The artful mind artzine november 2015

THE ARTFUL MIND

THE SOURCE FOR PROMOTING ART SINCE 1994

NOVEMBER 2015

Creative

Director and CEO of Berkshire

Theatre Gro u p

KATE MAGUIRE

Photograp hy

by Edward Acker

PROPS

DEPT. UNICORN THEATRE

Mary Carol Rudin

"Moon and Clouds", 12 x 24 oil on canvas

THE MAGIC OF LIGHT AND SMALL MIRACLES

October 31 - December 23, 2015

Reception: Saturday, November 14, 2015

Saint Francis Gallery

1370 Pleasant street. route 102 LEE. MA (next to fire dept.)

413.717. 5199 Open Fri, Sat., Sun., & Mon. 10-5 pm www.saintfrancisgallery.com

Kris Galli

Pear With Stones, Oil on Canvas, 24x36

Represented by

Lauren Clark Fine Art

25 Railroad St. Great Barrington

krisgallifineart.com

Vault Gallery 322 Main Street, Great Barrington, MA. 413-854-7744

Lilly Clifford Gallery 112 South Street, East Sussex England

MARILYN KALISH

GEOFFREY MOSS

3’x4’ recently commissioned landscape

Farm Wimple

24 x 30

oil on canvas

BARNS REDUX

PAiNtiNgS / DRAWiNgS LAUREN CLARK FINE ART

25 Railroad St. Great Barrington, MA 413. 528. 0432 Lauren@LaurenClarkFineArt.com www.LaurenClarkFineArt.com

Commissions

Stephen Filmus

by well-known artist

art.sfilmus@verizon.net 413-528-1253 www.stephenfilmus.com

NiNA LiPkoWitz

JOHN LIPKOWITZ

Garden Gone Wild

SPRINGTIME IN JAPAN

WAtERCoLoRS November 6 — 29, 2015

Opening Reception November 7

• 3-6pm

510 Warren Street Gallery Hudson, New York 518-822-0510

NiNALiPkoWitz.CoM

510WARRENStREEtgALLERy@gMAiL.CoM 510WARRENStREEtgALLERy.CoM

Hours: Friday & Saturday, 12 - 6, Sunday 12 - 5 or by appointment

JohN LiPkoWitz,"thE gREAt toRii, MiyAJiMA, JAPAN"

December 4 - December 27 Artist reception: December 5, 2015 12 - 4pm

AnD stAy for HuDson’s AnnuAl Winter WAlk, 5 - 8pm

510 Warren Street Gallery H udSon , n eW y ork

518-822-0510 • HourS: Friday & Saturday, 12 - 6, Sunday 12 - 5

The ArTful Mind nOVeMBer 2015 • 1

ARTFUL CALENDAR NOVEMBER 2015

Art

on exhibit: irish Watercolors on canvas at the underground Salon, christine’s Home Furnishings, bridge St, Gt. barrington, Ma

510 WArren STreeT GAllery 510 Warren Street, HudSon, ny • 518-822-0510 Friday & Saturday, 12 - 6, Sunday 12 - 5 or by appointment; 510warrenstreetgallery@gmail.com / 510warrenstreetgallery.com nina lipkowitz Featured artist in november. Pen, ink & watercolor paintings in an exhibition called Garden Gone Wild. opening reception is november 7, 3-6pm

MASSMoCA 1040 MaSS Moca Way, nortH adaMS, Ma • 413-664-4481 Jim Shaw: entertainment doubts, now thru Jan 2015 MOrriSOn GAllery 8 old barn road, kent, ct • 860-927-4501 -info@morrisongallery.com Stacked, featuring new work by sculptor lydia Musco. thru november 22

A.P.e. GAllery 126 Main St, nortHaMPton, Ma • 413 586-5553 Stephen Petegorsky Photographs, nov 5-29, artist reception: nov 13: 5-8 pm

BelVOir GAllery 3278 Franklin ave, Millbrook, ny • 845-1130 Sat nov 14 Fall in the Forests by Marlene Wiedenbaum, PSa.artist reception 5:30 – 9pm. thru Jan 16. deniSe B ChAndler Fine art PHotoGraPHy www.denisebchandler.com exhibiting and represented by Sohn Fine art, lenox Ma. new member artist at 510 Warren St Gallery, Hudson, ny, view work during gallery hours,

frOnT STreeT GAllery 129 Front St, HouSatonic, Ma • 413-274-6607 Housatonic gallery for students and artists, featuring watercolor and oil paintings by artist kate knapp

GAllery at r&f enCAuSTiCS 84 ten broeck ave, kinGSton, ny • 800-206-8088 Monday-Friday 9am-5pm, Sat 10am-4pm bound Forces: Works by natalie abram, opening reception Saturday, november 7th from 5-7pm

GOOd PurPOSe GAller 40 Main Street, lee, Ma • 413-394-5045 9am - 4pm every day; gallery@cipberkshire.org; goodpurpose.org dancing with colors, which features the artwork of olga Gernovski, and of Margaret buchte. oct 10 - nov17

MArGueriTe Bride HoMe Studio at 46 Glory drive, PittSField, Ma • 413-841-1659 marge-bride-paintings.com Fb: Marguerite bride Watercolors original watercolors, specializing in custom house and building portraits. lessons in watercolor technique. now

thorton Wilder's thE SkiN oF oUR tEEth

Playing Nov 12-14 @ 7pm at the McConnell theater Daniel Arts Center at Bard College, Simon's Rock, great Barrington

2 • 2015 nOVeMBer The ArTful Mind

nO. Six dePOT dePot St, WeSt StockbridGe, Ma community access to the arts (cata) will be the featured exhibit from november 12 - november 30. an informal “Meet the artist” event takes place Monday, nov-23 at 10:30am

nOrMAn rOCkWell MuSeuM StockbridGe, Ma • WWW.nrM.orG norman rockwell Museum Presents "Masters of the Golden age: Harvey dunn and His Students” OMi inTernATiOnAl ArTS CenTer 1405 county route 22, GHent, ny • 917-941-2671 reframing nature: allan Wexler. thru Jan 2016

SChAnTz GAllerieS 3 elM St, StockbridGe, Ma • 413-298-3044 schantzgalleries.com a destination for those seeking premier artists working in glass SCOTT BArrOW 17 HouSatonic St, lenox, Ma • 413-637-2299 Photography on view by Scott barrow

SOhn fine ArT 69 cHurcH St, lenox, Ma ormond Gigli, Greg Gorman, eric korenman, Hildy Pincus kronen, anne Mourier, Pops Peterson, Jack radcliffe, kevin Sprague: thru Jan 2016

ST. frAnCiS GAllery rte. 102, SoutH lee (just 2 miles east from the Red Lion Inn) Friday thru Monday 10-5pm. the Magic of light and Small Miracles, thru dec 23, reception for artists, nov 14, 3-6pm. Flute music by performer Gregory Getner

The hOWlAnd CulTurAl CenTer 477 Main St., beacon, ny • 854-831-4088 you are my blue / i am your red: an art exhibit with Poetry: Mimi Graminski with Sara Stern, bibiana Huang nathes with bettina “Poet Gold” Wilkerson. opening reception Sat, nov 7, 3-6pm VAulT GAllery 322 Main St, Gt. barrinGton, Ma • 413-644-0221 Marilyn kalish at work and process on view, beautiful gallery with a wonderful collection of paintings

EVENtS / WorkShopS

BerkShire BOTAniCAl GArden 5 West Stockbridge road - Stockbridge, Ma • 413-298-3926 the natural World of Winnie the Pooh: nov 21. a Walk

COlOniAl TheATre 111 SoutH St, PittSField, Ma • 413-997-4444 www.berkshiretheatregroup.or Moondance: the ultimate van Morrison tribute concert. nov 19, 8pm. Oh! My Brown Eyed Girl!

through the Forest that inspired the Hundred acre Wood BerkShire feSTiVAl Of WOMen WriTerS berkshirewomenwriters.org / info@berkshirewomenwriters.org berkshire Festival of Women presents: creative Spirit: a Showcase for Women Writers, artists and artisans, on Sunday nov 22, 10 – 4pm at the berkshire Hills country club in Pittsfield

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

iSABellA freedMAn JeWiSh reTreAT CenTer 116 JoHnSon road - FallS villaGe, ct etHioPian JeWiSH exPerience: nov 13-15

MASSMoCA 1040 MaSS Moca Way, nortH adaMS, Ma • 413-664-4481

MAhAiWe TheATre 14 caStle St, Gt barrinGton, Ma • 413-52-0100 Met opera live in Hd: verdi’s ii trovatore encore; Sat nov 14, 8pm, an intimate evening with art Garfunkel

James O'Shea, Morocco Trip, 2015, 16" X 18" color tHeory / vincent Pomilio, James o'Shea and Stephen brophy through november 15th, 2015 Carrie haddad Gallery • 622 Warren St, hudson, ny • 518-822-1915

lAuren ClArk fine ArT 25 railroad Street, Great barrinGton, Ma •413-528-0432 / lauren@laurenclarkFineart.com / www.laurenclarkFineart.com Fine art and framing nOrMAn rOCkWell MuSeuM StockbridGe, Ma • WWW.nrM.orG Harvey dunn: lessons from His classroom Saturdays, February 6, 13, 20, 27, 10am -3pm

thEAtrE & ENtErtAINMENt

ClOSe enCOunTerS WiTh MuSiC MaHaiWe PerForMinG artS center, Gt barrinGton, Ma • 413-528-0100 for tix dec 12, Sat. 6pm: “dually” noted, Music for Four Hands CreSCendO tickets: http://worldclassmusic.org/buy-tickets/ remember and rejoice! a te deum and a requiem for a Prince. two contemporaries of J.S. bach: Stölzel's te deum and P. torri's Missa Pro defunctis nov 14 & 15, 2015, Gt barrington Ma and lakeville ct.

PrOCTOrS TheATre ScHenectady, ny •800-840-9227 the book of Mormon, thru Sun nov 25.

Be added to the calendar! december 2015

deadline: november 5 Moving in to your neighborhood!

artfulmind@yahoo.com online: issuu.com

The ArTful Mind nOVeMBer 2015 • 3

The ArTful Mind ArTzine november 2015

Dedicated to the world of color and cats who have gone onto their next life

Kate Maguire, photographed by Edward Acker Jennifer Pazienza and the Summer Conference in italy Art & Psyche: Layers and Liminality Harryet Candee... 6 kate Maguire Artistic director and CeO of Berkshire Theatre Group Photography by Edward Acker Interview by Harryet Candee ... 14

Planet Waves Astrology nOVeMBer Eric Francis ... 15

fiCTiOn: Otis the Playwright Part ii Richard Britell ... 20 Photographer Mahlon Craft Harryet Candee... 22

Contributing Writers and Monthly Columnists Eunice Agar, Richard Britell, Eric Francis, Kris Galli, Amy Tanner Photographers Edward Acker, Lee Everett, Jane Feldman Sabine von Falken, Alison Wedd Publisher Harryet Candee

Copy Editor

Marguerite Bride

The MuSiC STOre

happy Birthday to uS! We have begun our sixteenth year, serving berkshire county and beyond, and we feel fine! So fine, in fact, we have terrific deals in store for you! the Music Store’s fifteen years in business in Great barrington has proven many things. We enjoy helping the community, near and far to make music. this has been an enjoyable and productive enterprise for us, and we look forward to continuing this mission into the second half of our second decade. as always we offer wonderful musical instruments and accessories at competitive pricing. but there are just some things about birthdays that we like to share with you, including support for our newest music makers, and Great deals, raffles and new instruments for everyone.

We have a good time serving our community, her musicians and music lovers. come see some of the fun . . . composite acoustic guitars (the forever guitar!) and their peerless travel guitar, the cargo, a favorite of our own dr. easy, david reed, made of carbon graphite and impervious to most changes of temperature and humidity. you can see it often in his hands in performance locally and abroad.

Guild Guitars - light, powerful, affordable, beautiful! ukulele models: Soprano, concert, tenor and baritone, acoustic and acoustic/electric, six string, resonator, the Maccaferri-like Makala Waterman uke (made all of plastic for easy portability almost anywhere!) the remarkable ubass, and the new Solid body uke bass by the Magic Fluke co. you might even hear dr. easy play a banuke.

