artful mind july 2010

SUE MANEY MACVEETY, Artist and AuthorPHOTOGRAPHY BY JULIE MCCARTHY

Berkshire Artzine

THEARTFULMINDJ U LY 2 0 1 0

presentsNew Work • June 19 - July 11

Marion Jansen • Richard Michaels • Jeannine SchoefferEleanor Lord • Joan Guimmo • Steve Porcella

Marybeth Merritt • Sue Arkans • Roberta HaasIska KenneyCarol Sue Donelan • Diana Felber • Doris Simon • Nina Lipkowitz

Beautiful Landscapes, Portraits, Still Lifes, Watercolor, Oil, Pastel and Collage

July 17 - Sept 17The Manhattan Watercolors

by Kate KnappUnusual perspective on Manhattan Landscape seen through the eyes of the artist.

Familiar places and unknown neighborhoods beautifullycaptured in the illusive medium of watercolor.

Opening Reception for Manhattan WatercolorsAugust 14TH 3-6pm Gallery

Hours: Sat-Sun, 12-5pm, or by appointmentFront St., next to the corner market, Housatonic, MA

please call gallery 413-274-6607home 413-528-9546 cell 413-429-7141

“This is a place the artist loves, and wants us to get to know, even better than we already do.”

FRONT STREET GALLERYFront Street, Housatonic, MA

JULIE MCCARTHY PHOTOGRAPHER

from “THE HOME PROJECT”413. 298. 3370

[email protected] •WWW.JULIEWMCCARTHY.COM

WWW.ARTFULMIND.NET JULY 2010 ~ THEARTFULMIND • 1

3 elm street stockbridge, ma

413-298-3044 schantzgalleries.com

raven steals the moon19 x 9 x 6”

SCHANTZ GALLERIESc o n t e m p o r a r y g l a s s

“The Origin of Mosquitoesand other Tales”

The Art ofPreston Singletary

through July 20th

MICHAEL FILMUSView From Mt. Greylock, The Eastern Sky 12” x 24” Oil

413-528-5471 www.michaelfilmus.com

2 • THE ARTFUL MIND JULY 2010

RUTH KOLBERT

GALLERY ONE6 PILL HILL, HILLSDALE, NEW YORK

HISTORIC EDGEWOOD * BUILT IN 1855

��GALLERYONE��JUST NORTH OF TRAFFIC LIGHT ON ROUTE 22 HILLSDALE, NY

518. 325. 4825 [email protected]

SCULPTURE BYWALTER BOELKE NANCYWINTERS, GARDEN CHAIR WITH PANSY, W/C

Featured Artists••Walter Boelke ••Marjorie Echols•• Jorg Lanzrein •• Nancy Winters

� Outdoor sculptures on 5 acres of Trails� Sculpture, painting, photography, jewelry and ceramics

Reggie Madison Oil on Canvas 50” x 56”

Park Row Gallery

Light and AstigmatismPaintings by Roger Mason

June 11- July 31Artist reception Saturday July, 11 2010 4-6pm

2 Park Row Chatham, NY 12037518-392-4800

Parkrowgallery.com

Paintings of People often Life-size or largerThe Barn Series - continues

New LandscapesOil Paintings • Pastels

Work can be seen at the artistʼs studio413-229-0380

Inquire about commissioned portraits

MUSEUMS & GALLERIES

BERKSHIREART GALLERY80 Railroad St, Gt Barrington, MA • 528-2690www.berkshireartgallery.com19th and early 20th Century American & Europeanart and sculpture, contemporary artists

BERKSHIREART KITCHENCREATIVITY / CONNECTION / CHANGE400 Main St, Gt Barrington, MA• 413-717-0031 www.berkshireartkitchen.comThe Berkshire Art Kitchen is an artist-run social ex-periment committed to cooking up creativity, con-nection and change.Our vision is to create unique opportunities for per-sonal enrichment and positive social change throughmeaningful engagement in art, activism and advo-cacy. We invite you to join the experiment.BAK is open most weekends Friday - Sunday 12 - 5and by appointment or good fortune on any other day.

CARRIE HADDAD GALLERY622 Warren St, Hudson, NY • 518-828-1915Summer Group Show, July 8 - August 8, 2010:David Konigsberg, Joseph Maresca, Monica Mech-ling, Shawn Snow

OLD CHATHAM COUNTRY STORE CAFÉGALLERYVillage Square, Old Chatham New YorkRoger Mason – Day and Night. Featuring oil paint-ings of night- and day-time scenes of ColumbiaCounty and abroad by the internationally known artist. July 2 – 28.Gallery open Tuesday – Sunday from 7 a.m. – 4 p.m. (closing earlyJuly 4). Reception to meet the artist Sunday afternoon, July 11 from3 – 5 p.m. sharp.

CHURCH STREET ART GALLERY34 Church St, Lenox, MA • 637-9600Significant folk art pieces. Also works by David Eddy,Paul Graubard, Paul Jarvis and Larry Zingale.(Fri-Mon, 11am-4:30pm or by appointment)

CRIMI STUDIOLocated 2 miles from theAncram/Hudson exit of the Taconic StateParkway. • Viewing by appointment • 518-851-7904July exhibition of oil paintings at Gallery at B & G Wines, Hills-dale, NY. Paintings of rich color and form. Crimi studio in idyllicsetting.

DAVID DEW BRUNER DESIGN610 Warren St, Hudson, NY • 914-466-4857New paintings by David Roth. July 10th toAugust 10th. The open-ing will be held on Saturday July 10th from 6pm to 8 pm.(Gallery hours are Fri, Sat and Sun 11 to 5 or by appointment.)

DON MULLER GALLERY40 Main St, Northampton, MA • 586-1119Beautiful American crafts, jewelry and glass, more

FERRIN GALLERY437 North St, Pittsfield, [email protected] • 413-442-1622SUSAN MIKULA: American Vale: Recent PhotographsSolo exhibition of new work. Exhibition: June 26th throughAugust1st.

HIGH FALLS STUDIOSRoute 213 High Falls NY 12440 • [email protected]“Pastels, Past and Present” by Vincent Connelly, July 10, 2010 -September 30, Reception: Sunday July 11 th, 3pm -5pm

BRILLGALLERY243 Union Street, North Adams, MA • 413-664-4353Studio 109 - MIXED MEDIA Exhibition includes the abstractpaintings of Arthur Yanoff, saturated watercolors of Nava Grun-feld, photographs of Roy Volkmann, assembleages ofAbby Rieser,sculptures of Jon Isherwoodand Richard Harrington and others.June - August. Open Fridays - Sundays 12 - 6PM and by appoint-ment.

GLORIAMALCOLMARNOLD FINEARTUpstairs at 69 Church St, Lenox, MA • 637-2400Realistic art that never goes out of style, artwork that evokes themood and memories of yesterday. Rotating exhibitions of scratch-board by Lois I. Ryder and oils and watercolors by Gloria MalcolmArnold. Open year round.

HUDSON VALLEYARTS CENTER337 Warren St, Hudson, NY • 800-456-0507Regional and nationally-known artisans

JOHN DAVIS GALLERY362 1/2 Warren St., Hudson, New YorkRoberto Juarez : Summer Show: Oil Paintings

LAUREN CLARK FINEART402 Park St, Housatonic, MA • 274-1432www.LaurenClarkFineArt.com“And Now for Some Things Completely Different” NewWorks byRichard Britell, July 10-August 2. Reception for the Artist, Satur-day, July 10, 5-8pm. Fine art, contemporary craft, custom framing.(Business hours are Thursday-Monday, 11-5:30 and Sunday, 12-4)

MARGUERITE BRIDE STUDIOwww.margebride.comCustom House and Business Portraits, “Local Color”, watercolorscenes of the Berkshires, New England and Tuscany. Original wa-tercolors and Fine Art Reproductions. Visit website for exhibitschedule

MORGAN LEHMAN GALLERY24 Sharon Road/Rt. 41, Lakeville, CT • 860-435-0898Exposed: Photography Group Show, July 3 - 25. Reception: Satur-day, July 3, 5:00 - 7:00pm. (Gallery Hours: Friday through Sunday11am - 5pm or by appointment)

PAPER CITY PROJECT SPACE80 Race St., HolyokeJust down the road from Heritage Park and across the canal fromthe Canal Gallery, off Dwight Street."Pioneer Women & Wonderland". Over 40 talented artists fromNYC, the Berkshires and the Pioneer Valley. Opening receptionwill be Saturday, June 19th from 5 - 8 PM, there will be a specialperformance with Karen Dolmanisth as a "PioneerWoman inWon-derland" with some special guest performance with the Mad Hatterand White Rabbit. (Galleries will be open every Sat & Sun from 1- 4 pm until July 31.)

PARK ROWGALLERY2 Park Row, Chatham, NY • 518-392-4800Local Legend Roger Mason Exhibits Paintings at Park Row Gallery"Light and Astigmatism," a solo exhibition of oil paintings byRoger Mason will be on view at Park Row Gallery in Chatham, NYfrom June 11th - July 31st. Reception Saturday, July 10, 4pm-6pm,and the public is cordially invited to attend.

SCHANTZ GALLERIES3 Elm St, Stockbridge, MA • 413-298-3044www.schantzgalleries.com.Feature Exhibition Runs: May 20 – June 31, 2010:Continuingthrough July 30 “The Origin of Mosquitoes and Other Tales; theArt of Preston Singletary” features the most work ever in thegallery; “Timeless Vestiges:Artwork from theArchives ofWilliamMorris”; Continuing through August “Maestro Lino Tagliapietra”

;Beginning July 20 – September 20 “Chihulyin New England”. This location has been oneof the nation’s leading destinations for thoseseeking premier artists working in glass.Spring gallery hours are daily 11 - 5

STANMEYER GALLERY1286 Monterey Road (Route 23)• 413-854-3799John Stanmeyer, known for his numerousphotographs in Time magazine and NationalGeographic, is now exhibiting a retrospectiveof his work, shown in a newly opened gallerylocated in his studio in West Otis, Mass. Thepublic is invited to view the images on week-ends and holiday, or by appointment.

STUDIO21SOUTH189 Beaver St. (Route 8), North Adams(approx 1 mi from Mass MoCA)•413-652-2141 / [email protected] Places, June 25 -July 26, a groupshow featuring painterly interpretations ofeveryday scenes. Open Saturdays, 1-5, Sun-day, 10-1, and most weekdays and other timesby appointment or by chance.THE ECLIPSE MILLGALLERY243 Union Street, North Adams, MAAbstraction NOW, June 25 through July 18,2010. Opening Reception: Friday, June 25, 6to 8 PM. In addition to the exhibition, theEclipse Mill Gallery is presenting a series of

gallery talks about abstract painting, including: Ed Carson, Sunday,June 27, from 3 - 4 pm. Katharine Borkowski-Byrne, Sunday, July11, from 3 - 4 pm. Gallery hours for this show Saturday 12noon -5PM

THE LENOX GALLERYOF FINEART69 Church St, Lenox, MA • 413-637-2276Michael Filmus: Opening reception, Saturday, August 7, 1-5pm. Featuring artists such as Stephen Filmus along with many oth-ers including Paula Stern, Sculpture

WELLES GALLERYWelles Gallery, the Lenox Library,18 Main Street, Lenox, MA.Featuring two groups of watercolor paintings by Robert U. Taylorfrom June 5- August 14.

MUSIC, THEATREAND DANCE

ASTON MAGNAwww.astonmagna.orgTheAstonMagna Festival celebrates its 38th year with a tasty menuof 17th and 18th century music presented in the Hudson Valley andin the Berkshires (Bard College on Friday evenings at 8pm, andSimon’s Rock College on Saturday evenings at 6pm.

BACHAND FORTH426 Stockbridge Rd, rte 7, Gt Barrington, MA • 413-528-9277Fri, Aug 13, 8pm: Bach and Forth. Classical Music in a night clubsetting: dinner, dessert & performance by the American Contem-porary Music Ensemble: Bach’s Art of Fugue and Two World Pre-mieres

BERKSHIREART KITCHENCREATIVITY / CONNECTION / CHANGE400 Main St, Gt Barrington, MA • 413-717-0031 www.berk-shireartkitchen.comThe Listening Room Series will feature live performances and openjam sessions held on the First Friday of each month. The Open JamSession will allow members of the audience to join in and experi-ment with creating new sounds together – just remember to bringyour instruments!

TANGLEWOODLenox, MABoston Symphone Orchestra, July 9: Opening performance withMahler’s Symphony No. 2.

THE GYPSY JOYNT389 Stockbridge Rd. in Great Barrington, MA413-644-8811 www.yallsjoynt.comMondern Honky-Tonk Band, The Sweetback sisters in concert,Thurs. 7/15, 8pm, tix $15.

WWW.ARFULMIND.NET THE ARTFUL MIND JULY 2010 • 3

Core de Calla', Nicholas ContentaRecent photographs by Nicolas Contenta

Black and white prints shot in Italy, Spain, & Greece shown through September. 8:00 am - 2:30 pm dailyOpening Reception Saturday July 10th 5pm - 7pm

Caffe Pomo D'oro -The Train Station, 6, Depot Street, West Stockbridge, MA 01266 413 232 4616

SUMMER-TIME.2010. / CALENDAR

4 THE ARTFUL MIND JULY 2010

THE HEVREH ENSEMBLEORIGINALWORLD CHAMBER MUSICHevreh of Southern Berkshire, 270 State Road, Great Barrington,MA. Reservations: 413-528-6378http://hevrehensemble.com / [email protected] Thursday July 22 at 8 PM, Hevreh of Southern Berkshire willpresent a Gala Fundraiser Concert featuring The Hevreh Ensemble;a group that performs original World Chamber Music by groupmember and composer, Jeff Adler. The members of the ensembleare Jeff Adler- Composer, Bass Clarinet, Native American Flutes& Percussion; Judith Dansker- Oboe, Oboe D’amore, English Horn& Native American Flutes; Laurie Friedman- Clarinet, NativeAmerican Flutes and Percussion;AdamMorrison- Keyboard.Tick-ets: $15 in advance; $20 at door.

THE HEVREH ENSEMBLE- ORIGINALWORLD CHAM-BER MUSIC270 State Road in Great Barrington, MA• 413-528-6378July 22nd at 8:00 PM, Gala Fundraiser Concert featuring TheHevreh Ensemble; a group that performs original WorldChamber Music by group member and composer, Jeff Adler.

Tickets: $ 15.00 in Advance / $ 20 at door.

THE MUSEUMAT BETHELWOODSBethel, Rte 17, Exit 104, NY • bethelwoodscenter.orgThe Story of the ‘60s and Woodstock. Museum located at the siteof the 1969 Woodstock Festival.

WORKSHOPS & LECTURES

CHESTERWOOD4 Williamsville Rd (off Rte 183), Stockbridge. • 413-298-3579July 3, 10, 17, 24, and 31:Afternoon workshops and demonstrationswill be held every Saturday from 2 to 4 p.m. with the artists repre-sented in the exhibition Contemporary Sculpture at Chesterwood2010. Free with admission to the site; Aug. 7, 14, 21, and 28: Af-ternoon workshops and demonstrations will be held every Saturdayfrom 2 to 4 p.m. with the artists represented in the exhibition Con-temporary Sculpture at Chesterwood 2010. Free with admission tothe site.

EN PLEINAIR CLASSES :: DDFA518-828-2939 / www.ddfagallery.comJoin us at Hidden Pond on Tuesdays in July, Tues. July 6 & 20 –paint with HM Saffer, II, Tues. July 13 & 27 – draw with MajKalfus, 9:30am-4pm • $60 per session includes lunchFor more information or to reserve a space in one of the classes,call: Located in Mid-Columbia County, on a rise in a clearing sur-rounded by trees, Hidden Pond provides a serene environment in abeautiful rural setting just five short miles from Hudson, NY.

KATE KNAPP FRONT STREET GALLERYHousatonic, MA (next to the Corner Market)• 274-6607 www.kateknappartist.comSpring and Summer Classes at Front Street studio now open forregistration...Mon Wed Thurs. 9:30-1pm Landscape Class Thurs.Please call the studio/gallery for more info Calendar: June 19- July11 Studio Group Show, Recent Work. Berkshire landscapes, Por-traits and Still Lifes July 17-Sept 17. The Manhattan Landscapesby Kate Knapp.... Large watercolors of many different areas ofNYC This Gallery is also Kate Knapp's studio so there is always agreat deal of varied work to be seen. (gallery hrs: Sat & Sun 12-5,and by appt.)

LAURANORMAN REFLEXOLOGYStockbridge, MA • 413-854-2615 • www.lauranorman.com• [email protected] Introductory Foot, Hand, Ear, Face Reflexology WorkshopSat, Sun, Mon, August 28-30, 9am-6pmAll levels welcome. (24 NCBTMB CE Contact Hours Available).Experience a unique, guided, hands-on introduction to Foot, Hand,Ear and Face Reflexology. Learn powerful nurturing techniques thatreduce stress, increase your energy and enhance your health andwell being with the Laura Norman Method, including Laura Nor-man’s NEW Hand and Face Reflexology techniques and pressurepoints. Take your first step toward a new career in complementaryhealthcare or expand your current practice! Led by Master Instruc-tor Sande Rosen. Continue on to our 12-Day Foot, Hand, Ear Re-flexology Certification Training offered weekdays or weekends:Mon-Wed Sept 20-22, 27-29, Oct 18-20, 25-27 OR Fri-Sun Sept24-26, Oct 1-3, 8-10, 22-24; 4-Day Hand Reflexology Certification,Oct 4-7; 2-Day Face Reflexology Certification, Oct 12-13. Privatesessions by appointment.

