R E L I E F : Byrdcliffe Artists-in-Residence 2018
Exhibition Dates: April 5 – May 12, 2019
The Woodstock Byrdcliffe Guild
Kleinert/James Center for the Arts
36 Tinker Street, Woodstock, NY
Curated by James Adelman and Oscar Buitrago
Catalogue design and production by Abigail Sturges
Front cover: Andrés Cano, Byrdcliffe Artists-in-Residence 2018, detail. Photograph with flashlight writing.
Back cover: 2018 Byrdcliffe artists-in-residence, sessions 1 through 4, in front of the Villetta Inn
Page 1: The Villeltta
Woodstock Byrdcliffe Guild
Exhibition Committee Members
Osi Audu
Laura Battle
Byron Bell
Tina Bromberg
Oscar Buitrago
Jen Dragon
Paula Lalala
Douglas Milford
Portia Munson
Julia Santos Solomon
Melinda Stickney-Gibson
Katharine Umsted
Linda Weintraub
Sylvia Leonard Wolf (chair)
Matthew T Leaycraft (member Emeritus)
Staff
Jeremy Adams, Executive Director
Derin Tanyol, Director of Exhibitions & Programs
Rich Conti, Ceramics Program Director
James Adelman, AiR Program Manager
Marianne Bosshart, Associate Director of Development & Administration
Tim Hawkings, Property Manager
Megan Daly, Shop Manager
Elizabeth Dragan, Shop & Gallery Assistant
Woodstock Byrdcliffe Guild Board of Directors
Randy Angiel
Byron Bell
Joseph W. Belluck, Counsel
Linda Bodner
Oscar Buitrago
Herb Burklund
Henry T Ford
Frances Halsband
Richard Heppner
John Koegel, Treasurer
Katharine L McKenna
Catherine McNeal, Vice President
Doug Milford
Tani Sapirstein, Secretary
Julia Santos Solomon
Abigail Sturges
Lester Walker
Paul Washington, President
Sylvia Leonard Wolf, Vice President
Douglas C James, President Emeritus
Garry Kvistad, Chairman Emeritus
The Milton and Sally Avery Arts Foundation
Catalogue Sponsors
Kerrie Buitrago
Oscar Buitrago
All 2019 Byrdcliffe arts programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature
D
The Woodstock Byrdcliffe Guild is proud to support this publication produced for the exhibition Relief: Byrdcliffe Artists-in-Residence 2018, presented in our Kleinert/James Center for the Arts in the heart of Woodstock Our artists’ community is a unique hybrid that blurs conventional boundaries between the fine arts and the arts and crafts traditions. Our goal is simple: to help artists explore, experiment, and push the limits of their artistic practice in ways they feel are most beneficial We seek to impose no requirements on our artists only to provide them the opportunity to experience uninterrupted time to work in a creative, collaborative environment amidst the natural beauty of the Catskills. Our Artists-in-Residence program not only provides people an ideal locale where they can pursue their art; it also positions them as part of the ongoing legacy of Byrdcliffe, founded in 1902 as a utopian creative retreat This exhibition is the manifestation of the wondrous endeavors of the artists in our program and we are honored to showcase their work in this important show.
Many thanks to the curators of this exhibition, James Adelman and Oscar Buitrago, who both worked tirelessly on all its aspects, from engaging with the artists during the selection process to overseeing the show’s installation; without their efforts this exhibition would never have come to light.
Our gratitude also goes to Abigail Sturges for designing this catalogue Yet again her services and experience have made possible an elegant anthology of one of our exhibitions
Thanks also to Derin Tanyol, Director of Exhibitions and Programs, who worked with the artists, curators, and designer on all aspects of the exhibition. It is because of her efforts that all our programs and exhibitions are of the highest caliber.