How about a cordoba cuatro? or Guitarlele? experience the haunting sound of High Spirits native american Flutes.How about a West african djembe with a smashing carry bag? or a beautiful set of african djun

djuns? try takamine for a guitar to suit almost any budget (the Pro Series at deep unpublished discounts), now on super sale for this fall! dr. easy can tell you about his. alvarez Guitars - celebrating their 50th year with beautiful limited editions! breedlove - beautiful, american, sustainable. and so many more brands and types, including luthier Handmade instruments from $150-$5000. ever heard of dr. easy’s drunk bay cigar boxes? acoustic/electric cigar box guitars, exquisitely made, which bring the past into the present with a delightful punch, acoustically and plugged in. you can even hear them in concert if you catch dr. easy’s act in local venues!

Harmonicas, in (almost) every key (try a Suzuki Hammond ‘Mouth organ’). Picks (exotic, too), strings, sticks and reeds.violins, Mandolins, dulcimers, banjos, and banjo ukes.Handmade and international percussion instruments.dreamy locally made bamboo and wooden flutes and walking stick flutes.and the all new rowe Stick dulcimers, easy to play and adore, the sales of which benefit veteran’s homes and outreach programs. and there is more to delight the eyes, intrigue the ears and bring warm joy to the heart. We remain your neighborhood music store, where advice and help are free and music is the universal language. Working with local luthiers and repairmen we offer stringed and band instrument repair. and we just may have something you haven’t seen before (have you heard the electric cigar box Guitars?). We match (or beat) many on-line prices for the merchandise that we sell, and do so in person, for the most part cheerfully (though we reserve the right to glower a little when asked if we can ‘do better’ on the price of a pick!)!

Come and see us soon and help us celebrate the beginning of our 16th year! Your patronage helps the community and makes it a more tuneful, healthy and happy place!

Cheers! The Music Store, located at 87 Railroad Street in Great Barrington, is open Wednesdays through Saturdays and by appointment. Call 413-528-2460 or visit us on line at www.themusicstoreplus.com, on Facebook as The Music Store Plus, or shop our online Reverb store at https://reverb.com/shop/theMusicStorePlus

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. ~ Plato

Editorial proofreading Kris Galli Advertising and Graphic Design Harryet Candee

Mailing Address: Box 985, Great Barrington, MA 01230

artfulmind@yahoo.com 413 854 4400 All MATeriAl due the 5th of the month prior to publication

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

4 • 2015 nOVeMBer The ArTful Mind

68 Main St., Lee, MA. 413-243-0242

kATe knAPP under Water

TOWn PlAyerS Of PiTTSfield

the paintings in this exhibit represent the time kate knapp has spent for many years in the West indies. Her favorite place to be is in the water. Here, where the turquoise caribbean Sea surrounds the islands, the fish and coral reefs abound. in these underwater landscapes painted mostly in oil, knapp has tried and succeeded to show us what lives beneath the surface. With vivid colors, a result of her impressionist training, and lush brush strokes an example of her expressionistic approach, knapp takes us on an underwater adventure. We are surrounded by brilliant coral formations and schools of unusual fish swimming all around us. Shells and strange sea forms fill these canvases with abstract and yet identifiable creatures in their native habitat. in one painting, unique plant and coral life of all colors grows on abandoned wharf pilings as bright yellow fish swim around them. knapp focuses on and captures the movement of the multi colored fish and sea fans as they come and go and bend and sway in the currents of the clear blue water as if they are all part of a silent symphony. besides the mostly large oils there are also several gouache and watercolor studies which have a very different feeling as only a watercolor medium painting water can give. all of the paintings make us very aware of the love that knapp has for this uncommon landscape.

510 Warren Street, Hudson, NY. www.510warrenstreetgallery.com / 518-822-0510

cHriStMaStiMe in tHe city 2

the town Players of Pittsfield is celebrating its 95th anniversary Season!

Selling out last year and back by popular demand, town Players of Pittsfield presents “christmastime in the city 2” Friday and Saturday, december 11and 12 at 8pm and Sunday, december 13 at 2pm at the Whitney center for the arts, 42 Wendell avenue in Pittsfield. designed to evoke the holiday spirit, this holiday variety show directed by Monica bliss with accompanist Jeff Hunt, “christmastime in the city” will celebrate the many varieties of entertainment you would expect to find in the “city” at christmastime! With cabaret seating, holiday snacks and beverages will be available at concessions and can be enjoyed during the show.

Please join us for a funny, heartwarming evening of wonderful holiday entertainment! Get your tickets early before they sell out! tickets are $15; $12 for seniors, students and groups of 10+; and $10 for members of town Players.

Town Players of Pittsfield - Box Office: Call for tickets: 413-443-9279. Please visit online at www.townplayers.org. “Like” us on Facebook: www.facebook.com/townplayers

STePhen filMuS coMMiSSionS

this favorite berkshire hillside, loved by a boston couple, was commissioned to mark their special anniversary.

Giving a gift of art like this ensures that the essence of a special time and place will endure and give pleasure for years to come. “the commission process is collaboration between artist and client. Whenever possible we visit the site together and discuss the elements of subject, color, form and the “feeling” of the scene. the next step for me is to create a detailed color sketch that reflects the client’s vision and gives them a good sense of how the finished artwork will look. at this point the commissioner can give input and suggestions as i work toward the final design. “lastly, i simply do what i know how to do - i sit at my easel and paint.”

Stephen Filmus is represented by J. todd Gallery in Wellesley, Ma. He is presently exhibiting several landscapes at the bennington center for the arts and his work can also be seen at his studio in Great barrington by appointment.

Stephen Filmus - art.sfilmus@verizon.net, 413-5281253, www.stephenfilmus.com

If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced.

Vincent Van Gogh

ARTWORKFORKIDSROOMS.COM

Dressed Up for Breakfast, acrylic and ink

Artist Margie Biener

The ArTful Mind nOVeMBer 2015 • 5

Jennifer Pazienza and the Summer Conference in italy Art & Psyche: Layers and Liminality how exciting it was for you to be asked to be in an art conference in italy! Briefly, tell us what this event was all about.

Jennifer: yes it was extremely exciting, thrilling! art & Psyche is an unincorporated organization. their mission is to encourage the making and understanding of the symbolic essence of art in its many forms. the conference title was Art & Psyche: Layers and Liminality. readers may want to Google, http://www.artandpsycheinsicily.org/index.php/en/ to learn more about it. in brief, this is an international conference, where, artists— all varieties—critics, educators and analysts dedicated to the life and work of carl G. Jung meet to discuss, present and share their work in a range of creative ways for the “imaginative expression of mind, body and soul.” you’ll recall it is Jung who is credited for developing psychology with a soul. the content of the conference was organized around several themes: * the symbolic relevance of Sicily as a crossroads and container for multiple cultures and civilizations. * the importance of the transcendent function as a connecting principle between art and psyche. * Space and time “in between.” * the emergence of new life from ancient ruins. * the co-existence of art and psyche in a shared liminal space. * artist/analyst as archaeologist. * the relevance of myth for art and psyche. * island as image and metaphor. * Mapping as physical artistic process and psychological experience.

Beautiful Dreamer: Landscape and Memory is largely an example of mapping physical artistic process and psycho6 • 2015 nOVeMBer The ArTful Mind

interview by Harryet Candee

logical experience with elements of the co-existence of art and psyche in a shared liminal space those spaces of active waiting, thresholds really, where the moment is neither behind or ahead of us, but somewhere in between. the relevance of myth for art and psyche is also one of the themes my work illustrates.

it seems so amazing that one of your favorite quotes, “Art is dream realized…” is quite true for you. Going to Sicily to give that part of the world your art as a gift can only be imagined as your dream, or one of them anyway! Jennifer, now, what is your dream?

Jennifer: “Art is dream realized and that is why we value it as an earnest that our dreams might be realized in life,” is from Wendy Steiner’s book, Venus in Exile: The Rejection of Beauty in 20th Century Art. it so suits my work and was perfect for this conference. you’re right that to share my work in Sicily was a dream come true, un sogno divenuto realta’.to present on Sicilian soil, in such a beautiful and historic place with its personal import, was magical. the privilege and good fortune to have my work selected for the closing plenary was, however, a gift to me. i’ve done other artistic things in Sicily; an artist residency in a traditional majolica ceramic lab where, to complete a commission, i designed, painted and installed a pannello of 54 tiles with Sicilian artisans and masons. i cooked with men and women across the island to better understand the origins of my cooking heritage. i painted a fresco for a friend’s farm and of course i have hundreds of photos. but this work, to talk about the influence of my Sicilian heritage on my life and painting practice, in Sicily, was nothing short of miraculous. i’m still sorting out the meanings of the entire experience.

What now?

My dream is always the same: to keep working, painting, reading and writing—not always in that order! they are so interdependent. i lose track of what comes first! My intention too, is to follow up on some future work with the new friends and colleagues i met.

your presentation at the conference must have taught you many things. Jennifer, what have you brought back that you think you want to share with us? you can list them from 1 to 10 if that helps! Or, go into one thing as deeply as you wish to express your thoughts.

Jennifer: From the start, i was confident that i was meant to present at art & Psyche. it was a conference that found me. i didn’t look for it. not consciously anyway. i was unfamiliar with the group until i met Jungian scholar craig Stephenson. after seeing my paintings in 2010, craig recommended art & Psyche to me. the conference was to be in new york, but i was too chicken to apply. actually, i think deep down i knew i was not yet ready. the conference takes place about every three years. last october, during my show at Good Purpose Gallery, craig e-mailed to tell me that i had no excuse and that i must apply, as the conference was to be in Sicily! that i do not explicitly theorize my painting practice through a Jungian lens was my greatest reservation. although there were no guarantees of my work’s acceptance, craig’s support for my work, the e-mail exchanges i had with the conference organizers in Milan and the sense i had garnered about the conference from the generous and creative call for ideas bolstered my confidence that this was indeed the right time and place for my work. in the end, they generously gave me the first closing plenary. after four days of attending a range of talks and workshops it became

JENNiFER PAziENzA

Early Winter Redoux 54 x 72” oil on Canvas

clear to me that craig was absolutely right. My work demonstrates much of what the presenters were talking about. i learned that the way i make sense of my work and life is what Jung wanted for people. He called it individuation, the ability for each of us to differentiate, to distinguish ourselves from others—the process in which individual selves develop through reflection on a range of lived experiences, conscious, unconscious, a psychic process that ultimately leads to an integrated whole. the other big teaching for me came from attending new york-based, Paul tschinkel’s documentary film on the artist robert longo. Hearing longo speak about his work and his reasons for making the work as he does confirmed for me my reasons for working as i do. i may never be the artist longo is, but we’re the same age, from the same geographical location, ny/nJ. He understands the place of one’s soul in art and the responsibility we have to staying true to making work that is “our” way of making art, not what the art world necessarily wants. check out the youtube clips, https://www.youtube.com/watch?v=w4iZFsZex9e. they’re quite wonderful.

did you have the sense of going home to your roots by going to Sicily? did you make family connections?

Jennifer: Sicily is at once familiar and strange to me. i take care not to romanticize our relationship. Gerry and i have been traveling and living there at times for extended periods for seventeen years, so like any relationship, it is a work in progress. We are indeed getting to know each other better every time we meet. i feel more at home there with every visit. it is one thing to return to your roots, but to understand them in some deep sense takes time, at least for me. it’s always fascinating to walk on the streets of our ancestors and look out to sea, and imagine them doing the same. to dream of how it was for them to traverse the landscape and leave in 1902, never having the opportunity to return. i’m very aware of my grandparents and mother when i’m there. We have visited San Giuseppe Jato and Menfi, the birthplaces of my maternal grandfather and grandmother, but have yet to determine if there are any living relatives. We have, over the years, developed very close friends—an extended family—and for

that i am very grateful.

Clearly, you are very fortunate to be able to spend time traveling and experiencing what it is like to get a huge audience to listen to your lecture Beautiful Dreamer: Landscape and Memory. Can you, in a nutshell, tell us what your lecture was about?

Jennifer: you are so right. i am indeed fortunate. Beautiful Dreamer: Landscape and Memory is not a lecture so much, but a kind of performed piece of poetic and critical writing supported by images of my paintings, not merely included to illustrate a point, but indeed as another way of suggesting the very point. Generally speaking, it is about how, in my life, i seek to understand and heal the psychic havoc wrought by early loss, domestic violence and kantian aesthetics. the context of the paper begins with an experience i had where, at an art opening for an emerging artist, someone asked how i stay hungry for painting since as a professor i have a healthy income. i was startled by the question. Scrambling to find solid ground i spat out, “Hunger can take many forms, you know!” that ended the conversation, and Gerry and i went to supper! days later however, i still couldn’t shake the memory of that encounter. curiosity, the human impulse to know why, as alberto Manguel so lovingly recounts in his latest book with that title, got the better of me. thus began my quest to answer, “Why do i paint and how is it my paintings look as they do?” Beautiful Dreamer is sub-divided into sections: The Idea of Landscape; On Beauty and Non-Duality; Ugly, Flat and Gendered Spaces; Beauty, Landscape and Memory; Doubt, Faith and Uncertainty; and Psychic Healing and the Mythic Imagination. i plan to put it on my website and it may be published in enkelados, the journal for the art & Psyche group. you’re a professor and work in a university in Canada, has that helped your art/painting life to any degree?

