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DUFFY'S CULTURAL COUTURE
Saturday, 23 February 2019
Focuses on Paintings of Maureen Chatfield
Topic: ART NEWS

 

 

 

Hunterdon Art Museum’s Member Highlight Show

 

Focuses on Paintings of Maureen Chatfield

 

 

 

 

 

 

 

 

 

 

Clinton, NJ (Feb. 15, 2019) – Though she’s painted for several decades, artist Maureen Chatfield still feels a thrill when stepping in front of a blank canvas.

 

“I deeply love the creative process,” Chatfield says. “It’s exhilarating, rewarding, frustrating and endlessly challenging.”

 

Viewers can discover the results of her creative process in the Hunterdon Art Museum’s Member Highlight exhibition Maureen Chatfield: Emotions Through Color, opening on Saturday, March 9 from 2 to 4 p.m. with a reception that everyone is welcome to attend.

 

Chatfield’s work was selected from among 86 entries for the Museum’s juried Members Show in 2017.

 

Most of the abstract paintings included in this exhibition come from Chatfield’s Ether and Landscape series, which are impressions of experiences, and the emotions attached to them. The Landscape series arose from impressions of places she’s visited or seen; the Ether series is internal and emotional, and exists in the gap beyond conscious thought, she said.

 

“These works are pieces of my soul, energy and passion expressed in color, line and form,” Chatfield said.

 

Her paintings are intuitive responses to the many forces that shape her life – emotions that translate into color, visual memories of forms and color relationships found in the landscape and personal stories from her past.

 

Chatfield shies away from relating specifics about her creations, encouraging audience participation. “I try not to describe my work but rather let the viewer engage and experience,” she said. “Abstraction questions and provokes and invites viewer participation.”

 

The work is the result of constant experiment and change – building layers of color, form and image on the canvas revealing the underlying pentimento. Her images are rarely planned but discovered and enhanced through music. Specific rhythmic vibrations are an integral part of her creative process and helps her enter a rhythmic flow.

 

“As colors are reflections of emotions, the images that emerge in each segment have a similar palette reflecting where I am at that moment,” she noted.

 

The exhibition is being curated by Hildreth York, and runs until April 28.

 

Chatfield learned to paint as a teenager, and now does so full time, in addition to teaching classes at the Museum. This April, Chatfield will teach an adult class on “Painting the Modern Landscape,” which blends music and painting, while encouraging students to experiment with action painting and developing layers of color form and image to their work. In March and April, she’ll teach workshops on “The Economy of Stroke” which teaches students how to use fewer strokes and create more interest in their art by using color value to generate emotion.

 

“What I enjoy most about teaching is when I help change the way an artist ‘sees,’ and he or she gets that ah-haaaa moment,” Chatfield said. “It's wonderful sharing the love of art with others who have the same passion. When they grow, I grow!”

 

Chatfield's work can be found in private and corporate collections in New York, Paris and Spain, including Tiffany & Co., and Decca Records. She is represented by Rosenberg & Co's Manhattan Gallery where her work has been seen in solo and group exhibitions. In a review, Art News called her a "natural colorist," who "fearlessly mines the spectrum from the gorgeous reds of Matisse to the rich blacks that conjure Franz Kline's swashbuckling brushwork and Robert Motherwell's Elegies to the Spanish Republic to the muted nuanced shades of Richard Diebenkorn."

 

GENERAL INFORMATION FOR THE PUBLIC

 

The Museum is at 7 Lower Center St. in Clinton, New Jersey, 08809. Our website is www.hunterdonartmuseum.org and our telephone number is 908-735-8415. Hours are Tuesday through Sunday, 11 am – 5 pm. Admission is $7 for adults, $5 for seniors and students; children under 12 is free.

 

 


Posted by tammyduffy at 6:30 PM EST
Thursday, 22 November 2018
The Path of Life Garden
Topic: ART NEWS

 

 The Path of Life Garden

 

 

 

Watch Link below

 

 

https://youtu.be/hrp8qBnElXk 

 

 

Corporate America was founded by men and is still dominated by men. As a result, it has many stereotypically masculine qualities. Some of these are great; others are not.

 

There are many aspects embedded in corporate American culture that are not the best thing for the people in it or for business itself. Your challenge is to first figure out what you need to assimilate to in order to gain credibility, and then change what needs changing. There’s a new phrase in literature on women in leadership—it’s “walking the narrow band”—in other words, women have to work within a narrow range of acceptable behaviors in order to succeed.

 

If you’re too “nice”, you don’t get what you want. If you’re too “nasty”, you’re seen as a bitch. Many women leave the workforce because they don’t feel like they can be authentic to themselves. And there are many behaviors that could have a positive impact on Corporate America that are not being displayed because of this narrow band. Bad leadership kills companies.  When employees follow these bad leaders it instill bad behaviors that are not fixable. Most of us have either experienced or currently work with bosses who are incompetent, tyrannical or vindictive. You may have asked yourself how someone so incompetent ended up in a position of power. Or you may wonder why everyone seems to put up with the tyranny of a volatile and domineering person at the helm.  Bad leaders are discriminatory, aggressive and arrogant. They build a world around a self-centered idea of personal greatness that gives them personal license to break, bend and alter moral standards others while holding others to them. By placing themselves on a pedestal above the law, above authority and even above God, bad leaders construct an insular bubble where they must always be right and anyone who suggests otherwise is mercilessly struck down. I needed an art cleanse. I found one.

 

 

I arrived to the PAth of Life Garden and no one was there. However, I quickly learned you could still access the garden by paying a $6.00 fee in the common mailbox. The mailbox also had a small pamphlet in it describing the garden. You first go through the “Tunnel of Oblivion” to enter the garden.  There is an oddly placed fake bat in the tunnel. So, at this point, you do not know what to expect in the garden. The Tunnel of Oblivion, the darkness representing the beginning of life. 

