One Moment to the Next The Art of Jim Schantz
Each moment of the year has its own
beauty . . .
a picture which was never before and shall never be
seen again
~ Ralph Waldo Emerson
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Art and the Spirit Jim Schantz’s Journey
For some two decades we have worked together with Jim Schantz and his art. We have been privileged to see him realize all aspects of his humanity in his art, his Gallery life and within his family. With a profound faith in humankind and the divine, he follows his path with integrity, intelligence and decency. “He has lived each day in the detail of loving kindness and caring” (Brother Thomas), and he has infused his art with this profound commitment to the search for that which uplifts the human condition. Jeanne Koles has well described Jim’s personal and artistic journey. We can confirm these remarkable achievements as colleagues and friends. Our trip to Israel was an artistic trip into the realm of the spirit. It was a great joy to be part of this transformative experience. Yet the transformation was only possibly because the essence of Jim is best described as goodness, kindness and elemental sweetness. His art reflects these remarkable traits; it is a true gift to all who behold his art and enjoy a personal friendship with him. Our decades of working with Jim have indeed been a gift of the spirit. ~ Bernie Pucker, 2012
The Wishing Well, 1983, Pastel on paper
One Moment to the Next
20 x 30”
Jeanne Koles
It is tempting to draw facile conclusions about the art of Jim Schantz. Straightforward in its beauty and uncomplicated by didactic narrative, it has remained stylistically consistent for thirty years. Behind the easiness of Jim Schantz lies a nuanced and enlightened artist, knowledgeable about art and art historical traditions, open to self-reflection, and constantly seeking a deeper appreciation of himself and his subject. It is these characteristics that make his work so captivating and nourishing. Schantz possesses an unusual gift for egoless self-awareness and self-expression, often speaking poetically about his passion for his work, his connection to nature, and the life experiences that drive his art. Each work by Schantz — whether expansive or introverted, joyful or melancholy — resonates with his vision of nature as a place to reflect, find solace, and explore the spiritual.
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Upon moving to western Massachusetts in 1982, Schantz discovered that the Berkshire Landscape had a profound positive effect on his work. The land became his mentor, driving his aesthetic away from the abstract approach of his earlier still-lifes, (Wishing Well, 1981 ), and towards an expressive realism that celebrates the intangible gifts of nature. In the intervening thirty years, this landscape — simultaneously powerful yet fragile, timeless yet ever-changing — has bestowed endless inspiration and been an anchor and source of strength. Schantz’s earliest Berkshire works are not really landscapes at all, but stylized oil paintings of people living in a bucolic environment, (Berkshire Contemplation, 1983), enjoying its leisurely pace and natural beauty. In the course of a few years, the people and homes disappear and the landscape comes into focus. Schantz defines his earliest landscape paintings, work such as Blue Hill, Pink Clouds (1989), as “primitive” sketches — childlike in their innocence though not naïve in their execution. Color-blocked and dramatically lit, they reflect his affiliation with Wayne Thiebaud while at University of California, Davis and the more Symbolist approach as they conjure imagined landscapes significantly less representational than what he would later draw. This tactic of culling the landscape down to its essence and allowing it to be a contemplative refuge would later resurface in a more sophisticated way as Schantz continued to explore ways of representing the landscape. Originally, he relied on sketches to gather impressions of a place, which is also why the early works are more about aura than physical exactness. Eventually the convenience of photography supplanted plein air sketching. Once Schantz allowed himself to use the camera, he was rarely without it, always taking snapshots of inspiring vignettes. He quickly realized that photographs preserved the light in a way that his sketches never could, making the light in his work even more nuanced.
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Berkshire Contemplation, (detail) 1983 Oil on panel, 50 x 33”
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Blue Hill, Pink Clouds, 1989
26½ x 34½"
Everybody needs beauty as well as bread, places to play in and pray in,
nature
where may heal and give strength to body and soul.
~John Muir
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October Crescent, 1988 20 x 66¼”
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Spring Lilacs, 1989 50½ x 63½"
Soon his work became more detailed as he strove to turn the fleeting glimpses his camera had captured into lingering moments. Moving from oil to pastel was originally about convenience as it afforded Schantz the ability to work efficiently while conjuring in his studio the emotional immediacy he had felt while in the landscape. Though he had been trained as a painter, he soon started to feel one with this new medium. The technical detail of site-specific works like October Crescent (1988) and Spring Lilacs (1989) reveal an artist languishing in his discovery of nature as a subject and dutifully articulating the unique aspects of each scene. March Verticals (1989), an example of the more microscopic style of this era, hones in on the forest but is no less noble than later, more panoramic work. January Road (1989) still contains references to human existence that would today seem out of place in one of Schantz’s landscapes, but is nonetheless powerfully evocative for anyone who has ever driven an unpaved New England road after a snowstorm, when the sky becomes a piercingly clear blue and banks of snow stand like sentinels on the roadside. Even within his early tendency for mechanical veracity, Schantz was always in touch with the poetic and the romantic.
