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BYRDCLIFFE ARTISTS-IN-RESIDENCE 2018
R E L I E F : Byrdcliffe Artists-in-Residence 2018 Exhibition Dates: April 5 – May 12, 2019 The Woodstock Byrdcliffe Guild Kleinert/James Center for the Arts 36 Tinker Street, Woodstock, NY Curated by James Adelman and Oscar Buitrago Catalogue design and production by Abigail Sturges Front cover: Andrés Cano, Byrdcliffe Artists-in-Residence 2018, detail. Photograph with flashlight writing. Back cover: 2018 Byrdcliffe artists-in-residence, sessions 1 through 4, in front of the Villetta Inn. Page 1: The Villeltta
The Villetta Inn
Woodstock Byrdcliffe Guild Exhibition Committee Members Osi Audu Laura Battle Byron Bell Tina Bromberg Oscar Buitrago Jen Dragon Paula Lalala Douglas Milford Portia Munson Julia Santos Solomon Melinda Stickney-Gibson Katharine Umsted Linda Weintraub Sylvia Leonard Wolf (chair) Matthew T. Leaycraft (member Emeritus). Staff Jeremy Adams, Executive Director Derin Tanyol, Director of Exhibitions & Programs Rich Conti, Ceramics Program Director
James Adelman, AiR Program Manager Marianne Bosshart, Associate Director of Development & Administration Tim Hawkings, Property Manager Megan Daly, Shop Manager Elizabeth Dragan, Shop & Gallery Assistant Woodstock Byrdcliffe Guild Board of Directors Randy Angiel Byron Bell Joseph W. Belluck, Counsel Linda Bodner Oscar Buitrago Herb Burklund Henry T. Ford Frances Halsband Richard Heppner John Koegel, Treasurer Katharine L. McKenna Catherine McNeal, Vice President Doug Milford Tani Sapirstein, Secretary Julia Santos Solomon Abigail Sturges Lester Walker Paul Washington, President Sylvia Leonard Wolf, Vice President Douglas C. James, President Emeritus Garry Kvistad, Chairman Emeritus The Milton and Sally Avery Arts Foundation
Catalogue Sponsors Kerrie Buitrago Oscar Buitrago All 2019 Byrdcliffe arts programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
DIRECTOR’S NOTE Jeremy Adams
The Woodstock Byrdcliffe Guild is proud to support this publication produced for the exhibition Relief: Byrdcliffe Artists-in-Residence 2018, presented in our Kleinert/James Center for the Arts in the heart of Woodstock. Our artists’ community is a unique hybrid that blurs conventional boundaries between the fine arts and the arts and crafts traditions. Our goal is simple: to help artists explore, experiment, and push the limits of their artistic practice in ways they feel are most beneficial. We seek to impose no requirements on our artists— only to provide them the opportunity to experience uninterrupted time to work in a creative, collaborative environment amidst the natural beauty of the Catskills. Our Artists-in-Residence program not only provides people an ideal locale where they can pursue their art; it also positions them as part of the ongoing legacy of Byrdcliffe, founded in 1902 as a utopian creative retreat. This exhibition is the manifestation of the wondrous endeavors of the artists in our program and we are honored to showcase their work in this important show. Many thanks to the curators of this exhibition, James Adelman and Oscar Buitrago, who both worked tirelessly on all its aspects, from engaging with the artists during the selection process to overseeing the show’s installation; without their efforts this exhibition would never have come to light. Our gratitude also goes to Abigail Sturges for designing this catalogue. Yet again her services and experience have made possible an elegant anthology of one of our exhibitions. Thanks also to Derin Tanyol, Director of Exhibitions and Programs, who worked with the artists, curators, and designer on all aspects of the exhibition. It is because of her efforts that all our programs and exhibitions are of the highest caliber. 3
INTRODUCTION James Adelman Oscar Buitrago Curators
The exhibition Relief: Byrdcliffe Artists-in-Residence 2018 is the third annual exhibition of its kind, showcasing a selection of work by Byrdcliffe’s residents from the previous year. The exhibition provides a glimpse into the creative marvels generated by the visual artists, writers, and composers engaged in Byrdcliffe’s Artist-in-Residence (AiR) Program, as both residents and members of the Woodstock community. Artists in the AiR Program have the opportunity to live and work in an enchanting mountain community in the majestic town of Woodstock, New York. Residents join the great tradition of the Byrdcliffe art colony, founded in 1902 upon a utopian vision for artists from all walks of life. This vision thrives today and is embodied in each of the works presented in this exhibition. Participants at Byrdcliffe take leave of their daily routines to replant themselves in fertile creative soil, allowing growth in any direction that nourishes their practice. They are afforded time to draw inspiration from their surroundings, collaborate with other artists, obtain and provide feedback, and reflect on their own work in a supportive space. It is our hope that the precious gift of time and the experience of Woodstock and Byrdcliffe provide peace of mind, motivation, and a lasting impact on the artists’ work, creative careers, and personal development. Stepping back from everyday life to connect with new personalities in a nurturing environment grants perspective and insight that might otherwise be unavailable.
