland is home to several glaciers and the second largest ice cap in europe. Melting glaciers and abundant rainfall produce dozens of waterfalls spread around this island country. Although the growing season is short, more than two months of constant daylight during iceland’s summer enable continuous growth and resultant lush vegetation. iceland is literally powered by underground geothermal steam and hot water, some of which reaches the surface as interesting and colorful mineral deposits and mud pots. John Lipkowitz, featured artist for November. iceland: land of Contrasts, November 1 - December 1 at 510 Warren Street Gallery, Hudson, NY.
lYdiA JOhNSTON, WAKe iNTO A dreAM
rAiNBOW fAllS, JOhN liPKOWiTz
The ArTful MiNd NOVeMBer 2013 • 7
BOXFREE WEB DESIGN
Websites have amazing potential as blank canvases, ready to show the world who you are and what you represent. Sadly, far too often, this is not the case - being that most websites today are nothing more than cookie-cutter imitations of the ones next door. Templated blandness. What waste! i believe that each website should be a unique statement, filling that blank canvas with something that sings of the person it represents. That’s why at Boxfree i design websites using code from the ground up, never fill-in-the-blank templates. i design a site that expresses your vision. When you use Boxfree to design your website, it will be your website and yours alone. Check out some of my work samples at boxfree.us and see if you don’t agree. Boxfree also specializes in adding animations to existing sites. The web is a wonderful venue for movement, but all too often it is only used to portray static pictures that express no vibrancy or action. Animation changes that. i take your existing website and add motion to it, giving it the vitality it deserves to make it jump out at a visitor and grab their attention. My rates are extremely reasonable. You’ll be amazed at how inexpensive it can be to bring your tired site to life through animations, or design a new site from the ground up. Mention that you found me through The Artful Mind and get 10% off your design. I look forward to working together. Steven May - email@example.com
ARTS ET INDUSTRIE BirdS, BuGS & BOTANY™
it was the Age of discovery & the era of enlightenment. exploration around the world in the 17th, 18th & 19th centuries fueled a fascination with Botany, Natural history & flora. emissaries fanned out across the globe gathering specimens of exotic flowers & fauna to be catalogued by preeminent naturalists & bound into grand volumes. for these great books brilliant illustrations were drawn & carved into copper plates, hand-printed & individually colored by some of the most excellent artists of all time. These magnificent original prints will be the focus of Art et industrie’s spring exhibition at the Great Barrington Train Station, entitled BirdS, BuGS & BOTANY™. featured will be selected works from some of the greatest Botanical illustrators of the Golden Age of Botany, including early hand-colored flower engravings by Sydenham edwards for Curtis’s Botanical Magazine from the 1780’s forward, Stipple-engravings By Pierre J.f. Turpin for Chaumeton’s 1815 flore Medicale, rare contemporaneous examples by ‘The raphael of flowers’ Pierre-Joseph redouté, spectacular hand-colored orchids by John Nugent fitch for robert Warner’s 1882 The Orchid Album, lavish lithographs from van houtte’s mid-19th c. flore des Serres and others. Also featured will be select original J.J. Audubon hand-colored bird-prints from his 1840 Octavo edition of The Birds of America together with full-size re-creations of the original havell engravings from the rare Amsterdam edition, as well as wonderful works from Shaw & Nodder’s 1790-1814 Naturalist’s Miscellany, stunning engravings of shells, incredible early renderings of butterflies, moths, bees & spiders. All these & many more will be presented together with a selection of fine reproductions on Greeting Cards, Giclees & scarves at our newest location next to the Farmer’s Market at the Old Great Barrington Train Station.
ANNe reAdiNG, BY The lAKe, O/C, 14 x 11. GuY GAYler ClArK, 1882-1945, AMeriCAN
THE BERKSHIRE ART GALLERY
The Berkshire Art Gallery is known for the quality of its paintings, often done by artists who were highly regarded during their careers but have been eclipsed over time. The Gallery will show paintings from the estate of Guy Gayler Clark (1882-1945) from November 16 through the end of the year. Works by Clark, a successful commercial artist and designer, as well as dean of the Cooper union Art School from 1938 until his untimely death in 1945, have not been seen by the general public since 1910. Clark’s teachers included William Merritt Chase, George Bellows and robert henri. Art director for The New York Times in 1914 and 1915, Clark had a highly successful commercial art background and he did not rely on gallery exhibits for artistic recognition and gratification. rather, he was content to share his artistic vision with family and friends, despite early career exhibitions at important venues, such as the National Academy of design, the New York Architectural league, American Society of Artists, etc. his styles ranged from atmospheric tonalism of the early 1900s to later exuberantly painted impressionism. Clark never lost sight of what brought him success, namely, the commercial art, design and advertising themes that he worked on every day for a living, but he also never gave up easel painting, often working at his Adirondack lake home. Afterglow and Rainbow by the Lake are examples of imagery that focus on clouds and landscape forms, as well as evidence of Marsden hartley’s influence. Anne Reading by the Lake, painted circa 1905, depicts the artist’s wife and is enclosed in its original Arts and Crafts frame. Watching Niagara Falls at Night predicts Adirondack paintings by Georgia O’Keeffe a few years later, while Apple Tree in Spring shows Clark’s robust, full spectrum palette in later years. Also in the show will be a tempera painting by John Vassos (1898-1985), Cooper Union Montage, with streamlined architectural elements and sinuous lines that nearly define the Art deco era. Vassos, who designed photographer Margaret Bourke White’s studio in the iconic Chrysler Building, painted it to mark the occasion of his friend Clark’s move to Cooper union. The Berkshire Art Gallery, 80 Railroad Street, Great Barrington, Massachusetts. Parking for Gallery patrons is available in front of the Gallery. Hours are Noon to 5pm, Saturday and Sunday, or by appointment or chance. For information, call 413- 528 – 2690 or visit berkshireartgallery.com
FRESCO PAINTING WORKSHOP
8• November 2013 The ArTful MiNd
Nov. 22 -Nov. 24 at Sheffield Library given by one of Italy's premier conservators & educators, who will lecture on that Fri. Eve. $150 for HVAL members; $175 for non-members; LECTURE ONLY is $10 for non-members To register or for more info, call 413-229-5951 or e-mail firstname.lastname@example.org.
