This year there are fifteen 8th graders in my Studio in Art accelerated high school course at Chittenango Middle School. They finished the Lions Club Peace Poster project just in time for the end of the first marking period and for the judging last Wednesday. This is an international competition where the big winner gets $5,000. At the local level, the Chittenango Lions awarded monetary prizes for 1st, 2nd and 3rd place.
This year’s theme is Journey of Peace.
Posters will be on display in the guidance office where we have recently created a little gallery space. They will be moved to the Sullivan Library’s Community Room for the month of December 2019.
Today our winning poster competes for the regional title. If it wins, it continues its journey at the state level then internationally.
The Lions Club is providing us with a luncheon on Wednesday, November 20, 2019 in our classroom. I am so incredibly blessed to have these wonderful people in my life. They are so supportive of my program and each year for the past thirteen years they have turned three of my students into professional artists. That’s a lot of pros! Win-win! ❤
I don’t give credence to evil. I believe there is goodness and lack of goodness. We create our own realities and so, perhaps unwittingly, we create sadness, doom, mayhem and what have you. The Universe/God gives you EVERYTHING you ask for without the emotion associated with positive or negative vibes.
That’s the gist of it. In this way, no outside entity or force is inserting itself into your experience. You and you alone create the life you have.
The good news is that you can control your life experience by thinking positively, by working to create a sense of goodness via happiness, joy and love. You can have a beautiful life if you choose to look at the good, that is to say to create rather than face reality.
People who argue for their limitations, who need to revisit shit-storms don’t get this. People who use the devil as a temptation scapegoat instead of taking responsibility for their actions – well, that seems a fearful way to live.
I accept that I will not be loved unconditionally by this man, because it is apparent our beliefs have divided us, and so, this so-called devil has seemingly wedged itself in the cracks of my relationship after all.
Isn’t that ironic? You get what you think about – perfectly illustrated. Imagined evil wins this round (for the sake of this article). And the moral is that you just can’t take yourself too seriously. Allow everyone to live their own truth even if it perpetuates pain rather than alleviating it. And don’t judge. Yes, that’s the trick – to love anyway, even if you don’t always agree…and to trust, trust, trust that goodness will inevitably/eventually prevail. There are always positive outcomes available to you. ❤
Jerome Witkin has made a career of facing harsh realities via his large-scale figurative paintings. Art must show our times, without any holding back, showing how we are living in this time – this world . His quote operates on the assumption that everyone in this time is living crummy lives. He uses Katrin Naumann, my friend and yogini as a primary model to illustrate the dastardly manifestations of society, which is such an irony in itself. Katrin is an ethereal soul, an absolutely beautiful human person.
Witkin is proficient in rendering and paint applications. His compositions are modern visual collages shaped like temples for his angst-infused pulpit. The devil is in the details, lol.
Jerome Witkin: This Time, This World is currently on exhibit at ArtRage Gallery (505 Hawley Avenue, Syracuse, New York 13203). The art reception is tonight from 6-8 pm. The show runs through January 11, 2020 with an artist talk planned for Wednesday, January 8, 2020 at 7 pm.
Syracuse artists Jacqueline Adamo, Lauren Bristol, Dana Stenson and Tom Huff have joined forces to produce a contemporary spin on texture for the new art exhibit at Edgewood Art Gallery and Custom Frame Shop (216 Tecumseh Road, Syracuse, New York 13224).
These four talented people – I am always running into them in town – I saw Jackie at the Yoko Ono exhibit at the Everson Museum of Art; I see Lauren every now and then while hiking at Green Lakes; ran into Dana last week at Target and Tom at the Regional Flea Market. But, weirdly enough, I missed the opportunity to see them all in one place at the same time at the art reception for their show, which was Friday night.
The exhibit is called Creative Thread. I popped in on Saturday to check it out. Edgewood is a small gallery, about the size of my living room, but owner Cheryl Chappell has a great eye and a way with space. Each show brings a fresh perspective and Cheryl does a magnificent job curating – pairing larger pieces with smaller ones and allowing all to shine. She is also a preeminent framer.
