The Barn at Collamer Road is the site of a pop-up art exhibition starring three Cicero-North Syracuse art teachers. Kara Daviau, Amy Haven and James Vanhoven share their art in the upstairs gallery space of this amazing venue located at 6456 Collamer Road, East Syracuse, NY 13057. You can view the work from 11:00 am-1:00 pm on Saturday, April 2, 2022, and Sunday., April 3, 2022. And that’s it! The opening reception was today. The show is titled “Resonance”.
Their prices are very reasonable. Haven’s ceramics may have all sold! They are beautiful pieces – wall hangings, jewelry trays, pottery – with arts and crafts details such as quatrefoil and ginko leaves.
Vanhoven’s work is exquisite – he is technically proficient. He is the quintessential art teacher with a variety of interests all focusing on landscapes. There are etchings, watercolors and oil paintings, as well as pastel drawings.
Daviau paints in acrylic with collage. She incorporates musical themes giving each illustration of abandoned buildings a unique personality. She also sells merchandise depicting those paintings. These include apparel, prints and accessories.
I’m sure we will be seeing a lot more from these dynamic artist/colleagues!
On Sunday, I was inspired to go the the Schweinfurth Memorial Art Center. I planned to meet up with my friend about forty minutes before I actually arrived, and luckily, that bit of procrastination created an unexpected rendezvous.
Terry Plater, the featured artist in the Gallery Julius, happened to be in attendance and was gracious enough to meet with me and that was AMAZING!
Plater’s exhibit is titled Harriet’s Legacy. It is a series of watercolored landscapes (along with a few oil paintings). They are abstracted with muted tones and sweeping brushstrokes creating a harmonious horizontal solitude. The paintings demonstrate a tranquility, as though the historical voices yearning for freedom that infuse these landscapes are finally at peace.
An historian from the Cayuga Museum of History & Art directed Plater to the actual places that Harriet Tubman walked to include the probable paths of the Underground Railroad. The artist imagined these places as they may have been, sort of remembering the past in a vision and injecting it with the love of four hundred years, the strength of character through tears of both sorrow and joy, and the quiet confidence and intelligence she exudes as the beautiful soul, artist, and teacher she is today.
It is a marriage between past and present with the focus on positive outcomes, as well as the deep respect for Tubman and people like her who had the courage to make the future brighter.
I see the power in that beauty – it isn’t the angst of social injustice. Each painting was inspired by text – by quotes from books, letters penned by “fugitive” slaves, and notes from recorded journals – all found in a library where Plater researched the Underground Railroad activities specific to the Auburn, New York area. The paintings echo the manifestations of desires, wishes, hopes and dreams that came true in spite of doubts, fears and sacrifice.
Each painting in this eleven-piece collection is for sale. They will be on display until August 7, 2021.
She has channeled a voice to the local African American past through a connection with her own family members. There is an ethereal flavor to these paintings as well, the same muted tones, albeit in oils. That museum was closed on Sunday, so I could not view the shows in tandem, but perhaps you still can!
So beautiful, uplifting and inspirational.
Terry Plater told me that her deepest wish is to share this journey with students, so, I want to relay that message to families who are looking to do a day trip. The museums are adjacent to one another and – you’re welcome.
Thank you, Terry Plater – you are a beautiful person inside and out, and it was a sincere pleasure to have met you. Continued success to you in your career as an artist and in all that you choose to do! <3
Artist Statement: The idea for this exhibit came together for me in an iterative fashion as I contemplated three things: the 400th anniversary of the arrival of enslaved Africans in the now United States (in 2019); the release of the film “Harriet,” which so richly conveyed the life, struggles and triumphs of Harriet Tubman; and an ongoing project I have been undertaking: painting from old family photos to better come to know and honor the history of my own family in Maryland and Virginia.
The proposal links these discreet endeavors in a single narrative, one that imagines, represents, and celebrates family history and 19th-20th century public life — specifically here in upstate NY — as emblematic. The title is meant to convey several things: the intergenerational history, value, and ownership of our collective American story as embodied in slavery and emancipation, the acknowledgement of Harriet Tubman as a local figure and national treasure.
Terry Plater wishes to thank all those who made this exhibition possible: The Schweinfurth Art Center and the Cayuga Museum of History and Art in Auburn; and the Community Arts Partnership of Tompkins County.
The Schweinfurth Memorial Art Center is located at 205 Genesee Street, Auburn, New York 13021. For more information, including hours of operation, call (315) 255-1553 or visit their website here.
The Cayuga Museum of History & Art is located at 203 Genesee Street, Auburn, New York 13021. For more information, including hours of operation, call (315) 253-8051 or visit their website here.