WHOLEPERSON MOVEMENT ShArON True ON PilATeS APPArATuS
Core support for the physical work of making art: regular exercise is an essential component of optimal health and functioning. Sharon True, owner of WholePerson Movement, understands that the physical work of doing visual or performing art can take a toll on the body, whether it’s chronic pain from repetitive movement, a recurring injury, or stiffness and discomfort from overuse. With her artist clients she focuses on developing core support for the movement the artist is doing, so there is less pain and strain. in the personalized, one-on-one workouts she offers in her Pilates studio she guides her clients to become masters of their own body movement. They learn to become conscious of the inner experience and process of doing an exercise, as well as of its precise outer form. True’s customized workouts stretch and strengthen muscles, promote concentration, reduce stress, and deepen understanding of the body. Clients leave her studio not only feeling taller, stronger, and rejuvenated but also prepared to apply Pilates principles to daily life. More broadly, True’s approach empowers people to make the most of the body they have. She welcomes the opportunity to find a way to help your body function at its best, from elite performers and athletes to people confronting serious impediments to the active lifestyle they want to live. True is a registered somatic movement therapist, certified laban movement analyst, and a certified Pilates and Pelvic floor Pilates (Pfilates) instructor. She has been teaching Pilates-based workouts for over 15 years, first at Canyon ranch in the Berkshires and then in her own fully-equipped Pilates studio in Great Barrington. These years of teaching, together with her commitment to continuing her own education, give clients the benefit of a vast array of experience to effectively address their goals and concerns. She is an expert partner and guide in the discovery of an exercise program that works and is a pleasure to do. Act now to find core support for the activities you love, and to start making the most of the body you have. Contact Sharon True at email@example.com, or phone 413-528-2465, 9 AM-9 PM.
MARGUERITE BRIDE WATERCOLORS
MArGueriTe Bride, WiNTer MOON OVer TWO SPruCeS
during the winter you can see Marguerite Bride’s watercolors at a number of different venues. exhibits of her winter paintings include a display at the Adams Town hall until November 15. Also, for the entire month of November, a varied selection of her work can be seen at the Chaiwalla Teahouse and Gallery in Salisbury, Connecticut. in december, Bride returns to Gallery 25 in Pittsfield with a solo exhibit of her new winter scenes with an artist reception 5-8 pm on december 6 in conjunction with Pittsfield’s first fridays Artswalk. She will be participating in the weekend holiday show sponsored by Alchemy initiative december 7 – 8 at the Masonic hall in Pittsfield. in addition Bride has 10 winter paintings on display at North Adams hospital October – April. looking for a thoughtful, creative and cherished gift for the holiday gift giving season? Consider a painting of a home, favorite scene, barn, business, just about anything. Personalized gift certificates are created and it is always a great time planning and working with the artist in designing your heirloom. fine Art reproductions and holiday cards of all of Bride’s original paintings are always available directly from the artist. Marguerite Bride, NUarts Studios, 311 North Street, Pittsfield, Studio #9, by appointment. Call 413-442-7718, or 413841-1659 (cell); website: margebride-paintings.com, email: firstname.lastname@example.org
FRONT STREET GALLERY KATe KNAPP, flOrAl
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. 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. 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. Kate Knapp’s paintings are also on display at 510 Warren St. Gallery in hudson, NY. Please stop by to see all the many works of art by exceptional artists. Coming soon to front Street Gallery – Front Street Gallery – Front Street, Housatonic, MA. Gallery open by appointment or chance. 413-528-9546 or 413-429-7141 (cell).
The ArTful MiNd NOVeMBer 2013 • 9
EMPORIUM ANTIQUE CENTER
Scott Taylorâ€™s paintings will be on display until early January, 2014 in the emporium Antique Center, Great Barrington, MA. â€œTrudyâ€? is one of Scottâ€™s trucks on view and ready to be totally enjoyed. Certainly one can feel the personableness of these portraits and uncanny liveliness. This collection of antique trucks are brimming with individual personality and a promise to bring on a broad smile and a sweet nostolgic frame of mind from all viewers. Scott Taylor is a resident of Bershire County and resides in Pittsfield, MA. You will always find this dedicated artist painting and enjoying his time expressing what he sees with art. his interpretations of nature and every day objects often have a sense of humor and a big heartedness even when the subject matter of objects or from nature would be considered everday ordinaire. So often we pass by these points of interest Scott finds but we donâ€™t becuase we are so bus For a more detailed update on Scott, please got to: Scott Taylor. artsindie.com
ABSTrACT dOT ANd Three liNeS, BY NiNA liPKOWiTz
iPAINTINGS: MEDITATION IN LIGHT AND COLOR
Nina lipkowitz, peripatetic painter, potter, sculptor and yoga teacher, will be the featured artist at 510 Warren Street Gallery in hudson, NY. She will be exhibiting her playful and lyrical iPaintings, painted with her finger on the touch screen of an iPad, her portable painting and drawing studio. Meditations in light & Color will be on view from friday, december 6 through Sunday, december 29 with a reception on Saturday, december 7 from 12-3 pm, followed by the fabulous hudson Winter Walk. donâ€™t miss the whole afternoon and evening of festivities, both in the Gallery and up and down Warren Street, followed by fireworks at 8pm. Ninaâ€™s watercolors are always available in her on-going exhibitions at 510 Warren Street Gallery in hudson, NY. See more of her work at her website: ninalipkowitz.com. in 2013, lipkowitzâ€™s watercolors have been exhibited in group shows at 510 Warren Street Gallery in hudson, NY; Sanford Smith fine Art and Art On Main-Barnbrook Gallery in Great Barrington, MA; front Street Gallery in housatonic; and in Pittsfield at the lichtenstein Center for the Arts. her iPaintings: Meditations in light & Color were featured in a one-woman show at the Works Gallery, Madison Avenue, NYC. The featured exhibit for November is John lipkowitz, Photographs of iceland: land Of Contrast. 510 Warren Street Gallery, NEW HOURS: First Saturday of each month, 12-8pm. The rest of the month: Friday & Saturday 12-6 and Sunday 12-5pm or by appointment: 518-822-0510. Email: email@example.com, website: 510warrenstgallery.com
EMERGING LIGHT BY DMITRI FREUND GOOD PURPOSE GALLERY CiTY Of GOd, TAlliNN, BY dMiTri freuNd
freundâ€™s work, reflective of his spiritual journey, is characterized by an exploration of light. emotionally charged ideas, memories, feelings, associated objects come to life and a dialogue begins on the painterâ€™s canvas. â€œThe object gets transformed into symbols in my soul.â€? The exhibit opens on friday, November 1st with a reception from 5 to 7PM. Please come to meet the artist, listen to live Jazz music and taste great food & wine. The exhibit will run until January 2nd, 2014. Another dialectic explored by the artist is one between color and rhythm. â€œColor carries the feeling of the artist while the rhythm organizes the expression of that feeling.â€? light is the transitional â€œobjectâ€? infusing every work with an etheric quality that appeals to the viewer. it creates an other-worldly sense, suggesting experiences of other dimensions of the art and oneself. â€œMy creative process is similar to that of a composer. The composer might spend a considerable amount of time at the keyboard searching for harmony, melody and rhythm that expresses what is in his soul. i do likewise with paint on canvas in my studies of nature. i feel chords of color, rhythms of shape and melody of light in the world.â€? dmitri was born in Massachusetts in 1971 of an American mother and russian father. After several summer visits to Moscow, he moved to russia in 2001 for seven years to study painting and pursue passion for visual arts. On return he choose Southern Berkshires as his residence, and created many wonderful canvas since then, exploring various subjects and ideas, refining his style even sharper. Just recently in 2013, dmitri was featured on CTSB-TV with an interview about his art and vision. Take a chance to see freundâ€™s works in person for the next 2 month at this show. Good Purpose Gallery, 40 Main St. in Lee, MA. Open 6 days a week (closed on Tues.) For more information visit: www.goodpurpose.org or call 413-394-5045.
