Saturday, May 11, 2013

Career Milestones and Reflections of the Past

This week a lovely review of my January solo show at Arden Gallery was published in the May issue of ART NEWS (pg. 106). The reviewer, a very perceptive critic and excellent writer, was Joanne Silver. Mentioning several works, she really picked up on the nuances in individual pieces and the overall viewpoint of my show, "The Resonance of Time."


"Right Vocabulary," 2012, 24" x 24", mixed media with tacks and encaustic.
This piece appeared with the review in ART NEWS.

Here is a scan of the review that I think you will be able to read if you click to expand the image.


The ART NEWS review written by Joanne Silver, published in the May 2013 issue.

Seeing a review of my work in a publication with the status and distribution of ART NEWS was really a thrill. When I first learned that the reviewer was Joanne Silver, I immediately recognized her name. Joanne had written about my work years and years ago, but I couldn't remember the exact details of when it was and what she had written about.

Prior to writing a thank-you note to her, I looked through my file of old clippings and reviews to see if I could find anything. There it was--The Boston Herald, Friday, August 27, 1993--twenty years ago! She had written a very nice piece about a show I had called "Evocative Objects: Constructed Paintings" at the Children's Museum in Boston. Most of the pieces in the show incorporated objects I had purchased from the Recycle Shop at the museum. That was such a great place for artists to shop and get cheap materials. The shop sold donations from manufacturers of waste materials, discontinued items, scraps, buttons, dice, plastic chips and who knows what.. You could fill up a big paper bag for $3 or $4 and then figure out how to use it when you got to your studio.

Here is the 1993 review written by Joanne Silver from The Boston Herald:




One item I remember in particular from the Recycle Shop, that I used all the time in my work, was Nerf Javelin handles made from extruded black foam rubber. I loved that stuff and used it in so many ways.



"Cauldron" from 1994 or 1995, about 18"x 12", made from Nerf Javelin handles, a found
catalytic converter, other things, and, of course, tacks

Detail of "Cauldron"

The piece shown here was a bit more sophisticated than the work I exhibited at the Children's Museum, but the basic look was there--tribal, handmade, dark, hermetic. And this is the work that I looked back on before I started my Running Stitch series (what I showed at Arden Gallery that Joanne Silver reviewed in ART NEWS). At least 15 years had intervened between the two bodies of work, but when I started using recycled and found objects again (and, of course, tacks), I really felt that I had come home to my true self.

It does give me a kind of Twilight Zone-ish feeling when I think of those 15 years that I was spinning my wheels making all kinds of paintings, mosaics, collages, sculptures and various styles and genres of art. Of course, nothing is ever wasted when it comes to making art. It all goes into the maw and comes out somehow, maybe years later, but it's in there, percolating.

Surprisingly, Joanne Silver wrote back to me to say that she did remember my work from the Children's Museum and had wanted to see what I was doing now. That totally unexpected response shows that art critics, at least the good ones, have long memories and may recall work they have seen and artists' names over long periods of time.

Refreshing my memory of the Children's Museum show through this review was like coming face to face with  the self I was then through the work I was then making. Imagining at the time that I would have reached the career milestones of representation by a Newbury Street gallery and a review in a national art publication, was way beyond anything I could envision. Maybe I should go through my old files and see what else I can discover about myself by seeing who I used to be and what I used to make.

Wednesday, May 8, 2013

Gregory Wright - FORCES

Greg Wright, a friend and skilled painter, is currently having a solo show of 18 works in his series, "Forces", at Galatea Fine Art in Boston's South End, running until May 31st.


Detail of Synaptic III

Shifting, Expanding, Creeping, Growing, Intertwining
The works are all painted in a grisaille palette of mostly greys, whites and blacks, but despite the overall somber tonality, the marks and forms in the works appear to be actively moving in a lively exploration of space. Those forms represent "the dissemination and movement of information and the unspoken word" but are also unseen forces present throughout life within our bodies and in our souls. Portraying all of this is a weighty challenge, but Greg paints twisting and intertwining organic forms in many shapes and configurations that he imagines in various scenarios. This is a powerful collection of works that draw the viewer in to visual exploration of the dark recesses within the sinewy compositions.

Viewing the Exhibition Moving Around the Gallery  (be sure to click on the images to enlarge them)
(Note: I'm sorry for the color differences here and there caused by those yellowish photos being taken by my iPhone. Others were taken with a more-pixelated camera.)