Jackie Adamo has created all new pieces incorporating fabric and sewing techniques into her oil paintings. Lauren designs her own patterns in these wonderful crochet wall hangings in addition to displaying several diminutive fiber art narratives. Dana is a metalsmith and has produced some mixed-media art pieces, as well as jewelry for this show. And Tom has chipped in with his reductive soapstone sculptures.
David MacDonald’s ceramics are still for sale too!
This exhibit continues through November 15, 2019.
The shop is open Tuesday-Friday 9:30-6:00 PM and Saturday 10:00 AM-2:00 PM. For more information call (3150 445-8111).
Where am I? I am back at work at Chittenango Middle School, teaching 8th grade Studio in Art, Art-8, and helping fifty kids a day with homework in two study halls. My outfit of the day (#ootd) pictures have been hit or miss. Not sure whether or not to resume taking them. Katy C. and I have been so busy prepping lessons and organizing stuff – I only have a few pictures to share (even though we’ve been back at it for two weeks now).
Meanwhile, my artwork is going places. I am exhibiting encaustic baseball paintings and horseshoe paintings during the month of September 2019 at Half Moon Bakery & Bistro (6500 East Seneca Turnpike, Jamesville, NY 13078).
And last night I delivered six encaustic angel paintings from the Futura series to a new restaurant called 317 (317 Montgomery Street, Syracuse, New York) before heading to the Italian Festival, which is taking place in front of City Hall this weekend. These paintings will be up in a group pairing along with other artists’ work (indefinitely, as of now). 317 provides an incredibly intimate dining experience right in the heart of downtown Syracuse adjacent to the Onondaga Historical Association.
Finally, my twelve Japanese-inspired fan encaustic paintings are still available for sale at Kasai Ramen (218 Walton Street, Syracuse, NY 13202) until September 16, 2019.
P.S. I started designing bracelets! I’ll be ready to launch that experience very soon – stay tuned! The jewelry thing is my current passion and focus artistically. The universe has been doing a great job of taking care of everything else. Thank you, universe! Life is good! ❤
The Art Galleries at Syracuse University are designed to facilitate education. In other words, it’s a teaching museum. Professors require students to go to there – to critique the art/learn how to judge a work of art. Students journal about experiences for classes, attend the receptions and lectures, and even work there (which has to be the greatest work-study gig).
Last year, former Director Domenic Iocono mentioned it was the reason artists like Jasper Johns, James Rosenquist and Kiki Smith wanted to collaborate by sharing their work with our community, enhancing the walls of the spaces with their respective visions.
In this season’s first exhibition, Not a Metric Matters, the university galleries led by new Director and Chief Curator Vanja Malloy, Ph.D. hosts its own – the School of Visual & Performing Arts faculty. It is an opportunity to showcase their talent, yes, and also turn the tables on the critiquing process allowing the professors to show students how it’s really done.
Margie Hughto has been affiliated with the university for many, many years. When I spoke to her last month, she said teaching is still fun and so, she will continue to share her expertise with students for many years to come.
Her ceramic and found object work is exquisite. It is perfection in editing – selecting just the right found object pieces to coordinate with the ceramic pieces. The work alludes to the recent discarded and forgotten in terms of technology.
The thought provoking concepts aside, Hughto’s artwork screams of her strength of character. She finds beauty in every angle, in each piece fused as one. They are signatures of her style while continuing to surprise and delight us, continuing a growth trajectory as an artist and that in itself is the lesson.
Holly Greenberg has isolated grief in this productive series of drawings. These pieces resonated with me – as you know my father recently passed away and his belongings are still in the closets, his car in the driveway at Mom’s house. Using these ordinary objects as memento gives them a lovingly somber power and isolating them in their compositions drives the message home.
It is curious how objects can retain the emotion of the spirit and Greenberg’s proficiency in rendering provides the elevation of their status.
Ann Clarke‘s fiber artwork is marvelously original. Texture is my thing and seeing monumental work on the walls creates a bold statement about time. The fabrics are traditional, but the techniques are fresh and alive. The hooked rug eye is really incredible in-person. I love the idea of taking a method we all used in the past and formulating this new pattern, which seems to denote to me that someone is watching over me, loving me.
Clarke’s statement does imply that she is the watchful eye for her ailing mother and that is a beautiful thing. That the old becomes new again, and time is cyclical.