There is one spectacle grander than the sea, that is the sky; there is one spectacle grander than the sky, that is the interior of the soul. -Victor Hugo
10 â€˘ November 2013
The ArTful MiNd
DENISE B. CHANDLER FINE ART PHOTOGRAPHY FINE ART PHOTOGRAPHY CAMdeN ArCAdiA liONS
SABINE PHOTO ART
every master of photography has a gift for seeing the world in a particular way. Sabine’s is picking the subject matter, the subtleties of lighting and the nuance of background, also her eye for detail which concludes to the result of timeless imagery. Assignments are tailored to meet her client’s needs- a remembrance for a special event of a life time or a logo image to create an authentic professional online presence. it is to no surprise that she is a sought-after documentary and editorial photographer with the talent of bringing introspective to the art of people photography. She is the interviewer, provoker and image-maker. in addition to working with publishers, she was invited to have a show in the beginning of 2014 at the new Six depot Gallery in West Stockbridge, Massachusetts. The Artful Mind’s december issue will post more details. Photo Art and Book Signing by appointment: “WOOdlANd STYle” and “Shell ChiC”, published by Storey Publishing, author Marlene h. Marshall, all photography by Sabine. The books can be purchased from your nearby book stores. Signed fine art prints are directly available through sabine’s studio. Sabine is a member of The American Society of Media Photographers asmp.; The international Center of Photography iCP and the Wedding Photojournalist Association, WPJA. For more info please contact Sabine Vollmer von Falken Photography Studio www.sabinephotoart.com, firstname.lastname@example.org tel. 413-298-4933.
denise B Chandler is a fine art contemporary photographer with an attraction to color, shape, form, and movement. The current exhibit at St. francis Gallery in lee, Massachusetts…”Color & line” (running through November 18) is exhibiting eight new works of hers. Chandler’s “Camden” series of reflections are large black & white conceptual pieces with dynamic movement that leaves the viewer wondering and if they are indeed photographs. Contrasting with the black & white images are four large square images with intensely strong color and shape against black backgrounds. On November 1, Chandler will present a solo exhibit of a new body of work at Guido’s fresh Marketplace Café in Pittsfield. The show is titled “eyes on View” and runs throughout the month of November with an opening reception on November 1 from 4 to 7 PM. it is an examination of the soulfulness of the eyes and our own humanity. Ten images from this body of work will be on display. Chandler’s photographs are signed limited edition prints that come with a Certificate of Authenticity. The images are archival Giclee prints printed on either hahnemuhle or Moab fine art papers by Sohn fine Art in Stockbridge with museum quality framing and uV conservation blocking glass or acrylic. her work is available for purchase at galleries exhibiting her work and by contacting her directly. Chandler is a lifelong resident of lenox, MA and shares her home with her husband, richard, and their 3 english Springer Spaniels. She has completed the Photography residency Program at Maine Media Workshops & College and is continuing her training with Master photographers. She is a member of the Professional Photographers of America (PPA). , M.A., C.M.A., R.S.M.T. Denise B ChanSomatic Movement Therapist and dler Fine Art Certified Pilates and Pfilates TM (Pelvic Floor Pilates) Instructor Photography – w w w. d e n i s e bchandler.com or e-mail at Private, Conscious Exercise Workouts for all ages info@deniseand abilities featuring fully-equipped Pilates studio bchandler.com in a quiet, country setting in Great Barrington
Classes at Kilpatrick Athletic Center (KAC) at Simon’s Rock College
Pilates Mat Class Beg/Int. Tuesdays 5-6:00 PM Pelvic Floor Fitness Class Beg/Int. Wednesdays 6-7:00 PM
ST. FRANCIS GALLERY LEE, MA TrACY leVeSque
response to the current show, “Color and line” has been enthusiastic. The collection of art work is a visual delight. The gallery space allows visitors to spend time with each artist’s creations and at the same time be introduced to a wide variety of work that blends seamlessly into the exhibit. The collection of local artists continues to grow. represented in this show are: Jennifer Archer, Guy Beining, Beverly Bourassa, Mario Caluori, denise B. Chandler, ernest Chase, linda Baker Cimini, robert houghton, Kate Knapp, Jeff Kramer, Tracy levesque, Bruce Mcdonald, helga Orthofer, ivor Parry, franco Pellegrino, Bob Plant, Jack Sadoway, Jim Singelis, Paula Stern, Sharon Vidal, Bass Wane and Anne Pasko. The show will hang until the 18th of November. On November 22 of November, a new display comes up: “inspiration of the Spirit” and will replace the current exhibit. it promises to capture the essence of the coming season and highlighting that show will be works of art that were produced by incarcerated individuals in prison. The gallery will also offer smaller holiday art for the coming season. St. Francis Gallery is located at 1370 Pleasant St., Rte 102, Lee, MA. 413-717-5199. Open Friday to Monday 11am - 5:30pm and by appointment. www.saintfrancisgallery.com
Great Baby Gifts!
