A Sampling from the BWAC Maker's Market: Part 1

There are many reasons to visit the Brooklyn Waterfront Artists Coalition. Multiple exhibits of members work as well as juried shows with art from all over the country are hanging simultaneously.

Another excellent reason to visit BWAC is the Maker's Market. This shop offers a wide variety of artwork, crafts, health and beauty products, juvenile fiction and coloring books made by BWAC members.

Here's a sampling of that variety. John and Wendy offer pet inspired artwork from cat pillows, digital prints, collage and more. Have a cat or a dog? Or just like them, you'll love their work.

John and Wendy, Cat Pillows

Look at this Tattooed Dog, digital print on canvas. We certainly have our pet fans covered.

John and Wendy, digital print on canvas

 

Ingrid Butterer offers a beautiful selection of fiber and ceramic art in a soothing palette.

 

Alicia Degner's tile coasters are a perennial favorite. They feature iconic scenes of New York City.

 

Alicia Degner, tile, Brooklyn Bridge

 

A recent addition are Jessie Schulman's cards of her stunning nature photography and as well as her Rosh Hashanah cards.

 

 

 

Lisett Clark is selling notebooks, very small books and prints of her fabric collage pieces. If you look carefully you can see her tiny book earrings.

 

Speaking of earrings I was thrilled to find Pat Dignan's Out of the Woods selection of jewelry. I am a huge fan of treasures found in the woods. Here are her lichen earrings.

 

I am selling collages, prints and yesterday added free coloring book pages to introduce my two coloring books available in the Maker's Market.

This is truly the tip of the iceberg of the wonderful offerings at the Maker's Market. There are literally hundreds of items available for immediate purchase. We've got you covered for beautiful, whimsical, humorous, practical and just plain cool.

Maker's Market is open during regular BWAC hours, Saturday and Sunday 1 - 6 pm. The shop is located right by the front door on the Van Brunt side of the gallery.

Share this post with your friends and family. Make sure they know about this wonderful opportunity to not only support local artists but to add  more art to their lives.

Have work in the Makers Market? Let me know what you'd like me to feature in Part 2.

The Hum of the Human Engine that Keeps BWAC Ticking

This is my love letter to BWAC. I left BWAC Saturday afternoon awestruck again by the dedication of so many people who keep the organization not just running but thriving. The sheer size of the gallery and the number of exhibits on view simultaneously is quite amazing. But let me start at the beginning. Three years ago I met Alicia Degener soon after moving to Brooklyn from Virginia. She introduced me to BWAC and encouraged me to participate. I jumped in.

As a new member I am still learning the ropes and making connections with other artists. As a member of the Board of Directors I have gotten acquainted with my fellow board members. I recently reached out to Renee Radenberg and Sandy Forrest and had lovely visits with both. As a result of our time together, Sandy was kind enough to offer to come pick me up in Bay Ridge and help me get artwork to BWAC for both the Makers Market and the members show, Portals.

Benefits of the BWAC Experience: interacting with kind, talented artists who go out of their way to be supportive

 

Ann G Corbett, Gardner's Eden, acrylic and marker on canvas. Juried exhibit: Elements.

When I arrived at BWAC on Saturday, I brought in my work for the Market to set up my table and then head upstairs to hang 4 collages in the member's exhibit, Portals. While I was doing those two things, Terry Urban and Sandy Forrest were in the main gallery downstairs accepting work for Wide Open 12, the juried exhibit they are co-curating. Sandy has helped me appreciate the amount of time and dedication curators put into a show. Attention to detail and communication skills are essential, then there’s all the running around in the gallery itself hanging artwork, etc. Tamavis, Arden and Renee Radenberg (co-curator of Elements) were also on the first floor on Saturday getting The Elements show down, packing up the shipped artwork, and having the artists pick up so Wide Open can be placed on the walls. These artists are all making amazing contributions to the organization. Read on, there are many others who keep BWAC humming.

To be clear, all exhibiting members work but some much more than others.

Benefits of the BWAC Experience: the juried shows attract national and international artists and help support the gallery with entry fees. In addition they get the word out to artists and collectors about what we do at BWAC and attract new members. All of this elevates our status as member/exhibiting artists.