Jennifer: correction! i am a retired professor. (: i say that because i am so happy to be a full-time artist after juggling both for so long. being a professor both helped and hindered my painting practice. a hindrance in that it

was extremely challenging to maintain a constant and consistent practice. Helpful in that teaching undergraduate and graduate courses in art theory and practice and educational research methods gave me the opportunity to theorize my work and make sense of it for myself, students and colleagues. there’s a whole political dimension to publishing visually that was important here, too. recently, a colleague commented on what a luxury it is for me to be able to paint, read and write now without the demands of a full-time professorship. i agreed, but on reflection it’s not just a luxury. it’s a responsibility to make of these years of my life what i was unable to do when i was younger. i wanted to be an artist and i always had a kind of philosophical mind, but in an italian-american family, to be an artist was to frivolous an idea. to be a teacher was respectable. i don’t regret my career path. university work prepared me to read and think critically. upon reflection, the art & Psyche conference experience made me realize that my artistic practice is the combined effort of making sense of the world through painting, reading and writing. now that you’re home, has your direction in painting changed at all?

Jennifer: not sure yet. if anything, the old doubts that what i do may not be what the “art world” wants seems less a concern. i have five 54x52-inch canvases prepped and ready to go. We shall see…

have you new ideas or a new approach that you would like to set forth and get on canvas?

Jennifer: it’s safe to say that i never approach painting from a conscious idea. When i do, i get into trouble. the ideas come in reflection. i’m not ready to give up working from a limited palette. there’s still so much for me to learn. layers of paint equal layers of potential meanings. i tend to see my way through a painting, brushstroke by brushstroke. Paint on paint off. i won’t know until i come through it and am on the other side. i’ve come to learn that my practice is indeed about negotiating liminal spaces, those moments and places of being neither before, Continued on next page...

The ArTful Mind nOVeMBer 2015 • 7

JENNiFER PAziENzA

JENNiFER PAziENzA

or after, but present the meeting place of art and psyche.

For example Pittsfield artist Joe Goodwin, who was at the conference—imagine going across the ocean to meet someone so close to home—in any case, his work and what he has to say about it is a good example of what i’m talking about. take a look at http://www.jgoodwinstudio.com

Maybe you are inspired to try something new, or old, in terms of technique and ways of seeing?

Jennifer: you can be sure that i will be paying attention to what it feels like to paint after this wonderfully rich experience. certainly there are glimpses along the way, but again, i will only be able to make sense of what comes out on the canvas after it is made. How we see, if we’re lucky enough, is constantly being informed by our experiences. i can only hope that what i had the privilege of seeing, of witnessing, on this trip to Sicily will show itself to me in due course in and through the things i paint.

i have watched your world of painting over the past year. And getting into the gallery scene here in MA seems like it was a very good thing for you! how can you describe your development over this past year? your hand and eye coordination i am certain has been sharpening every day, more and more!

Jennifer: Getting into galleries in Massachusetts has been very good for me. i am particularly grateful to Good Purpose and the Saint Francis Galleries. another dream come true. Which reminds me, this is the perfect place for me to publicly thank you Harryet, for your role in supporting my artwork in the berkshires. i am so very grateful and proud to be a part of The Artful Mind community. The Artful Mind has given my work an overarching home where, through the ads and interviews and our endless conversations, i have been able to link the landscapes of my life: Sicilian, american and the newest, canadian. as for my eye-hand coordination, hmmm. i’ll let the readers decide!

Which painting in your presentation received the most attention, and why?

Jennifer: i’m not exactly sure, but it may have been Albero Rosso. For Jungians, the colour red in alchemy follows white, just as sunrise follows dawn and full sun after that. red is understood as blood, passion and fire. inter-

8 • 2015 nOVeMBer The ArTful Mind

Geraniums 48 x 48” oil and Spray Paint on Canvas

estingly, red is important with regard to a recent publication of The Red Book, a folio of Jung’s artwork. there has been some debate about whether or not Jung’s paintings are art. that concern was put to rest in 2013 when his work took center stage at the venice biennale. Google it! order it! We attended an art & Psyche presentation by the owner of the company that was granted the opportunity to digitally preserve the originals. it is gorgeous work of the highest quality. https://www.google.com/search?q=the+red+book+venic e&source=lnms&tbm=isch&sa=x&ved=0cacQ_auo aWovchMi772-yu2ryaivw1uch0n7anr&biw=1378&bih=795#imgrc=hvFQcxg6l wedZM%3a it must have been easy to make the presentation, given your experience with conferences, but what about the language barrier? did you find any particular issues that were difficult for you during the lecture, or at any other time while involved in the conference?

Jennifer: you’re very sweet and funny, not sure which, to say that presenting was easy for me to do. the language challenge was wonderful, actually. i have been reclaiming the italian language, with bits of Sicilian

The Red Book

surfacing on occasion, for about eighteen years. but the opportunities to speak and hear the language are interrupted every time we come home. there’s nothing like having to speak and listen daily. two months before leaving for Sicily, i worked with a translator, now a dear friend, a Milanese woman who assisted me in translating the paper into italian. because of that, my italian improved vastly and i was able to speak and understand more than i ever had before! it was wonderful. as for difficulties, yes there was one. the night before my morning presentation, we were walking back to our room when a woman hastily approached me and asked if i was indeed Jennifer Pazienza. “yes,” i said. Her next words were like an assault. She was to introduce me and had heard, mistakenly, that my paper was 40 pages and frantically asked if i had i timed my talk. calmly, i corrected her and she went on her way. but i could not sleep! as well, doubts about the suitability of my work surfaced, and my stomach was a mess. i did get about two hours sleep, but was quite concerned about my stomach. after hot water and lemon and some deep yogic breathing, Gerry—thank God he was with me—got me to the room to set up, but on the way i saw the same woman. She stopped me to apologize for her behavior; she recognized how she transferred her upset onto me and said how very much she was looking forward to my talk, and that Jungians need to hear from artists like me. in that moment my fears fell away. as a yogi, i know full well that these things are not supposed to throw me. i am, however, human. i wondered how many folks would attend an 8:45am presentation, but soon i realized that the organizers placed my work perfectly. When i took the stage, standing at the podium, she introduced me on behalf of the conference organizers and acknowledged their gratitude for my agreeing to present at 8:45 a.m. on the last day! “Somebody has to go last,” i said. So before i spoke there was a round of applause, to which i gave an elegant curtsy! From that moment on i was fine. thirty-eight minutes later i was over the moon with joy to have had the work so warmly and heartily received. how long were you preparing for the conference, Jennifer? What was involved in that mission?

Jennifer: the easy answer would be my whole life! i sent my proposal and a brief bio last december. notice of acceptance arrived in april. From mid-april to the first week of June, i thought through the wonderful Wendy Steiner work on beauty, the soul and contemporary aesthetics and read up on Jung’s essay, The Philosophical Tree, and worked on re-writes to include them, and appropriate paintings. then there was the formatting of both. each image integrated into the text with a box and

caption beneath. June through mid-July was dedicated to translating it into italian in order to send both versions to the conference organizers by the end of July, early august. Phew!

you compare your grandfather’s brick and mortar to your painting, Jennifer, which i think is fascinating. how do you compare the two trades, the two art forms?

Jennifer: they are both about making. they are both about constructing realities. they each have rules and tools specific to realizing dreams. and remember: brick, mortar and paint are made from the earth. My grandfather worked with actual three-dimensional space. i work with the illusion of space. My grandfather built the house i lived in for the first nine years of my life. that house and the gardens, his work and the work of my grandmother and mother, the landscape they created, continues to influence how i see and construct my place in the world. as Gaston bachelard says in The Poetics of Space, The house protects the dreamer. the sun porch, with its charming French pane windows, the maple tree out front, the peach tree, rose arbor and herb garden in the backyard, all hand-crafted with love and an eye for beauty that sustains, provided me with places and spaces of refuge to dream in peace.

i am wondering, can you explain this wonderful sentence you have used at the conference while talking to your audience: “Where divine light illuminates memory and faith stares down doubt.” Painting and the light used is none other than healing. But is there more you would like to add to this?

Jennifer: Great question, but it’s a bit like asking me to explain a brushstroke. but here goes. the sentence appears early on, where i explain what reconstructing or mapping physical artistic processes and psychological experiences is like for me. it also serves to foreshadow what comes later in the paper. remember, this is the fundamental theme in Beautiful Dreamer. that sentence follows, “slivers of insight, fragments of living an examined life— can coalesce in myriad ways. For me it is a matter of submitting myself again and again to the intrigue of a kind of hermeneutic hall of mirrors where ideas bounce off brushstrokes and swirls of reading paint text. Where divine light illuminates memory and faith stares down doubt. in the air beautiful voices, long overshadowed by fear and anxiety, sing their songs of possibility, while others caution not to mistake pointing to the moon for the moon.” How is it that we remember? How does memory function? For me divine light is that thing, that phenomenon, the spark memory relies on. Faith and doubt are in-

JENNiFER PAziENzA Winter's End, 27x 84”, oil on Canvas

extricably linked. in the section, Doubt, Faith and Uncertainty, i explain my regard for William James, citing him from richardson’s biography, William James: In the Maelstrom of American Modernism, saying, “every time i step up to a canvas, i live his (James) assertion that, “doubt itself is an active state… instead of meaning a lamentable loss of certainty… doubt is the positive possibility of certainty.” With James, I see how the element of faith… as belief in something concerning which doubt is still theoretically possible: and as the test of belief is willingness to act… faith is the readiness to act in a cause the prosperous issue of which is not certified to us in advance.” (richardson, 2006, pp. 202-03) i know you relate to and reflect many scholars and their views and opinions on art, including landscape, beauty and art criticism for example, and they have been good for you in terms of your own education and understanding. But, with all that knowledge stored in your mind, briefly say what you picked up from them that would contribute to the development of emerging artists? Can you supply me with a possible example of what you would want to teach that would be greatly valuable? it’s like a treasure trove of secrets you have acquired, yes? Will you share?

Jennifer: For the record, i still see myself as an emerging artist. they are not secrets so much, but gifts. Gifts, graces, come to us when we’re open to them. i have a wonderful Phd student, an excellent artist and developing researcher, danielle Hogan. check out her blog at, http://daniellehogan.com/blog/. one day last winter she gave me a book she thought might resonate with my work. i put it on my desk and it sat there for months.

When i learned Beautiful Dreamer was accepted for art & Psyche i looked more closely at how my work legitimately connects to the conference themes. one evening in early summer, about three months before the conference, i was coming into the house with a plate of chicken i had just taken off the grill. Walking past my desk, juggling platter, tongs and potholder i grabbed the book and put it next to my reading chair. the following morning i opened to the proem. the title, Psyche’s Pleasure, leapt off the page. the book is the one i mentioned earlier, Wendy Steiner’s Venus in Exile: The Rejection of Beauty in 20th Century Art. Steiner’s work, just as the circumstances surrounding my involvement in the conference, came to me when i needed it, when i was ready and open. i don’t really know how to explain this, but the Jungians confirmed my belief that there are no coincidences. How things come into consciousness is miraculous, but also dependent on our willingness to be alive and awake in

the world. after that they can disappear unless we find ways of meeting the challenge of doing the work these gifts ask of us. So, stay open, read, write, reflect, make art, study art, make sense, pay attention and each day make your life, as much as you can, the life you’re meant to live.

i believe that the maple tree has significance in your childhood and your present-hood? What is the meaning of the maple tree/leaf to you? i bet you adore maple syrup. Am i wrong?

Jennifer: actually, my family and friends credit me with the invention of Café Canadese, espresso sweetened with real canadian maple syrup! it’s the melding of my early italian-american and recently-planted canadian roots. i mentioned the maple tree in front of our new Jersey house earlier. it’s long gone. We marked the seasons together the tree standing through all kinds of weather.

Snow-covered branches in winter, abundant pink, spring buds, the promise of summer’s verdant greens, and the magical explosion of reds and yellows in autumn, me within the shelter and safety of our sun-porch the one room un-shadowed by domestic violence. the maple trees and leaves of my present-hood, great term by the way, along with birches, oaks, and various pines, surround our life on keswick ridge. We have a very old maple in the front yard. We rescued it last year after some storm damage. it’s just beginning to turn red and golden ochre. you compel me now Jennifer, in many ways, to ask, why do people paint? Why do we need to recreate reality? Why do you recreate the sky? does it help you to daydream and be happy? is it magical? is it for historical purposes? is it about life, death, and rebirth?