Soft sole leather footwear
The ArTful MiNd NOVeMBer 2013 • 11
PhOTO: JANe feldMAN
Interview with Stephen Gerard Dietemann Photos by Jane Feldman and Jonathan Hankin Stephen Gerard Dietemann:John, it is a pleasure to meet with you at your new studio space in downtown Great Barrington. I’ve long admired your work and am excited about being able to talk about it with you and share that conversation with the readers of The Artful Mind. So let’s get started: Tell us a bit about you, you know, some basics, where you were born, family, etc. Especially events or people who influenced your artist bent… John Lawson: Growing up in a rural environment in england without a TV was well suited for a wandering poet’s soul. for many years our only form of transportation was a clunking italian Motor Guzzi with sidecar. i remember dad decked in half inch thick glass goggles and ex surplus WWii military gloves, boots and coat, Mom wrapped in her nurse’s cape clutching her cap with my sister and me bouncing around in the sidecar. My angst for adventure could be described as a loose translation of Albert Camus’, “The rebel” laced with any of the novels by Kurt Vonnegut, Jr, or Joseph heller i managed to lay my hands on. We lived in a haunted Vicarage with coal fires and whistling chimneys, creaking apple trees and child eating rose bushes. in the winter months, hobo’s and gypsies would visit looking for odd jobs in return for food. They were always invited in from the harsh cold, no matter what hour, and i was fascinated with their dress and accents. i marveled at how the weather had worn their skin. everything they owned appeared to be tied with string onto the inside of their heavy woolen coats and shawls. Their sense of place in the environment and nomadic contentment for owning very little has had a lasting effect on me. Other early childhood memories conjure up: swaying fields of ripening mustard, owls, the smell of hops on the vine and twice on Sunday listening to my father preach about how he loved his father and all his children while i stared out of the stained glass windows with whatever light could shine through with all those
12 • Novemberrr ...bery bery good! 2013 The ArTful MiNd
saints and angels, lions and lambs and George’s and dragons, dancing within, wondering if i would ever muster the courage to climb a crow’s nest or win the bet and kiss the new girl in the class room.
You have an interesting family, lots of writers in particular. Are you the first visual artist? John: i always cringed when i heard the expression ‘like father like son’ or ‘the fruit never falls far from the tree’. however looking back at it all now, i would say my father was a successful artist and often very visual. Most of his adult working life he wrote two sermons a week, one for 35 minutes the other for 40. That’s a lot of writing by any standard. he had perfected his technique so that he never had to worry about publishing or selling any of it. his secret was that twice a week he got paid to perform to a live audience albeit at times, i felt, a rather limited one, and for the remainder of the week start a new writing project. There’s a joke about three school boys sitting around comparing how much their dad’s brought home from work. The first boy said his dad was a policeman and brought home 50 dollars a week. The second said his dad was a lawyer and could bring home as much as 150 dollars a week. The third boy proudly boasts his dad was a preacher man and so successful it took four adults to carry his entire wages home twice every Sunday. So how did your interest in the visual arts begin? Did anyone in particular nurture that interest? John: i was always drawing and making things and Boy scouts taught me how to use what you have. Playing third trumpet in the high school Swing band gave me the courage to engage in crowds before escaping into beer tents with circus women sporting strange tattoos. And at the top of the list i would say stained glass windows. One of my favorite places to visit is Chagall’s “Blue Window”, located next to the meditation room in the heart of the united Nations Building. i can sit there for hours watching the effects from the light dance within his painted figures.
What artists – or non artists if that is the case – have most affected your work? John: hands down, top of the list is the Spanish architect Antoni Gaudi. The shear exuberance and playfulness of his vision i find remarkable. Second place would be Monty Python’s flying Circus with the soccer player Georgie Best, with edger Allen Poe, Samuel Taylor Coleridge, robert louis Stevenson, and Mary Shelley’s, frankenstein, a close third. i tend to like extremes, and am a lifelong member of the happy/Sad club. i work on trying not to be influenced by other visual artists as the tendency to copy seems to rear its ugly head. On saying that, my collage and bead work has been compared to the very talented dubuffet, elizabeth Murrey and romare Bearden and to quote Bearden now seems appropriate; “Practically all the great artists have accepted the influence of others. But the difference lies in the fact that the artist with vision sees his material, chooses, changes, and by integrating what he has learned with his own experience, finally molds something distinctly personal.”
How did the places you have lived in influence your work? New Orleans in particular has had a big influence, but you have lived in many other places as well. Tell us how New Orleans in particular — but perhaps other places as well – have affected your artistic direction. John: Traveling into uncertainty remains an important part of my artistic journey. every day i try to focus on what’s in front of me now. like most artists, new surroundings are absorbed into my work even though at times we are aware this allows for vulnerability. i have a list of places i have travelled to and would say home is my studio regardless of location. if i can remain open, the places traveled and the stranger’s i encounter becomes absorbed into the fabric of my work. Right…can you talk some more about New Orleans and its unique culture and how you were affected by it? John: New Orleans is its own Kingdom. its uniqueness not only can be found in its architecture, music, food and people but also
frOM MOON SerieS ANd TeMPTATiON PiANO BY JOhN lAWSON PhOTOS: JANe feldMAN
in its resilience to survive. hurricane Katrina proves this fact and because of this very few places have such a strong sense of self. Carnival somehow ties everyone together there allowing for tolerance and encouragement to anyone wishing to express themselves in whatever shape or form they desire. At times the entire city is a living theatre and The Joy of life becomes the collective group conscience. in such a relaxed yet often extreme climate it can be easy to jump down a rabbit hole and never meet the Mad hatter. for others, this artistic freedom can open doors to explore the inner workings of the soul and when successful translate the results to a wider audience.
As you said, Hurricane Katrina had a tremendous influence on your work. John: hurricane Katrina forced everyone who was directly affected to become cave dwellers. By this i mean we all had to start from scratch with our primal instincts searching for the basics of food and shelter. i felt my job as an artist at that time was to transcribe this new life style and paint the cave walls with whatever i could salvage.
You have also worked in the field of naval architecture, right? How did that affect your artistic direction? John: Good question, Stephen! My first response is to say the ground work found in any discipline continues to grow with purpose. My second response is to say water somehow manages to follow and flow through me continually perhaps in a past life i was a successful water dowser.