 

 

 

After you walk through the tunnel, there is a small sign pointing and saying, “this way”, so I followed the path. From here one proceeds to the right and finds a small stone emerging from a shallow swale signifying BIRTH.  Next, the first steps of childhood lead to a hemlock maze, reflecting a period of ADVENTURE.  One has a choice to make here according to the sign, to take the adventurous route.  I took more of course. The evergreen maze made me decide which way to go. Left, right, forward, up a hill, etc. There is a life lesson in this maze. The walker finds that lesson and then reaches an amazing bell they can ring the signified their success.   Upon successfully mastering the maze, one turns right and finds the HILL OF LEARNING ,where one crosses a series of buried granite stone steps, signifying the milestones reached in school. At the top of the hill one discovers the TREE OF WISDOM , a white oak whose nuts contain the seeds of knowledge. Whose leaves are the lessons dropped from the fall season. I took there for several minutes just relaxing in the circular stones border, it made me feel safe.  Before you enter the Tree of Wisdom the poem by Chard di Niord, Tree of Wisdom is posted.  READ IT!

 

Upon descending the hill one finds a circle of Prayer Wheels that can be spun in the spirit of HOPE and wellbeing.  This remined me of my time in Tibet, climbing Mount Everest. These types of prayer wheels where located on the way to Mt Everest from Lukla.  It brought back such amazing memories of our climb up Everest. The handmade wheels had words of inspiration that made we want to create this wonder at my own home. Beyond the prayer wheels one enters an amphitheater of sculpture that symbolizes a time of CREATIVITY.  One was given the opportunity to hear the imaginary music created by these recycled giants. 

 

I then climbed up the hill behind the giant musicians to the gong. This was an additional instrument for the giants, for humans to play. There was a mallet on top of the wood structure that allowed one to create therapeutic sounds of happiness. From here the path travels to the river and you will encounter the experience of UNION, suggested by two granite posts flanking a round millstone. The hole in the millstone represents the mysterious connection that exists between two beings while the mass of the stone creates a sense of separateness. Adjacent to union is the garden of FAMILY, depicted by five large flat stones arranged in a circle. Visitors are welcome to sit in the circle with friends and family to reflect on the loved ones in their lives. I recommend you walk around the trees and internally and externally around the seats. It’s a very therapeutic experience that helps you feel as though you are binding your family together.

 

 

 

 After creating a family, you then become a part of a larger COMMUNITY, represented by a multitude of stones arranged in a large circle. When you first look at the structures in the circle, they appear to be just large pieces of burnt wood. Then because of the clarity of behind you have created with this walk in the park, you see the amazing wood carvings that are impeded in each structure. Take time to look at each one. Do not miss the couple kissing near the tree off to the side, they are quite the pair. The individual characteristics of each stone stand for the unique qualities in each of us. Some people find they are spending too much time in community and enter a period of SOLITUDE, expressed in the park as a single stone surrounded by lilac trees and a shade structure. At other times in midlife, one might find themselves experiencing a period of AMBITION, portrayed by a large earthen mound in the middle of the field. Perfect, as I hit my midlife, I decided to begin climbing the 7 summits in the world. Four down three to go. Having climbed to the top of the mound, one can look back and reflect on the first half of their journey. I reflected on all my climbs, training to the large summit climbs, each one just as important.

 

Continuing upriver, mid-life also brings the first taste of SORROW. In this garden, the frame of a Native American teepee embodies our collective sense of loss. After a time of sorrow, some are lucky enough to find a time for FORGIVENESS, depicted in the park by a stand of bamboo poles reaching for the sky.

 

The gift of forgiveness is often followed by a period of JOY, symbolized in the park by a garden of blueberries and raspberries for all to share in the summer time. I felt compelled that Joy was not possible unless I walked the path of forgiveness. So, I walked every step of the path created by the blueberry and raspberry trees. This therapeutic path created a strong heart. It was not until then, that I allowed myself to enter the bamboo structure of Joy.  I stayed in the structure for some time, thinking of all the joyful moment of my life.

 

After leaving the garden of berries, the path turns to the left and climbs a gentle hill As one reaches these later stages of life, many people look forward to a period of rest or RESPITE.A hammock and picnic table located in a cool forest overlooking a series of gentle waterfalls provides our traveler with a well-deserved break. I sat on the hammock and meditated for a few moments. I then noticed an amazing field of now covered pumpkins. So I climbed to the down the hill to the field of pumpkins to take some photos. 

 

Turning around, and going up a hill, the garden allows for a period of CONTEMPLATION , and a Buddha is discovered overlooking a stone labyrinth. As old age settles in the path to the center of the labyrinth becomes smooth and level. After pausing at the center of the labyrinth to wish for enlightenment. I took more time to meditate and take notice of the articles left by others on the Grand Buddha, simply amazing. I thought about things going on at work where it seems like everybody in leadership is just looking upward and has a price. I wonder how they sleep at night. Where they come first and could care less about those below them. The truth comes second, everyone below them always having to look to the left and right to safely cross their day like a street. I stop, for a minute and Smile and think, they are not my circus, they are not my monkeys. I only control how I react to their abysmal behaviors.  I meditate some more. 

 

 

The next area of the garden one comes to a stand of large dead maple trees, the garden of DEATH. I stood there outside the area, not entering. For entering the death garden, I thought that would be a bad omen. But as I scanned the periphery, I saw that there were more amazing art sculptures, one resembling a Giacometti. I dropped my fears and bee-lined for the sculpture. I then also noticed like in the Community area of the garden, the sculptures had amazing life to them.

 

I put my fears of death to rest, surrounded by weeping trees, taking my renewed soul to the garden of REBIRTH, where life begins anew. One gets to sit amongst trees of life that bring a new energy to your being.

 

As a final gesture, the pilgrim re-enters the tunnel from which life began in the opposite direction. When traveling towards the West, the tunnel represents the Gateway to Eternity. The way you feel when you exit the garden is not the way you felt when you entered. It’s brilliant and I highly suggest you go there; go alone or with a group. You can also camp there. The Connecticut River is adjacent to the garden so in the summer they have boats and activities to fill your day with love and life lessons.

 

 

 

You can visit the garden now, I suggest you go a day where you can make your own footprints in the snow. That adds a whole new level of experience to the garden.  When I left the garden, I thought, who made this? It is brilliant. 