Jeremy Adams
I N T R O D U C T I O N
James Adelman Oscar Buitrago Curators
The exhibition Relief: Byrdcliffe Artists-in-Residence 2018 is the third annual exhibition of its kind, showcasing a selection of work by Byrdcliffe’s residents from the previous year The exhibition provides a glimpse into the creative marvels generated by the visual artists, writers, and composers engaged in Byrdcliffe’s Artist-in-Residence (AiR) Program, as both residents and members of the Woodstock community
Artists in the AiR Program have the opportunity to live and work in an enchanting mountain community in the majestic town of Woodstock, New York Residents join the great tradition of the Byrdcliffe art colony, founded in 1902 upon a utopian vision for artists from all walks of life This vision thrives today and is embodied in each of the works presented in this exhibition
Participants at Byrdcliffe take leave of their daily routines to replant themselves in fertile creative soil, allowing growth in any direction that nourishes their practice They are afforded time to draw inspiration from their surroundings, collaborate with other artists, obtain and provide feedback, and reflect on their own work in a supportive space It is our hope that the precious gift of time and the experience of Woodstock and Byrdcliffe provide peace of mind, motivation, and a lasting impact on the artists’ work, creative careers, and personal development Stepping back from everyday life to connect with new personalities in a nurturing environment grants perspective and insight that might otherwise be unavailable
Thanks to the support of the Pollock Krasner Foundation, the 2018 AiR Program provided fellowships for multiple artists affected by natural disasters; several of these artists are included in the exhibition These fellowships consisted of fully subsidized residencies at Byrdcliffe, materials fees to compensate for losses, and travel assistance from Puerto Rico and other areas heavily impacted by recent natural disasters
Relief: Byrdcliffe Artists-in-Residence 2018 illustrates creative independence in its variety of subjects and media Craft, meditation, social concer ns, and more plus a breadth of artistic techniques are all present in the gallery, with the work on view either created on-site at Byrdcliffe or derived from experiences there The exhibition exemplifies the diverse population drawn to the area and reflects on Woodstock as a town with traditions rooted equally in creative excellence and sociopolitical awareness
Andrés Cano’s The Shape of Gravity demonstrates his accomplished craftsmanship and mathematically informed woodworking He reveals abilities across disciplines with a long-exposure photograph of flashlight writing (on the cover of the present catalogue) captured during an evening among creative companions in Byrdcliffe’s natural surroundings Anne Arden McDonald’s photographic work Planet is at once contemplative and dynamic, a visual spectacle that inspires meditation on its interplay between documentation, experimentation, and fantasy William Eaton’s Two Drummers, Woodstock Drumming Circle draws inspiration from the town’s weekly drum circle; in this and other drawings,
Eaton’s marks emulate musical rhythms Watercolors such as Elissa Gore’s Fleur de Lis deftly capture the spirit of the historic buildings interspersed over Byrdcliffe’s grounds Oviany Rojas’s Anthem utilizes a repurposed language of visual bombardment, alarmingly familiar in an age of endlessly proliferating images and advertising In works such as Diver, Madeline Donahue brings together humor, whimsy, and social commentary; her pictures are simple and genuine, with skillful handling and emotionally honest atmospheres
The examples above highlight the hybrid of traditional craft and contemporary language which has long pervaded artistic discourse at Byrdcliffe Altogether the over 50 works of visual art, music, and writing comprising the exhibition Relief: Byrdcliffe Artists-in-Residence 2018 exemplify the range of experimental and exceptional work facilitated by Byrdcliffe’s artist residencies
T H E E X H I B I T I O N
Andrés Cano, The Shape of Gravity, detail Wood, 35 x 32 x 30 inches.
Andrés Cano, The Shape of Gravity, detail Wood, 35 x 32 x 30 inches.
Jeanne Ciravolo, State of Nature. Acr ylic and collage on canvas, 42 x 33 inches
Lucille Colin, Moonlight Mixed media on canvas mounted on wood, 12 x 12 inches.
Madeline Donahue, Diver. Oil on canvas, 17 x 11 inches
Madeline Donahue, Sweater Weather. Oil on canvas, 17 x 11 inches
Jomarie Figueroa, Oneiric Blackout. Oil on oil paper, 30 x 22 inches
Jomarie Figueroa, In What Language. Blue Bic pen drawing, 12 x 9 inches
William Eaton, Woman Drumming Seated, Woodstock Drumming Circle, September 2018 Oil pastel,12 x 9 inches.
