THE ARTFUL MIND
JANET COOPER ARTIST
PHOTOGRAPH BY EDWARD ACKER
the ARTFUL MIND
IN PRINT SINCE 1994
CALENDAR for Summer 4
Interview: Derek Delaney
A Life In Service to Classical Music ... 12
Elizabeth Cassidy In Other Words | POETRY 21
Interview: Janet Cooper Artist
Photography + Cover by Edward Acker... 34
Interview: Caryn King Ceramist and Painter Revisit with the Artist... 36
Richard Britell | FICTION
Valeria and the Ants CHAPTER 2 47
Diaries of Jane Gennaro
Mining My Life EPISODE FIVE “Hip Story” .... 48
Publisher Harryet Candee
Copy Editor Elise Francoise
Contributing Photographers
Edward Acker Tasja Keetman Bobby Miller
Contributing Writers
Richard Britel Jane Gennaro
Third Eye Jeff Bynack
Distribution Ruby Aver Calendar / Advertising Editorial inquiries and Subscriptions by mail: 413-645-4114 Email: artfulmind@yahoo.com Read online: ISSUU.COM YUMPU.COM Join the FB group: ARTFUL MIND GALLERY for Artful Minds 23
JOANE CORNELL FINE JEWELRY
CALENDAR of EV E NTS
July 19, 2025, 2 – 4pm
Photography with Berkshire Art Center at TurnPark
Spend a few hours photographing at TurnPark with Berkshire Art Center instructor Thad Kubis. TurnPark is a visually stimulating location in West Stockbridge. Please register at Berkshire Art Center
TurnPark Art Space 2 Moscow Road, West Stockbridge, MA
ART
510 WARREN STREET GALLERY
510 Warren st, Hudson NY 518-822-0510 / 510warrenstgallery@gmail.com
Featured artists each month.
CORRIDOR GALLERY
185 E. Main st, North Adams, MA
The Corridor Gallery is an experimental exhibition space set in the grand entryway of the Walkaway House. The Corridor Gallery is a project of artist and founder Carolyn Clayton and is activated by the work and vision of guest artists and individuals.
CHILDS + CLARK GALLERY
684 Main Street, Unit 1, Great Barrington, MA Ceramics, Glass, Painting, Sculpture, Fiber.
GUILD OF BERKSHIRE ARTISTS
Colonial Theatre, Pittsfield, MA www.berkshireartists.org
Through July 12: Closing Reception July 12, 1 - 4pm: Creative Diversity
BECKET ARTS CENTER
7 Brooker Hill Rd, Becket , MA 413-623-6635 office@becketartscenter.org
Special Members Exhibition; Macrocosm: July 25Aug 17.
BERKSHIRE BOTANICAL GARDEN
5 West Stockbridge Rd, Stockbridge, MA 413-298-3926 BerkshireBotanical.org
June 6- Aug 11: DayDream, Curated by James Salomon; Also: Sleepwalkers, in conjunction with “DayDream”, an outdoor exhibit by renowned sculptor Mark Mennin
BERNAY FINE ART
296 Main st Gt Barrington, MA 413-645-3421
July 12 - Aug 10: Summertime: annual Summertime show. The show will feature paintings by Janet Rickus, Joy Taylor and Linda Pochesci, prints by Lawre Stone and sculpture by Joy Brown.
JULY 12 - AUG 16
Reception: Saturday July 12, 4pm - 6pm
Eastover Contemporary Art Space
Ink Art Exhibit - Embracing Ecological Return: Solar TermsFeng Hua: Memories of New England 430 East St, Lenox, MA eastoverart.com
CARRIE HADDAD GALLERY
622 Warren St, Hudson, NY info@carriehaddadgallery.com
June 6 - July 27: The Summer Show
CATA
Clark Art Institute
225 South St., Williamstown, MA Lichtenstein Center for the Art
26 Renne Ave, Pittsfield, MA
July 11: Annual Art Show:”I Am a Part of Art”
THE CLARK ART INSTITUTE
225 South St, Williamstown, MA 413-458-2303
July 12 - Oct 5: Berenice Abbott’s Modern Lens Berenice Abbott (1898–1991) was one of the most important American photographers of the twentieth century, known for her pioneering documentary style, unpretentious compositions, and technical innovations. A woman photographer working in the relatively early days of the medium, Abbott demonstrated that women could hold a prominent place in cutting-edge artistic communities. The Clark marks the 100-year anniversary of Abbott’s first photographs with an exhibition examining the relationship between her portraits of people and her “portraits” of places.
CLOCK TOWER ARTISTS’ STUDIOS & GALLERY
75 S. Church St, 3rd fl, Pittsfield, MA clocktowerartists.com
The Clock Tower Artists is a collective of working artists, see website for artists and open studio visits.
CHESTERWOOD
4 Williamsville Rd, Stockbridge, MA chesterwood@savingsplaces.org
47th annual contemporary outdoor sculpture exhibition, which will run throughout the season, ending October 31. This season’s exhibition, Global Warming / Global Warning! addresses the issue of climate change and will be curated by preservation engineer and restoration architect Michael F. Lynch, with works by sculptors Kathleen Jacobs, Ann Jon, Harold Grinspoon, Natalie Tyler, and DeWitt Godfrey.
FRAMEWORK by DOWNTOWN PITTSFIELD INC
437 North St, Pittsfield, MA
July 7 - 24: Reception during First Friday Artwalk, July 12, 1 - 4pm: Huck Elling: Recent Paintings Exploring Color, Patterns and Pursuit of Joy.
FREYLINGHUYSEN MORRIS HOUSE AND STUDIO
92 Hawthorne St, Lenox, MA
Visit the home of American Abstract Artists George L.K. Morris and Suzy Frelinghuysen, set on a 46-acre estate in the heart of Lenox, Massachusetts. View their paintings, frescoes, and sculpture; experience their exquisite collection of American and European Cubist Art.
FRONT ROOM GALLERY
205 Warren St, Hudson, NY
June 21-July 13: Thomas Broadbent. Front Room Gallery specializes in contemporary photography, painting, sculpture, installation and limited edition prints.
FUTURE LAB(S) GALLERY
43 Eagle St, North Adams, MA Ongoing art exhibits
GALLERY 271
271 Main Road, Monterey MA
June 27 - July 19: Jaye Alison, Remain Calm. Jaye’s work is an exploration of how we process turbulence, hold on to meaning and find clarity and beauty through creative expression.
GALLERY NORTH
9 Eagle St, North Adams, MA 413-663-1509
A fine art gallery featuring artists in many mediums
GREYLOCK GALLERY
71 Sprig St, Williamstown, MA 413-884-6926
Oil paintings, landscapes and whimsical metal sculptures-traditional and contemporary art.July - Tracy Helgeson, John MacDonald (All Artists on display) August - Teri Malo, Leslie Peck (All Artists on display)
In and around the berkshires
SUMMER 2025
July 12 7pm- 9pm
Music Mountain Summer Festival: THE CURTIS BROTHERS
Gordon Hall, 225 Music Mountain Rd, Falls Village, CT Musicmountain.org / 860-824-7125 for tix and info
HUDSON MILLINER ART SALON
415 Warren St, HUdson Ny info@hudsonmillinerartsalon.com
Through Oct: Charlotta Janssen:Smells Like Team Spirit. The Hudson Milliner Art Salon is a creative and collaborative art space featuring art and performance as well as the intersection of the two. We feature exploratory, edgy and political work.
LAUREN CLARK FINE ART
684 Main St, Gt Barrington, MA Lauren@LaurenClarkFIneArt.com
Fine art, glass, sculpture and paintings
MASS MoCA
1040 MASS MoCA WAY, Hunter Center, North Adams, MA info@massmoca.org
Through August 2026: Jeffrey Gibson: Power Full Because We’re Different. A commissioned immersive installation filling MASS MoCA’s signature Building 5 gallery that follows Gibson’s highly celebrated United States representation at the 60th edition of La Biennale di Venezia. Outdoor Art Tour, July 26; New York State of Mind, June 28, 10am
MCLA GALLERY
375 Church St, North Adams, MA 413-662-5000
July 18 - Sept 28: I Am Too, A Piece of Clay: LaRissa Rogers; Explores undefined marginality as an aesthetic form that generates alternative epistemologies - sensorial, spatial, and affective. Opening Reception Friday, July 18, 5-7pm | 51 Main St., North Adams; Artist Talk | Saturday, July 19, 11:30 am - 12:30 pm | 49 Main St., North Adams
NORMAN ROCKWELL MUSEUM
9 Glendale Road, Stockbridge, MA 413-298-4100
July 12 - Oct 26
Hidden Worlds and Wonders: Outdoor Sculpture Exhibition
Juried Show: Artists
Artists showcased in the exhibition include: Robert Bangiola, Harold Grinspoon, Brian McQuillan, Barbra Fletcher, Robert Markey, Erika Crofut, Stephen Klema, William Carlson, Stephanie Wenzel, Ricky Bernstein, Erik Johnsen, Andy Gingras, and Pedro S. de Movellan.
Through July 27 @ TSL:
PHILLIP GEBHARDT: BEYOND FORM
434 Columbia St, Hudson NY
fyi@timeandspace.org
PAMELA SALISBURY GALLERY
362 1/2 Warren St, Hudson, NY
June 21 - July 20: Daisy Craddock, Michael Meehan, Nisha Bansil & Bryan Whitney, Rachel Rickert, Ron Milewicz and Scott Brodie
PETER JUNG FINE ART
19th & 20th Century Paintings
512 Warren Street Hudson, NY Phone: 518-755-4350 peterjung512@gmail.com
ROAM
16 Water St, Williamstown, MA roamgallery.photo/
ROAM A Xtina Parks Gallery is an African Contemporary Art Gallery and Fair Trade showroom specializing in works of art, sculpture, African wildlife photography, ceramics & pottery, vintage textiles, jewelry, woven baskets and much more. Xtina Studios and her team work together to accomplish a shared vision: to bring awareness of sustainable conservation initiatives which directly support Africa’s artists and people, as well as preserve and protect the African lands that are home to precious wildlife and many endangered species.
ROBIN RICE GALLERY
FINE ART + PHOTOGRAPHY
234 Warren St, Hudson NY
Jul 12-Sep 7: Giacomo Piussi "Friends of Friends" “Friends of Friends” explores a playful world where dreams and reality meld together to create surreal moments.
