WE THE ARTISTS Contemporary Art Auction

Filed in Current Exhibitions, Home Page Menu by on May 16, 2019

1 PM

Benefit Art Auction

Woodstock Artists Association & Museum
28 Tinker, Woodstock NY
with Auctioneer Norm Magnusson

BID LIVE – at WAAM, OCT. 13th
BID BY PHONE – Call (845) 679-2940
LEAVE A BID – Call (845) 679-2940

Public Preview: Thurs, Oct. 10, 12-5pm, Friday, Oct. 11, 12-6pm, Saturday, October 12, 12-6pm and Sunday, Oct. 13, before the auction, 10am – 1pm.

SAT. OCT. 12, 4 PM Panel Discussion moderated by Carter Ratcliff, American art critic with Julie Torres, artist and co-director of LABspace, Hudson, Sharon Butler, founder of the blog Two Coats of Paint and and Jason Rulnick, Senior Specialist in Contemporary Art at Artnet.

followed by a Preview Party from 5-7 PM

WAAM was founded in 1919 by artists seeking to foster their fellow artists by providing exhibition space and building a strong community of artistic support. The contemporary artists of our region celebrate this long history by donating artwork to WAAM to be auctioned in WAAM’s first contemporary art auction. These donations provide important funding that allows WAAM to continue this proud legacy, providing artists a showcase to exhibit and a community that fosters free and equal expression.


Basch and Keegan, LLP
Catskill Art & Office Supply
Timely Signs
Tony Moore
Woodstock Way Hotel


Yale Epstein

Tomorrow's Memories II, 1996, 8 plate aquatint etching unique, hand enhanced with pastel and pencil, 52 x 36 inches, signed lower right, framed.


I trust imagination and intuition, and am fascinated with process.

The art that I do always involves an interaction between the evolving work and myself. It is conversation that is at times quiet and civil, at other times a screaming match.

My paintings often begin directly on the canvas, or as overlays of  transparent monoprints made from metal or plexiglass plates on my etching press. To these I might add loose washes of oil, acrylic colors, or layers of pastel. Shapes and impressions emerge.

In further developing the work, I might incorporate dry pigments, inks, wax, dyes, collage, marble dust, graphite, colored pencils, adding more transparent or opaque color, or whatever else the piece seems to be asking for. I will use my fingers as well as brushes and other mark-producing tools in the process. I might finish the work with wax or varnish.

While this approach to creating art is extremely personal, it is mediated by a lifetime of involvement with the visual legacy of the past, as well as of contemporary culture. My hope is that my most successful works will have personal resonance with those who will view them.

My prints are hands-on creations, far different from Glicee’, or other such reproductions. Each work in the portfolio was executed by me personally, sometimes assisted by a master printer. I created the plates individually, and printed them in several color stages, from one or more matrices, using etching or lithographic inks. They are on all-rag paper, in edition sizes of 15 up to 92.

~ Yale Epstein

Carole P. Kunstadt

Interlude No. 14, 2017, linen, thread, oak gall ink on paper: music manuscript - late 19th C. Dantier/Paris (606 knots), signed lower right corner, 6.625 x 8.625 x 0.5 inches, framed.


As a collagist, painter, book arts and fiber artist Kunstadt often invokes a metaphysical quality of contemplation and timelessness. Her works on/of paper reference artifacts, antique music manuscripts, photo postcards and books – deconstructing paper and text and using it in metaphorical ways. Through the manipulation and the exploration of the materials, history, memory and time merge in a hybrid form.
Born in Boston, with a childhood in a small New England town, Kunstadt received a BFA, magna cum laude, from Hartford Art School and continued with postgraduate studies at the Akademie der Bildenen Künste, Munich, Germany. Five years ago she re-entered a familiar landscape as in her youth, moving to the Hudson Valley, having lived for 35 years in NYC. Recent awards includes the 2017 Kuniyoshi Fund Award.
Kunstadt’s recent solo exhibition, Carole Kunstadt: PRESSING ON, Woodstock Artists Association & Museum, Woodstock, NY featured an installation of over 80 antique sad irons. Her works have been exhibited in numerous group exhibitions throughout the U.S. and Canada.
Collections include: George J. Mitchell Department of Special Collections & Archives, Bowdoin College Library, Brunswick, ME; The Book Arts Collection, National Museum of Women in the Arts, Washington, DC; The Permanent Collection, Center for Book Arts, New York, NY; Baylor Book Arts Collection, Baylor University, Waco, Texas; Special Collections Library, University of Washington, Seattle, WA.
The PBS/OFF BOOK Book Arts mini-documentary features Kunstadt in the segment, Transforming the Sacred. https://www.youtube.com/watch?v=eC4fLk-XeeI
Hand written music manuscripts from the nineteenth century, drawn with oak gall ink on handmade paper, are cut and recombined. Responding to the existing marks and their graphic patterns while intuitively recombining them allows for a new text to form. The deliberate notations and staves are divorced from their intended musical equivalent and when re-assembled present a cacophony of lines, notes and marks. Threads are repetitively knotted into the woven surface of fragmented notations and lyrics creating a densely textured surface. Through the exploration and manipulation of the materials – resulting in alternative rhythmic patterning, the process reveals how musical notation can become visual through re-interpretation.

Julia Santos Solomon

Campanula, 2015, gold leaf, acrylic paste and acrylic paint on board, 5 x 7 inches, signed verso.


Julia Santos Solomon is a visionary interdisciplinary artist. One of the  most successful contemporary Dominican artists on the landscape today. She has employed each media with a sense of curiosity and prayer for guidance. Her body of work speaks to the full range of one woman’s life experience of a vibrant cultural heritage. Color feeds her soul and is used to interpret both personal and universal impulses. Her ability to instruct and inspire new generations of artists epitomizes a generosity of spirit, particularly true of the contributions she’s made in the Dominican Republic as a founding faculty member at the Altos de Chavon School of Design.

Now archived at the Dominican Studies Institute at City University in NY, and the Smithsonian Archives of American Art in Washington, DC, Santos Solomon is recognized for a greater contribution- that of exemplifying authentic self-expression in service to her community and to the world of art in general.

Maxine Davidowitz

Banana Stalks, 2015, oil on canvas, 24 x 24 inches, signed on verso, unframed, finished canvas edges.