 

Terry McDonnell, a child and family therapist from Norwich, Vermont has been working on The Path of Life Garden for the past 16 years. On any given weekend in the Spring, Summer and Fall you will find him working there. Lacking formal training in landscape design or sculpture, his inspiration comes from photographs, books, other artists, gardens and walks in the woods. Without the help of a landscaping crew, he does most of the work by himself or with the help of local contractors, friends and family.

 

Terry’s desire to build a garden that told the story of life came after visiting one of Europe’s most famous Japanese gardens, The Life of Man. Built in Kildare, Ireland between 1906-1910, The Life of Man symbolizes the journey of a human soul from birth to death. After happening upon The Life of Man, Terry knew he had the perfect use for the 14-acre riverside field he owned in Windsor.

 

He began the garden in 1997 by planting 30 red oak trees in an arc that mirrored the gentle bend in the adjoining Connecticut River. Later in the first year, the amphitheater of Creativity was sculpted to feature the work of local artist’s and for hosting music festivals. In 1998, he rented a u-haul trailer, picked up 800 bare-root hemlock trees in Pennsylvania and went to work with his nephew creating the maze of Adventure. In 1999, he traveled to Northern California and found the large granite Buddha for Contemplation and the 5-piece, 25 foot tall, driftwood band (Creativity) made from Russian River driftwood. Each year since, new features have been added. There was the Tunnel of Oblivion in 2000, and the mound of Hope with its Tori gates and prayer wheels in 2001. In 2002 he was busy planting the Tree of Wisdom, erecting the 50-foot high bamboo circle representing Forgiveness and adding a ring of tall sugar stones to Birth. In 2003 he devoted to planting blueberries and raspberries in Joy and establishing a shade structure over Solitude. In 2004 he worked with Ria Blaas and Herb Ferris to complete new installations in Community and Creativity.

 

Today, everyone in the family chips in to help with mowing, weedwacking, planting and coming up with new ideas. Several times a year you will find us camping in Creativity, having a bonfire in front of the band, and going for an early morning swim in the Connecticut River. Every other summer we invite a bunch of friends and have a drumming party in front of the band. The Path of Life is a work in progress. As such, it will never really be completed -- which is just fine with us! We love it, hope you do too, and look forward to seeing you along the path.  

 

The Path of Life Garden is a crafted landscape open to the public in Windsor, Vermont. Visitors experience the story of the great circle of life while traveling through sculptures of varying sizes and materials. Inspired by a famous garden in Europe, these eighteen works of art symbolize the journey from birth to death and beyond. Since its conception in 1997, the garden has grown on its own path, providing space for recreation, relaxation, contemplation and realization; making it a great destination for families looking for fun things to do around Quechee, Woodstock, and Hanover. The path is also home to some of a 5+ mile trail network, groomed in the winter for dogsledding, snowshoeing and cross-country skiing.

 

The garden is located in a 14-acre of field of trails, wildflowers and open spaces on the banks of the Connecticut River. There are 18 works of art in the garden.

 

 

 

 

 


Posted by tammyduffy at 9:49 AM EST
Saturday, 4 August 2018
An 8th Summit
Topic: ART NEWS

 

 

 

 

 

 

An 8th Summit

 

 

 

 

 

 

 

 

What’s a girl to do once she comes back to sea level from climbing to 20,320 feet? How does one soar to unmentionable heights and all the while be at sea-level? My friends and I are on a quest to climb all 7 summits of the world. We just finished our fourth summit.  This profound mountain girl got into her Cinquecento and drove to the Tom Bailey/Boy George Concert last night. The night was memorable.  Her dream is to interview both of these amazing artists. Maybe that dream will come true, like climbing all the 7 summits.

 

 

 

Last night, a concert of epic proportions occurred. I believe it can be viewed as an eight summit in the world. (maybe only mountain climbers will  understand this comparison but it’s the ultimate compliment) - Those who attended were blessed to hear the melodious talents of Tom Bailey and Boy George. I was transported back to the 80’s during portions of the concert. A time when the internet did not even exist yet. A time when all we knew about the artists was their amazing music. A time when there were no cell phones.

 

 

 

We would attend a concert and be transported by these artists. The interruption of a cell phone or someone doing a “Janet” (a woman who Boy George so delightfully called out in the front row of the audience for filming the show with her iPhone;  vs.  paying attention, her name was Janet) was unheard of. Musical transportation for humans is a glorious experience. To just listen is not enough. One must watch each singer, each musician, each flexion of a digit on a piano, keyboard, or guitar, the vibration of the singer’s vocal cords; elevates one’s senses to epic proportions. The best concerts I have attended in the last few years have been of those artists I loved as a youth.  These are the artists who can sing, are amazing lyricists, can write music and retch at the thought of lips synching anything, anytime. They can sing without having to have massive amounts or remixing done to make their voices tolerable to the human ear. There are too many young artists on the scene that cannot sing, write music, write lyrics or even play an instrument. I find them boring. The entertainers (Boy George and Tom Bailey) my eyes and ears were delighted to interact with last evening are the real deal. They have longevity in an industry that is highly competitive and extremely complicated.

 

Last nights concert allowed those who attended to dance like no one was watching, sing like no one was listening and listen and love the music like their hearts had never been broken. A glorious experience.  

 

 

 

The new music both entertainers have created is mesmerizing.  The new album by Tom Bailey, Science Fiction is radically enjoyable, a must purchase. Boy George’s new album due out Oct 26th is going to be a moment we wait for in great anticipation.  The lyrics of Boy George’s new songs are romantically poetic.  When he sang this at his concert yesterday we were transported. (see lyrics below) This mentally stimulating song became available in iTunes July 31 , 2018.