 

My work in the Makers Market at BWAC. Collages and coloring books.

I really appreciate the opportunity BWAC provides me (and all members) to share my work in the gallery, the Market and on Artsy. I was pleased that one of my collages in the Ukraine benefit show sold on Artsy. I have a tendency to focus on making not selling my work. BWAC makes it easier to me to share and potentially sell my work in the members show with no additional fees.

The members' exhibits would not be possible without the contribution of innumerable volunteer hours by members that make it all work. A special shout out to Joe Banish, Faith, Arden and others working on Saturday whose names I regrettably don’t know. I have never been to BWAC when Jessica Schulman wasn’t at a computer keeping the data stream flowing and setting up volunteer schedules.  Not to forget our admin, Pat Dignan. A very special thanks to all of them and the other unnamed worker bees.

Benefits of the BWAC Experience: share and potentially sell my artwork instead of having it pile up in my studio!

 

Cynthia Ruse

After 3 hours of set up and hanging on Saturday, I was ready to make a break for it. Frankly, I was tired and ready to get outside. However, I didn’t want to miss the opportunity to see other members' work. I wandered around a little bit on my way out of the gallery to head home. Then I saw Cynthia Ruse’s work as she was hanging it in the members show. I stopped dead in my tracks. 

 

Cynthia Ruse, Matchbooks, ink, pencil, collage and flame

I introduced myself and learned a little bit more about her and her work. Incredibly she paints on matchbooks, not exclusively of course. I saw the work and didn’t even see the matches until I was told what the pieces were painted on. After that I couldn't not see the matches. We had a delightful, short conversation and her work opened up whole new ways of seeing, thinking and working.

Benefits of the BWAC Experience: meet new artists whose work expands my vision

 BWAC is truly artists helping artists. If you aren’t a member, why not? Join us. We have members all over the country.

Join us on Saturday, June 18th from 1 - 6pm for the opening of our new exhibitions and start reaping the benefits of BWAC. This is what you’ll see:

• Wide Open 12: a national juried exhibition
• They/He/She: LGBTQ+ fundraising exhibition coinciding with Pride Month
• Portals, BWAC member exhibition
• Dreams Beyond Reason: a solo exhibition by Emily Legleitner
ª Good Neighbors Park Slope: an exhibition by members of an aging in place community
 

 Have a good idea for a blog post? Let me know. Kristin Reiber Harris, krharris46@gmail.com

Learn the Art of Curating as an Assistant

 

 

 

 

 

Have you ever wondered how an exhibit at BWAC comes together? 

 

What needs to happen to get the work in the door and up on the walls? BWAC’s exhibition schedule provides numerous opportunities each year for members and interns to assist the curators and learn the ropes, one of the myriad experiences BWAC makes available to its members to expand their skill set and support each other.

A curator needs to know the gallery space like the back of their hand. The real magic is placing each work of art in the perfect spot, arranging the pieces to be mutually complimentary and creating a visual flow through the exhibit. This is part of the magic and expertise of a skilled curator.

There's lots of handwork to hang the show. Artwork has to be unpacked and packing materials stores for return shipping. Work is then placed around the gallery to finalize the placement of each piece. Last but not least is the hanging, which involves ladders, screw guns and levels.

Want to get involved? Terry Urban and Sandy Forrest are curating the Wide Open exhibition and would appreciate your help. You can reach Sandy at sandyclare@earthlink.net. Not available now, you can always contact BWAC admin (beewack2019@gmail.com), presidents or board members to volunteer. Join in the fun, learn something and make a difference.

 

What would you like to see highlighted in a BWAC Buzz post? Let me know. I am always interested in your thoughts. krharris46@gmail.com

 

Meet BWAC Artist: Renee Radenberg

 

Globe,cast glass, 7"x7"x7"

I met Renee through the Makers Mart, instantly intrigued by her creations in glass. I am not well versed in the techniques used to work with glass and to me it's just magic. I have enjoyed following her work and getting an idea of the very wide range of objects she creates.