Are they mysteries we are not supposed to ever know the answers to? Or, is it to recapture another time in your life? dig deep to answer this; i bet your explanation will be most inspiring and beautiful. Philosophize to your heart’s content my dear!

Jennifer: How much room have i got? Wow! okay, here goes. i have no idea why other people paint! What i can tell you is something about why i do. First, i love oil paint. i always have. Maybe it has something to do with my heritage, or that i cook with olive oil? could it be in my italian dna? all i know is that from the time i was introduced to oils i have loved working with them. i have a background in black and white photography, you can find hand-blown glass on my website, majolica tiles, figurative charcoal drawings and works on Mylar. i once owned a weaving loom. i recently thought i might make Continued on next page...

The ArTful Mind nOVeMBer 2015 • 9

JENNiFER PAziENzA

Snow Day, 42 x 40.5”, oil on Canvas

some woodblock prints, but somehow i return to painting, and with oils. they’re not easy for me, but i love how much i learn every time i load my brushes and make a painting. in last year’s november interview i talked about working with a limited palette of some reds, blues, yellows and titanium white. i’ve been working that way for 30 years! i love it. the business of re-creating reality is tricky. Some would argue that painting is a matter of creating reality. For me it’s both, depending on context and intention. i paint skies because they ask me to. they show themselves to me in a way that makes it impossible for me to ignore them. it’s not like i set out to “paint a sky.” in any given painting, i do my best to pay attention to what the world is showing me, and then i set about recreating it. but how i paint skies is informed by all the actual and painted, drawn and photographed skies i have encountered in my life. think of the clouds in the columbia Pictures logo. closely connected to this is the role of beauty. in Beautiful Dreamer i talk about what i’ve learned from elaine Scarry (1999) in her book, On Beauty and Being Just. Her words name my experience.

“Beauty brings copies of itself into being. It makes us draw it, take photographs of it, or describe it to other people.” (p.3) as a child, copying was the way i taught myself to draw. i copied comics, my older brother’s drawings, greeting cards, and actual objects near and dear to my heart. unfortunately, in a 1960’s school art education landscape, based on abstract expressionism,

10 • 2015 nOVeMBer The ArTful Mind

copying as a way of finding my visual voice and making sense of the world was taboo. With no models at hand, but instructed to be original and imaginative, i drew on landscapes of memory; landscapes i had seen in books, or on tv, in movies, songs and poems, or those i had actually experienced, the maple tree in front, the peach tree in the back garden, our trip to the catskill Mountains.

School assemblies during the thanksgiving holiday we sang “over the river and through the wood, to grandmother’s house we go; the horse knows the way to carry the sleigh through the white and drifted snow-oh!” My Sicilian grandmother lived upstairs! or, robert Frost’s Stopping by Woods on a Snowy Evening. “Whose woods these are I think I know. His house is in the village though; He will not see me stopping here to watch his woods fill up with snow.” or, America the Beautiful, the anthem we would sing at the start of the school day. “Oh Beautiful for spacious skies, for amber waves of grain,” ingrained in me imaginary landscapes that to this day find their way forward when needed. as do the the varied Sicilian landscapes we experienced over the last seventeen years. being overly conscious of what i’m doing can get in the way of authentic engagement. does it make me happy to paint? yes, and a whole host of other emotions.

Painting can be a poetic space, a place for daydreaming, where my unconscious mind can stretch and breathe. yes, painting is magical and mysterious for me. cana-

dian curator tom Smart, like Jung, calls it alchemy. the mystery of mixing colors and applying them to canvas is magical. of course, that magic is both enhanced and challenged by years of study and practice. i feel mystery or magic most profoundly in their absence, when things don’t quite work. i do think there is a historical dimension to making art, even if the work isn’t obviously historical. each painting marks time, leaves a trace of what it means to be alive in a certain time and place. after reading Jung’s essay, The Philosophical Tree, i can see how my paintings convey themes of life, death and rebirth, partialness and wholeness, immanence and transcendence. but again, i don’t consciously set out to paint those elements. they reveal themselves after, in reflection. and they may not be about me alone, but about my experiences of others that find their way into my paintings. We witness daily life’s great mysteries. but human curiosity compels us to search for their meanings. it’s what’s glorious and frustrating about being human our desire to know, to understand. it may come to pass that an image i make re-presents some other time in my life, but i only tried to do that consciously in a series called Landscapes of Childhood. i had been reading Simon Schama’s (1995) Landscape and Memory. in the series, i juxtaposed bits of old Polaroid photos from childhood with my contemporary keswick ridge landscape. i saw the breakdown of emulsion in the Polaroids as a metaphor for memory. to recreate that idea, i used gold, bronze, black and silver spray paint over gesso as the ground i painted into. it was personally worth doing, but most of the paintings were awful and dreadfully self-conscious. i’ll go out on a limb and share Geraniums as one of the least embarrassing examples. the Polaroid shows a three-year old me standing in front of my grandmother’s hugely floral living room wallpaper. i could get lost in it! one day, with the picture in my hand, i glanced over to the bank of geraniums in my studio. i wondered why they were seen as aesthetically pleasing, but not my grandmother’s wallpaper. intellectually, i think the painting sees me caught between worlds, but also filled with joy. What we take to be our aesthetic home shifts through time. Some things get schooled into us, some schooled out. at nearly 62, it’s even more important for me to discern what most resonates with me, regardless of what dominant art-world thinkers may dictate.

And what about music? how does music fit into your painting world? What music moves you to paint like a dreamer?

Jennifer: Music has been a part of my life for as long as i can remember. i loved listening to my grandparents’ 78’s, particularly the caruso records, also Sinatra and bennett, neopolitan balladeers, my older brother’s early rock and roll. but it was mostly my mother who taught me to see beauty in the world, in music or otherwise. it is with her that my love and regard for how beauty functions and what it means for our lives, with all its difficulties, began. not in conscious ways, but in how she prepared and served food. How she would cut roses and carefully wrap them in wet paper and foil for my teachers. How she tied the bow at the back of my dress, reminding me that although i could not see it, others could.

How at bedtime, with her gorgeous mezzo-soprano voice, she would sing Beautiful Dreamer to me: Beautiful dreamer, wake unto me, Starlight and dewdrops are waiting for thee; Sounds of the rude world, heard in the day, Lull’d by the moonlight have all pass’d away!

i often have music on when i’m working. at home it’s cbc 2, canada’s all music radio station, and 88.5 when i’m painting in becket. but i also listen to opera, folk, jazz and Motown. Motown especially puts me in touch

with my youth and the carefree pleasures of dancing in the street. it creates in me a way to connect to that place where i feel most like myself, that place that is still youthful and uninhibited. do you feel motivated by hearing the sounds of birds, waterfalls, trees blowing, snow falling, silence of the earth?

Jennifer: of these, it is the sound of snow falling that i most love. does it motivate me to paint? Probably, but in the moment, snow falling on a landscape empty of daily human activity invites me to just be. i tend to paint the calm after the storm.

What in your artistic life affects your art, where you stand in terms of being a Woman Artist?

Jennifer: My mother, in the few short years i actually had with her, had a huge affect on my life generally and on my artistic life. She is the person who first introduced me to the pleasure of making things well. Food, drawings, paintings, the bed! the aesthetic she demonstrated to me in my early years stayed with me my whole life. She has been, and continues to be with me at my easel, my stove, when i make the bed! i can’t escape the fact that i’m a woman and an artist, but i’m not sure i’m a capital W woman artist. i paint, which has historically been a man’s endeavor. to be honest, that’s a big part of the motivation. i know how to sew, quilt, crochet and knit, all art and craft forms that are rightly getting a lot of attention these days and typically understood as traditionally devalued women’s work. but somehow, i still paint. and i do so with less than obvious feminist content. do my paintings advance the plight of women in the world? i hope so. do i consciously intend this? no, since i typically do not consciously intend anything except to assert a kind of landscape imagery whose value, like women, has been diminished, largely due to its association with misconceptions of beauty. in short, i make paintings whose content may reach anyone who comes to them openly. you have to be willing to look closely at Giallo, for example, and breathe with its places of tension and release. i was intrigued by the idea of symbolic re-creation in Beautiful Dreamer. Can you briefly share with us a bit about its meaning and how it has figured in to your work?

Jennifer: Sure. i’ll try not to bore you to tears! Symbolic re-creation is rooted in constructivism, a theory about how people learn. the term symbolic re-creation quite literally is the means by which we come to know the world. We use symbol systems, images, words, mathematical equations or musical notation for example, to make sense of our perceptions, our sensory experiences. think of artists who appropriate other artworks. that’s the most obvious form of symbolic re-creation. they use artworks already at hand. until Beautiful Dreamer, i restricted the theory of re-creation to art curriculum practices. believing that i painted from natural, rather than symbolic worlds, i could not see how my artmaking was a matter of re-creating worlds. unwittingly, certain Modernist dualities—the sensorial and the symbolic, the actual and the aesthetic—were still influencing my thinking. that changed when after a major illness, surgery and lengthy recovery i served as artist and educator in residence for new brunswick’s provincial art gallery, the beaverbrook. there i was, working away, when without warning a docent came into the open studio. at the sound of his voice, the glass bubble i was painting in came crashing down around me. in a heartbeat, i recognized i needed a different way of being or i would forever be sweeping up shards. i pondered thich

JENNiFER PAziENzA Winter Sky, 1, 96 x 72”, oil on Canvas

nhat Hanh’s mindfulness practice, inter-being a posture that dissolves boundaries and creates spaces where reverie and presence can co-exist. i began to see a relationship between my yoga and painting practices. reflecting on that rupture in my life and how it reawakened past injuries, it occurred to me that God and the yoga Sutras had more to do with returning me to wholeness than the surgical sutures i sustained. the constructivist worldview i had crafted, with its emphasis on symbolic re-creation, ignored its estranged relation perception, ignored the body, my body. now, with david abram in his wonderful book, Spell of the Sensuous, i see the dynamic participation between my body and things. I see how my body is a form destined to the world that completes itself only in things, in others, in the encompassing earth. a good example of this in my work is the making of Winter Sky 1. it was January. the holidays behind us, i traded my kitchen studio for my painting studio. looking up at the 8x6-foot canvas i asked, “What do you want from me?” as is my practice, i looked out the window and loaded my brushes. about five hours later, Winter Sky 1 was well underway. Just 10 inches from the bottom of

the canvas, an ache in my back awakened me from my reverie. like “wax on, wax off” in the Karate Kid of my generation, it took another two and a half weeks of “paint on, paint off” for me to ground the sky and call the painting finished.

Thank you, Jennifer!

F

The ArTful Mind nOVeMBer 2015 • 11

GeOffrey MOSS

MArGueriTe Bride

Whenever Geoffrey Moss assumes the roll of art instructor, he first cautions that his students “… keep their eyes not on what’s before them in the flesh, but what is in their memory about that flesh…” now, continuing to show his iconic barns at the lauren clark Gallery, the painter aware of his own advise, takes selective liberty to remember that negative spaces can offer the viewer, as well as artist, opportunity to personally imagine what has occurred in shadows and sudden contrasts of light in architecture using not one traditional light source, but several; that is, rearranging spaces, building walls, openings, happily abstracting memory. in this present, more representational Gallery offering, unlike his less representational work, forms replace interaction of colors. in these canvases and works on paper, like his totally abstract works, it seems the artist ignores his past use of primary colors of barns in order to document, to enforce views of massive structure, coming closer to a marriage with his familiar black drawing Series begun as an art student at yale.

Quoting a favorite author, William Faulkner, Moss reiterates, “knowing remembers….” choosing to be the “accidental architect,” the artist obsessively paints, paints, paints barns, rearranging and moving walls of shadows, making full use of his prerogative to own and reinvent.

Lauren Clark Fine Art - 25 Railroad Street, Great Barrington, 413-528-0432; lauren@laurenclarkFineart.com; www.laurenclarkFineart.com

Seascapes and lighthouses, a collection of Marguerite bride’s original paintings depicting her favorite subject, is currently on display at the underground Salon in Great barrington. cape cod and the islands are well represented with paintings of the marshlands and preserves, along with at least 5 of their lighthouses. you will also see a painting of the nantucket lightship, while actually docked in nantucket. this retired ship was recently relit in a landmark event at the boston Harbor Shipyard and Marina. eighteen paintings in all comprise bride’s display. the underground Salon recently celebrated its “Grand opening” in october. this new gallery is located in the lower level at 15 bridge Street, Great barrington. according to gallery owner Gerard natale, “the basement space offered the perfect space for a gallery; the look and feel of it reminds me of some of the galleries in SoHo or MassMoca. the different walls of brick and stone complement the many styles of art that we have perfectly”. eleven berkshire artists have works on display there. enter through christine’s Home Furnishings (the former home of Harland b. Foster Hardware).