My career as a painter began­ in 2008, after a successful 30+ -year stint as a magazine creative director for national consumer magazines. My work has evolved from an initial exploration of translucent figures in landscapes to a more intuitive and abstract response to the natural world, with a loose, painterly approach to mark-making. My goal is to create imagery with mood, ambiguity and richness. My practice includes printmaking—monotypes, mostly—which offer a way to explore ideas for paintings. I exhibit my work frequently at various venues in the wider Hudson Valley region, in both solo and group juried shows. It is my honor to serve on the board of the Woodstock Artists Association, as well as on the Woodstock Gallery Lev Shalem curating committee.

Heather Hutchison

Adams Road, Saugerties NY 2/21/16 4:45 pm 50° [2016] watercolor on hot-pressed watercolor paper, signed verso, 8 x 8 inches, framed.


Heather Hutchison, was born in 1964, in Corvallis, Oregon, where her father, a caricaturist and cartoonist, drew sorority and fraternity members at the local university. She was raised moving between coastal Oregon, the fog of Marin County and the mile high desert along the southern border in Bisbee, Arizona. Her self-directed studies as an artist brought her from the San Francisco Bay Area to New York City in 1986, where she kept studios on 24th street between 10th and 11th avenues and later, in DUMBO, Brooklyn. Since 2001, she has lived, worked and raised her family in the mountains and forests of upstate New York. Late in life, Hutchison received a Bachelor of Science (2012) from SUNY Empire State College with an emphasis in Environmental Studies.

In 1989, Hutchison had her first solo exhibition at Bess Cutler Gallery in SoHo, followed by multiple solo exhibitions with representation by Jamison Thomas Gallery in SoHo, Nohra Haime Gallery in the Fuller Building on 57th Street, Margaret Thatcher Projects in Chelsea, Patricia Shea Gallery, and Shea & Bornstein Galleries in Los Angeles. Most recent solo exhibitions include; Louis Stern Fine Art, Los Angeles (2017), Winston Wächter Fine Art, Chelsea, NYC (2016), and Alfstad& Contemporary, Sarasota, FL (2018).

Museum collections include the Brooklyn Museum, the Hammer Museum in Los Angeles, and the Smithsonian Museum of American History in Washington, D.C. Hutchison has been included in exhibitions at the Brooklyn Museum, the Montclair Art Museum, the Smithsonian, and the Knoxville Museum of Art, as well as having been included in the 44th Biennial Exhibition of American Painting at the Corcoran Gallery of Art, Washington, DC.

Heather Hutchison has been a recipient of the Gottlieb Foundation Individual Artist grant (2019, 2011), the Pollock-Krasner award (2012) and a SOS Grant from NYFA (2009). Her work has been discussed in The New York Times, Artnews, Art in America, The Washington Post, The Los Angeles Times, and other fine publications and media.

This particular watercolor is an attempt to capture the naturally occurring and fleeting phenomenon of shifting light and color as observed in our local atmosphere. My three dimensional constructions are indirectly, but significantly, informed by the time-lapse videos, still photographs and the watercolor-on-paper studies I produce en plein-air. In these studies I explore and capture the fleeting and ephemeral rhythms, syncopations, and color relationships, found in both the visual extremes of natural disasters and in everyday natural phenomena of cloud formation and color shifts in the atmosphere at dawn and dusk.

Sharon Rousseau

Woodstock Peony 2018, photograph, SLR, 11 x 11 inches, framed (16 x 16 inches framed).


As an act of resistance to the political climate in America, I decided, in 2017 and 2018, to temporarily turn my attention from cityscapes and street photography to creating environmental art that celebrates feminine forms. Shooting flowers live in the garden, I hoped to create photographs that are both poem and picture—a mediation on the natural beauty that lives at our doorsteps. The personal is political, so this series is part of what that means for me.

~ Sharon Rousseau

Sharon Rousseau is photographer, writer and poet. Photographs from the series Woodstock Peony have been exhibited at WAAM, Woodstck Brydcliffe Guild and have been auctioned in NYC by Center for Photography Woodstock.

Tracy Phillips

Regeneration, 2018, oil on canvas, 27 x 25 inches, signed lower right, framed.


My paintings explore themes/subjects that are a part of an ever-expanding iconography. I engage both figurative and abstract imagery that hold in common narratives that touch on psychological themes.

I relocated my studio to Phoenicia 3 years ago after many years in Brooklyn. During my last 3-4 years in Brooklyn my paintings began to explore themes related to the environment. I feel a deep sorrow regarding human impact and the inevitable destruction of life on this planet. Earlier work around this theme was more naturalistic, related to climate change and extreme weather events. The work over the last couple of years takes this theme into a future when people are no longer here. In these imagined landscapes I engage the notion of earth’s eventual regeneration.

~ Tracy Phillips

Jessica Bard

Skater Loading Dock, 1983, photograph, 16 x 20 framed.


Jessica Bard is a photographer living in the Hudson Valley.  Her current imagery finds a home on Instagram as @jessicatylerbard, but her passion is “re-visioning” her body of work from the 1980’s.  As a girl skateboarder, punker, and clubber in New York City and its’ environs, Jessica captured the scenes of her teens and twenties with a naïve, but intuitive style of black and white reportage.

Key images from her massive archive have been sought out by filmmakers and are featured in award-winning skate and music scene documentaries: Godfathers of Hardcore, New York Hardcore Chronicles, OG: the Harry Jumonji Story, and DeathBowl to Downtown: The Evolution of Skateboarding in New York.

All the while, beyond the bounds of the gritty city, Jessica was lucky to have a family home in the Hudson Valley where she could embrace the antidote in nature photography.  She now resides at the same family homestead with husband, daughter, and cats (who have their own Instagram accounts @jackmorrismidnight

Ginnie Gardiner

Akimbo VI, 2014, Mixed Media Collage, signed verso, 9 x 6.75 inches, framed.


Ginnie Gardiner is a New York artist who has shown in numerous solo and group exhibits for 40 years. Gardiner graduated from Cornell University with a Bachelor of Fine Arts in 1974. From 1978 to 2005 she and her husband lived in a Chelsea loft in New York City. In 2005 they moved upstate to Catskill, New York, where they purchased, renovated and restored the Catskill Lyceum, a Federal era building located in the historic Village of Catskill. Here, Gardiner enjoys a large, light filled studio and courtyard that has inspired her paintings, collages, montages and color studies.

“My working method since the mid-1990s has been to create equivalent color palettes from my collage and montage studies for translation into the medium of oil paint. In all of my paintings, I have sought color mastery and color is the subject of my work. Both Josef Albers and Charles W. Hawthorne were obsessed with creating the illusion of transparency in the opaque medium of oil paint. Both their teachings and their daily practice continue to inspire me today.”

~ Ginnie Gardiner

Beth Humphrey

Water Level, spraypaint, gouache, watercolor crayon, signed verso, 10 x 14 inches, framed.