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Thanks to the support of the Pollock Krasner Foundation, the 2018 AiR Program provided fellowships for multiple artists affected by natural disasters; several of these artists are included in the exhibition. These fellowships consisted of fully subsidized residencies at Byrdcliffe, materials fees to compensate for losses, and travel assistance from Puerto Rico and other areas heavily impacted by recent natural disasters. Relief: Byrdcliffe Artists-in-Residence 2018 illustrates creative independence in its variety of subjects and media. Craft, meditation, social concerns, and more—plus a breadth of artistic techniques—are all present in the gallery, with the work on view either created on-site at Byrdcliffe or derived from experiences there. The exhibition exemplifies the diverse population drawn to the area and reflects on Woodstock as a town with traditions rooted equally in creative excellence and sociopolitical awareness.
Eaton’s marks emulate musical rhythms. Watercolors such as Elissa Gore’s Fleur de Lis deftly capture the spirit of the historic buildings interspersed over Byrdcliffe’s grounds. Oviany Rojas’s Anthem utilizes a repurposed language of visual bombardment, alarmingly familiar in an age of endlessly proliferating images and advertising. In works such as Diver, Madeline Donahue brings together humor, whimsy, and social commentary; her pictures are simple and genuine, with skillful handling and emotionally honest atmospheres. The examples above highlight the hybrid of traditional craft and contemporary language which has long pervaded artistic discourse at Byrdcliffe. Altogether the over 50 works of visual art, music, and writing comprising the exhibition Relief: Byrdcliffe Artists-in-Residence 2018 exemplify the range of experimental and exceptional work facilitated by Byrdcliffe’s artist residencies.
Andrés Cano’s The Shape of Gravity demonstrates his accomplished craftsmanship and mathematically informed woodworking. He reveals abilities across disciplines with a long-exposure photograph of flashlight writing (on the cover of the present catalogue) captured during an evening among creative companions in Byrdcliffe’s natural surroundings. Anne Arden McDonald’s photographic work Planet is at once contemplative and dynamic, a visual spectacle that inspires meditation on its interplay between documentation, experimentation, and fantasy. William Eaton’s Two Drummers, Woodstock Drumming Circle draws inspiration from the town’s weekly drum circle; in this and other drawings, 5
THE EXHIBITION
Andrés Cano, The Shape of Gravity, detail.
Andrés Cano, The Shape of Gravity, detail.
Jeanne Ciravolo, State of Nature.
Lucille Colin, Moonlight.
Wood, 35 x 32 x 30 inches.
Acrylic and collage on canvas, 42 x 33 inches.
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Wood, 35 x 32 x 30 inches.
Mixed media on canvas mounted on wood, 12 x 12 inches.
Madeline Donahue, Diver.
Madeline Donahue, Sweater Weather.
Oil on canvas, 17 x 11 inches.
Oil on canvas, 17 x 11 inches.
Jomarie Figueroa, Oneiric Blackout.
Jomarie Figueroa, In What Language.
Oil on oil paper, 30 x 22 inches.
Blue Bic pen drawing, 12 x 9 inches.
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William Eaton, Woman Drumming Seated,
William Eaton, Two Drummers, Woodstock Drumming Circle,
William Eaton, Leaning Dancer.
