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June 24 - August 20, 2016
Westport Arts Center 51 Riverside Avenue Westport, CT 06880 203.222.7070 www.westportartscenter.org
SOLOS 2016 Exhibited Artists
Nina Bentley, Mixed Media Artist (Westport, CT) Cynthia Cooper, Painter (Farmington, CT) Larry Gordon, Painter (Larchmont, NY) Allan Gorman, Painter (West Orange, NJ) David Kalman, Photographer (Westport, CT) Daniel Lanzilotta, Sculptor (Westport, CT) Barbara Ringer, Photographer (Ridgefield, CT) David Sheskin, Printmaker (Bethel, CT)
A History of SOLOS
SOLOS is one way in which the Arts Center celebrates the artistic talent and diversity of its artist members. Now in its tenth year, SOLOS is designed to discover and showcase new works of art by talented artists in the region, and also helps new artists discover the Westport Arts Center. The SOLOS exhibition has historically featured esteemed jurors including Richard Klein, Exhibitions Director of The Aldrich Contemporary Art Museum in Ridgefield, CT, Patricia Hickson, the Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth Atheneum in Hartford, CT, and Ian Berry, Associate Director and the Susan Rabinowitz Malloy ’45 Curator of the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. The exhibition will feature a diverse range of works, including paintings, photographs, prints, sculptures, and mixed media. With entries from across the country, selected artists are from Connecticut, New York, and New Jersey. The March 2016 Call For Entries generated over 160 proposals for consideration, and out of this pool of talent, eight artists were selected in total. Hyland’s selections included both established artists well known in the community as well as newer, emerging artists. SOLOS 2016 is sponsored by
ABOUT THE JUROR Douglas Hyland served as the Director of the New Britain Museum of American Art in New Britain, CT from 1999 – 2015. During Hyland’s tenure at the NBMAA, the museum’s holdings more than tripled to more than 14,000 items, the number of docents increased from 35 to 117, memberships rose from 1,500 to 3,800, staff from 19 to 46, and the endowment from $9 million to $21 million. His previous directorships were at the San Antonio (Texas) Museum of Art, the Birmingham (Alabama) Museum of Art and the Memphis (Tennessee) Brooks Museum of Art. He earned his undergraduate degree from the University of Pennsylvania and his doctorate in art history from the University of Delaware. Dr. Hyland lives in West Harford, CT, with his wife Professor Alice Hyland.
Photo Credit: Jane Shauck Photography
JUROR’S STATEMENT “It is an honor to serve as the 2016 Juror for the tenth annual SOLOS exhibition at the Westport Arts Center. Over the last decade a distinguished group of artists and jurors have participated so that now SOLOS is both well-established and celebrated for its excellence. Selecting eight artists from a field of 168 was a daunting task. Previously familiar with only a handful of the entrants, I was pleased especially to have an opportunity to study so many extraordinary artists for the first time. Pouring over each artist’s statement and compelling visuals occupied me for several days. It was extremely difficult to choose only eight finalists. Initially I had envisioned more of a themed show, but the reality of the situation is that each of the selected artists demonstrates a distinct individuality. Consequently, I abandoned the concept of a more rigorous construct in favor of celebrating a disparate group which is in effect the underlying purpose of SOLOS. 21st century artists embrace daring innovations, unusual media and bold new techniques, all of which characterize the artists in the SOLOS 2016 exhibition. The sculpture Daniel Lanzilotta turns detritus into lyrical confections of charm and beauty. Nina Bentley confronts head-on the complexities of marriage and divorce, love and hate. David Kalman’s ethereal, almost mystical photos of Iceland are preternaturally arresting. The hard-edge, precisely painted machine images of Allan Gorman are almost abstract in their visual intensity. Geometry and balance along with distinct color provide the matrix for Larry Gordon’s non-objective paintings. Barbara Ringer delves deeply into our subconscious by mining childhood associations and memories through the toys we all once so innocently enjoyed. David Sheskin’s graphic works remind me of a labyrinth of the mind and are layered with meaning. As a swimmer, I can appreciate the endless journey doing laps in one of Cynthia Cooper’s pool environments. In all there are three painters, one sculptor, two photographers, one printmaker and one mixed media artist on display. As I have been told, several artists included have been imbedded in the art scene of greater Fairfield County for some time, but the majority of these artists are new-comers. I am pleased to be able to introduce them to new audiences. I regret that space did not allow many others of great merit to be featured. I wish to congratulate Nina Bentley, Cynthia Cooper, Larry Gordon, Allan Gorman, David Kalman, David Lanzilotta, Barbara Ringer and David Sheskin, all of whom are artists of enormous talent worthy of our study and admiration.” - Douglas K. S. Hyland, Juror Former Director of the New Britain Museum of American Art, New Britain, CT
NINA BENTLEY Artist Statement My work tends to be conceptual in nature and concerned with social issues. From early childhood I have been moved both by aesthetics and the human condition, not only matters affecting me personally but those evident on a broader social scale. I create art in order to gain some perspective on the world around me while trying to retain a sense of humor. In short, my work can be seen as multi-dimensional social commentary. This body of work relates to marriage, divorce and relationships, issues that are currently at the forefront of my life.