I am interested in the macro, the micro, the biological and the law of conservation of energy (energy can be neither created nor destroyed; rather it transforms from one form to another).  I think about cycles in nature, evaporation, respiration, erosion, gentle and violent forces at a moment of change.  In the studio I work with paint, paper light and shadow. I love working with brown paper bags, the infinite form choices, the cutting, the accidents, adding, subtracting and the exploring of the mountains I live in to feed it all.

I am a nationally exhibiting artist and educator and currently the Education Curator at WAAM.

~ Beth Humphrey

Betsey Regan

Goat, fresco on paper, 8 x 8 inches, signed on verso, framed.


Betsey Regan has exhibited extensively throughout the tri-state area for the last 40 years. Winner of many awards, residencies, and grants, she was bestowed the coveted NJ State Council of the Arts Fellowship.

Her pieces may be found in scores of corporate and private collections.

She has been working in many themes since the late 70s.  Some themes include, animals, women, working for the military, Hurricane Sandy, and moving to Woodstock, NY. “Is there a connection between all these themes?” asks Regan, “Let the viewer tell me.”

Barbara Klar

Alexander Calder-Inspired Broach, 2019, jewelry, Ed. 2/2, 6 inches by 3/5 deep, signed on back.


I started creating jewelry when I was a child from found materials. I would search thrift shops, antique stores and flea markets looking for parts that I could re-use in these creations. Years later, I learned metalsmithing at the Cleveland Institute of Art and became aware of the entire traditional history of metal craft and jewelry. Museums became haunts as I researched ancient metalwork not only in jewelry, armor and holloware but as it is depicted in paintings. I became obsessed with reliquaries. I love the idea that jewelry, flatware and decorative hardware are pieces that one touches. Not only is jewelry the most intimate form of art, but it integrates into one’s identity and persona, thereby taking on new meaning. My work is often inspired by the simplest of things: an old wooden walking stick that may become handles for serving spoons or a rusted piece of hardware that inspires texture. These things motivate me to create pieces that become modern heirlooms that illustrate fine craftsmanship.

Legends of buried treasure are my obsession: Pirate’s Booty, Sunken Treasure (think Titanic) and the Tomb of King Tut. My metalsmithing processes are classical but with a modern edge that is often inspired by history, fashion and pop culture. I combine elements that are sometimes incongruous and skip around the world of design. I produce limited production and one-of-a-kind items in silver, gold, bronze and copper.

~ Barbara Klar

Traveling from Cleveland, Ohio, Barbara Klar opened her first store, Clear Metals, in NYC’s East Village in the mid-80’s. In 1991 she moved that store into the SoHo section of NYC until 2001. Since that time, Barbara has moved her studio into the Hudson Valley. The Clear Metals Collection is a showcase of Barbara Klar’s fascinating creations: a unique presentation of one-of-a-kind and limited edition gold and silver jewelry which is completely designed and crafted by her in her studio. Product design has included tabletop items and leather accessories. As a trained metalsmith, she was listed in NY Magazine as being one of the few jewelry designers who “will lend her eclectic touch to create just about anything her clients request, from unique wedding bands and pearl-drop earrings to chunky ID bracelets and medieval-style chains”.

Barbara’s work has been recognized on the editorial pages of Vogue, WWD, the New York Times and In-Style Magazine as well as featured on television shows such as “E Fashion News”, “Friends”, “Younger” and “Judging Amy”. Film credits have included “Wall Street”, “High Art”, “Meet the Parents” and the Eurythmic’s “Missionary Man” video.

Barbara Klar creates jewelry art that become modern heirlooms. Elements of historical cultures are combined with the symbology of contemporary Street Graffiti. Her designs often challenge the limitations of fine jewelry through her use of precious materials that are worked and designed into pieces that reveal a modern sensibility with a keen historical edge.


Hand Fabricated and Forged Broach/Pin which is inspired by the jewelry of Alexander Calder. Stone is fossilized Fire Brick with pyrite deposits. Suitable for loose weaves only.

Ivana Blanco Gross

Quebec 03042019, 2019, oil on canvas, 40 x 48 inches, signed verso, unframed.


Ivana Blanco Gross is a Conceptual / Post-minimalist American artist born in Buenos Aires, Argentina.

Blanco Gross studied at the University of Buenos Aires (UBA) and at the Royal Academy of Art in The Hague, NL (KABK).

Her work explores the different perceptions of  location across geographical space, translating her own connections to people and place into color.

Specifically, she emphasizes the notion of location through the interaction and intersection of line, color and geography. She uses different media to express content; such as paint, text, photography, objects, video and sound.

Blanco Gross is the founder and developer of a number of projects, including Un-Send,  Grayland and Hopscotch, an installation based on the works of Argentine writer Julio Cortázar. Her latest creation is a multimedia work based in the soundscape of the city of Venice, Italy.

Since 2005 Ivana Blanco Gross has been a member of the American Association of Photojournalists and of the Society of Professional Journalists as well as recognized member of the American Women Photographers Association.

Her works have been shown  extensively across three continents, and are included in private and public collections.

Blanco Gross splits her time between her studios in New York (USA); Miami, FL (USA) and Quebec (Canada).

Laura Gurton

Unknown Species No. 273, Diptych, oil, alkyd, ink and panel, 12 x 16 inches, signed verso.


I was born in Brooklyn, NY, into a family of artists, and have always been working in one medium or another. After studying Fine Arts at the School of Visual Arts, I exhibited and sold my glass art in galleries in NYC, Brooklyn, NY and New Hope, Pa.

I later returned to school to pursue a masters degree in Art Education and Supervision and Administration in the Arts.  I then worked as the Art Specialist at the Brooklyn Childre’s Museum and was fortunate to secure a teaching position in a High School with a specialized program for the arts. After six years I became the Assistant Principal of Fine Arts at Edward R. Murrow High School. Although I loved my students, and found it gratifying to support other art educators I missed concentrating on my own work.

In 2004 I left my supervisory position to focus on my own art career. Moving to the Hudson Valley, inspired by its natural beauty and artist communities, my art has flourished. Within this time, I developed my own style and show my paintings regularly in a variety of different venues throughout the Hudson Valley, New England, New York City, New Jersey and California.

I have exhibited with TheoGanz Studio, Beacon, NY, Denise Bibro Fine Art, NYC, Fresh Paint Contemporary, Culver City, Ca, Beacon Shortwave Gallery, Stone Harbor, NJ, 13 Forest Gallery, Arlington, Ma., and Hal Bromm Gallery, NYC.