William Eaton, Drummers’ Hands, Woodstock Drumming Circle,
Woodstock Drumming Circle, September 2018. Oil pastel,12 x 9 inches.
Charcoal, 12 x 9 inches.
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September 2018. Graphite, 9 x 12 inches.
September 2018. Oil pastel, 12 x 9 inches.
Auguste Garufi, like a flower.
Auguste Garufi, untitled.
Kevin Kao, Double Tongue.
Kevin Kao, Pris.
Cast paper, thread, printed ink, paper, muslin, 36 x 24 x 4 inches.
Ceramic, underglaze, glaze, 9 x 6 x 2 inches.
Wire cloth, lead, oil, pigment, paper, muslin, 36 x 24 x 4 inches.
Ceramic, underglaze, glaze, 11 x 7 x 6 inches.
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Elissa Gore, Quartet.
Elissa Gore, Yggdrasil.
Elissa Gore, Fleur de Lis.
Elissa Gore, Farmhouse.
Watercolor on paper, 5 x 7 inches.
Watercolor on paper, 5 x 7 inches.
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Watercolor on paper, 5 x 7 inches.
Watercolor on paper, 5 x 7 inches.
Elissa Gore, Studio.
Erika McCarthy, Flimsy.
Watercolor on paper, 5 x 7 inches.
Copper wire, thread, and sheer bandages, 34 x 4 x 3 1/2 inches.
Christopher Law, Dead Wood.
Christopher Law, Philosopher's Garden.
Oil on linen, 28 3/4 x 20 1/2 inches.
Oil on linen, 29 3/4 x 18 1/2 inches.
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Alyssa McClenaghan, Carry That Load.
Alyssa McClenaghan, Watch You Work.
Anne Arden McDonald, Planet.
Anne Arden McDonald, Virus.
Upholstery foam, foam insulation, batting, joint compound, apron, acrylic paint, gel medium, wood, 16 x 12 x 6 inches.
Silver gelatin photograph, 24 x 20 inches.
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Upholstery foam, poly-fill, batting, tablecloth, joint compound, caulk, acrylic paint on chair, 30 x 46 x 24 inches.
Silver gelatin photograph, 24 x 20 inches.
Emily Marie Miller, Digging.
Sa’dia Rehman, Series of 9 block prints.
Peter Makela and Taraneh Mosadegh, Wolf Spider.
Peter Makela and Taraneh Mosadegh, Mosaic.
Oil on canvas, 24 x 30 inches.
Acrylic on panel, 16 x 14 inches.
Black velvet, spray paint, ink, cotton paper, each 20 x 16 inches.
Acrylic on panel, 16 x 14 inches.
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Naimar Ramirez, Five by Five.
Naimar Ramirez, Wreath.
Joan Reutershan, #656.
Joan Reutershan, #662.
Recycled paper, glue, varnish, 25 x 25 inches.
Acrylic, tape, marker, polymer pieces on archival digital pigment print on canvas, 28 x 19 inches.
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Vellum, glue, varnish, 20-inch diameter.
Acrylic, marker, foil, polymer pieces and silkscreen ink on canvas, 29 x 19 inches.
Oviany Rojas, Anthem.
Oviany Rojas, Victory, No Real Win. BK.
Maya Strauss, Caww.
Maya Strauss, Seeing Spots.
Acrylic paint on canvas, 16 x 20 inches.
Oil on burlap, 16 x 16 inches.
Acrylic and spray paint on canvas, 16 x 20 inches.
Oil on burlap, 14 x 10 inches.
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Gavin Tougher, For the Native and Solitary Bee.
b.h. Yael, Lessons for Polygamists. Still from animation, 14:30 minutes.
Allison Wade, Content-Aware.
Allison Wade, Set.
Reclaimed wood, found organic material, 84 x 24 x 24 inches.
UV printed photography and live plant, 20 x 20 x 5 inches.
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Oil paint and flock on canvas, 16 x 20 inches.
Hannah Washburn, It Doesn’t Mean What It Used to Though. Clothing, polyfill, and acrylic, 36 x 40 inches.
Hannah Washburn, Soft Corner.
