The artful mind april 2018

THE ARTFUL MIND THE SOURCE FOR PROMOTING THE ARTS IN THE BERKSHIRES SINCE 1994

APRIL 2018

JD LOGAN

Photographer EDWARD ACKER

EDWARD ACKER PHOTOGRAPHER

Time Flies D Get Pictures EdwardAckerPhotographer.com 413-446-8348

MORGAN BULKELEY

Photograph by Tasja Keetman

WWW.MORGANBULKELEY.COM

HOWARD YEZERSKI GALLERY, BOSTON, MA

GEOFFREY YOUNG GALLERY, GT. BARRINGTON, MA

JENNIFER PAZIENZA

Work in Progress, 2018

Oil on Canvas, 54 x 72 inches

jennpazienza@gmail.com

http://jenniferpazienza.com

THE ARTFUL MIND ARTZINE

APRIL 2018 ANNIVERSARY ISSUE

nt, i r p n i s r a 26 ye all! u o y k n a h T / INTERVIEW PHOTOGRAPHER JOE WHEATON... 16 JOE WHEATON

JD LOGAN / INTERVIEW EDWARD ACKER.. 20

PHOTOGRAPHER

OUR REMAINS OF THE DAY: PUERTO RICO CARL BERG AND JUDY BERG ... 30 LAURENCE RICHARD SCULPTEUR ARTIST PARIS / INTERVIEW ...32

FRONT ST. GALLERY

THE VOICE OF JOYCE JOYCE SILVER...38 RICHARD BRITELL / FICTION ...39 GRANDMA BECKY’S OLD WORLD RECIPES LAURA PIAN ...44

Kate Knapp

Painting classes on Monday and Wednesday mornings 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

2 •APRIL 2018 THE ARTFUL MIND HAPPY ANNIVERSARY!

Contributing Writers and Monthly Columnists Richard Britell, Laura Pian, Joyce Silver, Carl and Judy Berg Photographers Edward Acker, Lee Everett, Jane Feldman Sabine von Falken, Natalie Tyler Publisher Harryet Puritzman Copy Editor Marguerite Bride Editorial Proofreading Kris Galli Advertising and Graphic Design Harryet Puritzman

artfulmind@yahoo.com 413 854 4400

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. All commentaries by writers are not necessarily the opinion of the publisher and take no responsibility for their facts and opinions.

ROBERT FORTE

The Fossil Fuel Gatherers Oil on canvas 36" x 36"

WWW.ROBERTFORTE.COM

JOE GOODWIN

ELEANOR LORD

ELEANORLORD.COM

MARY DAVIDSON

Featured Artist Month of May My New Hat Series #33 40x32”

Metamorphic Eruption 40” x 46” acrylic on canvas 2018

Studio Visits by appointment

www.jgoodwinstudio.com

Opening Reception May 5, 2018 • 3 - 6pm

510 WARREN STREET GALLERY 510 Warren Street Hudson New York

518. 822. 0510

Gallery hours: Friday and Saturday, 12-6 Sunday 12 - 5pm 510warrenstreetgallery@gmail.com www.510warrenstreetgallery.com

Mary Davidson’s artwork can also be seen at VERMONT ARTISAN DESIGNS 106 Main Street, Brattleboro, Vermont 1.802. 257. 7044 vtart@sover.net www.VtArt.com

THE ARTFUL MIND APRIL 2018 • 3

4 • APRIL THE ARTFUL MIND

THE ARTFUL MIND APRIL 2018 • 5

ARTFUL PROJECTIONS AFTER DARK, JOE WHATON

LEAH LOPEZ, FIZZY LIZZY, OIL ON LINEN 12 X 12 2000

ARTFUL PROJECTIONS AFTER DARK

An exhibition celebrating women and the arts. Women have always been creative, yet not as acknowledged throughout Art History as their male counterparts. Female artists now have the opportunity to have their voices and talents recognized, appreciated and honored.

Paintings, drawings, sculptures and photography by Contemporary Women Artists will be on exhibition from April 7- May31.

On Sunday May 6, join us at L'Atelier Berkshires Gallery for a reception from 68pm. Artists will talk about their artwork and journey as female artists. Artists talks will be at 6:15 followed by a reception and live Bossa Nova Jazz Music by Vita Kay. L’Atelier Berkshires Gallery, 597 Main Street, Great Barrington, Massachusetts; www.atelierberks.com, contact: Natalie Tyler at 510-469-5468, natalie.tyler@atelierberks.com

LAUREN CLARK FINE ART

Lauren Clark Fine Art and the Mass Cultural Council presents Artful Projections After Dark, Saturday, May 5, 8-11pm.

As part of ArtWeek 2018, Joe Wheaton, light show extraordinaire will present his latest art video projections at the gallery’s outside event space, Saturday, May 5, from 8-11pm. Wheaton has been known for 30 years in the Berkshires and beyond for his graceful metal sculpture, and more recently for his energetic, “art in motion” video projections. Joe includes his own photography, other artists work and a live feed video of the event as it is happening. The community is welcome to join us for an evening of Visual Wow and dancing to Joe’s accompanying fun beats!

Wheaton has created live video events at many venues, including The Oceanside Museum, San Diego, CA, The Oxford Symposium of Food and Cookery, Oxford, England, The Jacobs Pillow 85th Anniversary Gala, Becket, MA, and the 50th Anniversary of the Peace Corps at George Washington University.

Lauren Clark Fine Art - 325 Stockbridge Road, Suite 1, Great Barrington, Massachusetts, 413-528-0432. Lauren@LaurenClarkFineArt.com and www.LaurenClarkFineArt.com

6 • APRIL 2018 THE ARTFUL MIND

IVA LA FEMME!

L’ATELIER BERKSHIRES GALLERY

Join us this summer!

Advertise and be seen! artfulmind@yahoo.com

LAUREN CLARK FINE ART PAPER MARBLING

Lauren Clark Fine Art and the Mass Cultural Council present a day of Paper Marbling Demonstrations, Saturday, April 28, 12-5pm.

As part of ArtWeek 2018, Lauren Clark will be demonstrating the ancient craft of Turkish Paper Marbling. A hit with adults and children alike, everyone loves to see the magic of marbling! Lauren has been a paper marbler for over 30 years and has been teaching workshops for almost as many out of her studio in Gt. Barrington and at such places as IS183 in Stockbridge, MA and the Brookfield Craft Center in Brookfield, CT. Her work can be found at art supply and fine art paper stores throughout the region, has graced the covers of many a fine bookbinder, and been made into seven books by Dover Publications. She is also a picture framer and the owner/director of Lauren Clark Fine Art, a contemporary craft and art gallery in Gt. Barrington, MA. The event is free and open to all community members.

Lauren Clark Fine Art - 325 Stockbridge Road, Suite 1, Great Barrington, Massachusetts, 413-528-0432.

Lauren@LaurenClarkFineArt.com and www.LaurenClarkFineArt.com.

EQUINE PHOTOGRAPHER LISA CUEMAN TOOK THIS

PHOTOGRAPH OF ONE OF THE WILD HORSES ON THE

OUTER BANKS AND IT’S TITLED, “WAVELENGTH”.

SHE IS REPRESENTED BY THE IRIS GALLERY OF FINE ART AND TO SEE MORE OF HER IMAGES, GO TO WWW.IRISGALLERY.NET PRINT SIZE: 24” X 36” PRINTED ON HAHNEMUHLE FINE ART PEARL ARCHIVAL PAPER.

collins | editions

Opening in 2005, as Berkshire Digital, we did fine art printing mainly for artists represented by The Iris Gallery of Fine Art in Great Barrington before opening our doors to the public. We do color calibrated printing on archival papers. These archival prints, also known to many people as Giclée prints, can be made in different sizes from 5x7 to 42” x 80”. Photographers & artists also use us to create limited editions of their images.

In addition to the printing services, collins | editions also offers accurate digital photoreproduction of paintings and illustrations for use in books, magazines, brochures, cards and websites. See a complete overview of services offered, along with pricing at www.collinseditions.com The owner, Fred Collins, has been a commercial and fine art photographer for over 30 years having had studios in Boston and Stamford. He offers over 20 years of experience with Photoshop™ enabling retouching, restoration and enhancement to prints and digital files.

The studio is located in Mt Washington but drop-off and PU is available through Frames On Wheels, located at 84 Railroad Street in Great Barrington, MA (413) 528-0997. collins | editions studio - (413) 644-9663 www.CollinsEditions.com, fred@collinseditions.com

ROBERT FORTE

“ME TOO”, THE MOVEMENT, OIL ON CANVAS, 32"X40"

Robert Forte's paintings continue to explore themes and ideas drawn from experiences in his life and in the world around him.

The canvas used as a vehicle of expression as opposed to representation provides Forte with the excitement that makes painting an ongoing adventure and a source of limitless possibilities. Antecedent artists that inspire are the great expressionists Soutine and Schiele, Beckmann, Kirchner and Kokoschka. Forte also enjoys the minimalism of contemporary artists such as Alex Katz and the unique imagery of Bacon, Guston and Kitaj.