William Eaton, Two Drummers, Woodstock Drumming Circle, September 2018. Graphite, 9 x 12 inches
William Eaton, Leaning Dancer. Charcoal, 12 x 9 inches
William Eaton, Drummers’ Hands, Woodstock Drumming Circle, September 2018 Oil pastel, 12 x 9 inches.
Auguste Garufi, untitled. Wire cloth, lead, oil, pigment, paper, muslin, 36 x 24 x 4 inches
Auguste Garufi, like a flower. Cast paper, thread, printed ink, paper, muslin, 36 x 24 x 4 inches
Kevin Kao, Double Tongue. Ceramic, underglaze, glaze, 9 x 6 x 2 inches
Kevin Kao, Pris Ceramic, underglaze, glaze, 11 x 7 x 6 inches.
Elissa Gore, Quar tet. Watercolor on paper, 5 x 7 inches
Elissa Gore, Yggdrasil Watercolor on paper, 5 x 7 inches.
Elissa Gore, Farmhouse. Watercolor on paper, 5 x 7 inches.
Elissa Gore, Fleur de Lis. Watercolor on paper, 5 x 7 inches
Christopher Law, Philosopher's Garden Oil on linen, 29 3/4 x 18 1/2 inches.
Christopher Law, Dead Wood Oil on linen, 28 3/4 x 20 1/2 inches.
Elissa Gore, Studio Watercolor on paper, 5 x 7 inches.
Erika McCarthy, Flimsy. Copper wire, thread, and sheer bandages, 34 x 4 x 3 1/2 inches
Upholster y foam, poly-fill, batting, tablecloth, joint compound, caulk, acr ylic paint on chair, 30 x 46 x 24 inches.
Alyssa McClenaghan, Carr y That Load Upholster y foam, foam insulation, batting, joint compound, apron, acr ylic paint, gel medium, wood, 16 x 12 x 6 inches
Anne Arden McDonald, Planet. Silver gelatin photograph, 24 x 20 inches
Alyssa McClenaghan, Watch You Work.
Anne Arden McDonald, Virus Silver gelatin photograph, 24 x 20 inches.
Peter Makela and Taraneh Mosadegh, Mosaic Acr ylic on panel, 16 x 14 inches.
Peter Makela and Taraneh Mosadegh, Wolf Spider. Acr ylic on panel, 16 x 14 inches
Emily Marie Miller, Digging. Oil on canvas, 24 x 30 inches
Sa’dia Rehman, Series of 9 block prints. Black velvet, spray paint, ink, cotton paper, each 20 x 16 inches
Joan Reutershan, #662.
Acr ylic, marker, foil, polymer pieces and silkscreen ink on canvas, 29 x 19 inches.
Joan Reutershan, #656
Acr ylic, tape, marker, polymer pieces on archival digital pigment print on canvas, 28 x 19 inches
Naimar Ramirez, Five by Five. Recycled paper, glue, varnish, 25 x 25 inches.
Naimar Ramirez, Wreath Vellum, glue, varnish, 20-inch diameter.
Maya Strauss, Seeing Spots Oil on burlap, 14 x 10 inches.
Maya Strauss, Caww. Oil on burlap, 16 x 16 inches
Oviany Rojas, Anthem Acr ylic paint on canvas, 16 x 20 inches.
Oviany Rojas, Victor y, No Real Win BK Acr ylic and spray paint on canvas, 16 x 20 inches.
Allison Wade, Content-Aware.
UV printed photography and live plant, 20 x 20 x 5 inches
Allison Wade, Set. Oil paint and flock on canvas, 16 x 20 inches
b.h. Yael, Lessons for Polygamists Still from animation, 14:30 minutes
Gavin Tougher, For the Native and Solitar y Bee. Reclaimed wood, found organic material, 84 x 24 x 24 inches
Hannah Washburn, Soft Corner Clothing, polyfill, and acr ylic, 22 x 38 inches.
Hannah Washburn, It Doesn’t Mean What It Used to Though. Clothing, polyfill, and acr ylic, 36 x 40 inches
Tina Barr y (writing), The Virginia Project.