 

 

 

 

 

 

 

 

 

"Let Somebody Love You"


 

I am a poet in New York City
You can see your face in my shoes
I'm young and I'm alive, I've got nothing to lose
A dream, a broken lie, a kiss, so much to resist
And then I find you

I am fire, you are water, nothing we can do
I walk into the room and light your fuse

Love is revolution
War and famine too
Feed the hunger in your heart
Let somebody love you
Let somebody love you

Now I'm in the wilderness, somewhere in the heart of Spain
Youth lights it up with a smile saying "Sing it again"
A dream, a broken lie, a kiss, so much to resist
And then I find you

I am fire, you are water, nothing we can do
I walk into the room and light your fuse

Love is revolution
War and famine too
Feed the hunger in your heart
Let somebody love you
Let somebody love you

Live [?] got a boy or a girl in your hand
Could it be something I did or something you said
Live [?] got a boy or a girl in your hand
When the two sevens come together
I'm gonna love you forever and ever

I am fire, you are water, nothing we can do

Love is revolution
War and famine too
Feed the hunger in your heart
Let somebody love you
Let somebody love you
(Let somebody love you)

A dream, a lie, a [?] kiss (Let somebody love you)
So much to resist, yeah (Let somebody love you)
Gotta let someone love you (Let somebody love you)
Need to let somebody love you (Let somebody love you)

 

 

 

 

 

 

 

 

 

 

 

 

 


Posted by tammyduffy at 8:21 PM EDT
Updated: Saturday, 4 August 2018 8:36 PM EDT
Saturday, 7 July 2018
Parts Unknown
Topic: ART NEWS

 

 

 

 

By Tammy Duffy

 

 

When you are climbing your mind is clear. You are free of all confusion. Then suddenly the light becomes sharper, sounds are richer, with the deep powerful sounds of life. The greater the difficulty of a journey the more purification occurs to one’s soul. Time stands still.  Anthony Bourdain made time stand still for us. His amazing journeys all over the world created a sense of adventure and love lust for all.

 

 

 

There are people we meet or do not meet in our lives; that influence us in ways we can never imagine. They give our lives a prolonged spiritual depth that’s palpable. On June 8th the world lost an amazing man, Anthony Bourdain. I cried heavy tears at the news of his death. I was heartbroken that I would never be able to have that dream dinner I desired with him.  

 

 

 

I would watch his shows in awe and always thought, he must have a cast iron stomach and have no food allergies.  He would eat anything put in front of him. Some of the thrilling episodes he ate pigs blood in Thailand.  While in Okinawa he learned how to do karate. I loved this episode. My Father was in Okinawa in the Marine Corp and was a Karate and Jujutsu black belt.  

 

 

One show he ate bull penis, turkey testicles, steamed pig’s feet, goose intestines in black bean sauce, maggot rice and fetal duck eggs. All of which he enjoyed.  Tony traveled to Parts Unknown and in conflict zones. His trip to Libya, Gaza, Jerusalem, the West Bank and Iran were amazing. He loved art for as he traveled he would show the art, museums and local customs in a way that made you feel like you were there. 

 

 

 

 

 

He ate with Presidents, other chefs and the locals in the communities where he visited. I always dreamed of having dinner with him. Allowing him to enter my home in his Clark’s and talking about art, food and cultures. The man was an amazing soul.

 

 

 

Since 2002, we have been blessed with his presence on TV on the show, A Cook’s Tour.  His final TV show, Parts Unknown was electric. He embodied the spirit of travel, adventure, and strove to make the world a true community.  Bourdain's exceptional writing was mesmerizing. He was a fearless eater; very brave. He would try anything.  My favorite interactions were when he would go to people’s homes. He was always the gracious guest.

 

 

 

 

 

I get my wish now, for I can have dinner with Tony every night. An amazing artist by the name of Erika Iris Simmons has created an artwork of Anthony Bourdain that I had to have. It’s brilliant. It’s magical and it's so Tony! It is the perfect representation of a man who visited the world and experienced food, culture and art.

 

 

Over the years Erika Iris Simmons collected various bar labels and matchbook covers from all over the world. She used many different materials in the piece. Using antique maps, she created the paths that Tony traveled. By using fortunes from fortune cookies, she strategically placed sayings throughout the piece that represent Tony’s soul.  

 

 

There is one fortune to the left of his face that is amazing. The fortune next to his face reads: The greatest medicine is the emptiness of everything. Another one near his boots just says Chinese for "beer." She wanted it both light and serious like him. She created the piece in the hope to have honored his legacy it was made purely out of respect. She has done that in the most amazing way.

 

 

Most of the labels are French wine labels and vintage Japanese matchbook covers in the piece. But there are also absinthe labels and other alcohols. There are also many worn pages with Asian typography sprinkled throughout as well. Erika kept all the edges very torn and rugged. She thought Tony would have hated anything too polished. But the resin coating looks like glass and protects all the delicate textures. Forever protecting Tony.

 

 

There is a show up in Chicago right now at the whiskey bar called "Delilah's. (2771 N Lincoln Ave, Chicago, IL 60614) There are several other small pieces in the show, but the Anthony artwork is the showstopper. The show is set to run until the end of July.  

 

 

 

https://www.iri5.com/ is Erika’s website. Go buy yourself a piece of her art. IT’S AMAZING and will transform your home into Parts Unknown. 

 

 

 

 

 

 


Posted by tammyduffy at 7:05 AM EDT
Updated: Saturday, 7 July 2018 9:54 AM EDT
Sunday, 27 May 2018
Frank Stella Unbound: Literature and Printmaking
Topic: ART NEWS
 Frank Stella Unbound: Literature and Printmaking
 
 
 

The acclaimed American artist Frank Stella (born 1936) is renowned for his career-long innovations in abstraction in a variety of media. In addition to his early minimalist work, from the late 1950s and 1960s, and his later efforts to disrupt the accepted norms of painting, Stella made groundbreaking achievements in the print medium, combining printmaking processes, mining new sources for imagery, and expanding the technical capacity of the press.

Frank Stella Unbound: Literature and Printmaking focuses on a revolutionary period in the artist’s printmaking career, between 1984 and 1999, when Stella executed four ambitious print series, each of which was named after a distinct literary work: the Passover song Had Gadya, a compilation of Italian folktales, the epic American novel Moby-Dick, and the illustrated The Dictionary of Imaginary Places. In the four series titled after these sources, Stella created prints of unprecedented scale and complexity, transforming his own visual language—as well as his working process in all media—and reaching a technical and expressive milestone in printmaking.

Featuring forty-one prints from these four major series alongside their literary catalysts, Frank Stella Unbound: Literature and Printmaking will be the first exhibition to focus exclusively on the vital role that world literature played in his powerful exploration of the print medium.