 

1. Why do you make art? 

I create so people can experience the wonderment of glass. Glass has a wonder-ful physical property - transparent or opaque - allowing you to see the illusion of space and depth, the constant play of positive and negative spaces.  This causes a magical flow within the glass, embodying fun, playfulness, and the spiritual energy of nature. This can be healing - by holding you in the present moment to enjoy that magic, be enthralled and charmed so you forget the world’s challenges. 

2. What tools/materials do you find essential in your studio?

As a glass artist I need a lot of equipment and materials to create the different techniques of fused glass. The most important piece of equipment is the Kiln (I have 2 kilns) where the ‘magic’ happens. Then there are equipment needed to grind the glass, such as wet saw, lap grinder, wet belt sander, ring saw, and a sand-blaster.
Of course glass is the number one material. Glass has numerous colors that comes in sheets, glass powders, crushed glass (called Frit), glass ‘stringers’ (looks like spaghetti), and billets (large thick ‘bricks’ of glass used to cast glass).  

Why I'm A Member of BWAC: Join Us

Kristin Reiber Harris:

I have been making animation, prints, drawings and teaching for over 40 years. I moved to NYC (Bay Ridge) three years ago. I came for family reasons but liked the idea of being in such a creative environment. As luck would have it, Alicia Degener (BWAC co-president) is a neighbor and I met her soon after I arrived. She was very generous to include me in a number of shows last year as a non-member. I am now officially a member and on the Board of Directors. 

I enthusiastically embrace my active participation in BWAC because it is inclusive, ambitious and truly invested in supporting the arts and its members. The space is an exciting venue. I have seen some incredible artwork and met (despite this crazines) many wonderful artists. The more the merrier, JOIN US!  KristinHarrisDesign.com

Brooke Lambert:

Although I live and work in Lowell, MA, I am always looking for new ways to expand my network and exhibit my art beyond the Boston area. I first discovered BWAC while searching for printmaking calls for art in New York. I applied for BWAC’s juried show Prints 2021 and was excited to get in. At the show opening and closing, co-presidents Susan and Alicia both encouraged me to join BWAC. I was so thrilled! Living in Massachusetts, BWAC membership involves  traveling 4-6 hours to participate in shows and my volunteer contributions are done remotely. I think it’s well worth it for this amazing opportunity to enter into the New York art scene and share my art with the impressive community of artists in this gallery and beyond. JOIN US!

BrookeLambertArtist.com

                                         

Alicia Degener:

I am a member to work with fellow artists to run one of the most inspiring exhibition spaces in NYC.

I have no less than 25,000 sq ft of civil war warehouse space overlooking the Statue of Liberty in Red Hook Brooklyn to dream up and curate shows with my fellow members. Providing artists with an amazing space to realize even their biggest ideas is very rewarding as well as the appreciation folks express when they interact with art in person. JOIN US!  www.etsy.com/shop/BrooklynLish

                                         

Susan Handwerker

Why I’m in BWAC? So many reasons! I’ve learned so much about making and displaying art, jurying, curating, publicizing shows, interacting with other artists and visitors, the extraordinary complexities of maintaining a gigantic gallery space and a volunteer organization simultaneously. But mostly, i just know it’s the best deal in town for artists, friends, visitors and collectors! It makes the New York art scene a little more friendly and encouraging for artists to engage with other artists, to access professional feedback and have a beautiful space to exhibit. Bwac allows our diverse community to give voice to new creative directions and push past boundaries with each other’s help. Artists helping artists. Really! JOIN US!

susanhandwerker.com

Check out the BWAC website for information about membership benefits.

BWAC Membership Application

BrooklynSeoul: Meet the Curators Lee Geuryung and Lee Hojin

BrooklynSeoul is currently on view at the BWAC gallery in Red Hook through December 12. Don't miss this exceptional exhibit. You can read this review in the BWAC Buzz for a preview.

                    Lee Geuryung  The self-portrait _ acrylic on canvas_38 x 60 inch

The Curators

Sister and brother team, Lee Geuryung and Lee Hojin are the co-curators of BrooklynSeoul. It's always informative to learn about the curators, their point of view and their objectives with an exhibit. I had the opportunity to meet Lee Geuryung at the Chashama Studios Open House in October. I learned about the exhibit she had proposed to Alicia Degener that was going to open November 13. She told me  she was soliciting Korean, Korean-American artists and artists whose work represented Korean artistic traditions and current Korean contemporary art. As a long time student of Asian art, I was already looking forward to seeing the artwork she would put together. Extra bonus, I love the pun of the title.