Andrés Cano, The Shape of Gravity. Wood, 35 x 32 x 30 inches.
Jeanne Ciravolo, State of Nature. Acr ylic and collage on canvas, 42 x 33 inches
Elizabeth Clark (music composition), Green Little Things (live)
Elizabeth Clark (music composition), Hear tlight (live)
Lucille Colin, Moonlight Mixed media on canvas mounted on wood, 12 x 12 inches.
Madeline Donahue, Diver. Oil on canvas, 17 x 11 inches.
Madeline Donahue, Sweater Weather. Oil on canvas, 17 x 11 inches.
William Eaton, Woman Drumming Seated. Oil pastel, 12 x 9 inches.
William Eaton, Two Drummers, Woodstock Drumming Circle, September 2018. Graphite, 12 x 9 inches.
William Eaton, Leaning Dancer. Charcoal, 12 x 9 inches.
William Eaton, Drummer’s Hands, Woodstock Drumming Circle, September 2018 Oil pastel, 12 x 9 inches
William Eaton (writing), "Along the side of the road I found a silver goblet which had been used as an ashtray."
William Eaton (writing), "Do many ants, in line, criticize others’ behinds?"
Jomarie Figueroa, In What Language Blue Bic pen drawing, 12 x 9 inches.
Jomarie Figueroa, Oneiric Blackout. Oil on oil paper, 30 x 22 inches.
Joby Fox (music composition), Woodstock. EP, 4 tracks, 16 mins.
Auguste Garufi, like a flower. Cast paper, thread, printed ink, paper, muslin, 36 x 24 x 4 inches
Auguste Garufi, untitled Wire cloth, lead, oil, pigment, paper, muslin, 36 x 24 x 4 inches.
Elissa Gore, Quar tet. Watercolor on paper, 5 x 7 inches.
Elissa Gore, Yggdrasil. Watercolor on paper, 5 x 7 inches.
Elissa Gore, Fleur de Lis. Watercolor on paper, 5 x 7 inches.
Elissa Gore, Studio. Watercolor on paper, 5 x 7 inches.
Elissa Gore, Farmhouse. Watercolor on paper, 5 x 7 inches.
Kevin Kao, Double Tongue. Ceramic, underglaze, glaze, ink, 9 x 6 x 2 inches
Kevin Kao, Pris Ceramic, underglaze, glaze, 11 x 7 x 6 inches
Christopher Law, Dead Wood Oil on linen, 283⁄4 x 201⁄2 inches
Christopher Law, Philosopher’s Garden. Oil on linen, 293⁄4 x 181⁄2 inches.
Erika McCarthy, Flimsy. Copper wire, thread, and sheer bandages, 34 x 4 x 31⁄2 inches.
Alyssa McClenaghan, Carr y That Load. Upholster y foam, foam insulation, batting, joint compound, apron, acr ylic paint, gel medium, wood, 16 x 12 x 6 inches.
Alyssa McClenaghan, Watch You Work. Upholster y foam, poly-fill, batting, tablecloth, joint compound, caulk, acr ylic paint on chair, 30 x 46 x 24 inches.
Anne Arden McDonald, Planet. Silver gelatin photograph, 24 x 20 inches
Anne Arden McDonald, Virus Silver gelatin photograph, 24 x 20 inches.
Emily Marie Miller, Digging. Oil on canvas, 24 x 30 inches.
Peter Makela and Taraneh Mosadegh, Wolf Spider. Acr ylic on panel, 16 x 14 inches
Peter Makela and Taraneh Mosadegh, Mosaic Acr ylic on panel, 16 x 14 inches.
Elizabeth Primamore (writing), “Caretaker.”
Naimar Ramirez, Five by Five. Recycled paper, glue, varnish, 25 x 25 inches
Naimar Ramirez, Wreath Vellum, glue, varnish, 20-inch diameter
Sa’dia Rehman, Series of 9 block prints Black velvet, spray paint, ink, cotton paper, each 20 x 16 inches.