The exhibition catalogue, published by the Princeton University Art Museum and distributed by Yale University Press, illustrates each of the works on view and affords a revelatory examination of the role of literature in the development of Frank Stella’s artistic practice.

 

 

Frank Stella Unbound: Literature and Printmaking has been made possible with generous support from the Barr Ferree Foundation Fund for Publications, Department of Art and Archaeology, Princeton University; the Andrew W. Mellon Publications Fund; the National Endowment for the Arts; Preston H. Haskell, Class of 1960; the Douglas A. Hirsch and Holly S. Andersen Family Foundation; Susan and John Diekman, Class of 1965; the Julis Rabinowitz Family; Theodora D. Walton, Class of 1978, and William H. Walton III, Class of 1974; Stacey Roth Goergen, Class of 1990, and Robert B. Goergen; Nancy A. Nasher, Class of 1976, and David J. Haemisegger, Class of 1976; and William S. Fisher, Class of 1979, and Sakurako Fisher, through the Sakana Foundation. Additional support has been provided by the Judith and Anthony B. Evnin, Class of 1962, Exhibitions Fund; the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts; the Allen R. Adler, Class of 1967, Exhibitions Fund; Lynn and Robert F. Johnston, Class of 1958; Ivy Lewis; Blair Moll, Class of 2010, through the Bagley and Virginia Wright Foundation; and the Partners of the Princeton University Art Museum.


Posted by tammyduffy at 10:30 AM EDT
Sunday, 15 April 2018
Busy, Bubbly ‘Junie B. Jones’ Comes to MCCC's Kelsey Theatre April 28
Topic: ART NEWS

 

Busy, Bubbly ‘Junie B. Jones’ Comes to MCCC's Kelsey Theatre April 28

 

 

Youngsters will enter a world of fun when “Junie B. Jones” comes to Central New Jersey. Theatreworks USA brings the irrepressible first grader to the stage at Mercer County Community College’s Kelsey Theatre Saturday, April 28 at 2 p.m. and 4 p.m. Kelsey Theatre is located on the college’s West Windsor Campus, 1200 Old Trenton Road.

Based on Barbara Park's best-selling book series, this endearing musical chronicles a day in the life of our very outspoken and very active leading kid as she describes it in her "top secret personal beeswax journal.” Among Junie’s challenges are getting used to a new bunch of friends, meeting a new teacher, adjusting to wearing glasses, participating in the annual kickball tournament and other familiar childhood challenges. Young audiences will easily connect with this warm and bubbly heroine, who finds a way to succeed in the end and learns important lessons about friendship and acceptance along the way.

Theatreworks USA is America's largest and most prolific professional not-for-profit theater for young and family audiences. Since 1961, Theatreworks USA has enlightened, entertained, and instructed more than 96 million people in 49 states and Canada.

Tickets are $12 for adults, and $10 for children, students and senior citizens. Free parking is available next to the theater. Tickets may be purchased online at www.kelseytheatre.net or by calling the Kelsey Box Office at 609-570-3333.

Kelsey Theatre is wheelchair accessible, with free parking next to the theater. For a complete list of adult and children's events, visit the Kelsey website or call the box office for a brochure.  


Posted by tammyduffy at 2:42 PM EDT
Saturday, 3 March 2018
Prints Showcase Vital Artistic Exchange between Mexico and United States Now on View at Zimmerli Art Museum
Topic: ART NEWS

 


 

 
 

Prints Showcase Vital Artistic Exchange between Mexico and United States

Now on View at Zimmerli Art Museum

 

Current media coverage of Mexican-American relations tends to focus on contentious – if not outright hostile – political rifts. However, during the 1930s and 1940s, artists captured the world’s imagination by portraying Mexico as a leading cultural destination, home to an internationally renowned muralist movement and a vibrant printmaking community. The Zimmerli Art Museum at Rutgers focuses on this critical juncture in art history with Impressions: Prints of Mexico, 1930s-40s / Impresiones: Estampas de México, 1930s-40s, featuring 37 prints by Mexican, American, and European artists who promoted a romantic and idealized country during an era of radical change, which has shaped an enduring vision of Mexico in the American imagination. On March 6, Art After Hours: First Tuesdays celebrates Impressions / Impresiones with an evening of free programs: curator-led tours in English and Spanish; interactive activities presented by Rutgers-New Brunswick Mexican-American Student Association and Rutgers Bachata Club; and music by DJ RataPrincess. Details are available at bit.ly/ArtAfterHourZTues. The exhibition, primarily drawn from the Zimmerli’s extensive collection of works on paper with additional loans, runs through July 29, 2018. Most of the works are on view for the first time, with all of the wall texts and labels in both English and Spanish.

 

“This exhibition takes a broad, transnational approach to consider the transmission of art between Mexico and the United States during the early 20th century,” notes Nicole Simpson, the Zimmerli’s Assistant Curator of Prints and Drawings. “It demonstrates how traditions from the neighboring countries have contributed to the multifaceted definition of what is deemed ‘Mexican’ art.”

 

In the years following its Revolution (1910–20), Mexico became a leading art center, driven by the work of the Trés Grandes muralists (Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiro) and a tradition of printmaking across the country. Artists from around the world visited Mexico, studying and working with local masters to depict their own impressions of the country’s history, traditions, and people. They created pictures of an attractive, charming, even exotic, Mexico; an image that was eagerly consumed by American audiences.

 

Although residents of the United States expressed an avid interest in visual depictions of Mexico, the two countries experienced a complicated and intertwined relationship. Both nations faced large-scale recovery efforts – the former from the Great Depression and the latter from the Revolution – and later served as Allies in the Second World War. However, during the late 1920s and early 1930s, the United States government oversaw a repatriation of more than one million people of Mexican descent. While the event is largely overlooked by history books, the biases it generated remain prevalent in political rhetoric.

 

This exhibition focuses on the important role that prints played during the 1930s and 1940s in perpetuating the idea of Mexico as a country steeped in tradition. Stylistically, these prints range from socio-realist, documentary views, to works that draw upon the ancient forms of Mesoamerican art, as well as forward looking subjects that incorporate modernist compositions and Cubist-inspired shapes. This exhibition is divided into three sections that reflect internal and external perspectives of a rich cultural heritage.