At right, Synaptic I, II and III, 2011- each 48" x 20,"
At left, The Truth Comes Out, 2012, 36" x 30"
All painted with encaustic, oil, pigment and shellac on birth panels

As we enter the gallery space proper, the three tall Synaptic paintings are on the right and ahead is the slightly more colorful The Truth Comes Out. One of the forces that Greg refers to is synaptic reaction as electrical impulses move through our bodies or across the internet. He is interested in the forces that set off this chain reaction and perpetuate change.



 Synaptic I, II and III, 2011


Synaptic III


The side wall of the gallery showing left to right - The Quest, diptych,
On Many Different Levels I and II (boxes) and The Truth Comes Out


Dimensional Illusion
Seeing these works on the screen,may give the impression that they are actually sculptural, and although they do have some areas where encaustic paint is built up, these are two-dimensional paintings. Hieronymus Bosch is an influence, but where Bosch depicted humanity to comment on social and religious life, Wright's forms are abstractly organic and vaguely familiar but not identifiable. He refers to them as "Baroque-like compositions of beautiful complication."



The Truth Comes Out, 2012, 36" x 30"
encaustic, oil, pigment and shellac on birth panel


I think The Truth Comes Out is my favorite piece in the show. It seems to portray an undersea world of seaweed, billowing bubbles, limitless underwater depths and some kind of strange egg shapes. The mostly grey palette has a few cool greens added that enhance the illusion of or allusion to the sea world. Or could this be an imaginary glimpse into the inner workings of the body, not pink and red as we know it, but cooly grey and white with touches of green?


Closeup of The Truth Comes Out


On Many Different Levels I and II, 2011, each 6" x 6" x 6"
encaustic, oil, pigment and shellac on wood

These boxes are painted on five sides with a continuously expanding portrayal of forms moving through space and interacting with each other. 


The Quest, diptych, 2010, each panel 30" x 24"


Left panel of The Quest

The forms in this diptych almost take on human shapes tumbling through space, but the forms retain their anonymity as they "morph, combine, and reimerge into something other than their original state."


Left, Reaching Out, 2010, 36" x 30"
Right, Lucid Moment I and II, 2011, each panel 40" x 36"
All three painted with encaustic, oil, pigment and shellac on birch panels


Lucid Moment I and II


Lucid Moment I from a closer perspective

In the Lucid Moment paintings the scale and shape of the forms change to become larger, more frontally presented and less rounded. Connections between the forms are emphasized by chains of thin links making them into a continuous unit. These works, Wright says, are "about finding clarity or reaching a climax."


Reaching Out, 2010, 36" x 30", encaustic, oil, pigment, and shellac on birth panel

Reaching Out, detail

This spiderlike or crablike form appears to have burst out of its surroundings as if it is moving forward toward the viewer. The beautifully-textured background seems rock hard while the form itself looks soft but powerfully graceful. Does this depict what Greg refers to as "an awakening in the soul?" 

Moving around the gallery, we come back to a short movable wall that faces a window into the hallway on one side and the gallery on the other.


On the gallery side of the wall, is a diptych called Convergent, painted on
two 18" x 18" panels


While on the window side of the wall, a quadtych of four 10" x 10" panels in
The Story Continues promises more to come.


The small panels of The Story Continues contain dramatic contrasts within the individual works, and the central breaking apart of the image reinforces the expansiveness portrayed in Reaching Out. Hidden forces are present in every aspect of our lives and Greg Wright has visualized them for us in a dynamic and fascinating show. I hope people near Boston will be able to see it in person.

Monday, May 6, 2013

Part Three - Salon des Refusés - "RED"

Here's another piece rejected from the A Gallery RED show. I think this is a beautiful piece by Donna Hamil Talman, and I know that this ties into her earlier photographic work with bones, archeology and ancestors. Great piece, Donna! I'm accepting it. (Please click to view this larger,)



Donna Hammil Talman, "Inner Workings"

Sunday, May 5, 2013

Part Two - Salon des Refusés - "RED"

As promised, here are the other submissions of works that were not accepted into the show RED at A Gallery in Provincetown. (Note: some of the artists submitting works here did have other work accepted)



Leslie Ford - "Red 5"- no info


Pamela Wallace - "Power of Fusion, Radiation, Convection, Conduction", wax and oil
on panel, 16" x 16" x 1"


Michelle Thrane - "Villa of Mysteries II", beeswax, resin and pigment on panel, 20" x 16"



Susan Lasch Krevitt - "Red Rover", wool, encaustic, oilstick in cigar box lid,
10" x 6.5" x .75"


Rae Miller - "Passwords" - no info


Diana Gonzalez Gandolfi - "Mapped Moves," 2008,  encaustic monotype
mounted on panel, 25" x 12"


Pat Spainhour - "Red Wing" - no info


Karen Frazer - "Chinese New Year Mandala" - no info

Thanks for submitting, everyone!