PAULAGOTTLIEBSUMMER CLASSES andWORKSHOPS413-634-0066 [email protected] Painting – All Levels, Mon 1-3 pm ,July 12 - August 2at the Cummington studio; Also: at the Becket Arts Center,Becket MA, Thurs July 8 - August 26 1:15-4:15 pmhttp://www.becketartscenter.org/ 413-623-6635Watercolor Workshop/Retreat for Women: August 17, 18, 19,10am - 4pm, $325; Painting the Landscape on the Summit of Mt.Greylock Septr 18 10am-4pm, raindate Sept 19

SABINE VOLLMER VON FALKENPHOTOGRAPHYWORKSHOPS413-298-4933Sabine offers outdoor workshops for the advanced amateur photog-raphers in June. Sabine offers Magic Outdoor Workshops at Dawnand Dusk, September 25, October 3, 10, 17- sundays

SPECIAL EVENTSMUMBET DAYAugust 21, 2010The Ashley House, Ashley Falls, MAIn Collaboration with The Trustees of Reservations, Elizabeth Free-man Center, African American Heritage Trail & The MarketplaceCome celebrate Sheffield’s local Heroine, Elizabeth MUMBETFreeman. Mumbet’s Walk to Freedom, A Re-enactment with Co-authors Jana Laiz andAnn-Elizabeth Barnes of “AFREEWOMANONGOD’S EARTH” The True Story of Elizabeth “Mumbet” Free-man, The Slave Who Won Her Freedom to benefit The ElizabethFreeman Center

Deadline for calendar listings: JULY 15 for August

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WWW.ARTFULMIND.NET THE ARTFUL MIND JULY 2010 • 5

“Believing nothing. O monk, merely becuase youhave been told it.”-Siddharta Gautama

MICHAEL FILMUSIn the early morning, from the summit of Mt. Greylock, welook to the eastern sky. There, just over the horizon the firstrays of sunlight fan out striking white clouds and turning themto gold. As the sun rises the clouds disperse and our attentiondrifts down to the rolling hills of the Berkshires.Michael Filmus has painted the Berkshire landscape for manyyears. He has exhibited his work in one-man shows at the Berk-shire Museum in Pittsfield and at the Welles Gallery in Lenox.In New York he has been represented by Hirschl & Adler Gal-leries and David Findlay Jr., Fine Art. Filmus’ works are in nu-merous private and public collections including the Art Instituteof Chicago and the Butler Institute of American Art. Michael Filmus may be contacted in the Berkshires at 413-

528-5471 or through his website www.michaelfilmus.com

KAREN ANDREWSINNER VISION STUDIO

Inner Vision Studio is one the Berkshire’s few true artist-owned galleries offering a delightful range of photography, wa-tercolor, drawing and giclee prints by local artist KarenAndrews. Unlike commercial galleries, in which artists tends topeg themselves to a particular medium and style, Inner Visionexpresses the full range of one artist’s creativity, from MagicalRealist “Housatonic Hand-Painted” series, to her “FeminineViews of the Mechanical World” photographs to her deeplyspiritual landscape photography such as “The Enchanted ForestSeries”. A prolific watercolorist, landscape photographer and artist of

many moods, styles and mediums, Karen blends the contempo-rary with the traditional. She employs sophisticated composi-tions with surfaces that virtually sing and dance with color,gesture and movement. You will find award-winning photo-graphic prints which may appeal to the summer visitor wantinga remembrance of this beautiful and sacred land. Or you mayencounter some of her more recent experimental drawings, andbe invited in to experience her sometimes edgy creative process.Whatever the medium, whatever the style, Karen Andrews andInner Vision Studio will help you feel more alive!Inner Vision Studio - located just north of West Stockbridge

center, at Furnace Road, corner of Cone Hill Road, go 1 milenorth on Swamp Rd from West Sockbridge Center, take left atCone Hill Rd, 2nd left onto Furnace Rd. Look for colorful bluebuilding on the right. Galleryhours: open in the summer everySat and Sun, 1-5 pm, or by appoint-ment. 413-232-4027.

FRONT STREET GALLERY

During July at Front Street Gallery, see new work by Mar-ion Jansen, Richard Michaels, Jeannine Schoeffer, EleanorLord, Joan Guimmo, Steve Porcella, Marybeth Merritt, SueArkans., Roberta Haas, Iska Kenney, Carol Sue Donelan,Diana Felber, Doris Simon, and Nina Lipkowitz.June 19 - July 11 see beautiful landscapes, portraits and

still lifes in watercolor, oil, pastel andcollage.July 17- Sept 17 see “The Manhattan Watercolors” by Kate

Knapp…unusual perspective on Manhattan landscape... seenthrough the eyes of the artist. Familiar places and unknownneighborhoods beautifully captured in the illusive medium ofwatercolor. This is a place the artist loves, and wants us to getto know, even better than we already do.Opening reception for Manhattan Watercolors is August

14, 3 – 6 pm. Summer Classes at Front Street studio open for registration

– Monday, Wednesday, Thursday 9:30-1 pm. Landscapeclasses are held on Thursday. Call the studio/gallery for moreinformation. This is also Kate Knapp’s studio so there is al-ways a great deal of varied work to be seen. Front Street Gallery, Front St., Housatonic, MA - Gallery

Hours: Saturday and Sunday 12-5pm or by appointment; callgallery at 413-274-6607, home at 413-528-9546, or cell at413-429-7141.

VIEW FROM MT. GREYLOCK, THE EASTERN SKY, 12 X 24”, OIL

PRAYER BOWL

KATE KNAPP, NYC 32 EAST VILLAGE SNOW, WC, 22 X 30”

6 THE ARTFUL MIND JULY 2010 WWW.ARTFULMIND.NET

JAMES AUGUST WEBERPROFESSIONAL WOODWORKERWWW.BERKSHIRECONTRACTOR.COM

James August Weber, a professional woodworker since 1976,has had an eclectic variety of experience. Boat building, siloconstruction, gazebos, decks, porches, barns sheds, as well asdozens of custom homes and structure renovation, you name itand Weber has probably done it.

Teaching Furniture Design and Building in Poughkeepsie,New York led Weber to open a successful shop and retail galleryon Martha’s Vineyard which he operated from 1979 until mov-ing to the Berkshires in 1986. Working on the Vineyard alsoprovided an opportunity to work on the interior of many finesailing vessels.In the Berkshires, Jim learned the craft of the Timber framer,

building post and beam homes and log timber homes, as well ascommon methods of “stick framing”, while applying the skill ofthe fine woodworker artisan.“Our current undertaking is a custom home on Blunt Road

in Egremont, MA. It was designed in our office, and is sched-uled for completion this summer. Please contact me to have alook around. I love to talk shop!”You may have seen Weber as “the guy with the whistle” that

leads the Berkshire Bateria Samba drummers, but he also leadshis crew of experienced artisan builders.

Through the J.W. Construction, Webber has been offeringhis General Contracting and carpentry services in the Berkshiresfor over 20 years.

J.W. Construction: James Weber: 413-528-6575, website:www.berkshirecontractor.com

IS183Water-Colorist, Mel StabinKimberly Rawson 9

Roger Mason, ArtistStephanie Campbell 14

Planet Waves AstrologyEric Francis 18

Bob Crimi, ArtistHarryet Candee

22

Greater Backfish RoundupBob Balogh 26

Architecture & ArcadiaStephen Dietemann 27

PUBLISHER Harryet Candee COPY EDITOR Marguerite Bride

PROOFREADER: Rae A. Eastman & Deborah Davis ADVERTISING AND LAYOUT DESIGN

Harryet Candee CONTRIBUTING WRITERS AND MONTHLY COLUMNISTSBob Balogh, Harryet Candee, Stephen Gerard Dietemann,

Eric Francis, Nanci Race, Kimberly Rawson

PHOTOGRAPHERSThaddeus Kubis, Julie McCarthy Sabine Vollmer von Falken

DISTRIBUTIONR. Dadook, John Cardillo

120 PIXLEY ROAD, GREAT BARRINGTON, MA 01230 [email protected]

413-528-5628 Deadline for the AUGUST issue is JULY 15, 2010FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all

graphics including text material. Copyright laws for photographers and writersthroughout The Artful Mind. Permission to reprint is required in all instances

The Artful Mind • July 2010

Sue MacVeety, Author and Artistphotographed by Julie McCarthy

Our Art....Our way

www.artfulmind.netNo matter what goes on in our life,

we will always have our Art to keep us going.

THE ARTFUL MIND

CARRIE HADDAD GALLERYSUMMER GROUP SHOW

An exhibition of new works by David Konigsberg, JosephMaresca, Monica Mechling and Shawn Snow comprising theSummer Group Show will take place at the Carrie HaddadGallery. The exhibit runs from Thursday July 8 to Sunday, Au-gust 8 with a reception for the artists on Saturday, July 10 from6 – 8 pm. The public is invited to attend.

David Konigsberg is a conceptual realist. For this exhibithe offers two distinct views: very large paintings noting thesmall details of daily life, and small paintings of the big dra-matic Hudson Valley farming landscape. In the still life paint-ing “Ebenezer Whites”, a bunch of harvested white onions ona platter, a kitchen knife and a patterned tablecloth are seen fromthe cook’s viewpoint, a familiar little moment in the kitchen.The opposite play of unexpected scale occurs in “Across Route9”, a small landscape depicting a very low horizon line withfurrowed fields, and a big sky of fluffy, hovering clouds. Thefinishing glaze gives these oil paintings on panel a wash of lightand depth. This is David Konigsberg’s fourth exhibit at thegallery. He divides his time between Brooklyn and Ghent, NYand will be donating a percentage of his proceeds to the Colum-bia Land Conservancy.Joseph Maresca returns to the gallery after his recent exhibit

of exquisitely detailed film scene interiors. Like Konigsberg, heeasily transitions between very small and very large canvases,by reversing the scale and painting large, almost Fauvist, land-scapes. He paints these new works with bold, diagonal slashesof color and refers to the process as “the idea of sewing, ofweaving colors together”. The paintings are a textured, pris-matic latticework that leads the eye into the wetlands andforests, the view lines along the Hudson River. The large scalepainting “Sunshower” weaves light and vivid colors in a waythat feels saturated and brilliant, like a summer day after the

rain. Joseph Maresca has had a long career in the both the dec-

orative and fine arts and lives in Rhinecliff, NY with a viewof the Hudson River from his studio.With her love of classical sculpture, Monica Mechling

creates an elegant feminine world out of clay. For this newseries of gunmetal grey figures with wrapped torsos and“false faces”, the medium is a type of resin clay that sculptsbeautifully. Mechling states, “The clay guides me as muchas I guide the clay”. The “Kabuki-like” serene heads havebeen blackened with graphite which is suspended in anacrylic medium, painted on, fired, and then burnished.Mechling’s figures are disarmingly beautiful and struggleto free themselves from society’s expectations. MonicaMechling lives and works in Hudson, NY.

Shawn Snow’s abstract paintings draw the eye into hisworld of erosion, rust, detritus and decay. “Using oil stick,encaustic, and various resins, oils and glues”, says Snow,“develop resonant surfaces both visual and tactile”. Thecanvases are transformed into planes of oxidizing metals, orweathered slabs of stone. Again the eye sees somethingother than the paint on canvas, something older, deeper,more ephemeral, a depiction of lost time in the weatheredtones of the natural world. Shawn Snow has exhibited withCarrie Haddad for fifteen years and lives in Troy, NY.

Carrie Haddad Gallery, 622 Warren Street, Hudson,NY. The gallery is open from 11-5 daily during the sum-mer. For directions or more information call the gallery at518-828-1915 or online at www.carriehaddadgallery.com

DAVID KONIGSBERG,ROAD TO SPENCERTOWNMIXED MEDIA ON PANEL, 16.5 X 18

JULY 2010 WWW.ARTFULMIND.NET THE ARTFUL MIND • 7

JULIANNE D. BRESCIANIGARDEN PHOTOGRAPHY

Alford resident and avid gardener, Julianne D. Bresciani, hascombined her love of flowers, gardening, and yoga into a med-itative art form of garden photography. While she claims to haveknown nothing about gardening when she first began her gardenjourney, a friend describes her as “a mid life flower child”.

Most, if not all of the flowers that she photographs comefrom Julianne’s garden. They have been planted in seed and rootand bulb form and tended to by the artist herself. Ms. Brescianistates that her garden has seen her through many seasons of herlife and has fed her soul on a very deep level. She is happiestworking in her garden!Her love for flowers became a passion. Ordering her seeds

in January, planting seedlings, planting the garden, tending tothem in the early morning hours or the late evening hours andenjoying enormous bounty with and from them whether insidethe garden or not. Her photographs invite the viewer to betouched by the generosity of nature and signs most of her work“from the heart of my garden, to the garden of your heart”. Ms. Bresciani’s background was in fashion and merchandis-

ing with degrees from Marymount College, Arlington, Virginiain 1968 and The Tobe Coburn School for Fashion in New York.She later went on to complete studies for social work and has amasters degree from New York University in Social Work. Ms.Bresciani has a private physcotherapy practice in New Yorkwhere she continues to work with people on a part time basis.She divides her time between New York and the Berkshires. Julianne has shown her work at Coppertops, The Lifebridge

Sanctuary, and The Capitol Arts Network; also at the BerkshiresArts Festival in 2008 and The Lenox Garden Club tour thatsame year. Her work was at the One of a Kind Gift Show & Salein New York this past winter and can be seen in the windows ofGuido’s this May and June. She will be exhibiting at the Dou-glas Flackman Gallery of Fine Art in Great Barrington this July.Her work includes plexi mounted pieces as well as fine artpieces, cards, calendars, and custom contemporary wedding in-vitations.Julianne Bresciani - www.julianneb.com. Seen by appoint-

ment. The artist can be reached at 413-528-3720 or 212-752-3344.

LAUREN CLARK FINE ARTNEW WORKS BYRICHARD BRITELL

Lauren Clark Fine Art presents “And Now for Some ThingsCompletely Different”, from architecture to animals, fromminiatures to the life sized figure, an exhibit that revisits all ofthe subject matter of R. P. Britell’s long and complicated career.A Statement from the Artist:

A one person show almost always consists of a group ofworks that are related in terms of style, size and content. WhenI taught painting in college I would sometimes say to my stu-dents, “Since you will want to have a one person show, try toimagine what your show might look like. Picture a room full ofyour paintings, would they be large, or would they be small,would they be full of saturated color, or would they be mono-chrome? Would they be landscapes, or still life, figure or ab-straction? Would they he hard edged, or soft and blended?Would they be cheerful and optimistic, or full of dread?”When Lauren Clark invited me to do a one person show with

her for July, I had to put this question to myself, and this was myanswer. I wanted my show to consist of pictures that were largeand pictures that were small. I wanted some to be cheerful, andsome to be full of dread. I wanted to have figures, landscapes,and still lifes. I wanted pictures that were full of color, andpieces that were monochrome. If there were going to be figuresI wanted some to be beautiful and some to be ugly. I did however have some criterion in mind, when choosing

individual pieces. My first rule of thumb is to ask myself whata certain picture might symbolize, or signify. If I can answerthis question then I do not do that image. If I have no idea at allwhy I want to do a work, but, nevertheless very much want todo it, then I know that image is to be part of my exhibition. So,here is a set of works, tied together by only one criteria, whichis that I do not know why I did them.“And Now for Some Things Completely Different”, July 10-

August 2. Reception for the Artist, Saturday, July 10, 5-8pm.Lauren Clark Fine Art is located at 402 Park Street (Route 183)in Housatonic, Massachusetts. Business hours are Thursdaythrough Monday from 11:00 until 5:30 and on Sunday fromNoon until 4:00. For more information call 413.274.1432, orvisit the website at www.LaurenClarkFineArt.com

NEUMANN ART ANDTHE SOCIETY FOR COMMERCIAL

ARCHEOLOGYThe Society for Commercial Archeology is a national or-

ganization devoted to the buildings, artifacts, structures,signs, and symbols of the 20th-century commercial landscape.The purpose of the Society is to recognize the unique histori-cal significance of the 20th-century commercial built environ-ment and cultural landscapes of North America. The SCAoffers publications, conferences, and tours to help preserve,document, and celebrate diners, highways, gas stations, drive-in theaters, bus stations, tourist courts, neon signs, and a lotmore: www.sca-roadside.org . The following is reprintedwith permission from an article by Douglas Towne in theSpring 2010 edition of the SCA Journal.

While most SCA members battle the blight of big box re-tail outlets with a digital camera, Jeffrey L. Neumann uses atool from an earlier era. Skilled with a paintbrush using eitheroils or watercolors, Neumann executes his paintings of postWorld War II architectural vernacular to, as he notes, “provideopportunities for our youth to experience the rich tapestry of20th Century roadside America through preservation and edu-cation.”…

Examining the weathered clapboards of Neumann’s “TheLobster Pot,” one can almost get a whiff of the salt air and vi-sualize the little tin containing melted butter that will be sit-ting on the dinner plate next to the steaming crustacean.

Neumann’s nocturnal renderings of establishments likethe Tic Toc Lounge powerfully convey the beauty of theneon-lit façade yet capture the slight hesitation that invariablystrikes us when we think about walking through the entranceof an unfamiliar place at night. It’s a little rush of adrenalinethat I can’t seem to get when opening the door of a corporatechain.

Jeffrey L. Neumann’s studio and gallery is at 65 ColdwaterSt., Hillsdale, NY. Open Tuesday – Saturday 10 - 4 and by ap-pointment. 413-246-5776, www.neumannfineart.com

JEFFREY NEUMANN

RICHARD BRITELL, MANHATTAN BRIDGE (DETAIL), SCOTTY (DETAIL),AND SOUTH OF FRANCE (DETAIL)

JULIANNE D. BRESCIANI,PHOTOGRAPH BY SABINE VOLLMER VON FALKEN


AARDENBURG IMAGING & ARCHIVES

Aardenburg Imaging & Archives, founded in 2007, is locatedin the historic Hyde House in Lee, MA. AaI&A primarily con-ducts research and real-world aging studies on the permanenceof digital print media in collaboration with photographers andprintmakers around the world. Photography and printmakinghas been a passion of AaI&A’s director, Mark H. McCormick-Goodhart, for over 40 years. Mark is a materials scientist, andhe was formerly the senior research photographic scientist forthe Smithsonian Institution in Washington DC from 1988-1998before returning to the private sector to continue preservationresearch on digital imaging technologies.“My family moved to Lee in 2007. The Berkshire Mountains

are breathtaking, and there is clearly a vibrant community forboth the performing and the visual arts”. Although much ofMark’s work is scientific in nature, Mark is also an avid photog-rapher and printmaker. In 1996, Mark co-founded Old TownEditions with partner, Chris Foley, in Alexandria, Virginia. “Ilearned digital fine art printing in its early and formative stageswith IRIS 3047 printers and the emergence of Giclée printingfor artists. Collaborating directly in the digital printmakingprocess with other artists has made me a better photographerand printmaker. To my surprise, it has also made me a betterscientist”. Because the research at AaI&A encompasses state-of-the-art

digital printing technologies, the company maintains a smallprint studio with modern wide-format inkjet printers. Theseprinters need to be used frequently in order to keep runningsmoothly. In order to accomplish this objective Mark has re-cently decided to offer the excess capacity of these amazingprinters at reasonable rates to local artists wishing to create dig-itally mastered prints, paintings, and photographs. If you are aphotographer or an artist looking for digital print output of thehighest quality and/or want to learn digital imaging and printingfrom an expert, please contact Mark.