As you will learn in the interview, Geuryung is a very new member of BWAC. How incredibly exciting to welcome new members with this kind of vision and energy to  our community!

BWAC Ends the 2021 Season with Blockbuster Exhibits

BrooklynSeoul shines as part of a trio of exceptional exhibitions that opened at BWAC on November 13, running through December 12. Don’t miss any of these exciting exhibits; BWAC Fall Member Show, Brooklyn Seoul and the Holiday Market. 

BrooklynSeoul was co-curated by BWAC member Geuryung Lee and her brother, Hojin Lee and features their work and art from a selection of Korean and Korean American artists. I had the delightful experience at the opening of interviewing four of the exhibiting artists. This provided the opportunity to engage with the artwork while I could ask each artist questions about their process and technique.  

                                                      Aaron Chung

Dear Mother 
Acrylic on Cut Canvas and Mesh
99" X 48" X 8"
2021

Aaron Chung’s contribution to the exhibition was my first destination.  I had noticed his work on the BWAC promo for the show and was immediately motivated to see more. Aaron’s work on display are large multi-layer hanging scrolls in a subdued palette featuring botanical subject matter. Aaron is the only one of the four artists I spoke to who was born in the Unites States. He talked about growing up in San Francisco to parents who owned a dry cleaning business. When speaking of the significance of his ethnic background, he remembered he interacted with few Koreans as a child. Aaron acknowledged working hard to learn about his Korean heritage including a Fulbright Fellowship in Korea. 

                                                

                                                                 Detail Stream of Thought

                                                             Acrylic on Cut Canvas and Mesh
                                                                            104" X 48" X 8"

                                                                                    2020      
    

When Aaron talked about his concept development, I appreciated the depth and complexity of his thinking. He is referencing flowers, composition and materials of Asian and specifically Korean art and culture while reflecting his contemporary sensibilities. The pieces hang as scrolls in two layers so that cast shadow of the cut canvas is an important component of the work. Enamored by the imagery and scale, I am also intrigued by his technical process. He is drawing botanical imagery, cutting it out of canvas and gluing it on mesh. This scroll hangs in front of another painting. A detail above shows how Aaron incorporates tickets from his parents dry cleaning business in his art...a kind of reference to home.  My favorite is Dear Mother, dedicated to his mother and including flowers associated with mothers in Korean culture. The large botanical imagery of his scrolls captured my heart and spoke to me directly. The pieces are elegantly imposing yet delicate.

http://aaronchungart.com

Remembrance
Acrylic on Cut Canvas and Mesh
104" X 48" X 8"
2020

Jung Eun Park’s work includes a table with a piece she is working on and the tools she is frequently using, adding a unique dimenions to her installation.  My conversation with Jung Eun focused on her separation from her mother in Korea and the frustration of meaningful communication from such a distance. A recurring image in her work is an icon of a house and vegetation. She explains it this way, “Since I moved to New York from Korea and being separated from my family in a long-distance, I’ve been obsessed about fear of unconnected relationship and uncertainty of where I belong. In my work, I investigate the meaning of home by observing my relationship with people, objects, and environments.”

Jung Eun Park, view of exhibit

Grass is still growing to protect my home, 2021

Pencil, thread, ink, cut-and-pasted paper on coffee dyed Korean mulberry paper

14.5 x 14 inches

I found her most compelling work on the table. It’s the back of a letter to her mother that she has embroidered. It is unreadable to the viewer and speaks to her frustration. As she explains, “In a series of text-embroidered drawings, I use text as imagery of communication difficulty, showing a backside of embroidered text. This was started from the work, “Letter to Mother, 2009”. I embroidered my handwritten letter with red thread and showed the backside of the letter so that viewers including my mother cannot read. The stitched text has been developed as a drawing element combined with a shape of a house to evoke a silence in a relationship." There is a quiet consistency to her work that is comforting while inviting investigation.