The politically catastrophic events now in progress in this country, and the social upheavals worldwide have reinforced Forte's need to give vigorous expression to ideas and emotions that resonate both personally and universally. The anticipated assault on human rights and dignity make it all the more imperative to use the canvas forcefully, both as a reaffirmation of oneself and a reaching out to others. There are many ways and media with which to achieve this, but Forte has concentrated his work on oils, adding acrylics for their adaptability to rapid brushstrokes.

Forte recently concluded his first solo show in New York City, titled "Paint, Passion, Perception". Currently, he is preparing for a group show at Atlantic Gallery in New York City on the theme of "arrivals and departures". He also has begun a new body of work in preparation for solo shows at two New York City galleries in 2019 and 2020, respectively. Forte is now an Affiliate of the Circle Foundation for the Arts.

Robert Forte - www.robertforte.com

MARY DAVIDSON NAWA

MY NEW HAT SERIES #14

My paintings are about line, color, shapes and design. I feel passionate about my painting and I love it. My style is more designstyle than realistic. My whimsical ladies give me lots of room to play. Painting for me is a wonderful creative outlet. In life, I always have a plan, but this is not so with painting. I start with a basic drawing, but from there it all seems to be intuitive. I get myself out of the way and it just seems to flow. I use acrylic paint because it is very forgiving and easy to change. The process from start to finish is a journey within itself each time, with the outcome not in my hands. Painting teaches me about being guided. My ladies symbolize my guardian angels, showing up in a most lighthearted, playful kind of way.

I have an Associate Degree in Fashion Design from Newbury College in Boston, MA., along with many art classes with various artists. Some of the artists I have studied under are Jim Schantz, Pat Hogan, Don Andrews AWS and Judy Betts AWS. I paint on a regular basis and have been for the last 12 years. It’s my passion! I have been juried into 40 shows since 2009 in the Northeast. I have elected artist status at the Kent Art Association, Kent, CT; and New Haven Paint & Clay Club, New Haven, CT. I am also a member of my local art club, Housatonic Valley Art League, Sheffield, MA. I was represented by The Lenox Gallery of Fine Art, 69 Church St. Lenox, MA. From 2007 until it closed in 2012. I was juried into The National Association of Women Artists, New York, NY., in March of 2017. I have received a “Best in Show” award among others.

Mary Davidson - PO Box 697, South Egremont, Massachusetts.

413-528-6945, mdavidsongio@aol.com, www.davidsondesigncompany.net.

THE ARTFUL MIND APRIL 2018 • 7

DETAILS OF 2018

WORK IN PROGRESS

JENNIFER PAZIENZA WORK IN PROGRESS

FRONT ST. 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).

8 • APRIL 2018 THE ARTFUL MIND

What did we do before iPhones, or any digital camera that made it possible for us to record the generative images of our work?

Then to be able to draw on them and create reminders of areas we want to rework, or need our attention and care has for me been a revolutionary technology. I still draw in a journal, but I find this visual record great fun and extremely helpful. I look forward to sharing the finished painting with you sometime soon.

My work is held in public and corporate collections in Canada and in numerous private collections throughout the US, Canada, the UK and Italy. I regularly exhibit in the Berkshires with shows at St. Francis Gallery, Good Purpose Gallery, Diana Felber Gallery and 510 Warren Street Gallery. Designs by Jennifer Owen, Great Barrington also represents my work.

Jennifer Pazienza - To learn more, or for inquiries visit Website & Blog: http://jenniferpazienza.com/, or Email: jennpazienza@gmail.com

MARGUERITE BRIDE CUSTOM WATERCOLORS

Do you love Jazz? Did you know that April is Jazz Appreciation Month…there’s plenty of live hot jazz all over the county. Celebrate America’s indigenous music! The musicians would LOVE to see you. And if you are looking for some Jazz paintings, visit the “Jazz Visions” gallery on my website. Paintings from this series will be on display at 51 Park Tavern in Lee all summer long.

Do you have special occasions in your future? Anniversary? Wedding? Graduation?

Retirement? Selling a home and downsizing?

A custom painting of a home or other special location is a treasured gift. Now is a great time to commission a house portrait or favorite scene you would like captured in a watercolor. Paintings (or even a personalized gift certificate, then I work directly with the recipient) make a cherished and personal gift for weddings, retirement, new home, old home, anniversaries…..any occasion is special. Commission work is always welcome.

Be in touch directly with the artist…it is guaranteed to be a fun adventure!

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), Good Purpose Gallery (Lee); and a variety of other fine gift shops, and also directly from the artist. 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 413-841-1659 or 413442-7718; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors.

Your Musical Journey Begins with...

JEFF LINK, Grammy nominated former Assistant Professor at Berklee College of Music, touring artist, currently teaching at MCLA and BCC is now offering music mentoring in stage performance, private lessons in bass, guitar, piano and song writing for all levels. I have helped many young musicians create successful careers as performers in today’s music industry.

the artful mind gallery!

22 walker street lenox massachusetts tues - sun 12 - 5 by appointment on mondays ARTGALLENMAN@yahoo.com 413. 854. 4400

OPENING MAY 2018

contact me at: jefflink1@mac.com 917-509-3508 please visit cdbaby.com/jefflink photo: Lee Everett

THE ARTFUL MIND APRIL 2018 • 9

JOE WHEATON interview by Harryet Puritzman

photographs courtesy of the Artist

Harryet Puritzman: I feel as if I can fly

us about your background in art and

raphy. I moved to the Berkshires in 1981.

on the wings of your sculpture. At the

how you worked your way to being pri-

After being in the food business for ten

same time it feels very grounded,

marily (but not only) a sculptor?

years, in 1990 I took a welding class at

weighty and balanced. Can you elabo-

Joe: My parents were both art enthusi-

Taconic High School with Ed Martin, and

rate on this?

asts—my mother minored in art history—

met my spouse Richard Lipez. Welding

Joe Wheaton: One of the things that I

and they went on to collect mannerist

was just the ticket. I was thirty, and it was

like most about metal is its malleability.

engravings. I have always been sur-

the perfect time in my life for something

Unlike so much of the human experience,

rounded by art. As a youngster in Cam-

new. Dick and I bought a house in Pitts-

metal is endlessly forgiving. Like your

bridge, MA, I rented space in a

field. I began making metal garden orna-

GPS device, it is not proud nor is it judg-

communal art space (Project) where I

ments and did a line of furnishings that

mental. It can be severe or graceful. Its

made functional pottery. In the eighth-

sold throughout the country at Holly Hunt

properties allow for the suggestion of so-

grade at BB&N, my ceramics teacher sug-

showrooms. Though the stuff sold fairly

lidity, lightness, movement or transience.

gested that that I should take my work

well, I felt like I was back making hors

more seriously. At Alfred University I did

d’oeuvres for three hundred again. It was

You started out doing pottery, then

everything but pottery: sculpture, black-

repetitive, and became uninteresting. So

worked in photography and video. Tell

smithing, printmaking and color photog-

I put my energy into making sculpture

10 • APRIL 2018 THE ARTFUL MIND

Can you reflect back on that Spazi show

Anne Legene, and it was downright sur-

My first show was at Spazi in

and describe what it was like for

real having baroque music in the back-

Housatonic, which was run by Richard

you,since it was for many reasons a

ground of this otherwise raw space. The

Britell and Gabrielle Senza. I am still

pretty significant exhibit?

sculpture inhabited the gallery quite nat-

proud of the work I made for that first

Joe: The gallery was in the open third

urally. There was none of the severity of

show. In 2007, lured by my pals Seth and

floor, and had windows on three sides. It

the hyper-modern galleries you see in

Mitch Nash of Blue Q, I went to Burning

was the perfect receptacle for all types of

Chelsea today. The work seemed less en-

Man for the first time. There, at about two

art. It was at a moment when there were

shrined, as the former mill space was ori-

in the morning at a massive dance party,

three or four galleries in Housatonic. The

ented towards being utilitarian and not a

I saw a video projection that was dazzling.

economy was strong and the Berkshires

showplace. It was a wonderful place to

Months after coming home, I could not

were awash in people mostly from New

visit, and they sold work! It gave me the

get the strange imagery out of my mind.

York City, New Jersey and Connecticut.

confidence to pursue other galleries.

I tracked the VJ down to LA and the soft-

The openings were packed, and people

ware to Austria and downloaded it at (to

bought art. It was quite wonderful not

What is your connection with Lauren

me) great expense. Over the next few

having to schlep to Boston or New York,

Clark Gallery in Great Barrington?

years, I puzzled out how to make it work

to galleries down there. Spazi hosted the

Joe: Lauren has been a friend and sup-

for me. Since then I have collaborated on

Nuyorican Poets, play readings and con-

porter

several food history raves to open and

certs. Richard and Gabrielle both showed

Tokonoma in Housatonic, and after Spazi

close the Oxford Symposium on Food

their own work, curated art for corporate

closed she often had several pieces

and Cookery in the UK. I did a composi-

collections and showed all sorts of won-

jammed into the little space that she ran

tion on the jumbotron at George Wash-

derful work that had been next to impos-

with Robin. She always was able to sell

ington University in DC to commemorate

sible to see here in the Berkshires,

my work. I was always sure no one could

the 50th anniversary of the Peace Corps.

outside of the Williams College Art Mu-

see it in the space, as there was always so

I did a couple of music videos, one for a

seum. Mass MoCA did not yet exist. Both

much in there. I was wrong. After she

punk rock hair salon in St. Petersburg, FL,

Richard and Gabrielle played the cello. I

moved to Railroad Street in Great Bar-

and another one for a young Burmese

remember as I was installing my show,

rington I helped her get the new space

rapper in Nyaung Shwe, Burma.

they were having their weekly lesson with

Continued on next page...

and getting it out there.

for

decades

now.