Other teaching artists in this show –
Yasser Aggour, Cooper Battersby, Emily Vey Duke, Don Carr, Deborah Dohne, Heath Hanlin, Seyeon Lee, Sarah McCoubrey, Su Hyun Nam, Vasilios Papajoannu, James Ransome, Tom Sherman and Chris Wildrick
Their work takes dimension as paintings, drawings, photo-collage, video and installation – and all have something important to say within the context of their visualizations.
There are more exhibits in the space, all curated by different people. DJ Hellerman is the curator of this show. He is the Art and Program Curator at the Everson Museum of Art and collaborates with SU’s Department of Transmedia. I met him while stumbling into a critique of university students’ final exhibitions at Apostrophe’s.
David Prince curated the display of former VPA faculty members. As you know, I am an SU grad (B.F.A. ’85, M.S. ’93). These professors are my people. I absolutely loved Rodger Mack. He was so devoted to building the sculpture department and his bronze sculptures are THE BEST!
Seeing his hands portrayed by Jerome Witkin brought a tear to my eye. There is so much love here, people. Going to Syracuse University was a dream come true for me – I feel incredibly blessed to have been the first person in my family to ever go to a university – and to see the professors being honored is such a gift. They deserve every accolade.
They were and are true working artists, not just people showing up to collect a paycheck.
There’s lots more to see of these exhibits and the vast permanent collections. It will all be on display until November 24, 2019. There will be an art reception on Thursday, September 12, 2019 from 5 – 7 pm. And Holly Greenberg will be giving a presentation in the adjacent Shemin Auditorium on Thursday, November 7, 2019 at 6:30 pm.
Syracuse University Art Galleries is located in the Shaffer Art Building on Syracuse University campus. Free parking is available on Sundays and on Thursday evenings in the Q lot – or at least it was when I was there yesterday. Call (315) 443-4097 for more information including hours of operation. ❤
In 1971, Syracuse Folklorist Dan Ward met someone (okay, it was a hitchhiker), which led to his first trip to Syracuse, New York to see James Taylor in concert at the War Memorial. Instead of acquiring tickets to that sold-out concert, he ventured across the street and was pulled through the door of the museum. Somehow he randomly became part of an elite group allowed to tour the Yoko Ono exhibition at the Everson Museum of Art, along with the artist and her husband John Lennon.
The whole thing was documented on film and in the media. Dan Ward was a teenager living a serendipitous existence. There was a waterbed on the floor that evening, positioned to offer a unique view of the spiral staircase. He thought it was unusual but gave it a try – his first time on a waterbed and with a bed-bug (a Beatle). There were other interactive ingredients as well, some have been replicated for the retrospective/new exhibition, Yoko Ono: Remembering the Future, which opened last night. Every piece cultivated to reside harmoniously within the walls of I.M. Pei’s modern architecture. This show was meant to create a dialogue between viewer and artist with the viewer creating the closure.
Yes, a stunningly beautiful Ono (according to Ward’s recollection – photographs never did her justice) and Lennon, and Ringo Starr were all there that night, as well as several of their close friends from Manhattan. It was a media circus focused on celebrity in a time when art was misunderstood and maligned.
I wish I could have been there back then, too, wish I could have been that fly on the wall – to bear witness to perceptions of the past while remembering the future….
Imagine a museum filled with objects – hammers, nails, string, ladders, piles of dirt, blue paint. Imagine a world where the viewer participates and the result is a collaboration between artist and you. Artist as conceptualist. You as executioner. You as artist too.
It is what I do as a teacher. Okay, students – here’s the lesson, here are the supplies…. It is always so gratifying and almost strange in a way. Like – do this, and they say okay.
This is the genius of Yoko Ono. It is a presence, a facilitator who loves her audience, who gives them an experience, a happening, a memory. Something to do. Museums are always a DO-NOT-TOUCH place, but here you can add string to the wall, hammer in a nail onto a piece of wood, paint part of a mural, be a part of something bigger than yourself that has no other meaning than what it is. Collective mark making. A chance to interact in a museum in a child-like manner and by that, I mean being totally present. Not thinking about anything else but the art – and not even thinking too hard about the how or the what, or the why.