SANDISFIELD ARTS CENTER
Hammertown Rd, Sandisfield, MA www.sandisfieldartcenter.org
July 19: Show opens Saturday July 19 with an opening reception 3 - 5 pm followed at 5:15 by the Not So Short Film Festival-Part One. The film festival continues on Sunday July 20 at 2 pm with the Not So Short Film Festival Part Two. Weekends 11 to 3 or by appointment
SOHN FINE ART
69 Church St, Lenox, MA 413-551-7353 info@sohnfineart.com
May 10 - July 28: Heredity: Joseph La Piana. Hered-
ity explores the concept of artistic lineage and transformation through Joseph La Piana’s signature blend of scientific inquiry and material experimentation
SOUTHERN VERMONT ARTS CENTER
860 SVAC Drive / West Rd, MAnchetser VT SVAC.ORG
Through January 4, 26:
Into the Abstract: Paul Gruhler and Neha Vedpathak
SUSAN ELEY FINE ART
433 Warren St., Hudson, NY
June 12 - July 27, Quotidiana: Rituals and Passages, New Works by Francie Heter
THE MARKETPLACE CAFE PITTSFIELD
53 North St, Pittsifeld, MA
July 2 - 30: The Surreal Landscapes of Sean McCusker
THE RE INSTITUTE
1395 Boston Corners Rd, Millerton, NY
July 12 - Aug 23: Irrigation; Upstairs: Gregory Klassen; Downstairs: Ruby Jackson and friends
TIVOLI ARTISTS GALLERY
60 Broadway, Tivoli, NY
July 11 - August 10: Reception Saturday July 12 57pm"Hudson Valley Towns" "Interpretations of our Beautiful Hudson Valley Villages, landmarks and Vistas"
TURLEY
ART GALLERY
609 Warren St, 2FL, Hudson, NY
THrough July 12: Dana Piazza: Elaborations; Mack Sikora: Hope Chest
TURNPARK ART SPACE
2 Moscow Rd, West Stockbridge, MA
May 17 - Aug 3: Paul Chaleff: Sculpture - TablesChargers; May 17-Aug 10: Jim Morris: Leaving Traces; Aug 13-Oct 31: John Clarke: Passing Through
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CALENDAR of EV E NTS
On view through August 10
GEARY
Dana Sherwood: Garden of the Sphinx 34 Main St, Millerton, NY
NEW MARLBOROUGH MEETING HOUSE
154 Hartsville, New Marlborough Rd
New Marlborough, MA
June 20-July 20: “Botanically Speaking” “Botanically Speaking” celebrates the intrinsic beauty and complexity of plant life.July 25 -Aug 24. “Elemental: earth / air / water” Reception July 25, 5-7pm. Aug 29-Oct 5: “Black and White and What Lies Between” Reception: Aug 29, 5-7 pm
THEATER
BERKSHIRES THEATRE GROUP www.berkshiretheatregroup.org
July: Out of Character; The Mousetrap. Check website for locations and sepcific times.
HUDSON HALL
327 Warren St, Hudson, NY hello@hudsonhall.org
July 18 - Aug 17: Hudson Terminus, Jon Kinzel. Interdisciplinary Exhibition with Site Specific Performances
MAC-HAYDN THEATRE
1925 NY-203, Chatham NY 518-392-9292
July 10 - 20: A Bronx Tale..see website for more
SHAKESPEARE & COMPANY
70 Kemble St, Lenox, MA 413-637-3353 shakespeare.org
June 19 - July 20: The Victim, by Lawrence Goodman; July 12 - Aug 10: Shakespeare’s Romeo and Juliet; July 25- Aug 24: August Wilson’s The Piano Lesson.See website for more.
SHARON PLAYHOUSE
49 Amenia Rd, Sharon CT info@sharonplayhouse.org
July 26 - Aug 10: Annie; Aug 29 - Sept 7: Sylvia; Sept 26 - Oct 5: The Mousetrap, plus much more
L to R: Loretta Pettway Bennett,Stella Mae Pettway, Sharon Williams,Emma Mooney Pettway,Polly Middleton, Andrea Williams
Opening Reception July 12, 5 - 7pm
Spencertown Academy
The women of Gee’s Bend: The Next Generation
Meet the quilters and join the Academy Board and our generous sponsors in welcoming the Gee’s Bend quilters to Spencertown at an exclusive reception ahead of the public opening of the exhibitions on July 12. Tix: https://spencertownacademy.networkforgood.com/.../87861...
MUSIC | EVENTS
BERKSHIRE OPERA FESTIVAL
Mahaiwe Performing Arts Center
14 Castle st, Great Barrington, MA
Aug 14: 10th Anniversary Concert. Aug 23, 26, 29: La Traviata, Composer Giuseppe Verdi.
BERKSHIRE BOTANICAL GARDEN
5 West Stockbridge Road, Stockbridge, MA
July 14, 5:30pm - 7:30pm
Music Mondays at Berkshire Botanical Garden featuring -07/14: The Nate Martel Band: Singer, songwriter and guitarist with soulful, gritty fun and a remarkable voice.07/21: Jessie and the Hoosie Hawks: An eclectic mix of rock, pop, country, and more hits from yesterday and today.07/28: Sören Smedvig Quartet: Dynamic jazz standards spanning generations.08/04: The BTUs: A solid Berkshire institution built on the foundation of solid groove.08/11: Mike Cobb and the Crevulators: Original eclecticamericana. Inspired by Bob Dylan, The Band, CCR, The Beatles, The Rolling Stones, Tom Petty, The Replacements, and more. 08/18: South Pleasant Revival: UMass Amherst college band featuring acoustic covers and some original music.08/25: Rounders Revival: Light-hearted and uplifting acoustic music steeped in the folk-Americana traditions of universal story-telling and soulful harmonies.
DOTTIE’S / DOROTHY’S
438/444 North St., Pittsfield 413-443-1792 www.dottiescoffeelounge.com
July 5, 6 - 9pm: Lucia Dostal
HANCOCK SHAKER VILLAGE
1843 West Housatonic St. Pittsfield MA 413-443-0188
Aug 3: SUMMER GALA in the Village. Stroll through the Village and enjoy a magical evening, where rolling hills meet a stunning sunset off the Round Stone Barn
STOCKBRIDGE SINFONIA SUMMER CONCERT SERIES
Berkshires’ Community Orchestra 413-822-1318 or visit stockbridgesinfonia.org
July 12 & 13, Aug 2, 9 & 10: The Sinfonia Wind Ensemble will perform Mozart’s Gran Partita and Gounod’s Petite Symphonie on Saturday, July 12, 3 pm at Zion Lutheran Church, 74 First Street in Pittsfield and again on Sunday, July13, 3 pm at Church on the Hill in Lenox. Guest conductor is David Diggs. The full Sinfonia will perform a set of Overtures by Mozart, Berlioz and Shostakovich; as well as a piece by local composer Joan Devoe entitled Insidiodyssey. The second half of the program is Dvorak Symphony No. 8. These concerts take place on Saturday, August 2 at 3 pm at Lenox Memorial Middle and High School, Saturday, August 9 at 3 pm at Zion Lutheran Church in Pittsfield, and Sunday, August 10 at 6 pm at Saint James Place in Great Barrington
TANGLEWOOD
297 West Street, Lenox, MA
July 20, 7:00 pm
TLI Presents: Trumpet Summit featuring Jon Faddis, Randy Brecker, Benny Benack III, Bria Skonberg, and the Ted Rosenthal Trio
TANNERY POND CONCERTS
Darrow School, New Lebanon, NY capitalregionclassical.org
July 12, 7:30pm Santiago Cañón-Valencia, cello
THE GUTHRIE CENTER
Housatonic, MA 413-528-1955
July 12: An Evening with Ant Je Duvekot and Seth Glier; July 19: Matt Cusson; July 26: An Evening with Lucy Kaplansky; Aug 2: Annie Guthrei & Friends; Aug 9: An Evening with Ari Hest; Aug 16: An Evening with Tom Rush; Aug 23: The Black Legacy Project; Aug 29: Drag Queens in Limousines: Celebrating 25 Years of Mary Gauthier with special guest Jaimee Harris
Art Exhibit “IN GOOD COMPANY.” — Artists —
Jaye Alison
Ruby Aver
Richard Britell
Katherine Borkowski-Byrne
Margaret Buchte
Leslee Carsewell
Janet Cooper
Yana van Dyke
Jane Gennaro
Susan Gilbert
Julia Grey
Ghetta Hirsch
Sarah Horne
Ellen Kaiden
Stephan Marc Klein
Beckie Kravetz
Bruce Laird
Pattie Lipman
Leo Mazzeo
Jesse Tobin McCauley
Bobby Miller
Richard Nelson
Janet Pumphrey
Ilene RIchard
Alexandra Rozenman
Richard Talbert
Scott Taylor
Jay Tobin
Mary Ann Yarmosky
Reception: Aug 9 - 5-8pm 11 Eagle St. North Adams MA THrough AUGUST +
THE STATIONARY FACTORY
63 Flansburg Ave, Dalton, MA
July 12, 7pm-10pm: MPZ Productions presents: The Wrecking Crew — the best kept secret in Rock n Roll!
DREAM AWAY LODGE
1342 County Rd, Becket, MA 413-623-8725
thedreamawaylodge.com/events
July 12, 8pm - 11pm
MILTON: A songwriter’s songwriter, known for his lyric craft, distinctive voice and soulful songs steeped in classic rhythm & blues, pop, jazz, folk and country, Milton first gained notoriety in his hometown New York City when his song “In The City” became a hit on New York’s WFUV radio. His live performances, which include material from every one of his albums, are praised for their wit, humor, and captivating charm.
THE THIRD ANNUAL DAVID GROVER SCHOLARSHIP CONCERT, “HERE WE GO AGAIN”
July 18, 5:30pm ...$40
Featuring Michael Fabrizio with Special Guests Michael Wartella and Kathy Jo Grover and Members of the Berkshire Theatre Group Youth Chorus. Join us for an inspiring evening of live music and heartfelt performances as we honor the legacy of the late David Grover, a beloved member of the Berkshire community and a passionate advocate for arts education.
EDUCATION
BERKSHIRE ART CENTER
13 Willard Hill Road, Stockbridge MA
Make Art, Buy Art! Visual art classes, workshops, events year-round for all ages/skill levels. Shop artwork by local artists, discounted art supplies, books
July 31–August 2
MASS MoCA
Bang on a Can: LOUD Weekend 2025
The Bang on a Can Summer Music Festival has transformed MASS MoCA into a genre-bending musical utopia for innovative composers and performers for 24 of our 26 years.
1040 MASS MoCA WAY North Adams, MA 01247 413-662-2111 info@massmoca.org THE ARTFUL MIND
FREYLINGHUYSEN MORRIS HOUSE AND STUDIO
92 Hawthorne St, Lenox, MA
Art Demonstrations with professional artists every Friday, 11am, free with admission: July 11, Diane Firtell, Oil on canvas; July 18, Brent Ridge, Abstract painting w/recycled patterns; July 25, Debbie Carter, Upcycled wearable art; August 1, Paula Shalan, Smoke fired ceramics; August 8, Peter Schoeffer, Oil on Canvas; August 15, Nina Ryan, Ceramics; August 24, Nathan Hoogs & Elizabeth Crawford, Glass blowing; August 29, Terry Wise, Mixed Media on paper
HUDSON HALL
327 Warren St, Hudson NY hello@hudsonhall.org
Aug 3, 4pm: 2025 Hudson Jazz Workshop Concert Featuring Armen Donelian, Marc Mommaas, and Steve Cardenas. Celebrating its 19th year, the Hudson Jazz Workshop—led by pianist Armen Donelian and saxophonist Marc Mommaas—culminates in a dynamic concert at Hudson Hall featuring special guest guitarist Steve Cardenas. Joined by an international ensemble of workshop participants, enjoy an afternoon of original jazz developed over an intensive week of collaboration and exploration.