First

at

THE ARTFUL MIND APRIL 2018 • 11

JOE WHEATON

JOE WHEATON Kabuki series, Temple 2

JOE WHEATON Past Future #3 Oxidized Steel

pulled together. The economy was

took two and a half hours to run through

beautifully adorned woman from Sikkim

headed for disaster just as the rents were

all of them. Video was also available

and her daughter. We met in the after-

going up. Bad combination. The space

down to the burn out. It was the perfect

noon for the shoot. I was trying to direct

was much bigger, and it made new op-

content for projections, as it was recog-

her and pointed with my left arm and my

portunities possible, but the financials

nizable at times and other times, not. It

shoulder came out of the socket, as it did

made it unsustainable. We did a few din-

combined perfectly with more recogniza-

frequently. Hideously painful,but I was so

ner parties with projections there, which

ble imagery I tossed in as contrast.

used to it, I grabbed it and wrestled it

was fun and not like going to work.

back into the socket and continued It’s always interesting to see artists at

shooting. In all the rest of the pictures, my

Your Tribute to Cassini was in October

work. There must be a lot of physical

subject was clutching her shoulder as

at Lauren’s gallery, and coincided with-

movement involved for you, working

though she might catch it. I was headed

The Red Trunk, small works on paper by

with metal. How physically demanding

for Bangkok, where I had my first of three

Richard Britell. Were there any inten-

does it actually get for you?

surgeries, the last one being in this coun-

tional crossovers between the two of

Joe: Well I had a shoulder replacement

try.

you?

at 50. I’m hyperactive, so actually it is just

Joe: I was not aware of any crossover,

the ticket. I love the work.

What is most enjoyable when you’re in over your knees in materials and weld-

other than the fact that we are in the same galaxy. I was just so sad about the

What piece were you working on when

ing and dealing with the forces of na-

end of that amazing endeavor. At the

you had your shoulder replacement?

ture?

NASA website I was able to download all

Joe: Dick and I were in India, in Varanasi,

Joe: It is the endless puzzle. Though most

the pictures Cassini took over its life. It

and I had made plans to photograph a

of my work is non-representational, I ag-

12 •APRIL 2018 THE ARTFUL MIND

JOE WHEATON

Kabuki series, Dream 8

JOE WHEATON Past Future #3 Oxidized Steel

onize over the elements, relationships.

They and some of their amazing staff

should be in the Museum of Modern Art

After 35 years, I still don’t know why it is

jumped in to help me assemble the

next to the Duchamps and Joseph Cor-

so satisfying. I have no trouble working 20

piece. The longest element was over 20

nell constructions. They made Wash Away

hours a day for several days in a row. I’m

feet long and hangs overhead from the I-

Your Sins hand sanitizer and First Lady of

sure it will turn out to be a disaster.

beams in the office. I call my studio the

Fabulous shopping bags, with an image

bear trap. There is always the danger of

of Michelle Obama on a swing. Mother

grave bodily injury.

Theresa Tongue Spray, Instant Gay Ac-

What are some of the challenges you deal with specifically with metal work,

cent Breath Spray… they now have dish

and with other materials you may work

What kind of company is Blue Q?

towels and about 400 designs of socks for

with as well?

Joe: Without a doubt, Mitch and Seth are

men and women. They have an amazing

Joe: As I prefer to work alone (easier to

two of my favorite humans. They are the

staff, both in the warehouse and in the

make a fool of myself without witnesses),

perfect combination of smart, tough, in-

main office. They give a percentage of

the scale of some larger pieces becomes

credibly creative and fun as hell. Blue Q

their revenue to The Nature Conservancy

physically menacing. My largest commis-

is quite an amazing company. They just

and Doctors Without Borders and hunger

sion to date for Mitch and Seth Nash at

celebrated their 30th anniversary. My fa-

relief programs throughout the world.

the Blue Q office in Pittsfield was com-

vorite product to date is Unavailable per-

They have a solar array that supplies

posed of perhaps ten four-sided steel

fume, packaged in a silver-edged book

much if not all of the power for the build-

panels that averaged ten feet tall and

with a cutout for the bottle. Each page

ing at 703 West Housatonic St. in Pitts

weighed many hundreds of pounds each.

listed a reason you were not available. It

field, Continued on next page...

THE ARTFUL MIND APRIL 2018• 13

JOE WHEATON Still from Video #3

AND they have profit sharing with the

sculpture to appear only as you see it

ple months ago for a Day of the Dead

employees. They are also big supporters

from a certain angle. Indoor work can

dance party out there. I projected on the

of many of the NGO efforts in the Berk-

seem menacing if it is too large for the

front of the museum as well as the white

shires. It is a model for how businesses

space. Sometimes a huge room will ben-

firehouse next door. I have done commis-

should run.

efit from a formidable piece occupying a

sioned projections for the Blue Q Christ-

wall. Shadows can extend a piece without

mas party for the last several years. That

How and when do you decide if a piece

necessarily taking up any more space.

is a blast. The IS183 Gala is always a ball.

of art is meant to live in an inside space

Small works are wonderful to dot sur-

I created an original projection for a new

or an outside space? Do you often let

faces. Coffee table books??? Don’t they

dance piece by dancer and choreogra-

the people who buy your art decide?

belong on a shelf? A small sculpture is

pher Dawn Lane. I have done unadver-

Joe: Most of my work is made of steel,

better anytime.

tised projections in Burma. That was quite

bronze or stainless steel. If it is painted or

fascinating and a little terrifying. I always

left bare, it can exist outdoors. I tend to

Tell us about your video art. Where

have at least one projector and some

advise against anything going outdoors if

does it work best for an audience?

speakers in my suitcase, and sometimes

a branch from a tree might do it injury. It

Joe: I do not love plodding, linear narra-

three. Sometimes no clothes.

must be able to withstand windy weather.

tive. I prefer intermittent hooks. My visu-

If a finish is too delicate, it may deterio-

als reflect this. They traverse the

What are you currently working on?

rate. Some things work well indoors or

recognizable to the total abstract to the

Joe: Right now I am working on some

outdoors. Some work, though seemingly-

otherworldly. Insofar as venue, I love a

altar-pieces that will feature video at the

sizable, will work indoors, or disappear

challenge. Maria Mingalone, formerly of

center of them. They are of differing

outdoors if they are out of scale with the

the Berkshire Museum and now director

themes and focused on our strange ob-

surroundings. Too dark and ethereal can

of the Oceanside Museum of Art near San

sessions.

disappear. Sometimes you want outdoor

Diego asked me to do projections a cou-

14 • APRIL 2018 THE ARTFUL MIND

JOE WHEATON Messages From Freud #2 Aluminum, chalk, eraser

Any other goals relating to your work?

Joe: Moderation. Or at least becoming familiar with the concept.

What was the best gallery you ever showed your art in, and why?

Joe: I once had work in the storefront of the former England Brothers in Pittsfield. Seeing the artwork while walking down the street or waiting at a stop light seemed like the perfect spot. We should have more art in public places. My dream is to interspace art in the aisles at Price Chopper. People would become used to seeing it and wouldn’t be affronted, as they are so often. We should expect to see art, not be surprised when we see it.

How has being an artist sculpted your daily thoughts, your lifestyle and belief system?

Joe: Art has connected me to so many different kinds of people across cultures. It, like music and food, speaks without our presence. I have never had unrealistic expectations about my work. I make it and put it out there. No explanation. When you eat curry, you don’t expect a story. It transports you. No jet lag. You can’t beat that.

Joe, what was your childhood like?

Joe: Well, I was born in the Netherlands in 1959 and lived there Continued on next page...