 

“Everyday Mexico” considers how artists, the majority of them tourists from outside the country, depicted the markets, street vendors, and local populations. Women of Oaxaca (1940) by Canadian artist Henrietta Shore is an abstract, rhythmic composition of women carrying water jugs that turns a mundane task into a beautiful, evocative scene. The American Howard Norton Cook’s Taxco Market (1932-33) meticulously details the produce and vendors of an open-air market. American artist Olin Dows also captured traditional craft in the woodcut The Mat Sellers (1933), but with a crisp, modernist rendering.

 

The section “Jean Charlot” focuses on the French artist and historian who researched and reinterpreted Mexican art and history. His color lithograph Malinche from the 1933 series Picture Book (several images are on view) transforms this historical woman who played a pivotal role in the Spanish conquest of Mexico into a childlike figure. Conversely, Volador (1948) presents a dramatic view of the pre-Columbian ritual ceremony Danza de los Voladores (Dance of the Flyers): performers climb a multi-story pole and, attached to ropes, fling themselves from it, spiraling to the ground. Here, Charlot’s sturdy, monumental figure atop the pole recalls Mesoamerican sculpture and stone carvings, which he witnessed firsthand as staff artist to the excavation at Chichen Itza.

 

“Mexican People: A Portfolio of Labor and Industry” displays a complete 1946 portfolio by artists from the famous Mexico City printshop Taller de Grafica Popular (People’s Graphic Workshop, founded in 1937). It was commissioned to document and promote Mexican products, with artists’ traveling throughout the country to witness traditional, often labor intensive, crafts. Alfredo Zalce’s color lithograph Lumber Workers depicts men precariously balanced on floating logs as they attempt to saw them down to size. Isidoro Ocampo’s Pottery Maker captures the subject kneading clay with his feet, the beginning of a multi-step process to create the vessels that were necessary for so many daily domestic activities, as well as a popular worldwide export.

 

Other artists include: Emilio Amero, Raul Anguiano, Alberto Beltran, Angel Bracho, Arturo Garcia Bustos, Prescott Chaplin, Miguel Covarrubias, Richard Day, Irwin Hoffman, Leopoldo Mendez, Francisco Mora, Pablo O’Higgins, and Fernando Castro Pacheco. In addition, Diego Rivera’s 1930 lithograph Nude with Beads (Frida Kahlo) is on view. This intimate and revealing portrait of the young artist, created the year after they married, is one of only a few lithographs ever made by Rivera. 

 

Impressions: Prints of Mexico, 1930s-40s / Impresiones: Estampas de México, 1930s-40s was organized by Nicole Simpson, Ph.D., Assistant Curator of Prints and Drawings, with Diego Atehortúa, Rutgers University Class of 2018. The exhibition, on view February 17 through July 29, 2018, is supported by PNC Bank.


Posted by tammyduffy at 6:08 PM EST
Saturday, 17 February 2018
Highest Art Gallery in the World
Topic: ART NEWS

 
 
 
The Highest Art Gallery in the World
 
 
 

photo of Miguel sharing Mata tea with Duffy

 

 
 
 
As with most things, you can climb Aconcagua the easy way or the hard way. While the easy way doesn’t need gear, more injuries and death happen on this route as people underestimate the elevation and the cold, especially as there are no permanent snowfields.
 
 The world’s highest contemporary art gallery is The Nautilus, located about 14,000 feet above sea level in a tent at Plaza de Mulas, the base camp on the western face of Mount Aconcagua in Argentina. Established by artist Miguel Doura in 2003, the gallery officially broke the world record in November 2010.
 
 

It is open seasonally during the climbing season (early December to early March) and dismantled during the winter months, when the extreme weather conditions make it impossible to keep it open.

Doura’s choice of medium is oil pastels, as these can better stand the extreme winds and temperatures. This unique art space is an amazing sanctuary. Miguel studied fine arts for 5 years in Buenos Aires. 

 

 
 http://www.youblisher.com/p/688135-MIGUEL-DOURA-Nautilus-The-highest-art-gallery-in-the-world-Press/
 
 

Posted by tammyduffy at 1:21 PM EST
Monday, 5 February 2018
As Americans Navigate Rapidly Changing Workplaces, Zimmerli Exhibition Reflects on What a Job Meant in the ‘70s with Photographs and Interviews
Topic: ART NEWS
 


 

 

As Americans Navigate Rapidly Changing Workplaces, Zimmerli Exhibition Reflects on

What a Job Meant in the ‘70s with Photographs and Interviews

 

 
 
 

The status of Americans’ relationships with their jobs is…complicated. Advice for job seekers drastically ranges from “seek out a mission you’re deeply passionate about” to “just find something fast that pays the bills.” And while some view the proliferation of the gig economy as flexible and freeing for individuals, many freelance and contract workers suffer the anxiety of inconsistent paychecks and no benefits. However, not long ago, most Americans shared an expectation that a job should be reliable and provide a salary that supports the cost of living. It's Just a Job: Bill Owens and Studs Terkel on Working in 1970s America, now open at the Zimmerli Art Museum at Rutgers, recalls that era. The exhibition pairs the two iconic documentarians of work life, underscoring how the decade was a dramatic time of transition for the American workforce. It is not simply a look back: many of the themes that Owens and Terkel identified remain strikingly relevant, engaging visitors to consider their own perspectives about working. The public also has an opportunity to hear from Bill Owens himself, when he presents an artist’s talk on April 3 during Art After Hours: First Tuesdays, one of the Zimmerli’s popular free programs.

 

“This exhibition takes a multimedia approach to the topic of working in the 1970s, immersing the audience in the stories and experiences of the period’s secretaries, industrial workers, and creative professionals,” notes Hannah Shaw, Mellon Intern at the Zimmerli and PhD Candidate in the Department of Art History at Rutgers University, who organized the exhibition. “No matter what field you’re coming from, you’ll find yourself absorbed by these vivid portraits—and confronted by all-too-recognizable struggles, ironies, and hopes that remain at the heart of American working life.”