Aardenburg Imaging & Archives, Hyde House, Lee, MA.413-243-4181, www.aardenburg-imaging.com

BERKSHIRE DIGITALEntering its fifth year of business, Berkshire Digital is an

art service that offers very high quality digital photography ofpaintings as well as Giclée printing on archival papers andcanvas. Artists & photographers use BD to create limited edi-tions of their images. Private collectors and galleries use BDto document their collections. Whether the photography needsare for archiving, printing or internet use, BD adheres to verystrict color controls along with delivering stunning detail byusing a large format camera with a Better Light™ digitalscanning back for photography and Canon™ printers usingarchival pigmented inks for prints.In addition to the photography and printing services, Berk-

shire Digital also offers graphic design, enabling clients tocreate show announcements, post cards and brochures. Thewebsite has a complete overview along with prices.Owner, Fred Collins, has been a commercial photographer

for 30 years with studios in Boston and Stamford. Fifteenyears ago, he began working with the software manipulationprogram Photoshop™ and gradually added extensive retouch-ing capabilities to help with his client’s needs. His wife Alisonowns The Iris Gallery, located in Great Barrington & Boston.

Berkshire Digital, Mt Washington, MA, (413) 644-9663,www.BerkshireDigital.com

THE ART CONSERVANCYThe Art Conservancy is a full service studio specializing in

the preservation and restoration of oil paintings. Whether oncanvas or solid supports, The Art Conservancy has over thirtyyears of experience in repairing the damage and deteriorationwrought by accident or the natural progression of age. We workto first address issues of stabilization and structural repair, suchas tears and rips in the canvas, split or cracked damage to solidsupports, and chipped, tented or flaking to the paint layer. Sec-ondly, we carefully remove any layers of surface contaminantsand discolored varnishes. Each work of art requires optimalrestoration for maintaining historic and esthetic value. Our ex-pertise is the execution of optimal and appropriate restoration.

The Art Conservancy has received commissions from nu-merous museums, art galleries, historical societies, and privatecollectors for preserving their most treasured art. If your art isin need of assistance, The Art Conservancy can help. We adhereto the professional standard and practices of the American In-stitute of Conservation. We offer museum quality work, afford-able pricing and individual service.In addition to our work with paintings, The Art Conservancy

also offers assistance in the preservation of works on paper,such as prints, lithographs, etchings and watercolor, and the re-pair of three dimensional objects of art, from antique fishinglures, to painted furniture.Owner and lead conservator, Craig Kay, has over thirty years

experience as a painting conservator, having owned and run stu-dios in Westport CT, Kauai HI, Nantucket MA, and now in theBerkshires. All consultations are free of charge.The Art Conservancy, 130 North Egremont Rd. Alford, MA,

01230. 413-528-2452, [email protected]

TYPICALLY DAMAGED PAINTING

Summer Group ShowDavid Konigsberg �� Monica Mechling

�� Joseph Maresca �� Shawn Snow July 8 Through July 5

Reception for the artists on Saturday, July 10 from 6 – 8 pm. The public is invited to attend.

� Carrie Haddad Gallery �

622 Warren Street, Hudson, NY. Hours: open daily 11 a.m. - 5p.m Thursday through Monday

518-828-7655 www.carriehaddadgallery.com

Joseph Maresca, Marsh Fall, 48 x 60 inches oil on canvas

JULY 2010 THE ARTFUL MIND • 9

IS183 ART SCHOOL OF THE BERKSHIRES

By Kimberly RawsonThose of us who piled in to Pittsfield’s East Coast Refinishing

facility in March for IS183’s Radioactive Bodega, the artschool’s annual fundraising gala, won’t soon forget the sheerenormity of the industrial space where the party was held. Thatnight it was fantastically decorated and filled with hundreds ofcostumed partygoers bedecked in creative interpretations of apost apocalyptic world, one more over-the-top than the next,pulsing dance music by DJ BFG and writhing go-go dancerssuspended in cages. Recently I returned there to meet with MarkHanford of the artists’ collaborative Group W to learn moreabout him, Group W, and the upcoming IS183 welding work-shop he’ll be teaching at East Coast Refinishing this summer.By day, the place is all business and seems even more enor-

mous than I remembered. In fact, the 28,000-square-foot build-ing truly is massive, with walls as high as 300 feet. A gargoylewith sinister, glittering eyes crouches on the roof, observing myarrival. As Hanford had previously instructed, I enter through aside door adorned with a memorial wreath of plastic flowers anda ribbon stating “Our Hero.” I tentatively step inside, wheremusic is blasting from a powerful stereo system, and allow myeyes to adjust to the dark, cavernous space. Hanford approacheswith a warm smile, shakes my hand, offers me a beer, and asmysteriously as he appeared he’s gone, fading into the shadowsof the building’s interior gloom.While I wait, I take in my vast surroundings. There are work

spaces lit by pools of stark industrial lighting. Men are workingon a motorcycle in an 800-square-foot paint booth. A pile of im-possibly dense and heavy steel panels is neatly stacked by door,destined, I later learn, for use on armored vehicles. In one cornerlarge urns and iron gates that probably once graced a gilded-ageBerkshire cottage await a much-needed East Coast facelift. A1957 Thunderbird is casually parked to one side, soon to be re-stored to its former glory days. And there are these amazing mu-rals on the walls. One is by Jay Tobin, a 10 by 20 foot frescocalled “Nightshift”, which has been compared to the work ofEllsworth Kelly. On an adjacent wall is the mural entitled“Labor Days,” a moving testimonial to the workers who builtPittsfield, by FX Tobin.In 1999, the late Pete Melle, his wife, Claudia, and their son,

Ben, purchased this formerly vacant building, where in dayspast Lipton Energy had fabricated huge steel holding tanks, andestablished East Coast Refinishing to refurbish gigantic indus-trial equipment as well as large metal art objects. (The refinish-ing business now includes welding, cabinetry and strippingenterprises.) Several years later, Pete, a patron of the arts, of-fered the space to a group of artists that included his brother,Mike, for the construction of a theatrical set. Seeing the positiveinteraction between the after-hours artists and East Coast’sworkforce and the harmonious effects of artwork in the workenvironment, East Coast invited the group of artists to use thefacility as a group workspace and thus Group W was formed.The group, which have been meeting there on Wednesday nightssince 2005, was coined “Group W” by Hanford as an umbrellaterm for Welding on Wednesday, when he began teaching hisfellow artist the skills needed for “Industrial Strength Art.” The

five founding members of Group W are Mark Hanford, MikeMelle, Bill Tobin, FX Tobin and Jay Tobin, plus visiting artistsLarry Carroll, Mike Clary, Jerid Hohn, Nicole Peskin and JesseTobin.

The Group W core members are lifelong residents ofBerkshire County who, forty years ago as art students, becamecommitted to aesthetic exploration and free expression. Much oftheir work continues to reflect a sense of brash and often brazenexperimentation. They have singly and collectively shown ingalleries in the Berkshires, Baltimore, and Los Angeles,frequently collaborate on theatrical constructions, and assisteach other in the craft and assemblage of larger pieces. In theirown words, “Group W is an art collaborative founded on theprinciples of artistic exploration, media experimentation andcommitment to form.”Hanford returns with our cans of beer and I am immediately

charmed by his sincerity, brevity, sense of humor and dedicationto his art. “I come here to relax after a stressful day. I can bangon a piece of steel and decompress. Sculpture is my alter-egoand it’s apart from what I do for a living. I can make ‘it’ workfor ‘me’,” he laughs. Each of the Group W artists has a day joband Hanford’s is as field services engineering manager forGL&V, an international manufacturer for pulp and paper makingmachinery. His work takes him around the world, erecting fac-tories in places like Indonesia, Korea, China, India, Ecuador,Spain, South America, Russia and Canada. He’s also a volunteerfireman for the town of Becket, where he lives with his wife of37 years, Theresa. They devote most of their time to their fourlovely grandchildren, he says proudly.“As a kid I never had time for art, though I did make some

sculpture in the 1970s. My introduction to metalwork was in theNavy in the late 1960s, when I started welding. I was a welderat Beloit Jones, where I also taught welding classes and was asupervisor until 1985, when I went into field service. And then,between work and family life, I didn’t have time for art either,but now Billy, Jay and Mike [members of Group W] can helpme with something I dropped years ago,” Hanford says.

In 2005, Hanford showed his first work of art, “Air andWater,” composed of I-beams, welded steel tanks and flowingwater, in Group W’s debut exhibition at East Coast Refinishingwhich was attended by about one-thousand people. It’s still hisfavorite piece to date, partly because it was fun to build, andhe’s proud of the fact that all the tanks, old fire extinguishers,came from the fire department. Hanford’s sculpture is mascu-line, kinetic, and often has a humorous or sardonic subtext. Hisworks include “Anti-tank 1” and “Anti-tank 2” (his first sculp-tures, influenced by his time in the Navy), the four-foot-tall“Black and Blue”, “Arterial Bleed”, and a current work, “AmberWaves”, a composition of wheat-like metal spikes that, whenmoving, make musical, brushing sounds, reminiscent of a wheatfield in the breeze, if the grain was made of metal. In the pastthree years he’s created six sculptures, more, he says, than he’smade in his entire life. Nearing retirement now, this is what hewants to do going forward: art and metal.Hanford has sold a number of his works, including a sculp-

ture of an unlikely pairing, “Gator with Poodle,” which now re-

sides with a couple from Boston. When asked to describe hismethodology, Hanford says, “I’m a welder who prefers to workwith steel sculpture. My favorite materials are mild steel andstainless steel and I particularly like to make kinetic sculpture.My work is strong, rooted in technique. I am most interested inthe technique. I like to illustrate the art through craft.“What I like most about working in this medium is the way

steel forms. I can turn it into something totally different. My artisn’t ‘in your face’ art. It’s kinetic and fun. The biggest challengefor me has been to learn composition. It’s a constant battle butI get a lot of help from the Group W guys who guide me in form,color and composition. I don’t have a formal art education soGroup W has been a school for me. It’s not a four-year-school,but it’s my school. You start hanging around artists and you startto act like them and see the way they see. As an engineer I haveto work with a blueprint and follow certain dimensions but as anartist I can work more intuitively,” Hanford notes.

He finds inspiration in diverse places. “I see structures,bridges, buildings and monuments that I like and I to try to du-plicate them in a sculpture form—even a section of a highwaybridge is an inspiration to me because I can see it turned aroundand painted. Many of my ideas come from things I’ve seenaround the world, especially in the Indonesian islands, such asstone carvings of deities and rice paddies.”

As we chat, another member of Group W arrives. MikeMelle, by day a mail carrier in Richmond, is an artist who cre-ates marble sculptures, paintings, and wood, wire and straw fig-ures. Melle confides that “Mark is the heart and soul of GroupW. He makes things happen and keeps us sane.” Hanford is mar-ried to Melle’s sister. “We’re stuck together,” Melle laughs. Iget the sense that East Coast Refinishing turns into a giant club-house on Wednesday nights, as both a hangout and a haven forGroup W artists. “The Group W guys are all pals who go backforty years, through good times and bad. Art has been in ourlives constantly. The fact that my brother Pete let us use thisspace was a turning point. We finally had a place to makethings,” Melle notes. Pete Melle passed away earlier this yearand clearly his presence is deeply missed by the Group W con-sortium, which is in the early stages of planning an exhibition inhis honor, tentatively slated for next spring.

Figuring the guys would probably like to get back to theirprojects, I ask one last question about Hanford’s advice for asculptor just starting out. “Whether you’re 18 or 80, my adviceis to do as much as you can as quickly as you can. If you havean idea, build it. It’s not going to get built if you don’t just jumpin,” he says. At IS183 Art School’s Introduction to WeldingClass, which Hanford is co-teaching with Group W’s Bill Tobin,a retired teacher, it’s evident to me that aspiring welders willhave the opportunity to learn with a master. There’s a good rea-son his Group W buddies call him “the resident wizard ofmolten metal.” I take my leave and pass again by the crouchinggargoyle, which now seems much less scary.

IS183 Art School’s Workshop “Introduction to Welding” withMark Hanford and Bill Tobin will be held July 28 to August 18,in four consecutive Wednesday night sessions, from 6 to 9 p.m.,at East Coast Refinishing, 4 Industrial Drive, Pittsfield. The tu-ition is $200, plus a $122 materials and equipment fee. This be-ginner’s workshop introduces students to oxyacetylene cuttingand plasma cutting, stick welding basics, and automatic welding(wire feed) practices. The class will be led through health andsafety instruction and will practice the basic techniques on scrapmetal (provided) and will then work on a practice project of theirown. Students must be at least 18 years of age, wear work boots,long sleeve cotton shirts and denim long pants. Safety glasses,ear plugs, and welding gloves will be provided. The course islimited to a maximum of six students.For more information and to register for the workshop call

413-298-5252, e-mail [email protected] or visit IS183 Art Schoolonline at www.is183.orgIS183 Art School encourages people of all ages, means, and

skill levels to enrich their lives through hands-on experience inthe visual arts, with year-round programs in ceramics, painting,drawing, photography, fiber arts, sculpture, and mixed media.

Located half-way between Great Barrington and Pittsfield at13 Willard Hill Road in Interlaken (a village of Stockbridge),IS183 offers weekend workshops for adults; Young Artist pro-grams during school vacations and in the summer; birthdayparties; custom classes; and private lessons. Classes are heldduring the daytime, evenings and weekends, for all levels fromabsolute beginners to professional artists. Needs-based scholar-ships and work-exchange opportunities are available.

Kimberly Rawson is a writer, editor and communicationsstrategist who lives in Pittsfield, Mass. �

MARK HANFORDWizard of Molten Metal

10 • THE ARTFUL MIND JULY 2010 WWW.ARTFULMIND.NET

Harryet Candee: Richard, you have a very impressiveresume in music. Lutenist, guitarist, artistic director, pro-fessor, lecturer, accompanist… how do you mesh them to-gether?Richard Savino: My, when you list them as such - it does seemlike quite a lot…and you seem to have missed being a singlefather to a 7-year-old, a very active girl! But, kidding aside, allof these activities overlap into an integrated artistic/musical life.Obviously, when one has this many diverse activities, life has tobe managed and compartmentalized. I only wish that I could doall of them at once!The one thing someone who might be reading this needs to

understand is that many of my academic pursuits and areas ofresearch overlap, as do my activities as a soloist and accompa-nist.

Tell me about your growing years and learning to appre-ciate music.RS: I like to say, I grew up in a Martin Scorsese movie….alarge, all-Southern Italian family (initially Brooklyn/Little Italybased) who moved to another all Italian neighborhood on thesouth shore of Long Island…. I had quite an intense youth. MyItalian ties are still quite strong and I have dual US/Italian citi-zenship.But my immediately familial environment was very musical.

Four of my siblings are, or have been, professional musicians atone time in their lives.

I initially started on trumpet, but then on February 9th 1964,at the ripe age of 8, my world changed. I saw the Beatles on theEd Sullivan show and the next day I put the trumpet in it’s caseforever. Now, don’t get me wrong - I loved the trumpet. My fa-ther played a bit and I loved Louis Armstrong, Al Hirt (I was abit too young for Miles at that time) but I wasn’t exactly a“marching band” kind of guy, which is what the school pushedon me. (Ask anyone who knows me, this condition still persiststo this day…).

I loved the guitar for many reasons other than the obviousone (note the screaming girls who followed the Beatles). It is aninstrument of intense beauty and warmth. It can play melody,harmony, solos, it can accompany, and it is portable.

Throughout junior and senior high school I played lots ofelectric & quasi-folk guitar. By the age of seventeen I cameunder the influence of Frank Zappa, John McLaughlin andRobert Fripp, to this day, three of my favorite guitarists. Duringthis time, I was also composing quite a bit, and put together agroup to play my own compositions. During summer 1974 wehad the chance to perform a few times at the legendary club theBitter End on Bleeker St. in Greenich Village (up the block fromwhere my mother was born) opening for the group Fred (aunique jazz-fusion group that I still revere…). For an 18-year-old, this was a great experience.

After that, I went to study music at SUNY Stony Brookwhere I was introduced to an incredible group of musicians. Atthat time the faculty consisted of Charles Rosen, Gilbert Kalish,the Beaux Arts Trio, and so many others. But the person whomost influenced my development was classical guitarist JerryWillard.Jerry was the perfect teacher for me. In addition to playing

the conventional classical guitar repertoire he could also playpiano works by Gershwin, Joplin and Mozart. He is also theperson who introduced me to two of the most important com-posers for the lute: John Dowland and Francesco Da Milano.He let me follow my own path, something that many teachersdon’t tolerate. This allowed me to find my own voice. I then went on to study with numerous other great teachers

such as Oscar Ghiglia, Eliot Fisk and eventually had a few pri-vate and master-class lessons with the great Andres Segovia.Now during this time I also began my own individual study

of period plucked instruments like the lute, theorbo, baroqueand early 19th century guitars, which have more or less becomemy primary instruments (although I still adore the traditional

Spanish classical guitar.)In the late 70’s and early 80’s, if you studied these kinds of

period instruments you were expected to reject the modern clas-sical guitar and cut off your right hand fingernails. There was akind of dogma associated with the movement that didn’t meshwith my personality. I also knew from my own research that“performance practice” in my area was not so rigid.So, again, I essentially followed my own path and took some

lessons with harpsichordist Albert Fuller and violinist JaapSchroeder, both of whom I met through Aston Magna!

Were you giving concerts at an early age? RS: Not classical concerts, but I played in pop, fusion and folkbands.

Do you ever get stage fright performing in front of alarge audience?RS: It depends on how you define stage fright. Am I excited?Absolutely. A bit nervous? Of course. But I try to redirect muchof this into my lust for making music.

I am wondering about your lectures. Please tell me someof the topics you speak about, and what have been some fas-cinating facts you have explored and talked about.RS: With regard to my lectures (as well as programming) I lovethe idea of an interdisciplinary perspective and have been highlyinfluenced by Albert Fuller and Charles Rosen: two very dif-ferent people, but two remarkable musicians.The topics tend to gravitate toward my logical interests: gui-

tar and lute studies, Spanish & Latin American music from the17th – 19th centuries and Italian women artists and composersfrom the 17th century.