You Have Been Served, 2016 Assemblage sculpture with stand
Searching For The Right Type Typewriter sculpture
NINA BENTLEY
Always a Bridesmaid, 2014 Wedding cake and figurines
Just Married/Just Leaving, 2015 assemblage sculpture w/ suitcase
CYNTHIA Y COOPER Artist Statement My work explores “how things look from the inside,� which is often quite different from how they look from the outside. Luminosity, grids and the juxtaposition of movement and stasis all propel my work. The shimmering surfaces reflect the constantly changing light; the paintings themselves change, thereby changing the viewer?s perception as well. Step in!
Biography Cynthia Cooper is a cheerful and energetic artist who lives and works in Connecticut but grew up in rural northwestern Pennsylvania. She has been making art pretty much forever, including during the time that she directed both an award-winning advertising/graphic design studio and a successful e-commerce website selling antique textiles. She likes spiders, snakes and squids (most other animals, too) and loves to walk long distances. She is not what you would expect
Word: Momento Mori, 2015 Acrylic on canvas
Lane End, 2016 Acrylic on canvas
CYNTHIA Y COOPER
Prime Pocession, 2016 Acrylic on canvas
2600 Strokes, 2016 Acrylic on canvas
LARRY GORDON Artist Statement I have continuously been involved in the arts as a painter – dividing my day between his architectural practice and painting. I believe both arts complement each other and reinforce the creative process. My years as an architect have influenced my art and informed my work. The paintings and drawings begin with a formal linear structure. The Grid is then manipulated, changed and removed. I use transparency, overlapping shapes and images. My painting aims at a joyful and playful celebration of color– embracing excess. Except for a general overall concept, I have no preconceived idea for an individual work and, instead, let the painting take me on a journey. I hope the viewer will have a direct relationship with the painting. I have decontextualized the painting. The shapes become dematerialized and abstract. Each shape produces a powerful effect, but together their decorative impact is based on linear form and color. The use of color is divorced from subject and independent from the picture meaning. I have used contrast between vertical banding and the sharp curves that play against it, inflecting the entire surface with a counterpoint between straight and curving rhythmic beats. I have eliminated the distinctions between ground and figure upon which traditional composition depends.
Biography Larry Gordon, founding principal of an architectural firm, received his Bachelor of Architecture from The Cooper Union School of Art and Architecture and his M. Arch from MIT on a Compton Fellowship. His love of painting dates back to his attendance at Music & Art High School in NYC. He was adjunct Associate Professor at New York Institute of Technology and a visiting critic at City University.
Space, 2016 Acrylic on canvas
LARRY GORDON
Dreamland, 2016 Acrylic on canvas
Solitude, 2016 Acrylic on canvas
ALLAN GORMAN Artist Statement I’m drawn to the hidden abstract patterns, random shapes and aesthetic tension I find in real objects—particularly within the confines of industrial structures. Although my paintings are photorealistic, the focus isn’t necessarily on photorealism itself, but rather on the plays of light and shadow, the dance between colors, shapes and contrasts. In this way, I think of my works as abstract paintings in the guise of realism, and I use this criteria to inform my choices of what to paint. I find something mysterious, romantic and nostalgic about the power of cities, machines, night time and the edgy parts of town. I’m a child of the 50s and 60s, and have great memories of the neon lights and hustle-bustle of old NYC, when old subways had wicker seats and Jazz was in the air. My influences were the artists of a generation or two before—the ash can school artists like George Bellows, Edward Hopper, and Reginald Marsh; and photographers like Paul Strand, Richard Avedon and Irving Penn. And then, when photorealism and the west-coast artists first came on the scene in the mid 60’s and early 70’s , I was immediately drawn to the work of Richard Estes, Robert Cottingham, Wayne Thiebault, of course Richard Diebenkorn, and others who could—within the confines of a two-dimensional plane—tell a compelling story about their time and society; things I seem to relate to. While acknowledging my predecessors, I’m certainly not trying to imitate them. Although their influence is noticeable in my work, I strive to create art that is unique and interesting enough to make its own statement.
