Hudson River Museum & Gallery Guide Summer 2014

Museum & Gallery Guide Hudson River

www.hrmgg.com

Art in the Hudson Valley, Bershires and Connecticut

Indian Summer 2014

Open Daily, 10am-5pm

Winslow Homer, Watching the Breakers: A High Sea, 1896, Oil on canvas, Arkell Museum at Canajoharie, Gift of Bartlett Arkell, 1935

Winslow Homer:

The Nature and Rhythm of Life FROM THE ARKELL MUSEUM IN CANAJOHARIE

June 6 - August 24

Overlooking Otsego Lake, the Fenimore presents a variety of compelling exhibitions April through December.

FenimoreArtMuseum.org | 5798 Rt. 80 • Cooperstown, NY

Museum & Gallery Guide Hudson River

articles LETTER FROM THE EDITOR

by Douglas Alderfer

2–5 8 – 13

IT’S BEEN GOOD TO KNOW YOU

by Evan Pritchard

14 – 17

WINSLOW HOMER: The Nature and Rhythm of Life

by Lynn Woods

book reviews KINGSTON: The IBM Years William B. Rhodes, reviewed by Cynthia Poten

18

GLOBAL AWAKENING Michael Shacker, reviewed by Cynthia Poten

19

MUSEUM & GALLERY LISTINGS HUDSON VALLEY MAP

20 – 21

HUDSON RIVER VALLEY LISTINGS

24 – 35

Berkshires/Massachusetts Listings

35 – 36

Connecticut Listings Berkshires/Connecticut map VERMONT LISTINGS

37 38 – 39 37

Editor & Publisher Douglas Alderfer Design & Production Katie Jellinghaus Advertising Sales 845.679.6484 Indian Summer 2014 • Volume 12 Hudson River Museum & Gallery Guide P.O. Box 88, Willow, NY 12495 845.679.6484

hrmgg.com ads@hrmgg.com ISSN 1556-0201

Cover art: Moonlight, Winslow Homer, 1874.

Watercolor over graphite on wove paper. Courtesy Arkell Museum at Canajoharie, Gift of Bartlett Arkell, 1941 Published by Hudson River Museum & Gallery Guide P.O. Box 88, Willow NY 12495. Hudson River Museum & Gallery Guide name and logo are trademarks owned by Hudson River Museum & Gal­lery Guide and violations of these rights will be prosecuted to the full extent of the law. © Hudson River Museum & Gallery Guide. All rights reserved, May 2013.

Winter In The Woods.

Oil On Canvas

14¼“X 19¾ “

From The Editor

Zadock Pratt Museum

D. F. Hasbrouck

By Douglas Alderfer

While the ancestors of the many native tribes living in the Hudson Valley at the time of European discovery had made their appearance up to fifteen thousand years before, none of these distinctly autonomous societies established a city.

Metropolitan culture in America is a transplant.

The Dutch, English and French who displaced the indigenous residents lost no time in establishing the cities that form today’s megalopolitan network of industry, business, politics and culture. Thomas Jefferson’s vision of the United States as an agrarian republic never had a chance. The new world’s urban and nascent industrial zeitgeist penetrated the hinterland by rail and steamboat even as its artists were generating a distinct identity for the new nation—a unique portrait of an early colonial landscape. The newly rich began building regional museums to house their art; and while the paintings in these early museums still reflected European underpinnings, transcendence was underway. Artists were exploring new mediums 2 • Hudson River Museum & Gallery Guide

and techniques. By the turn of the twentieth century, passionate collectors were building urban, regional and local museums to display America’s emerging portrait of a unique time and place in the world’s history.

The proliferation of these once contemporary institutions have now become historic jewels on a visual arts continuum that extends from the heart of Manhattan to towns and cities nestled throughout the rural environs of the Hudson River valley. Many of these early museums have remained unchanged, preserving the original founder’s home, furnishings and gardens, and offering an opportunity to view the art in the period setting of its acquisition. Others have maintained the original site while expanding their facilities to accommodate contemporary regional artists, national traveling exhibitions, and collaborations with other venues.

THE ZADOCK PRATT MUSEUM The Zadock Pratt Museum of Prattsville, New York was founded by Zadock Pratt when Thomas Cole was making his first sketching jaunts into the Katterskill Clove. One of nation’s first planned communities, the town had tree-lined bluestone sidewalks and worker housing. At the time it was the home of the world’s largest tannery. Although Prattsville is still recovering from the devastating flood of 2011, the Zadock Pratt Museum, which is housed in the founder’s homestead, has a fascinating exhibition of D.P. Hasbrouk this season: The Paintings, Watercolors and Drawings of D.F. Hasbrouck. Curated by Suzanne M. Walsh, the exhibit is probably the first retrospective of this native son’s work since his passing almost a century ago.

Like his Hudson River School predecessor Winslow Homer, DuBois Fenelon Hasbrouck (1859-1917) was largely self-taught, never took the European grand tour, and embraced painting in watercolor when the technique was first gaining acceptance as a medium worthy of exhibition. In the summer of 1876 Hasbrouck was inspired by J.G. Brown, a well-known painter of the day who passed through Pine Hill on his “sketching tour through the Catskills.” Hasbrouck began dodging his chores to make his first painting with house paints on barn board. Impressed by the farm boy’s passion and natural ability, Brown encouraged Hasbrouck and supplied him with painting materials.

A friend and border at the Hasbrouck farm who had purchased some of the nineteen-year-old’s first paintings, helped to make arrangements for Hasbrouck to study in New York. Hasbrouck entered the Manhattan art scene at the moment the country’s artists were embracing post agrarian modernism—a search for the American sublime. Hasbrouck studied perspective drawing at Cooper Union for one semester, leaving to support himself by rendering pen and ink drawings for photo-engravings. He also produced illustrations for the Ulster and Delaware Railway, the line he traveled on his visits to Pine Hill from the City, selling scenic views of the Catskills at every stop from Kingston to the Line’s termination in Stamford, hailed as the “Queen of the Catskills” in the golden age of tourism.

In 1884 the National Academy of Design accepted a Hasbrouck painting for exhibition, signaling an unknown’s acceptance into the art world of his day.

Hasbrouck was twenty-four. His work continued to be included in prestigious exhibitions, gaining the attention of important collectors, and a place in museum collections. His “Winter Morning in the Catskills” was chosen for the 1893 World’s Columbian Exposition in Chicago, the defining survey of American art in the late nineteenth century.

The home grown artist returned to his roots in the sophisticated country town of Stamford, marrying and establishing a home and studio there. Like many second- generation Hudson River School painters, Hasbrouck was touched by Impressionism. But what appealed to his audience was the emotional involvement in the natural world that characterizes his signature style. Hasbrouck’s tendency to repeat a seldom-used Catskill motif —the horizon sans the omnipresent mountains —was perhaps a legacy of his formal training in perspective drawing, permitting an emphasis on the intimacy of the scene and the atmospheric quality of open sky.

Today Hasbrouck is almost forgotten, save in New Paltz where the family name is rooted in history, and in Kingston and Stamford, where he found patrons.

But a stop at the out-of the-way the Zadock Pratt Museum in Prattsville will reward the viewer with a fascinating reminder of Hasbrouck’s significance, along with a glimpse into the culture just preceding modernism. The exhibit runs until October 12, and is documented by an interesting catalog.

THE ARKELL MUSEUM Barlett Arkell established what would become the Beechnut company in Canajoharie in 1889 to vacuum-pack the regions food in glass jars and modernize farming techniques. However, it was the introduction of chewing gum in 1910 that proved the company’s greatest success and its best selling product during the Great Depression, enabling Barlett to continue acquiring art throughout the financial crisis.

Of the food baron’s many contributions to his Hudson River Museum & Gallery Guide • 3

hometown and employees, the library and art gallery established in the mid-1920s are the most enduring. His museum at Canajoharie continues to expand its founder’s personal appreciation of art Museum at Canajoharie Above the Sea, Tynemouth c. 1881 Watercolor/graphite Winslow Homer

THE NORMAN ROCKWELL MUSEUM Housed in Rockwell’s home in Stockbridge, MA, this museum is not limited to the work of its namesake. It presents other historic and temporary illustrators, highlighting the fact that many acknowledged painters of their day began their careers in commercial work. Both Homer and Hopper left their stints as illustrators to become icons of artistic independence in their respective centuries. Considering that Hopper was critical of Norman Rockwell for being an illustrator and for employing the aid of photography in his work, the current exhibition at the Norman Rockwell Museum—The Unknown Hopper, Edward Hopper as Illustrator—holds a poignant irony.

Despite their young son’s talent and his ambition to become an artist, Edward Hopper’s parents 4 • Hudson River Museum & Gallery Guide

Although he despised the constrictions of commercial art, Hopper supported himself as an illustrator for twenty years before achieving a reputation as an artist. His illustrations for stories of popular culture demonstrate well-observed draftsmanship, strong composition, and an awareness of the nuances of psychology.

Norman Rockwell Museum

and its impact on the regional community. Winslow Homer, the Nature and Rhythm of Life , from the Arkell museum, features the Arkell’s permanent collection of the artists oils and water colors on the walls of the Fenimore art museum which enhances the campus of the Farmers museum in Cooper’s Town. The collaboration also includes the just re-opened Clark, where restoration and scholastic support was provided by the Williamstown Art Conservation Center. The exhibition is at the Fenimore until the end of August and returns to the Arkell in early September. Lynn Wood reviews Rhythm of Life in this issue

suggested he study illustration. As a result, he was at William Merritt Chase’s New York School of Art studying illustration and drawing when Robert Henri arrived to teach a special composition class “devoted to a critical study of the principals of pictorial and decorative composition, with a view too their practical application in painting, illustrating, and designing.” Rather than ‘art for art’s sake,’ Henri encouraged his students to create ‘art for life’s sake,’ a challenge that Hopper embraced throughout his career.

In a Restaurant c.1916 26 11/16” x 21 5/8” Charcoal Edward Hopper

The Unknown Hopper was curated by Stephanie Hasbrouck Plunkett and is accompanied by an illuminating catalogue featuring a contextual essay by Dr. Gail Levin, the artist’s biographer and premier scholar of his work. The exhibition runs until October 26.

THE MUSEUM AT BETHEL WOODS Museums are as unique as the intentions of their founders and the culture they preserve. The fundamental purpose of the Museum at Bethel

Mixed media installation at the Museum at Bethel Woods

THE FRIENDS OF HISTORIC KINGSTON GALLERY Consumer culture and the organization man, major targets of the sixties counter culture activism, remain targets to this day, although the focus is increasingly on the abuses of corporate power, Wall Street, and political corruption.

The city of Kingston, Woodstock’s immediate neighbor, was home for forty years to one of the most powerful corporations in the world. The Gallery’s current exhibit—Kingston: the IBM Years spotlights IBM’s signature achievements during its stay in Ulster County, among them a paternal generosity towards its employees. It was inevitable that IBM’s presence would foster the expansion of the colonial city’s historic architectural environment into suburban homes and shopping malls. Not only does this exhibition broaden the museum’s purview to include twentieth century industrial history, but also highlights the legacy of the IBMer’s who established the museum in

Friends of Historic Kingston

Woods is to document the experience of one of the largest and most hopeful happenings of the twentieth century, along with it’s enduring impact.

The museum celebrates the ever-expanding circles of an event that happened over the course of an August weekend forty-five years ago. That same year Pete Seeger and his crew launched the Sloop Clearwater, an icon of the environmental movement that is one of those circles. Evan Pritchard pays tribute to Pete and his connection to Native America and Native musicians in this issue. The Museum at Bethel Woods is one of the premier purveyors of the radical art of a counter culture that challenged the status quo of the nineteen sixties. It is located on the site of the Woodstock Festival of Music and Art.

F. Console for SAGE air defense system with IBM workers, 1950s.

the former home of international antique dealer, Fred Johnson. Cynthia Poten reviews the Friend’s accompanying catalogue of the same title in this issue.