Okay, I’d like to talk about a couple of specific pieces. Let’s start with the piano, which, I want to note, is still on view at the Good Purpose Gallery in Lee, Massachusetts. This is a powerful piece of sculpture – and still playable I might add… John: in early spring sunshine, walking with a girl in one hand and a pint in the other, on a laid back fat Tuesday afternoon, i become possessed with a vision of thousands of strands of discarded plastic Mardi Gras beads shimmering on St. Charles Avenue in
New Orleans. “This scene,” i kept saying out loud, “This scene! it’s like stepping into Monet’s water lilies with Jackson Pollock egging me on.” To date, that special day has produced 5 beaded pianos, a substantial array of other musical instruments including Congo drums and guitars, a 53ft bar top mural for the infamous Audubon hotel, hundreds of objects de art, foyers and corridors of beaded sculptures for newly renovated buildings in the heart of the New Orleans business district, national and international museum exhibitions, portraits of lost and found loved ones and most recently onto the Avant Guard and ever ready walls of the dorian Grey Gallery in the heart of the east Village. i might add, although this obsession has been temporally lifted, it continues to follow me from town to town and has recently manifested into the Temptation Piano, currently on display, as you mentioned, for all curious minds to see, at the Good Purpose Gallery in lee, MA. Talk about your ‘moon’ series… John: Passages—-a pictorial series emphasizing the passage of time through phases of the moon layered with the salvaged flooded drawings from my studio was created directly as a result of hurricane Katrina and, shortly afterwards, a conversation with Kim foster in her NYC gallery, one sunny afternoon. After the initial greetings, Kim proceeded to say how she could totally relate to my family’s loss in Katrina. My puzzled expression prompted Kim to add how on the morning of September 11th she decided with her husband, Tony, to go have a cup of coffee out of their apartment that directly faced the Twin Towers. She was unable to return to her blown out apartment for many months afterwards. i had seen and talked with Kim several times after that tragic September day and she never once mentioned or complained about her lot. raw and emotionally processing my “new lot” walking along 23rd Street, later that day, noticing the full moon posed in a clear blue sky, i realized tragedy happens to all of us, in some form or other, at various moments in our life and the human spirit gives
us the ability to respond, in whatever shape or form, positively or negatively. i looked for a way of transforming my anger into positive energy. When your community, city, family, home and studio containing 25 years of film, photographs, letters, sketches, drawings and art supplies sits in 9ft of contaminated flood water for more than six weeks, that can be a tough call. Thanks to Kim and the human spirit, i believe “Passages” made good. I note that your artwork is usually organized in series. Why do you structure your artwork in that way? John: Sometimes when i am working on an art piece words jostle for attention and assemble into poems. Sometimes a whole flock of them will land all at once like clouds of migrating geese. When this happens i try to capture them as they dance and peck on the ground, and if i’m lucky i can visualize the end result, whether it be a mural or elaborate series of life sized collages or a series of water colors depicting figures dancing in leafless trees.
You often employ the technique of encaustic in your work. Can you talk a little bit about how that technique works and why it works so well for you? John: As luck would have it, all my major bead work was in NYC when hurricane Katrina landed. On a quest to show the universe no matter how big a storm it threw at me i was going to continue creating regardless, i became fixated with the idea of preserving what little remained of my drawings and notebooks. At the same time, i stumbled upon a text book on ancient egypt where scrolls sealed in wax where found. The heated bees wax was used to preserve the ink and parchment and when pigment was later added paintings created. We all know bees are sacred and most of us have seen images of Jasper Johns, “American flag,” in some form or other. Sitting on a friend’s back porch with little more than a few rubbermaid containers filled with the soggy remains from my flooded studio, encaustic painting seemed the way to go.
Continued on next page...
The ArTful MiNd NOVeMBer 2013 • 13
of seeing. Thankfully in this day and age, we have come to accept beauty can only be found in the eyes of the beholder and perhaps what you are responding to here Stephen, is the artist’s intention or lack of it that fails to propel their message or viewpoint forward. Now back to the fruit bowl. i tend to gauge the success of a work on how well it captures the experience of eating the fruit rather than its initial appearance.
Your primary interest as an artist is really collage and you employ almost everything you find in your life one way or another in your work that way. It creates a deeply layered image that reveals its own ‘archaeology’. Why does collage work so well for you? John: i tend to observe and question everyday life as an animated puzzle and mystery; rejoicing in the details much the same way as a child’s smile interacts outside an ice cream parlor. When i’m in the work zone i try to focus on the force driving a moth to the flame. This can become tricky as most days new thoughts and ideas pop into my head continually. Often when i focus on one thing i end up seeing a hundred different other things, all moving and interacting at the same time with each other forming new universes on top of new universes. i’m sure if someone were to take a snapshot of the workings of my brain it would turn out looking like a collaged kaleidoscope.
One aspect of your work I particularly enjoy is your ability to use pretty much everything you find one way or another. I am always delighted by ‘playful’ work and in this regard I particularly like your crayon drawings; can you talk about them? John: Shortly after my son was born several boxes of crayons and a Bjorn showed up. To this day, the working conditions of my studio can best be described as treacherous even after i have reluctantly “organized” before a studio visit. As the need to create grew so did the paranoia of harming my newborn with oil paint fumes or burns from a misplaced glue gun. images of the child’s mother slipping on a sea of discarded Mardi Gras beads, leaving me to embrace the sleeplessness of new parenthood alone, followed my waking hours until i relented and carved out a safe corner. Carefully swaddling the infant in my lap, i sat at a desk with the crayons and paper in hand and resumed the journey. The result of some of these was a series of postage stamps depicting Carnival. Through their playfulness i tried to capture my own childhood notions of nothing being static or in focus. i’m not sure why crayons are the least used and by far the most underestimated tools in the artists toolbox, perhaps it’s because they are inexpensive, available anywhere and a load of fun to use.
James Baldwin once noted, and here I paraphrase, that, ‘art should disrupt the peace.’ Frankly, much of the artwork I see in the Berkshires isn’t particularly disruptive of anything. Your work is often beautiful but still disruptive. How do you manage to do both? John: let’s take a bowl of fruit shall we? Most folks are content with looking at the fruit as long as it is blemish free. They give little thought, if any, during their busy lives into why the fruit looks the way it does or the journey the fruit went through before arriving on the table, or worse, how the fruit makes them feel as they eat it. for me, what’s inside the fruit, how it got onto the table and the way the fruit makes me feel is often worth recording. few eat the core of an apple or the seeds of a pomegranate. Correct? i think most artists in any medium, from city planners to weaver’s can agree when they are in the creative process they are trying to express to the best of their ability their own way 14 • November 2013 The ArTful MiNd
So, John, it is obvious to me that there is a connection between the art work you do and the ‘spiritual’. I know that ‘spiritual’ is a bit vague, and in this case I mean your connects to a larger, less tangible realm. Could you expand both on that connection — assuming I am correct here about the connection— and also what ‘spiritual’ means to you in this context.”