MAD ROSE GALLERY
5916 N Elm Ave, Millerton, NY
518-592-1086
Classes and Workshops in Yoga, Printmaking, Painting and Photography
NORTH ADAMS CLAY / Butterdish Workshop
189 Beaver st, Studio 310 North Adams, MA 508-361-8133
northadamsclay@gmail.com
Tuesday July 15, 5:30pm-8:30PM
Make a butter dish! Offering studio and kiln memberships, classes and workshops, private events
FILM
IMAGES CINEMA
50 Spring st, Williamstown MA 413-458-1039
July 11: The Apprentice
TURNPARK
2 Moscow Road, West Stockbridge, MA
Outdoor Film Screenings: July 31, 8-10pm: Three Colors: Blue by Krzysztof Kieślowski; Aug 28, 7:309:30pm; Wild Strawberries, Ingmar Bergman; Sept 25: 7:30-9:30: Coffee and Ciggaretts by Jim Jarmusch
Free Calendar listings
Please send in your AUGUST & SEPT events listings on the first of each month prior to publication We gladly accept images. Send to: artfulmind@yahoo.com
BRUCE LAIRD
Clock Tower Artists
Business Center Studio #307
75 South Church Street, Pittsfield, MA
Instagram- ecurbart
Erika Larskaya
“Impermanence 3” 36” x 36” Mixed media on canvas
"As an abstract artist, I search for ways to represent the invisible, subtle, and unexpressed. I am driven to lay out fleeting and intangible experiences on physical surfaces.”
On view at Lauren Clark Gallery in Gt Barrington, MA
Erika Larskaya Studio at 79 Main St. Torrington, CT www.erikalarskaya.art
RICHARD NELSON AFTER MIDNIGHT
I never feel comfortable talking about my art, especially my abstract stuff. There is a lot more involved in the process than is apparent. For me, it's a bit of catharsis for me, an opportunity to give voice to those things sneak into your brain and takes someplace you would never think of going to. To actually see it illustrated for myself provides a release of pent upness. But it's a private show for my eyes alone. Lines are drawn over the image, creating new shapes with new colors. Transparent shades are over lapped a dozen times, or so. Creating a sense of depth at times, almost archetechual. Frequenltly putting bright whites over shadowed by darker shapes, suggesting a overall inner energy. Thematically I'm usually thinking about dance. Nothing new, I know and somewhat ironic as I clumsy and devoid of natural rhythm. I would like my work to be large. Many years ago I did a series of very large, very heavy multi media on whole sheets of reinforced Masonite. I'm no longer able to work large for health reasons, a well practicality. But I use single lines down the middle of the image to suggest " Dyptich". Lines that seem to instill a feeling of largeness. Hope that didn't sound pretentious! Cheers!
Richard Nelson—
See his alphabet “M” page in this issue. nojrevned@hotmail.com / Rick Nelson on FB I will be in the August show, “In Good Company.”, in North Adams, come visit and see my prints.
WATER BUFFALO, HALL OF ASIAN MAMMALS AMERICAN MUSEUM OF NATURAL HISTORY NEW YORK CITY, PENCIL DRAWING
STEPHAN MARC KLEIN
I have been sketching and making art on and off since my undergraduate education as an architect in the late 1950s. Until my wife and I moved to The Berkshires in 2017, I lived my entire life in New York City. I have early memories there of my parents taking me to The American Museum of Natural History. As an adult, I have over the years returned to the Museum, as a parent with my children, and to sketch. Sketching in Museums is for me a favorite way to spend a morning or an afternoon. Sketching in museums is an opportunity to practice graphic skills and it’s an activity that gives deep joy. I’ve gotten used to all the people looking over my shoulder, even taking photos. I mostly don’t notice them, I get so rapt in my work. For me museums are great places in which to sketch. The weather is always good; it never rains or snows, it’s never too hot or too cold. My subjects, whether they are water buffalos, gorillas, Greek or Roman Gods, or cubist sculptures, have infinite patience. They never move, never need to take a break, never complain. And over all the years, returning to the exhibits in the permanent exhibition halls of The Museum, for me, is encountering old friends.
Stephan Marc Klein — stephanmarcklein.com smk8378@gmail.com
Member 510 Warren Street Gallery, Hudson, NY
2025 CONCERT SEASON
JULY 10 —AUGUST 3, 2025
Aston Magna, the renowned historical instrument ensemble led by Artistic Director Daniel Stepner has announced its 52nd Season in the Boston area and in the Berkshires.
Over four concert weekends we offer a broad spectrum of works by composers both familiar and lesser known, representing several centuries and styles. Our lineup of musicians includes many of our audience’s favorite artists from past seasons, as well as other celebrated artists performing with us for the first time.
Concerts will take place Thursday evenings at the Allen Center, Newton Cultural Alliance at 35 Webster St, Newton, and three Saturday afternoons and one Sunday afternoon at Saint James Place at 352 Main Street, Great Barrington.
The programs will include the following:
Music from Thomas Jefferson’s Library Geminiani, Balbastre, Arne, Purcell, Mozart, Weber
Thursday July 10 at 7:00PM at Allen Center
Saturday, July 12 at 3:00PM at Saint James Place
Late Mozart
Adagio and Fugue, G Minor Viola Quintet, Clarinet Quintet
Thursday July 17 at 7:00PM at Allen Center
Saturday, July 19 at 3:00PM at Saint James Place
From Castello to Canzano Baroque Chamber MusicInto the 21st Century!
Works of Dario Castello (1602-1631), LouisGabriel Guillemain (1705-1770), Jean-Joseph Cassanéa de Mondonville (1711-1772), Nathan Adam Mondry (b.1991), and Nicola Saraceni Canzano (b. 1991)
Thursday July 24 at 7:00PM at Allen Center
Saturday, July 26 at 3:00PM at Saint James Place
Fiddlers Four
Vivaldi’s “The Four Seasons”and music by Purcell, Pachelbel, Legrenzi, and Telemann
Thursday July 31 at 7:00PM at Allen Center
Sunday, August 3 at 3:00PM at Saint James Place
Tickets prices are $40 in advance, $50 on day of show purchased at the venue. Under 30s: $15 with ID, full time students (with ID) and children Free. To order tickets by phone call 888-4921283 or online at astonmagna.org
DIGITAL DRAWING
DEREK DELANEY
A LIFE IN SERVICE TO CLASSICAL MUSIC
"Speak softly and carry a big stick; you will go far.” – Proverb
Interview
Graduating from Juilliard signifies your development as a serious musician. When did you complete your studies there, and what were your pursuits in music after Juilliard? Reflecting on your time at Juilliard, what aspects did you enjoy the most?
Derek Delaney: I graduated from Juilliard in 1992 and was very fortunate to study with the legendary James Chambers, who was principal horn of the NewYork Philharmonic under Bernstein, and others. Juilliard was a very formative experience as there were so many exceptional colleagues and eminent faculty from whom to learn. After Juilliard, I received my master’s degree at Yale where I really thrived. I won a job in an orchestra in Israel shortly thereafter, and after a while, returned to New York to freelance. In my late 20s, I decided to transition to a career in which I would support musicians. I have been presenting concerts ever since.
by Harryet Candee Photographs Courtesy of the Artist
Please tell us about your family and those who gave you the start in music appreciation? Where did you grow up?
I grew up on Long Island in a middle-class town. My mother was from Germany and her mother was a capable amateur pianist who could play Beethoven, Chopin, etc. I started private trumpet lessons at the age of seven with my school band director. After a few months, he said that I “appeared’ to be smart, so why don’t I try French Horn (players of which he needed in the band)? I took to the horn quickly and by the age of 9, I was playing in the junior high school band. Then, I was off to the races!
Throughout your music-related careers, what experiences have you found to be the most gratifying and challenging in terms of learning? Musicians are always fine-tuning what they are practicing — the work is never really “done.” This
approach has allowed me to appreciate the process toward a goal much more than achieving the goal. Perpetuating and disseminating the art form to which I’ve dedicated my life since the age of 12 has been deeply gratifying. My hope is that by offering classical music performances played by some of the world’s leading artists, people will share my enthusiasm for the music. But, there is no question that there is a stigma that classical music is difficult to understand and people are intimidated by it. My job is to break down this barrier and emphasize that music is music no matter what the style. If you are inherently curious and open to emotionality, classical music will transform your life.
As you reflect on your achievements and the challenges you faced over the past year, how would you describe your overall experience? All of us in the arts are still recovering from the
Derek Delaney @ Sebastian Fredette
pandemic. In speaking with colleagues around the country, there’s a feeling that this last season was the first in which people are “back.” The concerts can also be a respite amidst the political uncertainty of the past year. We had such memorable performances — paramount among them were 2 appearances by the legendary pianist Mitsuko Uchida and a rare pairing of the Belcea and Ébène string quartets (two of the best in the world) in Mendelssohn’s ebullient Octet. These experiences nourish people for a long time. I had dinner with two audience members last night, and they gushed about the Octet performance (which took place last fall).
Do you think gaining admission to dedicated music colleges is more competitive today? You’ve encountered many talented young people seeking opportunities. In what ways do you find yourself supporting them?
The level of young musicians is extraordinarily high these days — it’s truly remarkable how many exceptional artists are coming out of the conservatories. One of the most important aspects of my job is to provide performance opportunities, so I regularly invite a handful of highly-talented young people to the series each season. To be listed among
eminent artists on the series like Uchida and Emanuel Ax is enormously helpful to their careers — it’s “guilt by association.” I’ve also helped some young artists gain representation by booking agents to help their burgeoning careers.
What intrigues you about the areas in music that you have yet to explore?
There is a misconception about classical music that it is “old” and solely of Western European origin. It is, however, a living, breathing art form that reflects the world’s diversity, offering a wealth of cultural perspectives. We regularly commission new works on the series, and it’s always fascinating to discover and highlight new composers with distinctive artistic voices. Our next commission is with the MacArthur Grant-winning jazz pianist/composer Vijay Iyer in the fall of 2026.
As your relationship with music evolves, do you feel more attuned to its messages now than in your youth? Do specific genres or themes motivate you to advocate for important issues? How do you envision using music to explore these topics and support others?
I think as all of us mature, we better understand the
depth of expression behind artistic works through our own life experiences. For instance, the tragedy of a composer like Beethoven losing his hearing is easy to understand, but what is remarkable about Beethoven is the optimism he expressed despite it. There is certainly despair and even anger in his music, but he perseveres nonetheless — a lesson which I have come to appreciate more with age. I am most interested in music reflecting our shared humanity.
What is your favorite music in your free time? Why does it resonate with you?
This is impossible to answer, but if there is a composer to whom I’m most drawn, it is probably Brahms. With Brahms, his music rarely expresses a single feeling of love, elation, sadness, etc. There is often a complexity of emotion expressed that is quite layered, which deeply resonates with me. I have a podcast — Inside the Music — which explores composers’ lives through live performances from the series. I produced a show on Brahms and illuminated this layered emotionality through his late piano pieces and was thrilled to speak with pianist Paul Lewis about it.
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Emanuel Ax Takes a Bow at Union College @ MahiMattPhoto
What are your thoughts on the similarities and differences between musicians and visual artists? How do these two creative fields connect and differ? How familiar are you with visual arts, and what role do you believe visuals play in a musical context?
The main difference is that visual artists typically create art from scratch. Classical musicians (excepting composers and improvisers) apply their artistry to an existing artwork. The musician must weave their artistry in service to the composer’s score and the performance style of the work’s period. This is why classical music is never “old” and why it’s foolish to abandon works of the past — a classical music performance is truly an organic experience every time, even if the pieces remain the same. I never avoid duplication of repertoire on my series for this very reason — it’s inherently interesting to hear different artists interpret the same piece.
Do you enjoy theatre and opera? If so, what are some of your favorites, and what draws you to them?