Fine art reproductions and note cards of her berkshire images and others are available at the red lion inn Gift Shop (Stockbridge), lenox Print & Mercantile (lenox), St. Francis Gallery (So lee), and Hancock Shaker village (Hancock). Seasonal scenes are always on display in the public areas of the crowne Plaza and also at Mary’s carrot cake Shop, both in Pittsfield. or visit bride’s studio by appointment. commissions are always welcome. and there may still be time to have one done for christmas, but just barely, so don’t delay!

Marguerite Bride – Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only. Call 413-841-1659 or 413-4427718; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite bride Watercolors

GeoFFrey MoSS, berkSHire MorninG

PaintinG tHe barn over and over

MarGuerite bride, nantucket liGHtSHiP, W/c

SeaScaPeS and liGHtHouSeS

tis’ the season to be or not to be getting your name out there.

Why not advertise?

413. 854. 4400

artfulmind@yahoo.com 12 • 2015 nOVeMBer The ArTful Mind

SAinT frAnCiS GAllery

Maria kolodZieJ-Zincio nova WarSaWa ii

tHe MaGic oF liGHt and SMall MiracleS

as the seasons turn and the day light diminishes we become aware of how important light is to our being. besides illumination to see light powers the cycles of growth and becomes a vital source of our energy both physical and spiritual. at this time of year we cherish even the smallest of illuminations. the many festivals of light remind us how universal and important it is to celebrate the light in our lives. Spiritual traditions and celebrations, in the coming months, focus on the special relationship our souls have with light. Without this increasing darkness that connection would not be as intense. early masters in oils had a strong understanding of light and dark with often only dim candle light illuminating their works. the artists in this show creatively play with our eyes receptivity to light, color and pattern to both engage the senses and enable us to see more of what for all purposes is the illusion we experience every day in our world, an illusion that gives us a sense of what we call reality. because this is also the season of magic, miracles, and giving, St. Francis gallery is interested in how the art we present to you manages to celebrate those very same small miracles we often over look, take for granted, or forget to see. the collection we present will remind you to see more. each of these beautiful works of art celebrates the unique contribution each one of us brings to this world. these multiple views of our world, whether luminous landscapes or “light” humor, highlight the importance of creative ideas for our community to thrive and grow in wonderful directions. come to our new show and enjoy the lightness of being and refresh your mind. although the art will be on display from october 31 to december 23, there will be an artists’ reception Saturday, november 14 from 3-6pm. in addition to our regular music fare there will be a special holiday performance of native american flute music by performer Gregory Getner. the season also reminds us of the need to share - to give from our abundance- whatever it may be. the roots of our kenya connection always highlights that message, that the excess must be shared amongst us all to help us through the inevitable hard events and difficult times of life.

St. Francis Gallery - Rte. 102, South Lee just 2 miles east from the Red Lion Inn. Gallery hours: Friday thru Monday 10-5pm.

FRoNt St. gALLERy

Denise B Chandler Fine Art Photography

tines © Denise B Chandler 2015

EXhiBitiNg and REPRESENtED by:

• Sohn Fine Art gallery 69 Church St., Lenox, MA

• 510 Warren Street gallery 510 Warren St., hudson, Ny www.denisebchandler.com info@denisebchandler.com

Landscape, 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.

Open to all. gallery hours: Sat & Sun or by appointment 413-274-6607 (gallery) 413-429-7141 (cel) 413-528-9546 (home) Front Street, housatonic, MA

eleAnOr lOrd

The Magic of light and Small Miracles

Robert Watkins

artiSt

October 31 - december 23 Reception: Saturday, November 14 • 3 - 6pm

Saint Francis Gallery

1370 Pleasant street. route 102 LEE. MA (next to fire dept.)

complete schedule: www.saintfrancisgallery.com

413.717. 5199 Open Fri, Sat., Sun., & Mon. 10-5 pm Gallery supports creative humanitarian work in Kenya

510 Warren Street, HudSon, ny

WWW.510WArrenSTreeTGAllery.COM

518-822-0510

The ArTful Mind nOVeMBer 2015 • 13

KATE MAGUIRE artiStic director and ceo oF berkSHire

tHeatre GrouP

intervieW by Harryet candee PHotoGraPHy by edWard acker

Harryet candee: Being the publisher and designer behind this artzine, my motto is: “We can do this!!” i’m guessing it’s the same with you and the theatre.

We have to be strong, confident, smart… what else would you add to this?

kate Maguire: yes, we can certainly say we multitask, and do it well. or, we can acknowledge that we are creatures that need to be in control. Primarily, i think we are driven for reasons that are beyond the obvious, forces that were laid into our fiber as children that make us who we are now. our dna, our pasts, what we come from, all of this contributes to what we make of our lives. certainly, as the head of berkshire theatre Group, i feel a tremendous amount of responsibility to the community, and a need to accomplish something for the community—to create something lasting. this was driven into me by my parents and all those that came before them.

When was the last time you went with a free mind on a relaxing vacation? What would you like to plan that you think is realistic at this point?

Kate: My best vacations are when i’m with my family. i seem to be able to find points of relaxation when i’m 14 • 2015 nOVeMBer The ArTful Mind

with my husband, or one of my children—or best of all when we’re all together. i can relax then, because i see them and i have a sense of pride about the individuals they’ve become and what they’re working towards. So, i relax and i think the world is good. otherwise, i can find something to worry about every moment of the day… but i can also choose to stop and relax my mind for a moment or two, and take in the beauty of the berkshires. that’s why i love the berkshires. i can look out the window any time of the year and relax. the fall is particularly beautiful—the colors and the atmosphere are overwhelming. the view takes one’s breath away, and takes one’s mind to other thoughts and dreams.

your husband is the actor and director eric hill. do the two of you discuss work issues at home? does he already have an idea of what’s going on at work for you?

Kate: eric and i have each been involved in the theatre since we were children. recently, there was an article in the newspaper about my daughter, who works in the political world, and it says she came from a family of “theatre junkies.” and i thought it was so funny to be described that way, as people who are addicted to theatre. of course eric and i talk about theatre, we talk

about our society, we talk like any other family—about the news and what’s going on in the world, and of course daily practical matters. We do share a certain belief structure; we are compassionate towards each other. and while the theatre is a profound source of energy for us, our family is what provides the ultimate inspiration to move forward with enormous hope.

There are many people here in the Berkshires who are responsible for creating wonderful art venues, from small to large. When you came here, did you believe you would be a big fish in a small sea?

Kate: i don’t think i ever thought about being a big fish in a small sea, or a small fish in a large sea… i’m just here in the berkshires. i wish i had more time to think about how this all came together… the creative spirit in the berkshires was here long before us—we inherited the theatres and have certainly expanded the spaces. it all works because we live amidst such beautiful natural surroundings. We’re inspired to write, to paint, to put poetry to all we see and to consider deeply who we are in this world. My goodness, the Greeks were on stage a long time ago, screaming to the gods, asking “Why?” and so are we, still.

autuMn SHoW: reHearSal at unicorn, tHe HoMecoMinG by Harold Pinter

Were you nervous about combining the roles of Artistic director and Operations director of Berkshire Theatre Group? Were you hesitant to accept the job, and what went through your mind when you made your decision? it’s a long way from your days of just being an actor…

Kate: if someone asks me what i worry about, i say i worry about the future. i think that anyone who lived through 9/11, anyone who lived through 2008 and the collapse of the global economy—anyone that was running a business or taking care of a family and lived through those two periods in history worries. you’d be a fool not to, because the world has changed so much.

So if i get nervous, i know now that these things could happen again. When i speak to my staff members i often say, “Well, what’s the worst that can happen? let’s plan for that, and hope we don’t get there.” i am not a fearful person; i don’t have many fears.

When i do feel fear, i work actively to try to conquer it, because i think that fear, negativity, meanness, hatred, selfishness… when those feelings start to well up, they’re just blocks to moving forward. i make my share of mistakes in any given day. i just have to trust that the vision and the goals of our theatre, and what is accomplished when we meet them, will be significant and have a positive impact on the people we greet, meet and

work with. it is an act of will to run any not-for-profit.

i love the concept of educating the young, the old and the interested. how do you work your education angle into the programs and schedules for the year?

Kate: education is the foundation of everything that we do. We are a non-profit organization, so we are here to educate people on what theatre can do for the community. and what we believe is that the theatre is a laboratory where we try to discover what lies in the human heart. and in that discovery, we recognize that there’s a commonality to all of us. So, there is no separating out the education. in terms of the programs that we have—yes, there is a program where we are in almost every elementary school in berkshire county. We have a touring program, we have so many school kids who are on our stages, and who work with us, and they are so integral to what we do that i can’t separate our equity musical, bells are ringing from our community show Mary Poppins. it all stems from the same foundation.

What truly and genuinely excites you the most about what you used to do in theatre, and also what you are presently doing?

Kate: What i loved about the theatre when i was

edWard acker

young… i have this memory of being on stage (for quite a few years i was in this company of all women actors) and i was always on stage with one particular young girl. My scenes were with this girl because i made her feel most comfortable. She had this terrible stutter, and when i was on stage with her, she could relax and her stutter would go away. and eventually, it just went away completely. i remember thinking what a great power and gift that was; to be able to pause and allow someone to speak, to give peace to the breath between, to learn how to listen with sensitivity and then learn how to communicate. it’s this great power that can be found in performance.

Some years later, i realized that my Greek mother sent me to drama lessons when i was 4 years old so that i could learn how to communicate. i didn’t know until late in her life that she couldn’t speak english when she started school, so she had sent me to the theatre to learn how to speak powerfully. and so the power of the theatre is what has always excited me, and still to this day excites me. the theatre can open so many doorways of growth and opportunity. Continued on next page...

The ArTful Mind nOVeMBer 2015 • 15

kAtE MAgUiRE

kate WitH an aSSiStant edWard acker

Wouldn’t it be marvelous if we didn’t have to consider money issues when we create our art? i know that would be one of My three wishes! What would your three wishes be?

Kate: i wish that eventually when i step away from this position, that i will have left the theatre with a strong foundation, and left a theatre that will be here for generations to come. there are so many wishes in that big wish…

does the schedule of shows and the beauty of the Colonial attract people from all over the tri-state area, or do you think the audience mainly consists of vacationers during high season, and of course the local community? What sort of performance attracts people from far and wide?

Kate: i think that each show attracts a certain kind of audience, if you will. there is a certain demographic that will come to see bells are ringing, as opposed to the audiences that will come to see the Wailers. but, people will travel far and wide for their brand; their kind of entertainment. What we have noticed is that once people get into the colonial theatre, they’re blown away by its beauty, and they will often come back due to that sheer beauty of it. the unicorn theatre is a theatre for theatre lovers, and has been described as a “jewel of a theatre.” the Fitzpatrick Main Stage ex16 • 2015 nOVeMBer The ArTful Mind

emplifies great summer theatre. the architecture of the Stanford White-designed building and the history it provides is the perfect setting for folks that want to experience what summer theatre is meant to be. So, each theatre has its own particular style and will attract certain individuals, but the quality of the work is going to overwhelm everything, and attract people from all over the country.

do venues come to you to rent the theatres, or do you go out and seek from a wide range of performances?

Kate: i have the final say of what goes on our stages.

Having said that, i work with a great staff: Simon Shaw, who manages the programming for the colonial theatre, ashlei Perkins, who oversees our rentals, becky brighenti, director of Marketing, who is sitting right there with me to help determine what we think about a particular show, and which theatre it works best in. it’s the thought process, collaborators and artistic associates that lead me to the final season—and they really do lead—and our board of trustees. i may have the final say on what goes on our stages in a certain regard, but it is actually the board of trustees that ultimately guides berkshire theatre Group. they are the ones who approve the budget, and they are also the folks who have ultimate responsibility for what goes on all of our

stages. our btG trustees are a remarkable group of individuals who give of themselves in ways that are extraordinary. i don’t think we give enough credit to all of our trustees who volunteer enormous amounts of time, give their talent and are generous with the best of intentions for the berkshires.

So, what is your job as Creative director?