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January Road, 1989 50¼ x 40½"
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March Verticals, 1989, 35¾ x 63¾"
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The fascination with the Berkshires that initially impelled Schantz to notice every little detail settled into a more significant appreciation for living there and being nourished by her gifts every day. Schantz became so attuned to the weather and wind patterns, the changes of season and their effects on the land, that he intuitively knew where to find the most vivid sunsets and gorgeously-lit river bends. The camera became less a tool to memorialize happenstance than to capture now-familiar scenes in their most brilliant light and intense coloration, and painting again became about coaxing the essence and feeling out of imagined (though always representational) landscapes. The luminous evening sky of February, Maple Sunset (1992) spreads dramatically behind sharply-defined trees, deftly evoking winter’s windy chill as the sun sets while still encompassing warmth and fullness. Taconic Valley, Violet Field (1993) is a virtual color study, incorporating a palette of blues and purples—subsumed in shadow on the hills, fading to blush when tinged by sunset’s dim light, or woven in a kaleidoscope in the waving grass.
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February, Maple Sunset, 1992
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50¼ x 37"
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Taconic Sunset, Violet Field, 1993
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20 x 58�
Post Sunset II, 1988
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43 x 51½"
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Full Moon January, 1989 69 x 50½"
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January Dusk, 1989 46½ x 26½"
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June Cloudscape, 1988 32¼ x 80¼”
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Vertical Hill with Cloud Tangent, 1988 53 x 50½�
I thank you God for this most amazing day, for the leaping greenly spirits of trees, and for the blue
dream of sky
and for everything which is natural, which is infinite, which is yes. ~e.e. cummings
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August Horizontal Hill, 1989 26½ x 77"
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Post Sunset, July, 1989 20 x 50½”
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Winter Vertical I, 1989 62½ x 37�
I go to
nature to be
soothed and healed, and to have my senses put in
order.
~ John Burroughs
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Full Moon February, 1989 34½ x 50½”
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August Descending Woods, 1989 31 x 63¾”
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Chapel, 1989 30 x 44�
Jim captures the , spirtuality in because he first captured it in himself.
nature
The beauty of the spiders web comes out of the beauty of the spider’s
spirit.
~ Brother Thomas Bezanson
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August Dusk, 1992 28 x 62¾”
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January Twilight Vertical, 1993 37¾ x 22¼”
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Pine Quintet Sunset, 1992 37 x 41¼"
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Winter Twilight Series #2, 1992 35¾ x 49”
A comfort with his surroundings was coupled with greater dexterity in his medium, allowing Schantz to focus more on process and explore how medium can drive style as much as philosophy does. Throughout the 1990s, Schantz worked the soft pastels in layers to create unctuous pools of gradated colors while drawing with the sharp edges of the pastel stick to achieve wispy lines. This juxtaposition of swaths of color with finely rendered features, coupled with Schantz’s focus on compositional symmetry, allowed him to achieve a formal harmony that reflected the peacefulness of nature. Schantz became more interested in developing themes, and like Monet and his haystacks he explored the limitlessness of inspiration in a single thing. One recurring motif for Schantz during this period was the siting of a single tree or a group of trees against dramatic fields and skies formed by layers of redolent colors. The melancholy Winter Twilight Series #2 (1992) corresponds to the time after Schantz’s father died, while Summer Afternoon, Maple (1999) evokes a more jovial sensibility. In these and other works like Winter Pine Duo, (Sunset) (1996) anthropomorphized trees dance in the wind to demonstrate the innate harmony and musicality of nature.