As a professor, what are your strengths that you find helpyour students with their music studies?RS: First, I’m not a coddler, I am very direct, very New York.Not mean, but I do not subscribe to this newer concept thateveryone is special. Not everyone is brilliant and not everyoneis cut out to play concertos, solo recitals, or accompany. I doinject my teaching with a lot of humor and content (be it acourse, individual instruction or a coaching). But within this“methodology” I try to ascertain what it is that the particularstudent has to offer and communicate to them that they mustpursue this with passion and commitment.

RichardSavino

Musician

Interview by Harryet CandeeImages provided by Robert Savino and Aston Magna

St. Cecila

JULY 2010 ARTFULMIND.NET THE ARTFUL MIND • 11

I also tell them to not follow this path unless they cannot livewithout it and to be prepared to live as a true Bohemian. “Becareful what you ask for, you might actually get it” is a commonritornello in my teaching.A lot of people have a romanticized vision of what it is to be anartist or a musician. While it is a richly rewarding life, it canalso be quite demanding. We are not civilians, we have oddhours, work on the weekends, we have to practice, etc…

I think you are a music-scientist. Do you think there is a con-nection between music and science?LOL…well maybe a mad scientist… Of course there is a closeconnection between the two. Galileo’s father and brother wereboth professional musicians, as was Da Vinci. There are manyother examples, but I wouldn’t put myself into this category.The first thing I did with my chemistry set as a kid was to makegunpowder and proceed to blow up my father’s picnic furniture.Needless to say, he wasn’t amused.

Do you compose music? RS: Many of the Spanish and Latin American pieces that Irecord and perform are preserved in manuscript fragments. Asa result I have to reconstruct a bit of this music.I also get to improvise when playing continuo.

Which one of your teachers made the most impact on yourenlightenment in music, and why?RS: The founder of Aston Magna, Albert Fuller. He had animagination that was remarkable. He saw connections betweenart, literature, social sciences and music that stimulated mygrowth as an artist and musician.

Is coming to the Berkshires again this summer exciting foryou? What makes this Aston Magna program special, anddifferent for you this year?RS: I am always excited to come to the Berkshires.While I have lived in California for some time, myheart still resides in the Northeast (and Italy…)I love working with Dan Stepner and all the Aston

Magna musicians and staff. They are all wonderfuland special people and they have afforded me the op-portunity to create dream programs.

I am curious to know what went on in Artemisia’s lifethat made it so violent? And --What did Artemisia hear?RS: Artemisia’s life is very well documented andthere have been a number of historical novels writtenabout her. But to answer your question, as a teen acolleague of her father’s, Augustino Tassi, raped herand when she (and her father) reported the crime shewas subject to the most humiliating questioning andtorture by the church authorities. The truth to herclaim was determined by the fact that her story neverwaivered. All of the information regarding the trialand her treatment is preserved in the Vatican archives. She also had a rather difficult relationship with her

father, Orazio Gentileschi (an outstanding painter inhis own right). Artemisia was an extremely talentedpainter and this threatened him.She received coveted commissions and eventually

went on to achieve a remarkable degree of independ-ence in her life. In addition she traveled widely andbecame friends with a number of notable musiciansincluding Francesca Caccini and Nicholas Lanier.

What is the connection between her art, Goya’sart, and the music that will be played?RS: There really is no direct connection betweenArtemisia Gentileschi and Francisco Goya, but theywere both exceptionally gifted painters who werevery influenced by musicians and often-depictedmusic-making in their works. They also both livedthrough periods of extraordinary historical significance. The for-mer through the early 17th century post reformation period ofthe Catholic Church, and the latter through the final stages of theSpanish Inquisition, the Enlightenment and the Napoleonic in-vasion of Madrid.

Does the audience necessarily need a background in 16th and17th history to understand the connections you are making?No, absolutely not. Of course any degree of knowledge helpsilluminate certain connections between time, place and art, butthe point of these “multi-media” concerts is to stimulate thesenses, to offer a visual feast that compliments the aural sensa-tions of the music.The other issue that I am hoping to address with these kinds

of programs is that of familiarity. The names Goya, Gentileschiand Caravaggio are known to many, yet most composers fromthe same cultural milieu as these artists are, for the most partunknown. It is my intention to draw listeners into these concertsby creating a more familiar point of reference, and again, onethat stimulates multiple senses.

How do you think the past has effected today’s musicsound?With regard to how the past effects today’s music: I would

have to say that one of the most important developments in thehistory of western music occurred at the turn of the 17th century.This was the development of “functional” harmony. Although ithas been expanded upon, and there have been attempts to erad-icate it from musical practice—yet it is still here; in classicalmusic, jazz, pop, hip hop, etc…

Tell me about your musical style?RS: With regard to “my” style, I would have to say assertive. Iguess that this is an extension of my New York/Italian psyche.

I want to study the classics in music, and when I readabout all the titles, styles, vocabulary, symbols, referencesto so much in history, it’s overwhelming! Where do I start?RS: For the uninitiated I would initially suggest taking a basicmusic appreciation course at a local college. Music is languagewith its own syntax, grammar and dialects. Now, one need notbe a master of these to simply enjoy the sonic sensation of lis-tening, but I feel that familiarity does contribute to a greater ap-preciation of the art.I would also suggest just reading a good music appreciation

textbook and listening to the accompanying cds.. Listen, byJoseph Kerman, is quite good.

But to address another point, I feel that our culture (theUnited States) has dropped the ball on one of the most important

aspects of human existence, the arts. When I was a child mostpublic schools had music programs, and they weren’t watereddown to only pop styles. I love rock music, but that was themusic of the streets in my lifetime. There has to be more. Justthink; in the late 50’s the CBS network broadcast Leonard Bern-stein’s Young People’s Concerts during PRIMETIME!Now we have all these reality shows and things like “Every-

body’s Got Talent.” Well, I’m sorry, not everyone has talent!

Was it difficult to study with Segovia? What kind ofteacher was he? I love his Latin guitar music. I can heareach string so clear. It was a joy to study with Segovia, intimidating, but joyful

nonetheless. More than learning technique or musical interpre-

tation, it was like meeting a Bodhisattva.And yes, I too have always loved his music.

What period in the history of music do you least like,and why?RS: I really don’t click with extreme atonality or severe serial-ism. I love Berg and Stravinsky’s approach, but for the mostpart those styles are a little too dry for me.

I have always admired David Byrne for his rather eclec-tic, avante garde style of music. What is your opinion of hismusic?RS: I think that David Byrne is fantastic, and for the same rea-sons! But to be more specific, there is a sense of subtlety, re-finement and craft to his work. With regard to non-classical artists, I also really enjoy David

Bowie, Robert Fripp, Dylan, Screamin’ Jay Hawkins, DuaneAllman, Elvis Costello, Lennie Tristano, Yes, Peter Gabriel, theBeatles, Santana, Ralph Towner.

Getting back to the Aston Magna upcoming concert… Itsounds like it will be a very dramatic performance. Whatinspired you and your cohorts to come up with this partic-ular program? And, I was also wondering, do you think au-diences in USA are much different from the ones in Europe?RS: As I mentioned earlier I find an inter-disciplinary approachto the arts to be incredibly fascinating. In the late 70’s there was a BBC program called Connections

that was created by science historian James Burke, it completelycaptured my imagination. After that I attended an Aston MagnaAcademy, which further reinforced this pre-occupation. Thesewere certainly early inspirations for this kind of programming. Yes, the audiences are different; In general, the audiences inEurope are younger. The reason is that most people are educatedabout music at an early age, and going to a “classical” concert

is considered to be an important cultural experience. In our culture, one of the saddest things that I have

witnessed over the past few years is the dismissing ofan appreciation of high art as some kind of elitist folly.

What are your life’s goals and aspirations?To continue to play music and celebrate life…Ars longa. Vita brevis.

Tell me about your family. Do they support andshare your dreams?RS: Mostly, it is my beautiful seven-year-old daughter,Maria Luisa. She is totally into it. She plays violin, isa great singer, and a fabulous Flamenco dancer.

What quote do you hold close to your heart?RS: One of my own. When people ask me how I amdoing I respond: “Better than yesterday, not as good astomorrow.”

And one of my all-time favorites is by KeithRichards: “If only Mozart has a better drummer.” That one always puts a smile on my face.

I love that one, too. What would you say to Vi-valdi if you had one very special opportunity?RS: I think that I would be too much in awe to sayanything.I would most likely just want to watch and listen tohim play in the flesh.

In a nut shell, why go to hear, and see the concert,“What Artemisia Heard” at theAston Magna Festi-val?It is a feast for the eyes and ears. The music is sub-

lime, the art -spectacular.

Sonatas for Baroque GuitarLudivico Roncalli: Capricci Armonici (Bergamo, 1692)

available on Dorian Records, www.dorian.com

& go to ~www.astonmagna.org for a complete concert schedule.

Artememisia Gentileschi - Self-portrait as a Lute player


THE HEVREH ENSEMBLEORIGINALWORLD CHAMBER MUSICOn Thursday July 22 at 8 PM, Hevreh of Southern Berkshire

will present a Gala Fundraiser Concert featuring The HevrehEnsemble; a group that performs original World ChamberMusic by group member and composer, Jeff Adler. The mem-bers of the ensemble are Jeff Adler- Composer, Bass Clarinet,Native American Flutes & Percussion; Judith Dansker- Oboe,Oboe D’amore, English Horn & Native American Flutes; Lau-rie Friedman- Clarinet, Native American Flutes and Percussion;Adam Morrison- Keyboard.

The Hevreh Ensemble was formed in 2001 when oboist Ju-dith Dansker invited a group of acclaimed musicians to performa special Selichot concert for Hevreh of Southern Berkshire inGreat Barrington, Massachusetts. Based in New York City,the members have performed concerts at such venues as: theNational Yiddish Book Center- Amherst, Massachusetts, TheNorthampton Center for the Arts, Arizona Jewish Historical So-ciety, The Jewish Federation of the Berkshires, Harlem Schoolof the Arts, New York City, Synagogue for the Arts, New YorkCity among many others and are currently Ensemble in Resi-dence for Hevreh of Southern Berkshire. The members of the ensemble have honored by and affiliated

with organizations such as: The Juilliard School, ManhattanSchool of Music, Alice Tully Hall (Lincoln Center), CarnegieRecital Hall, The Library of Congress (Washington, DC),Merkin concert Hall (New York City), The Blossom Music Fes-tival-Cleveland Orchestra and Hofstra University, among manyothers. Hevreh Ensemble performances have been called “spiritually

uplifting” and: “strikingly original”. The ensemble will travel toEastern Europe in September 2010, where they will present con-certs in Prague and Poland. They have also recently been invitedto present concerts for the Segal Centre in Montreal and are cur-rently planning a collaboration with the Brooklyn College Acad-emy in New York, where they will present concert andworkshops for students from the BCA World Ensemble. Theyhave also been invited to present concerts for the Hofstra Uni-versity Emily Lowe Art Gallery in conjunction with two up-coming art exhibits: “Soweto” The 30th Anniversary ofthe Uprising” and an exhibit by Holocaust survivor and painterYonia Fain.Hevreh of Southern Berkshire, 270 State Road, Great Bar-

rington, MA. http://hevrehensemble.com,[email protected]. Tickets: $15 in advance; $20 atdoor. Reservations: 413-528-6378.

THE LENOX GALLERY

69 Church Street, Lenox, MA 01201 • (413) 637-2276over twenty-five artists • on two levels open year round - call for hours

O F F I N E A R T

paint ings • drawings • watercolor • sculpture • mixed media works • pastels • portrai t commissions

“...one of the finest and most charmingprivate galleries in New England.”

BERKSHIRE ART GALLERYLouis Jacques Vigon (1897-1985) was a member of L’ Ecole

de Rouen. The artists of the School of Rouen combined thequalities of the Impressionists and the Fauvists with their ownoriginality, a talent being appreciated only in the last few yearswith the backing of the Wally Findlay Galleries. This uniquegroup of artists, generally born between 1849 and 1898, shareda passion for Rouen and the surrounding Normandy landscape.The Berkshire Art Gallery is featuring Vigon’s painting of the

Place du Tertre. During his long and successful career, Vigonpainted throughout France and, of course in Paris. His paintingof two people walking past each other on the wet winter pave-ment of the square in Paris’ XVIIIth Arrondissement is locatedin the heart of the city’s elevated Montmartre quarter. Vigonwas an ardent colorist, mixing the light of French Impression-ism with the ferocious colors and bold brushstrokes of theFauves, characteristics that distinguish his paintings.Another featured French painting in the gallery is Le Cirque

by Swiss born Robert Boinay (1918-1988) who came to Paris in1950, studied at the Beaux-Arts School, and remained there asa second generation member of the School of Paris. Boinaymade many stops on the itinerary of French modernism, fromimpressionism to abstraction. Clowns await the entry into theBig Top of a mounted cowboy swinging a lasso in Boinay’s LeCirque, a work that transitions between 1950s figuration andcolorful abstraction.Museums with works by Vigon and Boinay include the Mu-

seum of Modern Art, Paris, the Nantes Municipal Museum,Rouen Museum and the Museum Jurassien, etc. Berkshire Art Gallery, 80 Railroad Street, Great Barrington,

MA. Parking for customers is available in front of the Gallery.Hours are noon to 5pm, Saturdays and Sundays, or by appoint-ment or chance. For information, contact Jack Wood, 413-528-2690, or visit www.berkshireartgallery.com

TANNERY POND CONCERTS

“A one-of-a-kind collaboration was established whenrenowned classical flutist Paula Robison, whose exquisite, el-egant artistry is celebrated worldwide, joined forces with ac-claimed Brazilian musicians, consummate guitarist RomeroLubambo and percussion wizard Cyro Baptista. Conjuring upa sizzling night at Rio’s famed Carnaval, this unique and en-tertaining mix of classical, jazz and folk is a joy to the senses.Traditional Brazilian compositions on the style of “choro”andjazz standards are merged with a samba groove and exoticbossa to form spicy new arrangements and compositions. Theprogram also includes music scored specifically for this ac-complished trio, who captures the magic of yesterday and theinvention of tomorrow. This delightful Brazilian chambermusic ensemble has recorded two discs, “Brasileirinho”, and“Rio Days, Rio Nights” and have performed innumerable con-certs. Audiences are always delighted to hear Robison,Lubambo and Baptista’s repertoire, rich in melody, harmonyand rhythm. It superbly manages to be earthy, happy and ele-gant at the same time.”In conjunction with the celebration of the Shaker Museum

and Library’s sixtieth anniversary, Darrow School is mountingan exhibition of contemporary and archival photographycalled, “Visions of Mount Lebanon.” Works of approximatelythirty local and national photographers will be on view at theJoline Arts Center. The Tannery Pond Concert audience is in-vited, before the concert, from 6pm - 7:30pm, to view this ex-cellent exhibition. As before, just get a numbered card andyou will not lose your place in line for the concert if you areback when we open the doors at 7:30. Concert begins at 8PM.Thanks to our wonderful new caterer, Rebecca Joyner, you

are now able to order a delicious, nutritious, well-priced, pic-nic. Call her a few days ahead to give her time to prepare. Tannery Pond Concerts, 2190 Dublin Road, Richmond,

MA, 917-921-1112, www.tannerypondconcerts.org, [email protected]

“Each man insists on being innocent, even if it means accusing the whole human race, and heaven.”

-Albert Camus

JULY 2010 ARTFULMIND.NET THE ARTFUL MIND • 13

SCHANTZ GALLERIESContinuing through July 30 “the Origin of Mosquitoes and

Other Tales; the Art of Preston Singletary” and “Timeless Ves-tiges: Artwork from the Archives of William Morris” will beon display at the Schantz Galleries in Stockbridge, MA.The Origin of Mosquitoes and other Tales, features the

most work ever in the gallery by Preston Singletary. Single-tary, a Native American of the Tlinkit People, creates uniquesculptures which are informed by the stories and images of hispeople and their tradition in art. Preston has taught, lecturedand exhibited internationally since 1989, and is well knownand respected for his impressive glass forms utilizing the lay-ering and etching techniques which he developed. Single-tary’s work can be found in many collections and museums,including the Corning Museum of Glass in Corning, NY, theEthnographic Museum, Stockholm, Sweden, Heard Museumof Art, Phoenix, AZ, Museum of Fine Arts, Boston, MA, Seat-tle Art Museum, Seattle, WA, The Museum of Natural His-tory, Anchorage, AK, and at Schantz Galleries in Stockbridge.“Timeless Vestiges: Artwork from the Archives of

William Morris” - at the age of 49, Morris retired from work-ing in glass in 2007 and a great loss was felt in the contempo-rary art world. No longer can we anticipate what he wouldrediscover next. William Morris had the ability to connect usto the past in the same way the early peoples connected to thenatural world through creating images of the creatures and en-vironments that surrounded them.William Morris Morris’ work has been strongly influenced

by his interest in archeology and ancient pagan cultures, andaddresses the timeless relationship between humans and theirenvironment. His work evokes images from a time when manwas more in tune with nature, and is subliminally suggestiveof ritual significance. Various works such as the MedicineJars, Artifact Vessels, Suspended Artifacts, and Idolo’s illus-trate symbolical, mythological influences. He also acknowl-edges the influence of Italian artists who have shared theirknowledge of techniques for crafting glass, so essential to therealization of Morris’ ideas into form.Another unique aspect of William Morris’ glass art is his

treatment of surface texture, achieved by various techniquessuch as sprinkling powdered glass and minerals onto a blownsurface, etching, and acid washing to achieve “ancient” andtextural diversity. As well as a master glassblower, WilliamMorris is considered to be a revolutionary and provocativeartist, whose work goes beyond mere crafts-manship to touch the souls and primal con-sciousness of it’s viewers.His work can be found in the permanent

collections of museums throughout theworld, including the American Craft Mu-seum, Corning Museum of Glass, Los Ange-les County Museum of Art, MetropolitanMuseum of Art, New York, and the Victoriaand Albert Museum.“Maestro Lino Tagliapietra” Continue

through August and beginning July 20 –September 20 see “Chihuly in New Eng-land”

Schantz Galleries, Elm Street, StockbridgeMA. This location has been one of the na-tion’s leading destinations for those seekingpremier artists working in glass. Springgallery hours are daily 11 - 5 For more in-formation, call 413-298-3044 or visit thewebsite at www.schantzgalleries.com