The Everson Museum of Art is open! I mean, it’s been open – I just didn’t know it. I was able to catch the tail end of the Lacey McKinney show, Reconfiguration. The Everson Bulletin states the show’s run ended on the 24th so…lucky me and my friend Penny.
*The show has now been extended to February 28, 2021 so…lucky you!
I love the discourse between Penny Santy and me when we see exhibitions together. We don’t always like the same pieces but we understand each other’s point of view.
McKinney’s paintings are oil and acrylic. I suspect the acrylic was either a means to create texture or the underlying Frankenthaler-esque washes in some of the female populated landscapes.
Penny loved these new-technique-for-the-artist “cyanotypes” (above) but they reminded me of a crafty high school art project – female body parts minus vagina, lol, that is too mean, sorry Lacey, but, I felt like these were a bit too safe and they read more like studies than finished pieces. I did admire the size relationships though. And in person, the blue hues are lovely and more nuanced than the photograph suggests.
The larger portrait/landscape mash-ups were far more interesting to me. They offered visual collage in a successful way – female as mountain, eyes averted so as not to become a focal point – they had an ethereal beauty to them. She is quite proficient in the rendering of the subject matter, as well as holding a cerebral allocation of the structure of her iconography.
These two (above) were my favorites. I loved the softness of the colorations and the rhythm in the compositions. They whisper emotion in a powerful feminine way with subtle colorations of glaze-infused shadow. Perfection!
This piece (above) reminded me of Marilyn Monroe, but that may be because I had just watched a documentary on Arthur Miller, ex-husband of MM, and one on the fashion designer Dries Van Noten, Belgium fashion designer who created a line of menswear with a variety of images of MM silk-screened on jackets and shirts.
The literature states that the artist selected images from magazines and reconfigured them stealing fragments of different women juxtaposed as either friend or foe. So, maybe?
This collection is on view in the Robineau gallery on the first floor of the museum. I believe there were only about five other people in the entire museum today when we visited. Plenty of social distancing room to ruminate on this new work. Call (315) 474-6064 for more information.
The Quilts = Art = Quilts exhibition at the Schweinfurth Memorial Art Center is up until January 10, 2021, so you have plenty of time to see it. It is only the second installation since the mandatory Covid-19 shutdowns. The Made in New York show was their toe-in-water – they have upped their safety and security measures to include weekend visits.
Not sure if a lot of people know the museum is open. It is – and it is BEAUTIFUL. A wonderful experience, especially when you practically have the place to yourself and you can enjoy that intimate discovery of art elements – line, shape, color, texture and size, while appearing incognito.
Only some of these quilts are standard sizes – the rest are meant as wall decoration. Iconography runs the gamut from portraits and landscapes to the abstract. Traditional quilting techniques offer a stepping stone to what is and what can be.
This is a juried exhibition cultivated from a nationwide call for entries. Seventy-one quilts were selected.
Valerie S. Goodwin is a mixed media fiber artist and architect whose works of fine art are included in museum and private collections. Most of her work is inspired by a love of aerial views of landscapes and cities. Many of her quilts are based on maps.
Goodwin’s art has moved through various stages from traditional quilting to an interest in abstract expressionism and, currently it is inspired by real and imaginary landscapes and cities. In some cases, her work shows an architectural sense of space with an archaeological perspective. In others, the network of the city and its built form is more prominent. These compositions work on several levels, from close up and far away as if one was looking at it from above.
She received degrees in architecture from Washington University and Yale University. Her award-winning work has been widely published and exhibited. She also lectures and gives workshops nationally and internationally. Currently she teaches architectural design at Florida A&M University.
Fiber artist Mary Lou Alexander’s two great passions are art and nature. She grew up in Northeast Ohio playing along the streams and paths of a nearby forest, drawing, and stitching together fabric scraps in her Godmother’s sewing room. She studied art and art history in college, but spent much of her adult life as a biologist, examining the ecology and reproductive behavior of small South American monkeys. She earned a PhD from Kent State University in Biological Anthropology, and holds an international Diploma from the Royal Botanic Gardens at Kew in London. She taught at Northeastern Ohio College of Medicine and in the Department of Biological Sciences at Kent State University.
In mid-career she resigned her tenured professorship to return to art and stitching full time. Over the year she had mounted 5 solo exhibitions in museums and galleries, and she has been represented in many juried exhibitions in the US and Europe including Artist as Quiltmaker, Quilt National, Quilts=Art=Quilts, Best of Ohio, Form Not Function, Focus Fiber, and others. Her work was invited to be included in Color Improvisations, which toured Europe in 2010 through 2013 in the Inaugural Exhibition at Edison Price Gallery in New York City and Material Pulses, which is touring the Us through 2023. Her quilts are part of many private and public collections including Marbaum Collection at the San Joe Museum of Quilts and Textiles. She has curated several exhibitions for the Butler Institute of American Art and written reviews for Fiber Arts Magazine. Natural phenomena remain a major inspiration for her work.