Monday, April 29, 2013

Salon des Refusés - "RED"

The works below were submitted for jurying to A Gallery in Provincetown, Mass., for the show RED but were not accepted. This is an opportunity to view them in another context. To see an online show of works that were accepted, see Debra Claffey's blog here.


Patricia Dusman, "Radius," 2013, Encaustic & oil on panel, 24" x 24"



Helen Dannelly, "Red Cluster," 2013, Paper, encaustic, 14"  9" x 7"



Mitchell Visoky, "Dialogue in Red"



Susan Delgavis,  "Red Tide," Encaustic and epoxy resin on birch panel, 12" x 12"



Linda Cordner, "Tall Red," Encaustic on board, 24" x 12"



Annette DeLucia Lieblein, "Inventory I," 12" x 12"



Dawna Bemis, "Temple Court," Encaustic, encaustic monotypes, pharmaceutical inserts
and newsprint on steel, 24" x 24"



Cheryl McClure, "Bands," Encaustic and oil on panel, 36" x 24" x 2"



Kathleen Cosgrove, "7 Bunches of Red Berries"



Dorothy Cochran, "Warming Up", Encaustic collagraph, 28" x 16"



Deborah Winiarski, "For Du Fu," 2012, Encaustic, papers, oil on cradled panel,
24" x 28 1/2" x 2"



David A. Clark, "Red #1," 2013, Encaustic monoprint on Rives BFK, 24" x 18"



Judy Klich, "Naked Ladies," 2013, Encaustic, 16" x 20"



Joan Stuart Ross, "Red Weave (diptych)," Encaustic and collage on panel, 8" x 16"



Lynda Ray, "Azure Land," Encaustic, 18" x 24" x 1"



Nancy Natale, "Texas Pete," 2013, Encaustic and mixed media, 14" x 14"



Michael Billie, "Drumming Twins," Wax, burnt wood, bone beads,
handmade rope on panel, 23 1/4" x 23 1/4" x 6"



Lisa Pressman, "The Well 3," 2013, 12" x 12"


Note that the RED show is being exhibited in conjunction with the Seventh Annual International Encaustic Conference in Provincetown, Massachusetts, that will run from May 31 - June 2, 2013. Here's the link to the conference blog.

Comments are welcome!

Sunday, April 7, 2013

Up on the Farm

What a wonderful excursion Bonnie and I had yesterday at the new home of Sidehill Farm in Hawley, Massachusetts. Saturday was opening day for the Farm Shop and the occasion for tours of the new buildings. I know this blog is supposed to be about art, but I took a day off from the studio and I wanted to share my experience with you. (Be sure to click on the pictures to enlarge them.)

Patting the great Sylvie. No, she is not a meanie, but she does have a fierce look.

The New Farm
Sidehill Farm relocated from Ashfield, Mass. to their present home, the former Donovan Farm, a 225-acre, stunningly beautiful property at the very top of Hawley, at an elevation of 1830 feet. It was once the largest certified organic farm in Massachusetts and the source of Donovan's organic potatoes. It's a high, open area with a totally visible sky unblocked by trees or buildings. Here's how Amy, one of the owners of Sidehill and an excellent writer, describes the property:

Gently rolling fields of waving grass and a sky that stretches from sunrise to sunset every single day. Such sky we don't see often in our hilltowns - but this is sky where the day is two hours longer than you thought it was. You can bale hay by moonlight. The frogs sing from the pond to keep you company in those late hours, filling that starry sky with their songs that by day are drowned by birds. And different birds! Not our familiar treetop songbirds, but grassland birds swooping behind the tractors, snatching insects from the windrows of hay - bobolinks, barn swallows, redwing blackbirds, killdeer.



The view "down the mountain" just outside the Farm Shop. In the distance, if you know just
where to look, you can see Mt. Monadnock in New Hampshire.




Fabulously beautiful but still really cold with winds sweeping across the open spaces and snow still lingering.

Our Personal History With This Area
More than a dozen years ago, Bonnie and I moved to western Massachusetts. For the first five-plus years we lived in the town of Ashfield, one of the hilltowns in the Pioneer Valley, population less than 1800 people spread over 40 square miles, elevation about 1400 feet. One town over from Ashfield is Hawley, population less than 400 people, area about 30 square miles, elevation 1700-plus feet. I've written about this area before here and even included photos of what-was-then the Donovan farm in that post. We knew Sidehill Farm when it was in Ashfield and we used to get fresh vegetables every week as well as raw milk, sometimes grass-fed beef, and, when they started making it, yogurt.