JOE WHEATON Solemn Youth Oxidized Steel

THE ARTFUL MIND APRIL 2018 • 15

JOE WHEATON Self Portrait

with my American parents and my older

school in Easthampton, MA.

sister Catherine until I was two, when we

which serves meals to those in need onThursdays and Fridays throughout the

moved back to Cambridge, where my

What are your dreams and aspirations?

year. I wish that people young and old

folks had met while at Harvard and Rad-

Joe: Neither Dick nor I have excelled at

were not hungry. That makes me very

cliffe. We lived there until I was five, when

making money. Dick has written a series

ashamed.

we moved to Paris, where my father was

(15 to date) of wonderful detective stories

doing research for his dissertation in Bor-

with a gay detective at the center of

What changes would you like to see in

deaux. My sister and I started school

them, and has written editorials for the

Berkshire County in terms of the arts?

there. My mother studied cooking at the

Berkshire Eagle. He also reviews for the

What would you want to remain the

now famous L’Ecole Des Trois Gourman-

Washington Post. I have always felt that I

same?

des. In Cambridge, Julia Child was a

should be better at earning money. At my

Joe: I wish the Stanley Business Park

neighbor and friend of my mother. My

age, people talk about retiring. It is hard

might consider building one of these

mother had become interested in food

to imagine I will ever have enough money

communal work spaces where people in-

history, a not yet discovered field of study.

to retire and live off savings. I am deter-

volved in science, technology and the arts

Though my father died a few years ago,

mined to figure that out. Is it too late at

might work under the same roof. There

the rest of my family is very close, and we

59? As for dreams, for a bunch of years,

are so many interesting people here that

have lots of fun together. My sister is a li-

we took computers to Burma for the chil-

I have collaborated with—many with very

brarian in Brookline, MA. I have a brother

dren of friends there. That felt very good.

different backgrounds and skills—and I

ten years younger who runs a circus

I have cooked at St. Stephens Table,

have learned so much from the collabo-

16 • APRIL 2018 THE ARTFUL MIND

JOE WHEATON

Still from Video #4

rations. With the new technical school opening in Pittsfield, it seems like it would be a great time to have mentors from various creative endeavors nudging and initiating projects. Cross art and theater with science and technology… or music and food and technology, as in http://www.crossmodalism.com. For math and art, check out the AlloSphere: https://www.ted.com/talks/joann_kuchera_morin_t ours_the_allosphere This cross pollination happens naturally in the Berkshires all the time, but with some vision it seems like it might serve to attract an interesting variety of people opting for a quality of life that the Berkshires can offer, combined with opportunities to work in fields relevant to the times.

How do you put your heart and soul into your artwork?

Does it happen mostly during the

process?

Joe: I am honest. I don’t fool myself and I don’t try to fool anyone else. I am interested in sharing

JOE WHEATON Abandon Oxidized Steel

something that I find strangely satisfying. Hmmmmmmmmmm?

Thank you Joe! Thank you Harryet!!!

THE ARTFUL MIND APRIL 2018 • 17

Paul Graubard folk artist

Benny Goodman’s Grandfather 24 x 18” acrylic on paper

www.paulgraubard.com

18 • APRIL 2018

THE ARTFUL MIND

Ruth KolbeRt

The Visitation

Collage/mixed media

8 x 10

Roselle Kline Chartock

Happy Anniversary to The Artful Mind!

roselle.chartock@gmail.com

Studio visits by appointment rkolbert4778@gmail.com 413. 229. 0380

Artist and Writer

Chartock’s work can be seen at Hey Day on Main Street in GB

“If it’s possible, the issues get bigger and even more informative!

THE ARTFUL MIND APRIL 2018 • 19

JD LOGAN INTERVIEW BY HARRYET PURITZMAN PHOTOGRAPHY OF ART BY EDWARD ACKER

Harryet Puritzman: Why trees? Why not chaotic train stations filled with people?

JD Logan: I’ve never put people in my paintings. This gives the work a sense of stillness that people seem to find comforting. Whatever the scene is, I want the viewer to feel like they have the place to themselves. People tell me that when they look at my paintings their breathing slows down and they feel calm. I love that. To me, the trees in my paintings are a lot like people. They can be young, old, tall, short, wise, resilient. Some hang in groups, others keep to themselves. That’s how I relate to trees, by their personality. I actually know very little about trees.

JD, I always pondered the parallels between trees and humans and have looked at trees to make sense of my life. How has your life’s 20 • APRIL 2018 THE ARTFUL MIND

path paralleled with your art-making?

JD: Both are a work in progress, with highs and lows and everything in-between. Even though parts of me have changed over the years, other things remain constant. Likewise, my style has changed a great deal since the beginning, but people who saw my earliest work will see my new work and still instantly know it’s mine. I feel good about that. I’ve always been drawn to a minimalist, uncluttered lifestyle.

Maybe that was the world I was trying to create with my art? I’m now living a pretty pared-down life. I live in 400 sq. ft. with one small closet. Got rid of quite a few possessions and have just what I need.

I’m always looking to do that with my art. I want the painting to have just what it needs, not everything it could possibly have. What remains will have more meaning. Does art imitate life or does life imitate art?

The answer is yes :) Continued on next page...

JD LOGAN Bend, Don’t Break Acrylic

THE ARTFUL MIND APRIL 2018 • 21

JD LOGAN Photo by Edward Acker

Is it turning out how you expected?

JD: Nope, hasn’t turned out how I expected.

But I’m OK with that. It’s fine to have a path and goals, but I’ve also learned that expectations can become restrictive and cause you to overthink everything you do. It’s a habit I’m trying to break, both in my art and my life.

I’ve had a habit of being too preoccupied with where a painting was going as soon as I started it. Often things will work out better if you just let them unfold.

Have you felt discouraged at times with your art-making? Maybe even thought of venturing off to another medium or subject?

22 • APRIL 2018 THE ARTFUL MIND

JD: There were a few difficult years on the festival circuit during the recession. As of now, I’m no longer traveling to any shows.

They weren’t as lucrative as they had been previously, and I was getting burned out. People just stopped spending; they had no choice.

But to me it was never about quitting or working in a different medium. It was more about, “How do I adapt and sell art in this new economic reality?”

Transitioning from traveling artist to studio artist has been a slow process, but in the long run I think I’ll create better work because of it. More of my time and creative energy will go into the paintings themselves, and I’ll be more willing to experiment. I’m really excited

to see how my work evolves over the next few years with this new direction!

Have you been ever challenged by the Blank Canvas and what to do with it?

JD: Last year was one of the first years where I didn’t have a full slate of art festivals to prepare for. I always had the show schedule as a motivation to paint. Plus I had regular customers with expectations so I never really ventured off into new directions. So, all of a sudden I had ample studio time and the freedom to really explore, and I drew a complete blank. I have this stack of canvases at the studio and I would spend a day or two working on each, and then I’d think, “This is going

JD LOGAN Open Skies Acrylic

nowhere” and grab a new canvas. This went on for three months! I found myself playing my guitar more and more, and I avoided the studio at times. I tried to look at it as taking a healthy break but it was still frustrating. But in some ways it’s probably just a necessary part of the artistic process. Eventually it just passed on its own.

Does good painting for you have anything to do with the mood you are in?

JD: Not so much. It’s more about being in a groove where I’m painting consistently. That’s been a challenge over the last couple years. There have been lots of changes in my art life with transitioning out of shows, as well as big changes in my personal life. I’ve been sort of re-inventing myself and have had to focus on other areas of my life at times. When I get thrown off my painting schedule it often takes me longer than it should to get back into it.

JD, how did you become an artist? With so much to choose from on this planet, why a painter?

JD: I had been a musician until my early thirties. Played guitar in hard rock bands in the 80s and loved it. I totally put it aside when I went to culinary school. After a few years I was looking for a creative outlet outside of work so I tried painting. It was something I had never done or really had any interest in. I ended up having some very early success with exhibitions at the Birdhouse Gallery owned by Barbara Singer in Great Barrington. It felt like I was having the success with painting that I never had with music. So I figured I would take the ball and run with it and see what I could do as a visual artist. I had a lot of experience with marketing and self promotion from my music days. Of course back then, social media meant sticking your band’s flyers on people’s windshields, but the concept is the same… get people to notice you. Continued on next page...

THE ARTFUL MIND APRIL 2018 • 23

JD LOGAN Emilee’s Vision Acrylic

So I started to make a name for myself and next thing I knew I was traveling the festival circuit. It was never part of a plan to become an artist. It just kinda happened.

Do you work with any specific techniques?

Can you give us a glimpse into the way you paint?

JD: I’m completely self taught. I use acrylics on canvas. I’m constantly observing trees at different times of the day. I like to take a lot of pictures. I’ll look through them for inspiration when I’m starting a new piece. I’ll do a little sketching but not as much as I used to.

No real exotic techniques going on here, just paint on a canvas.

Do you do commissions?

JD: I have done quite a few, but it certainly isn’t my main focus. It’s an interesting expe24 • APRIL 2018 THE ARTFUL MIND

rience. It’s pretty cool when someone thinks that much of your work that they want a special piece created for a particular spot in their home. There can be a little added pressure knowing that the customer has, at the very least, expectations of how they want to feel when they see the finished piece. That moment when you hand them their painting can be nerve-wracking.

Why is it important for you to live in the Berkshires? Or… could you just as easily move elsewhere? Where would ‘elsewhere’ be?

JD: My family is here, my daughter is here.

And it’s also just a cool place to be. Art and culture really matter here. There is so much available to us, but we also have the natural beauty of the landscape. Many places have one or the other, we get to have both here in

the Berkshires.

Why do you think people collect your art?

JD: They always tell me they find the work peaceful and calming. They comment on the simplicity of the work and how they crave more of that in their lives. It helps them slow down and be present. I think these days that’s something a lot of people crave. It’s really a compliment when someone makes a piece of your work part of their home.

Times are a-changing! How have art times changed for you?

JD: For the most part my creative process has remained fairly constant. But if you have aspirations to market or sell your work you have to be able to effectively market yourself online. The internet has changed everything. At one point I had a web designer, but then it be-

JD LOGAN Green Leaves, Blue Skies Acrylic

came something you could do yourself, so I learned. But soon your website wasn't enough on its own. You need Instagram and Facebook pages and need to stay on top of those posts.