http://www.jungeunpark.com

As a star gazer and lover of the color blue, Mars Heejung Kim’s work was a knock out for me. The Eclipse series she is exhibiting references her love of the night sky and her desire to be an astronaut as a child growing up in Korea. These paintings resemble mandalas as a symbolic representation of the universe in Buddhism philosophy. On her website she explains “I had the opportunity of studying Tibetan Mandala paintings and I was fascinated by the patterns and symbols found in them.  In my drawings, the concept of Karma plays an important role. It appears as the line that constantly meets and separates throughout the entire picture plane. That line represents the path of my life.” The intensity of the color in these watercolor images is heightned by overpainted white lines that shimmer like the night sky. 

Eclipse 1, 2019, watercolor on paper, 20 x 16 inches

She spoke of dreaming about stars dancing and these express that joyous idea perfectly.

https://heejungkim.weebly.com

Eclipse 2, 2019, watercolor on paper, 20 x 16 inches

Ji Yong Kim’s playful nature radiates from his work. Truly a multifaceted artist, his work in the exhibit includes mixed media pieces, 3D wall sculpture and 3D animation. The work that captured my attention I knew referenced Buddhist mandalas but with great humor and unique materials. At the center of the large piece is a penis and breasts. Forever Young is in effect a paper collage, but in the most complex sense. Ji has created the paper textures and added glitter as the image is glued and built. The end result is a substantial piece that to me almost felt like leather. We talked about the construction of Tibetan mandalas, which I was fortunate enough to witness at the Freer Gallery in Washington, DC and how the glitter did references the sand used in that process.

Forever Young

What appealed the most to me about mandala piece are the botanical images in the four large outer edges. We had fun joking about how his process involved making things as complicated as possible to create a nuanced texture and meaning.

https://www.jiyongkim.com

Detail, Forever Young

I can’t emphasize enough how impressed I am with the range of offerings at BWAC as the 2021 season comes to an end. Do yourself a huge favor and don’t miss out on these shows and the holiday market. In the future try to come to the openings if you can, talking to the artists is a golden opportuity to expand your understanding of the creative process as it is reflected in the variation of every artists work. It certainly was for me.

COMING SOON: I will interview curator Geuryung Lee and find out about her motivation and process of co-curating this exhibition with her brother, Hojin Lee. I am particularly interested in exploring the idea of the impact of ethnicity and culture on an artist's work.

ChaShaMa Open Studios...Meet the BWAC Artists in Residence

 As a newbie to the multiverse that is Brooklyn, Open Studios are a great way to connect with artists. You have the opportunity to meet artists and see both their work and their working environment. So when BWAC co-president Alicia Degener suggested I visit the ChaShaMa Open Studio event at her studio complex in Sunset Park, I was pleased I could arrange my schedule to do it. My visit will be reported in two posts. The first about BWAC members with studios at this facility and the second about other artists I met on this adventure.

It turned out to be a pleasant 35 minute walk from my apartment. It is located in the Brooklyn Army Terminal which is not a warm and fuzzy place. It’s very large and a bit intimidating…even figuring out how to get in. Fortunately the wise ChaShaMa folks knew I was coming and put out a few signs at strategic locations. 

                     Maurya Brennan, Special Event & Cultivation Director for ChaShaMa

When I finally found the studios, with some help from other pilgrims, I was greeted by Maurya Brennan, Special Events & Cultivation Director for ChaShaMa. I was fascinated to learn ChaShaMa’s origin story. Founded by Anita Durst in 1995, it was dedicated to her mentor who was a filmmaker. In Farsi, ChaShaMa means “to have vision”.  Maurya informs me the ChaShaMa is a complex of over 50 studio facilities and galleries all over NYC. Lots of information on their website. https://chashama.org

There are 96 studios just in this complex at the Army Terminal. I stopped by Alicia Degener’s studio to check in. She has a great space with the coveted windows. I saw her tile prep process set up and a collection of paintings on the wall outside her studio space. She wasn’t there when I first arrived so this was a self-guided tour. I really enjoyed seeing the paintings and drawings on the wall outside her studio. I most frequently see her work on tiles and it's wonderful to see the originals full scale. You can see more of her work on her Etsy site. Or follow her on Instagram @adegener

Alicia Degener, work on paper ont the wall outside her studio

When I did connect with Alicia, she directed me to two fellow BWAC members who have studios at ChaShaMa.  My first stop was with Jonathan P Fischer. We have all seen his work because he has frequently provided graphic design services for BWAC.