PhOTO: JANe feldMAN
John: i believe we are all governed by a life force and i try to tap into this when i’m working. Age can show us how at times we believe our lives have been guided. i try to absorb the feeling or situation, be it a stranger’s smile or a hurricane and then work with what i have been given. in a strange way i think i learnt this from observing my dad. for example, after i had carefully washed and sorted the Mardi Gras beads salvaged from the streets bound for a land fill and knowing the conditions of the sweat shops were the beads are manufactured and my mass revulsion for excess consumerism i had to find a way to focus or meditate on something positive before and during the thousands of hours i spent at work. Often i would think of the bead workers and their families struggling to make it happen, wondering what it would be like to live their over worked lives and if my actions were somehow making a difference.
in retrospect, i think this helped me through my own lean and dark times and in a way, pay homage to them. i managed to do much the same with the work i made from Katrina only this time on a rawer more personal level. Meditating as i worked on the source found to create and rebuild after disaster strikes. Some American Abstract expressionists were big on trying to paint spirituality and some would say they were very successful at doing so. for me spirituality can be found anywhere, anytime, anyhow, from the obvious to the not so obvious. My job is to express the situation to the best of my ability and if i can make this happen then perhaps the spirituality you are referring to connects to my intention. Many visual artists figure out a way of doing one thing and then spend the rest of their lives perfecting that thing. Because i have lived in several different places i find this impossible to do. Of course it’s okay to become proficient but i cannot deny my own curiosity to explore other forms and mediums. Sure, there is a lot of talk of how this can be financial suicide as far as the “art market” is concerned, although in many cases i would say this is not true as the artist’s touch, if pure enough, tends to seeps through.
JOhN lAWSON, BIG BABOO PhOTO: JONAThAN hANKiN
You’ve shown your work extensively; most recently at the Good Purpose Gallery in Lee. Talk about where you’ve shown your work and any upcoming exhibitions scheduled. John: is this where i casually mention my work can be found in prominent art collections and exhibited in many museums across the country including, most recently, the Californian African American Museum in los Angeles and the American Visionary Art Museum in Baltimore, or should i simply remark what’s been rewarding on many levels is how many times i have been invited to showcase my work and the diversity of the audiences engaging with it, ranging from Platinum ex-
RAY LEWIS BY JOhN lAWSON (deTAil)
press to food stamps holders, from the Sundance film festival to curious head shops? Not knowing where the next invitation will appear from, keeps me on my toes, after all, perhaps the journey i have embarked on might offer me some wisdom and a shot at humility. My job is to deepen the mystery and spread the word, anything can be achieved if you’re dumb enough to start and smart enough to listen to nothing else except your heart. That said, the next upcoming exhibitions are at the Metro Gallery, Baltimore, November 2013 followed by the Outsider Art fair 2014 in NYC.
I want to also note that you are a published author. Your novel ‘Hurricane Hotel’ — published in 2007 – has Katrina as its central event. The book is a true family affair in that the cover was done by your son Sebastian and your cousin (?), author Andre Dubus III, provided a foreword to the novel. Dubus writes about your book’s homage to the spirit of Jellyroll Morton. How has jazz, and in particular, New Orleans jazz, affected your work? John: Music and especially Jazz tends to accompany me everywhere i go in much the same way as a mad dog chases its tail. even now, as i press fingers on keypad, in this railroad Street studio, jazz can be heard flowing from the doors of Tune Street and believe it or not, in the dead of night, when i am in my solitary craft, below my windows a lone ukulele player has appeared performing sweet songs for the shadows and soft tears for lady day. When i find myself getting down, i try to visualize those early bird Basin Street Musicians hopping
hANKiN JOhN iN hiS STudiO
PhOTO BY: JANe feldMAN
around barrooms and dance halls like bushels of lighted firecrackers loaded with a Charlie Chaplin sparkle in their eyes. There is no doubt in my mind their energy continually inspires me to listen a little deeper. Any thoughts about where your art is headed in the future? John: These are exciting and challenging times, any thoughts i might share as to where my work might be headed have to come from the wellspring of gratitude. John Lawson’s artwork can be seen by appointment at his Railroad street studio in Great Barrington, or at the Dorian Grey Gallery in NYC. For more information he can be reached at 917 664 6234 or on the internet at www.lawsonworks.com H
JOhN lAWSON, N.O MAN’S lANd SAlVAGed drAWiNGS ANd POeMS
frOM fOrMer STudiO iN
NeW OlreANS, 2013 36” x 36” PhOTO: JONAThAN hANKiN
The ArTful MiNd NOVeMBer 2013 • 15
“I want to meet a guy named Art. I'd take him to a museum, hang him on the wall, criticize him, and leave.” - Jarod Kintz, I Want
lAurie dONOVAN SPeSSArTiTe GArNeT, BrACeleT lAurie dONOVAN, NeCKlACe WiTh OPAl
LAURIE DONOVAN DESIGNS ANd OTher PrOCiOuS GeMS
GOldSMiTh, fiNe JeWelrY ANd GeMS
laurie donovan has been designing and creating jewelry for over 35 years; during this time she created numerous pieces of jewelry either for private customers or collections for galleries throughout the country. using gold, silver, or platinum, donovan creates unique pieces of jewelry inspired by the shapes and colors in nature, often emulating the perfect asymmetrical balance found in our Berkshire landscape. The beautiful colors of the most pristine gemstones in the world have been at her disposal to provide the focal point to the piece, or to inspire textures and colors of precious metals. Gems provided by a local cutter include the most beautiful tourmalines of all colors, sunny yellow heliodor, fancy colored zircons, Caribbean blue aquamarines, and burgundy colored garnets, to name a few. however, she has set spectacular opals, the deepest soft richness of the finest sapphires, and “the truest red rubies i have ever seen. None can be placed above another because they are all truly unique and beautiful” states donovan. her plans for the new store are to continue to provide the same quality and service of jewelry that has been provided at this location in lenox for over 35 years. “i intend to emphasize custom orders in a comfortable relaxed atmosphere.” laurie donovan is excited to be back in lenox and have a home for her business and “i am looking forward to seeing familiar faces and friends…. i enjoy working with people, solving jewelry problems, and providing a unique service.” Laurie Donovan Designs, 81 Church Street, Lenox, Massachusetts. Call 413-637-1589 or 413-637-1572, or email@example.com. Website: www.lauriedonovan.com 16 • November 2013 The ArTful MiNd
“Inspiration of the Spirit” November 22 - January 6, 2014
Artist Reception: December 7, 3-6 pm
“Color12:26 and St. Francis_postcard_front 7/23/13 PMLine” Page 1 Through November 18
1370 Pleasant St, Rte. 102, Lee, MA Next to the Fire Station
413 - 717-5199
Open Friday - Monday 11am - 5:30pm & by Appt.