Clothing, polyfill, and acrylic, 22 x 38 inches.
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CHECKLIST OF THE EXHIBITION
Tina Barry (writing), The Virginia Project. Andrés Cano, The Shape of Gravity. Wood, 35 x 32 x 30 inches. Jeanne Ciravolo, State of Nature. Acrylic and collage on canvas, 42 x 33 inches.
Elizabeth Clark (music composition), Green Little Things (live). Elizabeth Clark (music composition), Heartlight (live). Lucille Colin, Moonlight. Mixed media on canvas mounted on wood, 12 x 12 inches.
Madeline Donahue, Diver. Oil on canvas, 17 x 11 inches. Madeline Donahue, Sweater Weather. Oil on canvas, 17 x 11 inches. William Eaton, Woman Drumming Seated. Oil pastel, 12 x 9 inches. William Eaton, Two Drummers, Woodstock Drumming Circle, September 2018. Graphite, 12 x 9 inches.
William Eaton, Leaning Dancer. Charcoal, 12 x 9 inches. William Eaton, Drummer’s Hands, Woodstock Drumming Circle, September 2018. Oil pastel, 12 x 9 inches.
William Eaton (writing), "Along the side of the road I found a silver goblet which had been used as an ashtray."
William Eaton (writing), "Do many ants, in line, criticize others’ behinds?"
Jomarie Figueroa, In What Language. Blue Bic pen drawing, 12 x 9 inches.
Jomarie Figueroa, Oneiric Blackout. Oil on oil paper, 30 x 22 inches. Joby Fox (music composition), Woodstock. EP, 4 tracks, 16 mins. Auguste Garufi, like a flower. Cast paper, thread, printed ink, paper, muslin, 36 x 24 x 4 inches.
Auguste Garufi, untitled. Wire cloth, lead, oil, pigment, paper, muslin, 36 x 24 x 4 inches.
Elissa Gore, Quartet. Watercolor on paper, 5 x 7 inches.
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Elissa Gore, Yggdrasil. Watercolor on paper, 5 x 7 inches. Elissa Gore, Fleur de Lis. Watercolor on paper, 5 x 7 inches. Elissa Gore, Studio. Watercolor on paper, 5 x 7 inches. Elissa Gore, Farmhouse. Watercolor on paper, 5 x 7 inches. Kevin Kao, Double Tongue. Ceramic, underglaze, glaze, ink, 9 x 6 x 2 inches.
Kevin Kao, Pris. Ceramic, underglaze, glaze, 11 x 7 x 6 inches. Christopher Law, Dead Wood. Oil on linen, 283⁄4 x 201⁄2 inches. Christopher Law, Philosopher’s Garden. Oil on linen, 293⁄4 x 181⁄2 inches.
Erika McCarthy, Flimsy. Copper wire, thread, and sheer bandages, 34 x 4 x 31⁄2 inches.
Alyssa McClenaghan, Carry That Load. Upholstery foam, foam insula-
Sa’dia Rehman, Series of 9 block prints. Black velvet, spray paint, ink, cotton paper, each 20 x 16 inches.
Joan Reutershan, #656. Acrylic, tape, marker, polymer pieces on archival digital pigment print on canvas, 28 x 19 inches.
Joan Reutershan, #662. Acrylic, marker, foil, polymer pieces and silkscreen ink on canvas, 29 x 19 inches.
Oviany Rojas, Anthem. Acrylic paint on canvas, 16 x 20 inches. Oviany Rojas, Victory, No Real Win. BK. Acrylic and spray paint on canvas, 16 x 20 inches.
Maya Strauss, Caww. Oil on burlap, 16 x 16 inches. Maya Strauss, Seeing Spots. Oil on burlap, 14 x 10 inches. Gavin Tougher, For the Native and Solitary Bee. Reclaimed wood, found organic material, 84 x 24 x 24 inches.
tion, batting, joint compound, apron, acrylic paint, gel medium, wood, 16 x 12 x 6 inches.
Allison Wade, Content-Aware. UV printed photography and live plant,
Alyssa McClenaghan, Watch You Work. Upholstery foam, poly-fill, bat-
Allison Wade, Set. Oil paint and flock on canvas, 16 x 20 inches.
ting, tablecloth, joint compound, caulk, acrylic paint on chair, 30 x 46 x 24 inches.