It has been a privilege for me to show my work in local galleries in the Hudson Valley as well as having been recognized on the worldwide stage by being chosen to participate in the 55th Venice Biennale, Art Southampton, The LA Art Fair, and Miami Context.

Jose Gomez

Elana's Garden, pigment paint on acid free lemongrass paper, Ed. 1/5, signed lower right, editioned lower left. Framed in black frame.


My current work consists primarily of images I construct in a computer using a dynamic geometry software and then print with an inkjet printer. These images are created by repeatedly applying basic transformations to elementary geometric constructions, which we refer to as the “seeds” of the images. These seeds are reflected, translated, rotated, and dilated into complex geometric abstractions. I often print the images on organic papers from uncommon sources, such as the mango and the banana trees. The contrast between the hard-edged nature of these images and the irregular, scarred surfaces of these papers seem to add a positive dimension to this work.

All my work is abstract, non-representational, color playing a unifying role. You should not experience it as an idea and it should not require an explanation. I attempt to make art that is independent of language, that is present within the space, in the moment, and that projects logically into personal idioms.

Jessica Baker

Maple on Maple, 2008, monotype, 12 x 12 inches, signed lower right, framed.


My artwork incorporates the use of collected man-made objects, materials from nature and works on paper to create thematic series of individual artworks and installations that explore the ephemeral nature of art.

~ Jessica Baker

Jessica Baker is a mixed-media visual artist based in Woodstock, NY. Her artwork has been featured in an interview for National Public Radio, presented in solo and group exhibitions throughout the United States and internationally, included in both private and institutional collections and praised by critics including, notably, the NY Times. She has been awarded a fellowship and a number of artistic residencies.

Instagram: rekabjess
Facebook: https://www.facebook.com/jbakerartist


“Maple on Maple” is a monotype printed on rice paper, part of a series of monotypes created using leaves.

Sascha Mallon

Lace Bird, 2019, porcelain, 6 x 8.5 inches.


Sascha Mallon has exhibited her work in Austria, the USA, Taiwan, and Germany. In September 2019 her work is included in Radius50 at the WAAM, AONE at Silvermine Galleries and the The Edge Effect at the Katonah Museum of Art. Recently she had a solo exhibition at Walnut Hill Fine Art, Hudson, NY where she created a large installation made of ceramics, yarn, and wall painting. Her work was included in recent group exhibitions at Gormley Gallery/Notre Dame of Maryland University, Baltimore, MD; LAB Space, Hillsdale, NY; and the ELY Center for Contemporary Art, New Haven, CT; Gallery Anna25, Berlin, Germany; Attleboro Museum,NY, Penn State University, State College, PA; Garrison Arts Center, Garrison, NY; Kunstleben Berlin, Berlin, Germany; Front Room Gallery and A.I.R. Gallery, NY, NY; Barrett Arts Center, Poughkeepsie, NY. In 2017 Sascha was invited to participate in a residency and two-person exhibition at Soulangh Artist Village, Tainan, Taiwan sponsored by Cope NYC and the Tainan Department of Cultural Affairs and the Taiwanese American Arts Council. In 2018 she won first prize at the Garrison Arts Center for her work in the 2018 exhibition 2 ½ D. Sascha studied art therapy at ISSA/ School for Art Therapy in Austria, and she is currently an artist in residence at Mount Sinai at the Oncology and Hematology and at the Bone Marrow Transplant in New York City. She grew up in Austria, traveled throughout Europe and the US, and now resides in Beacon, NY with her daughter, her husband, and her dog.

I find inspiration for my work all around me, and I don’t have to search far. I am interested in relationships and communication, and in moments of transition in life. My interest expands into the process and the moment of dying and what it means to me to be alive. I like to think about the fine line that lies between opposites, for example, pleasure and pain, life and death, or love and hate.

My primary medium in the past was drawing, but a few years ago I started shaping objects out of clay in an attempt to make images that are more real and flexible. I see my ceramic work and installations as three-dimensional drawings. Drawing is still central to my artist practice, and I carry a notebook with me at all times in which I draw and also write. I love the immediacy of drawing and I also love the quality of clay in my hands and how it transforms during the process of firing it in the kiln. I am attracted to these two mediums for their opposite sensations: the airy sensation of drawing and the grounding sensation of shaping the clay.My most recent work is a large-scale ceramic installation about the circle of life that combines sculpture, drawing, and poetry. I started the project in August 2018, and so far I have made over 300 individual sculptures in fired stoneware and porcelain ranging in size between 3 x 2 to 11 x 11 inches. The subjects of my work are female figures, flora, and fauna, all of which serve as the protagonists in my stories about life. Individual ceramic pieces are mounted to the wall to create larger site-specific works, often combined with a wall painting or a poem. There is a gratifying sense of flexibility and spontaneity of my work, and the installation changes and evolves as it adapts to different spaces.

Every new piece that I make is a new chapter in this ongoing story. I invite the viewer to explore, reflect, dream, and wonder, to “read” my pictures like he or she reads a favorite poem over and over again. There will always be the chance to observe details not noticed before or to see some part of the tale that’s presented from a new perspective.

Susan Spencer Crowe

On the Horizon, 2018, Cut and folded watercolor paper, graphite, Flashe mounted on museum board and archival cardboard 13”high, 12 1/2” wide, 6 6/4” deep.


Susan Spencer Crowe has exhibited widely in the Hudson Valley region and in New York City where she lived for 38 years before moving to Kingston, New York in 2005. Crowe had a solo exhibition in 2018 of her painted, cut, and folded paper works, Fractured Surface(sat The Foundation Gallery at the Arts Center of the Greene Community College in Hudson, New York, followed by a smaller version of the same show at the Pine Hill Community Center’s Arts Space. Other 2018 exhibitions include the International Sculpture Day exhibition at Cross Contemporary Art in Saugerties, New York, Euphoria: Painted Sculpture in the Lobby Gallery at 1251 Avenue of the Americas in New York City, and the Far and Wide Nationalexhibition at the Woodstock Artists Association and Museum in Woodstock, New York.

Over the last three years, Crowe has had several one-person shows in the Hudson Valley, including Cuts and Foldsat The Painters Gallery in Fleischmanns and Birthing of the Ethereal at Kingston’s ARTBAR Gallery in 2016, Encaustic/Form II at R & F Handmade Paints in Kingston and Encaustic/Form at the Woodstock Artists Association in Woodstock in 2015. Her work has been featured in many group shows in the area and New York City, including Logic and Structure II at the Painters Gallery in Fleischmanns, The Ritual of Construction at the Byrdcliffe Kleinert/James Center in Woodstock, and The House of Sky at the Westbeth Gallery in New York City in 2017. She also participated in Staying Power, a 2016 exhibition of eleven artists in the Hudson Valley region who had maintained an active studio practice for more than four decades, at the Albany International Airport in Albany, New York.