Joan Reutershan, #656. Acr ylic, tape, marker, polymer pieces on archival digital pigment print on canvas, 28 x 19 inches
Joan Reutershan, #662 Acr ylic, marker, foil, polymer pieces and silkscreen ink on canvas, 29 x 19 inches.
Oviany Rojas, Anthem. Acr ylic paint on canvas, 16 x 20 inches.
Oviany Rojas, Victor y, No Real Win. BK. Acr ylic and spray paint on canvas, 16 x 20 inches
Maya Strauss, Caww Oil on burlap, 16 x 16 inches
Maya Strauss, Seeing Spots Oil on burlap, 14 x 10 inches
Gavin Tougher, For the Native and Solitar y Bee Reclaimed wood, found organic material, 84 x 24 x 24 inches.
Allison Wade, Content-Aware. UV printed photography and live plant, 20 x 20 x 5 inches
Allison Wade, Set Oil paint and flock on canvas, 16 x 20 inches
Hannah Washburn, It Doesn’t Mean What It Used to Though Clothing, poly-fill, and acr ylic, 36 x 40 inches.
Hannah Washburn, Soft Corner. Clothing, poly-fill, and acr ylic, 22 x 38 inches
b.h. Yael, Lessons for Polygamists Animation, 14:30 minutes
A R T I S T - I N - R E S I D E N C E ( A i R )
R O G R A M
Since its founding in 1902, Byrdcliffe has welcomed artists Bob Dylan, Philip Guston, Eva Hesse, and hundreds more to and live and work surrounded by 250 acres of the Catskill Mountains’ serene natural beauty
Byrdcliffe offers several types of residencies, as described below The main criterion for acceptance to Byrdcliffe’s AiR program is artistic excellence and a demonstrated commitment to one ’ s field of endeavor We hope you will join us up at the colony!
P r o g r a m M i s s i o n
Byrdcliffe’s AiR Program seeks to support and invest in individuals at the cutting edge of their fields, whose work will impact the cultural landscape at large We provide these artists with the support and opportunity to explore, experiment, and take their work to the next level Byrdcliffe brings visual artists, writers, composers, and poets together in a dynamic community of local, national, and international artists to create a professional network of creative practitioners and thinkers We encourage artists to explore their ideas and work within the context of the area and to bring an international community of artists to the Hudson Valley to create opportunities for engagement and cross-cultural exchange with local artists and audiences
A b o u t t h e P r o g r a m
Byrdcliffe’s AiR Program is comprised of the following residencies:
• Month-long residencies
• 5 month-long residencies
• Year-long residencies
The integration of each of these residency programs has created a fluid group of artists that is constantly changing and evolving To ensure this integration, the program is overseen by a Residency Manager
Accepted disciplines include all aspects of the visual arts such as photography, ceramics, weaving, architecture as well as the writing of fiction, nonfiction and poetry, drama (playwriting), and musical composition
In addition, the AiR program welcomes visiting theater and performance groups as well as high school students in between the regular residency sessions, thereby serving over 100 artists per season
R
Month-long Residencies
Byrdcliffe’s month-long Artist-in-Residence Program is comprised of 4 sessions running from the May to the end of September, serving over 60 artists (18 artists per session). Disciplines include all aspects of the visual arts, including ceramics, weaving, and architecture, as well as the writing of fiction, nonfiction, poetry, drama (playwriting), and musical composition. Artist each get their own private studio/workspace and separate
bedroom, and share the kitchen and other common living areas Residents cook and dine with fellow artists, facilitating the sharing of experience and ideas across disciplines As part of the month-long residencies there are two cottages available for artist couples and for individual artists who want to engage with fellow artists during their stay but seek greater privacy than the communal living buildings offer
Seasonal Residencies
In addition to the individuals participating in the month-long AiR program, there are 8 cottages available for artists from May through September. These artists go through the same application process as the monthlong residents, but are selected for an extended stay.