The exhibiting artists are as follows:
Margaret Abramshe, Geneviève Attinger, Bobbi Baugh, Deb Berkebile, Margaret Black, Ellen Blalock, Holly Brackmann, Peggy Brown, Betty Busby, Libby Cerullo, Shinhee Chin, Gregory Climer, Tyrus Clutter, Holly Cole, Shannon Conley, Petra Fallaux, Victoria Findlay Wolfe, Diana Fox, Kerri Green, Debbie Grifka, Carol Grotrian, Betty Hahn, Barbara Oliver Hartman, Jeanne Hewell-Chambers, Virginia Holloway, Judy Hooworth, Beth Porter Johnson, Noel Keith, Natalya Khorover, Judy Kirpich, Elke Klein, Karen Krieger, Denise Labadie, Judy Langille, Susan Lapham, Niraja Lorenz, Valerie Maser-Flanagan, Alicia Merrett, Kestrel Michaud, Susie Monday, Kathy Nida, Frauke Palmer, Julia Pfaff, Heather Pregger, Wen Redmond, Denise Roberts, Irene Roderick, Barbara Schulman, Karen Schulz, Candace Hackett Shively, Carolyn Skei, Brenda Gael Smith, Gerri Spilka, Lee Sproul, Victoria van der Laan, Cynthia Vogt
The Schweinfurth Memorial Art Center is located at 205 Genesee Street, Auburn, New York 13021. They are open Tuesdays-Saturdays from 10AM – 5PM and Sundays from 1PM – 5PM. Call (315) 255-1553 for more information or email at firstname.lastname@example.org.
The Richell Castellon art exhibit at Wilson Art Gallery in the Noreen Falcone Library on LeMoyne College campus is a must-see. (1419 Salt Springs Road, Syracuse, New York 13214).
Castellon gives us his impressions of homeland Cuba vs. Syracuse, New York. The landscapes of Cuba appear as an anachronism – like a sunny Miami circa the 1950s – the cars are vintage, the streets are clean and the people appear content. The Syracuse paintings are a bit more gritty, There’s a painting representing the underside of a rusty Route 81 bridge and another depicting a homeless panhandler holding a sign reading, in part, “the best is yet to come”. I am assuming this is a metaphor for the artist’s life?
Because he does live here now. According to the literature, the artist is interested in the similarities and differences between Cuba and Syracuse – the paintings are all street views, painted in the same style, yet these places are distinctly different with regard to the way he captures the light.
Castellon offers both city views in color and in value studies using an impressionistic brushstroke with acrylic paint. The paintings seem to glow from within. The Syracuse paintings radiate heat, especially in the way he handles the traffic lights in the night-time street scenes. They appear to have a sort of uncanny incandescence, which is quite impressive. How does he get acrylic to do that?
I met him at the Syracuse Tech Garden a while back – he told me then that he paints from photographs and from memory. There is a sense that the images have emerged from dreams. They portray a sequence of moments in time, as if they are somehow actually moving. I think it is the combination of loose brushstroke and just enough sharp edges that creates this phasing in-and-out of reality magic.
Yeah, I think Castellon is some sort of artist wizard. The larger originals are only $850 and the two smaller framed paintings on paper are around $300. Very collectible!
From Cuba to Syracuse continues through March 30, 2020. See the library website for hours of operation. For more information, call (315) 445-4330.
Terry Askey-Cole was in charge today at Gallery 54 (54 E. Genesee St., Skaneateles, New York 13152). She is one of the artists represented by the gallery. Fifteen years ago, Askey-Cole took courses in ceramics. Now she has her own home studio complete with kiln where she creates decorative pieces, like these whimsical floral garden sculptures (below), as well as slab and wheel thrown pottery and mosaics.
According to the gallery’s website:
Opened July 2009, Gallery 54 is an artist owned and operated gallery located in the scenic Finger Lakes village of Skaneateles. Most of our artists are local to the Finger Lakes/Central NY area and offer our customers a wide variety of high-quality and unique fine art and fine craft, including paintings, mosaics, pottery, art quilts, jewelry, photography, stained glass, handbags, scarves, and more.
In addition to the artwork our owners have on display, we also represent many additional local artists, whose mediums include paintings, jewelry, metal, glass, wood boxes, sculpture, tiles, silk wearables, ceramic clocks, illustrations and more. Be sure to visit our artist’s pages for more information about our artists and to see photographs of their work.