Crowe is the recipient of two Artist Fellowship awards in sculpture from the New York Foundation for the Arts and was named the Lily Auchincloss Foundation Sculpture Fellow in 2001. She is an Adjunct Assistant Professor in the Arts Department at Queens College in New York City where she teaches sculpture, drawing, and fundamentals of art courses. Before that, Crowe was a grant writer for many of the large and mid-size cultural institutions in New York City, including the Jewish Museum, the Whitney Museum of American Art, and the New Museum of Contemporary Art. In the mid-1980s, she was the Executive Director of the Lower East Side Printshop. Crowe holds an MFA from Vermont College of Norwich University and a BFA from Pratt Institute, New York.

Seth David Rubin

Swimmers at High Falls, 2016, pigment photographic print, 12 x 18 inches, signed on verso, unframed.


Seth David Rubin, American, was born in 1968, in Portugal. He started taking pictures at age 11 and graduated from Bard College where he counts the photography program directed by Stephen Shore as a critical part of his artistic development. He received his Masters in Fine Arts from Yale University.

Rubin’s work has been shown in galleries such as Yancey Richardson in New York City, Gallery Kayafas in Boston, and the Photographer’s Gallery in London, England. He was an artist in residence with the Merchant Ivory Foundation for 8 years, as well as employed as a photographer by Merchant Ivory Films on and off his entire career. His work is in museum collections of the Addison Gallery of American Art and The Worcester Museum of Art.

Seth David Rubin currently is a freelance photographer and professor of photography at Ulster Community College. He lives in the Hudson Valley town of Stone Ridge, NY.


“Swimmers at High Falls” is part of my “Ourglass” series of photographs. In this series, I photograph through found glass objects and what I call “homemade lenses.”

In my early work, I worked with mud and I would shape and transform figures to ideas from my imagination and photograph them. Now I transform figures and places using homemade lenses made of found objects and glass pieces . My technique is manually optical and it enables me to compose in a manner that is closer to a painter’s process where my imagination and emotion shape what I see.

Glass that distorts or segments in my photographs are interpretations of reality. Side by side, I can have some recognizable descriptions in my photographs and some that can be very abstract. Colors, textures and lines become expressive of formal ideas in my head or emotional responses to a person or place. − Seth David Rubin

Staats Fasoldt

Chick, watercolor on paper, signed lower right, 5 x 6.5 inches, framed.


Staats Fasoldt is Co-President of the Woodstock School of Art’ and has taught painting and drawing there for 35 years. He is active member of the Woodstock Artist’s Association, The Art Society of Kingston and member of Longreach Arts, the Hudson Valley’s premier mobile Artists Co-op.

Staats has an MFA in painting from Suny New Paltz and has had numerous one person and group exhibits, displaying his Watercolors.

“My paintings are interpretations of nature that stress spontaneity as method.”

~ Staats Fasoldt

Fred Di Vito

Winter Harvest, 2017, acrylic on paper, 16 x 20 inches, signed lower right, framed.


Growing- up in urban New York City has been a powerful influence in my life’s experience. From my earliest memories in the Bronx and Brooklyn, comes my nostalgic connection of inner city life from decades past.

There is a constant tension expressed in my artwork that takes me between the urban environment and the natural world. This conflict continues to fuel my creativity expressed through my paintings.

I trained in the arts in my early childhood in NYC, and then more formally at Music and Art High School and Pratt Institute. Pursuing a career in product design and development in my early years, has helped my maturity in the Arts, now devoting my full time and energy to painting.

I am a member of Woodstock Artist Association and have exhibited in numerous shows and galleries in New York City, Woodstock New York, and West Palm Beach Florida.

Judy Stanger

Grand Canyon, 2018, pastel on paper, signed lower right, 13.78" X 12" inches, framed.


Judy Stanger studied fine art during her undergraduate years, and has undertaken coursework at both The Woodstock School of Art and The Cape School of Art. She has been painting with pastel as her medium for more than 25 years while pursuing a career in the human services. Subjects of interest have been seascapes in Cape Cod and other Atlantic coastlines, and landscapes in the Hudson Valley as well as in Arizona.

She draws her inspiration for seascape rendering from the sheer beauty that is expressed through the poetic character of light and color in seaside settings. Landscapes inspire a distinctly different sensibility by distilling images represented in nature such as mountains, rivers and barns through their interactions with light and color.

She lives in Stone Ridge, NY and is a graduate from the College of Arts and Sciences at the State University of New York at Albany with a Doctorate of the Arts, an interdisciplinary degree in the Humanities.

Antonio Alvarez

Etudes Series, 2018, acrylic on canvas, 24 x 30 inches, signed verso, framed.


I have been painting a long time, since childhood.

I also remember writing a lot: Short Stories, poems and plays.

At this moment I am interested in Abstraction and in developing and experimenting within the calling and guidelines of the “Matteristic School.” This entices me to let the medium —in this case, acrylic — behave over the surface of the canvas with a minimal degree of interference on my part.  The Medium has its own character.  I let it express itself as freely as my “ego,” my aesthetical consciousness, allows me.  The works then, are the result of a partnership, the medium becomes, in a way, my partner in the process of making paintings.

Penny Dell

Whoops [A Hundred Breaths], mixed media monoprint with collage, 24 x 18 inches, signed lower right in pencil. Framed in natural 27 x 21 inch frame.


Penny Dell was born in Mexico and grew up in Mexico City and Acapulco, before coming to the US at age thirteen. The artist Francisco Dos Amantes and the zoomorphic figures of Aztec friezes influenced her early work. Dell studied English and French Literature at Simmons College and the Sorbonne, and painting at the Triveni Kala Sangam Akademi in New Delhi, India. These intersections of cultures, techniques, and philosophies have fueled Dell’s investigations of states of mind, scenes from dream, fantasy and interior life – through drawing, painting, and print.

Fascinated with the flexibility, experimentation, and the rich materials and technique of print processes. Penny has taught printmaking and experimental transfer processes throughout the New York metropolitan area, including the Hunterdon Museum of Art, and the Printmaking Center of New Jersey, and has enjoyed residencies at the Women’s Studio Workshop and the Vermont Studio Center. Her works are in many corporate and private collections including Cablevision, Rutgers University and the New York Public Library. From 2005-2007 she served as President for the National Association of Women Artists. Penny lives and works in Poughkeepsie, NY.