Sidehill Farm yogurt  - once available only locally but now being distributed in eastern Mass. as well

The Dairy Herd
This wonderful yogurt is produced from the rich milk of two breeds of grass-fed cows at Sidehill - Normande and Jersey. The Normandes are big, mostly piebald cows with distinctive rings or spectacles around their eyes. They are raised for both their rich milk and for beef. This breed is originally from the Normandy region of France and does not have a history of being grain fed as many American breeds do. The Jerseys are much smaller, more uniformly brown with large, dark eyes, and are originally from the Isle of Jersey off the coast of England. 


The brown cow on the left (with head cropped) is a Jersey and the beauty on the right is Sylvie, a Normande.

Here are the two breeds as calves - left, Balsam, a Jersey, and right, Goliath, a Normande. These two were born at the beginning of March.

The Tour
Led by  intrepid co-owner Paul, wearing a sequined, hot pink hat that he had donned to "channel his inner girl" for an earlier task, we set out down the very open road to the new cluster of buildings where the yogurt will soon be made and where the cows are already settled in.


We started the tour at the new farm shop, where yogurt, raw milk, paneer, beef and other goods are sold.


Tour guide Paul in his charming chapeau at the start of the tour


The creamery and cow barn in the distance. It was such a blue sky day although a freezing cold wind was blowing.


Our tour group entering the creamery building.


Inside the creamery with Paul pointing out the new equipment.


Yogurt is still being made at the former location in Ashfield for a couple of weeks while final work is completed here. These buildings were just begun last fall and constructed in December. You can see some in-process photos on Sidehill Farm's Facebook page here.



The jacketed tanks where yogurt will be made.

The milk inside the tanks will be heated to 185 degrees by hot water (heated by solar) in the jackets to pasteurize it. After using the heated water here, it will flow through pipes in the floor to heat the creamery!  Owners Amy and Paul have put so much forethought and planning  into this property that it's inspirational.

Once the probiotic cultures are added to the heated milk, it will be moved to the heating room to firm up into yogurt.. This only takes a day.


The wall heater in the still to be completed heating room.

There is also a huge walk-in refrigerator where the yogurt will be stored and much more equipment yet to install.

View of attached cowbarn from the creamery.

There were two more important rooms to see before we joined the cows in the barn. First, the milk room, where milk from the milking parlor is collected in tanks. One tank will be for raw milk and the other for yogurt.


Here is Paul in the milk room answering our questions about how things work.


Cow Info For Those Not In The Know
Our questions were not about how the equipment worked, but how the cows worked. For example:

When are cows bred so that they will calf at a certain time of year? The gestation period is about 10 months for cows. Now that Amy and Paul have an indoor location and plenty of room for calves, they will begin breeding cows to calf in January instead of March. 

How do you feed the calves and still get milk from the cows?
Nurse cows can feed seven or eight calves. Cows have been bred to give so much milk that it's more than one calf could possibly need. Nurse cows are cows that are more adaptable to suckling calves or they are cows whose milk has not developed the qualities needed for processing after calving but which is fine for calves. Calves are not fed from bottles when nurse cows are not available but from buckets with four or five nipples. 

How many milk cows do you have at one time?
About 22.

How long do cows give milk/what is their lifespan?
Depending on the cow, usually about 14 years but sometimes as long as 20.

How long does it take to milk a cow/your herd?
Cows vary from about five to 15 minutes for milking. It takes about an hour and a half to milk all the cows.


The Milking Parlor
That has such a luxurious ring to it, doesn't it? Like the cows are all lounging around on chaises and sofas thinking about giving milk when they get around to it. However, I have been receiving Amy's wonderful periodic email updates about goings-on at the farm, and I know that the milking parlor and everything else connected with dairying is really no bovine literary salon.

One of four milking stations. Each station serves two cows at a time.

This was really fascinating. That concrete step in the photo above is 14" high and the cows actually step up there on either side of that rounded railing. Sounds unlikely but it does work. That height of 14" is determined by the appropriate height for the person doing the milking, as you will see later.


Amy showing how the cows stand when being milked.

The cows are let into the parlor from the adjacent barn three at a time through a door at the right operated by a a handle hanging from the ceiling (you can see it in the top left quadrant of this photo). A cow steps up on the platform and then puts her head through a gate that locks her head in place. The cow is busied with a tasty sample of grain to keep her occupied.