While I do attend theatre occasionally, I attend opera more frequently. My tastes vary widely and span opera’s history — from Mozart’s The Magic Flute to Alban Berg’s Wozzeck to George Benjamin’s Written on Skin. As I’m getting older, I especially appreciate Mozart’s operas. We all know him as a genius, but I think his genius is most apparent in his operas. The inventiveness, charm, and beauty of these works and how he developed artistically in them over the course of his life is mesmerizing.
Have you ever had a fantastic experience watching a pop-up artist perform in unexpected places, such as subway stations, the street, in front of restaurants, or parks? Did you enjoy their music and feel inspired to toss a dollar bill into their case? Have you ever played the horn for an audience in such a spontaneous setting? The most memorable experience I’ve had on the street was in Heidelberg, Germany. A guy was playing a digeridoo — a long, wooden tube of Aboriginal origin — and the variety of sounds and rhythms he was creating was absolutely stunning. I make a point to always put money in musicians’
cases if they have a basic level of proficiency. They’re busking for a reason! I had busked a little while I was playing. The most memorable (and unintentional) occasion was when I attended the Aspen Music Festival. As a wind player, I arrived a week early to adjust to the altitude, and I practiced with a mute in the local park. I was warming up with some scales one day, and a woman gave me $20. I tried to give it back to her as I wasn’t even playing music, but she insisted that I take it!
What highlights can the audience expect from the upcoming summer of work catering to concerts at Tannery Pond, and what are your responsibilities to ensure this series is successful and enriching for classical music lovers?
Our five summer concerts in the Shaker Tannery in New Lebanon are very special. The Tannery is a beautiful, historic structure where audiences are so close, they can hear the musicians breathe. This summer’s artists represent the world-class quality area audiences have come to expect from CRC; so while you may not recognize some names, people will be blown away by their talent. Two concerts I
Delaney Turning Pages for Mitsuko Uchida @ MahiMattPhoto
would single out is the Hungarian pianist Zoltán Fejérvári (a protégé of András Schiff) in a program of Dvořák, Janáček, and Brahms and the Terra String Quartet with pianist Evren Ozel (who’s currently in the semifinals of the Van Cliburn Competition) performing Dvořák’s beloved Piano Quintet to close the season. We’re having a wine and hors d’oeuvres reception following the latter program.
An abstract question that I hope you can play upon. What defines good music compared to music that lacks cohesion? Are there famous musicians who have overlooked flaws in their work, and how does this relate to the trends in today’s popular music and that of the past?
I’m certainly not the arbiter of what defines good music outside of my own tastes! Art is subjective, and a flaw that I may perceive in an artist may be an attribute that the artist may purposely be leaning into. This is the essence of what makes art so incredible and what encourages discourse between people of varied cultural (and otherwise) backgrounds. I love seeing my audience passionately discussing a performance during intermission and
hearing their different takes on what they just heard.
What do you love about the Berkshires? How do you spend any free time you allow yourself?
I of course love the beautiful surroundings of the Berkshires and all they offer, but I also love being part of the warm and welcoming community. I’m always fascinated by people I meet at dinner parties with so many divergent and interesting backgrounds. There’s a vibrancy that is palpable here. Like others, I spend a lot of time in the garden and hiking, but I also enjoy being with my swimming friends at the Kilpatrick Athletic Center in Great Barrington.
The art we create is grounded in a specific set of principles that we have gathered over the years, much like tools of the trade. We utilize these principles when embarking on a new project. What are some of the key principles that guide your artistic and professional career, and do they overlap with your daily life as well? By the way, do you compose music?
Classical music has a perception problem of being
elitist. So, there has been a trend with presenters ‘packaging’ programming while avoiding emphasis on the artist’s excellence. I believe wholeheartedly that the success of any performance — be it artistic or audience-responsive — lies in the musician’s ability to elucidate the emotions communicated by the composer effectively. I never dictate repertoire to artists when planning my season but allow them the freedom to perform repertoire to which they are compelled. I believe that this is the recipe for an especially impactful performance and translates to any form of music. In my personal life, I don’t tend to pursue things that aren’t deeply meaningful or enjoyable to me. I seek to have rich and fulfilling experiences every day. Composing, however, is not one of them!
A Beautiful Evening at the Tannery @ Anna Schupack
“In Good Company.”
The Artful Mind
Fine Art Exhibit
Open to the Public AUGUST 1 • 2025
First Friday 11am - 8pm
Reception for the Artists
Saturday August 9TH 5 - 8pm
Jaye Alison
Ruby Aver
Richard Britell
Katherine Borkowski-Byrne
Margaret Buchte
Leslee Carsewell
Janet Cooper
Yana van Dyke
Jane Gennaro
Susan Gilbert
Julia Grey
Ghetta Hirsch
Sarah Horne
Ellen Kaiden
Stephan Marc Klein
Beckie Kravetz
Bruce Laird
Pattie Lipman
Leo Mazzeo
Jesse Tobin McCauley
Bobby Miller
Richard Nelson
Janet Pumphrey
Ilene Richard
Alexandra Rozenman
Richard Talbert
Scott Taylor
Jay Tobin
Mary Ann Yarmosky
11 Eagle St • north adams MA.
HOURS: WED - SUN 11 am - 4:30 pm • by appointment
“Altruism is innate, but it's not instinctual. Everybody's wired for it, but a switch has to be flipped.”
—David Benjamin Rakoff was a Canadian-born American writer of prose and poetry based in New York City, who wrote humorous and sometimes autobiographical non-fiction essays.
artist, illustrator, writer, poet, peace lover elizabeth cassidy studio works elizabethcassidystudioworks.com
Carolyn M. Abrams
Sally Tiska Rice
CIRCLE
SERENITY
Wild Child. 23” x 29”
JANE GENNARO
Jane Gennaro is an artist, writer, and performer based in New York City. Jane’s work has been widely exhibited, performed, and broadcast. She has been featured in The New York Times, New York Magazine, and NPR among others. Her illustrated column, "Mining My Life” appears monthly in The Artful Mind magazine. Jane’s art studio is in Claverack, NY.
Jane Gennaro — www.janegennaro.com shop.janegennaro.com https://performingartslegacy.org/
ERIKA LARSKAYA
Confinement and Breakaway examine the mental state of struggle to make sense of our environment, both physical and psychological. I incorporate childlike drawing to represent nonconformity; the unadulterated state before we get confined by rules, commitment, insecurities, and other “add-ons.”
“I distress and repair parts of the painting, as we do within ourselves. The drawings of floor plans and elevations, which I use as a starting point, create a sense of enclosure, which I expand by continuing the lines outward, breaking the structural pattern. This alters the sense of confinement, breaking away from the [rigid, static] norm”.
Erika Larskaya — https://www.erikalarskaya.art
ANN GETSINGER
Through August 10
Leonhardt Galleries • Berkshire Botanical Garden Pearly Forest. oil. 2025
JWS ART SUPPLIES WE’VE MOVED!
Welcome to JWS Art Supplies at our new location, 291 Main Street in Great Barrington. We're excited to offer a wide variety of art supplies and craft materials for artists of all ages and skill levels. Whether you're a parent looking for fun projects for kids or a professional artist seeking high-quality materials, we have something for everyone.
Our knowledgeable staff is here to assist you with whatever project you're working on. Don't hesitate to ask for recommendations or guidance—we're dedicated to helping you find exactly what you need to bring your creative vision to life. Visit us and explore our extensive selection of art supplies!
JWS Art Supplies — 413-644-9838 - 291 Main St, Great Barrington, MA. info@jwsartsupplies.com
LEO MAZZEO
“Penance”, distress oxide, graphite, highlight pen, metallic color pen, and ink on fluid mixed media paper, 6”x6”. (c)Leo Mazzeo.
LESLEE CARSEWELL - ARTIST
Rondo e Rondo e Rondo No.2
Eclectic Seeker of Visual Adventures
www.lcarsewellart.com n @carzeart lcarsewellart@icloud.com
Not My Monkey , Not My Circus
on canvas 24” x 30”
rdaver2@gmail.com | Instagram: rdaver2. Housatonic Studio open by appointment: 413-854-7007
GHETTA HIRSCH
River Oil on canvas, 11” x 14”
Call or text 413-597 1716 Ghetta-hirsch.squarespace.com @ghettahirschpaintings
kbyrnerun@hotmail.com http://katherineborkowski-byrne.com
Acrylic
Maui Beach. Oil on canvas. 30” x 40”
Morse
CARYN KING STUDIO
Indoor / Outdoor Clay Sculpture Studio visits welcome Southfield, MA 802-380-7006 www.carynking.com
Instagram - @carynkingart R email - caryn@carynking.com
FRONT STREET GALLERY
French Lace and Dancing Tulips Oil paint on canvas 16” x 20”
Painting classes on Monday and Wednesday Mornings 10-1pm at the studio in Housatonic and Thursday mornings 10am - 1pm out in the field. Also available for private critiques. Open to all. Please come paint with us!
Gallery hours: Open by chance and by appointment anytime 413. 274. 6607 (gallery) 413. 429. 7141 (cell) 413. 528. 9546 (home) www.kateknappartist.com Front Street, Housatonic, MA
I Can’t Go Back to Being a Girl.
I can’t go back to being a girl. Being a girl was not my strong suit Anyway.
I mean, I am a girl, but my instruction book, My how to excel as a girl came with blank pages.
I can’t go back to being a girl. Everyone tried to enlighten me that I would not be worth as much as the boys. Boys who hit baseballs into the streetlights and did not change their underwear. And they are the chosen ones? Come on.
I can’t go back to being a girl. We both spoke the same language. Rode our bicycles into the woods. Ate ice cream until our eyes crossed. And played “Ghost” with a flat white sheet. Okay, you are right. I cannot pee standing up. I tried.
I can’t go back to being a girl. The locks have been changed. That lone Lilac tree Shrouded my secret girl plans in their bark And was sacrificed By the new neighbors. And forgotten. But not by me.
I memorized “This Girl’s Plans” Handbook And the scent of lilac still calms My brain that travels and passes The speed of light. Can you do that, boys?
I can’t go back to being a girl. My four-inch heels have morphed into sensible sneakers. Do not tell Vogue. Now I can run after whatever my soul needs to capture. And the limitations that you thought would stick?
Have you met me? This girl keeps moving ahead. Correction: This woman will ask you to step aside. Now.
—2025 elizabeth cassidy
elizabeth cassidy studio works artist, illustrator, writer, poet, peace lover
elizabethcassidystudioworks.com
FRONT ST. GALLERY
Pastels, oils, acrylics and watercolors, abstract and representational, landscapes, still lifes and portraits, a unique variety of painting technique and styles you will be transported to another world and see things in a way you never have before join us and experience something different.
Painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and Thursday mornings out in the field. These classes are open to all...come to one or come again if it works for you. All levels and materials welcome. Private critiques available. Classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt.
Kate Knapp — 413-528-9546 at home or 413-429-7141 (cell) Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. www.kateknappartist.com
BRUCE LAIRD
I am an abstract artist whose two- and three-dimensional works in mixed media reveal a fascination with geometry, color and juxtapositions. For me it is all about the work which provides surprising results, both playful and thought provoking.
From BCC to UMASS and later to Vermont College to earn my MFA Degree. I have taken many workshops through Art New England, at Bennington College, Hamilton College and an experimental workshop on cyanotypes recently at MCLA. Two international workshops in France and Italy also.I am pleased to have a studio space with an exciting group of artists at the Clocktower Building in Pittsfield.