Poten also reviews Michael Schacker’s Global Awakening, New Science and the 21st Century Enlightenment, published this year. The Woodstock Festival is one of several pivotal shifts in human awareness that Schacker cites in support of his thesis that humanity is experiencing a paradigm shift from mechanistic isolation and destruction to collaborative creativity and sustainability. A long-term area resident, Michael Schacker is an investigative science writer who was honored with the “Cultural Achievement Award 2010” from The Artists’ and Humans’ Project for his book, A Spring Without Bees. He co-founded the Global Regeneration Network, “a coordinated global effort to produce rapid transformation of the planet by linking up the information, the knowledge, the skills and the people with holistic regenerative solutions.”

Though we are lifted up by the optimistic persistence or the Clearwater, the unaddressed concerns raised at Woodstock now plague us, and the specter of technology in a globalized world is threatening human existence.

The natives who made the Two Row Wampum Treaty with the first Europeans four centuries ago had a cultural covenant with the earth developed in real time over their millenniums. There is no APP for that.

Hudson River Museum & Gallery Guide • 5

PEOPLE’S CLIMATE MARCH NYC SEPT 21 This is an invitation to change everything

In September, world leaders are coming to New York City for a UN summit on the climate crisis. UN Secretary General Ban Ki-moon is urging governments to support an ambitious global agreement to dramatically reduce global warming pollution.

With our future on the line and the whole world watching. we’ll take a stand to bend the course of history. We’ll take to the streets to demand the world we know is within our reach: a world with an economy that works for people and the planet: a world safe from the ravages of climate change: a world with good jobs. clean air and water. and healthy communities. To change everything, we need everyone on board. Sunday, September 21 in New York City. Join us!

peoplesclimatemarch.org Buses from throughout the hudson valley: http://pcmmhv.eventbrite.com 6 • Hudson River Museum & Gallery Guide

SPEAK TRUTH TO POWER LARGE-SCALE PORTRAITS OF HUMAN RIGHTS DEFENDERS WHO ARE CHANGING OUR WORLD

AUG 28–DEC 31, 2014

Exhibit organized by the Robert F. Kennedy Center for Justice & Human Rights.

VISIT OUR WEBSITE FOR INFORMATION ABOUT SPECIAL EXHIBITS, SPEAKER, FILM & CONCERT SERIES.

Tickets at BethelWoodsCenter.org

By Phone 1.800.745.3000 | Bethel Woods Box Office Ticketmaster.com | Info at 1.866.781.2922 Bethel Woods Center for the Arts is a not-for-profit cultural organization that inspires, educates, and empowers individuals through the arts and humanities.

VISION

AWARD BENEFIT &AUCTION

Hudson River Museum & Gallery Guide • 7

On the Beach

ca. 1869

Oil on canvas

Arkell Museum at Canajoharie

Winslow Homer

Winslow Homer:

The Nature and Rhythm of Life

by Lynn Woods

“Winslow Homer: The Nature and Rhythm of Life,” on view at Cooperstown’s Fenimore Art Museum through August 24, displays a small but comprehensive collection of paintings shown in its entirety for the first time. On loan from the Arkell Museum, which is located in Canajoharie and was established by Bartlett Arkell, founder of the BeechNut Company, the show, which also includes two other Homer works, one from the Metropolitan Museum of Art, enables the viewer to take in the range of Homer’s work within the space of a single room. It begins with his earliest known painting, made in the 1850s when he was still a teenager, a rural scene of a boy feeding chickens, and culminates with an example of the rugged, elemental seascapes of the Maine coast painted in his last decades.

Expertly hung and accompanied by informative wall texts, which serve to heighten the works’ appeal, the exhibition beautifully showcases the themes, formal concerns, and stylistic experimentation of this American original—what David Tatham, in his essay in the excellent catalog, refers to as “a career-long sequence of self-motivated episodes of innovative new work.”

8 • Hudson River Museum & Gallery Guide

“By showing these works, you get insight into the collecting philosophy and acumen of Arkell,” said Paul D-Ambrosio, president and CEO of the Fenimore. “You also see what people were thinking of Winslow Homer in the 1930s, a few decades after his death. It provides an overview of all the important developments in his career.”

Represented is one to several samples each of Homer’s work from the Civil War; of rural scenes featuring children and shepherdesses; of sailing craft; of well-dressed women posed on the beach; of the fisher folk from the north coast of England, gazing wistfully out to sea; of the wonderfully spontaneous, light-filled watercolors of the Bahamas, plus a watercolor, very different in mood, depicting the haunting, jungle-like landscape of northern Florida; and, as mentioned, of the late Maine seascapes.

The only conspicuous absence is his watercolors of hunting and fishing scenes in the Adirondacks, which is made up for by several iconic works that defy easy categorization.

When Arkell acquired the works in the 1930s and 1940s—they were displayed with his other American paintings, along with copies of European art, in the library and art gallery he established in Canajoharie in the 1920s—Homer’s reputation was at its peak, thanks in large part to the scholarship of Lloyd Goodrich. Homer was born in 1836 in Boston and died at Prout’s Neck, Maine, in 1910, and during his lifetime, the very qualities that have continued to intrigue and seduce art lovers were frequently disparaged by critics: his powerful compositions, in which the representation takes on a deeper emotional resonance thanks to the simplification and harmony of the formal elements; a fresh directness of means, especially in his plein air watercolors; a deft naturalism, which captures the fleeting nature of experience; and his preference for everyday subjects, characterized by the closeness of man to nature, a force that was alternatively benign and destructive. In his depictions of children at play on the rocks or figures posed on the beach or shore, the natural setting usually predominates, establishing humankind’s position in the universe.

Today this painting strikes one as a masterwork, with its immediacy and darkly luminous beauty.

Infused with the energy of the sea and sky, which dwarves the Victorian beachcombers—a row of women, positioned on the Woman on the Beach, Marshfield far left, standing barefoot on the beach clutching their ballooning skirts above their knees--the work prefigures Homer’s late seascapes, with its subdued color scheme in a minor key and stark composition of contrasting horizontal bands. It’s as if the painter himself had channeled

A successful illustrator who visited the Union troops at the front during the Civil War for Harper’s Weekly, then the leading news weekly, Homer began exhibiting oil paintings in 1863 and had his first success as a fine artist with Prisoners from the Front, painted a year after the war, which depicts a Union officer questioning three captured Confederate troops after a battle (not in the show). The exhibition includes an earlier Civil War canvas, In Front of the Guard-House, in which a backlit soldier holding a log perches on an upended wooden box before a soldier pointing his bayonette—presumably punishment for intoxication, a fascinating historical footnote of a practice that strikes one as barbaric today.

Arkell Museum at Canajoharie

It’s hard to imagine that the oil painting On the Beach, which Arkell found “soul inspiring” and was a personal favorite, originally belonged to a larger work that was lambasted by critics when it was exhibited at the National Academy of Design in 1869. According to the catalog, one critic described this depiction of a beach with figures, breaking surf, and overcast sky as “a Watering-place deformity.” The biting reviews prompted Homer to cut the painting into pieces, of which On the Beach and a second, smaller section showing children cavorting amid the waves is all that survives.

nature’s elemental force. While the coloration of the figures’ flesh and clothing—cream, golds, blues and dark red that recall the palette of Manet-complement the seascape, their small, rounded forms are like punctuation marks, insignificant compared to the vastness of the sea and sky. The pearly luminescence of the reflections of the waves and figures on the drenched beach, signifying a brief moment in time; the contrasting blackish green horizontal band of the surf, which is echoed in a second band of incoming waves and the dark line of the distant horizon, and contrasts with the brilliant white impasto describing the breaking wave; and the subdued but rich coloration of the overcast sky, with a hint of blue revealed between brownish gray and pinkish clouds—all are a tribute to Homer’s sharp observational powers and mastery of the expressive qualities of paint.

1874

Watercolor/graphite

Winslow Homer

Despite the popularity of Prisoners from the Front, Homer insisted on going his own way, painting subjects that met disapproval from critics and developing a style disparaged for its lack of finish and detail. (By the 1880s, however, after he had Hudson River Museum & Gallery Guide • 9

The Homecoming 1883 Watercolor/gouache/graphite on Paper Arkell Museum at Canajoharie Winslow Homer

earned a following with his watercolors, the reviews were largely positive.) His representations sometimes confounded critics, such as the 1875 watercolor Contraband, which depicts an African American child and a Zouave soldier seated on a ledge and jointly grasping the soldier’s canteen. According to Tatham’s essay in the catalog, it’s possibly an allegory for the collapse of Reconstruction, with the solider personifying the federal government’s fading support for its Freedmen’s Bureau schools and other programs established by the Lincoln Administration to help the freed slaves and the boy personifying the pleas of a younger generation of blacks to preserve the programs.

Moonlight, a watercolor from 1874, is another unusual work and the subject of a catalog essay by scholar Sarah Burns. Homer never married, although it is believed that he had loved a certain young woman, represented in some of his paintings, who rejected him. Burns speculates she was Helena de Kay, an artist with whom Homer had crossed ways in New York City and who vacationed in the Catskills the same summer as Homer, in 1871 or 1872. De Kay later married someone else, and Moonlight may possibly reference her rejection of Homer. The watercolor depicts two figures, their backs facing the viewer, sitting on the beach gazing out at the full moon reflected over the sea. The space between them is infused with tension, as the woman seems to pull away from the man leaning toward her, her spread fan forming a barricade. The skeins of dark, skeletal seaweed in the foreground, the stark, distinct shadows cast by the two figures, and the horizontal movement out of the canvas described by the tilting clouds, the distant schooner and the lacy spray of the surf suggest desolation rather than warm, romantic passion.

10 • Hudson River Museum & Gallery Guide

Homer was a pioneer in watercolor, “a medium traditionally associated with women and finishingschool work,” according to d’Ambrosio. “It wasn’t considered a serious art form until Homer has his success in the 1870s.” Many of the watercolors in the show are tour de forces of his handling of light, tonal variations, and composition, achieved by a variety of techniques. The See-Saw, in which pairs of boys sit on either end of a sea saw, literally represents a composition as active as it is balanced, with the triangle formed by the central boy standing astride the see-saw echoed by the surrounding rocks and background buildings.

The Pumpkin Patch, in which a boy in profile holding a pumpkin crosses a field, derives its lively rhythm from the syncopated placement of the vertical cornstalks, their tassels delicately rendered as light-against-dark and dark-against-light squiggly forms. Above the Sea, Tynemouth, among the group of watercolors made on England’s northern coast during the artist’s ten-month sojourn from 1881 to 1882, depicts a fisherman gazing out at a stormy sea

Sailing Out of Gloucester ca. 1880 on Paper Arkell Museum at Canajoharie

Watercolor/graphite Winslow Homer

from a bluff with the utmost economy of means, imbuing the topical scene with existential meaning.

Some of the oils in the show also appeal to the contemporary eye with their reductive forms and tightly constructed compositions. Homer was a contemporary of the French Impressionists, but works such as Girl at the Fence, a pastoral scene of a shepherdess posed contemplatively amidst her herd of sheep in a mountain landscape, is more similar, in its earthy colors, contrasting lights and darks, and solid forms, to Courbet, Corot, and other painters of the Barbizan school. The 1878 work is in stark contrast to the dashed-off forms, in translucent browns, reds, and blues, of Sponge Fishing, Bahamas, a watercolor that captures the brilliant light and strong color of

Feeding the Chickens

Oil on paperboard

Arkell Museum at Canajoharie

the Caribbean with its fresh spontaneity. The show presents compelling evidence of Homer’s uncontested place in the pantheon of American painters—his uncompromising originality, defiance of stylistic pigeonholes, and commitment to truth. His legacy is a body of work that distills the American cultural threads of his time into an artistic vision that is both austere and sensuous, contemplative and expansive, singular and collective.