Anne Arden McDonald, Planet. Silver gelatin photograph, 24 x 20 inches.
Anne Arden McDonald, Virus. Silver gelatin photograph, 24 x 20 inches.
20 x 20 x 5 inches.
Hannah Washburn, It Doesn’t Mean What It Used to Though. Clothing, poly-fill, and acrylic, 36 x 40 inches.
Hannah Washburn, Soft Corner. Clothing, poly-fill, and acrylic, 22 x 38 inches.
b.h. Yael, Lessons for Polygamists. Animation, 14:30 minutes.
Emily Marie Miller, Digging. Oil on canvas, 24 x 30 inches. Peter Makela and Taraneh Mosadegh, Wolf Spider. Acrylic on panel, 16 x 14 inches.
Peter Makela and Taraneh Mosadegh, Mosaic. Acrylic on panel, 16 x 14 inches.
Elizabeth Primamore (writing), “Caretaker.” Naimar Ramirez, Five by Five. Recycled paper, glue, varnish, 25 x 25 inches.
Naimar Ramirez, Wreath. Vellum, glue, varnish, 20-inch diameter.
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A RT I S T- I N - R E S I D E N C E ( A i R ) PROGRAM Since its founding in 1902, Byrdcliffe has welcomed artists—Bob Dylan, Philip Guston, Eva Hesse, and hundreds more—to and live and work surrounded by 250 acres of the Catskill Mountains’ serene natural beauty. Byrdcliffe offers several types of residencies, as described below. The main criterion for acceptance to Byrdcliffe’s AiR program is artistic excellence and a demonstrated commitment to one’s field of endeavor. We hope you will join us up at the colony!
Program Mission Byrdcliffe’s AiR Program seeks to support and invest in individuals at the cutting edge of their fields, whose work will impact the cultural landscape at large. We provide these artists with the support and opportunity to explore, experiment, and take their work to the next level. Byrdcliffe brings visual artists, writers, composers, and poets together in a dynamic community of local, national, and international artists to create a professional network of creative practitioners and thinkers. We encourage artists to explore their ideas and work within the context of the area and to bring an international community of artists to the Hudson Valley to create opportunities for engagement and cross-cultural exchange with local artists and audiences.
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About the Program Byrdcliffe’s AiR Program is comprised of the following residencies: • Month-long residencies • 5 month-long residencies • Year-long residencies The integration of each of these residency programs has created a fluid group of artists that is constantly changing and evolving. To ensure this integration, the program is overseen by a Residency Manager. Accepted disciplines include all aspects of the visual arts such as photography, ceramics, weaving, architecture as well as the writing of fiction, nonfiction and poetry, drama (playwriting), and musical composition. In addition, the AiR program welcomes visiting theater and performance groups as well as high school students in between the regular residency sessions, thereby serving over 100 artists per season.
Residencies Month-long Residencies
Byrdcliffe’s month-long Artist-in-Residence Program is comprised of 4 sessions running from the May to the end of September, serving over 60 artists (18 artists per session). Disciplines include all aspects of the visual arts, including ceramics, weaving, and architecture, as well as the writing of fiction, nonfiction, poetry, drama (playwriting), and musical composition. Artist each get their own private studio/workspace and separate
bedroom, and share the kitchen and other common living areas. Residents cook and dine with fellow artists, facilitating the sharing of experience and ideas across disciplines. As part of the month-long residencies there are two cottages available for artist couples and for individual artists who want to engage with fellow artists during their stay but seek greater privacy than the communal living buildings offer.
Field Trips
Seasonal Residencies
In addition to the individuals participating in the month-long AiR program, there are 8 cottages available for artists from May through September. These artists go through the same application process as the monthlong residents, but are selected for an extended stay.
Along with providing the solitude, time, and space necessary to creating enduring visual, musical, and literary works, Byrdcliffe situates the AiR artists in a larger colony that is a genuine creative community which becomes an integral part of their residency experience. Residents cook and dine with fellow artists.