Bruce Laird — Studio #307, Clock Tower Business Center, 75 South Church Street, Pittsfield, MA Instagram: @ecurbart
Matt Bernson
JOANE CORNELL FINE JEWELRY
Here we are. Middle of the year already! So many things to make. So little time. I find it to be such a struggle, as many artists/storekeepers do, to find the quality time to develop my designs, and yet maintain store hours to represent my art.
Not complaining! It could be worse!
Also, finding the balance between producing marketable, more mainstream smaller pieces, that fly out of the store regularly, and my bigger, bolder, more bodacious designs, that suit a very specific client base.
I work solo. Not only in my store, but in my studio as well. No assistance.
Since time is not on my side, business wise, since we’re already aware that time is never on our side, and not enough merchandise do I have even in July, that I say, requests are very welcome!
Come in, and let’s chat about what you would like me to make for you.
It would be my pleasure, to design and produce something for you that you’re absolutely going to love.
A large part of my business is repurposing/commission orders.Take a look at what you own that you don’t wear any longer, and bring it with you!
Joane Cornell Fine Jewelry -
My store schedule now incorporates five days a week until December 31. Wednesday-Saturday 114, Sunday 11-3.
9 Main Street, Chatham NY 917: 971-4662
joanecornellfinejewelry@gmail.com
The Jewels
My darling was naked, and knowing my heart well, She was wearing only her sonorous jewels, Whose opulent display made her look triumphant Like Moorish concubines on their fortunate days.
— Charles Baudelaire
NEW WORK ACRYLIC ON UNPRIMED CANVAS
KATE KNAPP, AUGUST CULVERT OIL ON CANVAS 24” X 36”
SILVER GOLD DIAMOND CUFF WITH EARRINGS
LESLEE CARSEWELL
My artwork, be it photography, painting, or collage, embraces a very simple notion: how best to break up space to achieve more serendipity and greater intuition on the page. Though simple in theory, this is not so easy to achieve. I work to make use of both positive and negative space to create interest, lyricism, elegance, and ambiguity. Each element informs the whole. This whole, with luck, is filled with an air of intrigue. Breaking up space, to me, has a direct correlation to music. Rhythm, texture, points of emphasis, and silence all play their parts. Music that inspires me includes solo piano work by Debussy, Ravel, Mompou, and, of course, Schubert and Beethoven. Working with limited and unadorned materials, I enhance the initial compositions with color, subtle but emphatic line work, and texture. For me, painting abstractly removes restraints. The simplicity of lines and the subsequent forming of shapes is quite liberating.
Lastly, I want my work to feel crafted, the artist's hand in every endeavor.
Leslee Carsewell— Prints available, please inquire. 413-229-0155 / 413-854-5757 lcarsewellart@icloud.com www.lcarsewellart.com
DEBORAH H. CARTER
Deborah H. Carter is a multi-media artist from Lenox, MA, who creates upcycled, sustainable wearable art. Her couture pieces are constructed from post-consumer waste such as food packaging, wine corks, cardboard, books, wire, plastic, and other discarded items and thrifted wares. She manipulates her materials' color, shape, and texture to compel us to question our assumptions of beauty and worth and ultimately reconsider our habits and attitudes about waste and consumerism.
Since she was eight, Deborah has been a sewing enthusiast, and she learned her craft by creating clothing with her mother and grandmothers. Her passion took hold as she began to design and sew apparel and accessories. After graduating with a degree in fashion design from Parsons School of Design in New York City, she worked as a women's sportswear designer on Seventh Avenue.
Deborah's art has been exhibited in galleries and art spaces around the US. She was one of 30 designers selected to showcase her work at the FS2020 Fashion Show annually at the University of Saint Andrews, Scotland. She has been featured in the Spring 2023 What Women Create magazine.
Deborah H. Carter has been featured in The Artful Mind, Berkshire magazine, and What Women Create magazine and was a finalist in the World of WearableArt competition in Wellington, New Zealand, 2023.
“Sending Messages” on display at Hancock Shaker Village, 34 Lebanon Mountain Rd, Hancock, MA. Through November 30th.
Deborah H Carter — 413-441-3220, Clock Tower Artists
75 S. Church St., Studio 315, 3rd floor Pittsfield, Massachusetts Instagram: @deborah_h_carter Debhcarter@yahoo.com
BRUCE PANOCK
I am a visual artist using photography as the platform to begin a journey of exploration. My journey began in earnest almost 14 years ago when I retired due to health issues and began devoting myself to the informal study of art, artists and particularly photography. Before retiring I had begun studying photography as a hobby. After my retirement, the effort took on a greater intensity.
My world had changed for reasons outside of my control and I looked for something different in my work. I wanted to do more than document what was around me. I wanted to create something that the viewers might join with me and experience. Due to my health issues, I found myself confined with my activities generally restricted. For the first time I began looking inward, to the world that I experienced, though not always through physical interaction. It is a world where I spend more time trying to understand what I previously took for granted and did not think about enough. The ideas ranged from pleasure and beauty to pain and loss; from isolation to abandonment; to walking past what is uncomfortable to see. During this period of isolation, I began thinking about what is isolation, how it can transition to abandonment and then into being forgotten. The simplest display of this idea is abandoned buildings. They were once beautiful, then allowed to run down and abandoned, soon to be forgotten. After a while they disappear. Either mankind knocks down these forgotten once beautiful structures, or remediates them, or Nature reclaims the space. Doesn’t mankind do the same with its own?
My work employs references to other photographers, painters, as well as sculptors. The brushwork of Chinese and Japanese artists is appealing for both its simplicity and beauty. Abstract art has its own ways of sharing ideas which are jarring and beautiful at the same time. Black and white and color works each add their own dynamic. My work is influenced by these art forms, often using many of them in a single composited image.
Bruce Panock— Panockphotography.com bruce@panockphotography.com Instagram @brucepanock
“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” ~Leonardo da Vinci
PHOTO: KORENMAN COM MODEL: LAURA LIN HEALING ARTS
IMAGINATION - TAKING FLIGHT
janet cooper artist
Photography by Edward Acker and otherwise noted
Interview by Harryet Candee
"Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important thing and keeping the unknown always beyond you." -Georgia O’Keefe
Janet describes some of her life’s work and artistic journey by comparing it to the concept of a flea market. She says, "It's all about trying to make something harmonious out of diverse components. In a way, this is my sense of harmony."
While enjoying our tea in Janet’s kitchen, I noticed the wild, untamed root collection lining up along her window sill. When I asked her about them, she smiled and said, "I'm celebrating something that's often hidden from us. Come outside and let me show you." With that invitation, she guided me to her lively garden and our conversation began.
Janet, what influenced your desire to nurture your artistic sensibilities while growing up?
Janet Cooper: I've always loved drawing and engaging in imaginative play. One of my favorite memories is when I stayed home from school pretending to be sick while listening to soap operas on the radio and drawing.
What you learned in art school reflects your work, including the skills you've acquired and the confidence to pursue your vision. At some point, we all have to become self-taught. How have you taken on that process?
Ideas come during the process of working, not in a vacuum, isolation, trolling the net ... or looking at others' work. I am in love with the patinas and the mysteries of the discarded. I am intrigued by the mechanics and complexities of women's work. I have a
very nostalgic nature and treasure memories. I love the commonplace and enjoy expressing it in my work.
As a female artist, have you faced many challenges?
My work could be called too feminine or too girly. My work has been called “a visual riot of feminine signifiers.”
Writers, performers, and visual artists play a crucial role in shaping our understanding, and we learn from their work and the messages they convey. Studying and learning from history is essential. Which artists have had an influence on you? My journey began with a deep love for working with
clay, which led me to attend two workshops with the master artist Peter Voulkos. His influence is reflected in my later textile work. Louise Bourgeois, known for her textile art, challenged traditional views on the use of materials in sculpture. Additionally, Margaret Israel, who embraced folk art through clay, was an important teacher and early influence on me.
Pin Pendants made with vintage tin cans: “These pin pendants are pressed and snipped from my collection of vintage tin cans and boxes, then adorned with photo images and charms. While some of the tins date back to the 1920s, most are from the 1950s and 1960s. They display the craft of typography and offset lithography and reflect the visual spirit of those times."-Janet Cooper I sense your love and appreciation for antiques and typography when looking at these pieces. Tell us about this series. The Pin Pendants interested and concerned me several decades ago. I was always fascinated by apparel,
dressing up, and personal adornment. I loved the 1990s, when I mass-produced jewelry and participated in both wholesale gift shows and craft shows. The Artful Mind article in Fall 2000 summed it up for me.
I have always enjoyed and admired your vision as an artist and your respect for history and the artistic ways you’ve transformed objects into beautiful pieces of art. After years of sharing your art with the public, have you managed to keep track of everything you put out into the world? I haven't kept the best records, but I do remember that David Bowie bought one of my tin figures, and Mia Farrow owned one of my necklaces. The music group Hot House Flowers wore one of my necklaces for a photo shoot in Rolling Stone. While my recordkeeping might not be great, my work lives on in print. In the 1990s and again in 2000, there was a surge of art and craft books published, many by Lark Books,
featuring my work. I'm also featured in the tin craft books by Bobby Hansen and various fabric craft anthologies, such as Mary Schoesor's, "History of Textiles," "Contemporary Textiles" by Black Dog Publishing, and "Textile Art Around the World" by Ellen Baker. What's interesting is that all these authors found my work through my website— www.janetcooperdesigns.com
Tell us about the Tin Can Doll series.
The Tin Can Doll series was released around 2000. It is interesting that presently I am using or rather reusing older works onto my recent collage canvases. I am also using a series of sumi ink drawings from several years ago, along with stashes of beloved fabrics and saved paper scraps. I treasure the themes of memory and the commonplace. It's not about recycling but about appreciating things whose value transcends time.
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Janet’s window sill is a line up of fabric sculptures
Janet’s Pin Pendants and Tin Can Dolls
I'm looking at your pots, hats, pedestals/ baskets, and work from a series, “Mama/Embrace”. Was there a conscious shift in the play from one theme to another?
I always return to the human form if, indeed, I even stray from it. My clay work also features the suggestion of the human form, with bulbous bodies and dangling appendages.
"Waiting for Judah," what does this title mean?
This series featured watercolor images and embroideries of babies, birth, and love as I awaited and then celebrated the birth of my first grandchild, Judah. It was a way to release anxieties of the anticipated birth. I love Judah and his younger brother, Asher.
Tell us about the assemblage collection of dresses you made with materials from your travels to Italy, France, and Japan.
In 2008, I began the Party Dress series, assemblages of fabric and artifacts collected during my travels,
which took the form of dresses. Such a basic and simple concept received a great amount of attention at the time. Marina Giordano’s, “Trame D' Artista”, in her book on the use of fabric in contemporary art, wrote on this series, “She uses dresses as pages to write her stories that relate to her past and feelings." In the “Contemporary Textiles” book by Black Dog Publishing, the authors wrote, "… Her work is a visual riot of feminine signifiers, taking up the narrative of the collective." I do like that.
Your art is delicate, static, and layered with either a weighty material or a light, delicate fabric reminiscent of a butterfly's wing. Some of your work reminds me of fashion designers from the 1940s, particularly French Couture, whose flouncy yet
stiff fabrics—whether they are silk or worn lace— interest me. I've noticed that you work with various fabric fragments, such as worn lace, beaded silk, and heavy wools and knits. As a designer, what have you experienced that works when it comes to combining fabrics and materials together?