Elliott Landy

The Band Woodstock, NY, 1968, Music Big Pink, pigment ink print (2019), signed lower right, unframed.


After my first period of work in the late 1960’s, documenting the rising tide of anti-war
sentiment and the music icons of that counterculture (Dylan, Woodstock, Hendrix, Joplin, etc.) for which I am well known, I decided that the way to change the world by
supporting the spiritual reawakening and artistic freedom of that period was to show
beauty and love. I no longer wanted to do assignments for mainstream media, but rather
to follow my own inner feelings, to photograph what I loved and share it, in the hope that
it would inspire others to become aware of, and live according to, their feelings, their
essence, which is love. Love at Sixty is the latest in my series of this type of work which I began to do in 1971.

Best known for his classic “rock” photographs, Elliott Landy was one of the first “music
photographers” to be recognized as an “artist.” His celebrated works include portraits of
Bob Dylan (Nashville Skyline), The Band (Music From Big Pink, and The Band), Janis
Joplin (Big Brother & The Holding Company: Cheap Thrills), Van Morrison
(Moondance), Jimi Hendrix, Jim Morrison and many others.

His iconic photographs of Dylan and The Band during the years they resided and
recorded in the small arts colony of Woodstock, NY and his coverage of the 1969
Woodstock Festival, for which he was the official photographer, captured the attention of
a new generation seeking spiritual and artistic freedom. His imagery has become
synonymous with the town, the famed 1969 Festival and the Utopian spirit of the
Woodstock Generation.

Since 1967 Elliott’s work has been exhibited in galleries and museums worldwide and
published on the covers of major US and international magazines and newspapers
including the New York Times, Life, Rolling Stone and the Saturday Evening Post. He is
the author of 8 books including his latest monograph, The Band Photographs, 1968-1969
which was the highest funded photographic book in Kickstarter history.

He is also the architect of a new software program LandyVisionTM that blends both still
and moving imagery with music to create an interactive sound and visual experience that
has never been seen before.

Eric Lindbloom

Pinewoods #28, N. Truro, MA, 2003, photography, Ed. 2/15, signed verso, 14 x 14 inches, unframed.


Lindbloom has had a fifty year career in analogue photography, silver gelatin prints. Including 36 solo exhibitions, two trade books, and three limited-edition books published, A retrospective was held at Vassar College in 2018. His prints are in a number of museum and library collections, including the Toledo Art Museum, Houston Fine Art Museum, New York Public Library, Dorsky Museum, Alinari Museum, Vassar College Library Special Collections archives.

Cate Chevalier

Untitled, 2019, photograph, 16 x 24 inches, signed verso, unframed.


Specializing in fine art photography, Chevalier’s work is primarily focused on the intensely personal. After some early success in her career, she took a sabbatical to start a family. She has worked as the Programs Coordinator at the Photographic Resource Center, a non-profit gallery and education center. Her works have been in both solo and group exhibitions at the Dragonfly Gallery, Westchester, PA and the White Room Gallery in Bridehampton, NY and most recently the Print Swap Holiday Exhibition at the ROOT Studios in Brooklyn, NY. She has been in multiple publications and online galleries such as Lensculture. Her work has been collected by both private collectors and Simmons University.

Stephen Mallon

DEEP, 2011, chromogenic print, Ed. 50, signed verso, 16 x 20 inches, framed.


Stephen Mallon is a photographer and filmmaker who specialises in the industrial-scale creations of mankind at unusual moments of their life cycles.

Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, The Atlantic, GQ, CBS, the London Times and Vanity Fair. Mallon has exhibited in cities including Miami, Los Angeles, Philadelphia, St. Louis and New York, as well is in England and Italy.

In 2009, Mallon produced Brace for Impact: The Salvage of Flight 1549, a series of photographs recorded the salvaging of the passenger aircraft which captain Chesley “Sully” Sullenberger landed on the Hudson River. In 2010, his solo exhibition Next Stop Atlantic documented the disposal of New York subway trains at sea to form artificial coral reefs. He was commissioned by the New York Times Magazine to shoot the film Behind The Curtain, a time lapse movie documenting two days behind the scenes of the Metropolitan Opera in 2013.

Stephen’s latest exhibition, “Sea Train” on display at The New York Transit Museum’s Grand Central Terminal gallery, has been viewed by over 30,000 people and has been featured by Gothamist, Artnet, Yahoo, Fox news, and numerous other outlets.

As David Schonauer wrote in Pro Photo Daily, “Mallon’s word harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression.” He has also been compared to photographers including Edward Burtynsky, Thomas Struth and Chris Jordan.

Mallon has been a juror and portfolio reviewer for Scholastic, ASMP, B&H, and American Photo in the past. He has also been a thesis advisor at the School of Visual Arts along with currently teaching photography at the Miami Ad School. His first curatorial project, a group show titled “What Could Possibly Go Wrong” opened May 2019 in Hudson NY.

Mallon has been a board member of the New York chapter of the American Society of Media Photographers since 2002 and served as president from 2006 to 2009. He is represented by Front Room Gallery in New York.


“HINGE” is a detail from the side of the SS United States. Shot while on assignment for National Geographic. http://bit.ly/NAT_GEO_SS_UNITED_STATES

Susanna Ronner

Untitled, 2019, monotype and Moveable Collagraph, 22 x 30 inches, unframed.


My sensitivity of the visual realm emerged in childhood, but it was my still early years at the renowned High School of Music and Art (NYC) that deepened that journey. I continued to pursue Painting/Drawing/
Ceramics/Works on Paper, over many years that followed (art major: Hunter College, Goddard College). Along the way I developed an interest in Graphic Design, and returned to college once again, this time with a new major, earning my BFA in Graphic Design with high honors (University of Illinois) and solo recipient of ‘Outstanding Senior in Graphic Design’. From there, I went on to San Francisco to work for some of the most sought after and influential graphic designers (Michael Vanderbyl/Vanderbyl Design, and Doug Akagi/Akagi Design), before opening my own office in 1989 in Woodstock, NY, which continues to date (susannaronner.com).

I love designing and the many clients that I create for, but I found over the years, that I was also yearning to do my own art work — untethered from project deadlines, away from technology, and with no one to answer for but myself. In 2017, I discovered ‘Monotype’ printmaking (thanks to Milton Glaser) and it’s been an intense love affair with the medium since then. I have found a new freedom in printmaking — bringing to it a creative passion, a cultivated eye, and a lifetime of visual exploration. I approach each monotype plate as an improvisation — I meet the ‘canvas’ (acrylic plate) with trust and curiosity and then see where it takes me.