FACULTY ART EXHIBITIONIS 183 ART SCHOOL

The original artwork of professional artists who teach atIS183 will be on view at the art school in Stockbridge from June21 through October 8. The Faculty Art Exhibition at IS183 ArtSchool is free of charge and is open to the public on weekdaysfrom 10 a.m. to 4 p.m. and on weekends by appointment. Theworks of art displayed in the show will be available for purchaseand a portion of the proceeds will benefit outreach efforts at thenon-profit school. Later in the summer, the public will have theopportunity to meet IS183’s talented faculty at a wine andcheese reception on August 26, from 6 to 8 p.m. The receptionis free of charge.The Faculty Art Exhibition@ IS183 Art features more than

25 artworks by 19 faculty members, many of whom are recog-nized worldwide. Showcasing the skill and creativity of theartists who teach at IS183 the exhibition includes usable art,such as unique and finely crafted ceramics, to artworks includ-ing spectacular pastel and oil paintings, sculpture and photogra-phy, often with a Berkshire theme and point of view. Participating Artists are Timothy Heffernan, Dennis Fougere,

Kim Waterman Yura Adams, Leslee Carsewell, Fay O’Meara,Wednesday Nelena Sorokin, , Nancy Magnusson, Bob Green,Jeff Zamek, June Parker, Karen Arp-Sandel, Cassandra Sohn,Nancy Castaldo, Linda Clayton, Jason Houston, , Located half-way between Great Barrington and Pittsfield in

Interlaken (a village of Stockbridge) IS183 Art School encour-ages people of all ages, means, and skill levels to enrich theirlives through hands-on experience in the visual arts, with year-round programs in ceramics, painting, drawing, photography,fiber arts, sculpture, mixed media. IS183also offers weekend workshops for adults;Young Artist programs during school vaca-tions and in the summer; birthday parties;custom classes; and private lessons. Classesare held during the daytime, evenings andweekends, for all levels from absolute be-ginners to professional artists. Needs-basedscholarships and work-exchange opportu-nities are available.For more information, enrollment fees,scholarship opportunities, faculty bios, orto register for classes, please call 413-298-5252, e-mail [email protected] or visit us on-line at www.is183.org

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“What I have set down in a moment of ardor I must then critically examine. Sometimes I must do myself violence before I can

mercilessly erase things thought out with love.”-Peter Ilyich Tchaikovsky

WILLIAM MORRIS

14 • THE ARTFUL MIND JULY 2010

Article by Nanci RacePhotos by Julie McCarthy

Artist and author Sue ManeyMacVeety gives credence to the convic-tion that the Berkshires in Massachu-setts have some of the finest artists inthe country. One has only to visit someof the Berkshire County galleries, li-braries and even storefronts to viewbreathtaking work including Sue’s wa-tercolors. Not long ago I was able to re-connect with Sue and have a chat withmy old friend. We sat at her diningroom table and after reminiscingabout our now grown children who at-tended school together, we talkedabout her painting, children’s books,and her life as an educator of youngchildren. She told me about her mar-riage to her husband Bob and that atone time she played in his band Berk-shire Bateria Escola de Samba. I wassurprised to learn that she learned toplay agogo bells, tamborim, (a small,round Brazilian frame drum of Por-tuguese and African origin) and surdo(a large bass drum) eventually becom-ing lead two surdo player. She has alsofound time to take Spanish classes andher instructor and good friend ValerieZantay translated Singing Sea intoSpanish.

Sue, a baby boomer born in Bridgeport, Connecticut, hasalways been very busy teaching and raising a family but nowthat her children are gone it seems she’s even busier. Herwater colors are striking and her children’s books are notmerely educational but they’re fun for children to read. Herillustrations bring the books to life. Sue’s art has progressedover the years and she is considered one of the finest multi-media artists in the county and beyond. However she is stillmuch grounded in reality with chickens, horses, a garden,and her dog Sam, in residence. She’s come a long way fromthe girl who walked out of her last class at Boston Universityin Massachusetts to move with her husband Bob to a farmin the country. The couple had no house or jobs and a babyon the way but they made it. Over time her love of animalsdeveloped into her first book, Helper Cow inspired by Jas-mine the family’s pet cow. Jasmine, hand raised by Sue’sdaughter Jessica taught the family patience and was an in-spiration. Two weeks after the book was complete and pub-lished 17 year-old Jasmine passed away. Firmly entrenchedin the Berkshire’s country lifestyle, Sue is dedicated both toher students and her art.

Raised in Southport, Connecticut, Sue’s parents are ajuxtaposition of the East and West coasts. Her mom instilledSue with a love of life from her Iowa background, whileSue’s dad, and east coast businessman taught her to enjoycarpentry, ice skating, skiing, and snowshoeing. Her ex-tended East coast family is also known for their love ofwater, which was useful when Sue’s husband Bob took hersnorkeling on a trip to Grenada for their 30th wedding an-niversary. The trip was the inspiration for her second book,Singing Sea.

Artist and Author SUE MANEY MACVEETY

JULY 2010 THE ARTFUL MIND • 15

I came away from my meeting with my oldfriend with a deeper appreciation and a greater un-derstanding of this fascinating woman who pushesthrough life’s obstacles determined to make hermark on the world and leave something for poster-ity. She has traveled extensively from a young agewith her parents including, Canada, Mexico,Florida, California, New Mexico, every state inNew England and myriad others. She is rich in lifeexperiences from traveling and daring to be adven-turous with life. She brings expertise, compassion,and practical knowledge to her classrooms. Sue’sartistry is a gift to residents of the Berkshires andvisitors who have the opportunity to look closelyat a landscape or a depiction of an animal renderedby Sue MacVeety.

Nanci Race: As a teacher with a busy lifestyle, howdo you get time for your art?Sue MacVeety: It’s really hard because I teach fulltime for the Berkshire Hills School District in GreatBarrington, Massachusetts in an integrated pre-K classat Muddy Brook Elementary School. I also teach part-time at Berkshire Community College in Great Bar-rington teaching classes at night. So, Sunday morningis my art time. It’s sacred. I make sure I paint everySunday and on Monday night I take a three hour class.Being in early childhood with three, four, and fiveyear olds, I finger paint, have the easel and watercol-ors out, and do collage and things every day. Art is areal part of my life. But it’s really hard to find the timeto put into it that’s I’d like I’ve always taught or hada side job or substituted for the school district and thisyear I’m not.

NR: Is watercolor the only medium for you?SMcV: I do watercolors and pastels and I do a lot ofpencil drawings but that’s it for now. I usually doquarter sheets of 140 lb or 300 lb cold press. The largest size Ido is a half sheet. I did one whole sheet size for my granddaugh-ter; a sea, mermaid-type scene. It was fun but I prefer the smallersize. I can take that size almost anywhere. If I’m traveling I cango in the woods or I can go on an airplane. I’ve made my ownpaper with the kids in school but I haven’t water colored with it.I’ve done collage with it; cut it up after I’ve made the paper andI’ve made it with flower seeds in it and given it to people sothey can plant the whole piece of paper. It’s a lot of fun. I alsodo some mosaics with glass, pottery. The mosaics are pretty ab-stract but when I paint it’s chickens or landscapes. There are alot of chickens in almost every piece. I have a chicken coop out-side and I’ve raised chickens since the 70s and I love chickens.As a matter of fact I have baby chicks in my classroom andwe’re watching them grow up. The children let them sit on theirarms and we’re having fun with them. I love their personalitiesand I live to sketch them and try to paint them.

NR: How hard is that to paint a chicken? They don’t exactly sitstill and pose for you.SMcV: They don’t sit still so it’s really hard. Sometimes I’vegone out when it’s getting dark and they’re roosting so I can dosome sketches or I take lots of photographs andthen I’ll sketch from there. I also like to paintcows, oceans, boats, trees, I love to paint trees.There is a tree outside my kitchen window andthe women in my art class will say, “Don’t tellus you’re doing that tree again.” I’ve painted itevery season in every color. It’s a tree that I’veknown since my childhood so I paint it overand over again. I’ve painted it with a full moon,with fall foliage, with spring foliage, and it’sdifferent every time. And it’s changed overtime.

NR: Have you ever thought of transferring yourpainting into a landscape quilt or somethingalong those lines?SMcV: I haven’t but right now what I do is scanevery painting and put it on a disc then I makepostcards or note cards. I send them to my kidsto show them what I’ve been up to lately. I doprints. Sometimes when I go to a coffee shoppeople will say they prefer to hang prints ratherthan original art. Then if it’s on a disc thatmakes it simple. I’ve done beach bags withsome of the quilting and I’ve done T-shirts butI haven’t done quilting. That could be interest-ing.

NR: If you have to stop painting for awhile can you just get backinto the painting or does it take some time or a specific ritual foryou to continue?SMcV: A lot of times I hang them up and they’re not finished.Sometimes I have four or five paintings at once because I don’thave the patience to wait for them to dry. I started four in oneday and didn’t finish any of them. I’ll keep going back and pick-ing at them until they’re done in my opinion. If I start to getangst about them or they start to get overworked I know they’reeither need to be put away or they’re finished. If I have someonecome in and say, “Wow, that’s great I want that one.” Then I go“Okay,” sign my name, it’s done.

NR: Do you dream in color about painting?SMcV: I do. And I dream about painting—bits and pieces. A lotof times I dream about a painting I’m working on and I’ll worksomething out in my dream then I’ll go do it. I’m extremely vi-sual so I remember everything vividly—the colors and the linesand then I can go work on it. I have a dream book that I writethings in but I haven’t written anything about painting.

NR: In addition to everything else you’ve has some books pub-

lished. Tell me about your books.SMcV: The first I published was Helper Cow. It took five yearsto write, have it illustrated, and get it published. I was naïveenough to think that once I got one book published I would havemy foot in the publishing door. The publisher was a very smallcompany in South Carolina and they did one promotion at abookstore in Albany, New York and after that I was on my own.I did 42 events that friends and family helped to set up. I sold4,000 copies of Helper Cow, but they told me I needed to sell2,000 in a month to get re-published. It was a Vanity Press andI had backers to do it. I tried the big publishers first and theyasked, “Who is your publicist?” When I tried to get a publicistthey asked, “What did you publish?” Then they asked, “Who isyour agent?” So I tried to get an agent and they asked, “Whathave you published?” So, it was really difficult and I was work-ing full time. Singing Sea came out in 2005. It’s translated inEnglish and Spanish. My son Max did the cover illustration andI pastels inside. They are pretty primitive drawings but I tried itout on the kids in my classroom before I had it published andchildren like that kind of art; lots of bright colors and simpleforms. So, I’ve published two books and I have seven more.One is ready to go with illustrations and I’m working on the il-

lustrations for the rest. Right after I publishedSinging Sea I decided I wanted to refine myartwork and I started studying with Pat Hogantaking watercolor classes. With Marlene Mar-shall I started doing some bits and pieces mo-saic work, which is a lot of fun. Before that Ihad only done collage on paper at school atwork. I’ve also started studying with a womannamed Lois in Ashley Falls, Massachusetts. Ijust try to make the time for it. My kids aregrown and out of the house so I don’t have toworry about them at this point.

NR: You are married to a man who has alsobeen involved with children for many years.Does that make your marriage easier to sustainbecause you have that commonality in addi-tion to your feelings for each other?SMcV: We have been married since 1973. Heworks for Childcare of the Berkshires and hasa daycare at Muddy Brook School in GreatBarrington. We thought maybe we could car-pool but there’s only one day a week we cando that. Our hours are so different. We may seeeach other out on the playground or in passingon occasion but we don’t see each other asoften as we’d like.SUE MACVEETY, WATERCOLOR

Continued on next page...

LANDSCAPE BY SUE MACVEETY. WATERCOLOR

16 JULY 2010 WWW.ARTFULMIND.NET

Sue MacVeety

NR: How does he feel about your art and your books?SMcV: He’s very supportive. He was the one who gave me thefirst series of lessons with Pat Hogan, which was very nice. Patis located in Great Barrington and she teaches at CommunityAccess to the Arts (CATA). Since I’ve been an adult I’ve alwaysdone art on my own although my aunt, who is now deceasedwas a really good watercolorist. My dad is a wood carver. Hemakes really beautiful three dimensional fish or fruit or wallplaques. He’s been carving for many years. So I have artisticpeople in my family. I’ve always been drawn to it but when Iwas raising my children I never took the time to formalize it.The sad part is that when I was growing up I had all this artaround me and didn’t really pay attention to it. My grandmothermade quilts but I felt like I didn’t want to do it with her. Mymother is a very accomplished cook. But now I feel like I canstart doing things for me.

NR: Apparently you’ve passed on your artistic ability.SMcV: Yes my son Max who is also very supportive of my artand my writing. He and my husband Bob are both musiciansand my daughter was hired by companies to create windows indepartment stores. So she has an eye for floor arrangements andshe was trained for that in college. It’s really fulfilling that mychildren are doing this. They are also great at critiquing mywork in a good way. They might say, “This shape doesn’t lookright or you need to use more color here or whatever.” Both ofmy children did a lot of pottery when they were going throughschool and our kids studied pottery a little bit in college. We

had a kiln here at the house and we used to make things all thetime, fire them, and glaze them. That was part of our life backthen that we could do together. But we didn’t paint together.Now we do. When we get together my daughter, granddaughterand I paint together. I miss my children terribly but they’re gonebut not forgotten. I call them a lot and email them. They try tocome home twice a year and I try to go see them once a year.Max is in California and my daughter is in Nevada and thatmakes it hard.

NR: As a teacher do you find yourself in the position of mentor-ing people?SMcV: I gladly have friends over and we paint together and wedo things together but no formal lessons at this point. My neigh-bor Ann Douglas illustrated Helper Cow. I sometimes go overto her house and she’ll show me new techniques that she learnedand we’ll look at each other’s art and that’s so helpful. Last sum-mer I had a group of women come over and we did linoleumblock printing. We did printed T-shirts and it was a lot of fundoing something like that informally. Then at the end we all hada T-shirt.

NR: You said that your husband Bob was the catalyst for your

art classes but at this stage what does he bring into your art life?SMcV: As you can see my kitchen is my studio. I hang every-thing here between the kitchen and dining room on the beam upthere and we’ll sit and look at it and he’ll say, “You need tochange this or that’s not centered right,” or, “I really like theway that turned out.” His constructive criticism is very support-

ive. He gives me gift certificates for holidays and things to JWSArt Supply store. He is financially and emotionally supportive.Whenever I have an opening he goes to the opening.

NR: Are you intrigued by any other art forms?SMcV: I would like to start doing some stone work; stone wallsor stone structures. I’ve never learned to do that. I would like todo a type of sculpture type. I would also like to do more draw-ings. I don’t think you can draw enough and my drawing skillscan always improve. I think that will help my painting too.

NR: Many people plod along year after year without wanting tomove forward with their creativity. You don’t strike me as some-one who would get into a rut and remain stagnant. What is yourgoal for the future? How do you plan to change it up and keepit fresh.SMcV: I’m totally hyperactive. I’ve been that way all my life;doing ten things at once. I think as far as the education piece,teaching the little kids and teaching at BCC has helped to keepthat fresh. I’ve also started to have the children of my first classof children when I started teaching years ago and that’s an in-teresting place to be in. It’s a stepping stone. We trust each other;they know who I am and what they had in school and that helps.

I think you have to keep bringing things to it and reading andtraveling and be open to new things and ideas otherwise you doget burned out and you don’t want that. Bob and I try at leasttwice a year to go someplace other than the Berkshires. I bringall my art materials. I draw and sketch and paint the entire time.Then I bring it back. I also have photographs to do more andbuild on that. So if it’s an experience of being on a tropicalbeach or in the desert or something like that it helps because it’snew colors and new ways to look at things. I also think that totake workshops and to see other people’s art is helpful as well.And for the future I plan to teach art classes to the little ones. Idon’t have any plans to teach adult classes at this time. I feel atthis point I’m still at the stage where I’m taking a lot of work-shops and classes. Another thing that I do is in connection withChristina Barrett. She went to school with our kids. Unfortu-nately she had ovarian cancer. To make ends meet she paintedflower pots and sold them. Her flower pots have started to de-teriorate. So, her mom and some other friends have given mesome flower pots and some photos of some pots and I’ve beenpainting them. Some of them will be in my Stockbridge show inhonor of Christina who passed away but her flower pots willlive on. I think with art that’s a kind of neat thing. Like mygrandmother. Her quilts will live on.

Sue MacVeety’s watercolors can be seen at the HousatonicValley Art League member show August - September. For moreinformation call 413-274-3809 or www.hvart.org Her workcan also be seen at the Stockbridge Library 46 Main Street,Stockbridge, MA through July. For more information call 413-298-5501, email [email protected] for hours and di-rections. Rouge restaurant, 3 Center St. West Stockbridge, MAFor more information call 413)-232-4111. Her work can be seenthere through the summer. And original prints for sale at TheBerkshire Gold & Silversmith, 152 Main St, Gt, Barrington, MA

152 Main St, Great Barrington (next to Eagle Shoe and Boot)

413-528-0013 (Tues - Sat 10:30-6 pm)

The Berkshire Gold & Silversmith

THOMAS PARKERJewelry Designer

Silver and semi precious stones. Artfully designed and handcrafted jewelry pieces.

Isn’t it time to have something especially designed for you?