After checking out the Homer show, be sure to visit the museum’s Thaw collection of American Indian art, consisting of nearly 1,000 artifacts housed in a separate wing, its folk art galleries and especially, the contemporary acrylic paintings of historic scenes from New York State by L.F. Tantillo. Following months of research, Tantillo painstakingly re-creates Fenimore Art Museum

Claverack Landing

Oil on Canvas 20 x 30

L. F. Tantillo

Winslow Homer

the structures, sailing ships, clothing, and other material details of lost moments from the past, be it a man driving a beer wagon at sunset on the flats south of Albany, circa 1650, a barge tied up at dawn on the Erie Canal, illuminated by gaslight, a locomotive chugging past the cigar store, café, and other cheerily lit stores on Syracuse’s Washington Street on a winter evening in 1933, the trading house on Castle Island in 1614, which was the first nonnative building constructed in New York, or the windmill perched on a bluff overlooking the Hudson River in New Amsterdam, on the very spot occupied by the World Trade Center more than 300 years later. Tantillo is not only a choreographer of historic details but also of light and atmosphere, which imbues his narrative scenes with the power of cinema. But unlike a movie, you can look and look, traveling back to that most exotic country of all—the past.

“Winslow Homer: The Nature and Rhythm of Life from the Arkell Museum at Canajoharie” is on exhibit through August 24, after which it will be display at the Arkell Museum from September 2 through January 4, 2015. “A Moment Past: L.F. Tantillo Paints New York History” is on display through December 31, 2014.

Hudson River Museum & Gallery Guide • 11

Beacon of Hope

Oil On Canvas

48” x 72”

Michael D’Antuono

It’s Been Good to Know You

by Evan Pritchard

I first met Pete Seeger outside the offices of Sing Out! magazine in 1978. Lugging his famous banjo and wearing beat up jeans and a Bread and Roses tee shirt, he looked somewhat out of place on 57th Street but was happy to talk to an unknown Mi’kmaq musician off the street about Native American globular flutes, i.e. “sweet potatoes.”

Six years later I moved to Beacon, down the street 12 • Hudson River Museum & Gallery Guide

from Pete, and we became friends. We played a lot of music together, including a duo concert of river songs for an annual meeting of the World Wildlife Fund. To avoid blocking a slide show, we had to kneel together in the dark and our songs became prayers, religion without priests or titles...unless “Pete the Folk Singer” counts.

In 1987 I was starting up a magazine on my kitchen table. I widened the margins on my model A MacIntosh to make single columns, printed them on a daisywheel printer and then pasted them up three to a page. I ran into Pete and I showed him the first copy. He barely looked at it and said, “You know, freedom of the press only applies to those who own the presses! I always thought more people should own their own presses and now the technology is finally becoming available to the masses. I’ve helped start up a number of newsletters and magazines over the years, I’m happy to say.

(Sing Out! was just one of them). Come with me. I have something to show you.”

Pete opened his car door and next thing I knew we were driving up a steep rocky road, seemingly into the clouds. We got out and he walked me towards a stone chimney attached to a wonderful old cabin on a mountaintop overlooking the Hudson River. I stared at the fine looking chimney, a bit puzzled. He said, “Do you see that chimney? How straight and even the stones are laid? When I started building this chimney I had no idea what I was doing, but I learned as I went and asked for advice. I had a helper, Pete LaFarge (the Native American songwriter) and though it took us all summer to get it right, it was time well spent, and one of the best summers I ever experienced. Then I worked on the Sloop Club chimney down by the Beacon train station, and had an easier time with it.”

Pete’s cabin overlooking the Hudson River in Beacon New York

He still had my mock-up in his hand and handed it back to me unread, saying “Take the time to do a good job.” I looked at the pages and noticed for the first time that the columns of type were anything but straight. He had correctly assumed that the editing was equally haphazard. Without a word of criticism, Pete the Editor had given me a

Evan Pitchard and Pete Seeger

Photo: Moon Fire Studios c 2013

“learnin’” I would never forget: always take the time to do a good job. That magazine became known as Resonance and a few years later we were publishing interviews with Native American elders and getting national distribution. I even did an interview with Pete about how the late Rachel Carson’s book Silent Spring changed his life. Years later, Pete provided dust cover commentary for two of my books on Native American history, Native New Yorkers, and Bird Medicine.

Pete’s daughter Tinya Seeger, a well known ceramic artist, now lives in that cabin. She was about seven years old the summer Pete and Peter LaFarge created that chimney in 1960. As she recalls, the cabin was originally heated by a metal device her father had invented. Although her father had done other stone work with hired help, that was the first project he supervised. She remembers that Peter LaFarge was the first adult that spoke to her as an equal.

He treated her kindly, although she was frustrated that his concern for her safety meant “no climbing on or under the scaffolding,” which she saw as a jungle gym, located conveniently on the side of her own house. She pouted, having no idea he was a legendary Native American song writer whose main concern was that a stone might fall on her head.

Pete was a visual artist as well as a musician, and something of a perfectionist at times, especially when it came to layout and design, as Tinya recalls.

But other times he would mock the seriousness of the art world and just have fun. According to Tinya, Pete was an artist first, years before his fame as a musician began to spread. One summer he bicycled around the country, drawing or painting water colors Hudson River Museum & Gallery Guide • 13

of people’s barns or houses in exchange for a place to spend the night. It is not surprising that he chose to marry the gifted Japanese ceramic artist named Toshi who became Tinya’s mother. In 1969, after the building of the Sloop Clearwater, he made a drawing of the ship that has been reproduced many times.

One can be seen on a Clearwater tee shirt from years past, and also on a Christmas card.

Beacon, NY architect J.C. Calderon was five years old when he met Pete in 1971. At the time Pete was traveling around entertaining children by illustrating the songs he was singing as they watched. He sang, “I had a rooster and the rooster pleased me…” and he would draw a flowing line and asked, “What do you think this line is going to become?” Then he would add another line, then another, until it formed a rooster, or a baby, or another character in the song. J.C.’s mother Theodora took two of the drawings home, and they are now on display in J.C.s architectural design center in Beacon.

I have a number of letters signed “Old Pete” accompanied by a fine caricature of a banjo.

Pete also did a self-portrait now and then. Some of his drawings have appeared in books and magazines.

For Christmas one year he made twelve large color drawings of the twelve days of Christmas and hung them over the balconies of the Howland Cultural Center and had assistants shine flashlights on them one by one as he sang the famous carol. Pete was also a collector of Native American art. He owned an original canvas by Leonard Peltier which graced the walls of the Howland Cultural Center for a time.

Back in 2008, the Clearwater Festival opened with a special one hour Native American musical blessing 14 • Hudson River Museum & Gallery Guide

of the river, featuring Pete Seeger, Tiokasin Ghost Horse, Roland Mousaa, Carlos Nakai, myself, David Amram, and Travis Jeffrey. Roland and Pete go way back, to 1969, when young Roland left an Apache mission school in Colorado, to avoid the draft.

He was opposed to the Viet Nam war, and ended up living on the Sloop Clearwater as a stowaway passenger. Roland was also involved in Pete’s 90th Birthday concert at Madison Square Garden on May 3rd, 2009, with an opening ceremony patterned somewhat after the one at Clearwater the year before, featuring Tiokasin Ghosthorse, Carlos Nakai, Roland Mousaa and David Amram again, but also Joanne Shenandoah, Oren Lyons, Bill Miller, Margo Thunderbird, Eddie Benton, Hopi elders Casper Lomavawa, Vernon Mamesavoah, and others. Oren thanked Pete for “doing a pretty good job” of cleaning up the Hudson.

Pete’s associations with Native Americans date back to the 1920’s. There is a photo of Pete at the age of six holding a bow and arrow and aiming at some imaginary game, dressed only in a headband and a loin cloth of buckskin. During his first year at Avon Old Farms boarding school in Avon, CT, he built a teepee in the woods. The administration found out about the teepee and respectfully refrained from pulling it down—not realizing that every evening after roll call, Pete would go out and sleep in the teepee to be closer to nature. He was already reading Ernest Thompson Seaton’s books voraciously, putting everything to memory that he could absorb, and it affected him his whole life. He often told me that what he learned through Seaton gave him a vision of how human beings had at one time lived in balance with the natural environment and how they might do it again. Tinya recalls that from time to time, the family would pile into a jeep and go out

and find a field to camp in; no conveniences at all, just sleeping under the stars.

No one seemed to question why Native Americans were so important to Pete. Everyone knew, especially Native American readers. He had been reaching out to them one by one for ninety years, and the good word had spread. When a Mayan guitarist’s instrument was stolen, Pete bought him a new one the next day, without fanfare.

Pete’s associations with Beacon, Native Americans, the environment, music making, and the visual arts may have seemed, at least to some, to be unrelated.

Then came the Two Row Wampum Renewal Campaign that was to bring everything together for Pete with dignity and simplicity. In 2012, a flotilla of canoes in two rows, a row of Native American paddlers, and a row of “allies” came down the Hudson River from Onondaga to the UN to protest fracking in New York. Pete was among the first to join the advisory committee. Each evening at each rest stop, the Onondaga and all parties concerned put on what might be called “Chautauquas,” or teach-ins, about the Two Row Wampum Treaty, said to be the first treaty made with Europeans, in 1613.

The Onondaga feel that fracking violates the terms of the treaty which promises “non-interference” between the peoples. The mission was a non-violent demonstration in the native tradition. That year was a dry run for the following year, 2013, the 400th anniversary of the treaty.

When Sloop Club President David Eberle and myself saw the schedule Andy Mager had put together, and saw that the flotilla of 300 to 400 rowers, at least half from Native American nations, were to arrive

at the Beacon waterfront on the first Saturday in August, 2013, we both had the same idea: a huge Native American Music Festival to greet the rowers.

We both knew that Pete Seeger would agree to be a headliner.

It was not the first time Pete and I would be involved in an all-day Native American-flavored outdoor music festival in Beacon. Two consecutive years I produced an “Evan’s Little Woodstock Festival” outside the Beacon Sloop Club, (the one with the straight chimney) and Pete was a featured act for both. The all day festivals also included many great Native American/mixed blood performers. And as always, Pete fit right in, never overshadowing anyone. Shabazz Jackson, Pete’s part-Lenape AfricanAmerican then-son-in-law, helped arrange the event.

These festivals were put together in a few weeks’ time, trusting much to luck. But the Beacon Two Row Festival was in the works for two years and we had a great team of organizers. Our PR director and web designer, a woman from Beacon-based Open Space Galleries named Kaleen Rivers suggested we create permanent outdoor art installations in the form of sixteen tri-faced art “totems,” to grace the field where the audience was to sit, stand, and dance. Many corporations donated money for the supplies in exchange for a plaque, and top area artists donated their considerable talents. The art totems were a huge hit, and are now scattered around Beacon, making the entire city into a sort of street gallery of art, and efforts are being made to make it a long-term attraction. Each plaque states that the piece is erected in commemoration of the Beacon Two Row Wampum Festival. Although Pete did not paint any of the totems, it was his artistic spirit that

Tri-faced art totems at the Beacon Two Row Festival

Hudson River Museum & Gallery Guide • 15

helped inspire an outdoor art movement in Beacon, well underway at the time of the concert. Three of the pieces now stand in the grassy spot off East Main Street, where Pete used to sit once a month singing and playing banjo for folks walking by, reaching out and involving working people in the arts, just as the totems do now.

In mid-stream of the planning process, we were approached by a reporter for the Kingston Daily Freeman, Tania, who gently persisted in suggesting that the Dakota Unity Riders from Manitoba, who were also making a pilgrimage to the UN in protest of fracking and the XL pipeline, be allowed to enter the event at Riverfront Park just as the paddlers arrived. I envisioned the Unity Riders dancing around the audience on horseback and then speaking from the stage about their 1500 mile journey. We were already maxed out and under-staffed, but the thought was so compelling. No one knew how long it would take for horses to circle the field, so I carved out a half hour of free space into the teeming schedule. The horses were swift, and danced in and out the windows between the totem art pieces without incident and ahead of schedule, but when award winning musicians like David Amram and Liam O’Maonlai started to sing for the horses, not to mention speeches in Dakota

by Gus High Eagle and Dr. Airy Dixon, and Lakota songs sung by Ilfra Halley, and then circle dances in the spirit of “Idle No More,” I let the schedule go.

This was an historic event; a public meeting between the leaders of several sovereign and independent First Nations, The Dakota from Canada, and the Onondaga from the U.S., (with the blessing of the Ramapough) plus 300 canoers, 12 horses, at least six standing chiefs, (Oren Lyons, Jake Edwards, Dwayne Perry, Gus High Eagle, Vincent Mann, and Sid Hill) 60 musicians, and a joyful-looking Pete Seeger.