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Blue Spruce Sunset, 1992 30¼ x 47¾”
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Winter Wooded Horizontal, 1992 15 X 50¼”
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Winter Dusk with Crescent, 1989 32½ x 50¾”
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January Thaw (Sunset), 1993 37½ x 48”
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October Maple Sunset, 1996 21½ x 20½”
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Sunset, Perry’s Hill, 1994 28 x 46½”
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Maple Hill Winter Field, 1995 25 X 48�
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Wolf’s Run, 1995 25½ x 49”
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Winter Pine Duo, (Sunset), 1996 16 x 10�
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January Sunset Pine, 1997 47¼ x 28”
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Spyglass Hill Sunset, Truro, 1996 27½ x 58”
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Early Morning, South Truro, 1996
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22ž x 52"
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Green River Summer Afternoon 1996 22½ x 11½”
...For in thy lonely and lovely stream An image of that calm life appears That won my heart In my greener years. ~ from William Cullen Bryant’s poem:
Green River 64
Lake Sunapee, Sunset Reflection, 1997 24 x 40�
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July Sunset, Harvey Mountain, 1997 48 x 41�
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Viola’s Field, 1996 15½ x 38”
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Summer Afternoon Maple, 1999 40 x 26½”
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End of Summer Pine at Sunset, 2000 47 x 36½”
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Winter Sunset Pine, 2001 21 x 14�
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Winter Pine, Dusk, 2001
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47 x 34�
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Full Moon, Winter Pines, 2002 26 x 31�
Art
is meant to open the human heart to truth and beauty, goodness and unity. It is like a finger pointing to the moon. It is not the finger that is important, it is the moon.
~Brother Thomas Bezanson
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Beginning in the early 2000s, the river became his haystacks. Schantz moved to Glendale, MA, to a disused church that he and his wife renovated into a spectacular live-work space. Rambling at the edge of the property is the Housatonic River, literally bringing home the metaphor of water as a source of reflection. After 9/11, Schantz sought solace in the river, contemplating not just its physical beauty but its curative powers, its connection to the spiritual, and its profundity as a visual symbol. Many works from this time feature a vanishing point where the river meets the horizon then disappears endlessly into the unknown—a trope for the destination point of man’s inner journey. Once again privileging expression over representation, Schantz revisited the abstract tendencies of his early work without ever abandoning his commitment to reality. Editing the elements to their essential forms and hues allows the painting to be a conduit of expression, a conjurer of sensations, and a creator of universal narrative.
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...he explored the limitlessness of inspiration in a single thing.
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October Dusk, Housatonic Reflection, 2000 49½ x 37”
Works like October Dusk, Housatonic Reflection (2000), August Housatonic Reflection, Loosestrife (2002), and End of Summer, Housatonic Sunset (2003), among many others, contain all the elements—both artistic and philosophical—that defined Schantz during this time. Sky and water play off one another infinitely, absorbing the viewer in a contemplative, transcendent, and restorative mentality. The stillness that is established by symmetry and lack of tension is complemented by subtle movement in the trees, water, and clouds. That the river simultaneously embodies seemingly divergent ideas of constancy and evolution is comforting to us when we seek an anchor in our own fluctuating lives. Schantz found boundless inspiration in the river.
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September, Housatonic Reflection, 2000 35¼ x 49”
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August Housatonic, Loosestrife, 2002 38½ x 35¼”
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End of Summer, Housatonic Dusk, 2003 45 x 36�
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Late Summer, Housatonic Dusk, 2003 33½ x 34½”
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Montebello, Spring Hillside, 2004
Nature
does not hurry, yet everything is accomplished.
~Lao Tzu
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38 x 50�
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Autumn, Stockbridge Sunset, 2004 36½ x 36¾”
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End of Summer Sunset, 2005 31 x 48½”
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Mount Greylock, November Dawn, 2005 20 x 50�
Schantz continued to utilize pastel in his work, specifically in sky pieces such as End of Summer Sunset and Skyscape, Spring Dusk, both from 2005. While the river pieces were a grounding force representing the journey inward, Schantz also looked outward to forces greater than himself. His mother was ill, and though perhaps not conscious of it at the time, he was occupied by ponderous issues of death and the afterlife. Psychologically, the sky provides solace that we are not alone; stylistically it lends itself to abstraction because its elements are so few and so universal. The vast and mysterious expanse of sky symbolizes spiritual presence in many religions and philosophies, and has a long art historical tradition as a metaphor for what is beyond our earthbound, material existence.
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Skyscape Spring Dusk, 2005 35 x 48�
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Becket, Spring Dusk, 2005 45 ½ x 33 ½”
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The landscape belongs to the person who looks at it.
~Ralph Waldo Emerson
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Housatonic Pines, Winter Dusk, 2005 37¼ x 38¼”
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Glendale Woods#1, 2005 43¼ x 65¼”
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Glendale Pine Boughs (Winter Afternoon), 2005 35¼ x 50½”
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Winter Woods, Sunset (Dreamscape), 2005 25½ x 50½”
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If you truly
love nature,
you will find beauty
everywhere.