In the GALLERY : JULY ... Works on paper by Sue MacVeety // Ken and Debra Story, woodburnings //Thomas Parker, Photography

SUE MACVEETY

SUE MACVEETY, COLLAGE AND WATERCOLOR

WWW.ARTFULMIND.NET THE ARTFUL MIND JULY 2010 • 17

THE ELEGANT STROLLINGVIOLIN DUO-

BARBARA AND JOSEPHFIDDLERS TWO

After enjoying a long, successful multi-field musical ca-reer in New York City, Barbara and Joseph-Fiddlers Two re-cently moved to Williamstown, MA in the beautifulBerkshires, where they now continue to perform as astrolling violin duo. Fiddlers Two will perform for a personalparty of two people enjoying a candle-lit dinner at home orin a hotel suite; stroll through a hospitality suite or cocktailparty for hundreds of guests; “bring the music” to guests’ ta-bles during dinner – and also play guests’ requests.The unique violin duo of Barbara and Joseph provides an

elegant presentation of show tunes, the great American stan-dards and romantic continental songs that creates the perfectmood for gracious dining and intimate conversation. Theirrepertoire of more than a thousand songs “from Broadway toVienna” includes some of the world’s most requested music.Visitors from around the world say: “I haven’t heard any-thing like Fiddlers Two, anywhere.” “Such imaginative mu-sical arrangements.” “Sheer magic!” “At times, sounds richas a string quartet.” “Velvet to the ears.” “Amazing how youknow what to play, when to play it and how to play it!”Barbara and Joseph have entertained at some of the finest

hotels, restaurants and country clubs. They have appearedon radio, film, recordings, TV commercials, and were fea-tured nationally on The Regis Philbin Show. They were staffmembers of The Radio City Music Hall Symphony Orches-tra and The American Symphony Orchestra, and have playedunder the batons of Leonard Bernstein and LeopoldStokowski at Carnegie Hall and at Lincoln Center. Barbaraand Joseph have also shared stages with Tony Bennett, Vic-tor Borge, John Denver and have recorded with Frank Sina-tra.Fiddlers Two has been heard in a wide variety of settings:

from the top of Windows On The World, to a yacht "downbelow" passing by the Statue of Liberty - to The Museum ofNatural History "under the whale"! Some typical engage-ments: The Boardroom of The American Stock Exchange,Le Perigord Park, Maxim’s, The Metropolitan Museum, 21Club, The Quilted Giraffe, Union League Club, WestchesterCountry Club. They were also featured entertainment at theGarden City Hotel (for six months) and at the Sheraton Cen-tre Hotel (held over for one year).Barbara and Joseph have performed at many prominent

special events, including: the wedding reception for Mr. &Mrs. Rodman Rockefeller, Brenda Vaccaro’s wedding, par-ties for Madeline Kahn and Lili Tomlin, receptions forPrincess Diana and Princess Grace of Monaco, and FrankSinatra’s 75th birthday dinner. Also at events for PresidentsJohnson, Ford, Carter, Reagan, Bush and Clinton. FiddlersTwo “sets the tone” for many types of special events, from acorporate Awards Dinner, elegant dinner party or after-the-atre supper, to a family birthday or anniversary celebration.For booking information, please call: (413) 458-1984.

BARBARA AND JOSEPH —FIDDLERS TWO—PERFORMERS FOR MANYYEARS AT THE WALDORF-ASTORIA HOTEL IN NYC. SEEN ABOVE AT AWALDORF NY’S EVE CELEBRATION

DON MULLER GALLERYFor the third year in a row, the Don Muller Gallery has been

named one of the Top Ten Retailers of American Craft in NorthAmerica by Niche Magazine, one of the highest marks of dis-tinction in the American craft industry.

More than 18,000 craft artists from the United States andCanada are polled each year and nominate over 700 galleries,retail stores, and museum shops. Criteria for selection include: treating artists with courtesy and respect; paying ontime; promoting and marketing American crafts; giving backtime and energy to the craft community; mentoring emergingartists; and maintaining an inventory that is at least 85% Amer-ican craft.Don Muller Gallery was honored to be named among the top

galleries in the United States, and is particularly proud toachieve such an award for owning and operating a business indowntown, Northampton, Massachusetts, for over 25 years.Being one of the top 10 galleries in the nation is a real tributeto past and present employees and all of the artists that havebeen represented through the years. The gallery has also announced the launch of their new

website. The site features the work of many artists in jewelry,glass, wood, fiber, and more; it includes a tour of the gallery, adescription of their services, and an introduction to the gallerystaff. The site was produced by Positronic, a web development company based in Northampton.Don Muller Gallery, 40 Main St, Northampton, MA,

413-586-1119, www.donmullergallery.com Open Mon–Wed, 10-5:30, Thurs–Sat, 10–9, Sunday 12-5pm.

STAMEYER GALLERYJohn Stanmeyer, known for his numerous photographs in

Time magazine and National Geographic, has opened the barndoors of his Otis studio for the public to view a retrospectiveof his work. The gallery is open weekends and holidays, andby appointment.In over 60 countries, Stanmeyer has witnessed and docu-

mented many of the most pressing issues of our time: socialinequality, healthcare, hunger, HIV/AIDS, natural disasters,poverty, war and conflict. Albeit brief, this exhibit is a retro-spective of his work that spans nearly 20 years. He chose hisfarm in the Berkshires to show his photographs as a means toengage discussion and to promote change. With what occursin the Afari region of northeast Ethiopia, in Lenox in westernMassachusetts, or in the village of Herat in southwestAfghanistan, Stanmeyer brings home the message that we areall interconnected in a global society where issues in our ownbackyard can touch others’ lives in profoundly unique and un-expected ways.Stanmeyer was a contract photographer with Time Maga-

zine for over a decade and began working closely with Na-tional Geographic magazine in 2005. He is a foundingmember of the renowned New York-based photo agency VII.Stanmeyer based himself in Asia for 12 years and is one of theleading social documentarians, having witnessed many of theworld’s major historical events. He has received numerousawards in photojournalism including the prestigious RobertCapa Gold. In 2008, he was honored with the National Maga-zine Award for his in-depth essay on the global Malaria epi-demic. Stanmeyer also travels worldwide for otherpublications such as GQ, Vanity Fair, Paris Match, and Ger-man Geo. He spent seven years documenting an in-depthphoto essay about the impact of AIDS throughout all of Asia.This fall, he will release his book “Island of the Sprits”, afive-year documentation on Balinese spirituality.Stanmeyer has been exhibited at the International Center of

Photography in New York City, the La Louvre and Luxem-bourg Gardens in Paris, Scavi Scaligieri in Verona, WAR Mu-seum in Dubrovnik, the Triennale in Milan, Noorderlicht inthe Netherlands, the Annenberg Space for Photography in LosAngeles, the National Geographic Gallery in Washington, DC,TUFTS University in Boston, the United Nations in NY, fourexhibitions at Pour Visa l’Image in Perpignan, France, amongother locations.He moved back to the United States from Indonesia nearly

two years ago and lives with his wife, Anastasia, a writer andorganic farmer, and their three children in the Berkshires.Stanmeyer Gallery, 1286 Monterey Road (Rt. 23), Otis,

Mass. 413-854-3799; [email protected]

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CONTRAILS 30X19 INCH ARCHIVAL PRINTCONTRAILS FROM U.S. PLANES AS THEY BOMB THE TALIBAN FRONT

LINES NEAR KUNDUZ IN NORTHERN AFGHANISTAN ON THE FIRST DAY OFCOALITION ACTIONS TO DRIVE OUT THE TALIBAN,

A WAR WHICH CONTINUES TODAY.

18 THE ARTFUL MIND JUNE 2010

Ancient Quantum Healing“THE LUMINOUS ENERGY FIELD CONTAINS A TEMPLATE

OF HOW WE LIVE, AGE, HEAL AND MIGHT DIE.”-Dr. Alberto Viloldo

Masterʼs of Education, Certified by Healing theLight Body School of the Four Winds Society

to practice Luminous Healing & EnergyMedicine. Macrobiotic counseling is

also available when appropriate.

For information or to schedule a session pleasecall: 413-446-5712Nixsa M. Mills

231 Hartsville NM Rd., New Marlborough, MA

JJuunnee 22001100 bbyy EErriicc FFrraanncciiss

[email protected] THE ARTFUL MIND JUNE 2010 • 19

WholePerson Movement Mat ClassesMondays 6:30 - 7:30 PM

Kinesphere Studio • 66 Main St, Lee, MATuesdays 5:00 - 6:00 PM

Kilpatrick Athletic Center, Simonʼs Rock College84 Alford Rd, Gt. Barrington, MA

Thursdays 5:15-6:30Berkshire Fusion Yoga, 965 South Main St., Great Barrington

WholePerson Movement Private SessionsPersonal training in a quiet country setting featuring the

Reformer and other Pilates-designed apparatusAll WholePerson Movement Classes:• Increase strength and flexibility• Improve posture, balance, breathing, body awareness• Improve comfort, ease, grace in moving• Reduce lower back and other chronic pain• Reduce risk of re-injury from sports or occupation

Call for more information 413.528.2465

SHARON TRUE, M.A., C.M.A., R.M.T.Somatic Movement Therapist and

Certified Pilates Instructor

THE ART OF LAURA NORMAN REFLEXOLOGYLaura Norman is happy to be back in the Berkshires, and

she’s offering a number of hands-on, experiential classes in the‘Art of Laura Norman Reflexology’ in Stockbridge, Massachu-setts from late August through October. Laura is the internation-ally-renowned Reflexologist, educator, and author of thebest-selling book Feet First: A Guide to Foot Reflexology, pub-lished in several languages with half a million copies in printworldwide.As Laura says, “Reflexology is both an art, and a science, that

promotes healing, is profoundly calming and soothing, improvescirculation, eliminates toxins, increases energy, and balancesand strengthens the body.” Laura Norman’s Holistic Method ofReflexology, the result of almost forty years of helping clientsand training Reflexologists, goes well beyond traditional Re-flexology to address each client’s physical, mental, emotionaland spiritual needs. Laura Norman Reflexology empowers youand those you touch…personally and professionally.

One of her graduates, a ballet instructor, said of Laura’sunique Method, “Laura Norman Reflexology sessions are likeperforming an elegant dance.” Laura and her experienced train-ing staff are truly passionate about Laura’s holistic Method cov-ering Foot, Hand, Ear and Face Reflexology, and are eager topass on their knowledge to those who come to learn.Remember the best teacher you ever had? The teacher who

nurtured your curiosity and understood your learning style? Ex-perience the same one-on-one support from the moment youwalk in the classroom on a beautiful lake in Stockbridge. Max,a former house painter, said, “On the first day of Laura’s 3-dayIntro, after only a few minutes, my instructor Sande had meworking hands-on with one of the other students. By the end ofthe day I was working on my friends and family!” Max com-pleted the Intro, enrolled in Laura’s Program, and will soongraduate as a Certified Reflexologist.Another Laura Norman graduate, Natasha, spoke for many

when she said, “When you see your first client leave your officefeeling free of the stress and pain they brought with them, re-laxed, refreshed and energized after just one session, you un-derstand why Laura Norman’s Method of Reflexology is studiedand practiced all over the world.”

3-Day Introduction to Foot, Hand, Ear and Face ReflexologyAugust 28-30;12-Day Professional Reflexology Certification Sept 20-22, 27-29, Oct 18-20, 27-29 (Mon-Wed) OR Sept 24-26, Oct 1-3, 8-10,22-24 (Fri-Sun); 4-Day Hand Reflexology Certification October 4-7;2-Day Face Reflexology Certification October 12-13.

Laura Norman Reflexology, 413-854-2615,

ERIN BURCH, PTBODYWHISPEREROLD INJURIES NEVER DIE

Old Injuries never die. I have had this experience in myown body, as well as observing it in countless others. I usedto work in an outpatient clinic and people would come to mewith neck pain. As part of the history and intake process, Iwould inquire if there had been any neck trauma (car acci-dent, fall, etc). It was evident by the visible distortion intheir neck that something; some force had disrupted it. Aftermuch questioning, it finally dawned on them that in fact,they were in a car accident…. “but that was 20 years ago!” The assumption is that once the acute phase of pain of a

trauma has passed, the problem has been resolved, and per-haps in a small percentage of cases, that may be true. How-ever, in my experience and observation this has not been thecase. When the small bones of the neck, for example areshifted out of their original position, by the forces from anaccident or fall, this creates an unnatural “fit” between thejoints therein. The body works amazingly hard to protect usfrom pain and so goes immediately into compensation. Thiscompensation works subtly throughout the body, taking a lit-tle from here and a little from there, until it can no longeraccommodate the distortion. In the meantime, inflammationcontinues at the original site. This process can take a coupleof decades for the body to run out of the available “slack”,and pain may resurface at the original area or at some otherlocation. This all may seem like bad news indeed. However, the

good news is, that armed with this information, awareness,and connection to one’s body, as well as intelligent interven-tion, a great deal of pain can be understood, relieved and po-tentially avoided. Erin can be reached at 413-528-1623, cell: 201-787-

7293

SHARON TRUE ON PILATES APPARATUS

WHOLE PERSONMOVEMENT

Sharon True, the owner of WholePerson Movement, is acertified Pilates instructor and registered somatic movementtherapist who has been developing her expertise in movementsince the early 1980s. She considers the creation of workoutsfor her private clients to be an artistic enterprise, using her dis-cerning eye to see how to sculpt a client’s muscles and to bal-ance the forces that pass through joints and bones, much as asculptor or an architect must do with their materials.

What makes this artistic enterprise especially compellingis that “the materials” talk back! They have unique fears anddesires, and their muscles, joints, and bones have histories thatare part of the mix. Sharon True looks at the big picture andcrafts a workout that addresses the specific needs and desiresof each individual. True says, “I’ve been teaching Pilatesworkouts since 1996, and I still find plenty to interest me. Ithink it’s because there’s no limit to human variety, and the Pi-lates apparatus allows for a lot of flexibility in how it’s used.”What takes place in a WholePerson Movement workout?

According to True, a first-time client can expect a personal in-terview about what they want to accomplish, pertinent medicalhistory, and a discussion of what kinds of activities they en-gage in, or that they wish they could engage in. A general dis-cussion of lifestyle is also included. Then True introduces afew of the basic principles and exercises of Pilates and the so-matic approach she uses. Finally, her clients have an opportu-nity to experience some of the Pilates apparatus, which mightlook a little daunting but actually feels great to work out on,even for beginners.Interestingly, the initial signs of improving strength and fit-

ness can be missed at first, but soon clients realize that theirbody confidence has increased, and they are accomplishingthings they couldn’t do before, without even thinking about it.Moving feels easier and more comfortable. From there, moreand more challenges can be introduced, according to the de-sires of the client.True also teaches Pilates mat classes, currently at three lo-

cations in the Berkshires: Simon’s Rock College and BerkshireFusion Yoga in Great Barrington, and Kinesphere Studio inLee. Her mat classes emphasize principles that can be appliedto many other activities, and address common problems likepoor posture, low back pain, shoulder issues, and lack of flex-ibility and balance.

20 • THE ARTFUL MIND JUNE 2010

THE MUSIC STOREAs the Berkshires’ summer symphony reaches its pinnacle, we at the

Music Store celebrate our second summer in our new location, at theend of the Railroad Street extension in Great Barrington. Acclaimed asone of the area’s best music stores, The Music Store specializes in fine,folk and unusual musical instruments, accessories, supplies and musicmotif gifts. The Music Store offers music lovers and musicians of all ages and

abilities a myriad of musical merchandise that will help them illumi-nate the longest winter night and enliven the shortest day. Musiclovers and professional and amateur musicians alike will find an ex-citing array of both new and used name-brand and hand-made instru-ments, extraordinary folk instruments and one of the Northeast’sfinest selections of strings and reeds. Music Store customers enjoy fine luthier handmade classical gui-

tars, the peerless Irish Avalon steel string guitars, the brand newBaden Pantheon USA guitars as well as the handmade Badens includ-ing the USA Handmade Bourgeois/Pantheon Baden and guitars fromother fine lines including Avalon, Rainsong and Takamine, as well asAlvarez, and Luna and from designers including Greg Bennett.Acoustic and electric guitars from entry to professional level instru-ments are available. Famous names including consignment Ricken-backer, Gibson, Gretsch and Fender guitars and basses join less-wellknown brands which appeal to those seeking high quality but are ontight budgets, providing any guitarist a tempting cornucopia of play-ing possibilities. A wide variety of Ukuleles (including the Con-necticut made Flues and Fleas) join banjos, mandolins and dulcimersas well.Unusual instruments are also available, including the Connecticut-

made Fluke and Flea Ukeleles and the peerless and lovely Stock-bridge-made Serenity bamboo and walking stick flutes. New andused student orchestral and band instruments are available, includingviolins from $159 to $3000. An extensive array of internationalstrings and reeds provides choices for the newest student to the sym-phony performer. Children’s instruments, as well as a fine line of in-ternational percussion including Middle Eastern and hand madeAfrican instruments along with many choices of industry standarddrums, stands, heads and sticks, as well as tuners, forks andmetronomes can be found as well. All new instruments are backed by The Music Store’s lifetime

warranty which provides free set-up and adjustments on any new in-strument sold. For repair and restoration and maintenance of finestringed instruments - guitars, banjos, mandolins and the like - TheMusic Store’s repair shop offers expert luthiery at reasonable priceson instruments of all levels, as well as authorized repairs on WarwickBasses, and Lowden and Takamine guitars. Those in search of the perfect present for music lovers will find a

treasure trove of giftfavorites such as bumper stickers (“Driver Singing,” “Go Home andPractice,” Tune it or Die” and more), tee shirts, caps, scarves, minia-ture musical instruments and instrument magnets, nightshirts, musicmotif mugs, socks, totes and ties. Small bronze and metal musicianstatues and cuddly ‘Music Lover’ stuffed animals, whistle pops andearrings add additional possibilities to gift giving customers. A proud server of the community for over nine years, The MusicStore’s warm and friendly staff are available for help in tuning,stringing or instrument repair. Help in choosing tuners, capos, mutesshoulder rests and strings is as happily given as help in selecting in-struments themselves. Since our mission is to support and encourageour musical community, consultation and advice are always free. Professional musicians seeking the finest or unusual strings or acces-sories are welcome to call in advance. We will make every effort tosatisfy the need!For capos to kazoos, guiros to congas, rainsticks to violins, bows

to bodhrans, mandolins to ukeleles, strings to reeds and rods, sticksand earphones to microphones and stands, local artist’s CDs and har-monicas to picture frames and scarves, music motif ornaments andmore, The Music Store is the place to be. The Music Store, 87 Railroad Street, Great Barrington, Massachusetts,open Tuesdays through Saturdays from 10 to 6, and on Sundays from 12to 5. Call 413-528-2460 or email us at [email protected]. And look forus on Facebook at The Music Store Plus for special tips and events!We at The Music Store wish you peace and harmony throughout 2010.

STUDIO21SOUTHstudio21south presents Common Places, June 25 -July 26,

a group show featuring painterly interpretations of everydayscenes.This is a show for anyone who’s ever been transfixed by a

commonplace view: the play of light through a kitchen win-dow or across a half-fallow field, the arrangement of boots inan entryway, or even the mesmerizing glare of an old-timeburger joint.

Each artist in the show brings a slightly different perspec-tive to the theme.