Year-round Residences
Open Studios
Traditionally viewed as artists’ housing, these cottages are now incorporated into our residency programming. Artists interested in living at Byrdcliffe for one year submit an application that includes a statement of intent. Applications are reviewed on an ongoing basis and successful applicants are offered space as it becomes available.
Work developed in the program is presented to the public at the end of each session through our popular open studio events and public readings, which draw an attendance of approximately 600 each summer (about 150 per session). A wide-ranging group of Hudson Valley residents and visitors attend to see art and artists in their creative environments. Visual artists display their completed and in-progress works and there are readings, musical performances, and direct discussions with the artists-in-residence.
Additional Benefits of the AiR Program Visiting artists
Eight artists covering a wide range of disciplines visit the program over the course of the summer months. Artists in all three programs can receive one-on-one critiques with these visiting artists in order to further their practice.
The AiR Manager organizes field trips to regional cultural institutions such as the Al Held Foundation, Dia Beacon, Storm King Arts Center, Opus 40, and to the studios of renowned artists living and working in the area. In addition to a historical tour of the Byrdcliffe Art Colony, these trips engage the resident artists with the cultural richness of the area. Solitude and Community
Further Information • More information about Byrdcliffe's AiR Program can be seen here: http://www.woodstockguild.org/artist-residencyprograms/ • Questions about Byrdcliffe’s AiR Program or required materials? Email info@woodstockguild.org 23
AIR PROGRAM FEES AND FELLOWSHIPS
Online Application https://woodstockbyrdcliffeguild.submittable.com/ submit (available October through March)
Residency Fee Byrdcliffe’s Residency fee is US$750 per artist* per 4week session. Fees are due upon acceptance into the program. The residency fee is non-refundable. In the case of a cancellation, we will only consider a refund of the residency fee if the session can be filled with another resident. (*Note: different fees apply for independent living residencies in Varenka and The Forge.)
Fellowships & Support Byrdcliffe offers a number of fellowships each summer based on a combination of financial need and artistic merit, ranging from partial to full coverage of residency fees. We have listed these and other fellowships below. To be eligible for any one of these fellowships, simply check the appropriate boxes in the Fellowship section of the online application form. • Fellowship for artists affected by natural disaster, including but not limited to the California wildfires, hurricanes in Puerto Rico, Florida and Texas, and the earthquakes in Mexico. • The annual Mantooth/Morabito Fellowship is available to an artist of color. • The annual Henry T. Ford/Michael Knauth Fellowship is available to an LGBTQ artist. • The annual Bernard and Shirley Handel Playwright Fellowship. 24
• general merit and need-based fellowships
worldwide.
To be considered for a fellowship, artists must submit the required information listed in the application. To be eligible for a need-based fellowship, artists must submit the first two pages of their most recent tax return with their application.
Fellowship for LGBTQ Artists
The Pollock Krasner Foundation is a major supporter of Byrdcliffe’s Artist-in-Residence Program. We are also supported by the Milton & Sally Avery Arts Foundation and the National Endowment for the Arts.
Fellowships for Visual Artists Affected by Natural Disasters Acknowledging the overwhelming scientific evidence that climate change is real and is having dramatic effects on the environment, we have launched fellowships for artists affected by natural disasters with support from The Pollock Krasner Foundation. The natural disasters we are focusing on include the hurricanes in Texas, Florida, and Puerto Rico, earthquakes in Mexico, and wildfires in California.
In recognition of the critical voice LGBTQ artists have in the artistic landscape of the twenty-first century, Byrdcliffe’s Henry T. Ford/Michael Knauth Fellowship offers two full fellowships annually for an artist who identifies as lesbian, gay, bisexual, transgender, or queer.
Fellowship for Artists of Color In an effort to increase the diversity of artists in our program we have secured the Meredith Morabito/Henrietta Mantooth Fellowship for artists of color. This Fellowship annually provides one artist of color with a full fellowship into the program.
Bernard and Shirley Handel Playwright Fellowship Each year this full fellowship is offered to a playwright based upon creative excellence.