 

In addition to 31 black-and-white photographs by Owens from his 1977 photobook Working (I Do It For the Money), the exhibition includes a selection of audio interviews selected from Working: People Talk About What They Do All Day and How They Feel About What They Do, provided by the Studs Terkel Radio Archive. First released in 1974, the collection includes the voices of Al Pommier (parking lot attendant), Dolores Dante (waitress), Therese Carter (house wife), Cliff Pickens (newsboy), and Roberto Acuna (farm worker and union organizer), among others, presenting firsthand accounts.

 

Owens is a significant figure in the genre of documentary photography regarding two key movements, but he approached his subject matter in contrast to many of his counterparts. After the 1950s, American photographers abandoned the search for a universal vision of society and pivoted toward personal points of view. Like other young documentarians, Owens sought to create authentic studies of what occurred behind closed doors, neutralizing the power imbalance long held by photographers, who often objectified their subjects. Owens has described his process as “see[ing] things that other people don’t in the banal and ordinary. Most lives are mundane but I make them extraordinary by infusing them with dignity.”

 

Unlike some of his contemporaries who revealed the painful consequences of such taboo subjects as drug abuse, gun culture, and violence, Owens primarily chronicled the ironic and absurd. His three landmark photobooks – Suburbia (1972), Our Kind of People: American Groups and Rituals (1975), and Working (I do it for the Money) (1977) – centered on middle-class suburbanites in the Amador Valley near San Francisco, where he lived and worked. Suburbia, in particular, included friends, neighbors, and other residents who participated in a collaborative community project, expressing an overall satisfaction with their lives. With Working, Owens turned to the tradition within documentary photography that had focused on labor since the late 19th century. But rather than expose dangerous, often illegal, conditions to effect social change like many of his predecessors, Owens provided a view of the American worker as reasonably happy on the job. He captured scenes that generated archetypal characters in a collective visual memory of the 1970s.

 

This is not to say, however, that Owens did not present a complicated, nuanced view of American life. Subtle details, particularly in the captions, that were innocuous, perhaps even humorous, 40 years ago take on completely different meanings today. Though more women succeeded in entering the workforce during the decade, we now recognize that they often were limited to lower wage secretarial positions, beholden to the demands of male bosses and husbands: Being a receptionist is a catch-all job; you do everything. Mostly we’re dealing with salesmen and they like to see young women. I’ve stayed here for six years because I got married and my husband didn’t want me to commute to a better-paying job. Such captions as Legal Secretary $250 a week and Computer Telephone Operator $200 a Week also diminish the role of women, constrained to their desks, to a mere job title and wage value. Conversely, men are depicted in active, mentally stimulating jobs: The only way to learn anything in photography is by making lots of mistakes; Television cameramen are a special breed; and It takes a year to make a gyro-ball guidance system for the C-5A aircraft, imply the impact these men make well beyond their offices. In addition, few of the satisfied workers represented are people of color.

 

Several photographs are reminders of once reliable fields that have been decimated not only by globalization, but by structural changes to the nation’s domestic economy. Local businesses have been shuttered by competition from big box stores and online shopping (Baking is the oldest trade in the world); print media has moved online (Newspaper Printing Plant, San Jose, CA); and factory jobs have been relocated overseas (In thirty-one years as a ladleman I've never been injured). In most cases, owners and shareholders have benefited, while workers and, sometimes, entire communities have been devastated.

 

It's Just a Job: Bill Owens and Studs Terkel on Working in 1970s America, on view January 20 through July 29, 2018, celebrates a recent gift to the museum by Robert Harshorn Shimshak and Marion Brenner in honor of the class of 1968. The exhibition is organized by Hannah Shaw, Mellon Intern at the Zimmerli and PhD Candidate in the Department of Art History at Rutgers University, with the assistance of Donna Gustafson, Curator of American Art and Mellon Director of Academic Programs. Gustafson also spotlights Owens in the essay “Performing Documentary Photography in Suburban America, 1970s Style” in the 2017 catalogue Subjective Objective: A Century of Social Photography, which accompanied an exhibition by the same title at the Zimmerli. Selections from Working: People Talk About What They Do All Day and How They Feel About What They Do are provided by Studs Terkel Radio Archive, courtesy Chicago History Museum and WFMT Radio Network.


Posted by tammyduffy at 12:01 AM EST
Sunday, 14 January 2018
Zimmerli Traces 19th-Century Revolution in Printmaking That Set the Stage for Today’s Pervasive Visual Culture
Topic: ART NEWS
 


 

 
 

Zimmerli Traces 19th-Century Revolution in Printmaking

That Set the Stage for Today’s Pervasive Visual Culture

 

 
 

The 1896 poster Tournée du Chat Noir de Rodolphe Salis by Théophile-Alexandre Steinlen is one of the most recognizable designs: a stylized black cat with a judgmental glare and serpentine tail, inviting (or, perhaps, daring) viewers to patronize the popular bohemian cabaret in Paris. Whether reproduced as an inexpensive poster that has adorned dorm walls for decades or appropriated for new generations in the form of popular characters from The Simpsons, Pokemon, and How to Train Your Dragon, the evolution of an artistic process that has allowed this ubiquitous feline to endure began 200 years ago. Set in Stone: Lithography in France, 1815-1900, opening January 20 at the Zimmerli Art Museum at Rutgers, presents a comprehensive visual history of how artists and a handful of entrepreneurs refined a new medium to strike a balance between individual creative vision and a growing demand for mass produced images. Set in Stone is accompanied by a full-color, 184-page catalogue and complemented by the exhibition Place on Stone: Nineteenth-Century Landscape Lithographs, which explores landscape as a subject of interest among British and French artists.

 

“We live in an era when we take for granted the immediate availability of visual documentation, as most images are now captured, processed, and distributed without ever becoming physical objects,” Zimmerli director Thomas Sokolowski observes. “The sheer volume can be simultaneously compelling and overwhelming. But there also is the possibility that we will encounter an image that moves us in spirit, or even moves us to action. Many of the artists on view instilled activism into their work, a legacy that remains apparent today.”