The events of November are the peak of 2013 astrology. Mercury is retrograde in Scorpio, which is where most of the action is taking place, though when it's taking place somewhere else, the Scorpio planets are involved. On November 1, Mercury and the Sun form a conjunction on the same day that we experience the fourth of seven Uranus-Pluto squares. That's the highly unusual aspect that is defining what I call the 2012-era. Two days later is an unusually potent solar eclipse in Scorpio, which brings up the 'change in continuity' quality that all eclipses have, and also the pattern-setting one. On the Planet Waves website (the week of Oct. 20) we covered the themes of denial and codependency that are coming to a head. The moral of the story with the Scorpio eclipse is to tell the truth, especially about sex.
Aries (March 20-April 19)
if you focus on work, you will be less distracted by an emotional or partnership situation that arises, and will be less likely to get drawn into it in an unhealthy way. The situation has its limits; you must make sure that you have yours as well. Words said without actual intent, misunderstandings and sexual contracts that are not clear are the potential lures into a likely energy-consuming unknown. Though most days i am not the type to suggest taking a purist approach, i recommend that you direct your energy consciously into focused, productive effort or healing. You may be prompted to seek deeper understanding of a partnership issue, though that will be more productive if you seek assistance from a disinterested third party rather than trying to 'work it out' with someone whose agenda you may not understand.
Taurus (April 19-May 20) A potent solar eclipse marks the beginning of a new era in your relationships, based on deep inner changes. Two factors tend to cloud our connections with others. One is that many people are dragging around a load of past material, from their parents and other ancestors -- stuff that simply is not their own, but which feels like it is. Second is that projection plays a much larger part in relating to others than communication. Projection is assuming that someone else is thinking something, or has a certain intent, based entirely on your point of view -- or vice versa. You can go a long way this month calling in your projections, returning those of others and (in a similar vein) recognizing what material that arises in your contact with others has nothing to do with you. This will take some discernment and some practice -- and it'll be worth doing. Gemini (May 20-June 21)
You're being invited to address the most taboo subject matter -the things you've avoided or don't want to talk about, and even a few secrets you may be keeping from yourself. You'll know you're there because it will 1. be a little scary, 2. feel intriguing or fascinating, 3. have an odd sense of being familiar and unfamiliar at the same time, and 4. have the sensation of an inner quest or challenge. You may only notice one or two of those qualities; check in with the rest to see if they ring a bell. They're designed to work together, to draw you deeper, to invoke your curiosity and to demonstrate how good it feels to learn things about yourself that you had no idea were possible. The usual way of life is to fear the unknown; that is not your path and it never was.
Cancer (June 21-July 22) Many spiritual masters and those with access to the subtler shades of existence have suggested that the life we see is just the surface of existence, perhaps equivalent to more than a movie projected onto a screen, but in truth a form of maya. i am not fully committed to that notion, though i recognize the grain of truth in it -- one that might be better phrased as a question than
18 â€˘ November 2013 The ArTful MiNd
as an answer. Therefore, examine what is real and what is not. What commitments, relationships, ideas and creative processes stand the test of reality -- and what does that word mean to you? What influences of the past have no bearing on your life? What is the meaning of an 'original' idea? These questions may not have easy answers, but asking will offer you plenty of useful information.
Leo (July 22-Aug. 23) At times you question whether you're flexible enough for your own good, and you may be annoyed at how rigid you can feel - though it serves a purpose. You want your foundation to be strong. That requires a certain degree of firmness, and a certain kind of flexibility. events of the next few weeks will help you determine when it's appropriate to express one or the other. Notice what environments make you feel rigid, which pull you inward, and which draw you out of yourself. indeed, how you respond to any environment will tell you everything you need to know about your relationship to it. So if you're feeling like you need to be strong and inflexible, you can at least notice and ask yourself if it's the best response, or if another would be preferable. The operative fact is that you have a choice.
Virgo (Aug. 23-Sep. 22) Mars is making its way across your birth sign, and because it will take a long retrograde in your neighboring sign libra, it's moving through your part of the zodiac rather slowly. Where a planet is concerned, slow means potent, and where Mars is concerned, that means your ability to focus thought, intention and action. for part of this journey, Mars will be opposite Chiron, a planet closely related to Virgo; in an opposition, these two points come to full expression -- which means that you're likely to get actual results. Many other factors in your astrology are saying the same thing. it is therefore imperative that you decide what results you want, and focus your thoughts and intentions on them. You're not accustomed to having this much power available to you, and it requires special handling -- a bit like a power tool or welding torch. Libra (Sep. 22-Oct. 23)
i've reminded you before that everything comes down to self-esteem. The way your chart is set up right now, you might alternate between feeling like you're really struggling with your self-worth at the same moment you're figuring out just how much you have to work with. There are many ways to tease out the elements of the esteem you have for yourself, though i would suggest that the best measure is respect. imagine someone you look up to, admire and whose thoughts and ideas you honor because they ring true. do you feel this way about yourself? What would it take for you to get there? it might seem a contradiction to look up to yourself, though can self-esteem have any other meaning? Whether you have a long way to go or just a few steps to take, now is a great time to focus, explore and most of all seek true understanding of this idea.
Scorpio (Oct. 23-Nov. 22) The forthcoming solar eclipse in your birth sign may have you on edge. Saturn is already in your sign, with much the same feeling. Add to that Mercury retrograde in Scorpio and you may be wondering what to do with yourself, how to feel and whether you have the courage to face what you need to face. i suggest you have faith in yourself -- enough to take the time and make your decisions one at a time, with precision. The only way you can go wrong is to abdicate your awareness and your power of choice, so no sloppy work. Make small, incremental moves -small enough to know you're making clean, clear decisions. No matter how minor they may seem, each one counts; each leads to the next; and they all add up to something bigger than you can see at the moment.