Biography Allan Gorman is a realistic oil painter, specializingn in complex and unique compositions that highlight humankind’s industry and architecture. Major exhibits have included solo and invitational showings at Anthony Brunelli Fine Arts (Binghamton,NY); CK Contemporary Galleries (San Francisco, CA); The Miller Gallery (Cincinnati, OH); Lia Skidmore Fine Arts (Santa Monica, CA); Galleria GUM in Miami, FL, and Howard Rehs Contemporary Galleries in NYC. Museum and Art fairs include: “Hyperrealism” at The Illinois Institute of Art - Chicago; Mid-Atlantic New Oil Painting 2012 and 2014 at the Ritterhoff Martin Galleries (Fredericksburg, VA); the 2010 and 2016 Arts Annuals at the NJ State Museum (Trenton, NJ) and Noyes Museum of Art (Atlantic City, NJ); Re-Presenting Realism at the Arnot Art Museum (Elmira, NY); ArtPrize 2014 and ArtPrize 2015 in Grand Rapids,
MI.; ArtHamptons Art Fair (NY); Art Palm Springs (CA); twice on board the Luxury Art Yacht Seafair at Art Greenwich (CT); the International Guild of Realism’s “Masterworks Museum Tour” traveling to art museums around the country from May 2015 through June 2016, and “Something More Than Realism” at Galeria ArteLibre in Zaragoza, Spain. In 2013, Gorman was awarded a Fellowship for Painting from the New Jersey State Council on the Arts. In 2011, he was awarded a resident fellowship to Vermont Studio Center and was invited back to VSC for a second visit in the summer of 2014, and in 2016 he was selected for a fellowship residency by the ESKFF Foundation at Mana Contemporary in Jersey City, NJ. His work has been profiled in Arte Libre X (2016), Manifest’s International New Painting Annuals 2 and 6, America Art Collector Magazine (several issues), Transportation Today, Poets & Artists Magazine (several issues), Steadfast Arte, The Huffington Post, CreativeTime4Talk, about.com, and dozens of other print and electronic publications. Allan Gorman maintains a studio practice in Kearny, NJ, and resides in West Orange, NJ.
Double Trouble, 2013 Oil on canvas
ALLAN GORMAN
A Nice Day for a Ride, 2013 Oil on canvas
Ahh…Suburbia, 2015 Oil on linen
DAVID KALMAN Artist Statement I consider myself a landscape photographer and have travelled around the world in search of the next best image. Though I’ve photographed in Iceland many times over the years, my most recent trip in 2016 was the first I have experienced in the Icelandic winter. My objective was to photograph an Aurora Borealis. While I was on site for a total of 11 days, each day proved to be cloudy, with the exception of the final evening. The night was beautiful and clear for the Northern Lights to finally appear over a lighthouse in the distance. Throughout my trip, I photographed Icelandic churches, glaciers, trees, and water; however, it was my final capture of the Aurora Borealis that I enjoyed most. Upon my return I developed over 1,000 images and selected five to submit to SOLOS 2016.
Biography For more than 30 years, David Kalman has pursued his passion for creative landscape photography, dramatically capturing the timeless beauty of the world around us. A single flower, a canal in Venice, Lake Louise in the Canadian Rockies, and the lush greenery of Connecticut are just part of his expansive portfolio and stand testament to the depth of his avocation. Through the years, Mr. Kalman has experimented with different formats in order to achieve brilliant clarity and exacting detail. After starting with an inexpensive single lens reflex camera in 1988, Mr. Kalman graduated to medium format in 1989, then to a 4x5 format, and most recently to the cutting-edge 11-megapixel digital format. The burst of rich color and sharp detail in his photography rival images produced by large-format 4x5 landscape cameras. To further refine his technique, Mr. Kalman has participated in numerous photography workshops worldwide organized by Joe Englander of Englander Photography. Mr. Englander received his training from the legendary Ansel Adams. In addition to workshops resulting in several series from national parks, Santa Fe, and Taos, David has also produced dramatic series of Texas wildflowers and the redwoods of northern California. His international workshops produced series on Alaska, Italy, Ireland, Portugal and Norway. His photography of Norway, Italy, Colorado and Maine proved so popular that he self-published three books on those series.