Askey-Cole said there are eight artist owners. Other artists may submit their work for jury – they can sell it on commission or sometimes items are purchased wholesale, so working the cash register is optional. It is an interesting model for business – and quite successful. Askey-Cole has played a part here for the past eleven years (since its inception)!
Traffic consists mainly of day trippers, like me. People from outside the Skaneateles area who venture in exploration and leave with a wooden bowl, jewelry, painted glass, knitwear and/or artwork. Gallery 54 makes use of every available space and when there are several people inside, it’s tight. There were a bunch of excuse-mes and sorrys today as I guided my way around every nook and cranny.
My friend Nella Joseph does well here. She hand-paints glassware. I am in love with the cardinal pieces (below).
Richell Castellon is the featured artist. His original paintings are cityscapes with one of the groupings done in black and white on burlap. Castellon is also currently exhibiting (until March 30, 2020) in a solo show (From Cuba to Syracuse) at the Wilson Art Gallery in the library at LeMoyne College.
Eventually I will purchase one of these amazing ceramic slab wall hangings by Peter Valenti. His work is so incredibly well-crafted. I love the Arts & Crafts feel with the ginkgo leaf and dragonfly motifs and the copper finishes. They are so distinctive in style! They are raku-fired, which is the method where the ceramics are removed from the hot kiln and placed in sawdust, salt or another smothering effect to starve the artworks of oxygen thereby affecting the glazing process. Valenti’s pieces offer rich texture and color.
Other artists represented by Gallery 54 include Lisa Maffiore, Liz and Rich Micho, Donna Smith, Sallie Thompson, Fred Weisskopf, and Judi Witkin. The gallery is open 10 AM – 5 PM daily.
Two of these immense acrylic and collage paintings welcome museum guests at the door. The remainder are located in the Robineau Memorial Gallery.
According to the literature, “Cazenovia-based artist Jim Ridlon creates impressionistic portraits of gardens that are poetic meditations on the passage of time and the impermanence of nature.” They are acrylic studies of gardens created on paper then cut and reassembled onto stretched canvas, the borders of which are all painted Titanium White.
They are like a Claude Monet-Jaskson Pollack mash-up, but with this amazing cohesiveness that is inherent in Ridlon’s work. The mindful decision making is what hooks me – the formal thinking solutions – harmony in the cut shapes, which leads to a rhythmic flow of color that seems to change as one travels through each trio. Subtle coloration changes happen in the light then everything transforms upon closer inspection, as the texture begins to dominate.
It is this deliberate action as an artist, used to create something that is meant to be fleeting, meant to be an essence of nature, that I whole heartedly admire in Ridlon’s creations. He knows how to be present. How to focus on the work and consciously capture the beauty of life.
These paintings are relatively new, made in the last two years and exhibited for the first time here. We are privileged to be among the first to witness this poetry.
Jim Ridlon: The Garden continues through March 29, 2020. Call (315) 474-6064 for more information.
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. <3
We all trudged through an unbelievable (unreal/unimaginable, etc., lol) thunderstorm to flood the Edgewood Gallery (216 Tecumseh Road, Syracuse, New York 13224) tonight for the opening reception of a new exhibition called Worlds Real and Imagined.
Cheryl Chappell has gathered three etching artists – James Skvarch, John Fitzsimmons and Grant Silverstein and paired them with “architectural and organic” jewelry designer Sylvia Hayes-McKean, and “sculptural and functional” ceramist David MacDonald to create this incredible show, which will be up through September 27, 2019.
Grant Silverstein‘s smaller pieces are perfect for the beginner art collector. They are diminutive, yet intricately detailed and framed so beautifully. Some are as low as $75! <3
I did not know that John Fitzsimmons was into etchings. He is known for his award winning oil paintings – mainly portraits and landscapes. So cool! His response – “I’ve been busy!” (working in his studio at the Delavan Center, 501 West Fayette Street, Syracuse, New York 13204). <3
James Skvarch is sporting a sling because of a left shoulder injury. Good to know he is on the mend and that he is right handed! He is such an incredibly proficient artist. The depth and detail in his landscapes is really out of this world! Love! <3
Sylvia Hayes-McKean is at it again, after a brief hiatus, a sculptor turned silversmith with modernly feminine earrings and necklaces that she creates at her studio in the Delavan Center. Her grandson was a wonderful supporter/salesperson/helper tonight! So adorable. <3
David MacDonald – he is the best! I can’t say enough about how much I love his ceramics. He told me that when he was in college, he was a painter and someone suggested he switch majors to art education, which instigated the left hand turn into taking necessary ceramics classes! And the rest is history, lol. Such an amazing person! His positivity is infused in every single one of his pieces, whether decorative or functional. <3