Sagittarius (Nov. 22-Dec. 22)
by Eric Francis
You may be feeling so much that you want to burst. But it looks like you're not sure whether to implode or to explode. There seems to be a deep relationship situation in your life, though the way it looks, someone is lodged in your consciousness and in your libido in a way that you cannot shake, but where the person is less than available in physical reality. You might want to question whether this is a fantasy situation or something that you can actually ground in the physical world. indeed that seems to be a theme of your chart from many points of view: the distance between how much is going on in your imagination versus what you're actually experiencing in real time and space. fantasy may seem safer and it may seem more accessible -- assumptions i suggest you challenge with direct experience.
Capricorn (Dec. 22-Jan. 20) if you've felt in any way involved in a situation with no easy way out, you now have an opening. in the most pragmatic terms, it looks a little like making new friends, particularly where you've wanted to go but found to be challenging in the past. however, more significantly, this is about changing your social patterns. New people, new places, new times of day to socialize -- get out of your ruts and into the meadow. That's the theme of your life these days; the past stands no chance against the future that is approaching. Who you were will never compare to the person you are becoming. Most of what you need to do is get out of your own way, though doing things differently, even modest things (like how you drive home from work, or what train you take) will shuffle your consciousness in a friendly, practical way. Aquarius (Jan. 20-Feb. 19)
Your charts are once again calling you to leadership, though you need to be clever about this. use psychology, which is another way of saying listen for a while before you say anything, or make a decision. You would also do well to bide your time. events between Nov. 1 and 3 will bring both a series of revelations and also a sense that you're in new territory -- which will call for a new approach to your situation. it won't be until Mercury stations direct on the 10th that you know fully where you stand, and when the last of the missing pieces will be filled in. That idea about knowledge being power was never truer for you than it is now. Or said another way, knowledge that you use wisely will help you use your power in a humane way.
Pisces (Feb. 19-March 20) refuse to be persuaded by what anyone believes -- or by what you think they believe. You know you have access to direct knowledge, which will serve you well as long as you don't allow other people to distract you from your own inner truth. What you may notice over the next few weeks is that 1. it doesn't matter if other people don't believe what you believe or even consider the world as you see it and 2. if you remain true to yourself and set a solid example, others are likely to see the wisdom in your way of thinking. That cannot, however, be the goal -- as far as you're concerned, assessing the intelligence of others is really an estimation of whether they can see the obvious. You can, and don't let anyone try to convince you otherwise. ~ Read Eric Francis daily at PlanetWaves.net
The real joy is in constructing a sentence. But I see myself as an actor first because writing is what you do when you are ready and acting is what you do when someone else is ready. -Steve Martin
The Architecture of Change
When i arrived at Cornell university in the fall of 1971 as a freshman in the College of Architecture, Art and Planning i was one of about one hundred men looking out over the sea of young faces jammed into the first year drafting room, you could easily assume that the class consisted only of men. in fact, however, the architectural school that year deigned to admit seven women. Architecture, like engineering and many other fields of study, was still considered ‘man’s work’. A quick glance at an architectural magazine of the time highlighted few if any projects by women. As was the case with the abstract expressionist painters, men were the exclusive rulers of the culture’s esthetics. it had been almost exclusively the domain of men for many centuries prior and few saw any change coming anytime soon. But, of course, they were all wrong. Bob dylan noted that the times were changing and he wasn’t alone. Many people, most notably Betty freidan, were aware that the world of male privilege was neither desirable nor sustainable. But the 60’s challenged virtually every prior assumption about how the world should be structured. The old joke is that if you remember the 1960’s you weren’t there, but the truth is that the ones were ridicule those times – notably the right wing here – were existentially threatened by the chal-
Architecture & Arcadia Stephen Gerard Dietemann
lenge to the status quo and male domination of that time. My theory is that the right wing — notably the talk radio personalities still blabbing away — are the remnants of those who would retain the pre-1960’s status quo: unquestioned patriarchy (did father really know best?). even worse, add in the tendency of many so-called mainstream religions to glorify the suppression of women, and you have a seriously imbalanced culture. The result of this scholastic imbalance, like any imbalance, was distortion…and problems. in college it made sure that we focused on work exclusively and unhappily given a work load that demanded we virtually never leave the drafting room. China would be well advised to study the result of that situation: young men without even the possibility of finding romantic partners are nothing if not destructive. Cornell quickly figured out that the increase in dormitory vandalism was inversely related to the number of women in the building. Mot importantly, women were not being allowed to add to the ongoing debate about what architecture is and how it responds to the whole culture. All architecture is a reflection of the culture that produces it and a culture that ignores 50% of its members always suffers. There’s still bad news and good news here. first the good
news: women make up about 50% of the enrollees in architecture schools today. Some of the most innovative architects – or ‘starchitects’ – are now women including zaha hadid, denise Scott Brown, eva Jiricna among many others. The bad news is that many of the women who complete architectural training either do not enter the field or not for long. The AiA noted that only 13% of its members are women, and women still largely work for other firms. in a profession where you need to establish and identity of your own as a minimum requirement for recognition, this means most women remain anonymous. Of course this is all also true for men, but it is more of a problem for women. in short, progress is being made, but slowly. As Gloria Steinem so poignantly observed: men are simply architects but women are still ‘women architects’. That’s a problem. ~Stephen Gerard Dietemann architect aia
by Sasha Seymour
The Best Banana Bread!
Happy November! The father of one of my friends recently had a birthday, and for his day I wanted to bake him something special. He is watching his sugar intake, so making him a traditional birthday cake that is high in sugar was out of the question. I researched recipes over the internet, and I came up with this beauty! My friend’s father loved it so much, that the next day his wife emailed me asking for the recipe. Now I am sharing it with you fine folks! This sugar free banana bread bursts with flavor! Enjoy! 2 cups whole wheat flour 2 tsp baking powder 1/2 tsp baking soda 1/2 tsp cinnamon 4 medium bananas, cut into chunks 1 egg 1/3 cup vegetable oil 1/2 cup orange juice 1/2 cup raisins (optional) 1/2 cup walnuts (optional) 1. Preheat oven to 350 2.Combine flour, baking powder, baking soda and cinnamon in a bowl. Stir to blend. 3.Place bananas in blender and puree until smooth 4.Add the bananas and rest of the ingredients to the flour mixture and mix well 4. Pour into greased loaf pan 6. Bake for 40-50 minutes or until a knife inserted comes out clean 7. Cool on a wire rack. How easy was that?
The ArTful MiNd riP lOu reed... NOVeMBer 2013 •19
20 •November 2013 The ArTful MiNd