Suzi K. Edwards

Time for the Bees, glass mosiac, 17 x 17 inches.


I consider myself a diamond miner, as I dig deep within my subconscious through layers of intuitions and past memories , for that precious nugget of brilliance. Images are triggered by history and politics, trauma and joy. Golden glass mosaics dance with handmade ceramic elements: pearls, jewels, crystals and coins are arranged to tell timeless tales. Mosaics, in fact, are among the most ancient art forms, beneath the sands of time and ravages of war, archaeologists uncover treasures that tell the stories of ancient civilizations.
~ Suzi K. Edwards

Joan Zagrobelny

Green Current, 2015, ceramic with colored engobes and glaze, signed on bottom, 26 x 7 x 6 inches.


Joan Zagrobelny lives and maintains a studio in Great Barrington, MA, where she creates her abstract, organic clay sculptures. Originally trained as a speech pathologist, she is mainly self-taught in ceramics, and has had the good fortune of studying with and learning much from numerous renowned clay artists. Her work is frequently selected for regional and national juried exhibitions and she has exhibited her work internationally at C.R.E.T.A. Rome gallery in Italy, as well as at galleries in Los Angeles, New York and Boston.


Green Current is a hand-built, one-of-a-kind sculpture.It’s tactile surface has been created by preserving the fingerprints from the making process, followed by the application of numerous layers of colored engobes and glazes.The irregular surface of the piece allows the highpoints of each layer of color to be rubbed off prior to firing, revealing the underlying layers. The multi-layered surfaces contribute to a sense of personal history expressed by the piece.

Thomas Sarrantonio

Simile XXIV, 2016, oil on linen panel, signed verso, 12 x 12 inches, unframed.


Thomas Sarrantonio studied Painting at the Pennsylvania Academy of Fine Arts. He also holds degrees in Biology (Fordham University) and English Literature (University of Pennsylvania). He is Professor Emeritus of Art from SUNY College at New Paltz and has exhibited his paintings widely. He lives and maintains a studio in Rosendale New York.

Sarah Mecklem

Cycle, Recycled, 2004, mixed media: auto parts, scrap wood & grass, signed verso, 25.5 x 12.5 inches, self-framed.


Born 1946, in Kingston, New York and raised in Woodstock, NY, by her parents Austin Merrill Mecklem and Marianne Greer Appel. Sarah Mecklem has been a working artist in New York City, Kingston and Woodstock her entire life. Her work as an arts educator, a community arts program director and curator has consistently been informed by her work as an artist. And, likewise her work as a visual artist has been informed by her work in the community and with children and adults and social issues.

From 1978-1983 Mecklem worked as an edition printer, screen technician, proofer, colorist and color separatist for artists at HMK Graphics and Imo Productions. She was an artist / printer-in-residence at Avocet Print Studio at Art Awareness in Lexington, NY. Mecklem’s own prints are in the collections of Avocet, Grin Graphics and The Voorhees-Zimmerli Museum at Rutgers University, New Brunswick, N.J.

From 1983-95 Mecklem served as Director of Creative Arts Program at Goddard Riverside Community Center developing public arts programs and events, artist residencies and mural projects, art exhibitions and performances relevant to the diverse socio economic groups of upper Manhattan.

In 1995 Ms.Mecklem established the Waryas House Art Garage, at Abilities First Inc. in Poughkeepsie, working with adult men with developmental disabilities who were also coping with chemical dependency and/or alcoholism, many of whom had been incarcerated. These men worked on a wide range of individual or collaborative creative projects determined by their own awakening creative vision. She retired in December of 2015.

During these years of bread winning for her family, Sarah Mecklem applied herself to her studio work. In the early years, addition to silkscreen printmaking, she made drawings, oil paintings, painted paper collages and worked collaboratively on public murals. In 1997 she bought a building and moved to Kingston. There she began using found demolition materials from renovations to construct three dimensional and relief wall pieces as well as installation works both urban and rural. These were a response to the detritus people leave in the wake of their journeys through the urban environment and nature. Her work has been shown at numerous venues throughout New York City and the Hudson Valley.

Christopher Skura

Weather Machine #3, 2017, fired red earthenware clay with handpainted underglazes, signed verso, 10 x 10 x .5 inches.


Christopher Skura is a visual artist living in New York City. Skura has lived in Manhattan since 1995 and has exhibited his work throughout the United States. He holds a degree in painting and drawing and a professional certificate in sculpture from the Ringling College of Art and Design and a Liberal Arts degree from New York University. Skura has studied ceramic sculpture with Peter Gourfain at Greenwich House Pottery, drawing with Mark Barnett, Nicki Orbach and Leonid Gervits at The Art Students League of New York and stained-glass design and construction at The Peters Valley School of Craft. He is included in many private collections.

Christopher has worked in the studios of artists John Chamberlain (“Ten Coconut”) and Hunt Slonem, and has held staff positions at The Ringling Museum of Art, New York University’s Art Museum/ Grey Art and at the The Guggenheim SoHo and Solomon R. Guggenheim Museum in New York City. During this time, he had the unique opportunity to fabricate and construct many artworks for other artists.

In 2011, Skura and clay artist Julie Knight started building JAKPOT Ceramic Studios in the Catskill Mountains outside of Woodstock, NY where they sometimes collaborate on artworks. His most recent artwork references architecture, structural systems, emergence theory and the human figure. Improvisation and freehand drawing are emphasized. Some of Skura’s forms are organic and plant-like but others suggest the machinery of a man-made environment. This duality reflects his experiences growing up in the lush Florida landscape and his current life living and working in Manhattan.

ES DeSanna

Julie's June Jewels, pastel on paper, signed lower left, 14.25 x 11.75 inches, framed.


After a career teaching Fashion Design, art making has become a refuge and a meditation for E S DeSanna. She paints mostly landscapes both in studio and en plein air. Pastel is her primary medium, the splendor of the Hudson Valley her sustaining inspiration. Wanderlust has often taken her to Europe, where she has painted in England and across northern and central Italy. Her work represents the beauty of nature, but often acknowledges a human presence with the occasional road, the distant village, or a patchwork of fields. “Observing my surroundings, wherever that may be, connects me to the outer world. My inner world responds when I put those observations onto paper.”

The artist also translates her study of the landscape to fine print. She has long loved the spontaneous aspect of monotypes, and also enjoys more formal printmaking processes. She has received awards for her work in pastel and printmaking, and shows extensively in the Hudson Valley. Paintings and prints are in collections in the U.S., and in Italy and the U.K. She has taught pastel painting for small groups around the Valley and in Italy, and currently offers classes in pastel privately, and at Woodstock School of Art and The Shokan Art Group.