Kate: My job is to walk alongside our patrons and listen to their needs with regard to what might be the best thing to put on one of our stages, and also to learn what is needed creatively in our classrooms. My job is to find the most excellent artists to serve our product. My job is to constantly lead and educate our community on the transformative power of the arts, to produce work that is of value to the human spirit. do you feel a lot of freedom with decision making, even though there is a board to speak to on most things?

Kate: i feel that within the boundaries, we have structured a great deal of freedom.

When you’re on your own time, what do you find yourself doing? i’ll bet you dance and sing and smile a lot, somewhere lovely.

Kate: right now i’m watching two episodes of the

knick in the middle of the evening. and i will move onto a different series after that. i have a long list of suggestions from each of my children. So, i watch tv or a movie, i play with my dogs and go for walks, and my husband and i enjoy lovely dinners at home. We’re waiting for our first grandchild, so there is a good deal of wondrous anticipation. but i have to admit, i really enjoy the people i work with everyday. the staff is smart, dedicated and passionate about btG, and we have a good time. Some days are extremely challenging, but we have a great team—and that includes our trustees—that i’m quite honored to work alongside. We dance together! i notice that you have a lot of staff… young collegeage people or grads working for you. What do they all do for you and the theatre?

Kate: the one thing i don’t worry about is the level of passion and commitment that each staff member brings to their job on a daily basis. We all work until the job gets done, and the job is never done. i really depend on their level of care and extraordinary commitment. Marketing, development, financial management, production, front-of-house, box office, artistic and education work—all of it comes together because of the people. you mentioned to me that you enjoy hiring people that have come back to see you after their return from a big city. This is wonderful, but it must also put you on the spot. What do you look for in a person who will be working for you?

Kate: i look for people who have great energy, people whose eyes get bigger when they see a problem; they go right towards the challenges. i like to think we work in an atmosphere where we recognize that we all make daily mistakes, so the question is not who made the mistake, but how are we going to fix something, how will we adjust and change. in the theatre world, we’re always changing, so i look for people who are interested in change. and people who like to laugh and enjoy their own personal lives as well! is it easy to start up an acting company in the Berkshires? how would you go about making this happen?

Kate: i don’t think starting up an acting company is easy anywhere. i would probably reach out to the companies that are already here, and ask if they might be able to provide an umbrella for my hopes, dreams and visions.

And when you can sit and reflect on the past, sip a coffee…. do you think about your childhood and wonderful memories? What would be a notable childhood memory for you, kate?

Kate: if i think about my childhood—and this is probably because my parents have passed—images of my parents come to mind often now. i grew up in an extended family, so i have images of me in the middle of all of my cousins, aunts and uncles during the holidays. i think of my dad, and everything he taught me. i remember my father and i going out late at night to look at the stars through the telescope he’d bought me. He would teach me about the stars. that was always really exciting to me—looking up at the stars with my father, and learning the stories of the constellations, and the recognition that there was something much bigger than us. i am so excited about the potential discovery of water on Mars. i hope i can visit with my grandchild one day! life has so much in store for us, so many surprises.

Tell us a surprise you had somewhere in your life?

kate MaGuire at btF tHeatre, StockbridGe, Ma

edWard acker

Kate: the greatest surprise for me is always the moment one of my children comes into view. Someone once said that they watched me in a room when my children entered, and they commented on my face, which utterly changed. that moment when i see my children coming into a room is always a surprise for me, to recognize how beautiful they are—their spirits give me contentment.

do you have a favorite health, food or exercise regimen?

Kate: yes, i walk in the morning, i pay close attention to what i eat—i have a practically zero cholesterol diet—i try to accept the damages that come with life and deeply acknowledge even the briefest moments of kindness and care.

i think you need to be in excellent health to manage all these twists and turns, responsibilities, etc. you have to take good care of yourself, inside and out.

And in the Colonial as well! Tell me how they renovated that ceiling. i use to go to Miller’s Art Supply Continued on next page...

All the million things we do… the day is just not long enough! And then the evening comes and it’s curtains! do you think you’re good at checking things off your to-do list?

Kate: i think i’m pretty good at checking things off my to-do list. our staff helps me to do that. We check a lot of things off here!

if you had the chance to be in the audience for something that you’ve always dreamed of seeing, what would it be? What seat in the house would you want to be in?

Kate: our production of Harold Pinter’s the Homecoming is a dream come true, and i can watch every performance all through october. every seat in the unicorn is great.

The ArTful Mind nOVeMBer 2015 • 17

kAtE MAgUiRE

SunliGHt StreaMS into tHe ProPS dePartMent at tHe unicorn tHeatre, StockbridGe, Ma

.in the very same location at one time. Seeing the bits and pieces of the former theater always fascinated me.

Kate: the theatre was painstakingly renovated. i was not here then, but there was close attention paid to the original design. the individuals that worked on this theatre made sure that it was renovated as close to the original as possible. there is a wonderful book that was just written, History of the colonial theatre, Pittsfield, Massachusetts. there is also a great pictorial essay book by nicholas Whitman, the colonial theatre: a Pittsfield resurrection, that i would encourage folks to get their hands on. those two books are remarkable, and describe the history and the process this community went through to revitalize the colonial theatre.

kate… tell us a little about the journey that has led you to where you are today in the theatre world.

Kate: My life has been about the theatre from the beginning to now. i started taking drama lessons when i was four years old. i’ve never left the theatre.

your children are so talented; you must be such proud parents! What do they do now? did you help them out a lot?

Kate: My daughter isadora is a modern dancer; she works with the company Sleep no More in new york city, and also frequently travels to Germany for work with a choreographer named Johannes Wieland. My daughter emma is the director of intergovernmental affairs for the city of new york, and my son alexander

18 • 2015 nOVeMBer The ArTful Mind

is a senior at the newhouse School at Syracuse university. i help them out, and they help me out.

What has been your favorite role as an actor? What do you still wish to act in and what character can you relate to and want to do on stage? And if you had the opportunity to act in a hollywood movie and was offered a beautiful home in lA, or the Santa Barbara coastline, or Paris… a huge salary, all the other perks… would you leave the Berkshires?

Kate: no, i have no plans for leaving the berkshires. i loved playing Mrs. o’donnell in Poe last year, and reciting the tell tale Heart was a blast. i used to recite the tell tale Heart when i was young and a member of that all female acting troupe, so it was like a blast from the past. i’ve played Medea twice, and there is a part of me that would love to give Medea one more go around.

What is your dream, kate?

Kate: We are living the dream.

do you have a soft spot? Puppies? happy kids?

Kate: a good Greek salad and warm pita bread.

how do you think you can contribute through the theatre to making this world a better place?

Kate: i like to think that the theatre provides opportunity for growth for anyone who walks through the doors.

edWard acker

i think it’s attitude, all attitude. A good attitude rubs off on everyone. do you feel the same? What makes it all worthwhile, and what makes it WOrk? Kate: i think attitude is important, but perseverance is more important. one declares what the dream is, and then one recognizes that the bigger the dream, the harder it is to obtain, and you put one foot in front of the other and have to keep going. and that’s why you have to be healthy, and have a good attitude, and good people working around you. because that all makes the dream of this american life become a reality. ...Thank you Kate!

g

“Every child is an artist, the problem is staying an artist when you grow up.”

-Pablo Picasso

Planet Waves by Eric Francis ArieS (March 20-April 19)

For November 2015

you have problem-solving power beyond anything you've experienced before. it's as if your true intelligence has blossomed and is fully available. Part of that gift involves patience for details, something that's also frequently eluded you. Put your mind to work on whatever might be vexing you or those you love and you're sure to win the game.

TAuruS (April 19-May 20)

to do brilliant things, bring yourself to the work every day. the idea that comes to mind is applying yourself, but gently. it's like applying thin layers of paint or polish to your project one on top of the next. the gradually accumulating effort will lead to a breakthrough, though when that happens will surprise you. Just keep going, one day at a time.

GeMini (May 20-June 21) you're inclined to be careful, but set a limit on that. as my aunt Josie was fond of saying, nothing attempted, nothing gained. any insecurities you may be feeling are really a cover for the desire to dare. experiment more boldly especially with ideas, projects and maybe a relationship; the reward will be the satisfaction of having dared, and tried -- and succeeded.

liBrA (Sep. 22-Oct. 23)

CAPriCOrn (Dec. 22-Jan. 20)

after many twists and turns, your life is starting to make sense again. but if you look back, you'll see that everything that's happened over the past several months makes sense in a way that it did not seem to at the time. this is truly a new start for you -- take advantage of this, choose a bold, new challenge and rise to the occasion.

recent developments and movements in your world have set you free from some emotional bog, and are pointing the way to the future. yet you may be wondering whether anyone else is interested in coming with you. For now, don't even think about this; the planets are guiding you on a journey that only you can take.

there will be times this month when you are bestowed with the authentic power to heal. Start with yourself. if you have the idea, "i no longer need this struggle" -- no matter what it is -- take the cue to set your intentions and focus your strength. the door to a better life, and letting go of the past, is wide open.

you're being called to fulfill your mission -- not just in your mind, not just on your resume, but in the wide and wild world, where it matters the most. you only need to be a little confident that there is a place for you and your talent, then be just a bit pushy, and that space will open up.

SCOrPiO (Oct. 23-Nov. 22)

SAGiTTAriuS (Nov. 22-Dec. 22) these weeks will offer insights into yourself that will benefit you for many years. yet you will need to be open, aware and listening to yourself. the voice that speaks to you may only be whispering, so keep your ears peeled for the sound of your inner wisdom. then there will come a moment when you know exactly what to do.

AquAriuS (Jan. 20-Feb. 19)

PiSCeS (Feb. 19-March 20) you're highly sensitive to your environment, and to the people around you. yet you are also opening up to a refined sense of how to think of the future. notice if you get information about what direction your life is taking, and trust that implicitly. your vision is exceptionally clear right now, and time is on your side. read eric Francis daily at planetwaves.net

CAnCer (June 21-July 22)

imagine you have guardian angels feeding you information all the time. it's as if you have a behind-the-scenes view of everything and everyone. the psychological insight that you gain will allow you to work through any challenges and turn them into assets. trust the flow of your imagination; it's dependable and accurate.

leO (July 22-Aug. 23)

the planets are urging you to go deep, and to understand what motivates you -- particularly, to feel the way that you do. don't take how you respond to people and situations for granted. there are many connections you will make, if you care to look. this will grant you clarity that often seems impossible to come by.

VirGO (Aug. 23-Sep. 22)

virgo is one of the deep-thinking signs of the zodiac, and this month you are at your brightest. you'll be able to solve any problem you put your mind to, as if some extra burst of knowledge has been given to you. yet the truly magic ingredient is that you're willing to dare. you're willing to do something rare and actually use your mind.

don’t be shy!

Advertise your talent!

413 -854 4400 artfulmind@yahoo.com Great first timer rates!

The ArTful Mind nOVeMBer 2015 • 19

otis the Playwright Part ii

Richard Britell

otis was a wolf; that we know. but he shared certain feelings and ambitions common to people, one of which was creative ambition. i don’t know if everyone has an instinctive desire do something creative, but certainly many people do. a person may have a half-finished novel or the outline of a play in the back of their desk, and a lifetime may go by and the novel or play may never be touched or even looked at. and yet that barely-started creative effort may be very important— more important to its owner than anything else they have ever done. and keep in mind that otis would never get credit for the skits he was about to write for his comedian employees. all of the credit would be given to the clowns he was assisting. and what about his acting abilities?

What about his sense of timing and his ability to know when is the right moment to pause, draw back and roll his eyes up to the heavens? What about his knowing how long to hold the pose, before a contrary movement a split second later? no, otis will not be given credit even for his acting abilities, because all of the praise

20 • 2015 nOVeMBer The ArTful Mind

and all of the adulation will go to the three comedians. it will be assumed that otis is insensibly doing what he was trained to do. that otis knows exactly what he is doing does not enter into the minds of the audience or the other actors. but it doesn't matter. otis feels no resentment if others get the credit. a king is a king, no matter what the clothing. the next skit he set his mind to re-writing was one entitled the cockfight. this skit was more of a puppet show than a pantomime. two chickens fight each other to the death while the three comedians watch the fight and cheer for their favorite. actual chickens are not involved. the fight is carried out by two puppets that look more or less like the heads of two old brooms that had been used to sweep out hen houses, which is what they were.