Year-round Residences
Traditionally viewed as artists’ housing, these cottages are now incorporated into our residency programming Artists interested in living at Byrdcliffe for one year submit an application that includes a statement of intent Applications are reviewed on an ongoing basis and successful applicants are offered space as it becomes available
Field Trips
The AiR Manager organizes field trips to regional cultural institutions such as the Al Held Foundation, Dia Beacon, Storm King Arts Center, Opus 40, and to the studios of renowned artists living and working in the area. In addition to a historical tour of the Byrdcliffe Art Colony, these trips engage the resident artists with the cultural richness of the area.
Solitude and Community
Along with providing the solitude, time, and space necessary to creating enduring visual, musical, and literary works, Byrdcliffe situates the AiR artists in a larger colony that is a genuine creative community which becomes an integral part of their residency experience Residents cook and dine with fellow artists
Open Studios
Work developed in the program is presented to the public at the end of each session through our popular open studio events and public readings, which draw an attendance of approximately 600 each summer (about 150 per session) A wide-ranging group of Hudson Valley residents and visitors attend to see art and artists in their creative environments Visual artists display their completed and in-progress works and there are readings, musical performances, and direct discussions with the artists-in-residence
Visiting artists
Eight artists covering a wide range of disciplines visit the program over the course of the summer months. Artists in all three programs can receive one-on-one critiques with these visiting artists in order to further their practice.
• More information about Byrdcliffe's AiR Program can be seen here: http://www.woodstockguild.org/artist-residencyprograms/
• Questions about Byrdcliffe’s AiR Program or required materials? Email info@woodstockguild.org
O n l i n e A p p l i c a t i o n
https://woodstockbyrdcliffeguild submittable com/ submit (available October through March)
R e s i d e n c y F e e
Byrdcliffe’s Residency fee is US$750 per artist* per 4week session Fees are due upon acceptance into the program The residency fee is non-refundable In the case of a cancellation, we will only consider a refund of the residency fee if the session can be filled with another resident (*Note: different fees apply for independent living residencies in Varenka and The Forge )
F e l l o w s h i p s & S u p p o r t
Byrdcliffe offers a number of fellowships each summer based on a combination of financial need and artistic merit, ranging from partial to full coverage of residency fees We have listed these and other fellowships below To be eligible for any one of these fellowships, simply check the appropriate boxes in the Fellowship section of the online application form
• Fellowship for artists affected by natural disaster, including but not limited to the Califor nia wildfires, hurricanes in Puerto Rico, Florida and Texas, and the earthquakes in Mexico
• The annual Mantooth/Morabito Fellowship is available to an artist of color
• The annual Henry T Ford/Michael Knauth Fellowship is available to an LGBTQ artist
• The annual Ber nard and Shirley Handel Playwright Fellowship
• general merit and need-based fellowships
To be considered for a fellowship, artists must submit the required information listed in the application To be eligible for a need-based fellowship, artists must submit the first two pages of their most recent tax retur n with their application
The Pollock Krasner Foundation is a major supporter of Byrdcliffe’s Artist-in-Residence Program We are also supported by the Milton & Sally Avery Arts Foundation and the National Endowment for the Arts
worldwide
Acknowledging the overwhelming scientific evidence that climate change is real and is having dramatic effects on the environment, we have launched fellowships for artists affected by natural disasters with support from The Pollock Krasner Foundation The natural disasters we are focusing on include the hurricanes in Texas, Florida, and Puerto Rico, earthquakes in Mexico, and wildfires in Califor nia
Selected artists will attend the program free of charge, receive a stipend to cover travel costs to and from the program, and also a materials fee of up to US$400 to help replace lost materials Artists affected by Hurricane Sandy will be visiting these artists in the program to discuss how they retur ned their practice back to a state of normalcy after the disaster We intend to maintain these fellowships indefinitely as climate change continues to affect artists
In recognition of the critical voice LGBTQ artists have in the artistic landscape of the twenty-first century, Byrdcliffe’s Henry T Ford/Michael Knauth Fellowship offers two full fellowships annually for an artist who identifies as lesbian, gay, bisexual, transgender, or queer
In an effort to increase the diversity of artists in our program we have secured the Meredith Morabito/Henrietta Mantooth Fellowship for artists of color This Fellowship annually provides one artist of color with a full fellowship into the program
Each year this full fellowship is offered to a playwright based upon creative excellence.