If you don’t have a blog there will be plenty of people who will tell you you should. There are places like Etsy that give you a platform to sell your work. These tools are all amazing.

But marketing yourself effectively online is a commitment of time and energy you need to be willing to make. It’s something I need to do a better job of. Especially now, being in the studio, I’m not making all the contacts I used to make on the road. But these challenges are true for every business. The world moves fast and you need to keep up.

Do you work in your home?

JD: My place is way too small to be an effective studio, so I have a nice space I rent in

Housatonic at a friend’s house. I did start working at home on a series I call Littles. I use small 6x6 or 8x10 canvases. I keep a few bushes and some paint at home and if the urge strikes to paint at 10pm I can work on one.

They’re good for snow days too! They are a great way to work through ideas for larger paintings in the future. I also price them very reasonably—less than $100 dollars—so they sell well. I often do them on canvases with a 2.5-inch depth so they can stand alone and can be placed on a shelf or mantel.

What is your favorite time of day, and how does it effect your art decisions?

JD: I’d say 10 p.m. to 1 a.m. I’m very nocturnal, always have been. Musicians and chefs tend to be night owls. I probably like it for the same reasons many people like the very early morning hours. Things are more still, quieter

with less external stimulation. If I have time I like to stare at the moon (I mean literally go outside and stare at the moon, even in winter), play my guitar, exercise, paint, putter.

Can you recollect for us a wonderful time in your life with a vivid description, as if we were in your mind’s eye? What was going on for you at this time, at this place?

JD: There were a few years on the festival circuit that were pretty magical. I was in a good groove artistically, I was getting into really good shows, they were well-attended and people were buying. The other artists on the circuit became like a second family. Everyone helped each other out and supported one another. I would get to exhibit in destinations like Camden, Maine in July or Stowe, VT during peak foliage, and people would line up and Continued on next page...

THE ARTFUL MIND APRIL 2018 • 25

JD LOGAN Three of A Kind Acrylic

buy my work! It just felt like a very cool way to make a living. I especially liked the mornings when artists were showing up and opening their booths, having coffee and chatting about the day ahead or the show next week.

Plus every weekend I would be exposed to amazing work by all the other exhibitors, so it was very inspiring. I’m glad I got to live that life for a while.

What do you think are our biggest struggles as artists these days?

JD: Because of the internet, people have a lot more choices available to them for things to put on their walls. They can even take a picture with their phone and with a few clicks order a canvas print of it. All that is great, but it makes it harder for painters. It’s also not uncommon for homes to now be designed with more of an open concept. When people renovate their homes the first thing they do is look for walls to knock out. They put in bigger windows. I really like that as well, but it literally 26 • APRIL 2018 THE ARTFUL MIND

means less wall space in homes than there used to be. Stagnant wages are a very real problem. There are a lot of people who are forced to view the arts as a luxury they can’t afford, which is kind of sad. The average person should be able to afford a piece of pottery or to see a ballet if it moves them. These days that’s not always the case. We don’t need art to survive, but we do need it to thrive. I try to keep this in mind when pricing my work.

What is your favorite music to listen to?

JD: My Pandora stations range from Norah Jones to Van Halen to Rusted Root. I often just paint in silence.

Where would be the best place for people to find your artwork these days and coming up?

JD: I have prints and small originals available at Mutability in Motion in Stockbridge, HeyDay in GB and LOCAL in Lenox. I’m concentrating now on scheduling exhibitions and

having originals be my main focus, as opposed to before, when prints accounted for the bulk of my sales. I have some cool things lined up.

In Sept. I have an exhibition at The Sandisfield Art Center, as well as Alta Wine Bar in Lenox.

In October I’ll have an exhibit at Tunnel City Coffee at MassMOCA. People can always make an appointment to come to my Housatonic studio to see work. Much of what I’m producing now will be set aside for those exhibitions.

Do you use these dark winter months prior to spring to brainstorm and plan? What’s cooking on the stove now?

JD: One goal for this year is to overhaul my website. My current site is a bit outdated. With more and more people shopping online, you need to have a slick, functional site.

I really don’t mind the winter months. I wouldn’t want winter all year long, but I also don’t get cabin fever. I love seeing the trees bare and stark. In some ways I find them more

interesting in that state. I’m happy when spring arrives but I don’t wish away the winter. It feels like a necessary part of the cycle to me.

What do you most wish for?

JD: To live simply and be content.

How will you further nurture your abilities in the arts? Perhaps you can tell us about your rewarding and interesting experiences with The Mahaiwe, and anything else that you want to share.

JD: I’ve been working at The Mahaiwe Performing Art Center for two years now, and also recently started at CATA (Community Access to the Arts). I feel lucky to be working for two great organizations with strong missions that are immersed in the arts. Now when I’m not working in the studio I’m still connected to the art world and on some level that will

find its way into my paintings.

If a young student wanted to learn something invaluable from you, what would you share with them?

JD: Whatever medium you work in, whatever subject matter you use, make sure it’s something you’re naturally drawn to. You have to really relate on some level to what you are creating. Don’t start making jewelry because it’s what you think you can sell. It may work for a little while but not the long term. Your art has to be something you would do even if you didn’t need money.

What are you painting right now?

JD: I’m going to have a piece in an upcoming exhibition called The Climate Issue is a Human Issue. It’s in conjunction with the 2018 Berkshire Earth Expo held at The Stationary Factory in Dalton. The opening reception is

Sat., April 7th from 4-7pm. I got in right at the deadline so I need to come up with a concept and start sketching! A chance to paint a tree AND make a political statement? Count me in!

How can we reach you?

JD: My email address is info@jdlogan.com Follow me on Instagram at JDLoganFineArt and Facebook at JD Logan Contemporary Artist Thank you, JD!

THE ARTFUL MIND APRIL 2018 • 27

BERKSHIRE EARTH EXPO | ENVIRONMENTAL ACTION

FAIR AND ART SHOW

The 2018 Berkshire Earth Expo | Environmental Action Fair and Art Show is being held at the Stationery Factory in Dalton in April.

Two weeks of events celebrating the Earth and all those who love and protect it.

Starting April 7, The Berkshire Environmental Action Team (BEAT) and Living The Change Berkshires collaborate in hosting a series of events dedicated to the protection of the earth and all its’ species. Bringing together the arts, education, fun and engagement, this event aims to embrace a diversity of approaches to the questions, challenges and opportunities of climate change and conservation of the natural world.

A community workshop led by author Jana Laiz on April 7, starts the line-up of events that will culminate in the all-day Earth Expo on April 21.

April 7 also marks the opening of the art show: “The Climate Issue is a Human Issue”.

More than 70 photos and paintings will be showcased for two weeks in the beautiful gallery at the Stationery Factory. It includes works from locally as well as internationally known artists including John Stanmeyer, Scott Barrow, Sally Eagle and Dan Mead, Scott Taylor, Keith Emerling, and JD Logan.

This expansive exhibition is the first local, collaborative effort to present an expression of our impact on and connection to the environment. Berkshire Environmental Action Team (BEAT), Living the Change (LTC), and Berkshire Magazine are cosponsors of the event. Bill Yehle of WordXWord Poetry Festival collaborated as well.

On April 13 at 7pm, renowned climate scientist Michael Mann will be visiting for a community conversation in the gallery – a rare opportunity to engage with one of America’s best known, most outspoken and engaged climate scientists. Ask him your questions and 28 • APRIL 2018 THE ARTFUL MIND

PHOTOS BY JOHN STANMEYER

bring a friend!

April 14 will feature a writing workshop in purposeful memoir by local writer and educator Jennifer Browdy: Navigating Climate Change in Uncertain Times runs from 3pm to 5pm. Jennifer’s workshops facilitate finding personal access to the challenges of our time, accessing deeper resources found in our own stories. This workshop will be followed by the presentation of the film “Time to Choose” at 6.30pm. “Time to Choose”, directed by Charles Ferguson provides a global look at the many aspects of climate change, from food to energy, transport and health showing both degradation and solutions in captivating photography. This event is free and donations will be collected for direct aid to victims of the hurricanes in Puerto Rico.

The culmination of all these events will be the Berkshire Earth Expo-Environmental Action Fair on Saturday, April 21 from 10am to 5pm also at The Stationery Factory in Dalton.

Following on the success of last year’s event at the same location, this day celebrates the earth and wildlife, the achievements of our neighbors engaged in environmental and climate issues, and the people, technology, and communities working on sustainable living in our area.

There will be children’s activities, a marketplace for local and sustainable goods and services, hikes at The Boulders, electric vehicles, clean energy vendors, inspiring opportunities to get involved, poetry performances and music, and, of course, good food.

The day will also feature a spotlight conversation about energy and environmental justice with former state senator Ben Downing and Kris Rutman from Western Mass Labor Action, moderated by Jane Winn, executive director of BEAT. Short presentations from local experts will run throughout the day. Charley Eiseman will contribute his passion for insects and make you look at your backyard in a whole new way.

Doug Harris will share his knowledge of Native American sacred stone monuments and Jon Atwood from Mass Audubon speaks on The State of the Bird.

