I recently attended a virtual storytelling conference, Better" | A STORY 2021 Intensive hosted by Story Gatherings. Better was the emphasis; telling stories about the better world we want to live in. Storytelling and art for a better world, what a great idea.
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| Amy Weil, Burnt Offerings Photo:440 Gallery |
I have recently seen two local Brooklyn gallery shows of note. My gallery visits included stimulating conversations with three artists. One of the reasons I love talking to artists is we see possibilities. We believe in our vision and we want to share it.
Stand4 is a Bay Ridge gallery run by Jeannine Bardo. I met Jeannine soon after I moved to Brooklyn by following a series of crumbs that led me to her. A bonus was that her gallery is close by. Stand4 always has a very ambitious agenda that pushes my boundaries. The current show is no exception.
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Artists Mira Dayal, Marina Kassianidou and curator John Ros |
Intermission museum art/archive: volume I, on view at Stand4 from September 10 — October 23, 2021 is a robust show that takes a certain amount of unpacking. Twenty-two artists have been paired to create the 11 teams included in this exhibit. I will merely scratch the surface here and invite you to come to Stand4 and immerse yourself in this exhibit. I am grateful for the opportunity to expand my horizons and see the world from a different perspective.
As a relatively new member, I continue to be amazed and delighted at what BWAC manages to pull off. The opening on Sunday, September 12, 2021 went smoothly and the exhibits were exciting and well presented. The crowds emphasized the success of the endeavors.
The three concurrent shows are The Threads that Bind and Recycle, national juried exhibits and the BWAC members show, Hello, Brooklyn. All three of these shows are multifaceted and substantive. The shows come down October 17th. Don’t miss this opportunity to see great art and expand your horizons. What follows is a brief introduction by way of a few of the pieces that really captured my attention on my first pass. This is just the tip of the iceberg.
I was greeted (step two after showing my vaccination card) by Priscilla Stadler’s enticing Welcome to Fragile City:Red Hook. I came back later to digest her statement but my first impression was wow, these are the buildings I see all around me every day…but better somehow. Softer, flowing and great color. In addition to the hanging fiber, the water lines on the wall behind the flowing fabric mark past and predicted flooding in the building and Red Hook.
“In Welcome to Fragile City: Red Hook, not only is the architecture ephemeral, but the writing is on the wall - literally! When you read it, please keep in mind that while certain aspects of climate change are reversible, rising sea water levels are not.” From Priscilla’s statement. @priscillastudio
Art in the City is a new series that will be running on the BWAC Buzz from time to time. Do you have a suggestion for an exhibit worth seeing? Let me know.
Artistic genius takes a lot of time and hard work. Maya Lin is well versed in both.
I have a special fondness for trees. I recently completed an animated short CityTREES, part of my Anim8Nature series of short documentaries. So when a friend told me about Maya Lin’s Ghost Forest at Madison Square Park I had to go…immediately. I am a huge fan of Maya Lin’s work. I have visited the Viet Nam Memorial many times and engaged with various of her installations over the years.
Ghost Forest has a lot to unpack. It speaks on so many levels. I am still watching videos, perusing the Madison Square Park website and generally collecting information, but I wanted to put down my reaction the day of my first visit (a number of weeks ago).
I don't know. Maybe so that the viewer (hopefully) benefits in some way, as well as for the enjoyment it sometimes brings me.
2. What tools/materials do you find essential in your studio?
I don't have a studio, and the tools and materials that I currently find essential are: paper, a pencil and an eraser. Also, one tool which is technically non-essential but very useful to me is a stump.
3. Where do you find inspiration?
Architectural details and human faces, among other things.
4. How long have you been a member of BWAC and what has been the greatest benefit?
I joined in 2007, and maybe the greatest benefit for me has been the friends I've made there.
5. Please include one image of work you think best represents your creative vision. Why?
I've chosen this portrait as it might be my best drawing. Also, it has a delicate quality, which might be an artistic trait of mine.
I met Sandy through the BWAC Makers Market. She plays a pivotal role in keeping things humming at the shop that offers a wide variety of artwork and crafts made by members. Sandy's ceramics and mosaics are included in the inventory. I am a new member of BWAC and I am continually impressed with the range of opportunities BWAC offers its members but equally impressed with the folks who step up and play a major role in keeping this ship sailing. Sandy is one of those folks.
Meet Sandra Forrest
Lady With a Fan, After Kilimt, ceramic and glass, 24" x 24"
1. Why do I make art?
Because it makes me happy. Nothing complicated.
2. What tools/materials do you find essential in your studio?
I work with glass primarily so I have to keep the glass organized by color, opacity, and transparency in bins and mason jars. Tools are cutters, a lightbox, and glass grinder. For my ceramics the tools are the usual clay-working tools plus an X-Acto knife, grout in several colors, and a kiln.
Gene contacted Joe Banish of the Communication Committee about his intervew in Portray magazine. He wanted to know if we could run it on the blog. Joe passed the information on to me. I appreciated the heads up and contacted Gene to see if he would like to participate in my series of artist interviews. The link to the Portray article is at the end of this post with other links to his work and social media.
As we are rolling out the blog, I am particularly interested in producing series of posts that are similar in style and easily accessible for the reader. I think it adds to the conversation in a short interview to see the artists in context to each other because they are answering the same questions. Do you agree?
Meet Gene Dunn:
pastel and charcoal on paper, 11x14
Why do you make Art?
I’m not so sure if I’m making something, or if something is making me. That being said I’m fascinated by aiming to be present to some of the more sublime moments I’m experiencing from the subject and expressing it, or get as close as I can to expressing it. It’s a good place for me to put some of my more intense feelings.