~ Vincent Van Gogh
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Summer, Housatonic Afternoon, 2005 18¼ x 13½ “
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Green River, Summer Dusk, 2005
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20½ x 14"
Spring Birches Study (Plein Air), 2005
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38½ x 22"
Autumn Woods, Study, 2006 24 x 18"
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Summer Dusk, 2009, Oil on canvas 62 x 56�
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PAINTINGS
His focus on the river not only led Schantz to a more cultivated version of his earlier Symbolist style, it brought him back to oil painting as well. The liquidity of oil paint felt attuned to the water’s flow and the slower pace of painting correlated with the idea of the river as place to slow down and ruminate. The soft rosy light that peeks behind the horizon of Summer Dusk (2009) dissipates languidly in the water as we feel the humid air rising from the surface in a sfumato blending of paint. Layered tones in the water, sky, and foliage do an optical dance and create a mesmerizing depth, just realistic enough to remind us of a place we can intuitively connect with but dreamy enough to transport us to introspection.
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September Sundown Reflection, 2010 Oil on panel 48 x 48�
September Sundown Reflection (2010) is a quintessential work by Schantz writ anew; the essence of autumn is expressed in the feverish sunset and amplified by a limitless palette of mixed pigments. Like the American Luminist painters of the mid-19th century, artists such as Fitz Hugh Lane (1804-1865) and Frederic Edwin Church (1826-1900), Schantz ennobles the landscape by infusing it with a majestic light and celebrating its innate tranquility.
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Tiepolo Sunset, 2010 Oil on canvas 48 x 48�
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Turning his gaze upward provided Schantz a creative change, one he had been quietly yearning for after many years with a more terrestrial focus. Tiepolo Sunset (2010) and After the Storm (2011) are voluminous and energetic paintings on a simple subject, which open doors to the more complex plane of spiritually meditation. The variegated hues of the sky explode with incandescent light as it refracts against clouds or recently fallen rain. These sky works (and other works of this era where sky is a major focal point) channel the sumptuousness and luminosity of the Venetian painter for which one of them is named— Giovanni Battista Tiepolo (1696–1770)— but are more Impressionistic, emphasizing visible brushstroke composed of areas of color that optically meld together.
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After the Storm, 2011 Oil on canvas 30 x 72�
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Blue Mountain Sunset Study, 2011 Oil on panel 17¾ x 23¾”
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Blue Mountain Sunset, 2011 Oil on canvas 26 x 72�
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Housatonic Winter Sunset, 2009-13, Oil on canvas 30 x 72�
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September Housatonic Afternoon Reflection, 2011-13 Oil on canvas
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24 x 70�
No river can return to its source, yet all rivers must have a beginning.
~ American Indian Proverb
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Late Summer Reflection, 2012 Oil on panel 48 x 48�
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September Sunset, Small Point, Maine, 2013 Oil on canvas 30 x 76�
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Atlantic Dusk, 2013 Oil on canvas 24 x 60�
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Puget Sound Sunset #1, 2013 Oil on panel 12 x 12�
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Puget Sound Sunset #2, 2013 Oil on panel 12 x 12�
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Puget Sunset, 2013 Oil on canvas 32 x 54”
Even after thirty years with a singular artistic muse, Schantz remains enamored and inspired to achieve da Vinci’s “ultimate sophistication” out of seeming simplicity. From early sitespecific paintings to today’s imagined renderings, Schantz celebrates how natural physical beauty can transport us to an intangible place where the demands of life give way to more spiritual pursuits. This universality of this notion allows his viewers to viscerally connect with his landscapes, even if they have never visited the places pictured.
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Atlantic Sunrise, 2013 Oil on canvas 56 x 76”
While understanding his upbringing and education, his life in the Berkshires and his care for the environment and his love for family all bring a better understanding of the trajectory of his career, the achievement of Jim Schantz’s work is that we do not need to know these things to feel a kinship with the paintings. We only need to stand in front of one to be enveloped and transported to a sun-filled hill, a languid river, a breathtaking sunset, to a view that ultimately bring us into ourselves, our memories, feelings, and dreams. Each work by Schantz is a symphony of complementary elements—light and shadow, fine and broad strokes, warm and cool tones, movement and stillness—all harmoniously balanced in the perfect metaphor for the ebb and flow of our daily lives.
~ Jeanne Koles is an art historian who writes for museums and the cultural sector in New England.