                           Jonathan P Fischer, Ombra, 2020, paper collage, 62" x 39"

As a designer/collage artist  I was especially interested to see his work and learn about his process. As you might imagine, his studio was full of magazines and other images from various sources with samples of his work hanging from the wall.

Jonathan P Fischer in his studio

The components of his work I found the most interesting were from movie billboards and posters.  He referenced his days in Rome and finding movie posters he incorporated in his work. We talked a little bit about how copyright issues impact/or don’t impact on his work and collage in general. We had a very pleasant visit. Learn more about his work on Artsy.

                             

Geuryung Lee in her studio

Geuryung Lee was my second stop. She is a very active BWAC member currently curating an upcoming exhibit. As described on the BWAC website:  Brooklyn Seoul presents a fresh variety of art with an emphasis on the world as we know it now from a distinctly Korean point of view. Emerging and mid-career (and under-represented) artists are highly encouraged to apply.

Anticipated Opening is November 13, 2021. All disciplines are welcome. Application fee: $35 (U.S.)Enter at Smarter Entry

  Geuryung Lee, The Rain Coat, mixed media on canvas

This large painting welcomed me into her space. I was immediately drawn to a series of large lithographs Geuryung had on the wall of her studio. They consisted of black brush strokes and one color creating a bold, fluid statment, strong and fluid simultaneously.

                   
Geuryung Lee, the Gratitude series, lithographs

                               

Learn more about her work on her website and Instagram @geuryunglee. I am looking forward to the opening of Brooklyn Seoul that will celebrate art from Korean artists, national artists and Asian culture. See you there. 

I was sorry to miss connecting with BWAC artists also in residence at ChaShaMa Stephanie Norberg and James Rose. 

Stay turned for my next installment about the other artists I met at the ChaShaMa Open Studios.

This blog is produced and written by BWAC board member Kristin Reiber Harris.                You can contact me at krharris46ATgmail.com.

Meet BWAC Artist: Brooke Lambert

 

Brooke Lambert, Blossoms, 8"x10", collograph and gauche

I recently met Brooke because her wonderful prints are on the panel next to mine in the Hello, Brooklyn show now hanging at BWAC. I was immediately attracted to her palette and the joyful nature of her work. As a fellow printmaker, I appreciate her dedication to the process and the unique results it produces.

1. Why do you make art?

I make art to express and communicate my feelings about my surroundings

in nature and to share beauty. I believe it’s important to share beauty in the

world and be a source of positivity in people’s living and working

environments. Art for me is about taking something that’s important to me

and making it visible and more beautiful to other people. I’ve always

thought that the best songs are personal to the person who wrote them but

relatable to anyone who listens to them. My goal for my art is similar: to

make something with deep meaning for myself but also something that

translates to the viewer.

2. What tools/materials do you find essential in your studio?

    My works are primarily collagraphs because I’m drawn to the sculptural

qualities and rich range of color I can achieve in this way of working. To

build a collagraph plate, I first take a piece of matboard and cut it down to

my desired print size. I cover the plate with materials I’ve collected,

including string, netting, and pieces of fabric.

After I arrange my materials on the plate, I use a staple gun to attach

them to the plate while using a brush to cover them with gesso, creating a

sculptural, low-relief surface. I take that plate to my printmaking studio

and cover it with ink using a large brush. When it is completely covered

with ink, I use balled-up tarleton to wipe the ink off most of the plate, so it

sticks only in the crevices in my design.

    I put my plate on my printing press and cover it with wet 100 percent

cotton rag paper. I cover that with newsprint, then run it through the press

to make a print. The enormous pressure of the press drum and press

blanket push materials on my plate into the cotton rag paper to create an

embossed print.

    I take my print and go back to my home studio, where I paint with

gouache to add luminosity and color to my pieces. The results are original

painted collagraph prints.