Although Bob Lafond paints in pastel, his colors are any-thing but “pastel”. Bright, saturated colors dominate his com-positions of roadside scenes, many from Hancock andWilliamstown.Henry Buerckholtz can usually be found in his Greenwich

Village studio, but has found a trove of inspiration on his fre-quent visits to the Pioneer Valley. Of note are his paintings ofMayval Farm in Westhampton. While hardly idealized, amood of quiet lyricism manages to penetrate these honest,frank depictions of a working farm. Julia Morgan-Leamon and Thor Wickstrom are local

artists who, coincidentally, both also have shows at theBecket Art Center this summer. Ms. Morgan-Leamon’s do-mestic interiors are both airy and evocative. As an artist, sheis interested in how gestures of ordinary life are often somuch more than what they seem; daily routines form the con-nective tissue between self, memory, dream, and even socialawareness. Mr. Wickstrom is dedicated to the practice ofpainting on-site, outdoors. Besides his landscapes in andaround North Adams and Williamstown, he is showing sev-eral lively pieces of a bright commercial strip in NorthernCalifornia.

Located in an historic mill loft, studio21south is an exhi-bition space featuring realism and formal abstraction, at

studio21south, 189 Beaver St. (Route 8) in North Adams, ap-proximately 1 mile from Mass MoCA. Open Saturdays, 1-5,Sunday, 10-1, and most weekdays and other times by appoint-ment or by chance. 413-652-2141,[email protected], www.studio21south.blogspot.com

WALTER BOELKEGALLERY ONE

The Berkshires have been home and studio for Walter sincehe returned from Europe in 1969 and settled in the picturesquevillage of Hillsdale, N.Y. Born in New York City, Walter’s firstexperience with art began at age 12 when he took classes withWill Barnet at the Art Students League. College years and a stintin the air force as a Navigator brought Lt. Boelke to New Mex-ico where he began painting the desert and traveled to Mexicoto attend art classes in Guadalajara. That experience convincedhim that he wanted to pursue a career in art.

Walter graduated from Columbia University with an MFAand won a Fulbright Fellowship to study art in Munich. Hespent 6 years at the Art Academy and received a diploma asMaster of Sculpture. During this time he was able to travel to allparts of Europe which gave him an extensive background forthe Art History and Sculpture classes which he taught for thepast 40 years as Professor of Art at Western Connecticut StateUniversity.Boelke sees his work as a culmination of years of study and

teaching which has led to a series of works that focus on specificthemes. One of these is the Trojan Horse, which has formed thebasis for many pieces in bronze, steel, and mixed media paint-ings. These works are really an effort to harmonize the elementsof oil paint, found objects and welded steel. “I dig into the sur-face of a painting trying to create a new wayof looking at things” he says.Gallery One, Hillsdale, N.Y. Hours Fri to Sun. 11AM to 4 PM518 325 4825

WWW.ARTFULMIND.NET THE ARTFUL MIND JUNE 2010 • 21

SABINE PHOTO ARTWhether it’s an amicable groom, an observant guest, a

family gathering, or a tree house, Sabine Vollmer von Falkenis in rapport with her subject. In the European photographictradition, her true talent and interest lays in photographingreal people and locations. The results are natural and direct,capturing the emotion of the moment or the mood of the envi-ronment.Sabine specializes in young children at play and creating a

photographic record of their growth. A master of the subtletiesof lighting and the nuance of background, her eye for detailprovides photos to be treasured for a lifetime. It is to no sur-prise that she is a sought-after wedding photographer, as well.Sabine’s photo studio and gallery is located in Glendale,

Massachusetts. She captures portraits there or on location.Each photo is tailored to meet her client’s needs—a black-and-white remembrance for a special occasion or a logoimage to create an authentic online presence.Her photographs have been published in a variety of maga-

zines and books. Her latest book Woodland Style will be pub-lished by Storey Publishing in August, author Marlene H.Marshall. Other volumes include Full of Grace: A Journeythrough the History of Childhood, Making Bits & Pieces Mo-saics and Shell Chic.A member of the American Society of Media Photogra-

phers, the International Center of Photography ICP and theWedding Photojournalist Association WPJA, Sabine offersoutdoor workshops for the advanced amateur photographersin June. The dates are: June 6, 13, 20 and 27.Sabine Vollmer von Falken, 20 Glendale Road, Glendale,

MA, 413-298-4933; www.sabinephotoart.com,[email protected]

MYRON SCHIFFERFINE ART PHOTOGRAPHYEstablished as a pianist and teacher in the Berkshires since

the late 60s, Myron “Mike” Schiffer has an established historyof exploring the avant garde. Prior to living in the area, Schifferlived and worked in New York City, studying jazz piano withJohn Mehegan and Hall Overton as well as playing, teachingand hanging around the fringes of jazz.Fascinated with music and the visual arts since childhood,

Schiffer enrolled in fashion photography at The Fashion Insti-tute of Technology in New York. Working in black and whiteat the time, he was most notably inspired by Richard Avedon’sfashion photography. Once introduced to color, he was deeplymoved by the mystical color fields of Georgia O’Keefe andMark Rothko and considers this work his strongest influence.

Now that he’s entered his ninth decade, he’s fulfilling hisdream of indulging his interest in photography which he startedto explore in the 1970s. For the last year he’s been busy ex-hibiting his work at galleries, frame shops, Kimball Farms re-tirement community, Castle Street Café and in the NorthAdams Open Studio show. His current work is a minimalist expression of color, light

and space, also revealing a strong influence of contemporarymusic. Schiffer’s graffiti and urban “Street Art” follow alongthe same lines, capturing accidental and found images.After a five month run, his Castle Street Café exhibit is tak-

ing a break until it reopens with new work in the fall. This showwill feature more canvases from his “Motion Capture” series.His website showcases an ever-expanding gallery of this seriesand others such as Urban Scenes, Found Textures, Street Art,Graffiti, and Jazz Musicians.A small selection of Myron’s miniatures can also be seen at

the Red Lion Inn Gift Shop in Stockbridge, MA.

Myron Schiffer - for more information contact the studio at413-637-2659 or visit www.myronschiffer.com.

MARGUERITE BRIDEWATERCOLORS

July offers a busy exhibit schedule for everyone in the Berk-shires. Marguerite Bride’s watercolors will be on display at boththe Becket Arts Center and Berkshire Arts Festival (InsiderGallery Show) through July 5. Following that, she will be ex-hibiting at the Church on the Hill Art Show the weekend of July24 – 25 (Booth #19 on the Sunset Street side). On August 7, shewill be at the Stonington Art Festival, in Stonington, CT. With summer now well underway, it is time to start planning

for the fall and holiday season.Don’t wait until the last minute to plan that special gift for

the holidays. Commissions booked by October 31 are guaran-teed to be completed by the holidays. Now is really a great timeto get the process rolling. Visit the House Portrait info sectionon my website for all the details and to see plenty of homes al-ready painted.Also, for those interested in watercolor lessons, Bride will re-

sume teaching in September, so be in touch and reserve yourtime before it is all booked up. See the Watercolor Lesson pageon the website for more details or call and request them by mail.Lessons take place in her studio at Art on No, 311 North Streetin Pittsfield. With “open studios” during Pittsfield’s ThirdThursday events, stop by and tour the artist studios and “Up-stairs Gallery” representing 17 artists, or call Bride anytime toarrange for a private tour.

Marguerite Bride, Art on No, Studio 5, 311 North Street,Pittsfield, MA. Call 413-841-1659; [email protected];www.margebride.com. Studio hours by appointment.

A Gala Fundraiser:Featuring The Hevreh Ensemble“Original WorldChamber Music”

Jeff Adler- Composer, Bass Clarinet, NativeAmerican, Flutes & PercussionJudith Dansker- Oboe

Oboe D’amore, English Horn & Native AmericanFlutes

Laurie Friedman- Clarinet, Native AmericanFlutes and Percussion

Adam Morrison- Keyboard

THURSDAY JULY 22ND 8:00PM

Hevreh of Southern Berkshire ~ 270 State Road-Great Barrington, MA

Tickets: $ 15.00 in Advance / $ 20 at door.SPONSORING ORGANIZATION: HEVREH OF SOUTH-

ERN BERKSHIRE

RESERVATIONS: [email protected]

22 • THE ARTFUL MIND JUNE 2010 WWW.ARTFULMIND.NET

Robert Taylor, your watercolor exhibit at the WellesGallery in Lenox has been up now since, June 5, how has itbeen going for you? I think people must leave the galleryfeeling that they were in Greece and in the Berkshires at thesame time. The colorfulness of your work alone, can makethe outside of the Gallery in Lenox look dull and bleak!RT: Well, the sign over the door certainly adds color to the build-ing. So far it’s been going pretty well – almost 25% sold, andlots of favorable comments. There seems to be a bemused in-terest in the radically different subjects – the landscapes of theBerkshires juxtaposed with the literarily slanted subjects inGreece.

Are you in love with color more than landscape some-times? RT: I guess really that subject matter affects and influences mefirst; it’s unique and different look, it’s balance, its lights anddarks. Color is the matrix in my mind into which all this fits;and even if others don’t see color there, I do, and choose to em-phasize or even overemphasize it. There is great joy in color, theact of painting makes me happy, and so an emphasis on colorwill always be present.

What mediums have you explored over the past years?RT: The medium I most like to paint in, watercolor, appeals to

me because it is fast, it won’t let you linger over it, and also be-cause of the danger. Watercolor is as dangerous as stone carv-ing, because you cannot make a mistake. Once the color orwash is down, it’s done for good, you can’t change it. With oils,or acrylic, or gouache, or whatever, you can always fix it, but notthis medium. So it is kind of like juggling – you have 45 sec-onds to get the sky down, after that it’s too late. I really like thedanger in it.I have explored many media, but almost always within the

design context – whether stage or film scenery; from scrims,fabrics and gauzes, foam and sheet plastics, textured substances,mirrors, cement, I could go on and on. Also I have spent a gooddeal of the past 15 years working intensively in Photoshop,which I have used often for detail and texture in 3D animation.This may have influenced my attention to detail in my paint-ings, as the ability to blowup in a computer in order to workclosely with it, has made me more aware of detail. I think thatoften artists get so interested in the “forest”, the gestalt, of apainting, that they forget the “trees”. A landscape can existwithin a few inches of pebbles sticks, water and plants. I like tonotice this in paint, I pay attention to it – particularly the sub-tleties of color and shade and reflected light on a wall, or treetrunk, or under a stone. I want to show it, and make othersaware of its presence.

How does this wrap around your childhood?RT: My childhood was spent in Virginia, where my family andits antecedents have lived since 1710. My home then (an enor-mous Charles Addams Victorian hulk, with numerous roomsand fireplaces with hidden doors, a many roomed unlit stonedungeon-like basement, and a terrifying attic with the all-im-portant cupola, trunks, and dead flies) was in the ShenandoahValley, between the Blue Ridge and the Alleghenies, so I havebeen absorbing landscape for a long time. My grandparents,having spent some time in Asia, had acquired much Chinese andJapanese items, art, etc., so that at a very young age I becamefascinated by the Asian use of line and color. I remember whenI was about 11 or 12; I wished that I had a big book that woulddescribe all of this Asian art and symbology that I admired. Butthis was before the days of giant coffee table art books; so Imade my own. I still have it; a huge book of scrapbook paperpages, on which I hand copied art, glued pictures from LifeMagazine, and elaborately typed out or hand wrote info fromother books on the art, styles, mythology, and meaning of Chi-nese and Japanese art.I also knew, from maybe 6 or 7 years old, that I wanted to be

an artist; I was good at it, my parents encouraged it, and thatwas the only track I have ever travelled on. I had no idea whereit would lead – from classical art training to stage design to TVand feature film design to computer and architectural design,back to painting. But there was never any doubt in my mind asto what I was going to do with my life.

My family moved from Virginia to Swarthmore Pa. in mymid-teen years, where my formal education was spent at thePennsylvania Academy of the Fine Arts (where for the first yearyou were not permitted to paint; only to copy in charcoal theAcademy’s huge collection of full scale Greek and Romansculpture plaster casts, and life drawing – the end result was thatyou emerged being able to draw anything), and the Universityof Pennsylvania, where I became obsessively involved with theUniversity Theater. I acted in and designed every play and mu-sical they did, for three years; so simultaneously becoming a setdesigner. I discovered that more people want to be actors (andfor that matter, painters), than want to be set designers, so I wentfor set designing after college. Also, to be a painter, you haveto sit in a room day after day painting pictures – theater hadmore interaction with people, and so was a lot more fun. I con-tinued to paint, both in watercolor, but mainly in oils – in a sortof Dali-esque magic realism violently colored world, withtouches of Ivan LeLorraine Albright (remember him?) But thattook too much psychic energy, which I needed for set designwork – one must make a living. I went on to Yale, studied underDonald Oenslager, one of the last courtly and noble designers ofthe early 20th century, who lived in a 300 room heavily cur-tained 5th Avenue apartment. I learned a lot from him, as youhad to crank out one set design every week for his criticism; soyou learned to put together research material, think fast, eat mal-lomars and don’t sleep, and especially, paint fast.A painting can, more or less, exist on its own without a req-

uisite back-story. But a Set Design must reflect and include theentire culture, sensibility, psychology, and personalities of thecharacters in the drama, together with the Director’s ideas aboutall of the above, the Designer’s style (if any), the space in whichthe drama will be staged, and the physical necessity of movingefficiently in that space, All of this I came to think about in-stinctively, and that attitude has, I believe, transferred to someof my painting (certainly the Greek ones).

What have you learned about human nature throughyour art? RT: I cannot say that I have learned much about human naturethrough my art – I certainly have through set design, though.As a painter, I much prefer natural scenery – easily traced to mylove of Chinese and Japanese painting (which I trained myselfto do when I was much younger; copying paintings and callig-raphy using the tools of the Asian artist). The Chinese scholar-painters since the Han dynasty, generally kept people out oflandscapes, believing they were not essential to the broad pres-ence of the natural world depicted in art, and would only be in-trusive.

Were your teachers big influences for you? RT: The question of who have I learned from has a mixed an-swer. I learned how to think about art from my time at Yale asa designer. I learned style and line from the Chinese masters ofthe Sung, Ming and late Qing dynasties. I learned color fromHokusai and Hiroshige, just about everyone in the MomoyamaPeriod, Kawasi Hasui from the Shin Hanga period, and JackKirby of Marvel Comics. Also I am naturally attuned to colorfrom just looking around. I learned technique in two ways -one from, probably, Velasquez (greatest painter who ever lived),Gruenwald, Sargent, Childe Hassam and others; and the other- well I’ll just tell the old English lawn joke: Visitor to old gar-

ROBERT U. TAYLORInterview by Harryet Candee


dener on Ducal Estate lawn – “My good man,how do you get your lawn to look so beautifullyeven, rich and green?” Old gardener to visitor –“Well, we mows it and rolls it, and we rolls it andmows it… for 300 years.” Just keep paintingand you pretty much pick up technique naturally.

When you have completed a painting, whatthoughts go through your mind?RT: Honestly, I look at it for maybe one or twodays to see if I like it. I usually like a paintingwhen I start it. In the middle, I am sure that Ihave screwed up somewhere, and then at the endI sort of like it again, maybe. Also, set designtraining helps here, I know when it’s done; when,as I used to say to my film set build crew, “OK,walk away.” Generally I decide that I really likeit after two days, and then immediately forget itand move on to the next one. It is the act ofpainting that is the important part, the process ofbecoming something from nothing. The finishedwork, to me, is what’s left over.

Where do you think you want to go withyour art ?RT: I have no idea where I will go next; I want tosee what’s over the next hill, so I can paint it.The best part is that I don’t know what it is yet,but that I know it’s there.

Are you fond of antique objects? RT: Antique objects. Well, I love – and collect –Chinese and Japanese paintings, old Chinese butrecent Japanese ceramics and objets d’arte, Chi-nese old jade, and Chinese scholar’s paintingequipment. Also, old books(really old books, artbooks, well bound literature of authors I reallylike), Roman and Greek rings, Byzantine crosses,and other unique stuff I won’t go into now.

As far as antique places; that’s easy. CapeSounion head, southeast of Athens, where thegreat temple of Poseidon stands high above theAegean, where, if you lie quietly in the seabelow, you can hear the god breathing. Likewise,at the ruins of the house and treasury of Atreus atMycenae, the hair on the back of your head rises.There is a terror there. And the view from Del-phi, down the olive tree covered slopes to the Seaof Corinth is one of the great landscapes of theworld. Understand that what is important there isnot just the place, spectacular as it is by its natural

self; it is what happened there over the long cen-turies, the interaction of humans and the place itself,that makes it powerful. That is why the Caribbean,though certainly beautiful, holds no attraction forme, as it has none of this history, or these echoes andunseen presences.

Please describe your house to me.RT: My present house I built 16 years ago, afterspending 25 years in Manhattan, then moving up tothe Berkshires. I love the land, surrounded by cen-tury old white pines and wild cherry. The inside re-flect both myself and my wife Margaret; our tastespretty much exactly coincide (except perhaps for mypredilection, unless checked, for overloading aroom with stuff.). We have an enormous kitchen,which encompasses an eating area with heavy Nor-man table at one end, and a small living area (butwith very large fireplace) at the other end. That,could have possibly have been the whole house, aswe spend a lot of time there. On reflection, it is hardto describe one’s house without sounding vain;someone else has to do it for one. It is sort of likedescribing ones-self for an online dating site (well,I’m 6’ tall, 46 chest, wavy hair, love dogs, likesports, build gliders, am romantic yetreserved…ack).

Do you like to paint with the music playing?RT: The thing about music is this. Go back to Q7.When you play a piece of music (or listen), that isthe work of art When you finish it, there is nothingleft. Your hearing it or doing it is the art part. WhenI finish a painting, I finished it. Now we move on. When I was young I remember I painted a manic

roiling oil portrait of the Biblical Solomon, while Ilistened to Bloch’s Schelomo (cello & orch.), and Ireally liked to paint stuff to Gliere’s Ilya Mourometzsymphony. I thought that was way cool. Also, Ishould mention, I play jazz piano pretty well, usedto play Highland Bagpipes and Sitar (sold it.. howlong can you be a hippie?) Anyway, painting is aform of (really slow) music. Since I do both, I don’tsee much difference between’em, except at the endof one, you have a thing to look at.