Because you are a part of the experience and your existence is relevant, necessary and needed. You matter. You are loved. You are welcome. You belong.
For six decades, Yoko Ono has maintained an unwavering belief in art’s ability to transform, uplift, and inspire. Her work, typically ephemeral or participatory, occupies the porous boundaries between artistic disciplines, from music and film to sculpture, poetry, and performance art. Ono’s approach to art making is generous, and since emerging in New York’s downtown art scene in the 1950s, she has privileged collaboration over solitary authorship, inclusivity over isolation, and transience over permanence. These underlying precepts, which simultaneously undermine the capitalist structure of the art market and criticize the institutional model of the museum, also unified a postwar artistic movement known as Fluxus, of which Ono was an important contributor. For Ono, as well as later generations of artists and those currently engaged in social practice, art belongs to everyone, can be created by anyone, and has the potential to change the world.
Yoko Ono was born in Tokyo in 1933. A survivor of the trauma inflicted on Japan during World War II, she moved to the United States in 1953 during a period of surging nationalism, consumerism, and anti-Japanese sentiment. During this time, Ono became a central figure within New York’s downtown scene and became close collaborators with artist George Maciunas, the founder of Fluxus. Many avant-garde intellectuals, artists, composers, and writers gathered regularly at Ono’s Chambers Street loft for experimental performances by groundbreaking artists like La Monte Young, Toshi Ichiyanagi, Terry Jennings, Jackson Mac Low, Richard Maxfield, Henry Flynt, Joseph Byrd, Simone Forti, and Robert Morris. Here, Ono realized some of her earliest conceptual works that would greatly influence the trajectory of art, film, and music.
Ineffable, intangible, impermanent, Ono’s art, as a body of work, defies categorization. The term Wakon yosai (“Japanese spirit, Western technology”), the national slogan of modernization in Japan during the Meji era, might best describe Ono’s approach to life and art. Her works, conceptually linked to the form of musical scores, draw on sources as diverse as the history of classical and modern Japanese art and Zen Buddhism to early black-and-white cinema and classical music. Ono’s signature text-based scores date back to the early 1950s. In 1964, she published the scores in Grapefruit, her definitive text. The scores, as Ono explained in 2016, “are a bit like music scores which exist so anyone can play the composition. What I’ve imagined are art scores. Each visitor can take them up so that their own ‘music’ can be heard in my creations.”
Throughout the 1960s, Ono had significant solo exhibitions in the United States, Japan, and in England—including the AG Gallery in New York City and the Sogetsu Art Center in Tokyo. She performed at the 83rd Fluxus Concert: Fluxorchestra at Carnegie Hall, In 1966, Ono performed Cut Piece in Kyoto and Tokyo, exhibited her work at the Judson Church, and participated in the first Destruction In Art Symposium organized by Gustav Metzger in London. Ono met John Lennon when he visited her exhibition Yoko at Indica, at the Indica Gallery in London.
Following her marriage to Lennon in 1968, Ono was catapulted onto the world’s stage of fame and wide public visibility, a position she has brilliantly coopted to further her long-standing interest in the power of the imagination, human rights, and world peace.
Forty-eight years after the Everson hosted This is Not Here, Ono’s first museum retrospective, YOKO ONO: REMEMBERING THE FUTURE presents her enduring artistic work devoted to healing human connections and exposing social and political injustices. Spanning more than six decades from germinal early instruction pieces to recent, large-scale architectural installations, YOKO ONO: REMEMBERING THE FUTURE traces Ono’s experimental approach to language, art, and participation as a means of contributing to a more accepting and peaceful world.
YOKO ONO: REMEMBERING THE FUTURE is curated by DJ Hellerman, the Everson’s Curator of Art & Programs and Jon Hendricks, Ono’s long-time friend and curator in partnership with Yoko Ono, Studio One, and Susie Lim.
The operation of the Everson Museum of Art is made possible with funding from the Dorothy and Marshall M. Reisman Foundation, the County of Onondaga administered by CNY Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, the Richard Mather Fund, the Everson Board of Trustees and Everson Museum of Art Members’ Council.
YOKO ONO: REMEMBERING THE FUTURE is made possible, in part, through support from Bonnie and Gary Grossman, and Sollecito Landscaping Nursery.