Selected artists will attend the program free of charge, receive a stipend to cover travel costs to and from the program, and also a materials fee of up to US$400 to help replace lost materials. Artists affected by Hurricane Sandy will be visiting these artists in the program to discuss how they returned their practice back to a state of normalcy after the disaster. We intend to maintain these fellowships indefinitely as climate change continues to affect artists 25
Andrés Cano, The Shape of Gravity, detail. Wood, 35 x 32 x 30 inches.
2 0 1 8 A RT I S T S - I N - R E S I D E N C E AT B Y R D C L I F F E Oviany Amezquita Rojas Sabrina Asch Tina Barry Jeremy Bass Julia Bosson Maria Rose Burgio Andrés Cano Carla Cavina Zak Cedarholm Kevin Christofora Mary Cinadr Jeanne Ciravolo Elizabeth Clark Lucille Colin Haleigh Collins Viv Corringham Lionel Cruet Anne Margaret Daniel Asher Dark Jeremy Dennis Madeline Donahue Yewen Dong Devin Dougherty Alexandra du Bois Berend Dubbe Mariana Encheva Kimberly English Jomarie Figueroa Joby Fox
Misty Gamble Auguste Garufi Katie Geha Elissa Gore Daniel Gratz David Greenwood Chuxi Guo Ida Hakkila Faith Heyliger Kevin Kao Maura Kelly Jean Klein Natasha Lardera Jeanne Larsen Christopher Law Robert Lucy Peter Makela Alyssa McClenaghan Anne Arden McDonald Elena Megalos Emily Marie Miller Amey Miller Taraneh Mosadegh Heather O'Brien Mireya Perez Joe Pietropaolo Elizabeth Primamore Naimar Ramirez Sa'dia Rehman
Fionn Reilly Joan Reutershan Meganne Rosen Aparna Sarkar Eric Sasson Carolyn Silveira Brett Singer John Singletary Erin Slaughter Krista Smith Alex Smith Sophia Starling Stephanie N. Stoddard Cortés Maya Strauss Gwen Thomas Kelsey Torstveit Gavin Tougher Gabriela Vainsencher Siebren Versteeg Karen Villeda Allison Wade Caroline Walker Rachael Warner Hanna Washburn Chris Wells William Eaton Clarissa Wu b.h. Yael Lena Ziegler 27
Naimar Ramirez, Five by Five.
Recycled paper, glue, varnish, 25 x 25 inches.
ABOUT THE WOODSTOCK BYRDCLIFFE GUILD Organizational Mission The Woodstock Byrdcliffe Guild provides a vibrant center for excellence in the arts and crafts in the beautiful and unique rural community of Woodstock, New York, while preserving the historic and natural environment of one of the earliest utopian art colonies in America. It offers an inspiring combination of residency, educational, exhibition, and performance programs that encourage creative collaboration among artists, students, arts professionals, and the public.
History The Byrdcliffe Art Colony was founded in 1902 and is the longest continuously running arts colony in the United States. It was founded on the Arts and Crafts movement that began in England in the late nineteenth century. The movement’s most passionate advocates were the artist William Morris and critic John Ruskin, who shared a utopian ideal of a community of artistic collaboration and innovation. Both men felt that life would be enhanced if the arts reflected the nobility they felt was lost when machines eliminated the need for many creative skills. The colony was originally founded in 1902 by Ralph and Jane Whitehead after searching across the country for the perfect location for creative endeavor. Just like Hudson River School artists such as Thomas Cole and Frederic Edwin Church, the Whiteheads found the beauty of the Catskills and the proximity
to New York City ideal for the creation of artwork, and were enchanted by the painterly landscape. Byrdcliffe provides opportunities for excellence in all the arts. It is a locus for creative collaboration and encounters for artists, students, arts professionals, and the public gathered in community. From our 250-acre mountainside campus and our arts and performance center located in the heart of Woodstock, Byrdcliffe offers an integrated program of exhibitions, performances, classes, workshops, symposia, and artist residencies. Byrdcliffe embraces all disciplines of artistic endeavor in a collaborative environment and seeks creative partnerships with fellow nonprofits and educational entities in order to leverage its unique resources for the benefit of the cultural life in the Hudson Valley region and beyond. Byrdcliffe’s original vision as a multidisciplinary artistic community continues today stronger than ever. We provide artists with multiple levels of support for creative, professional, and personal growth. The need continues for high quality artists’ workspaces, and the community at Byrdcliffe encourages artists to explore their practice in a bucolic setting amongst like-minded professionals who view art as their career.