Beacon Sloop Club. She had passed away on July 9th. Pete looked quite drained and weak, tearfully sharing stories from their long marriage. Most of us felt the tears as well. Would he make it to the Two Row Festival, a few feet and a few hours away? I had my concerns. But I knew Pete always came through, and would “give it one more try.”

But Pete seemed energized the following morning, and sang two or Unity Rider at Beacon Two Row Festival three times from the stage, each time looking younger and stronger. As the first canoers arrived, Pete sang a gutsy rendition of the Cayuga Canoeing Song, with Spook Handy, myself, Matokah, Dennis Yerry, and others playing instruments while he went through energetic paddling motions as he sang. But for most of the concert, Pete was behind stage, talking a blue streak with Onondaga Wisdom Keeper Oren Lyons about the story of the Peacemaker. Oren also spoke several times, and presented the Two Row Wampum Belt.

At one point I was on stage MC’ing while performers getting ready to play, and Pete walked up to me as casually as if we were up by the cabin, or at the Sloop Club. “Evan, he said, “did you know about the story of the Iroquois Peacemaker? About how he stopped wars between five nations at the same time, and helped create the foundation of the U.S. Constitution?” He started to tell me the whole story, just as Oren Lyons had told him.

I answered, “Pete… uh….we are kind of in the middle of a concert here. Say, do you think you could tell that story into that microphone there?” I thought, what the heck, the canoers were late, due to the tides, and we’re hours off schedule anyway. Let’s get more off schedule!

Pete said with a smile, “I don’t see why not!”

Late the night before, Pete had been conducting a memorial service for his wife Toshi Seeger at the 16 • Hudson River Museum & Gallery Guide

Although Pete had been having memory problems

the last few years, he was able to tell the wisdomfilled Peacemaker story perfectly from memory without notes, as only he could tell it, with passion.

Oren handed him the Two Row wampum belt, a replica of the one woven long ago with the Peacemaker’s teachings in mind and Pete began to speak in an ancient fashion dating back to the Peacemaker himself, who lived at least 1000 years ago.

Pete knew a few things about peacemaking, from the Peekskill Riots to Nicaragua, and about Native Americans as well, from fellow stone mason Peter La Farge to Leonard Peltier, whom he used to telephone on a regular basis. It was as if he had waited his whole life for this moment. When he was out of words, he turned to Oren Lyons (who is responsible for the correct transmission of the story) and said, “Did I get it right, Oren? Did I get it right?” Oren answered, “Close enough, Pete! Close enough!” In less than a week, on August 9th, Pete and Oren were to reenact that entire scenario, including the telling of the Peacemaker story, on Democracy Now! TV show with Amy Goodman, presently on the internet. Dakota Unity Rider Chief Gus High Eagle got to speak at the UN that same day, and became the first person to bring up the subject of fracking at the United Nations. The 300 rowers made it to Manhattan riding a stormy Hudson River without loss of life. The campaign ended with a musical ceremony near the site of the World Trade Center, many of us making our entrance walking in two rows. That was the first time I saw the photos of Pete with the wampum belt. It had made all the papers.

Pete made one more major public appearance, and then one fateful non-appearance as our Martin Luther King Birthday marchers in Beacon heard the sad news that cold morning of January 20th that Pete’s driver had to turn around and go to the hospital rather than drop him off at the march. Pete would not have missed that event for the world, and I knew then that the world would soon miss him. He passed away a week later on January 27th of 2014, surrounded by a loving family. Memorial jams were held at the Sloop Club where the fine chimney still stands, and at Phil Ciganer’s Town Crier Café music stage, which had just moved to Beacon, featuring a huge portrait of Pete on the back wall. On July 18th there was an epic memorial concert at the Bardavon, and I sang harmony behind Roland as he performed his “Now is the Time,” which Pete revised and scored just months before he passed on.

A UPI news photo released the day after Pete died was the one of him holding the Two Row Wampum Belt and speaking emphatically to the crowd. At this year’s Strawberry Festival, Clearwater President Peter Gross announced that Riverfront Park would hereafter be known as “Pete and Toshi Seeger Memorial Park” and that plans were being considered to stage an annual concert at that site, possibly involving Native American performers. In an interview, he said, “I think it is important that we honor Pete’s concern for Native American culture, particularly along the banks of the Hudson, and his commitment to justice for First Nations people.”

Pete Seeger with Two Row Wampum Belt

Photo by MarkMcCarroll

Pete was never elected to a post or given a title his whole life. Like many of his Native American heroes, he was a natural leader to whom people gravitated by the force of his example and the courage of his words. His abiding faith in what people could accomplish if they worked together inspired millions to “give it one more try,” whether the cause was labor, the environment, human rights, or non-violence.

Hudson River Museum & Gallery Guide • 17

Kingston: The IBM Years

William B. Rhodes “IBM’s enormous impact on the Poughkeepsie urban region and Kingston during the second half of the twentieth century is hard to overstate”

The vast communication and information network available to anyone with access to the internet began in the Hudson Valley in 1941 -- the year IBM, in response to pressure from the War Department, ventured into the research, development and manufacture of computers. Over the next fifteen years, the Kingston and Poughkeepsie IBM plants set in motion a technology that transformed the world.

In the process IBM became a multinational giant whose footprints span the planet.

In Kingston The IBM Years the Friends of Historic Kingston cast an intriguing spotlight on how this giant impacted the communities and built environment of Kingston. Their 150-page book expands and reflects on the record the Friends assembled for their exhibit at their gallery. It is a memoir and a multi-faceted tribute. Essays from scientists, historians, writers and former employees are illustrated with photographs and diagrams that portray the excitement of the science and the extent of IBM’s influence on the area’s people and places.

Initially the IBM call for workers of all stripes skimmed the cream from many local businesses.

IBM’s higher wages and the promise of security were hard to resist. But it wasn’t long before IBM’s presence brought the small colonial city of Kingston into the modern age. It stimulated a period of economic development that gradually replaced rural environs and small manufacturing infrastructure with new homes, massive malls, and a flowering of small businesses. IBM was an innovative, paternalistic corporation genuinely committed to its employees and the larger community. Its policies fostered an extended family of workers who identified with the company, appreciated the benefits they received and were proud of its products. It’s evident in the 18 • Hudson River Museum & Gallery Guide

book’s interview sections that IBMers were also proud of how the city’s modernization included the preservation of valued colonial structures.

And the IBMer pride is worthy of respect. Their company was the leader in developing a phenomenal new technology. From high speed electronic computers to computerized air defense systems, IBM’s applications of information technology transformed the marketplace and public/ private communication. IBM’s contributions to radar, surveillance and weapons technology insured that the U.S. would become the most militarized nation in the world, at a time when fears engendered by the cold war evoked almost unanimous public support for armed defense. This was also the time frame, it has to be said, that solidified the politics of corporate influence on all levels of government —a politics that continues to this day.

When IBM moved the Kingston workforce to Poughkeepsie in 1995, it was already expanding elsewhere, eventually building new labs in Australia, Brazil, China, Dublin, Israel, India, Tokyo, Zurich, Nairobi and other U.S. locations.

It located new manufacturing plants around the world as well.

But the IBM ghost remains. As Gail Godwin writes in her chapter for Kingston The IBM Years, “Ghosts, those people and places in our lives that aren’t there anymore but refuse to go away, are best honored when we make a home to enclose and protect them.” The Friends of Historic Kingston have made that home and hung out a welcome sign.

—Cynthia Poten Black Dome Press Corp. 2014

Global Awakening Michael Shacker

“We are not human beings having a spiritual experience.

We are spiritual beings having a human experience.

—Pierre Teilhard de Chardin

These words, which introduce a chapter in Michael Schacker’s Global Awakening, are the substrate of his book. The awakening he envisions builds on Teilhard’s idea that life, including human consciousness, continually synthesizes itself, attaining ever greater complexity. Schacker argues that the current perilous state of the world is the transformational phase of a paradigm shift; that we are evolving beyond the mechanistic worldview responsible for genocide, ecosystem collapse, and injustice into a unified global society that will act to sustain life on earth. He suggests we all need to participate in the awakening and offers a detailed game plan for doing so. His proposals encompass agriculture, economics, the environment, green technologies, health, education and foreign policy.

Schacker analyzes the phases of other paradigm shifts in the history of European thought. As the impact of new ideas increases, he explains, resistance to them increases as well, leading to turbulent and violent phases such as the one we live in. The Copernican revolution moved Europe out of the dark ages into science. The 18th century Enlightenment carried the torch of reason and justice into a populist overthrow of monarchy and the rise of democracy.

However, these shifts also jettisoned a cosmology that honored the harmony of the spheres and the presence of spirit in the universe, replacing it with a mechanistic paradigm wedded to the biblical notion that humans were placed on Earth to maintain dominion over it. This coupling produced a profoundly anthropocentric worldview, and provided a religious rationale for the centuries-long military occupation and economic exploitation of lands and people that is still occurring on a planetary scale. Frances Bacon (1561-1626) a leading philosopher of mechanistic

paradigm explains it well: “nature should be put in constraints.” We have to “torture nature’s secrets from her.” She should be “hounded in her wanderings, and bound into service for the good of humanity.” Moral reactions to brutal aspects of the mechanistic worldview, along with philosophical challenges to its scientific underpinnings, have been unfolding ever since.

Schacker’s case for the evolution of human consciousness is based on the progression of European ideology.

We should not forget, however, that non-European societies have engaged in communal collaboration for millennia, within belief systems and moral precepts that sustained their communities and the ecosystems they inhabited. Reverence for all life and nonmaterialism are fundamental to Native American, Buddhist and Taoist worldviews. Ancient oral traditions around the world honored elders, women, children, and the ancestors. They revered Nature as sacred. They prepared youth for the responsibilities of adulthood with initiations that taught them how to perpetuate communal collaboration. They selected leaders based on their ability to foster harmony.

The mechanistic paradigm of progress and profit over all is a European thought form whose toxic, ubiquitous tentacles, held tightly in place by force of arms, are strangling the planet. A world view that shifts humanity away from this powerover paradigm, a view that honors spirit in all its manifestations and becomes unified on the many fronts Schacker proposes, would represent both an evolutionary advance of western thought and a reaffirmation of ancient wisdom.

—Cynthia Poten Park Street Press 2013 Hudson River Museum & Gallery Guide • 19

ALBANY (D-2)

CAZENOVIA

HOWES CAVE (C-2)

Margaretville

Albany Center Galleries Albany Institute of History & Art Albany Internat’l Airport Gallery Mark LaSalle Fine Art New York State Museum Opalka Gallery, The Sage Colleges University Art Museum, SUNY Albany

Chapman Art Center at Cazenovia College

Iroquois Indian Museum

Longyear Gallery

CHATHAM (F-5)

HUDSON (E-5)

MILAN

American Museum of Firefighting BCB Gallery Carrie Haddad Gallery David Dew Bruner Galerie Gris Hudson Opera House Hudson and Laight Gallery J.Damiani Gallery John Davis Gallery Limner Gallery Nicole Fiacco Gallery MCDARIS Fine Art Olana State Historic Site Ornamentum Peter Jung Fine Art Time & Space Ltd/TSL Warehouse

Briggs Mountain Gallery

HUNTER (B-5)

Delaware Valley Arts Alliance Dyberry Weaver Nature’s Art LLC

Art View Gallery Joyce Goldstein Gallery Park Row Art Gallery Sarris Quilts

ANDES (A-6)

CLINTON CORNERS (F-8)

Blink Gallery Chace-Randall

Joanne Klein Studio

COLD SPRING (C-11)

ANNADALE-ON-HUDSON (D-7)

Ellen Hayden Gallery Marina Gallery Putnam County Historical Society & Foundry School Museum The Gallery at Butterfield Library

CCS Bard Hessel Museum, Bard College

ARKVILLE (A-5) Catskill Center Erpf Gallery

BEACON (C-10) Back Room Gallery Bannerman Island Gallery BAU (Beacon Artist Union) Beacon Cultural Foundation Beacon Institute for Rivers & Estuaries Bulldog Studios Daniel Aubry Gallery Dia:Beacon Fovea Exhibitions Howland Cultural Center Hudson Beach Glass Marion Royael Gallery Monk Sculpture Project Morphcism Mount Beacon Fine Art Open Space RiverWinds Gallery Spire Studios

COOPERSTOWN (A-2) Fenimore Art Museum Baseball Hall of Fame

corning Rockwell Museum of Western Art

CORNWALL-ONHUDSON (C-11) Hudson Valley Gallery

COXSACKIE (E-4) Bronck Museum Coxsackie Library

EAST HAMPTON

Kaaterskill Fine Arts Gallery at Catskill Mountain Foundation

HYDE PARK (D-8) Historic Hyde Park Vanderbilt Mansion & Historic Site

KATONAH (G-12) Katonah Museum of Art

Kinderhook (E-3)

Pollock-Krasner House and Study Center Surface Library Gallery and Atelier

Columbia County Historical Society Martin Van Buren, Historic Home

FREEHOLD (C-4)

KINGSTON (C-7)

CANAJOHARIE

HASTINGS-ONHUDSON (D-14)

Arkell Museum of Canajoharie Picture Perfect Gallery

Newington Cropsey Foundation

Air Studio A.S.K. Gallery Cornell St. Studio Fire House Studio Friends of Historic Kingston & The Fred J. Johnson Museums Gallery at Keegan Ales Gallery at R&F Inspired!