What’s your opinion of the selling market inthe art world today?RT: First of all, I should say, “I hate Art”. What Ido is paint. I don’t think much about buying andselling in the art world. I guess I pretty much don’t


like the fact that, with a great many exceptions, I should add,you appear to have to have a gimmick or hook (half a cow informaldehyde, wrap up stuff in cellophane, glue smashed cupsto canvasses, dig holes in the ground, cover yourself withchocolate syrup, etc.) to make it in the big time. Or just be nuts. This may sound like jive, since I just went on a long rant

about the act rather than the finished object as art. But believeme, it ain’t the same. If you had written, or play, “’Round AboutMidnight”, you got a great piece of music at the end, that otherscan play and improvise on. If you are Velasquez and you paint“Las Meninas”, you got a seriously great painting when you fin-ish. Don’t get me started.

Who are some of your favorite authors?RT: Oy. Hmmm. Homer’s Iliad and Odyssey..- hands downthe greatest author. He got to it before anyone else did (honor,freedom, feminism, friendship, love, good eats, whatever), andis still the best. I still like Pope’s thundering translation, thoughit be dated. Psappho’s lyrics - still, even up until today, withwhat little is left, the greatest poetess. Robert Graves – for hisdetermined digging in ancient rubble so it should live again.Izaak Walton (and Beatrix Potter) - they give you peace in(even) your time.

How does your spirituality fit into the scheme of thingswhen interacting with your art?RT: I have a built in knee-jerk DNA embedded suspicion ofwords like “spirituality”, probably from reading too muchVoltaire, Mencken, William Seabrook, et alia, even, God saveus, Hitchens. I think that the act of doing art is the inflow of

“spirituality” (whatever that is), just as hitting a long drive waypast center field, or jumping off a diving board for the first time,suddenly playing chords you didn’t know you could play; all ofthese are the sudden and fleeting presence of the god. TheGreeks, recall, had a clutch of goddesses just for this; they knewthey were out there. The Muses, who could come, not necessar-ily (or ever) when called, and push something out of you thatyou did not expect, always in a moment or period of high focusand concentration. Recall Hoffman’s Muse, at the end of theOpera, “Tales of Hoffman”. I’m a little bit into Shinto, here, where everything is sort of

alive, and periodically one might encounter a piece of thiseverything, that seems more alive, more sacred, that hums inthe back of the neck, which one instinctively recognizes. I rec-ognize it in the lithos of Goya, in sudden strangled bits ofLennie Tristano’s piano playing, in Hendrix’ “All Along theWatchtower”, in a golden lacquer screen by Korin. Back in theSung dynasty, Chinese scholar officials would stop andsolemnly bow before a great Tai-Hu stone in the Emperors gar-den. Not because it was a god, or avatar of a god, or any of that,but because the stone outranked them, and was, on some otherplane, a wiser being.On the other hand, when asked what some of my laws of na-

ture are; I can only reply from direct personal experience. Theymight not work for you. They are:You never have the right tool to do the jobYou never have enough tools “Never pick a fight with your bathroom.

We learn from each other, yet, we all want to share some-

thing Unique we have within our selves. It’s almost hard tobe unique these days with art. What are some of yourthoughts on this.RT” Unique? I don’t know exactly. I think perhaps this. Wecan only express our art externally, through the one way that isunique to each of us. I cannot suggest to you that you shouldpaint, or sculpt, a little bit differently this way or that (unlessyou ask me, because you are perhaps unsatisfied with what youdid) – because the way it comes out is who you are. Hokusai, the great Japanese print maker, said before he died,

“If Heaven had only granted me five more years, maybe then Icould have become a real painter.” Hokusai was surely unique,yet he searched further even with his last breath. I paint theway I do because it is who I am; I like painting like that, withthose colors, that composition, that group of brush strokes, thatdarkness and light contrast, etc. As the old Tarot Card readersused to say about one’s fate – it is a combination of fate vectorsall working at the same moment to produce a certain action thatyou will perform, are fated to perform, because of these fatevectors pressuring you. Whatever I do, whatever you do, atwhatever moment, will always be unique to you; because 23 or45 or 68 years of “fate” (and style, and taste, and sense ofhumor, and will power) vectors that are your own life and ex-periences, will make it so.


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Architecture & Arcadia

Unsafe Places

We seek safety. Confronted with a world increasingly definedby its dangers, we tend to isolate, to attempt dominion of thevariables we fear are beyond our control. This isolation is in-creasingly evident in the form of ‘gated communities’, ‘indus-trial parks’, ‘outlet villages’, and, less obviously, the‘privatization’ of many formerly public activities, characterizedby the exponential growth in the purchase and construction ofprivate pools, exercise facilities and equipment and transporta-tion; this is surely the golden age of the single-driver automo-bile. We are gathering less frequently, in both smaller numbersand only, whenever possible, among those ‘like us’. Thesethings can be seen in light of the larger trend away from partic-ipation in ‘civic society’ in favor or going it alone or as close toalone as we can get. Increasingly the ‘safe places’ we seek aremore often fortress than forum.

Ironically, while we must have some degree of safety to func-tion there is significant danger in seeking too much ‘safety’.Politically it is axiomatic that the vitality of our democracy de-pends on the sharing of the talents, energy and resources of all.As discussed in previous columns the ‘Balkanization’ of theactivities comprising our lives - shopping, living, working, evenworshipping - limits the necessary friction that results from par-ticipation in a multifaceted, multicultural society. It is easy todelude one ’s self into believing that the world is just like youare if no one is ever allowed to challenge that belief. Democ-racy is by its nature an occasionally messy and uncomfortablebusiness, but it must be so. The price of forgoing true democ-racy’s occasional discomfort (or of assuming that everyone hasthe same opportunities and thus should be just as content as youare) has a name — revolution — and that is a far messier busi-ness. Often it is the most privilegedand talented who choose to isolateand this is especially detrimental.Abraham Lincoln warned about hav-ing, “a house divided against itself”in the context of slavery, but anymajor societal divisions born of iso-

lation and self-delusion is equally destruction to the democraticunion.

Equally importantly, we are by nature a gregarious animal. Theancient proverb is correct: “One man is no man”. Tellingly, ababy isolated from human contact will not simply be stunteddevelopmentally; he or she will die, even if otherwise cared forwith adequate food and liquids. Nature does not tolerate excesssafety; in fact, it is designed to prohibit it. We must seek foodand mates, but the price is increased exposure to a wide varietyof dangers.

Architecturally, I have envisioned the representation of the arch-typically unsafe ‘safe’ place as a room without doors or win-dows, silent and dark. In a short story I wrote several years agoI described the discovery of such a room. In the story the pro-tagonist, a widow long married to an architect, is looking at thehouse plans while attempting to renovate her home a year afterher husband’s death:

“… as she looked carefully at the drawing she saw that some-thing appeared to be wrong with the plan. Near the center ofthe first floor her husband’s precisely drafted lines ended, re-placed by numerous hesitant lines, some drawn and erasedmany times each a fraction of an inch apart as if he were tryingto reconcile conflicting information. Then, as if finally accept-ing his measurements he again drew dark, steady lines. Sheunderstood immediately why he had hesitated. Those last linesrevealed the unmistakable presence of a room located nearly inthe middle of the sprawling floor. A small room, no more thansix foot by six foot, but a room nevertheless. A room she hadsomehow never noticed before.

How could she - they - have been unaware of such a room? Thepossibility filled her with both wonder and fear. This room wassituated right between the staircase and the back of the kitchen,enclosed by walls she had always assumed to conceal nothing,simply wood, lath and plaster. Confused, she walked down-stairs past the small finished family room and through the doorused to access the older part of the basement. Light cast fromthe single suspended light bulb provided enough illuminationto make her certain that there was no access, no floor panel,leading to this room from below. A few quick measurements onthe second floor told her that this room was located below thelanding at the top of the stair. Standing beneath the brasschandelier suspended above the landing it suddenly occurredto her that not only was there a room, but this room had no entryor windows.

No entry or exit. No light. Inside she imagined only indeci-pherable, muffled sounds alternating with absolute stillness.Existing apart from night and day, oblivious to spring’s emer-gence or winter’s retreat. Beyond the reach of man’s manytransgressions and occasional triumphs. Sealed against theturbulent flow of molten metals far below the surface, or thevast streams dragging life through the canyons of the oceans.Immune to the moon’s pull or the fragrance of a lilac just out-side the window.”

Last month I described my temporary refuge, my momentary‘safe place’. But one must eventually leave such a refuge, orbe trapped forever. Both societally and personally, excessivesafety often demands a fearful price.

End

Stephen Gerard DietemannTAM, July, 2010

MicroTheatre

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To schedule an appointment:413-442-2223 or [email protected]

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Greater Backfish Roundup

OBITUARY

Professor Paul Pogeybait, 54, is dead and nobody is saying any-thing different. The Cracklefoot, Massachusetts native is regis-tered now as being legally dead. He is numbered with the dead.He is no longer among the living. For all intents and purposes,his life has been extinguished. As far as anyone can tell, he ex-hibits no life or spirit. In other words, it’s fair to say that Profes-sor Paul Pogeybait was alive, but he is alive no longer. However, the whereabouts of his dead body is unknown. Whichmeans he is presumed dead, but given the circumstances leadingup to his probable demise, you would have to say that ProfessorPaul Pogeybait could not possibly live to see another day.Just yesterday, Professor Paul Pogeybait ascended into the heav-ens against his will and got up too high in the sky, up therewhere gravitational pull doesn’t work anymore. So, he couldnot fall back to the pavement and splatter into a chunky sauceversion of himself and without question a dead version of him-self.No, Professor Paul Pogeybait had pretty much advanced intothe frontiers of space on a one-way ticket, a reluctant passenger,held captive by a winged beast that once lived as a caterpillar onProfessor Paul Pogeybait just above his upper lip. Matter of fact,Professor Paul Pogeybait encouraged the caterpillar to serve ashis fake moustache. But how could he predict that the caterpillar would morph intoa supersonic butterfly?It was just an ordinary banded woolly caterpillar, about as com-mon as a bleach-blonde cougar on a Friday night at the honkytonk. A banded woolly caterpillar, black and orange and fuzzy,clinging to Professor Paul Pogeybait’s skin, right below thenose, where Professor Paul Pogeybait should have been able tocultivate a real moustache, but he could not manage to growenough hairs. Only nine on each side. And nine on each side isonly good for a baseball game. Being a self-ordained professor, Professor Paul Pogeybaitneeded that moustache as much as he needed to be seen in thecoffee shop reading important authors. That is, pretending to bereading while petting his fake moustache. Like real professorsdo. The world knew him as the professorial type, right there

alone at a back table of the Cracklefoot Coffee Lounge in down-town Cracklefoot, Massachusetts shuffling reading material byreally, really deep thinkers like Jasmyne Cannick and BerryCraig and Natalie Davis and Tom Degan and Jerry Drucker andRobert Fuller and Tom Hall and Lydia Howell and Robert Illesand Charley James and Sharon Kyle and Diane Lefer and BobLetcher and Linda Milazzo and Walter Moss and Margie Mur-ray and Georgianne Nienaber and John Peeler and Donna Per-due and Dick Price and Anthony Samad and Norman Solomonand Linda Sutton and Michele Waslin and Ron Wolff. But Professor Paul Pogeybait’s only academic credential camefrom the University of Wannabee, which made him as real aprofessor as his moustache, which was no moustache. It was acaterpillar.A caterpillar that eventually did what a caterpillar is supposedto do. It turned into a butterfly. After long months attachedleech-like to Professor Paul Pogeybait’s face, right there underhis nostrils, playing the part of a stylized cluster of facial hair,living on all the nutrients it could get by gently sucking Profes-sor Paul’s blood. And that blood in the bloodstream, that fluid in the mammaliancirculatory system of Professor Paul Pogeybait, ran wild in hisveins carrying the deposits of his steady diet of Cocoa Puffs,beef jerky, moon pies, cheese nachos, Hawaiian Punch, Marsh-mallow Fluff, peanut brittle, jelly doughnuts, caramel popcorn,root beer floats and Girl Scout cookies. An over-treatment of anenergy source to the furry parasite insect primed for transfigu-ration. High octane propellant for the new butterfly to go whereno butterfly has gone before.Yet it was unable to disengage from the host. Once a moustache,once a caterpillar, now a butterfly, its physical attachment toProfessor Paul Pogeybait may have led to emotional attachment.Or was it the other way around?Nevertheless, the butterfly was stuck, right there in the middleof Professor Paul’s mug. Right there in the middle of nature tak-ing its course, that is, precisely when the butterfly’s instinctualdrive for a maiden voyage could no longer be contained, and,ready or not, Professor Paul Pogeybait was along for the ride.Launch, liftoff and liberation were okay for a couple of ama-teurs. To the casual observer, it looked like a tiny kite with abulky tail rocketing upward. Yes, upward indeed, toward certaindisappearance and nothingness, and maybe a last gasp teach-able moment for a counterfeit professor.Professor Paul Pogeybait, dead at 54. He was a Red Sox fan.

LOST & FOUND

The village of Slapdash, Massachusetts has lost its color. Nota trace of ROY G BIV in sight. Somehow the little settlementtucked away in the Berkshires has mysteriously changed intoan entirely black and white environment, reminiscent of oldmovies from the 1940s like Citizen Kane.But how can this be, Rosebud? What strange force of nature,or otherwise, is capable of eliminating all primary colors froma village?Well, it happened in broad daylight. There was no shortage ofluminosity. The morning sun was splashing all over Slapdashwithout fanfare or threat, until, all at once, its golden light in-explicably changed to a harsh white. And the people, placesand things below abruptly turned achromatic.Elsewhere, in neighboring Backfish and Cracklefoot, a normalyellow sun is beaming down and bringing out all of the colorsof the rainbow. No hitch, glitch or switch. No one in shockscreaming: “Oh, my god.” Up and down Berkshire Countythere are no reports of other towns losing their color. OnlySlapdash is stuck in black and white.Right now, the visual effect throughout the village is like ananimated version of Diane Arbus’ photo album. A stark,grayscale milieu.Nervous townsfolk are asking: did a disgruntled former resi-dent sneak around under the cloak of darkness and install aspace age light filter somewhere? Or did that same disgruntled

former resident use an elaborate suction device to swallow upall of Slapdash’s pigmentation?Maybe he poisoned the village with a bleaching agent thatchanged the whole shebang to black and white. And maybe thisperson, this disgruntled former resident of Slapdash, is gettingeven for having been betrayed and run out of town by villagershe thought were his friends. Or quite possibly he is getting evenwith the charlatans who plagiarized him Those pretentious, no-talent trust fund babies who ripped off his original prose, poetryand performance pieces and called them their own and took allthe credit. Hmmmm. Contrary to the local paranoia, that guy is not responsible forSlapdash losing its color. That guy is dead. Found dead about amonth ago, slouched in a booth at the Neighborhood Diner inGreat Barrington, cup of coffee on the table and the BerkshireEagle in his lap. Cause of death: too much of this and notenough of that. He’s been interred at the Old Water Street Ceme-tery for a few weeks now with an airtight alibi.So, with that guy ruled out and no one else to point the fingerat, the Slapdash hierarchy has petitioned the governor and thegovernor wants Slapdash to form a committee, which they’vealready done. The usual suspects have been rounded up, thosefive or six people who like to be in charge of things and seetheir names in the paper, and they are calling themselves theSlapdash the Lackluster Committee. Their goal is to scrutinizethe inscrutable problem at hand, namely that their village haslost its color.Still, everything within the town limits is taking place strictly inblack and white. Somehow Slapdash, population 888, has be-come achromatized. And a good percentage of the populationhappens to be women, who slavishly paint their lips and nailsred as a matter of ritual. Now, however, they are trapped in afreakish realm of colorlessness where their applied lipstick andnail polish translate as black, giving them a decidedly Gothlook. Decidedly an improvement for some.George Miskar’s lime green El Camino is suddenly a duskyshade of slate.The elderly Mr. And Mrs. Biggs have always had two tabbycats: one orange, the other gray. Now they can’t tell which iswhich. Which is addling the wits of Mr. Biggs and causing Mrs.Biggs to feel flummoxed. At their advanced ages, they are nowconsidering a session with a marriage counselor. Maybe even adeep breathing lesson up at Kripalu.Placid Dave, who lives in a teepee over on Slapdash Trail, iscomplaining that his LSD isn’t working right. “Wow, man,” saidPlacid Dave. “I mean, like, I’m getting all these salt and pepperhallucinations every time I drop a tab. Where’s my polychro-masia, man?”The artist community, renowned for saturating their canvasseswith bold coloration to mask their scarce talent, worry that theywill be forced to paint like Franz Kline. Most of these artistsare equally worried that they will have to identify Franz Kline.In the meantime, Slapdash remains devoid of color. The land-scape and the populace are ashen and shaded and smoky andmousy looking. If you turned on the TV in the 1950s, all theprogramming back then pretty much looked like the currentstate of affairs in Slapdash. Black and white and variations ofgray.But, trying to identify cause or culprit is a ponderous waste oftime. It amounts to metaphysical neuralgia. So, let us trust thatSlapdash will ignore the black and white and work within theparadigms of those variations of gray. Day or night. Rage orreverie. Sacred or profane. Color or no color, relatively speak-ing. As usual. As always.


MYRON SCHIFFER

"Neon Whale Tail" from the "Motion Capture" series.

NEW DIGITAL PHOTOGRAPHYOnline Galleries at

www.myronschiffer.comCome browse over the 250 photographs

currently for sale online.413-637-2659 [email protected]

studio21south

Hancock Barns, R.H. Lafond

an exhibition space1 mile from Mass Moca

through July 25common placesartists interpreteveryday landscapes and interiors

tel. 413. 652. 2141www.studio21south.blogspot.com189 Beaver St, North Adams MA

s good, but could you make the following changes?

we'd like to use arial font throughout. bold type can stay as it is.

can "an exhibition space.." be placed slightly lower and smaller?

please put the "artists interpret...." bit in italics

remove "GPS", just address.

"Hancock Barns" R.H. Lafond... italics and justify left please.

that's all! thanks!!

thor and jaye- Show quoted text -


LAUREN CLARK FINE ARTpresents

“And Now forSome Things

Completely Different”

New Works byRichard BritellJuly 10 - August 2

Reception for the ArtistSaturday, July 10, 5-8pm.

LAUREN CLARK FINE ART402 PARK STREET,HOUSATONIC, MA

413.274.1432www.LaurenClarkFineArt.com

artful mind july 2010

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