Workshops on fossil fuel free investing, bee

and butterfly - friendly landscapes, and a bi-partisan effort to put a price on carbon will be complemented by lots of ways for your kids to enjoy their time at this free event.

DETAILS: SAT APRIL 7 | 1:30 - 3:30 PM - Community Art Workshop | Letter to the Earth with Jana Laiz SAT APRIL 7 | 4 to 7 PM - "The Climate Issue is a Human Issue" Art Exhibition & Performance opening reception offered in collaboration with Berkshire Magazine and WordXWord.

FRI APRIL 13 | 7 to 8 PM - Community Conversation with internationally renowned Climate Scientist Michael Mann SAT APRIL 14 | 3 to 5 PM - A writing workshop led by local writer and educator Jennifer Browdy on Saturday, April 14 from 3-5pm; SAT APRIL 14 | 6:30 PM - “Time to Choose” film screening and discussion. This event is free and donations will be collected for direct aid to victims of the hurricanes in Puerto Rico.

SAT APRIL 21 | 10 to 5 PM - The 2018 Berkshire Earth Expo | Environmental Action Fair Berkshire Environmental Action Team (BEAT)’s mission is to work with the community to protect the environment for wildlife and the natural systems that sustain us all. BEAT has been active in Berkshire County since 2003 conducting programs in watchdogging, stewardship, and outreach and education.

LIVING THE CHANGE Berkshires’ goal is to engage our community in the topic of climate change through dialogue and art. Every big challenge has forced human beings to stretch and grow and brings with it new possibilities. Living the Change seeks out these possibilities to find new ways of thinking, new ways of doing things, new ways of participating in society and new ways for people to connect with each other.

For more information about all of these events and to register for the workshops visit thebeatnews.org.

“Eric’s Great Gardens”@FB “Everything you can imagine is real.”

-Pablo Picasso

LANDSCAPE DESIGN INSTALLATIONS ERICSMITH715@GMAIL.COM 917. 892. 7548

THE ARTFUL MIND APRIL 2018• 29

Our Remains of the Day: In Puerto Rico

PHOTOGRAPHS BY CARL BERG TEXT BY JUDY BERG

When I got off the plane in Puerto Rico for the first time in 1967, I saw lots of excited, smiling faces of different skin color, whole families ranging from vanilla to dark chocolate, there to meet family members returning from New York. This was, of course, before the opportunity for such an immediate family reunion was taken away by the high security restrictions we now endure. In 1967, my four year old biracial son would have been considered the product of an illegal union in certain states. My bond with the island was formed right then and there. I would return with my children, and we would walk the streets and play on the beaches without the pall of disapproving glances and harsh words. This is not to say that there is no color consciousness in Puerto Rico.

There is. They were infected by the slave trade and its tenacious disease as we were in the States.

But, people intermarried more readily, mixing a blend of African, Indian, and European genes.

The warmth of the welcomes that Carl and I witnessed during the early years of our many visits, embraced us as well, or at least we thought it did.

A generosity of spirit evidenced by many occasions when we were spontaneously presented with a grapefruit or guanabana from someone’s garden, or an invitation to share food by someone we barely knew convinced us that we were right. I usually feel a joyful sense of homecoming when the plane banks in over the island. On this four hour trip down, I had wondered what we would find. Would it be the same place with the same spirit, warmth and energy? As the plane descended, I spotted many rectangles of blue plastic where roofs used to be. We were still too high to 30 • APRIL2018 THE ARTFUL MIND

see what Maria’s force had done to the trees.

On landing, I noticed that I could see through the usually dense foliage of the line of Casaurina trees that separate the runway from the Isla Verde strip. But, they were alive, and green! I noticed that the whole side of the terminal facing the sea, Maria’s raging point of entry, was empty of planes, and their jetway arms appeared to have been ripped away by the storm. Sheets of plywood replaced plate glass. The plane taxied a long route to the other side of the terminal, facing the mountains, where a few planes occupied a space usually crowded with aircraft of all sizes waiting to transport people to the U.S., Europe, South America, and to other islands dotting this sublime sea. The terminal itself was in business, with the sound of blenders whipping up Pina Coladas at Margaritaville, and the display of beachwear in the fully stocked boutique. But, while not exactly empty, the place was eerily underpopulated. My spirits were a bit buoyed by the New Orleans style band tootling away just outside the terminal. It was, after all, Fat Tuesday.

When we hit the road in our rental car, heading west, I felt myself getting into the groove. Some things hadn’t changed. The drivers were as erratic as ever, the casuarinas were clearly leafing out, and the palms, heads held high, haughtily proclaimed their resistance to Maria’s onslaught. Our arrival in Rincon, at our home for two weeks every winter, was equally reassuring. There were downed trees, less dense foliage, but everything was green. And, isn’t that what we come for as much as the warmth; the color, the palette of the growing environment we miss while it’s all sleep-

ing under the snow up north. We fell asleep to the sound of the coqui, the tiny tree frog that has spent centuries perfecting its lullaby.

February 14

We start with breakfast, our one reliably in house meal while in Rincon. This morning, and almost every morning, we feast on fresh tropical fruit and Puerto Rican coffee. While it’s true that every item on the menu can also be found in most mainland supermarkets in the dead of winter, it tastes different here when consumed al fresco, looking out at glistening green bamboo and coconut trees, rimmed by blue sea, and on this particular Valentine’s morning, a vivid double rainbow arcing over all. On the table, fresh papaya, banana, pineapple, yogurt, cafe con leche, and the local pan de agua, toasted with butter.

Maria has deprived us, and everyone else on the island, of the wonderful Puerto Rican bananas that come in all sizes and colors. This morning’s are imports from the Dominican Republic. But somehow the pineapples and papayas survived her wrath, and they are luscious as ever. On this, Cupid’s morn, we have yet to learn about the Parkland High School shooting in Florida, which took away seventeen students and teachers. Later conversations with incredulous islanders coalesce along the lines of “What the hell is wrong over there. It may not be perfect here, but I can’t imagine anything like that happening here.” Of course, schools on the island are closing as many children left for the states after Maria wiped out any possibility of normal life for who knows how long.

Now, we are hoping that those that left can survive a school year in the gun crazy States.

February 19

Carl and I have stayed at many different places in our more than thirty trips to the island, mostly determined by what we could afford to pay.

For the last several years, we have stayed at Villa Lomas, a white concrete three level house perched on a hill looking out over tropical forested hills that slope down to the sea. Our home for two weeks is a rented apartment on the villa’s first floor, with a wraparound terrace that looks out in three directions, and has a habit of framing rainbows in the distance. Our hosts are Alvaro, a former flamenco dancer from Colombia, and Bruce, an artist from New Hampshire.

Our apartment on the first floor is perfect, just the way we like it, not too posh, yet decorated with African art collected by, and paintings by, Bruce.

Alvaro is the gardener in chief, and justly proud of his creation. During the drive west, we were wondering, with some apprehension, how our cherished Eden survived the storm. On arrival, we sadly take note of the trees maimed or ripped out

by Maria. But then, we see the care with which our hosts have aided weakened and struggling palms by attaching them with rope to a solid support while they gather the strength to carry on.

Some trunks of trees too damaged to survive now have an afterlife as living sculptural reminders of the hurricane’s force. And, some large stumps were left to serve as beds now sprouting lacy green ferns and tiny bright blossoms.

Each year during our visit, we are invited to dinner by our hosts, and each year we reciprocate.

These are by no means equitable culinary events, as they have access to a more sophisticated selection at the Mayaguez Sam’s Club, a more outfitted kitchen, and set a truly elegant table. We grill supermarket steaks, make a salad, and saute some

vegetables. Since we have only two weeks a year to reacquaint and savor each other’s company, the food is not the thing. And, this year, the year of Maria, our friends needed to talk and we needed to listen.

They told of spending seventeen hours, with their three foundling cats, in a bathroom of their solid house while Maria raged outside. When it was finally safe to emerge, Alvaro said it was as if a giant blender had whipped up everything that was blowing around, and slammed it against the house, coating the white surface with a brown paste of mostly dead organic matter. Of course, living in a well-built, sturdy home spared them the devastation of losing everything. Still, the pain in Alvaro’s eyes as he described emerging from the bathroom to a world transformed from the glistening vitality of green to a brown vista of destruction reverberated in me. And, in some freaky way, made me think of how three days after 9/11, while speaking with my son by phone, I broke down for the first time as the sheer wanton destruction of it all really hit me. Terrorists and hurricanes have in common a total disregard for life.

Bruce and Alvaro survived for two months on cabbage and canned tuna, just about the only food they could find in the supermarket. Their own generator had quickly failed after the storm, and there were none available for sale. They left the refrigerator door open since it was useless for keeping food fresh, and described how carrots purchased before the storm quickly liquified in the tropical heat. They both lost a lot of weight, and when Bruce told Alvaro he just couldn’t down more tuna and cabbage, Alvaro said: “Just eat it.”

Their electricity was restored the week before we arrived.