Kingston Museum of Contemporary Art Little Shop of Horses Living Room One Mile Gallery Photo Synthesis Senate House Museum Store Front Gallery Storm Photo Studio 331

HAVERSTRAW (D-13)

CATSKILL (D-5)

River Stone Antiques & Design Center River Stone Arts Gallery

LARCHMONT

BETHEL Museum at Bethel Woods

BLUE MT. LAKE (B-1) Adirondack Lakes Center for the Arts Adirondack Museum

BOICEVILLE (A-7) Steve Heller’s Fabulous Furniture

BRONX (D-16) Wave Hill

BRONXVILLE (D-15) Noel Fine Art

Brik Cedar Grove, Thomas Cole Nat. Historic Site Gallery 42 Day & Holt Gallery and Framing The Galleria Catskill GCCA Catskill Gallery M Gallery Open Studio Terenchin Fine Art

Broderick Fine Art Gallery

GARNERVILLE (D-13) Garnerville Arts & Industrial Center

GARRISON (C-11) Boscobel House and Gardens Russel Wright Design Center

GHENT (G-4) The Fields Sculpture Park at Art Omi

GLENS FALLS (D-1) The Hyde Collection Tom Myott Gallery

HIGH FALLS (B-9) Kaete Brittin Shaw Westcote Bell Pottery

hillsdale Neumann Fine Art Gallery

20 • Hudson River Museum & Gallery Guide

MILLERTON (G-7) Belboir Gallery Green River Gallery Eckert Fine Art Renaissance Art & Collectibles

MONTGOMERY (A-10) James Douglas Gallery Wolfgang Gallery Wallkill School & Gallery

MT. TREMPER (A-7) Emerson Gallery Mt.Tremper Arts Robert Jacobson Studio

NARROWSBURG (A-10)

NEW PALTZ (B-9) Mark Gruber Gallery Mohonk Images Gallery Samuel Dorsky Museum of Art, SUNY New Paltz Unison Gallery

NEWBURGH (C-11) 188 Liberty “Community Living Room” Ann Street Gallery Arts Alliance of the Lower Hudson Valley Bedinotti Photo Crawford House Museum Downing Film Center Karpeles Manuscript Library Museum Living Skin Gallery Newburgh Artisans Gallery Newburgh Free Library Gallery Peter Billman Gallery

new windsor (B-11) Storm King Art Center

NORTH SALEM Hammond Museum & Japanese Stroll Garden

NYACK (C-13) Hopper House Art Center

OLD CHATHAM (F-3) Domas and Gray Gallery

ONEONTA (A-3)

Kenise Barnes Fine Art PG Artventure

Yager Museum of Fine Art

MANHATTAN (C-16)

Elizabeth V. Sullivan Gallery Art Students League

D. Wigmore Fine Art, Inc. DC Moore Gallery Godel & Co. Fine Art New York Historical Society National Academy Museum Questroyal Fine Art Ricco Maresca Gallery Walter Wickiser Gallery

orangeburg

PEEKSKILL (D-12) Casola Gallery Flat Iron Gallery Hudson Valley Center for Contemporary Art William Maxwell Fine Arts

Hudson River Museum & Gallery Guide • 21

PHOENICIA (B-6) The Arts Upstairs Cabane Studio

PIERMONT Piermont Flywheel Gallery

POUGHKEEPSIE (D-9) Arlington Art Gallery Artist’s Palate Restaurant & Gallery Barrett Art Center Barrett Clay Works Cabaret Voltaire Art Center, Children’s Media Project Cunneen-Hackett Arts Center Frances Lehman Loeb Art Center Franc Palaia Photography G.A.S. Gallery & Performance Space Locust Grove, Samuel Morse Historic Site James Palmer Gallery, Vassar Marist College Art Gallery Mid Hudson Heritage Center Mid-Hudson Children’s Museum Mildred I. Washington Art Gallery D.C.C. Mill Street Loft

SALSBURY MILLS (A-11) Bethlehem Gallery

SARATOGA SPRINGS (D-1) Gallery 100 National Museum of Dance Saratoga Auto Museum Saratoga Fine Art Tang Teaching Museum and Art Gallery at Skidmore College

SCARSDALE (E-15) Madelyn Jordon Fine Art Weber Fine Art

SAUGERTIES (D-6) Doghouse Gallery The Gallery at Opus 40 Sculpture Park Imogene Holloway Gallery Intima Gallery Justin Love Studio/Gallery Saugerties Performing Arts Factory Trillium Gallery Woodstock Museum

SCHENECTADY (C-2)

Duck Pond Gallery

Mandeville Gallery at the Nott Memorial

PURCHASE (E-14)

SCHUYLERVILLE

PORT EWEN

Donald M. Kendal Sculpture Gardens at PepsiCo Neuberger Museum of Art

Riverfront Studios Little Down Under Gallery

RED HOOK (E-7)

The Drawing Room Muroff Kotler, SUNY Ulster Pearl Arts Gallery Wired Gallery

Betsy Jacaruso Studio & Gallery Pig Farm Framing

RHINEBECK (D-8)

STONE RIDGE (B-8)

Albert Shahinian fine Art Gallery Lodoe Mona Lisa Gallery Sawkille Co.

SUGAR LOAF (A-12)

ROSENDALE

TIVOLI (D-6)

Lovebird Studio Roos Gallery

ROXBURY (A-5) Martin Lerner gallery Roxbury Arts group Orphic Gallery 8 Track Museum

Exposures gallery

TARRYTOWN (D-13) Kykuit

Mixed Media

WEST NYACK (C-13) Rockland Center for the Arts

WEST POINT West Point museum US Military Academy

WHITE PLAINS (E-14) Ellenbogen Gallery Gallery at Wheelbarrow New Media Center Washington Irving’s Sunnyside

WINDHAM (B-4) GCCA Gallery Windham fine Arts

Tivoli Artist’s Co-op

WOODSTOCK (C-7)

TROY

Ai Earthling Gallery The Art Studio at Woodstock Byrdcliffe Art Colony Center for Photography at Woodstock

Casper Land Digital Artist Space Kisnet Gallery Martinez Gallery

22 • Hudson River Museum & Gallery Guide

Kristen Flynn Fletcher Gallery James Cox Gallery Kleinert/James Arts Center Anthony Krauss Studio Lotus Fine Art Maverick Arts Center Basha Ruth Nelson Studio Photosensualis Robin-Elliott Gallery Varga Gallery West Woodstock Project Space Woodstock Artists Association & Museum Woodstock Framing Gallery Woodstock Graphics Studio Woodstock School of Art Elena Zang Gallery

WURTSBORO Red Eft Gallery

YONKERS (D-15) Hudson River Museum

The Olana Partnership and Olana State Historic Site Present

All the Raj Frederic Church and Lockwood de Forest PAINTING, DECORATING AND COLLECTING AT OLANA

Evelyn and Maurice Sharp Gallery Tuesday-Sunday, May 11-November 2, 2014

Featuring oil sketches and paintings by Church and de Forest of the view from Olana and a rare 19th century collection of decorative arts from India that de Forest designed and provided for the interiors of the house at Olana.

Guest curated by Roberta A. Mayer

Preserving Creative Spaces Photographs from The Historic Artists’ Homes and Studios Program

Coachman’s House Gallery Open Daily June 28-November 2, 2014

Frederic Church’s

OLANA

STATE HISTORIC SITE A National Historic Landmark

Made possible with generous support from:

www.olana.org | 518.828.1872

Olana is located at 5720 Route 9G in Hudson, NY. Explore the artist-designed landscape with five miles of carriage roads open daily from 8am until sunset. Guided house tours include the exhibition and are available Tuesday-Sunday 10am-4pm, May-October. Special gallery only tours Saturdays, May 17-November 1.

Hudson River Museum & Gallery Guide • 23 Top: Detail of the East Parlor in the main house at Olana, with carved teak mantel and hand painted Kashmiri chair provided by de Forest and a carved Indian table collected by Church. Photo by Carri Manchester Bottom Left: Attributed to Felix Bonfils, Frederic Edwin Church and His Son, Frederic Joseph in Beirut, 1868, carte-de-visite, photograph, 4 7/8 x 3 3/8 in., OL.1984.446, Collection Olana State Historic Site, NYSOPRHP

HUDSON RIVER VALLEY

Albany Dorskey Museum

Albany Institute Of History & Art 125 Washington Ave Albany NY 12222 518-463-4478 | www.albanyinstitute.org New York State Museum Cultural Education Center, Albany, NY 12230 518-474-5877 | www.nysm.nysed.gov

“Along His Own Lines”: A Retrospective of New York Realist Eugene Speicher” October 18 - March 22

Albany Airport Gallery Albany International Airport, 737 Albany-Shaker Road, Albany, NY 12211 518.242.2241 | arts@albanyairport.com.

7:00 a.m. - 11:00 p.m. daily.

Annandale-on-Hudson CCS Bard Hessel Museum Bard College, Annandale-on-Hudson NY 12504 845-758-7598 | www.bard.edu/ccs Wed–Sun 1–5, free admission.

Arkville Peony Still Life

Oil on Canvas

Eugene Speicher

The Catskill Center’s Erpf Gallery 43355 State Highway 28, Arkville, NY 12406 845-586-2611

5798 State Highway 80 Open Daily, New 10am-5pm Cooperstown, York

Dorothea Lange’s America

Lange’s empathetic images of migrant workers, suffering families, and tortured landscapes have seared the imagery of the Depression into America’s consciousness.

Sept. 18 -Dec. 31 Dorothea Lange. Migrant Mother, Nipomo, California, 1936 All works are from the collection of Michael Mattis and Judith Hochberg.

This exhibition was organized by art2art Circulating Exhibitions.

FenimoreArtMuseum.org | 24 • Hudson River Museum & Gallery Guide

5798 Route 80 Cooperstown, NY

Beacon Art Along The Hudson www.beaconarts.org www.artalongthehudson.com Dia:Beacon 3 Beekman St, Beacon NY 12508 845-440-0100 | www.diaart.org

Carl Andre: Sculpture as Place, 1958–2010 May 5, 2014 - March 2, 2015

Our 5th Decade in Business Now in Hudson with almost 3,000 square feet on Two Floors

Riverwinds Gallery 172 Main St, Beacon NY 12508 845-838-2880 | www.riverwindsgallery.com Wed–Mon 12–6, Beacon 2nd Sat 12–9

Bethel The Museum At Bethel Woods 200 Hurd Rd, Bethel NY 12720 1-866-781-2922 | www.bethelwoodscenter.org

The Museum at Bethel Woods, located at the site of the 1969 Woodstock festival at Bethel Woods Center for the Arts, explores the unique experience of the Woodstock festival, its significance as a culminating event of a decade of radical cultural transformation, and the legacies of the sixties and Woodstock today. Visit the website for more information on the concert, film, and speaker series. Open April through December 31.