It's all about play. Sometimes, play works; sometimes, it's more like a struggle. At other times, it may fall flat, but the fun is in the doing, playing, and experimenting. Right now, I'm focusing on fabric and introducing encaustic paint and embroidery into my work.
I came across "Janet Cooper, An Eclectic Art" on the internet, which gets into your love for 'mysteries of the discarded.' The old doll heads, shoes, and materials combined in framed shadow boxes that tell stories and unravels dreams. Can you tell us about this body of work?
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Velocity of Life Photo courtesy of the artist
Painted and stitched dress series
Waiting for Judah
Assemblage Dress.
Quilts, Assemblage series. Janet Cooper
Janet’s work table in her studio.
HC
Sculptures, wall hangings and mixed media findings including animal bone by Janet Cooper HC
Eight red circles, red dress and animal skull wall hanging
This series of assemblage works, titled, “Quilts”, was created between 2008 and 2012. In the 1980s, I had a one-woman show/installation of clay works, which was sort of my swan song to ceramics. It was an installation of figures, tables, objects, and more, entitled, "Prairie Quilt," all made of clay with smatterings of fabric and paint —a homage to flea markets. Interestingly, I am creating similar images in fabric today. They are part of the collage and wall art that I am presently intrigues me.
I saw a sculpture you created in your home that has deer horns, a bottle cap necklace, and fabric draped onto a man's torso. I am very curious about this piece. Can you tell us about it, Janet? Everything you have seen upstairs in my workshop is a work in progress, reflecting my current favorite themes: the human form, animal skulls, fabrics, landscapes, threads, and embroidery. I continue to be intrigued with the "reuse" of materials and the detritus of the second hand. I am attracted to the "used" for its history, its narrative, and its symbolic presence. I like the word 'bricolage,' which means using what is at hand.
“Does she have an idea?” Janet Cooper
Your fabric wall hangings often tell of private chapters in your life. There is one that has a red skirt and has words around the waist and along the bottom hem. Can you tell us about this piece? This work, titled, “Velocity of Life”, is subtly about life and death; the bones are symbols of death, as is its blackness. This work is well-traveled. It was showcased in a Textile Show in Seoul, South Korea, in New York City at El Barrio's Artspace, and also in the Attleboro Museum, in Attleboro, Massachusetts.
I am looking at a wall hanging with an animal skull. The female figure wears a red dress and has three bones visibly seen under her dress. There are eight red circles of string on the left of her head. Can you tell us about this piece?
This is a new piece, becoming into being. I plan to create a harmonious stand or decorated pedestal for it. The same themes enliven these new works of mine: Bones, skeletons, fabrics, the skin, our second skin, and paper bits and flotsam all that savors the mosaics of memory.
How did your interest in bones first come about? It all started with a lament for Walter's death, my former partner, and this poem I wrote when he died four and a half years ago. Then, I began collecting, drawing and building with bones. I am interested in the structure of bones and skeletons that serve as frameworks—essentially, the armatures of flesh, just as flesh can be seen as the armature of cloth.
Are you suggesting that bones symbolize life and death?
Yes, that's part of it. Even when I was working with clay, I always hinted at the human form. The presence of the human figure is a recurring theme in all my work. At this time, the bones for me are just the architecture of the human figure.
What are you working on now?
More of the same. I came back with some interesting fabric from France! And also, some very interesting pocketbooks that I will begin to work with.
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Bone dolls on window sill
Busy shelves, box of findings and embroidered wall mural HC HC
Do you have an idea in mind before you start working on something new?
Yes, but it never turns out that way.
Are you surprised by the way it turns out? No. I love the random things that accidentally turn into whatever they turn into.
Where do you believe your creativity originates from?
I find my creativity emerges during the act of working. It doesn't happen in isolation; instead, it unfolds through the process of engagement and effort. Creativity doesn't thrive in a vacuum. Occasionally, it might spark while I'm driving, but ultimately, it's the active process of working that truly cultivates creativity.
It takes years to learn that, though. Yes and no. Maybe I always knew it unconsciously. I'm very conscious of it now. But there's always that journey to get to from where you are now. You know, of guessing, trying and playing. The most interesting work is that which I haven't had or haven't done yet. That’s why it's so fascinating to not know where I'm going, even though I do have a vague sense of the direction that is building on what was before. An ex-
ample of that would be creating art with bones that continues to get more complex.
How would you best describe your artistic self? I consider myself to be a maker. I genuinely enjoy the process of bringing things together and creating something from nothing. Isn’t that truly the essence of what being an artist is about?
Yes, I believe that is true. Are you working with clay now?
Well, since I decided I won't be using animal skulls anymore in my work, but instead, I'm going to begin creating a series of clay heads to accompany my clay pieces and fabric work. Oh, and to add, my daughter, who lives in Colorado, loves working with clay, and so does my grandson, Asher. This summer I intend to invite friends and acquaintances to join me in my clay studio.
What about all your collections you’ve shown me and are on display on your bookshelves and walls— all the beads, buttons, and unique objects you've discovered out and about and plan to incorporate into future work. It's quite an impressive accumulation, yes?
I'd rather deal with decumulation. It's the opposite of
accumulation—an accumulative retrospective of this, that, and the other thing from then to now to tomorrow. …Something like that.
What time of the day are you in your studio? Is it every day?
Not every day, but I'm more energetic when the sun goes down. I'm a night person. I usually stay up at least until midnight to do Wordle. I'm addicted to doing Wordle
What's that?
That's a word game in the New York Times
Oh, okay. You don't know about it.
I don't know.
Very addictive. Don't start.
No, I'm not going to. So, if you're not doing Wordle, you're doing your art.
Wordle takes, if I'm lucky, five minutes. But it's a compulsion at midnight. However, working with materials is also certainly a compulsion.
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Janet’s studio.
HC
showed me all of her collected findings and treasures, art of others and those she she loves
Janet
HC
Wall hanging that tells many of Janet’s stories and memories
Wondering, do you work in your studio with a sewing machine?
I have one, but I don't use it. I prefer using a long needle by hand with a sharp point that gets into the material. However, I also use hot glue to adhere material onto material, all depending on how heavy it is. It's an aid. And it's a time saver.
Is there a connection between your past and present with embroidering?
I wish I could say that I learned this skill at my grandmother's knees, but unfortunately, neither of my grandmothers sewed or did embroidery. Regardless, I have a deep appreciation for women's crafts and traditional items such as aprons, embroidered dish towels, and lacy doilies. These creations embody a sense of purity and warmth for me.
Are you planning on going to Brimfield this year to find more treasures?
Of course. I will also set up every other Saturday at the Junkertown Flea Market, located on Route 23 in Craryville, New York. I will be selling from my collection of bottle cap and tramp art, as well as some textiles and jewelry from the 80s to now.
While in your home I felt a strong sense of time, memory, and love, especially in the kitchen. The mosaic tile floor panel caught my attention. I also noticed in the window a rock collection and a lineup of sun-dried plant roots. You mentioned that your former partner, Walter, inspired your interest in raw materials such as stone?
Yes, he did. You know, like the granite in the kitchen. That was our project we did together. The mosaic tile floor panel was brought back from Jordan. And, you know, we got all that slate and the granite right here, outside. Those were the materials he loved. Now, I have a friend who's a mason and I want to build something here with him with the stone that’s all saved up and ready to use. My house is decorated with crafted fabrics found at flea markets of the world, especially Japan, where I have traveled ten times - most recently this past March.
I enjoyed walking with you through your garden; I felt your light and breezy personality shine through. I noticed you enjoyed being barefoot outside, letting your long hair flow down your shoulders. You are akin to Mother Nature. I sense your real connection to the elements, leading to
my curiosity about your collection of roots. Tell us about your root collection.
Roots are the lower skeleton of the plant in a way, and I have a fascination for skeletons. In my greenhouse for the past several years I have collected many dried root systems from my garden plants, it’s so intriguing to study plant life below the soil line. I will be incorporating some of these in future work …possibly with fabrics and/or cement or plaster.
I have shared my thoughts here. While I have experience working with metal, clay, and fabrics, what truly captivates me is where my fascination with materials and artmaking is taking me and what will engage and inspire me in the future. As John O'Keeffe wrote: "It's about the unknown beyond you," or as I would add, "within you."
www.janetcooperdesigns.com
Photo Credit: “Waiting for Judah”Visual Winds, NY, 2011
Roots with other objects of art displayed across Janet’s kitchen window sill
The path to Janet’s gardens and the Mosaic floor tile HC HC
SALLY TISKA RICE BERKSHIRE ROLLING HILLS
Born and raised in the captivating Berkshires, Sally Tiska Rice possesses artistic prowess that breathes life into her canvases. As a versatile multimedia artist, Sally seamlessly employs a tapestry of techniques, working in acrylics, watercolors, oil paints, pastels, collages containing botanicals, and mixed media elements. Her creative spirit draws inspiration from the idyllic surroundings of her rural hometown, where she resides with her husband, Mark, and cherished pets.
Sally's artistic process is a dance of spontaneity and intention. With each brush stroke, she composes artwork that reflects her unique perspective. Beyond her creations, Sally also welcomes commissioned projects, turning heartfelt visions into tangible realities. Whether it's capturing the essence of individuals, beloved pets, cherished homes, or sacred churches, she pours her soul into each personalized masterpiece.
Sally's talent has garnered recognition both nationally and internationally. Her career includes a remarkable 25-year tenure at Crane Co., where she lent her hand-painted finesse to crafting exquisite stationery. Sally is a member of the Clock Tower Artists of Pittsfield, Massachusetts, the Guild of Berkshire Artists, the Berkshire Art Association, and the Becket Arts Center. Follow on YouTube, Facebook, and Instagram.
Sally’s work is on the gallery walls of the Clock Tower, Open Monday-Friday 9:00-5:00 pm for self-guided tours.
SallyTiskaRice@gmail.com www.sallytiskarice.com https://www.facebook.com/artistsallytiskarice Fine Art Prints (Pixels), Twitter, LinkedIn Instagram, YouTube, TikTok
TOY BUNNY FOREST. OIL, 2025
ANN GETSINGER PASSING THOUGHTS
Somewhere between kitchen sink and stairs a thought passed by. I called it back, noticing the spark. Picturing a deep, dark, storm cloud- I wondered, have I painted that? Passing thoughts are my guiding stars. Unlike my younger visual artist days spent mostly outside and painting from life, in recent decades I’ve slipped into the studio where foreground objects are observed with care “from life” and the surroundings these objects have found themselves in arrive from anywhere, but primarily through imagination, memory, and passing thoughts.
So why are these dark clouds sparking at me now? On the surface I know why they’re here but in fact I prefer to paint without conclusions, see where and how deep that spark takes me. Not knowing leaves beautiful open spaces for surprise, for each painting to become a singular journey.
Ann Getsinger lives and works in New Marlborough, MA where she sometimes teaches privately, enjoys taking commissions, and generally paints whatever moves her. Her oil painting, Pearly Forest, is now hanging in the exhibit “DayDream”, curated by James Salomon, at the Leonhardt Galleries at the Berkshire Botanical Garden in Stockbridge, MA through August 10. She’s delighted to have her work hanging in the same space as life-long creative influences, Jamie Wyeth and Yoko Ono, among many others.