Later, we spoke to Ruby, a neighbor who works

at a nearby Inn, The English Rose. Ruby said that before the storm, she would say hello to the two guys who owned Villa Lomas when they passed by while walking their dog in the morning. Ruby waited out Maria at The Rose with her daughterin-law and two day old grandchild, because it was solid and had a generator. After the storm Ruby, Alvaro, and Bruce became a mutually protective and sustaining group of survivors, sharing water and solace. It took Ruby’s son, working with Alvaro and Bruce, several days to cut through the mangled trees, phone and power lines, to the main road. Until then, they were completely without access to the outside world. When Ruby said: “I love those guys,” we were both thinking of how calamity carries with it opportunity.

I’m thinking of calamities and opportunities, of islands and people. No man is an island. If we’re all connected, is an island just an island in the metaphorical sense? I’m thinking, if you broke it you own it. Well, in a sense, we own Puerto Rico, our spoils from the Spanish-American war. It’s broken, and it’s ours, technically, legally. We exploited it in the sugar trade, and have never really helped it find its footing, economically, since that came to an end. Young Puerto Ricans fight and die in our wars, but can’t vote for the commanderin-chief. What I’m now wondering, having been assured that Puerto Rico’s fundamental spirit still soars, is how can we help them to protect and grow their precious resources, their land and children, when we here on the mainland are showing a troubling inability to lead the way.

G

THE ARTFUL MIND APRIL 2018 • 31

LAURENCE RICHARD INTERVIEW BY HARRYET PURITZMAN

Harryet Puritzman: What inspires you to make art?

Laurence Richard: Nature. I like walking in the country or by the sea, looking for a strange piece of wood, a stone or a shell.

How would you describe yourself as an artist, and what is your driving force to continue?

Laurence: I’m a dreamer; making art takes me out of reality. When I do things with my hands, I’m really focused and I feel a real harmony.

Do you rely on selling your art to cover your living expenses?

Laurence: I always do another job besides sculpting. Jewelry-making first, and then restoration on monuments and wood furniture.

I used to do exhibitions twice a year in apartments, and I sold quite well.

Laurence, you work primarily in stone,

PHOTOGRAPHS COURTESY OF ARTIST

wood, fabric, metal. At which part of the thought process do you decide to mix mediums?

Laurence: The way I work is very spontaneous.

The shape of a piece of wood or the color of a stone drives me in my creations.

ing?

Laurence: I never use books or pictures when I work. I hate copying. Dresses are now the most important part of my work. I really love making them because it mixes all the techniques of sculpture, and I can use all kinds of materials.

Clothing, romance, natural materials… how do you come up with ideas? Is it from books, places you visit, researching and discover-

Sometimes we work faster then we think; other times we think faster then we work…

Which happens for you, in most cases?

Laurence: The more I work, the more ideas

Tell us about your art-making process. Stone, for example… how do you find and choose the right marble or slate or soapstone? What is the process that follows?

Laurence: The best example I can give you is the way I made The Silk Dress: The color of the stone makes me think of silk; the shape makes me think of a woman’s body. In my mind it was a dress, and I had to hang it. It took me two years to find the right way. The story of the dresses begins…

32 • APRIL ANNIVERSARY ISSUE 2018 THE ARTFUL MIND

How spontaneous are you when it comes to deciding to make a piece of art?

Laurence: It depends. I have two ways of working. I either have an idea of a sculpture and I make a prototype in a small size, then look for a good material to make it bigger. Or, most often, I have the material and I’m thinking, “What is inside?” Now, when I work, I begin a few sculptures at the same time so I can take a step back on each piece.

Laurence Richard LA ROBE in gallery located at 103 rue Quimcampoix 75003 Paris Photo: Harryet Puritzman

come. Time doesn’t exist when I work.

Tell me about your artistic life, in retrospect.

Laurence: I’ve felt like an artist since I was only ten years old, and I began making sculpture thirty years ago.Since the day I began sculpting I knew that that was my best way to express myself. I knew from the bottom of my heart that I really wanted to become a sculptor.

But sculpture is a long-term endeavor. For me, it was indispensable to learn all the techniques of sculpture: first, modeling—clay, then plaster, which mixes modeling and direct carving— then direct carving on wood and stone. During the first ten years I did, alternately, figurative sculptures modeled in clay and abstract shapes in wood. Then I chose abstract shapes in wood, which was my favoritematerial, and for me the

abstract was the best way to highlight this material and its sensuality. Anyway, the heart of my work is love for beautiful materials, because they remain over the years .

Is there anything in your life that you regret or would change? What, and why?

Laurence: I regret not to have studied restoration. When I was twenty years old, I tried to incorporate an enterprise of wood restoration and decorative painting, but back in those days it was not open to women.

What are your other favorite art forms?

Laurence: Music and cinema.

What other interests do you have, when you have time for them?

Laurence: I love cooking.

What is your family life like?

Laurence: That is the best thing I have done in my life. I leave near Paris with my husband and my two children,Diane, who is 21 years old, and my son Soren, who is 18 years old. We are real confidantes for each other.

Tell me, what in life do you find amusing?

Laurence: Having dinner with friends on the weekend, and having big talks. Going to cinema or exhibitions in Paris. Traveling in France and discovering new places.

Paris city life keeps you on your toes. What’s on your ‘things-to-do’ list when in the city?

Continued on next page...

THE ARTFUL MIND APRIL ANNIVERSARY ISSUE 2018 • 33

Laurence Richard LA ROBE VOLUTE Photo credit courtesy of artist www.laurence-richard.fr

Laurence: As a Parisian, I don’t enjoy enough of the multitude of activities that this town offers, because for us it’s very expensive. But for me it remains a pleasure to walk in Paris (it’s free!). The districts I prefer are Le Marais and the popular districts around the Republic Place.

In fact, Paris is not so big a town.

Laurence, do you market your artwork?

How do you do that?

Laurence: I do exhibit once or twice a year in apartments in Paris for one weekend, and I like to share the exhibit with a photographer or a painter. I invite all my clients, and each time I get new one. This way of showing sculpture is very good, because people can more easily imagine how it could be in their own place.

Most of the time, people imagine that sculpture is cumbersome. I also have my website, but it’s 34 • APRIL 2018 THE ARTFUL MIND

not so useful. I think it’s very important to see the sculpture in reality.

Tell me about the gallery you are now in.

Laurence: I am in the gallery of a friend, Chen, an amazing painter. The place was his workshop. Now he has bought a bigger workshop and he kindly proposed to present my sculpture until the end of April.

What do you love and not love about Paris?

Laurence: Paris is wonderful, but you have to make a lot of money to enjoy the city.

What other parts of France or Europe do you love?

Laurence: I love mostly the regions which mix country and seaside, like Normandie and Bretagne. I really don’t like La Côte d’Azur.

Who was your mentor while growing up and discovering art?

Laurence: Without a shadow of a doubt, my father.

What does it mean for you to be a woman artist in Paris?

Laurence: Paris is surely the place to be for an artist. There so many! As a women artist, very often people think you are doing it only for fun because your husband makes a lot of money. I should say it’s a pure “latin way” of thinking.

What is most challenging for you as an artist?

Laurence: Make a living from my work.

Is problem-solving a large part of making art for you? How so?C ontinued on next page...

Laurence Richard

Nature & Sculpture

Photo: Courtesy of Artist www.laurence-richard.fr

Laurence Richard LA PETITE ROBE DE FEU

Photo: Harryet Puritzman

Laurence Richard LA ROBE PREHISTORIQUE Photo: Harryet Puritzman

THE ARTFUL MIND APRIL 2018• 35

Laurence Richard LA ROBE DE FLEUR

Photo credit courtesy of artist www.laurence-richard.fr

Laurence Richard LA ROBE ANTIQUE

Photo credit courtesy of artist www.laurence-richard.fr

Laurence: Of course this is a very important part of my work. Sculptures have to be solid, and the way to present them and make them easily transportable is fifty percent of my work.

Did you grow up in an artistic—and artistically supportive—home? Was your schooling supportive of the arts?

Laurence: I grew up surrounded by art. My parents were fond of architecture, antiques, sculpture, painting, music and literature. During my childhood they brought my brothers and I to museums, churches, castles, concerts of classical music, theater, opera… it was a very important part of my life. My father was an amazing 36 •APRIL 2018 THE ARTFUL MIND

drawer. He made portraits of all of us. So I could say, like Obelix and his magic potion, I fell into it when I was young. Paradoxically, my parents wanted us to do science or economic studies.

How would you describe the general feel of the gallery/art scene in Paris?

Laurence: In my point of view, most of the galleries in Paris don’t do their job; they take fifty percent from your sales and don’t bring new clients. Each time I’ve done exhibitions in galleries, it was my own clients who bought my sculptures, (at twice the price). In fact, most of the gallerists in Paris rent their places, and it’s

very expensive.

How do the visual arts compare to the performance arts?

Laurence: For me those two kinds of art are completely opposite. Visual art remains, and performance art is ephemeral and I’m not very fond of it!

What are some of the current issues facing artists today in your city? How do they affect you?

Laurence: People think being an artist is a great chance. I’m not so sure of that, because it’s not all fun! Sometimes I have no more ideas… it’s

Laurence Richard LA ROBE DANS LE VENT

Photo credit courtesy of artist www.laurence-richard.fr

Laurence Richard LA ROBE DE SOIE

not as if you press a button.