Blue Mountain Lake

George Hitchcock

Sept 12 – Oct 13

Panorama: 250 Years of American Art*

Adirondack Museum PO Box 99, Blue Mountain Lake NY 12812 (Route 28N / 30, just north of Blue Mountain Lake) 518-352-7311 | www.adirondackmuseum.org

Canajoharie

A. Wyeth

Kuniyoshi

Sheeler

Curran

Wiggins

Shapleigh

The Arkell Museum At Canajoharie 2 Erie Blvd, Canajoharie NY 13317 1/2 mile from NYS Thruway (I-90) exit 29 518-673-2314 | www.arkellmuseum.org

Winslow Homer: The Nature and Rhythm of Life at the Arkell Museum at Canajoharie. September 2, 2015 –January 4, 2014 Winslow Homer: The Nature and Rhythm of Life features Winslow Homer watercolors and oil paintings purchased by Bartlett Arkell in the 1930s and 1940s. The Homer works on exhibit span Homer’s career from his wood engravings, to his first works in oil and watercolors up to his magnificent marine painting at Pout’s Neck, Maine “Watching the Breakers--A High Sea.” Arkell began the Canajoharie Art gallery’s Winslow Homer collection with two watercolors painted by the artist in Gloucester in 1873. The exhibition reunites Homer paintings from Arkell’s personal collection with works from the Arkell Museum’s permanent collection. For more information go to www.arkellmuseum.org.

Catskill Thomas Cole National Historic Site 218 Spring St, PO Box 426 Catskill NY 12414 518-943-7465 | www.thomascole.org

!

*More than 40 Artworks in the Exhibition

FREE EVALUATIONS / ACTIVELY BUYING 355 WARREN STREET, HUDSON 800-331-1278 / 518-828-7087 CALDWELLGALLERYHUDSON.COM Hudson River Museum & Gallery Guide • 25

Visiting Artist

Grace

Wapner recent Work

October 9 - November 7 Opening reception with slide lecture: Thursday, October 9, 2014, 7:00 pm College Lounge, VAN 203

Vanderlyn Hall, Room 265 Stone Ridge, New York 12484 845.687.5113 www.sunyulster.edu

See LiSTiNg fOR gALLeRY SCHeduLe Music Art Design Communication Theater

SUNY ULSTER

ARTS

By tour Thur–Sun 10–4, last tour at 3 or by appt.

The 2014 exhibition, Master, Mentor, Master: Thomas Cole & Frederic Church is on view April 30 - November 2, 2014.

We are pleased to announce the first exhibition to explore one of the most influential teacher-student relationships in the history of American art – that between the founder of the Hudson River School of painting, Thomas Cole (1801-1848) and his most celebrated student and successor, Frederic Church (1826-1900). Church was first introduced to the Hudson Valley as an 18–year-old when he came to live and study with Cole at the property known as Cedar Grove in Catskill, New York, from 1844 to 1846. Curated by John Wilmerding, Sarofim Professor of American Art, Emeritus, at Princeton University and former Senior Curator and Deputy Director of the National Gallery of Art in Washington, the exhibition presents Church’s early works from this formative two-year period, as well as later works that speak to a deep and lifelong connection between two painters who defined American art.

Cooperstown Fenimore Museum 5798 State Hwy 80, Cooperstown, NY (607) 547-1400 www.FenimoreArtMuseum.org Summer hours: Open daily 10am - 5pm mid-October 10am - 4pm. Visit our website for more details.

In addition to excellent collections of American fine art, folk art, and American Indian art, the Fenimore offers changing exhibitions including Winslow Homer: The Nature and

experience your playground

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C O U N T Y ,

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]

The Hudson River Maritime Museum is one of many Ulster County gems!

You’ll also find: Places to Stay - Resorts, Lodges and Campgrounds Things to Do - Shopping, Golfing, Rock Climbing, Apple Picking, Wine Tasting and more To Book Your Stay in Ulster County, visit UlsterCountyAlive.com today.

Hudson Valley/Catskill Regions 26 • Hudson River Museum & Gallery Guide

The Hyde Collection

Rhythm of Life from the Arkell Museum at Canajoharie (June 6 – August 24); The Adirondack World of Arthur Fitzwilliam Tait (April 1 – September 1); A Moment Past: L.F. Tantillo Paints New York History (April 1 – December 31); Dorothea Lange’s America (September 18 – December 31); Folk Art and American Modernism (September 18 – December 31) and others.

Located on beautiful Otsego Lake.

Garrison / Cold Spring Art Along The Hudson www.artalongthehudson.org www.garrisonartcenter.org

Glens Falls Hyde Collection 161 Warren St., Glens Falls, NY 518-792-1761 l www.hydecollection.org Tuesday- Saturday 10am- 5pm; Sunday 12noon5pm; Closed Mondays and national holidays.

General admission fee $8 The Hyde Collection is a historic house and art museum complex with a distinguished collection consisting of works

by American and European artists such as Botticelli, Rubens, Rembrandt, Picasso, Homer and Eakins, as well as important decorative arts and antique furnishings. The Museum provides changing exhibitions in two gallery spaces, lectures, concerts, family activities and school programming. From June 14 through September 14, 2014 in the Wood Gallery, Larry Kagan: Lying Shadows is on view. This exhibition will feature twenty wall-mounted steel sculptures, illustrating the development of

Audubon’s Woodpecker, 2010 40 x 26 x 11 in Steel and shadow Larry Kagan, Photo by Gary Gold

William Durkin’s 2014 Collection

“Fish Works”

www.WJDurkin.com Hudson River Museum & Gallery Guide • 27

Elizabeth Sullivan Gallery

Alpine

Oil on Cavas

60x48

1989

Peter Homitzky

a conceptual idea, by the contemporary artist. An exhibiting artist whose work has been collected and shown by museums and galleries worldwide, Kagan is also a faculty member of the art department of Rensselaer Polytechnic Institute in Troy, New York. In Hoopes Gallery, as a counterpoint to Lying Shadows, Emerging from the Shadows: Edward Hopper and His Contemporaries will feature approximately twenty-five works on paper by ten artists, primarily etchings on loan from museums, private collections, and selected from The Hyde’s permanent collection.

High Falls Kaete Brittin Shaw Rte 213 High Falls NY 12801 845-687-7828 | www.kaetebrittinshaw.com Functional, sculptural porcelain

Hillsdale Neumann Fine Art 65 Cold Water Street, Hillsdale, NY

28 • Hudson River Museum & Gallery Guide

www.neumannfineart.com Tel: 413-246-5776 Open Thursday - Sunday 11 - 4 and by appt.

Hudson Art Along the Hudson www.artalongthehudson.org www.artinhudson.org Caldwell Gallery Hudson 355 Warren St, Hudson, NY 12534 | 800-331-1278 518-828-7087 | caldwellgalleryhudson.com Open Fri-Monday (Please see website for current hrs)

Caldwell Gallery Hudson is pleased to announce our exhibition Panorama: 250 Years of American Art which opens Friday, September 12. Significant examples by American artist’s such as Andrew Wyeth, Grant Wood, Charles Sheeler, C.C. Curran, John Grillo, Isabel Bishop, Harry Bertoia, John Costigan, Paul Sample, Carl Holty, John Koch, and David Burliuk will be on display in both our lower and upper galleries. Highlights include a rare work painted c.1765 by John Mare, a William Birch miniature of George Washington, and an exceptional 1911 and never before offered for sale work by an important American impressionist painter which we will unveil during our opening reception on Saturday September 13. We will also show Isabel Bishop’s work “Interlude” from 1952, which won the prestigious Lippincott Prize at the Pennsylvania Academy in 1953. The exhibition will be on view until Columbus Day, October 14. Caldwell Gallery Hudson offers free evaluations of artworks, and is always actively buying fine American and European art. We welcome your inquiry.

Olana State Historic Site 5720 State Rt 9G, Hudson NY 12534 | 518-828-0135 | www.olana.org

Tuesday-Sunday, May 11- November 2, 2014 All the Raj: Frederic Church and lockwood de forest-painting, decorating and collecting at Olana. Featuring oil sketches and paintings by Church and De Forest of the view from Olana and a rare 19th century collection of decorative arts from India that De Forest designed and provided for the interiors of the house at Olana. Open daily, june 28-november 2, 2014. Preserving creative spaces: photographs from the historic artists’ homes and studios program Coachman’s House Gallery. This documentary installation shines light on the historic artists’ home and studios (HAHS) program of the national trust for historic preservation. This exhibition features information about the

consortium and documentary photographs and personal artists’ quotes from its nearly 40 member sites, including an image of Frederic Church and his son on a camel in Beirut (1868), the trip which inspired the persian-style house and studio the painter would later build at Olana.

Hyde Park Art Along the Hudson ww.artalongthehudson.org www.hydeparkartists.com

‘Playful’: August 21st – September 21st Opening Reception: Saturday, August 23rd, 6-8pm Work By: Fernando Orellana, Phyllis Palmer, and Stephen Walling. The gallery is proud is present ‘Playful’ an exhibit featuring the mixed media work of Fernando Orellana, Phyllis Palmer, and Stephen Walling. New media artist, Fernando Orellana exhibits his compositions made of Play-Doh and polyurethane on view. The front room features Stephen Walling’s colorful wood relief sculptures and Phyllis Palmer is exhibiting her new humorously sensual fresco-secco works on plaster. September 25th to November 2nd. Opening Reception: Saturday, September 27th, 6-8pm. FALL EXHIBIT: Linda Cross, William Clutz, Allyson Levy and Joshua Brehse. The gallery is proud to present new works by the very accomplished artists Linda Cross and William Clutz. Linda Cross will exhibit new mixed media works on paper and relief sculptures inspired by the earth’s surface. A selection of William Clutz’ urban New York City snapshots of uniquely lit pedestrians will also be on view.

Two artists that work with encaustics will also be exhibited.

Allyson Levy works with organic materials in beeswax to create intricate collages while Joshua Brehse paints colorful representational landscapes of the Hudson Valley area.

Carrie Haddad Gallery

Carrie Haddad Gallery 622 Warren St, Hudson NY 12534 | 518-828-1915 carriehaddadgallery.com | Thurs–Tue 11–5

After the Bath, 2012-13, Fresco Secco on Plaster, 21”x 25” Phyllis Palmer

Artists Collective Hyde Park Albany Post Road, Hyde Park, NY 12538 www. hydeparkartists.com. FB: www.facebook.com/ HydeParkArtists 845-229-9029

Our gallery, home to 25+ local artists in many media, lives in a light, beautiful old farm house in the historic town of Hyde

Hudson River Museum & Gallery Guide • 29

Park. We open a show of new member art every 6 weeks, from painting to sculpture, ceramics, stained glass, mosaics, textile wall art and more. Gallery Hours: Thursday - Sunday, 11am -7pm (in winter, 12-6 pm). Artists’ Collective of Hyde Park, 4338. Upcoming Events:“Places” Exhibition Opening reception Friday, August 1:. 6-9 pm. Runs through September 7.

“Changes” Exhibition Opening reception Friday, September 12, 5-8 pm. Runs through October 19. Open Mic on second Thursdays, 6:30-9:30 pm. For our latest updates and events, please see www.facebook.com/HydeParkArtists.

Kingston Art Along the Hudson www.artalongthehudson.org www.KingstonHappenings.org Arts Society of Kingston www.askforarts.org The Storefront Gallery 93 Broadway, Kingston, NY. Gallery hours are Friday, Saturday 1-6pm and 24/. By appt.

TheStorefrontGallery.com | 845-338-8473

Margaretville Longyear Gallery Upstairs in the Commons 785 Main St., Margaretville, NY 12474 | 845-586 3270 longyeargallery.org

Mount tremper Emerson Resort & Spa 5340 Rt. 28, Mount Tremper, NY | (877)688-2828 www.emersonresort.com

Newburgh Art Along the Hudson www.artalongthehudson.org | 845-561-5522 www.NewburghArtsCalendar.com

New Paltz Art Along the Hudson www.artalongthehudson.org

www.newpaltzarts.com www.greaternewpaltzarts.com

The Greater New Paltz community provides visitors with a wide variety of cultural options that include historic sites, eclectic art spaces, music venues, restaurants, shopping, local produce & wineries, as well as hiking, biking, climbing, and cross-country skiing.