“Photography requires absolute concentration,” says Mr. Kalman. “When I’m behind the camera, my attention is totally focused on the image, the exposure, and the details of the scene. I am completely absorbed in the process and as remote as possible from the stress and demands of my business life.” In recent years, Mr. Kalman’s photography has been accepted in juried shows at the Mystic Art Association and The New Canaan Arts Center, where he earned second place for Color in each show. He has participated in the Westport Downtown Merchants Arts Show, the Ridgefield Arts Center, and the Rowayton Art Association, where he received first prize in the Color Photography category. He has had a one-man show at the Westport Arts Center featuring images from Italy, as well as the Westport Library, featuring images from Maine and Colorado. In addition, four of his black-and-white images were displayed in a separate mixed media show at the Westport Arts Center, which also featured the work of artist Wolf Kahn. His work has also been exhibited at the Norwalk Art Gallery in a show entitled Transcending Time, where he displayed more than 40 photographs from his national and international travels. Today, David specializes in both medium- and large-format digital photography. He does his own printing on high-quality, fine art matte paper in a dry dark room using the latest Photoshop technology. After spending years dedicated to the beauty of nature, David finds his interest turning more and more toward people and the “landscape” of faces, focusing on candid versus formal portraits. He selects his photography destinations and subjects based on whatever captures his imagination at the moment, frequently turning a business trip, during which he rarely travels without his cameras, into an opportunity to leave the commercial behind, however momentarily, and focus on the beauty of his surroundings. In March and April of 2008, David placed second for color photography at the Rowayton Arts Center and the Annual Wilton Library event with 280 entrees. In September 2008, David had a featured Photography Show at the Westport Arts Center. He had 11 images from Bodie, a ghost town in Northern California. Also in September he placed first in Photography at a juried show in Rowayton, Connecticut. There were over 180 entries and 38 were shown. David is also featured on the Monet’s Palate website for his work in Giverney and France.
DAVID KALMAN
The Black Church, Iceland, 2016 Red River Metallic
Trees in BXW, Iceland, 2016 Red River Metallic
DAVID KALMAN
Road to a Glacier, 2016 Red River Metallic
Aurora Borealis Over Lighthouse, Iceland, 2016 Red River Metallic
DANIEL LANZILOTTA Artist Statement My artistic mission is to bring greater significance to the seemingly insignificant. I am a ‘plastician”. I work with plastic waste, detritus, rubbish, fragments of litter, trash, flotsam and jetsom. I work predominantly with plastics. My art supply store is the environment we live in. My work is inspired and influenced by Gestalt Philosophy, specifically Kurt Koffka’s principle posit,” The whole is other than the sum of its parts”. My “whole” invites the viewer to find increased value and richness in the common and mundane. The world has become plasticized. I rescue this debris from landfills, oceans, beaches and other waterways. I recoup wasted, discarded materials. I repurpose insignificant items and give them a new purpose. Significance. Beauty. A new vision. I use a principle of Gestalt Theory called: Functional Fixedness. What use does an object have other than its intended purpose. I manipulate elements to recreate objects of intrigue, conversation and discovery. The most insignificant piece of debris becomes “other than itself”. In return I hope the viewer becomes “other” than them self. I offer the viewer to discover beauty in cast-off items of the insignificant by design, composition, ornamentation, color, form, movement and dynamic juxtaposition of materials.