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THE HAIKU BOX PROJECT September 2018-June 2019 An exhibition on the Byrdcliffe grounds, Woodstock, NY
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THE HAIKU BOX PROJECT Melinda Stickney-Gibson Curator Artists Colin Chase Michael Houser Linda King Alyssa McClenaghan Mad Monk Don Porcaro Debra Priestly Christina Tenaglia Marie Vickerilla Hanne Gravesen Vorkapich White Pines
The idea for the Haiku Box Project came from the Japanese tradition of haiku boxes situated along the 400-year-old stone walls of Matsuyama Castle and at the seventh-century Hōgon-ji Temple, where people have been placing anonymous haikus for centuries.
The ten participating artists contributed a beautiful, extraordinarily varied collection of boxes that were installed for a year of changing seasons and weather at Byrdcliffe. Many anonymous haikus were left by visitors over the course of the project.
The nature-based “temple” that is Byrdcliffe’s 200-plus acres of forest, and the Byrdcliffe Colony’s longstanding mission to encourage creativity in all forms and disciplines, provided the perfect opportunity to invite a group of artists to create their own interpretation of the haiku box—and to extend an invitation to people who find them while walking in the woods to leave behind their own haiku, prayer, or secret.
From a curatorial perspective, this was rewarding on so many levels, and I want to thank the Woodstock Byrdcliffe Guild for its unflinching support and encouragement. Lastly, I want to express my very deep gratitude to the participating artists who once again demonstrated that:
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Imagination is limitless. Beauty is in everything. Serious and playful DO coexist.
Colin Chase
Michael Houser
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Linda King
Alyssa McClenaghan
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Mad Monk
Don Porcaro
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Debra Priestly
Christina Tenaglia
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Marie Vickerilla
Hanne Gravesen Vorkapich
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About the Curators James Adelman is a visual artist and manager of the
Woodstock Byrdcliffe Guild’s Artist-in-Residence (AiR) Program. James’s work has been exhibited in solo and group shows in the United States and abroad in venues such as The Museum of Ice Cream, Sotheby’s, The Lodge Gallery, Mark Miller Gallery, Lyons Wier Gallery, Denise Bibro Gallery, Shanghai University, and the Woodstock Artists Association & Museum. He has served as the sole assistant to Gagosian artist and mentor Mark Tansey, maintained a freelance art-handling business in New York City working with galleries, museums, and collectors, and assisted artists Inka Essenhigh and Bernardo Siciliano with graduate teaching. Prior to coming on staff at Byrdcliffe, James served as Lead Preparator for Flowers Gallery and Field Services Specialist for Crozier Fine Arts. Oscar Buitrago is the Director of Business Development for
the global Mergers & Acquisitions group at White & Case LLP and also sits on the firm’s Art Committee. In 2016, he was named to the M&A Advisor’s list of 40 Under 40 Emerging Leaders in Business Development and Marketing for the Mergers & Acquisitions industry. Oscar received his B.A. in Art History and B.A in Classics from Trinity College in Hartford, Connecticut and was awarded the Donat Fellowship for the advanced study of archaeology and the Phi Kappa Fellowship for advanced international studies. Oscar first came to Woodstock in 1997. He serves on the Board of the Woodstock Byrdcliffe Guild, and is a member of the Guild’s Exhibition, Development, and 40
Nominating and Governance Committees. Oscar also serves on the Board of the Woodstock Artists Cemetery. In April 2018, Oscar curated the exhibition In The AiR: Byrdcliffe Artists-in-Residence 2017, at WBG’s Kleinert/James Center for the Arts. In August 2017, he co-curated the exhibition Drawing Sound at the Kleinert/James together with Kerrie Buitrago and Melinda Stickney-Gibson. Catalogues for both exhibitions can be downloaded at: http://www.woodstockguild.org/the-byrdcliffe-shop/ byrdcliffe-bookstore/