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Pacific Sunset, Costa Rica, 2012 Oil on canvas 20 x 48�
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“Look at that sky…” As soon as the words are out of his mouth, I feel the car slowing down and wandering towards the shoulder of the highway, or the back road or the parking lot. For twenty-six years, I’ve witnessed Jim Schantz continue to be amazed by the splendor of a tangerine sunset or the violet vortex of clouds and the evidence of the alizarin crimson sunset as it illuminated a west facing hillside. Truthfully, I often worried about our safety on the road, when I would glance over and see him looking to the left out his window at a sunset instead of straight ahead at the highway. He is still as enthusiastic as ever when he sees a certain change of light in the sky. Before he used the camera, Jim might catch a glimpse of the sky in the evening and dash outside with a pen and paper to sketch it as it happened. It got so we could tell if it was going to be a good sunset, by the early clouds in the west and we would drive to a favorite spot on Maple Hill, or Heaven Hill, or maybe Division Road. I would sit in the car or in the grass as he sketched the vista with whatever drawing tool and paper was nearby. Scribbled notations to indicate colors cover the quick, curvy lines indicating clouds, hills or fields. The energetic, straight lines of trees on the mountain top indicating pine or skeletal winter trees. This technique lent itself to developing Jim’s earlier style; a strong and very dreamlike imagery appeared as he interpreted his notes back in the studio and used his memory to recreate the landscapes around him. Jim worked large for pastel and used his hands directly on the paper to rub the pure pigments into the paper, skillfully layering the colors and transitions to create the translucency of air. The images, though created from memory, still spoke of very specific places and moments. A local guy was in our house a few years ago and saw an older work which depict the trunks of two birches and only a few branches of a snow covered pine in the deep woods. “Is that near Pixley Hill Road? I go hunting over there and that looks like the place…” Well, it was the exact location and to this day when I look at that pastel, I am happy for both men’s ability to recognize and appreciate that isolated place as special. Every moment the light changes, there is new potential for Jim’s art. It seemed like there was just too much to see and sketch and recreate in the studio. Eventually, in the mid 90’s when the camera was introduced to his toolbox, Jim could capture every aspect of a single moment from his personal perspective. The early artistic technique had been developed and these photos were used as reference and time savers. Because there are so many inspiring moments to notice, the studio contains trunkfuls of taped together 4x5” kodachrome photos, which are also beautiful works of art, with their own distinct compositions, perspective and physical shapes. After ten years, we decided to move from our little 1810 home in West Stockbridge. That little house had been perfect for our young family, with Jim’s art studio in the back yard where the girls and I would all be welcomed and encouraged to draw and paint together. It was a nurturing and creative environment for Jim’s three young daughters as they grew into amazing young women. In 1999, we were fortunate to find an overlooked gem in a slightly leaking old chapel built in 1876 on the bank of the Housatonic River. With the help of good friends, we fixed it up and for awhile it was both the art studio and living space.
Photographing clouds on the river, 2012
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Winter Pines Sunset, 2005-11 Pastel
21 x 48”
Living on a river is a continual reminder of the importance of stewardship and natural resources. Jim became more committed to nature and demonstrated this by joining the Conservation Commission in Stockbridge. A rowboat was the new way to chase the sunset and cloudscapes, and after work we would go out for a slow ride on the boat and Jim digitally documented the sunset on water as he fished floating litter out of the river’s weeds. With every action comes a reaction, and after years of working with pastel, the artist yearned to return to his paints. With the same sensitivity he had developed using the soft broad side or sharp broken edge of a piece of chalk, he desired to use large paint brushes and broad burshstrokes. Jim has painted the river, trees, the ocean, the sky and he even painted music. There is a definite light where we live in the Berkshire Hills of Western Massachusetts, and there is the interpretation of this light and land that Jim Schantz has made iconic. Thanks to Bernie and Sue at Pucker Gallery, and their ongoing encouragement and support for the years, Jim has continued have a place to exhibit his ever evolving art. I’m sure very few in our small town know that on a busy city street in Boston, there is one of the most well respected and established art galleries, where they sometimes go out at the end of the day and looking west at the rosy colored sky with its deep violet clouds they say, “Look...it’s a Schantz sunset!” Kim Saul, 2013