Biography Unveiling Significance of Items Castaway in Sea and Street Daniel Lanzilotta’s art is a celebration of items cast away in the environment. Faithfully foraging materials from the crevices of the earth, the self¬entitled ‘plastician’ modifies and welds his findings, spotlighting potential of plastic waste and fragments of litter. “In the American culture, we’ve lost track of what something [really] is.” So says Italian-American artist Daniel Lanzilotta, who has been materializing his artistic vision by collecting debris, rubbish, and plastic waste for the past twentytwo years. One thing he doesn’t lack is mindfulness, which led him to honor both his artistic whims and deepest convictions beginning in his early twenties. His simplistic philosophy was born on a trip to the beach with his young son, where he was jolted by the prevalence of shoreline garbage. This was when he came to see the potential in these castaway items, and when he decided to use them in
order to bring “greater significance to the seemingly insignificant.” Marine-like installations adorn the walls of his atelier in Biarritz, France and Bridgeport, Connecticut where he showcases the “greater significance” of debris. After the tragic death of a dear twelve¬year old friend in 2011, he created a show entitled “T¬frequencies,” in homage to the little girl who was an award¬winning artist, environmentalist, and inventor. A mere five years later he tirelessly honors her memory in giving “life to the lifeless,” ¬ a quality he says his late friend taught him. Rather than viewing the archetypes of life and death as opposites, he held them together as a single thought. When one breath runs out, another begins. This is his pattern. A traditional upbringing brought about a propensity for cooking quickly after he learned to walk. His skills were honed at home, but in his teenage years he became involved with a bunch of “losers in the Bronx,” he chuckles, rolling his eyes. It wasn’t long until he realized that he was better suited elsewhere, and felt the need to chew on life’s undiscovered morsels beyond the gritty city. Soon thereafter, he wound up at Carnegie Mellon on a full scholarship studying technical theater. He also has a culinary arts degree. At his audition in San Francisco he showcased his handmade miniature stage, complete with fully functional lighting equipment. Cooking professionally while studying, he decided to officially add chef and stage technician to his resume, and began to take “the artist’s journey.” Family and friends thought it impractical as they watched him sniff at everything to see what it was. But this was the critical cycle of finding his soul, and after graduation he began to understand himself in greater artistic dealings of both life and death. The parallels of this dynamic led him to faithfully forage materials from shorelines in the states and abroad. In solidarity, he breathed soul into these so¬called gathered bones by twisting, molding, welding, and restoring them into something new. He called it a sculpture. He called himself a “plastician.” Many sculptures and other pieces followed. He crafted jewelry of all sizes from not only oceans, but street debris ¬ found copper, wood, fabrics, metals, all assembled in a compassionately rendered orchestration. Much like the body lives by the mechanisms of cell and tissue matter, Lanzilotta’s Kafka¬esque posit is that the mind’s demanding nature is comprised of precious thoughts and feelings which are essential parts of a complex system of dynamic relationships. With a cacophony of collected materials and an espresso closeby, he begins the romantic rescue of his chosen rubbish. Armed only with a toolbox and a steady hand, Lanzilotta has no idea how his next piece will turn out. The materials themselves seem flattened out, yet filled with ideas, but are deeply anemic and increasingly unable to act upon them without his help. To him, even the most
DANIEL LANZILOTTA miniscule pieces of plastic are absolutely essential, giving and uniquely perfect. He possesses a rare, youthful infatuation with the idea of possibility. In a broad perspective, it is a yearning that will remain long after both creators and viewers of today cease to be. Now and forever, crevices and canyons of the earth will continue to provide possibilities in unexpected places. One of his most prized pieces entitled “Hat for Late Summer,” is a medicine for the loss of his aforementioned loved one whose first name translates to ‘late summer.’ The piece celebrates found discarded plastics, Starbucks stirrers, copper wire, yarn, broom bristles, ikea plastic sheets, bottles, containers, and oyster netting. His friend had spent her short¬lived years astounding others by her artistic velocity, especially in environmental arenas. The garden of materials used in “Hat for Late Summer,” symbolizes her varied talents and even Lanzilotta’s newer sculptures continue to be birthed by distinct memories of her. At his show in Biarritz, the starkly lit piece casts a secondary effect on the wall and floor in its silent shadow ¬ perhaps her answer to his call. What Lanzilotta does is important because it commemorates the seasons of the soul, drawing connections between ourselves and objects. His art is not only for us. It is not only a marker of his own understanding, but a map for those who follow after us. Lanzilotta is a Bronx 200 Artist
T-FREQUENCY, 2014 Plastics
HAT FOR LATE SUMMER, 2014 Plastics
DANIEL LANZILOTTA
T-TOWER, 2015 Plastics
T-JAZZ, 2014 Plastics
BARBARA RINGER Artist Statement Using toys, I set up scenarios expressing the darker memories of childhood; the fears and anxieties that remain under adult consciousness. Sometimes creepy, sometimes comical, I look to express narratives that connect the dots between nightmares and a child’s experiences.
Biography Born in the South Bronx, Barbara Ringer lived in Switzerland and Germany before settling down in Ridgefield, Connecticut. She attended NYU film school and worked in television here and in Europe. Always using photography to record experiences, she has in the last few years turned to it as a form of psychological expression.
