The Riverwinds gallery in Beacon continuously highlights emergent Hudson Valley artists. Their partnership with Montgomery Row in Rhinebeck gives regional artists the opportunity to be show in multiple venues around the Hudson Valley; the galleries successfully serve as ambassadors for these artists.
Currently Montgomery Row is displaying A Perfect Blend of Photographs and Paintings. The exhibition is located in the lobby area outside of the Wells Fargo LLC. While the photographs outnumber the paintings, the two mediums offer different perspectives of the subject matter of the exhibition – landscapes and nature.The exhibition highlights the work of Theresa Clare, Ann Moring and Greg Moring.
The long-awaited time has come again with the arrival of the 2012 Glimmerglass Festival. The Glimmerglass festival is to opera, what Music Mountain is to string quartets.
Beginning July 7, the Alice Busch opera theater will open its doors to four main performances, Verdi’s Aida, Wilson’s The Music Man, Lully’s Armide and Weill and Anderson’s Lost in the Stars.
All such main-stage productions are accompanied by other performances, concerts and talks throughout the summer, giving the festival a fat schedule and people an opportunity to see and appreciate as much as possible.
Something fashioned by hand, be it a piece of furniture or a decorative object, can transform a run-of-the-mill house into something special and distinctive. Take, for example, one of Fletcher Coddington’s handsome creations that can be seen at the Arrowsmith Forge showroom on Route 44 in Mabbettsville. chandelier for the Puerta Azul
Coddington and his wife, Debra, first met at a blacksmithing conference in Purchase, New York. Debra had worked both as a blacksmith and a metalsmith, designing jewelry and collector’s items for the likes of Cartier and Tiffany, first as a hobby and then as a profession. After they married Debra joined Fletcher in Millbrook, where he had grown up, and together they started Arrowsmith Forge. detail of gate at Winley Farm, Millbrook
Francine du Plessix Gray’s new novel The Queen’s Lover presents a historical docu-drama about Marie Antoinette and her young Swedish lover, Axel von Fersen. Letters have come to light in Sweden revealing the depths of their longstanding love affair, although Marie’s children, as confirmed by recent DNA research, were by King Louis XVI. If you’ve been unfortunate enough to see the 2006 Sophia Coppola film about Marie Antoinette, you might feel discouraged from reading this intelligent novel, which at times attempts too much with the historical material first made famous by Alexandre Dumas in his four novels about Marie Antoinette, especially The Diamond Necklace, and more recently treated by the late Italo Calvino in a novella. Fersen, half-Casanova and half Erlend Nikulausson (from Sigrid Undset’s great masterpiece Kristen Lavransdatter), lacks the attractive enigmatic depths of either witty Casanova or impulsive Erlend, yet Fersen’s boasting narcissism reveals an intelligent and talented man who attracts the absolute love of his sister.
A large crowd turned out at Maxton Mills for the Summer Benefit of the Wassaic Project for their performing arts summer festival. The festival on August 3-5, will include bands, nine dance companies and fifteen film makers.
Benefit attendees previewed the project’s summer show, “Return to Rattlesnake Mountain,” comprised of works by 80 artists over 50 of whom were previous “artists in residence.” Each year the Wassaic Project funds eight artists who come to live and work in studios in Luther Barn, a converted livestock barn. The Project also provides studio space for three local artists.
After years of making a string-quartet statement, Music Mountain opened its 83rd summer season on Sunday with the St. Petersburg String Quartet and Misha Dichter.
The quaint Music Mountain facility lives up to its name and indeed sits atop a mountain. The long, winding road from the village up the mountain leads to a beautiful view and to Gordon Hall. Gordon Hall appears to be nothing more than an old, oblong meetinghouse converted into a rudimentary concert facility with a stage at one end and wooden church pews lining the interior. In actuality, however, the building was built in 1930 by Sears Roebuck for Jacques Gordon and is acoustically impressive.
Justin Daniel Perlman is one of the few sculptors who works in the difficult craft of marble carving. His work is the subject of the current show at the Seti Gallery on the Kent Green in Kent, Connecticut.
Perlman was born in 1974 in Great Neck, Long Island. He studied sculpture at the Art Students League of New York. In 1998–1999 he moved to the country where all the great painters and sculptures studied—Italy. In Pietrasanta he developed his marble-carving skills. Then, in 2000, he moved to the booming metropolis of Zanesville, Ohio, where he held an apprenticeship at the Coopermill Bronze Works.
Since 2004 Perlman has lived in Sherman, Connecticut. Aside from developing his own artistic pieces, he also works as the artisan for Anthony Padovano, whose public monuments are well known. Perlman also has one of his own on display in the Sculpture Mile in Madison, Connecticut.
With the day as his model, Harry Orlyk has spent 35 years documenting farmland in Washington County. His colorful paintings hang on the walls of the Ober Gallery in Kent Connecticut.
Orlyk was born in Troy, New York. In 1970 he graduated with a B.S. from SUNY New Paltz and in 1974 received an M.F.A from the University of Nebraska, Lincoln. In 1974 he also received the Woods Fellowship and in 1995 the Guggenheim Fellowship award.
Orlyk is well known just a jaunt away from here in Hudson, New York where he has been featured for the last decade at the Carrie Haddad gallery.
The White Gallery in Lakeville, Connecticut, has been temporarily transformed into a scene out of The Great Gatsby. With 1930s and 1940s music playing in the background, the provocative women on the wall tell the tale of the times in which they lived.
Ann Chernow’s work is edgy. She addresses an aspect of feminism that was not so beautiful. The 1920s paved the way for women to smoke, gamble, drink and wear dresses above the knee. Yet Chernow captures the women in the 1930s and 1940s who went overboard—the tramps, the dames, the hussies and the broads.