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Atlantic Moonrise, 2013 Oil on Canvas 20 x 20�
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Jim Schantz Education
Exhibitions
1981 MFA, University of California, Davis, CA 1980 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1978 Brooklyn Museum School, Brooklyn, NY 1977 BFA, magna cum laude, Syracuse University, Syracuse, NY 1975-1976 Hornsey School of Art, London, England
Adam L. Gimbel Gallery, New York, NY Albany Institute of History and Art, Albany, NY Argazzi Fine Art, Lakeville, CT Art Complex Museum, Duxbury, MA Banff Art Center, Leighton Studio, Banff, Alberta, Canada Berkshire Gallery, Great Barrington, MA Berkshire Museum, Pittsfield, MA Bridgewater/Lustberg Gallery, New York, NY Brooklyn Museum, Brooklyn, NY Cavalier Gallery, New York, NY Clark-Whitney Gallery, Lenox, MA Dana Reich Gallery, San Francisco, CA Frank Bernaducci Gallery, New York, NY Fuller Craft Museum, Brockton, MA Gorman Museum, University of California, Davis, CA Haber-Theodore Gallery, New York, NY Harrison Gallery, Williamstown, MA John Natsoulas Gallery, Davis, CA New Arts Gallery, Litchfield, CT Norman Rockwell Museum, Stockbridge, MA Pamatnik Terezin, Czech Republic Pucker Gallery, Boston, MA Pucker-Safrai Gallery, Boston, MA Rice Gallery, Albany Institute of History and Art, Albany, NY Rosenfield Gallery, Philadelphia, PA Ruth Siegel Gallery, New York, NY Sanford Smith Gallery, Great Barrington, MA Schenectady Art Museum, Schenectady, NY Simon Gallery, Morristown, NJ Springfield Museum of Fine Arts, Springfield, MA Teikyo Post University, Waterbury, CT
Teaching 2007-2008 Learning Leader Volunteer, Brandeis High School, New York, NY 2006 Visiting Lecturer, Kaye College, Beersheba, Israel 1992-2007 Interlaken School of Art, Stockbridge, MA 1992-1994 Westfield State College, Westfield, MA 1991 Bard College at Simon’s Rock, Great Barrington, MA 1987 Russell Sage College, Albany, NY 1982-1998 Berkshire Community College, Pittsfield, MA 1981-1982 Assistant Professor, California State College, Stanislaus, Turlock, CA
Projects and Collaborations Hawthorne String Quartet, Live music and painting collaboration and performance at: Ozawa Hall,Tanglewood, Stockbridge, MA Skidmore College, Saratoga Springs, NY U.S. Ambassador’s Residence, Prague, Czech Republic Gasson Hall, Boston College, Chestnut Hill, MA Bard College at Simon’s Rock, Great Barrington, MA Places of the Spirit: The Holy Land CD collaboration with flutist Paula Robison to benefit: The Jerusalem Foundation The Camphill Foundation
Public Collections Memorial Library, University of California, Davis, CA Mount Saint Benedict Priory, Erie, PA Nelson Museum, University of California, Davis, CA Norman Rockwell Museum, Stockbridge, MA Pamatnik, Terezin, Czech Republic Post University, Waterbury, CT Rose Art Museum, Brandeis University, Waltham, MA Schick Gallery, Skidmore College, Saratoga Springs, NY Simon’s Rock of Bard College, Great Barrington, MA Tufts University, Medford, MA University of Massachusetts, Amherst, MA Williams College Museum, Williamstown, MA
Art Complex Museum, Duxbury, MA Children’s Hospital, Chicago, IL The Boston Company, Boston, MA Citizen’s Bank, Boston, MA Congregation Kehillath Israel, Brookline, MA Dana Farber Cancer Institute, Boston, MA Everett Jewish Life Center, Chautauqua, NY Fidelity Investments Corporation, Boston, MA First Albany Corporation, Albany, NY Fleet Bank, Western Massachusetts, Springfield, MA The Jerusalem Foundation, New York, NY Lowe Art Museum, Syracuse University, Syracuse, NY
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Dedication To Kim, the woman by my side these past 26 years. Thank you for your support, inspiration and love throughout. Thank you to my three daughters for all their love and belief in their dad as well as the family and friends who have encouraged me and made it possible to continue my artistic career. I wish to thank Bernie and Sue Pucker and the staff at Pucker Gallery for their promotion of my work throughout the past 26 years and their unrelenting dedication to the arts. Jim Schantz, 2013
One Moment to the Next The Art of Jim Schantz A Survey of Works 1988 - 2013 Copyright 2012, Jim Schantz Design: Kim Saul Photography: Max Coniglio Will Chiron Keith McWilliams Cassandra Sohn Printing: MCRL