What was interesting about the cockfight was the clothing of the chickens: one sported the blue and gold colors of the Mongovians, and the other wore the red and green sash of the lusitanians. if they found themselves in Mongovian territory, then the Mongovian chicken would win, but not until after a terrible struggle. the Mongovian chicken will be torn to pieces and every feather will be plucked from his scrawny hide till only the broom handle and a little straw is left. He will be covered with ketchup to indicate his wounds. then, just before the death rattle, he recovers. He seizes the lusitanian chicken by wire that binds the straw to the broom handle and, holding him down, proceeds to flay him alive right down to his wooden stump. otis felt that this skit could use some improvement.

First of all, he thought using the heads of brooms for chickens was entirely inadequate. He was positive many of the spectators did not even know the brooms were supposed to represent chickens. He knew that the creation of actual puppets was well outside the skills of his troupe, but he knew about chickens from way back.

How to improve the skit did not cross his mind until dinnertime. dinner was chicken, as it so often was. otis had great respect for chickens. First of all it was his favorite food. He was well aware that chickens were not respected as fighters. even wolves had only a limited understanding of the character of the average chicken. Most wolves imagined it was simply a matter of getting into the hen house without being seen, and after that it was only a question of how much one wanted to eat. but this was not the case. there were rare instances of single careless wolves being torn to pieces in the hen house. What strategy the chickens used to accomplish this was not widely known, but otis had seen it happen. a decoy chicken lures the wolf to the hen house, where a great mass of chickens lies in wait. even before the wolf has a chance to lunge, he is attacked all over his body at once. it takes thirty or forty chickens to kill a wolf, and it can only be accomplished if the entire brood of chickens is in position before the attack begins. it never works if the birds are taken by surprise, because it takes almost an hour for them to stop running around in circles when they have been startled. there is nothing more deadly than a forewarned and prepared group of chickens. other birds are equally deadly if prepared; five ducks can kill a wolf, and there have been swans that have killed a dog in a single combat without ruffling a feather.

otis decided that what the cockfight skit was in need of was a dose of reality. He conceived a skit acted out with actual chickens, or one chicken to be exact. this one chicken would be pitted in a fight against a dog, the part of the dog being played by himself, obviously. the combat is so unequal that the hen has no chance, except that it is a bold, resourceful chicken in combat with a cowardly dog.

How was otis to arrange for this skit to see the light of day? there were plenty of hens available to play the part but nobody would give them a chance to try out. every time otis introduced a new chicken or rooster to the troupe, they were instantly turned into dinner and their bones boiled down for soup. after several failed attempts to keep dinner alive long enough to get the idea of a cock and dog fight into the minds of his associates, he was at the point of giving up. but as so often with many fine things in the arts, the skit came about by accident. a rooster wandered into the camp one evening. as soon as otis saw the thing, he began to back away from it as if it was a terrible menace. it was either an insane, rabid or suicidal rooster, because he backed otis up against the cart and then jumped upon him and pecked him all over the neck and shoulders. otis rolled over and played dead. He threw himself down on his back and begged for mercy. the cock strutted back and forth in triumph, and the three comedians watched, awestruck. they may have been obtuse, but they grasped the concept and immediately put it into production. the rooster was not consigned to the stockpot but treated with the kind of respect a new star of the theatre can only hope for. by morning, otis had time to completely explain the concept of the skit to the rooster. the rooster had a few suggestions, but by and large he understood the basic idea. the real difficulty was the endless hours that had to be devoted to teaching the three comedians their parts. anything new or out of the ordinary presented them with endless difficulties. the troupe could now be said to be a quintet, made up of five players, all of equal importance in the skits. but as so often happens with anything beyond a duet, the players are always of various abilities. otis was a great writer—that was becoming obvious—and his acting skills were also exceptional. but the rooster was one of those stellar characters, the type to steal the show and throw all the others into an artistic shade. the rooster, being a bird, had the advantage all birds have: he possessed universal consciousness and memory, therefore his mind was full of subtle details and ideas he could draw upon in his performances. but alas, he was not creative. the wolf was highly creative, but since he was rather like a dog he did not posses either the memory or the consciousness of birds. So it came to pass that otis and the rooster became a creative team. there was the recurring difficulty of getting new works into rehearsal, as it was always necessary to bridge the gap of the limitations of the three original performers, but they managed. almost all of these great works are now lost, except for one, the well-known Smallpox skit. Here is how it came about.

The actor's unique relationship to his medium, which is himself, undermines the ideal of artistic objectivity. . .

His relationship to his roles is complex.. . .

The dualism that marks most artists sunders the actor, who is both the artist and the work of art."

- Toby Cole and Helen Krich Chinoy

deniSe B ChAndler Fine art liMited edition PHotoGraPHy deniSe b cHandler, truck

JOhn liPkOWiTz SPrinGtiMe in JaPan

JoHn liPkoWitZ, noodle SHoP, PHotoGraPH, JaPan

John lipkowitz, a photographer now retired to Great barrington, lives to shoot, or, perhaps, he shoots to live.

His answer to the question of which, parallels the answer to a chicken or egg question and depends upon no discernible criteria. Fortunately for him and hopefully for us as well, John finds his answers and his inspiration in travel, often to exotic places far from the berkshires. this time he travelled nearly half way around the world to Honshu, the principal island of Japan.

John’s wife nina organized the group of individuals with whom they went on an overseas adventure travel itinerary specifically to be in Japan as the cherry blossoms opened, and they landed in tokyo three days after the first official bloom was recorded. visiting several cities and a number of rural areas over three weeks allowed a broad spectrum of Japanese cultural and religious experiences in a country where much of the population practices both buddhism and Shintoism. these deeply spiritual practices permeate large portions of this culture, much of which John has sought to capture in this exhibit. travel photography is a genre in which many of us engage and the ability to create a collection of images which approach the sublime rather than descending to the mundane is no easy task. in this selection, John gives us a broad range, from an ecstatic wonderment at the reappearance of Sakura or cherry blossoms, to the beauty of Japanese gardens, shrines and temples, always with the impact of thousand year old traditions. While the camera and selfie may be of recent vintage, the blessings of new blooms heralding spring are nearly timeless. in realizing the images included in his Japan collection John has utilized not only traditional Western fine art coated photographic papers, but has experimented with an uncoated Japanese hand made paper and a coated paper incorporating visible fibers in the hope that these evince an enhanced Japanese aesthetic.

“Springtime In Japan” will be exhibited December 4 27, with a reception December 5, 12-4pm at the 510 Warren Gallery, 510 Warren St., Hudson, NY, 518-822-0510.

Hours are Friday & Saturday, 12-6 and Sunday 12-5.

Stay for Hudson’s Annual Winter Walk, 5 - 8pm December 5th!

denise b chandler is a fine art photographer who has had her work exhibited at the berkshire Museum, Sohn Fine art Gallery, lichtenstein center for the arts, iS -183 art School of the berkshires, St. Francis Gallery, chesterwood, the Hudson opera House, Spencertown academy arts center, and tivoli artists Gallery. in 2012, chandler completed the Photography residency Program at Maine Media Workshops & college. While in Maine, she was guided, encouraged and her work critiqued by renowned photographers: Michael Wilson, andrea Monica, Peter ralston, arthur Meyerson, david turner, brenton Hamilton, david Wells, and Syl arena. chandler has continued her formal workshop training with master photographers, Seth resnick, Greg Gorman, and John Paul caponigro. later this month she will once more train with Seth resnick, John Paul caponigro and Jay Maisel. denise b chandler is represented by Sohn Fine art Gallery at 69 church St. in lenox, Massachusetts where various selections of her work can be seen throughout the year. chandler will be one of the featured artists in the upcoming exhibition "abstrakt" from July 30th through october 4th. chandler offers private gallery visits at her personal studio/gallery by appointment only...please call either number listed below. a new member of 510 Warren Street Gallery in Hudson, ny., her fine art photography can now be viewed Friday and Saturday 12 - 5, and Sunday 12-5 or by appointment.

Denise B Chandler, Studio & Gallery visits by appointment only. 415 New Lenox Rd, Lenox, MA. Please call 413-637-2344 or 413-281-8461 (cell). Website: denisebchandler.com email: info@denisebchandler.com

rOBerT fOrTe robert Forte, aMerican Pie

“although my paintings have a realistic context, my passion for painting is, somewhat paradoxically, a passion for the unknown that lies beneath the surface of perception. For me, the starting point is a need to talk through paint, a conversation, if you will, between something seen and something hidden. there is always a sense of the journey’s end, but it ultimately is the light, the color and even the brushstroke that reveals the intangible in the tangible. in effect, the object or scene is abstracted and reassembled as the painting progresses, in hopefully unpredictable ways; the conundrum that i call ‘abstract realism’. “ this is a departure from first-learned principles - observe keenly and paint accurately - but builds on them rather than discards them. this bedrock foundation robert Forte owes to two wonderful artists, Minerva durham and cornelia Foss, under whose tutelage he was lucky enough to find himself from the very start.

“So often artists, or writers about artists, limn a body of work in ways that are recondite and ultimately unsatisfying. For me, art is an explosion of feeling expressed in an infinite variety of different ways to reflect divergent views of the world around us. even a painting of a wedge of apple pie can contain a subtext that probes beneath a flaky crust. ultimately, art should be accessible both visually and verbally. after all, it is the earliest extant form of communication.”

Robert Forte’s paintings are in numerous collections throughout the country, and can be seen on a bi-monthly basis at the 510 Warren Street Gallery in Hudson, New York.

“Life is a Chair of Bowlies!”

-Anna Nomis

The ArTful Mind nOVeMBer 2015 • 21

PHotoGraPHer

MAhlOn CrAfT

auGuSt liGHt MaHlon craFt

Interview by Harryet Candee

Mahlon, your photographs are beautiful! i am wondering, what kind of camera do you use, and, do you enhance the photos at any time with a computer program?

Mahlon Craft: currently i am photographing with a nikon 35mm digital body with a manual nikkor 35mm Perspective control lens meant for architectural work that’s mounted. each of my photographs is a merged file made from 13 separate, slightly overlapping exposures. Why i have adopted this arcane method would take a couple of paragraphs to explain. the short explanation is that it creates a flat, undistorted, high-resolution image encompassing a field normally only possible with an extreme wide angle lens. the limitation is that still wind conditions are an absolute requirement. there are qualities i like about working in this studied way that would be more

22 • 2015 nOVeMBer The ArTful Mind

familiar to photographers working in the very early days of photography. i do enhance my photographs with some of the image-editing and enhancement tools available in Photoshop. i also use third party add-on filters that work with the program. My work does not attempt to accurately reflect the colors of my subject matter. rather, it is to enhance them in a way that adds color and depth to create beauty and mystery.

What has given you inspiration to shoot nature at its finest hour?

Mahlon: your question is best answered by quoting from something my father wrote more than 50 years ago about his unconventional watercolors:

I am in love with nature; The movement of a cloud as it scurries across the blue; Rain, streaked grey against pale blue horizons; The red autumn leaf on the ground; The first green bud of the lilac; A mountain—solid, majestic; A wave, splashes suspended, holds sunlight for a moment;…

The first fleck of snow; The mysterious peek of the moon as it slowly emerges from a cloud…

With each of her moods enveloped in space, I attempt by the utmost economy of means to achieve that goal which is perfection. ~ Paul G. craft, circa 1950

i can’t say it any better than he did and it still chokes me up when i read it. He was my inspiration, and my greatest regret is that i never told him that.

Beautiful poem, Mahlon. Thank you. it’s an ongoing process, work is never done—am i right? What issues are you working out now that are related to your work, or to marketing it?

Mahlon: it’s more like a sometimes thing. i work mostly from summer’s zenith into early fall. i am also a picture book designer and author of sorts, working together with my wife kinuko y. craft. We’ve had a shared business life for over 40 years. Marketing is not one of my skill sets. the opportunity for my upcoming exhibit at art & design in litchfield, ct began when the gallery director, andrea keogh, bought a photo of mine at the annual norfolk artists & Friends exhibit in august. that eventually led to her wanting to see more, the result being an offer to exhibit at her gallery. your life partner, kinuko, is an amazing artist too. it must be wonderful to share your artistic lives and careers together. Can you see your life being any better than this? you live in a beautiful part of CT, you have an awesome dog, you visit Guido’s every Thursday… what a great life! What gives you the hunger to create, and to continue to live through your art?

Mahlon: i locked eyes on kinuko the first day of the second semester when she walked into one of the classes i was taking at the School of the art institute of chicago, where i was a post-graduate student at the time. Something clicked, and we’ve been together ever since. She has more drive and passion than i do, but then, my father’s influence comes into play. His work was driven by the warmer seasons of the year and the play of light that goes with them.

SoliloQuy, MaHlon craFt

Mahlon, what else do you do with your time? Are you working on any other kinds of projects?