Andrés Cano, The Shape of Gravity, detail. Wood, 35 x 32 x 30 inches.
2 0 1 8 A R
Oviany Amezquita Rojas
Sabrina Asch
Tina Barry
Jeremy Bass
Julia Bosson
Maria Rose Burgio
Andrés Cano
Carla Cavina
Zak Cedarholm
Kevin Christofora
Mary Cinadr
Jeanne Ciravolo
Elizabeth Clark
Lucille Colin
Haleigh Collins
Viv Corringham
Lionel Cruet
Anne Margaret Daniel
Asher Dark
Jeremy Dennis
Madeline Donahue
Yewen Dong
Devin Dougherty
Alexandra du Bois
Berend Dubbe
Mariana Encheva
Kimberly English
Jomarie Figueroa
Joby Fox
Misty Gamble
Auguste Garufi
Katie Geha
Elissa Gore
Daniel Gratz
David Greenwood
Chuxi Guo
Ida Hakkila
Faith Heyliger
Kevin Kao
Maura Kelly
Jean Klein
Natasha Lardera
Jeanne Larsen
Christopher Law
Robert Lucy
Peter Makela
Alyssa McClenaghan
Anne Arden McDonald
Elena Megalos
Emily Marie Miller
Amey Miller
Taraneh Mosadegh
Heather O'Brien
Mireya Perez
Joe Pietropaolo
Elizabeth Primamore
Naimar Ramirez
Sa'dia Rehman
Fionn Reilly
Joan Reutershan
Meganne Rosen
Apar na Sarkar
Eric Sasson
Carolyn Silveira
Brett Singer
John Singletary
Erin Slaughter
Krista Smith
Alex Smith
Sophia Starling
Stephanie N Stoddard Cortés
Maya Strauss
Gwen Thomas
Kelsey Torstveit
Gavin Tougher
Gabriela Vainsencher
Siebren Versteeg
Karen Villeda
Allison Wade
Caroline Walker
Rachael War ner
Hanna Washbur n
Chris Wells
William Eaton
Clarissa Wu
b.h. Yael
Lena Ziegler
Naimar Ramirez, Five by Five
Recycled paper, glue, varnish, 25 x 25 inches.
A B O U T T H E W O O D S T O C K
O r g a n i z a t i o n a l M i s s i o n
The Woodstock Byrdcliffe Guild provides a vibrant center for excellence in the arts and crafts in the beautiful and unique rural community of Woodstock, New York, while preserving the historic and natural environment of one of the earliest utopian art colonies in America It offers an inspiring combination of residency, educational, exhibition, and performance programs that encourage creative collaboration among artists, students, arts professionals, and the public
H i s t o r y
The Byrdcliffe Art Colony was founded in 1902 and is the longest continuously running arts colony in the United States. It was founded on the Arts and Crafts movement that began in England in the late nineteenth century. The movement’s most passionate advocates were the artist William Morris and critic John Ruskin, who shared a utopian ideal of a community of artistic collaboration and innovation. Both men felt that life would be enhanced if the arts reflected the nobility they felt was lost when machines eliminated the need for many creative skills.
The colony was originally founded in 1902 by Ralph and Jane Whitehead after searching across the country for the perfect location for creative endeavor. Just like Hudson River School artists such as Thomas Cole and Frederic Edwin Church, the Whiteheads found the beauty of the Catskills and the proximity
to New York City ideal for the creation of artwork, and were enchanted by the painterly landscape.
Byrdcliffe provides opportunities for excellence in all the arts. It is a locus for creative collaboration and encounters for artists, students, arts professionals, and the public gathered in community. From our 250-acre mountainside campus and our arts and performance center located in the heart of Woodstock, Byrdcliffe offers an integrated program of exhibitions, performances, classes, workshops, symposia, and artist residencies. Byrdcliffe embraces all disciplines of artistic endeavor in a collaborative environment and seeks creative partnerships with fellow nonprofits and educational entities in order to leverage its unique resources for the benefit of the cultural life in the Hudson Valley region and beyond.