Child Therapy, 2015 Mixed Media
Psychotherapeutic Game for Children, 2016 Mixed Media
BARBARA RINGER
Be Quiet, 2014 Photographs, wood, metal
My Doll House, 2015 Photographs, wood, metal, LED
DAVID SHESKIN Artist Statement
I am a self-taught artist. Although I have been an artist for over 30 years, three years ago I “reinvented” myself and adopted an avant garde-cerebral approach to creating art, resulting in a unique collection of work I refer to as Artxt (which is the creative integration of art and text) — or alternatively as Art that Speaks. The goal of Artxt is to provide the viewer with an aesthetic experience that simultaneously communicates a novel message. My Artxt images (which must be read to be fully appreciated) are digitally created paintings/collages or are created through the used of mixed media (employing materials such as wood, ceramic tile, cork, paper, paint, and ink). Most of my Artxt images employ the format of a Scrabble board to provide a unique perspective on fairy tales, topical issues, and imaginative and/or humorous fictional subjects. Many of the my digital paintings/collages depict one or more people viewing an Artxt message displayed on the wall of a museum.
Biography At the age of 40, David Sheskin created the first of hundreds of works of art he would produce over the next 35 years. His initial works were pen and ink drawings that seemed to spontaneously flow from the tip of his pen onto a sheet of paper. During the 1980s, over 100 of his pen and ink drawings were published in numerous magazines. A full collection of his drawings can be found in the book Magician With a Pen (Wingspan Press, 2007). During the 1990s, he began to paint in acrylics, producing a series of folk art paintings and subsequently created new works utilizing the mediums of sculpture and collage. He then developed expertise in the use of digital technology and created, among other things, a large body of realistic and stylized images of cats, dogs, birds, and fish that are notable for their composition and their unique use of color and texture. All of David Sheskin’s fanciful, uplifting art can be found in the visually stunning book The Art of David Sheskin (Wingspan Press, 2011). Over 100 of David Sheskin’s images have been published within the format of calendars (by Avalanche Publishing (Folk Art by David Sheskin, 1993) and Pomegranate Communications (The Owl and the Pussycat (2009, 2010, 2011) and Puss and Boots (2012)), as well as in calendars published in Europe (Naïve Malerie, 2004, 2005, 2006 by Ackermann in Germany), note cards, jigsaw puzzles, children’s games and digital prints. During the past five years he has developed a form of art he refers to as Artxt (or alternatively, Art that Speaks), which represents the creative integration of art and text. His Artxt images (many of which have been published in magazines and exhibited in juried shows) employ the format of a Scrabble board or crossword puzzle to provide a unique perspective on a variety of topical and fictional subjects.
This is a Test, 2016 Original Digital Print
DAVID SHESKIN
Color Mixing, 2016 Original Digital Print
Moses – Museum Viewers, 2016 Original Digital Print
ABOUT THE WESTPORT ARTS CENTER The Westport Arts Center, a nonprofit organization dedicated to connecting community through the arts, reaches more than 11,000 people annually through outstanding programs in visual arts, arts education, and the performance arts of Chamber and Jazz music. The Westport Arts Center also receives philanthropic support from the Aibel Foundation; Artur and Heida Hermanns Holde Foundation, Inc.; AB Bernstein; the Brant Foundation; CBP; Cohen and Wolf, P.C.; Connecticut Cigar Company; Connecticut Office of the Arts; Disney Worldwide Services, Inc., DanceSport; Dragone Motor Cars; EC Infosystems, Inc.; Fairfield County Bank; Finn, Dixon & Herling LLC; Fleishers Craft Butchery; 4th Row Films; Geigers Home and Garden; GWAY Marketing Gymnasium; Hal Prince Music; the Hall Art Foundation; Land Rover Milford; Lillian August; the Mitchell’s Family of Stores; Moffly Media; Newman’s Own Foundation; Rosenkranz Foundation; Saugatuck Sweets; Shack Sackler Foundation; Sheffer Family Foundation; Sontag Advisory LLC; Stamford Tent; Sun Hill Foundation; Verde Energy USA, Inc.; Vespa Restaurant; Wells Fargo Advisors; Westport Family Counseling; Westport Now; William J. Rosenbloom Charitable Trust; Xerox Foundation; WPKN; and WSHU Public Radio Group. For more information, contact the Westport Arts Center at (203) 222-7070 or www.westportartscenter.org. The Westport Arts Center gallery is open Monday – Saturday 10 a.m. – 5 p.m. at 51 Riverside Avenue, Westport, CT.
On the cover: David Sheskin, "The Control Group - Museum Viewer," original digital print