Samuel Dorsky Museum of Art State University of New York at New Paltz 1 Hawk Dr, New Paltz, NY 12561 845-257-3844 | www.newpaltz.edu/museum Wed–Sun 11–5, closed school holidays Mark Gruber Gallery New Paltz Plaza, New Paltz, NY 12561 845-255-1241 | www.markgrubergallery.com Mon 11–5:30, Tue–Fri 10–5:30, Sat 10–5, Sun 12–4

New Windsor Storm King Art Center 1 Museum Road, New Windsor, NY 12553 Phone: 845-534-3115 | Fax: 845-534-4457 info@stormkingartcenter.org | www.stormking.org

Storm King is one of the world’s leading sculpture parks, encompassing over 500 acres of rolling hills, verdant fields, and woodlands. These provide space for a collection of more than 100 large-scale sculptures by some of the most acclaimed artists of our time, including Alexander Calder, Mark di Suvero, Andy Goldsworthy, Maya Lin, Claus Oldenburg, Louise Nevelson, Isamu Noguchi, Richard Serra, David Smith, and Zhang Huan, among others. For 2014, Storm King presents Zhang Huan: Evoking Tradition, the first major outdoor exhibition in U.S. devoted to influential the Chinese artist, May 3 – November 9. Concurrently on view, Outlooks: Virginia Overton, a new site-specific installation. Storm King offers a range of public programs free with admission.

Orangeburg The Elizabeth Sullivan Gallery

The Art Students League of New York Set in the historic home of modernist painter Vaclav Vytlacil, the Elizabeth V. Sullivan Gallery focuses on solo exhibitions by the Art Students League of New York’s exceptional faculty and its circle. September 13 – November 16, 2014, the Elizabeth V. Sullivan Gallery is pleased to present artwork by League faculty

Performances Workshops Exhibits Arts Education Grants Arts Advocacy Community

www.roxbur yar tsgroup.org 30 • Hudson River Museum & Gallery Guide

607.326.7908 This ad is Sponsored by Carey Wagner Esq.

member PETER HOMITZKY, featuring landscapes, still lifes and new paintings. Join us for the OPENING RECEPTION on Saturday, September 13, 6-8pm. Also located on the former Vytlacil estate is The League Residency at Vyt, the Art Students League of New York’s international artist-in-residence program. Every month on the Saturday before the 28th (2-40pm), The League Residency at Vyt hosts OPEN STUDIOS, showcasing the work of artists from around the world. We invite you to tour our gardens and artist studios while enjoying a glass of wine. FREE and open to the public. For more information, call 845-3591263 or see www.TheArtStudentsLeague.org/Residency.aspx.

Driving directions: 241 Kings Highway, Orangeburg, NY

West Point Museum

Preserving America’s Military Heritage

West Point Museum

UNITED STATES MILITARY ACADEMY

Preserving America’s Military Heritage

UNITED STATES MILITARY ACADEMY

Peekskill Art Along the Hudson www.artalongthehudson.com www.peekskillartsalliance.org

Phoenicia The Arts Upstairs 60 Main St, Phoenicia NY 12464 | 845-688-2142 www.phoeniciarts.com

Poughkeepsie Art Along the Hudson www.SPARCPoughkeepsie.com www.hydeparkartists.com The Frances Lehman Loeb Art Center at Vassar College 124 Raymond Ave, Poughkeepsie NY 12604 845-437-5632 | http://fllac.vassar.edu/ Locust Grove The Samuel Morse Historic Site 2683 South Rd. (Rt. 9 S.), Poughkeepsie, NY 845-454-4500 | www.lgny.org Mildred I. Washington Art Gallery Dutchess Community College, Washington Center 53 Pendell Rd, Poughkeepsie NY 12601 | 845-431-8610 www.sunydutchess.edu Mon–Thurs 10–9, Fri 10–5

Open Daily Open Daily 845.938.3590

845.938.3590

10:30 am - 4:15 pm

10:30 am - 4:15 pm

(Closed Thanksgiving, Christmas and (Closed Christmas and New Year’s Thanksgiving, Day)

New Year’s Day)

Located on Route 218 adjacent toLocated the Thayer entrance onGate Route 218 adjacent totoWest the Point Thayer Gate entrance

to West Point Free Admission

Free Admission

Purchase Neuberger Museum of Art State University of New York Purchase College 735 Anderson Hill Rd, Purchase NY 10577 914-251-6100 | www.neuberger.org

Rhinebeck Albert Shahinian Fine Art Upstairs Galleries 22 East Market Street, Suite 301, Rhinebeck, NY (845) 876-7578 or (845) 758-0335 www.ShahinianFineArt.com

Through November 9

STORM KING ART CENTER Mountainville NY 10953

www.stormking.org Hudson River Museum & Gallery Guide • 31

didiercremieux.com | 607-326-6045

The Orphic Gallery – where Art and Music collide - exclusively features music-related art including photography, musical instruments, portraits of musicians, specimens of musical technology, etc. The gallery presents exhibits on local music and musical traditions from afar. Currently on exhibit through October 5th is ROCK SEEN featuring the iconic images of Bob Gruen containing photographs from all stages of his extraordinary career from Bob Dylan’s groundbreaking electric performance at the Newport Folk Festival to Green Day in NYC 2002. In the exhibit are concert photos ranging from Elton John at Carnegie Hall to Sid Vicious at The Longhorn Ballroom, and candid shots of John & Yoko, Mick Jagger, David Bowie, Tina Turner, Keith Richards and Alice Cooper with Salvador Dali.

Opening on October 11th is The Postal Mix Tapes – an original music stamp series by Didier Cremieux including opera divas, hip hop legends, rockabilly stars, rembetika masters, famous conductors, Texas swing giants, and Woodstock /Catskill luminaries guaranteed to delight music-lovers of all genres.

The Roxbury Arts Group (RAG) Roxbury, NY 12498 | 607.326.7908 www.roxburyartsgroup.org For more information call or or visit our website

Saratoga Springs The National Museum of Dance 99 South Broadway, Saratoga Springs, NY 12866 Phone 518.584.2225 | Fax 518.584.4515 www.dancemuseum.org This ad is sponsored by Franklyn J. Engel, Esq.

Art Along the Hudson www.artalongthehudson.org www.rhinebeckchamber.com | 845-876-5904 Betsy Jacaruso Studio & Gallery 43-2 E. Market St., Rhinebeck, NY 12572 845-516-4435 | www.betsyjacarusostudio.com

Roxbury Orphic Gallery Eight Track Museum 53525 State Highway 30, Roxbury, NY 12474 www.orphicgallery.com | bobgruen.com

The National Museum of Dance was established in 1986 and is the only museum dedicated entirely to dance in the United States. The collection is housed in the historic building, formerly The Washington Bathhouse, in The Saratoga Spa State Park.

Exhibits include original costumes, props, videos and more from notable dancers and dance companies, featuring a variety of styles of dance. The museum also houses a children’s wing where little ones can play and dance to their heart’s content.

This one of a kind institution celebrates the art of dance and recognizes those individuals who have been instrumental in developing the art form throughout their lifetime. The Mr. and Mrs. Cornelius Vanderbilt Whitney Hall of Fame which opened in 1987 now includes 50 inductees and will induct Gene Kelly and Jacques D’Amboise in 2014. The Lewis A. Swyer Studios, located at the museum property is home The School of the Arts.

The school often welcomes lectures, master classes and other

ANGELOCH

SELDOM SEEN

HANDCOLORED LINOLEUM PRINTMAKING with Carol Zaloom COLLAGE with Pia Öste-Alexander CONTEMPORARY AMERICAN IMPRESSIONISM IN PASTEL with Robert Carsten

July 19-September 6, 2014 Reception, Saturday, July 19 3-5 PM

32 • Hudson River Museum & Gallery Guide

845 679 2388

2470 Rte. 212

Work from the collection of the Woodstock Historical Society

Marion Bullard

UNDER GLASS

September 13-November 1, 2014 Reception, Saturday, September 13 3-5 PM

events, along with regularly scheduled classes. The Museum is open Tuesday-Saturday 10am-4pm and Sunday 12pm-4pm, through November 2nd. Admission is $6.50 for adults, $5.00 for students and seniors, $3.00 for Children 12 and under, and Children under 3 are free. For more information visit www. dancemuseum.org or call (518) 584-2225.

Saugerties Art Along The Hudson www.artalongthehudson.com www.DiscoverSaugerties.com.

Opus 40 50 Fite Road, Saugerties NY 12477 www.opus40.org | 845-246-3400

Stone Ridge Muroff Kotler Visual Arts Gallery Ulster County Community College Route 209, Stone Ridge NY 12484 845-687-5113 | SUNYulster.edu Mon-Fri 11– 3, closed school holidays

Force of Nature. Recent paintings by Serena Depero and Lily Prince. September 5 – 26. Opening reception September 5, 5-7pm. Visiting Artist Grace Wapner. Recent Work. October 9 – November 14. Slide Lecture and opening reception:. October 9, 7pm in the College Lounge, VAN 203.

Faculty Works 2015. November 21 – December 12. Opening reception November 21, 5-7pm

West Point West Point Museum United States Military Academy 2110 South Post Rd, West Point NY 10996 845-938-3590 | www.usma.edu/Museum Open daily, 10:30-4:15, admission free.

The oldest federal army museum in the nation and exhibits the largest diversified public collection of militaria in the Western Hemisphere. As a department of the United States Military Academy, the museum supports cadet academic, military and cultural instruction—representing more than two centuries of preserving America’s Military Heritage.

HR Museum & Gallery.indd 1

Woodstock Michael Densen Picture Framer (845)679-7467 Open 1-6PM Mon–Fri Sat 10–4PM Closed Wed & Sun Bill Durkin Studio www.fishoutofwaters.com. Please send all inquiries to wjdurkinjr@gmail.com

My art is simply about the few moments we have to enjoy the transitory beauty and colors of the many species in our waters..

While playing with my daughter in the studio we opened mama’s sewing kit and made some fish out of pins, needles, safety pins, clips and buttons. I was inspired and started experimenting

Hudson River Museum & Gallery 33 7/2/14Guide 2:46 • PM

with the buttons, learning about buttons and acquiring buttons.

Buttons are an intimate part of our daily lives and when we lose them it’s a hassle. They are not only functional and stylish but the variety is beautiful as it is endless. I dye, re-dye, cut, trim, back cut them, and use them as my paints to create my Fish Art and stay connected.

Center for Photography at Woodstock 59 Tinker St, Woodstock NY 12498 845-679-9957 | www.cpw.org Wed–Sun 12–5 & by appt Esopus Art Lake Hill NY | 845-679-8440 for by appointment judyabbott@email.com | www.judyabbottart.com Woodstock Byrdcliffe Guild 845-679-2079 | www.woodstockguild.org Visit website for more info.

Woodstock Artists Association & Museum 28 Tinker St, Woodstock NY 12498 845-679-2940 | www.woodstockart.org Fri & Sat noon–6, Sun, Mon & Thurs noon-5

Georges Malkine: Perfect Surrealist Behavior, October 11, 2014- January 4, 2015 (the WAAM will be closed October 14 – 20) 2014 Opening Receptions 4-6 pm on Saturdays: September 6, October 11, and November 22. Since its beginnings in 1919, the Woodstock Artists Association & Museum has been committed to exhibiting and collecting work in all media by

Info from Wave Hill

ROCK SEEN

Music Photog graphy of Bob Grruen bo obgruen.com

August October 5, 5, 20 014 August 29 29 –9 -October 2014

34 • Hudson River Museum & Gallery Guide

The Roxbury Corner Store Main & Bridge Streets, Ro oxbury (6 607) 326-6025 5 orphicgalle ery.com

artists, raising questions about the capture, collection and display of nature. In the Sunroom Project Space: September 6 October 12, Tammy Nguyen and Alexandra Phillips; October 18 December 7, Hilary Lorenz. 675 West 252 St, Bronx, NY 10471 718-549-3200.www.wavehill.org | visualarts@wavehill.org.