Amy is standing at the milking apparatus and about to sit on the swiveling white stool behind her. The little girl in pink boots is standing where a cow would stand, so there would be one cow to the left of Amy and one to the right.


Amy showing the actual milking gear that attaches to the cow's teats (four).

Milk is pumped from the cows into tubing that moves the milk into sealed vats in the milk room. This milking system can tell when a cow's milk has all been pumped and the pumping action will stop automatically. Once a cow is finished being milked, the milker releases the gate holding her head and the cow walks to the right where a second door to the cowbarn is opened to let the cow out. It sounds like a smooth operation but apparently cows have ideas of their own about how smoothly things will go depending on - whatever cows depend on.

The Cowbarn
Walking out the door to the barn from the milking parlor is like stepping outside because of the beautiful light from the ceiling/roof that is covered by a special fabric that is impermeable to rain and snow and casts a softly glowing light over the huge area of the barn. It also smells wonderful - like fresh hay - and you'll see why as you keep reading.


Roof trusses that hold the fabric in place


As you can see, this is just one side of the barn and there is a whole giant area behind the
camera where the calves are kept. This barn is ginormous.
There are a couple of other unusual features about this barn. First of all, the giant windows that also let in light, the fact that there are no stalls and the cows are free to roam around (mostly) and hang out with each other and the floor that is filled with bedding. The floor is covered in hay - three giant bales of it a day - and the layers continue to build up as the winter goes on. Amy said that after an entire winter, the piled up hay could actually be about four feet deep! Underneath the top layers, the bottom layers get compacted and the used hay and cow poop begin to break down into compost. The floor is cushy, warm and great bedding. In spring (if it ever arrives) when the cows can go out to pasture once the grass starts growing, the entire floor will be shoveled up and put out to compost on the fields.


Close up of the bedding floor

Why is this so good besides the great features above? Because it saves our watershed. Amy said that their farm is at the very top of a watershed that runs all the way to Long Island, NY! By not making runoff from cow poop, Sidehill Farm is saving that watershed from pollution. Imagine if this practice was followed by many more farms so that we wouldn't have the stinking giant poop mountains or lakes that the usual farms have.


Show Us The Cows
OK, here are the cow pix.

A black and white Normande with a Jersey pal. I wish I could tell you the names of these cows because all the names are so imaginative and downright funny. The calves are named generationally after their mothers, so that Christmas is the calf of Thanksgiving and so forth. 

A pretty Jersey girl. (Way better looking than any of the girls from that reality show.)


Gentle and curious Jerseys surrounding a visitor who didn't mind getting his knees dirty.

The distinctive "spectacles" on a white-faced Normande. Notice how full her udder is getting.

The wonderful Sylvie giving me the eye. Note her horns that had to be cut because
they kept growing and were aiming into her head.

These are the young bulls and the cows that are not milking/haven't calved yet. Notice
that the only thing keeping them away from the others are those two thin wires. Those
wires are electrified but apparently the "fence" doesn't always
keep the boys on their side of the barn if they want
to check things out on the girls' side.

This is a cow enjoying the saltlick and minerals that are kept unpooped-on in this
rubber-topped floor container. There are a few of these containers around and the cows use them continually.

A child viewing some of the calves

The youngest calf, born just three days earlier. The calves are kept in enclosures by age
with older calves in one pen and the youngest kept by themselves.

Two older calves - Jersey and Normande, respectively.

The Equipment
Farms are full of the greatest machines. Being a city slicker type, I have no idea what most of them do. Here is one that was pointed out to me - the bale chopper. This is what is used to go into the field behind the old cemetery on the farm (see my 2009 post here), pick up one of the giant, plastic-wrapped bales of hay, bring it back to the barn, unwrap it and then chop up the hay so it can be spread on the bedding floor.


Chugging down the road with a speared bale on the way to the barn.

An unwrapped bale prior to chopping.

Inside the bale chopper.

Finally, I couldn't resist taking a photo of this wonderful blue tractor against the red barn.

A color study

All I can say is that after this life, if I come back as a cow, I know where I want to end up - Sidehill Farm.




But while we're all still in this life, don't forget to look for the great Sidehill Farm yogurt at Whole Foods, farmstands, CSAs and farmers' markets near you (here's a list from their website). It is guaranteed (at least by me) to be the best yogurt you have ever tasted. After learning all this about how carefully their cows are fed and treated, I understand even more how they make the fabulous product they do. Believe me, it's like eating ice cream, only better for you.Try it, you'll LOVE it!


Inside our refrigerator.