We live in a throw-away society, so they say.

In America at least that is very true. How do you see this statement in relation to your world/life?

Laurence: My artistic work is exactly the opposite of a throw-away society. I try to be very sincere with my art,and I like the idea that my sculptures will go through the years.

If you were to write a message, and place it in a bottle and send it off to sea, what would the message say?

Laurence: Take really good care of your chil-

dren’s education; they are the future.

Photo credit courtesy of artist www.laurence-richard.fr

If you had the opportunity to exhibit your art in Massachusetts, would you do it? Your sculptures would fit so beautifully here.

Laurence: Of course it would be a real pleasure, but I think it would be quite expensive to transport my sculptures!

What is your favorite quote?

Laurence: “On récolte ce que l’on sème.” In English: “You reap what you sow.”

Thank you, Laurence!

www.laurence-richard.fr

THE ARTFUL MIND APRIL 2018 • 37

THE VOICE OF JOYCE Joyce Silver COLOR AND PERCEPTION

Alex Katz, Blue Umbrella 2, 1972 oil on canvas 96 x 144 inches (243.84 x 365.76 cm) Courtesy Peter Blum Gallery, New York

Marc Chagall. Painting of Christ crucified

For years, I’ve surrounded myself with color. The vividness of hues are pleasant to the eye. Is that what defines our appreciation of a work of art? I don’t think so. From Chagall to Alex Katz, the artist uses color or black and white to illustrate a point of view, a deep felt emotion, foreboding, or lust.

During the years leading up to and during WWll, Chagall painted the figures of his youth. The fiddler on the roof was symbolic of the Jews’ precarious position in Germany.

Then as the Nazi menace came closer, Chagall painted Christ in blood red, crucified, wearing only a Tallit, a symbol of Jewish worship in Temple. The painting haunts me to this day.

It was on loan to the Jewish Museum in New York City.

Two of Alex Katz’ paintings struck me as symbolic as well. The Woman with the Blue Umbrella. I have both of the artist’s proofs, one in shades of black and brown, with deep shadows running through the woman’s face that is covered in rain drops falling gently over her, the umbrella barely stopping the drops as they fall. One wonders, are they drops of water or teardrops mixed in? The depth of the dark tones in the painting suggest teardrops.

Judge for yourself.

The more colorful print is not quite so dramatic. Though the Blue Umbrella is definitely shielding her face from the rain, the tear drops to not define this image. I am left disappointed that the color in the print does not heighten my perception. To achieve color and vivid perception, Alex Katz was more bold in 38 • APRIL 2018 THE ARTFUL MIND

his recently hung original oil of Woman with the Blue Umbrella.

The painting is grand in scale, measuring 9’x12’ and a depth of color. I stood transfixed before the oil. The vividness of the colors against the skin tones dramatically highlighted the raindrops falling and appearing as teardrops on her face. The color captures the beautiful woman’s sadness and the blue droplets confirm her feeling. Her image is above, courtesy of the Peter Blum Gallery on Grand Street. Enjoy! I did, as I stood for 15 minutes, transfixed by this singular image. I took my own photos too! The one on view is available for publication, due to the courtesy of the The Peter Blum Gallery and Alex Katz.

Of course, color and perception are not only used figuratively. Vaserely, the op artist, played with color on flat canvasses, giving the illusion of depth, where none existed on his two dimensional plane. The gradations of two colors provide the perception of a concave or convex surface depending on the light. No emotion expressed with Vaserely, only 3 dimensional perception.

In my column next month, I will continue the discussion on Art & Perception by exploring the world of David Hockney. He was drawn to color using acrylics or oils, and the viewer is drawn into or out of his painting, depending on his or your perspective!

As always, comments are welcome. Look me up @theVoiceOfJoyce on WordPress.

Thank you.

Alex Katz Woman with the Blue Umbrella

Vaserely, Katya

3’x3’ Acrylic squares on Stainless Steel frame

THE SQUARE ROOT OF 2 Richard Britell

This is what my father was like. One day when I was twelve I went with him on Saturday morning to my Aunt Mary’s house to have coffee. While we were having coffee my father said, “There are cracks in the ceiling.”

My aunt said, “We keep patching them up, but they just keep coming back.”

The next Saturday I went with my father to a construction yard where he bought plaster and some lath. Then we went to my Aunt Mary’s for coffee, after which he pulled down the whole ceiling, nailed up the lath, and spread a coat of plaster over it.

When he was done the ceiling was dark brown. I asked him, “Why is the ceiling brown?”

“It’s the base coat,” he said, “next Saturday we will put up the finish coat.”

That was 1956. The next year my father died. He was forty-five.

When I was forty-five I went to visit my Aunt Mary on a Saturday morning for coffee.

We got to talking about my father. She said, “You know, your father put up this ceiling and plastered it.”

“I remember.” I said.

“You know what was odd about it though,” she went on, “When he cut the lath he mitered all the corners.”

“Why not miter them”, I said, “After all, you have to cut them anyway.”

A strange expression crossed my Aunt’s face and she said, “Those were your father’s exact words at the time.”

So that explains the idea behind this painting of the square root of two.

The notion that there are things that can go on forever.

- Richard Britell From the Blog: Image + Text

PHOTOGRAPHY BY JANE FELDMAN

www.janefeldman.com JANEFELDMANPHOTO@GMAIL.COM 917-710-5546

THE ARTFUL MIND APRIL 2018 • 39

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Grandma Becky’s Old World Recipes

Written and shared with a loving spoonful by Laura Pian

French Fried Potatoes

I would like to share an all-time childhood favorite food that my Grandma Becky would easily whip up when my brother and I were hungry for a nosh. This delicacy of a snack would usually show itself when we were playing too loudly, out of control, or even fighting.

Grandma’s French fried potatoes usually had a calming effect upon us, probably because our mouths and hands were too busy to do anything else but eat. All we needed to hear was Grandma’s shout-out from the kitchen; in her finest broken English, “kumen zitsn aun esn French fried potatoes” (come sit and eat French fried potatoes). All we really needed to hear were those last 3 little words, French fried potatoes, and we would fight for the best seat at the table, chairs pulled in, with our hands folded in front of us like little angels!

Grandma never called them JUST French fries as we do today. She’d peel up a few potatoes, slice them with what I called her magic curly knife, and throw them into a deep pan, filled with hot oil or “schmaltz” (chicken fat). The familiar sound of the potatoes bubbling and splattering into the hot oil was only the prelude to what would become a symphony in my mouth! As the potatoes fried, Grandma would tear open a brown bag from the grocery store and place it upon the table with a side of ketchup right on the paper. She’d drop the golden, crispy fries on this paper to drain the excess oil, she’d douse the potatoes in salt, and then give them a good shake. In only a few moments, we were individually hand selecting our hot, crispy fries, dipping them into ketchup and eating them straight off the brown paper.

I was surprised to learn that French fries were not originated in France at all. However, once the French adopted the potato into their food culture during the 1700’s, they were being made throughout the country. It was not unusual to find fries being sold by push-cart vendors on the streets, particularly in Paris, where they were referred to as “frites”. The French tend to just eat the frites straight, without any condiments.

In other parts of Europe, fries are drenched and dipped into mayonnaise or mustard. The British enjoy their fries (or chips as they are lovingly referred to there) dipped in malt vinegar. As for myself (and many Americans), ketchup is an absolute necessity to have beside my fries.

I’ve recently learned how to cook with an air fryer and I am really enjoying it. An air fryer is a small, electric appliance that uses hot-air circulation to cook your ingredients from all angles with little or no oil necessary. Air fryer cooking definitely provides a lower fat option with easier clean-up. Foods come out juicy, crispy, and cook quicker than in a conventional oven.

I was determined to turn Grandma Becky’s home made, grease-soaked French Fried Potatoes into a modern day, healthier version with less fat and less guilt, cooked in my air fryer. Today, I’d like to share that process with you.

As for ingredients, you’ll only need few potatoes. I use Russets, but try any type you like, even sweet potatoes work with this! Begin by washing the potatoes well. I leave the skins on, however you can remove the skins prior to cooking if you prefer. Using my crinkle cutter (Grandma Becky’s magic curly knife), I then cut the potatoes into strips. I soak the potatoes in a bowl of cold water for 30 minutes, allowing the excess potato starch to be removed. This will prevent your fries from sticking together and helps to achieve maximum crispness. Drain and pat-dry on a kitchen towel removing as much moisture as you can, then add potatoes to a large bowl. At this point, I drizzle a very small amount of extra-virgin olive oil and season with some sea salt and pepper. If you like seasoning such as garlic, ranch, parmesan, Old Bay, etc. now is the time to add it and mix well. Place the seasoned potatoes into the air fryer basket. Set temp to 390 or 400 degrees for approximately 20 minutes, shaking the basket every five minutes for an even cook.

If you prefer your fries more golden or crispy, you can gently mist them with more olive oil and add a few more minutes of cook time.

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You may never want deep-fried French fried potatoes again.

Enjoy, and as always, esn gezunt! (eat well and healthy!)

Share your cooking thoughts and feedback: Laura Pian at: artfulmind@yahoo.com

40 • APRIL 2018 THE ARTFUL MIND