Manhattan

The Covered Apple Tree 1987-1998 and

Shadows on the Grass 1996-1998 Introduction by Lydia Wickiser Tortora Essays by Gerrit Henry, Lilly Wei, and Judd Tuly

Available on Amazon.com & www.RalphWickiser.com

Wa lt e r W i c k i s e r G a l l e r y, I n c .

210 Eleventh Avenue, Suite 303 | New York, NY 10001 T: 212-941-1817 | F: 212- 625-0601 RLWwwg@aol.com | www.RalphWickiser.com

area artists and supporting the tradition of Woodstock as the “Colony of the Arts.” Located in the center of the village of Woodstock, New York, the WAAM functions as a cultural center as well as a repository for the work of American artists associated with the Woodstock Art Colony. The Main Gallery hosts monthly group exhibitions, the middle gallery features solo shows of contemporary artists and the Phoebe and Belmont Towbin Wing is devoted to art from the Permanent Collection. Works created by students and children through the Education Program are featured in Youth Exhibition Space.

Woodstock School of Art 2470 Rt. 212, Woodstock NY 12498 845-679-2388 | www.woodstockschoolofart.org

Main Gallery, September 4th – October 1st, 2014, “Vital Distillations” Susan Manspeizer. Gallery II, September 4th - October 1st, 2014 “Swallowtail Variations” Arthur Turner. Gallery III, September 4th - October 1st, 2014 “Color Dreams”Igor Ilchuk. Main Gallery, Gallery II, October 4th - October 29th, 2014 “Recent Paintings”. Mally Khorasantchi. Gallery III, October 4th - October 29th, 2014 Meesook Lee. Main Gallery, Gallery II, November 1st - November 25th, 2014 “Re[de]fined Meighen Jackson. Gallery III, November 1st - November 25th, 2014 Lauren Worth. December 2014, Man Hee Kim.

BERKSHIRES & MASSACHUSETTS Andover Addison Gallery of American Art Phillips Academy |180 Main Street, Andover Massachusetts 01810 978 749 4000 | www.andover.edu Wave Hill public garden & cultural center

The WSA holds classes throughout the year, in air-conditioned or radiant heated studios, newly renovated but retaining the charm of the original stone and timber buildings. An average of more than four hundred students from the US and countries abroad currently enroll in any given year. The schedule includes daily classes in drawing, painting, composition, sculpture and printmaking, with workshops in specialized techniques under the guidance of experts in their respective fields.

D. Wigmore Fine Art, Inc. 730 Fifth Ave, Suite 602, New York NY 10019 212-581-1657 | www.dwigmore.com Questroyal Fine Art 903 Park Ave, Suites 3A/B, New York NY 10075 212-744-3586 | www.questroyalfineart.com gallery@questroyalfineart.com Mon-Fri 10-6, Sat 10-5, and by appt Ricco Maresca Gallery 529 West 20th Street, 3rd Floor NYC 10011 212.627.4819 | f 212.627.7191 | Tues- Sat 11-6 www.riccomaresca.com | info@riccomaresca.com Walter Wickiser Gallery 210 Eleventh Avenue, Suite 303, New York, NY 10001 212-941-1817 | www.walterwickisergallery.com

Bronx Wave Hill 675 West 252 St, Bronx, NY 10471 718-549-3200 | www.wavehill.org visualarts@wavehill.org

Recapturing the Scenic Wilds, through December 7, investigates natural history as a framing device by contemporary Hudson River Museum & Gallery Guide • 35

“Praying

in Indian Country

speaks for our time and our world. Cynthia Poten offers us a shadowbox of images that slowly reveal the sad future of a pirated planet, and a despoiling of paradise that will take seven generations to heal at best.”

Evan Pritchard, Author of Bird Medicine, Native New Yorkers, No Word for Time and Greetings from Menenawasic Available at Amazon.com barnesandnoble.com

Northhampton Smith College Museum of Art Elm Street Bedford Ter, Northampton MA 01063 413-585-2760 | www.smith.edu/artmuseum Massachusetts Museum of Contemporary Art 1040 MASS MoCA Way, North Adams MA 01247 413-MoCA111 | www.massmoca.org

Williamstown Sterling & Francine Clark Art Institute 225 South St, Williamstown MA 01267 413-458-2303 | www.clarkart.edu Check website or call for hours

36 • Hudson River Museum & Gallery Guide

Pittsfield Berkshire Museum 39 South St. (Route 7), Pittsfield, MA 01201 413-443-7171 | berkshiremuseum.org

CONNECTICUT Bridgeport Housatonic Museum of Art 900 Lafayette Blvd., Bridgeport, CT 06604 203-332-5052 | www.housatonicmuseum.org

Hartford The Wadsworth Atheneum Museum of Art 600 Main St, Hartford CT 06103 | 860-278-2670 www.wadsworthatheneum.org

Kent The Gallery at Kent Art Association 21 South Main St, Kent, CT 06757 860-927-3989 | www.kentart.org

Mashantucket Mashantucket Pequot Museum & Research Center 110 Pequot Trail, PO Box 3180 Mashantucket CT 06338-3180 800-411-9671 www.pequotmuseum.com

vermont rochester Inner Traditions One Park St., Rochester, Vermont 05767 800-246-6848 | www.InnerTraditions.com

Visit the new exhibition

Master, Mentor, Master: Thomas Cole & Frederic Church at the Thomas Cole National Historic Site April 30 – November 2, 2014

Frederic E. Church, Scene on Catskill Creek (detail), 1847, oil on canvas, 21 ½” x 29 ¾”. Washington County Museum of Fine Arts, Hagerstown, Maryland

Open Wednesday through Sunday, 10 am to 4 pm.

Admission is $10 for adults or $9 for students and seniors.

Kids 12 and under are free!

Come to the Lecture and Open House, Sunday May 18 — FREE Admission 2 pm Curator’s Lecture by John Wilmerding, PhD, at the Arts Center Theater of Columbia-Greene Community College For map and directions visit www.thomascole.org The exhibition is sponsored by the Wyeth Foundation for American Art, Eli Wilner & Co., the Bay and Paul Foundations, the Bank of Greene County, the Greene County Legislature through the County Initiative Program administered by the Greene County Council on the Arts, and the Hudson River Valley National Heritage Area.

218 Spring Street, Catskill, New York 518.943.7465 • www.thomascole.org

Hudson River Museum & Gallery Guide • 37

BERKSHIRES GALLERIES & MUSUEMS ANDOVER Phillips Academy

AMHERST Amherst College Museum of Natural History Amherst Herter Art Gallery Emily Dickinson Museum Eric Carle Gallery of Picture Book Art Hampshire College Art Gallery Mead Art Museum at Amherst College National Yiddish Book Center Univ Gallery of UMass Amherst

BECKET Becket Arts Center of the Hilltowns

DALTON Blue Horse Art

DEERFIELD Historic Deerfield GREAT BARRINGSTON Geoffrey Young Gallery Godwin & Lundquist Hayloft Art Center Housatonic Valley Art League Iris Gallery Kasten Fine Art Gallery Mill River Studio Gallery Eight

Pink Cloud Gallery Sanford Smith Fine Art Vault Gallery

NORTH ADAMS

SPRINGFIELD Springfield Museums

Atelier Stritch Art Gallery HOUSATONIC Great Barrington Pottery Lauren Clark Fine Arts Housatonic Artists Community Housatonic Museum of Art

Brill Gallery Eclipse Mill Gallery Gallery 51 Ice Cream Art House Kolok Gallery Massachusetts Museum of Contemporary Art North Adams Open Space Studio Works

MILLERTON

NORTHAMPTON

Green River Gallery MONTEREY Joyous Spring Pottery

Don Muller Gallery Northampton Center for the Arts Oxbow Gallery R. Michelson Galleries Smith College Museum of Art William Baczek Fine Art William P. Carl Fine Prints

HINSDALE

LENOX B.J. Faulkner Gallery Charles L. Flint Art & Antiques Church Street Art Gallery Devries Fine Art Ferrin Gallery Gallery Boreas Hanback Gallery Hoadley Gallery Lenox Gallery of Fine Art Pine Hill Gallery at Kimball Farms Rothschild Gallery Towne Gallery Wit Gallery DeVries Fine Art

PITTSFIELD Berkshire Museum Hancock Shaker Village Le Petit Musée Lichtenstein Center for the Arts Storefront Artist Project Loring Gallery

SOUTH HADLEY Mount Holyoke College Art Museum

STOCKBRIDGE An American Craftsman Gallery Chesterwood Museum Schantz Galleries IS 183 Art School Norman Rockwell Museum Origins Gallery Stage & Story Gallery

TYRINGHAM Tyringham’s Gingerbread House

WEST STOCKBRIDGE Contemporary Sculptors Guild Hoffman Pottery Gallery Hotchkiss Mobiles Inner Vision Studio New England Stained Glass Studios Train Station Gallery

WILLIAMSTOWN Beaverpond Gallery Gallery 37 Harrison Gallery Sterling and Francine Clark Art Institute Williams College Museum of Art

GALLERIES & MUSUEMS, CONNECTICUT ASHFORD Fenton River Gallery

BANTAM

Greenwich Arts Center Gallery Lois Richards Galleries Quester Gallery

Bantam Fine Arts

GUILFORD

BETHLEHEM

Artful Eye Gallery

The Five Fifty Gallery

HAMDEN

BRIDGEPORT

Don Barese Fine Art

Housatonic Museum of Art at Housatonic Comm. College

CHESHIRE Barker Animation Art Gallery

CHESTER Leif Nilsson Spring St Studio & Gallery The Caron Gallery

CORNWALL BRIDGE Spotted Dog Gallery IO Gallery

GOSHEN Purpledoor Gallery

GRANBY Stagecoach Gallery

GREENWICH Bruce Museum Cavalier Galleries, Inc. Flinn Gallery

HARTFORD Artworks Gallery Paesaggio Gallery Real Art Ways Wadsworth Atheneum Museum of Art

HIGGANUM Blue Circle Studio

KENT Alison Palmer Studio & Gallery Art Within Gallery Foreign Cargo & The Gallery Upstairs Good Sports Art Gallery Gregory James Gallery Kent Art Association Morrison Gallery Northern Exposure Photography Ober Gallery Paris - New York - Kent Gallery

38 • Hudson River Museum & Gallery Guide

LAKEVILLE

NEW HAVEN

Argazzi Art Morgan Lehman Gallery Tremaine Gallery at the Hotchkiss School White Gallery

Arts and Literature Laboratory Artspace City Gallery City Spirit Artists Creative Arts Workshop Down Under Pottery Elm City Artists Gallery Endleman Gallery Erector Square Gallery Exposure Gallery Gallery 195 Haskins Laboratories Gallery John Slade Ely House Kehler Liddell Gallery Knights of Columbus Museum Seton Art Gallery University of New Haven Small Space Gallery The Frame Shop and Westville Gallery Corvus Art Center Thomas Colville Fine Art Wave Gallery White Space Wunderlee Arts Yale Center for British Art Yale University Art Gallery

LITCHFIELD Bantam Fine Arts Marie Louise Trichet Art Gallery New Arts Gallery P.S. Gallery Risley Gallery Thomas McKnight Gallery

MIDDLETOWN Wesleyan Potters

MILFORD Gilded Lily Gallery

NEW BRITAIN New Britain Museum

NEW CANAAN Butler Fine Art

NEW FAIRFIELD Sculpture Barn

NEW HARTFORD Act II Gallery Gallery Forty Four New Hartford Art League

Hudson River Museum & Gallery Guide • 39

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Winslow HOMER The Nature & Rhythm of Life September 2, 2014 – January 4, 2015

THE ARKELL MUSEUM AT CANAJOHARIE

www.arkellmuseum.org 2 Erie Blvd., Canajoharie, NY 518.673.2314

MUSEUM HOURS Tuesday – Friday 10:00 am – 5:00 pm Saturday – Sunday 1:00 – 5:00 pm Closed Mondays

June 14 – September 14, 2014 An illuminating look at a key figure in contemporary art

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Larry Kagan, American (b. 1946), Running Man, 2012, steel and shadow, 34 x 18 x 11 in., Private Collection, New York. Photo by Gary Gold, Gold Studios, Albany