Ann Getsinger — www.anngetsinger.com
JAYE ALISON
"I was really anxious because we were pretty much snowbound in our homes, being in a particularly cold 2025 winter. I had moved many of my art supplies to my studio in Southfield, and had begun organizing works. The idea of playing with them, cutting some of the ones to which I felt drawn to do so, this had been playing around in my mind for a looooooong time, but this weather allowed me to take advantage of the opportunity- I couldn't go anywhere, so I could just focus and play."
Jaye Alison harnesses water-based mediums like acrylic and watercolor, influenced by a creative upbringing and artistic journey. Through abstraction and intuitive color selection, she captures the interplay between forms with lines that articulate deepseated emotions. Her art resonates with joy and upliftment, transforming personal and worldly complexities into visual harmony.
The artist is passionate about creating art, painting on flat, smooth surfaces, and using environmentally friendly materials.
Alison’s work has been exhibited nationally and internationally and has appeared in print, film, television, the web, and Off Off Broadway.
Transforming personal and worldly complexities into visual harmony. In celebration of Jaye's new studio, enjoy 10% off large paintings and 30% off small paintings.
Jaye Alison — 310-970-4517
“I wonder if the snow loves the trees and fields, that it kisses them so gently? And then it covers them up snug, you know, with a white quilt; and perhaps it says, “Go to sleep, darlings, till the summer comes again.”
~ Lewis Carroll, Alice’s Adventures in Wonderland & Through the Looking-Glass
Studio visits by appointment only: Pond Shed (behind the Buggy Whip Factory), 208 Norfolk Road, Southfield, Massachusetts jayealison.com jaye.alison.art@gmail.com
FROM DARKNESS TO LIGHT COLLAGE, CRADLED WOODEN BOARD, 10” X 10” X 2”
BELIEF IN THE POSSIBILITIES OF SPRING COLLAGE, CRADLED WOODEN BOARD, 12” X 12” X 2”
TANGLEWOOD, LENOX, MA
REAL
Hairpin Turn in Autumn
Acrylic on paper
CARYN KING CERAMIST AND PAINTER
REVISIT WITH THE ARTIST
Interview by Harryet Candee Photography by Rick King & courtesy of the Artist
“My sculptures reflect the parts of myself I don’t always understand until I see them fired and standing still. They are fragments of emotion, frozen in form — imperfect, honest, and entirely necessary for understanding myself.” -
CARYN KING
After returning to ceramics from painting, I'm eager to know what inspired your shift from twodimensional art to working with three-dimensional clay. If I'm not mistaken, you originally began your artistic journey as a ceramicist before transitioning to painting. Is that correct?
Caryn King: Yes, I started out with clay. While raising two kids, I worked with whatever I could — flour paste, paper mache — until I found earthenware and stoneware. I learned hand building clay from the kitchen table, selling early pieces at craft fairs, and before long, Rick and I had a business going. Quickly our new studio was filled with two kilns, wheels, and plenty of table space. A definite upgrade from the kitchen table. We taught classes, sold through art galleries and art shows throughout the Northeast, had a production line that we wholesaled, and kept up that rhythm for over a decade. Eventually, I felt the need to grow, so I went for my BFA at MassArt, where sculpture remained my foundation, even though I transitioned to illustration
and painting professionally. I kept teaching along the way — sometimes in public schools, sometimes privately — and painting when I found the time. But after years of working on canvas, I felt the pull back to clay. I knew I didn’t want to again do production pottery and have moved to all one of a kind sculptures. This return feels more personal, more internal — a shift now toward making work that blends memory, metaphor, and emotion. For many years, painting animals realistically — getting every detail just right didn’t answer my creative feelings. I found myself wanting something more physical, something with a 3D presence. Clay brought that back. Now I sculpt animals that aren’t about anatomy — they come from memory, instinct, and feeling, always showing emotion and individuality. Currently many birds and rabbits are showing up. Following in creation now are sheep, squirrels, and my current passion - frogs! Looking at my animal pieces as emotional symbols - birds represent fragility and freedom; rabbits hold tension and vulnerability
seems right. Each piece feels like a different spirit, held in clay.
A key feature of your ceramic work is its textured surface, whether depicting a landscape or the fur of an animal. This same love for texture is evident in your paintings as well. Is there a psychological reason or a personal need behind your desire to avoid flatness and create depth with lines and shapes?
Thank you — the way you described my work really means a lot to me. That’s exactly how I hope it comes across, and it’s not always easy to put into words my efforts. I think I’ve always had a kind of resistance to flatness — both in my materials and maybe even in how I move through the world. I’m drawn to texture almost instinctively. There’s something about the pull of a ridged surface, a broken line, or a layered patch of color that just feels alive to me. It creates a kind of conversation between my hands and the piece I’m working on — whether it’s
clay or canvas. With animals especially, texture becomes a way to express their individuality — the way fur might lift or settle, or how feathers shift slightly depending on the mood I’m trying to capture. It’s never about perfect realism. It’s about getting to something underneath the surface — emotion, presence, spirit. And I think there’s a psychological layer to it too. Texture gives me a way to build depth, not just visually, but emotionally. I’m often working through things I can’t name until I see them form — sculpted or painted. Smooth, flat surfaces feel too silent for what I’m trying to say. The bumps, scratches, and layers are like footprints of the process — they show the journey, not just the end. In a way, I guess texture is my way of staying honest — of making work that’s raw, real, and a little vulnerable. It’s not always tidy, but that’s the point. Life isn’t either.
Now that you are merging your studio with a partner, how is that going? What are you collaborating on while maintaining boundaries to keep both of you individual and distinct? It started last summer — he came in to help me build some of the clay structures I work on, but pretty quickly, he was off doing his own thing. His
first piece? A huge bear. Not exactly easing back into clay after years away — he went big right out of the gate! The sculpture cracked as it dried (as clay sometimes does), but he kept going with it anyway and we’re both really happy with how it turned out. It’s definitely got presence and is now planted in the garden. Rick also handles our art print business — the one we built around my original paintings, which are in shops and galleries in Vermont and Massachusetts. These days, Rick helps with building clay forms, manages the kiln, and transports fragile clay pieces between our rented studio in New Marlborough and our daughter Jody King Camarra’s kiln in Ashley Falls. It’s been a surprisingly smooth shift from his years in working with school technology to life in the studio — and it’s good for us. Really good. Our studio is attached to the house — always evolving, always a little messy, and comforting. We spend long hours and are most happy when we can be in the studio six days a week, a hard goal when we are so involved in the community. There’s something so grounding about being able to create just steps from the kitchen, with our two beloved dogs snoozing nearby or following us from room to room. They’re very much a part of our creative life (and occasional clay critics).
Are you still teaching art? How has that aspect of your work changed for you?
I taught art in Southern Vermont’s public schools for years, and honestly, it was some of the most fulfilling work I’ve done. I loved being with the kids, figuring out creative ways to teach, and just being in that daily rhythm of making and sharing. But after a while, I felt this tug to focus on my own work. So I set up a painting studio and still taught private and small group classes here and there. It felt good to finally give myself time to paint more as I left full time teaching. When we moved to Massachusetts seven years ago, I didn’t rush into finding another teaching job. I really needed time — creatively and personally — to reset and play a little. That’s when I signed up for a clay class at the Berkshire Art Center, and it was like something lit up in me. I’d forgotten how much I missed the feel of clay in my hands. Getting to be a student again — after so many years teaching — was surprisingly wonderful too. Now I’m back in the clay studio and it feels like home. I’ve also been going to weekly collage classes that Jody teaches — sometimes at her studio, sometimes at BAC — and I love them. Collage has become this sort of yin to clay’s yang for me. It’s Continued on next page...
Barn Owl by Caryn King
Small bird Bath by Caryn King
fast, intuitive, and lets me play with color, shape, and layering in ways that feed directly into my sculpture. It’s amazing how those discoveries start showing up in my clay work without me even trying. Our studio has really evolved into this incredibly personal, functional space. We’ve carved out distinct stations — one for art prints, one for clay, and one for collage — and each is always ready to jump into. There’s something so satisfying about walking in and being able to get to work, no setup needed. It keeps the flow going. And somehow, even with the dogs underfoot and projects in all stages of progress, it all works. On request I am again welcoming students in my studio.
Looking back at 2019, when we did our first interview in The Artful Mind, how would you summarize life up to now for you, what would you have done differently, kept the exact same, and
now, plan on doing in the future?
It’s kind of amazing to look back, honestly. When we did that first interview, I was painting almost full time and just beginning to settle into life in Massachusetts. Since then, a lot has changed — and a lot has stayed beautifully the same. If I could go back and give myself any advice, it would be: don’t worry so much about the “right” path. Every twist in the road — leaving teaching, focusing on painting, coming back to clay — it’s all been part of finding my voice. Moving away from the life Rick and I had created for ourselves after 25 years living in the hills of Vermont was not easy but I don’t think I’d really change anything. Even the pauses, the doubts, the pivots — they’ve helped shape what I’m doing now in the studio. And I like where I’ve landed. One thing I’ve absolutely kept the same is working alongside Rick. We’ve always found ways to support each other creatively, and now that we’re
both in the clay studio again, it feels like a return to our roots. That partnership — in life and in art — is something I’d never change. Looking ahead, I want to keep following the work where it leads me. I don’t feel the need to define things too tightly right now. There’s new work always on my mind, in my sketch books, and evolving in the studio, more collaborations with Rick, and hopefully more time connecting with people — through studio visits, conversations, and maybe even another round of teaching when the time feels right. Mostly, I just want to keep making things that feel honest and alive — and stay open to whatever’s next. I never know when I will be including different animalsthey just appear! I always have ideas for what’s next.
Berkshire life is truly one-of-a-kind! We’d love to hear about your plans for this summer. Are
Frog Pot by Caryn King
Rick King - Caryn’s partner, sharing the same interest
Barred Owl by Caryn King. Painting.
there any local activities or events in the Berkshires that you're excited to participate in and even suggest? When can we visit your studio? I’ve got some fun things coming up—June 20 through July 20, I’ll have my sculptures in the Botanically Speaking show at the New Marlborough Meetinghouse Gallery. I’m also filling a gallery at the Becket Art Center with the super talented Theresa Bills—our show runs September 5–28. On top of that (and ongoing studio visits!), work is included in a couple of great Vermont spots: 3 Pears Gallery in Manchester has sculptures and prints and Vermont Artisans in Brattleboro has art prints with clay still to come. Since moving to the Berkshires, we’ve also been lucky to have the art print pieces carried in the shops at Hancock Shaker Village and Sidetracks in Stockbridge.
We love having visitors—whether you're curious about the work, interested in the process, or just
want to stop in and say hi. Just give us a quick call or message before coming by so we can make sure we’re around (and the studio isn’t too chaotic). GPS can be a little quirky out here, so when we talk, I’ll walk you through the best directions—there are a few local landmarks and tricks that make it much easier. If you’ve seen something on my website, Instagram, or in an article and are wondering if it’s still available, don’t hesitate to ask! I’m always happy to share what’s currently in the studio. There’s usually something fresh being shaped, drying, or just coming out of the kiln. The studio has a rhythm that feels really alive, and we’d love to share a bit of that with you. When we moved from Vermont, the movers joked that our Southfield dirt road looked just like the old one—snow, hills, trees when we moved during a January southern Berkshire snowstorm. They weren’t wrong. Seven years later, we feel deeply rooted here. There’s art every-
where—galleries, studios, and quiet trails where you can hear birdsong and not much else. Our studio is always in motion—a little messy, a little magical. The dogs follow us room to room and are very much part of the rhythm. So again, if you’re thinking of visiting, just call ahead. We’ll help guide you in if needed and hopefully show you something fresh from the kiln.
caryn@carynking.com
https://www.instagram.com/carynkingart/ https://www.carynking.com/ 802-380-7006
Pottery table
“Laverne” Caryn King. Painting.