 

Christine Giviskos, Curator of Prints, Drawings, and European Art, adds, “The span of the 19th century was an age of innovation in Paris and the development of lithography reflects that, encompassing the intersection of French culture and commerce. The city experienced multiple stages of modernization, resulting in a boom in consumer culture, which included a demand for fine art prints. The lithographic process allowed artists and printers to quickly, and economically, satisfy increased demand for original artwork, as well as fulfill evolving business needs, in the changing city.”

 

Invented in Munich, Germany, during the late 1790s, lithography – derived from the Greek roots “lithos” (stone) and “graphos” (writing) – revolutionized the practice of printmaking. The new versatility that allowed artists to draw their designs directly on a polished slab of limestone, rather than the older techniques of cutting into wood or metal, appealed to many who otherwise might not have pursued printmaking. The first successful print shops in Paris were established around 1815 by entrepreneurial printer-publishers who recognized an economic opportunity. This prospect provided opportunities for artists, especially painters who previously had relied on aristocratic or church patronage, to pursue new sources of income.

 

Lithography attracted artists at all stages of their careers, which helped to elevate its status (the medium was accepted in the Salon exhibition of 1817, which also established its market relevance). Painter Pierre Paul Prud'hon, then in his 60s, demonstrated how easily an academically trained draughtsman could adapt to a new medium. Among the younger artists were Nicolas-Toussaint Charlet (credited with nearly 1,100 works), Théodore Géricault, and Eugène Delacroix. Though later added to the art history canon for epic paintings during the Romantic period, the latter two produced an early oeuvre of prints, including Delacroix’s illustrations for an 1828 French translation of Goethe’s Faust.

 

Certain subjects were naturally suited to the medium: military subjects, portraiture, fashion, city life. New freedoms of the press that emerged when the French Revolution ended in 1799 triggered a surge in satirical depictions, especially those skewering politicians and the bourgeoisie. Such topics had long been popular in the print market, but with the speed and economy of production, artists and printers could respond more quickly to capitalize on a subject’s fleeting notoriety.

 

Like many of today’s visual content creators, artists sought to shape perceptions about the era’s public figures and contemporary events. Artists forged a relationship between print media and politics, producing caricatural prints as political commentary and an act of resistance. Parisian journalist and publisher Charles Philipon founded two of the most influential satirical publications – the daily Le Charivari and the weekly La Caricature – to disseminate his own criticism of the repressive government of King Louis-Philippe, who reigned from 1830 to 1848.

 

Philipon helped launch the careers of J.J. Grandville and Charles Traviès, as well as Honoré Daumier, who set a familiar precedent in depicting subjects: grotesque physical traits, combined with symbols and puns, to imply lack of character, incompetence, and even outright criminality. His Baissez le Rideau, La Farce est Jouée (Bring Down the Curtain; the Farce is Over), published in La Caricature in 1834, depicts the King – in a distinct clown costume – who insinuates that Justice for the people is a farce, a sentiment that has since remained a common theme in political commentary. Eventually, the government banned caricatures of the king and his followers in 1835.

 

The expansion of lithography was boosted by a series of technological innovations, with perhaps the most significant – and enduring – advance in 1837: Godefroy Engelmann debuted a process for color lithographic printing (chromolithography), achieving the elusive goal of cost-effectively producing large editions of color prints. It became the dominant printing process for generating business and government materials; however, artists did not widely adopt it. Lithography was no longer a groundbreaking process (especially with the expansion of photography in the 1840s) and became associated with mass-produced commercial prints.

 

A renaissance in lithography as a medium for original fine art did come about in Paris during the last quarter of the century. A new appreciation for the early masters emerged among critics and collectors, combined with the “discovery” of the practice by a new generation of artists. Following King Lois-Philippe’s abdication in 1848, the city transformed into a modern urban capital that offered new forms of social interaction and entertainment.

 

The need for striking advertisements at dance halls, cabarets, and other venues in Paris created job opportunities for artists, printers, and publishers. The artist and printer Jules Chéret, who opened a lithographic print shop in 1866, seized an opportunity to radically reconceive advertising posters, which had been relatively small prints directed at limited audiences. He produced large, colorful posters with bold figural compositions – such as Bal au Moulin Rouge (1889), capturing the boisterous atmosphere of the city’s iconic venue – that could be recognized by masses of city dwellers from a distance.

 

Visionary artists continued to advance lithography into the mainstream of art history. Edouard Manet, Henri de Fantin-Latour, and Odilon Redon created some of their most imaginative and technically experimental work; while a new generation of artists, including Pierre Bonnard, Henri-Gabriel Ibels, and Henri de Toulouse-Lautrec created boundary-breaking works. Such artists as Félix Vallotton, Alexandre Lunois, and Adolphe-Léon Willette even depicted the lithographic process in allegorical and contemporary scenes, demonstrating its integration into Paris’s expanded field of artistic activity. As the centennial of the medium’s cultural breakthrough approached, artists acknowledged the significance of their predecessors, as well as the importance of becoming part of the canon themselves.

 

This survey of French lithography was selected almost entirely from the Zimmerli’s rich holdings of 19th-century French graphic arts, with a number of works on view at the museum for the first time. The Zimmerli’s collection, which extends from the medium’s introduction in Paris around 1815 into the 20th century, has been an anchor for the museum’s collecting and exhibition programs since its founding in 1966. The museum began to actively build the collection, acquiring numerous works, during the 1970s. A gift of nearly 150 lithographs in 1980, followed by other significant gifts throughout the decade and into the early 1990s, contributed to the collection’s breadth and depth in French lithography.

 

Set in Stone: Lithography in France, 1815-1900, organized by Christine Giviskos, Curator of Prints, Drawings, and European Art, is on view January 20 to July 29, 2018. The exhibition is funded in part by Ruth Schimmel, the Estate of Arline DuBrow, and donors to the Zimmerli’s Major Exhibition Fund: James and Kathrin Bergin, Alvin and Joyce Glasgold, Charles and Caryl Sills, the Voorhees Family Endowment, and the Jerome A. Yavitz Charitable Foundation, Inc.–Stephen Cypen, President.


Posted by tammyduffy at 4:56 PM EST

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