Mahlon: i do have other interests, but they have no real bearing on my work as a photographer/designer. We have a big place and a wreck of a millionaire’s house that owns us, so i’m the summer/fall yard-care guy, and the snow plow guy in the winter. We were very fortunate in finding the place 30 years ago, when the previous owner was desperate to sell. it’s been eating our shorts ever since.

Back to your photographs… When shooting an image, what are you specifically looking to achieve?

Mahlon: Something beautiful that takes one’s breath away. there is usually a certain combination of light, shadow, arrangement and color that draws me to photograph it. at that point, i have an idea that the potential is there to manipulate it into something more than a simple reflection of reality.

you’ve said you’re not big on marketing your work… i know you work closely with kinuko in helping her sell, though her work has a different angle then yours.

So how do the two of you handle marketing your work?

Mahlon: We are both miserable at that. kinuko had an artist’s agent for most of her working life, until the commercial commissions for the kind of work she did all but disappeared with the appearance of the digital era. My support of her work has always been 90% as a pair of hands for shipping, record keeping, photographing and more recently digitizing her art. She has gallery representation in Montara, ca and an outlet for her commercial art originals in texas. the gallery that’s giving me my upcoming show is a first for me, and was completely unexpected.

Continued on next page....

buttercuPS, MaHlon craFt

The ArTful Mind nOVeMBer 2015 • 23

MAHLON CRAFT

MaHlon craFt, Queen anneS lace, PHotoGraPH MaHlon craFt, Flax and lace, PHotoGraPH

do you find you are often pushed into creating images that are now big on the art market scene, or do you stick to what satisfies you as an artist?

Mahlon: i don’t know what ‘big on the art market” means. i create simply because i’m drawn to photograph something because of a unique combination of light, structure and color. Something says, “Wow— that’s beautiful.” i photograph it in the hope that i can make the resulting print reflect that, in a way that

24 • 2015 OCTOBer The ArTful Mind

pleases me and is genuine—whatever that is. Whether it’s salable or not is irrelevant to my work.

Thank you Mahlon, is there anything you would like to add? i’d love to hear it! Please, go on… would you like to write about a specific photograph, one that you favor or that stands out for some reason to you or your audience?

Mahlon: i don’t think there is anything i can say

about one piece more than any other. all of the work in my upcoming show has specific qualities that appeal to me—some more than others and for different reasons. your question is a bit like asking which is the favorite of all of your children. My answer is, “none are perfect, but i love them all for different reasons.” ...Thank you Mahlon! See you and Kinuko at the Berkshire Co-op!

BerkShire feSTiVAl Of WOMAn

PHoto: roland PabSt

nina liPkoWitZ

Holiday GloW

HoStS creative SPirit SHoWcaSe

expanding on its highly successful March book expo, the berkshire Festival of Women Writers will host Creative Spirit: A Showcase for Women Writers, Artists and Artisans, on Sunday november 22 from 1 – 4 p.m. at the berkshire Hills country club in Pittsfield, Ma. the free event reflects the growth of the berkshire Festival of Women Writers under its new umbrella organization, the Women’s collaborative for creativity and leadership. the Showcase is the first of a series of events reflecting the mission of the new organization: cultivating the creative voices and visions of women in all fields, not exclusively writers. the Showcase will provide a festive opportunity for authors, artists, artisans, publishers and other businesses and organizations to showcase their goods and services, and to network with consumers and other creative women. More than 50 vendors will be present, offering a cornucopia of gifts for the discerning shopper. “this is the kind of event where you can come confident you’ll find many wonderful, made-with-heart gifts, as well as books by extraordinary women writers from our own region and beyond,” said Jennifer browdy, founding director of the berkshire Festival of Women Writers and founding board member of the Women’s collaborative. “the networking possibilities are amazing, and the whole thing is like a love-fest celebrating women’s creativity. not to be missed!” the Sixth annual berkshire Festival of Women Writers will be held March 12-20, 2016 at venues throughout berkshire county. businesses, artists, and organizations are invited to advertise in the new Festival Program, now a larger format women’s literary magazine, including poetry, essays, stories and interviews by local and regional women writers of all ages. the magazine will be distributed widely prior to and during the Festival in March. For more information, visit berkshirewomenwriters.org or email ads@berkshirewomenwriters.org. “our new combined Program and Magazine will be the only publication in the berkshires focused on the creative voices of women,” said Jennifer browdy, who is editing the first edition of the magazine, due out in February 2016. “it’s going to be of great interest to our Festival audiences, and everyone who values women’s voices and visions.” if you’d like to volunteer or get more involved with the Women’s collaborative for creativity & leadership and its signature berkshire Festival of Women Writers, let us know! there’s a lot to do and new hands are always welcome!

Berkshire Festival of Woman - info@berkshirewomenwriters.org, berkshirewomenwriters.org

GOOd PurPOSe GAllery

ninA liPkOWiTz

Garden Gone Wild

nina lipkowitz is the featured artist at 510 Warren Street Gallery for the month of november. the show is called “Garden Gone Wild” but it could easily be called “Flowers Gone Wild” or “colors Gone Wild” or “lines Gone Wild”, but it’s more than any of those and it’s all of those.

Stop by 510 Warren St Gallery in Hudson for the opening on november 7 from 3-6 with live guitar music by the incomparable Sam rosen. in Japanese terms this show is “iki”…the tasteful manifestation of sensuality. iki comes from a root that means pure and unadulterated. However, it also carries a connotation of having an appetite for life. nina lipkowitz has an appetite for life and it shows in all of her art (painting, pottery, sculpture, iPad paintings and prints, gardening).

Pen, ink and watercolor paintings….some flowers carefully arranged, some in common containers or in vases handmade and painted by the artist, some explode directly onto the paper; all pure and unadulterated, painted with an appetite for life. each flower in this show represents just one or two days of spring and summer. Jonquils and daffodils followed by tulips in riotous shapes and colors; bleeding hearts, allium, peonies, poppies and lilies. each a poignant reminder of the fragility and the beauty of life, each a visual reminder of how precious yet precarious life is.

To see more of Nina’s work visit her website at ninalipkowitz.com.

510 Warren Street Gallery, 510 Warren Street, Hudson, NY; 518-822-0510. Gallery hours: Friday & Saturday, 12 - 6, Sunday 12 - 5 or by appointment.

To act is to act. It is action, first, last and always. It is not enough to sit about and talk about acting. We must get up, transmit the truth of what we have discovered. Give it away - radiate it.

- b. Mac

the Good Purpose Gallery is celebrating the holidays with a new collection of distinctive artwork and original handmade crafts from local artists. every year the Good Purpose Gallery presents a much anticipated holiday exhibit. this year’s show is titled Holiday Glow and features the artwork of terry Wise and Susan Himmel as well as several other talented artists and crafts people. Join us for a festive opening reception on Friday, november 27th, from 5:30pm - 7:30pm with live music, hors d’oeuvres, wine and dessert. the opening reception is an excellent opportunity both for collectors and art lovers to meet the artists and to share their excitement regarding the selection of work they are especially proud to present. “Holiday Glow” will run through January 12.

Since its inception in 2011, the Good Purpose Gallery has exhibited the work of area artists in a variety of styles and media. the diversity of styles has long been a point of pride for the gallery and our holiday show is an excellent showcase for the many different approaches artists take to create their unique pieces. terry Wise, a local artist from Stockbridge, Ma, has been trained as a textile designer and translates much of that experience through her paintings. using block print patterns to create images of texture and warmth, she brings to life everyday objects and scenes.

Susan Himmel is an artist from upstate new york who fell in love with the berkshire hills and has drawn much of her artistic inspiration from the beautiful scenery in the area. Working in both paints and mixed media she explores light, shadow, and color from the world around her.

Good Purpose Gallery and Spectrum Playhouse are professional venues that exist to offer students with learning differences real-life training, experience and integration with the community. both venues host professional artists and events on a regular basis throughout the year, including student events such as plays, performances, art exhibits, and more.

Good Purpose Gallery - 40 Main Street, Lee, Massachusetts. The gallery is open 9am - 4pm every day; 413394-5045; gallery@cipberkshire.org; goodpurpose.org

Have a great hair day!

Samantha Candee

is now accepting appointments Give our new talented stylist the boost of confidence she deserves. It gives her the experience she needs to succeed and provide a great discount rate for the community. To receive 15% off of your service by showing this ad.

413. 528. 9999 Great Barrington, MA

The ArTful Mind nOVeMBer 2015 • 25

WilliAM BACzek fine ArTS eric Wert, blood oranGeS

eric Wert

William baczek Fine arts in northampton, Massachusetts is pleased to be hosting a solo exhibition of new oil paintings by eric Wert. the show will be on exhibit from Wednesday, november 4 through Saturday, december 12, 2015. the public is invited to an opening reception with the artist on Saturday, november 7 from 5 to 7 p.m. the exhibition will include ten new oil paintings that the artist has been working on over the past two years. eric Wert's paintings are a technical tour de force. but painting with incredible accuracy and detail is only one aspect of his work. almost all still life painters refer to their early dutch predecessors as inspiration and like those painters Wert embraces the macabre as well as the beautiful. eric

26 • 2015 nOVeMBer The ArTful Mind

Wert’s favorite painting is by the dutch master, Franz Snyder, whose monumental painting, Still life with dead Game, Fruits and vegetables in a Market hangs in the chicago art institute. the painting depicts a huge wooden table overflowing with dead animals: rabbits, a swan, a boar, a peacock and many small rouge-breasted birds who are tied by their necks and dangle from a stick. the dutch still life paintings are often lovely but gruesome, and like life itself both exist at the same time in the same place. eric Wert seems inclined to paint beyond tradition.

He appears to be wrestling with the choices of what an artist decides to paint when technically they have the ability to paint anything. the astonishing detail he includes in his paintings veer from the beautiful to nearly lurid. eric Wert expertly blurs the fine line between the gorgeous from the grotesque. in one of the centerpiece paintings in the exhibition a bowl of blood oranges sits in front of a deep blue and red tapestry. the dark red juice of the fruit drips down a white porcelain bowl onto the reflective black marble surface and pools around the fruit. it is a depiction that is both lush and violent. Wert describes his work as a merging of subjects and meanings that are sometimes at odds, “david lynch meets Martha Stewart, you might say.”

Selections from this exhibition and other works by gallery artists can be seen on the gallery’s web site at www.wbfinearts.com For more information about this or upcoming exhibits please call the gallery at 413-587-9880 or email at info@wbfinearts.com The gallery is located at 36 Main St. in downtown Northampton, Massachusetts and is open Tuesday and Wednesday from 10–5, Thursday, Friday and Saturday from 10–7 and Sunday from 12 – 5.

VenTfOrT hAll Francine SeGan

Food historian Francine Segan, who has appeared at ventfort Hall Mansion and Gilded age Museum, introducing us to “the art of dining at downton abbey” and “life is a Picnic!”, returns to put the spotlight on “take one!: Movie Menu Moments.” She will make her presentation on Saturday, november 7th at 7:00 pm.

Segan is prepared to amplify the fun with movie food, including a popcorn tasting, film clips, the more hilarious the better, and a movie trivia contest with prizes – a multisensory experience for movie buffs and food lovers! Her audience will view famous foodie movie moments from such classics as “chocolat,” “ratatouille,” “babette’s Feast” and “big night” as they discover behind-the-scenes details and the role food plays in film.

Segan has appeared on the today Show and early Show and has been featured on numerous specials on PbS, the Food network and the History, Sundance and discovery channels. She also writes for such magazines as la cucina italiana, epicurious, Food arts and Gastronomica. She has lectured at nyc’s 92nd Street y and the Museum of natural History, Smithsonian Museum and virginia Fine arts Museum.

Tickets for program are $22 for advance reservations and $27 day of the event. Reservations are highly recommended as seating is limited. For information or reservations call Ventfort Hall at 413-637-3206 or visit info@gildedage.org. The historical mansion is located at 104 Walker Street in Lenox.

ROBERT FORTE

JENNIFER PAZIENZA

Exhibition of art at

510 WARREN ST. GALLERY hudson, Ny November 2015

WWW.510WARRENSTREETGALLERY.COM WWW.ROBERTFORTE.COM

Good Purpose Gallery

Photography by gerry Clarke

40 Main street, lee, Ma • goodpurpose.org

jennpazienza@gmail.com

http://jenniferpazienza.com/

The ArTful Mind nOVeMBer 2015 • 27

Edward Acker Photographer

edwardackerphotographer.com 413-637-9971 413-446-8348 e-mail: edwardacker@earthlink.net

28 • 2015 nOVeMBer The ArTful Mind