“Each person I meet intriqgues me with their different stories and life experiences. My paintings are a dance of spontaneity and intention based on observation. With each stroke of my brush, I try to create a feeling, a story, challenge to the imagination of the viewer.”
—Mary Ann Yarmosky
Instagram • Facebook | maryannyarmoskyart.com
Common Denominator Framed Acrylic on Canvas 18” x 21”
RICHARD TALBERT
The WAVE Series began with many drawings on a sandy beach near the ocean. The sculptures are from dreams about Wave Energy to produce electricity in the future.
Richard Talbert c, Proposal, “Waves #1” 5’ x 8’ 2025.
My work is a collection of a variety of people, a collection of experiences and expressions. It’s about understanding their history, understanding the power of their history, the power of their power, the power of their vulnerability, the power of transformation, and the power of purpose.
My works are abstract in nature, but aren’t we all pieces put together by our life experiences? Who is to say what is real when we look at a person. Don’t we always project onto them some characteristic we think we see, some fleeting feeling that crosses their face, or some mannerism that indicates their comfort or discomfort?
I work mainly with acrylic on canvas, paper or wood and often add fabric, thread or other artifacts that seem to belong. My process unfolds unintentionally since my characters dictate what needs to be said. I invite you to weave your own story into my works. You can decide what is held in an expression, a certain posture or the clothes they wear. I hope you enjoy the adventure as much as I do. Mary Ann Yarmosky — instagram: @maryannyarmoskyart
JANET PUMPHREY PHOTOGRAPHY
Janet Pumphrey’s traditional, representational photographs span the genres of portraits and street photography, vintage and sports cars, travel, landscapes, and wildlife. While photography is a representational medium, Pumphrey also moves beyond the inherent realism in traditional photography to see the world in a new and more creative way. Her work is painterly, sometimes abstract, sometimes impressionistic. Each piece is a unique, creative interpretation of a realistic image. Currently, Pumphrey shows her work at the 510 Warren Street Gallery in Hudson, New York. From June, 2020 until October, 2024, Pumphrey showed her work at the Janet Pumphrey Gallery in Lenox, Massachusetts. Previously, she showed her photographs in many galleries in the Berkshires and in the Hudson Valley.
Janet Pumphrey —
An interview with Janet Pumphrey is in the July 2020 Artful Mind: https://issuu.com/theartfulmindartzine/docs/the_artful_mind_july_2020_issue_enjoy and an interview and tour of her gallery is here: https://www.youtube.com/watch?v=wYHhXtSWl-g Facebook - Janet Pumphrey
RUBY AVER STREET ZEN
Growing up on the Southside of Chicago in the 60s was a history rich and troubled time. As a youth, playing in the streets demanded grit.
Teaching Tai chi for the last 30 years requires a Zen state of mind. My paintings come from this quiet place that exhibit the rich grit of my youth . Movement, shape and color dominate, spontaneously combining raw as well as delicate impulses.
My recent series, Strike a Pose, is inspired by the dance genre Voguing. Colorful feminine images with amplified characters grace the canvas with their mystery.
Ruby Aver— Housatonic Studio open by appointment: 413-854-7007 / rdaver2@gmail.com Instagram: rdaver2
Where ordinary charms become wearable magic — keychains, bracelets, earrings, boot charms and more. Find a charm that speaks to you!
TAXI, ACRYLIC ON CANVAS, 16” X 20”
MARY ANN YARMOSKY
FROZEN, PHOTOGRAPH
DON LONGO
"I love playing with textures, colors and patterns. In this painting I used a variety of techniques to achieve the combination of colors and how they intermingle with each other while not losing their own brightness and quality. It is a metaphor for the human race. We were all created differently to shine our uniqueness on this earth while still engaging in each other to form one common vibe of love and acceptance."
Acrylics Wooden Board 18" x 24"
Valeria and the Ants CHAPTER 2
The Rage of the Elephant
It was obvious that Valeria had learned all of the various bits and pieces of foreign languages she knew somehow, directly from the elephant, by what must have been a form of telepathy. It is the simplest and most obvious explanation of her abilities. He became her instructor not long after she was born.
The elephant was always tethered to a convenient telephone pole, or street lamp, and a circle was drawn in the dirt underneath. The child, when just a few weeks old, was put down on the ground in the circle, and left there for many long hours. The elephant, in his slow and languid way, kept track of all the child’s movements. You might imagine that he would frequently need to shepard the child back into the circle, but that was not the case. Valeria was content to stay put.
But how could I ever describe their conversations, I can’t even begin to tell you what they were like. Take for example, one day the two of them were sitting there next to the lamp post and a man came down the road riding a bicycle. He was a very thin old man with ragged uncombed hair, and he was riding a squeaking bike of dubious reliability. Connected to the back of the seat of the bicycle was a pipe attached to a homemade cart of wood of the type that is made from packing crates. In the cart was a collection of personal items like chairs, bags of clothing, various suitcases, and assorted small furniture items.
As the old man on the bicycle with his load went by, the elephant looked at Valeria significantly, and Valeria looked at him and not a word passed between them.
I could sum up that look with these words, “He is certainly funny to look at but it would be wrong to laugh at him, seeing as he must be desperate and very miserable.”
Perhaps you have been fortunate in your life if you have had a friend such that you could look at each other and know that you are both thinking the same thought, at the same moment, even from across the room, even from the opposite ends of the earth; to have one mind.
So Valeria sat down in her favorite spot next to the elephant, sitting on a three legged stool, with her elbows on her knees, and began to explain her experience with the ants.
Bruno at first listened to everything Valeria said about the ants, but he started to be restive and agitated when she began to recount her conversations with Syracuse, the ant with the short leg.
Bruno became so agitated, for no apparent reason, that he could not stand still, and finally he made a loud bellowing sound, and Valeria heard him say, in no uncertain terms, that if he was going to be friends with some ant named Syracuse, that he could not be friends with himself.
I can imagine what Valeria looked like at that moment. Her face was most likely a perfect mixture of terror and anguish.
At first Valeria could not even believe her ears and she became entirely terrified. She took several steps clumsily backward with her small hands outstretched and than she ran all the way home, holding her hands over her ears like mufflers in the winter, as the elephant continued to bellow, and even tore out the lamp post he was chained to, and began running around in a dangerous way, dragging the lamp post by his chain, and causing a lot of damage.
It took Valeria several hours, actually, more than a day to truly realize what had happened, and finally, on the evening of the day after the event she said to herself, “This is the most terrible thing that has ever happened to me in my entire life.”
First of all, I have to apologize for a very serious mistake in the previous paragraphs. In it, I stated that after Bruno yelled at Valeria about the ants, he tore out the lamppost he was chained to, and went rampaging about destroying things. That statement is categorically false.
Well, actually it is a true statement, even though it is false, but let me explain, because it is very important. Bruno did go on a rampage after he yelled at Valeria, but the rampage happened four days after his altercation with the child. The importance of this distinction can’t in any way be overstated, because if you accept the chronology that placed the elephant’s fit immediately after the argument, then it would appear that Bruno was a distinct danger to the child, and that is a terrible misconception.
Here is what actually happened. Instantly after he yelled at Valeria, Bruno watched as she ran off. She was not covering her ears, “like earmuffs in the winter,” but she was very confused and upset. Bruno was anxious to clear up what he felt was some sort of a misunderstanding, but after several days he realized that he might not get an opportunity. I happened to be away at the time of the altercation between the elephant and the child, and so my account of the story was based entirely on newspaper accounts of Bruno’s rampage. What I said, I must apologize for, but it was just my amateurish attempt at being “literary.”
But imagine my surprise when, on further inquiry among the carnival folk, I was informed that there was no elephant rampage.
Carnival folk do not read newspapers, and most of them are actually illiterate, and so they had no knowledge of any account of any rampage. The reporter who wrote the story simply made up the details about the lampost knocking over an ice cream stand and the ticket booth, because it made an interesting story.
Bruno did, however, happen to tip over the lamppost he was chained to and this happened because he was in the habit of scratching his forehead on the lamppost, and over time, scratching his head on one side, and then another side, the post became loose and simply fell over of its own accord.
That then, is the entire account of the rage of the Elephant at the carnival, a story that goes right the the heart of the ambiguous relationship between the elephant and humans, and also illustrates the profound advantage the illiterate have over people who read news accounts, when it comes to understanding the truth of simple happenings.
Although there was no rampage, and even though nothing was knocked down, nevertheless, Valeria’s life was completely altered. In the first few days after the elephant yelled at her she went around in a
daze, and found it very difficult to think even the most ordinary thoughts.
You can see this state of mind in those people who have experienced sudden catastrophic events. For example, I can remember very clearly the behavior of my old Aunt Mary, when her husband Dominic died suddenly after a brick fell on him at a construction site. And he was not even working at the site, he was just making a delivery of pizza from his pizza shop. The delivery boy was sick that day, and so Dominic was doing the deliveries himself. He was in a tremendous rush, so as to get back to the shop before items in the oven got burned.
The next day, after Dominic’s death, Aunt Mary was eating soup. She was holding the spoon of soup approximately four inches from her lips. As I looked at her I thought, “She is just waiting for the soup to cool off.” But no, she was just sitting there, the soup suspended in the air. I imagine it was her desire to stop time itself, and if it could be stopped, then perhaps she might be able to unwind the spool of time itself, to a better time just simply 37 hours previously.
That was how it was for Valeria, and she thought to herself, “If it could only be just three days ago, instead of right now.”
Without the elephant to talk to she went about her daily activities, but in a disinterested and abstracted way. She got out her cigar box that contains about one hundred similar stones and set to work to make a pattern with them. The pattern was a circle in a square, and at each corner of the square, where it touched the circle, she made a kind of little swag shape, and the ends of the swags almost touched each other making a decorative frame for the pattern, but she didn't finish it because the shapes gave her no satisfaction.
Then she hung upside down from a low hanging branch of the maple tree behind her trailer, but she did not find the upside down view of the world even slightly interesting.
Then she went to have a look in the carnival tent, to see if anything had been left behind by the weekend visitors. She had a small collection of found objects, all extremely valuable in their own way, because of the meaning she attached to each of them, especially a cloisonne thimble with which she could change the weather, depending on which finger she put it on, or so she thought.
Her search was not in vain that day, what she found was a marble, one of those that are perfectly clear, and have no color. She had a collection of marbles in a leather bag, tied with a red string, but in her collection there was no, “purees,” as those marbles are called. She seized the marble in her left hand and went running across the field in the direction of the Elephant. She was excited to show it to him, and see what interesting things he would say about it. Then she stopped suddenly, as she realized she was not on speaking terms with the Elephant. Valeria dropped the marble, which suddenly had no interest for her. and she said, almost out loud, “I will never be sadder than I am at this very moment, and I think I will never ever be happy again for the rest of my life.”
I ask you, whatever could have possessed the Elephant to yell at the child like that, what could possibly be a cause or a justification. We will delve into it in the next chapter, not to justify the Elephant’s behavior but perhaps to at least understand him.
—RICHARD BRITELL, JUNE 2025
Mining My Life Diaries of Jane Gennaro
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