Byrdcliffe’s original vision as a multidisciplinary artistic community continues today stronger than ever. We provide artists with multiple levels of support for creative, professional, and personal growth. The need continues for high quality artists’ workspaces, and the community at Byrdcliffe encourages artists to explore their practice in a bucolic setting amongst like-minded professionals who view art as their career.
T H E H A I K U B O X P R O J E C T
Melinda Stickney-Gibson Curator
A r t i s t s
Colin Chase
Michael Houser
Linda King
Alyssa McClenaghan
Mad Monk
Don Porcaro
Debra Priestly
Christina Tenaglia
Marie Vickerilla
Hanne Gravesen Vorkapich
The idea for the Haiku Box Project came from the Japanese tradition of haiku boxes situated along the 400-year-old stone walls of Matsuyama Castle and at the seventh-century Hōgon-ji Temple, where people have been placing anonymous haikus for centuries
The nature-based “temple” that is Byrdcliffe’s 200-plus acres of forest, and the Byrdcliffe Colony’s longstanding mission to encourage creativity in all forms and disciplines, provided the perfect opportunity to invite a group of artists to create their own interpretation of the haiku box and to extend an invitation to people who find them while walking in the woods to leave behind their own haiku, prayer, or secret
The ten participating artists contributed a beautiful, extraordinarily varied collection of boxes that were installed for a year of changing seasons and weather at Byrdcliffe Many anonymous haikus were left by visitors over the course of the project
From a curatorial perspective, this was rewarding on so many levels, and I want to thank the Woodstock Byrdcliffe Guild for its unflinching support and encouragement Lastly, I want to express my very deep gratitude to the participating artists who once again demonstrated that:
Imagination is limitless Beauty is in everything Serious and playful DO coexist
White Pines
Colin Chase
Michael Houser
Alyssa McClenaghan
Linda King
Mad Monk
Don Porcaro
Debra Priestly
Christina Tenaglia
Marie Vickerilla
Hanne Gravesen Vorkapich
About the Curators
James Adelman is a visual artist and manager of the Woodstock Byrdcliffe Guild’s Artist-in-Residence (AiR)
Program James’s work has been exhibited in solo and group shows in the United States and abroad in venues such as The Museum of Ice Cream, Sotheby’s, The Lodge Gallery, Mark Miller Gallery, Lyons Wier Gallery, Denise Bibro Gallery, Shanghai University, and the Woodstock Artists Association & Museum He has served as the sole assistant to Gagosian artist and mentor Mark Tansey, maintained a freelance art-handling business in New York City working with galleries, museums, and collectors, and assisted artists Inka Essenhigh and Ber nardo Siciliano with graduate teaching Prior to coming on staff at Byrdcliffe, James served as Lead Preparator for Flowers Gallery and Field Services Specialist for Crozier Fine Arts
Oscar Buitrago is the Director of Business Development for the global Mergers & Acquisitions group at White & Case LLP and also sits on the firm’s Art Committee In 2016, he was named to the M&A Advisor’s list of 40 Under 40 Emerging Leaders in Business Development and Marketing for the Mergers & Acquisitions industry Oscar received his B.A. in Art History and B.A in Classics from Trinity College in Hartford, Connecticut and was awarded the Donat Fellowship for the advanced study of archaeology and the Phi Kappa Fellowship for advanced inter national studies
Oscar first came to Woodstock in 1997 He serves on the Board of the Woodstock Byrdcliffe Guild, and is a member of the Guild’s Exhibition, Development, and
Nominating and Gover nance Committees Oscar also serves on the Board of the Woodstock Artists Cemetery In April 2018, Oscar curated the exhibition In The AiR: Byrdcliffe Artists-in-Residence 2017, at WBG’s Kleinert/James Center for the Arts. In August 2017, he co-curated the exhibition Drawing Sound at the Kleinert/James together with Kerrie Buitrago and Melinda Stickney-Gibson Catalogues for both exhibitions can be downloaded at:
http://www woodstockguild org/the-byrdcliffe-shop/ byrdcliffe-bookstore/