Barbara Holt

Winter Woods Merge, 2019, oil on paper, signed lower right in margin, 12 x 16 inches, framed.


My work is inspired by the complexity of the natural world. By using my own landscape photographs, the major work of a successful composition is complete. I then investigate the original allure, trying to determine what needs to be emphasized. I ask myself, “What is it about this vista that pulls me in?” That answer becomes the essence of my direction. I define the layers of distance with vague horizontal bands. They soften as they recede, yet my eye is always drawn to the point of interaction with the sky. The large shapes of the middle ground take up their positions , and here is where the pulling and pushing dynamic begins. That energy stems from the struggle of all disparate elements and textures somehow existing in harmony. Nature has randomly, haphazardly provided a specific compilation, never to be repeated. I have spotted it and stalked it, but it may elude capture. The loud and vibrant detail of the foreground often threatens to overtake the painting. It is a challenge to impart all areas with the best amount of impact. They must proclaim yet lose their Individuality in service to a cohesive finished whole. Most recently I have been attracted to tangled piles of vegetation, living and formerly alive. I see the past, present and future in the unruly mess. Yet there is an ideal order to it, exquisitely beautiful. I have a BFA in painting from School of Visual Arts, and an MFA from SUNY New Paltz. I have also studied at the Woodstock School of Art and the Boca Museum Art School. I am a member of Roost Studios in New Paltz.

Sue Martin

Girls Night Out, oil on canvas, 22 x 28 inches, signed lower right, framed.


Many people ask why I paint. Truthfully I don’t know. I know it makes me happy. With all the stress in the world, I need a solitary place I where I can go into another world and express my joys, love and sadness.

~ Sue Martin

Sue resides in the Hudson Valley with four rescued senior dogs and two cats that provide a lot of inspiration.Most of her paintings depict her surroundings of animals and nature.

Her painting hobby became a small business when her reputation as an artist widened.

Sue’s paintings, painted furniture and decorative accessories have been sold throughout the U.S.,Europe and Hong Kong both in stores, including the museum of Folk Art, galleries, and private collections. 

She has been seen in New York magazine and was chosen as one of the featured artists in The craft compendium by Miranda Innes (Country Living).

Sue is a promoter of animal rights. She is especially interested in having more shelters that provide a safe haven for domestic violence that take pets. Many times people will not leave a violent situation because they’re afraid of the harm that will befall their beloved animals. There is a bill before congress now called PAWS Pet and Women Safety Act HR 909 that we hope will pass as it will do more to alleviate these situations.

Silvia Boyer

Symphony for Lady in Introspection, 2016, acrylic, black, golden and silver pens on canvas, 18 x 18 inches, signed right side vertical, unframed.


Sílvia Soares Boyer is an award-winning Portuguese artist and writer, born in Oporto, Portugal, (November 16, 1974). Lives in New York, United States of America. Creator of the ART IN LOCO project, International Art Festival. CEO of the New York Boyer Foundation. Alongside her career she also develops work as Human Figure Model, Art Commissioner, Musician (piano and vocals) and Performing Arts. As a painter, since 1995 she has participated in and held numerous international exhibitions (over 400 exhibitions including 28 solo exhibitions). She is represented in Portugal, Brazil, Japan, France, Belgium, Spain, Malaysia, Mexico, Italy, United Kingdom, USA, Netherlands, Canada, Australia, Germany, Finland, Russia and Venezuela.

As a writer, she is the author of ‘Raizes do Sentimento’ and ‘Da Magoa ao Narcisismo’, also with poetry and short stories in 12 anthologies.

Member of several artistic and cultural associations in Portugal and the United States of America.

Melanie Delgado

Come to the City, 2017, oil on paper, 18 x 24 inches, signed verso, framed.


Melanie Delgado currently resides in the Hudson Valley region of NY with her husband Marc Delgado & their daughter Mary where she has been focusing on her abstract oil paintings. From spray paint to oil sticks, Melanie uses playfulness, a child-like vision and a heavy dose of street art to bring her voice to the canvas, door, window or piece of wood. Her background has been in the field of education ranging from high school to preschool. She instructs young artists at the Woodstock School of Art. Delgado is curious about the stories behind the dilapidated fence, the overgrown pines and what comes next.

Gina Dominique

Red Painting with Green Dots, 2003, oil on wood panel, 12 x 12 inches, framed.


Gina Dominique Hersey, (nee Shorto, b. 1962, Johnstown, PA) is best known for conceptual works that merge 21st Century techno color with spiritual concepts. Dominique Hersey has a national exhibition record, and has received several grants, honors and awards. She earned a BFA from Carnegie-Mellon University and George Washington University’s Corcoran School of Art, and an MFA from the University of New Mexico. Currently, she is an Associate Professor of Art at City University of New York’s Lehman College. Dominique Hersey maintains a studio at the Elizabeth Foundation for the Arts in Manhattan, and one in her upstate West Shokan home. Artist statement In my piece, Red Painting with Green Dots, I used various paint applications on the same matrix. That is, with oils, I painted, drew into, and stenciled onto the wood panel’s surface. And I also used, as I typically do, both gestural abstractionists, and geometric abstractionists techniques. In other words, there are both organic, regular marks, like the hand-drawn “scribbles”, as well as more hard-edged elements, like the flat, solid colored, stenciled circles.

Also, in the painting, the primary red colors, and the secondary green colors are dominant. The deeper, darker background red symbolizes love and passion. The brighter red signifies good luck and happiness. Here the darker background green represents nature and healing, and the brighter foregrounded green stands for fertility. Together, red and green are a pair of complements. They create the paintings visual tension, enhance one another’s brightness, and generate a sense of dynamism.

Bill Durkin

Large Mouth Bass Clock, Caught at Saugerties Lighthouse, 1962, enamel on galvaized steel, 18 x 28 inches, signed on verso.


My imagination can take flight at any time, wandering through the thoughts and concerns I have for the project on my work table in my studio. Not a day goes in which I’m not challenged by a work ethic that’s governed by: every action results in a consequence. I’m after provocation and registration. That place in our minds where images provoke and register new thoughts. I want each and every viewer of my art to see the beauty and fragility of Mother Nature’s Fish.

Some days are better than others. The better days have to do with progress on “my work” and resolving all kinds of the “end of the world” obstacles. The other days are when my antennas pick up on setbacks or any new news of negativity regarding our planet’s fish and waters. But the work moves forward and all the things that get my attention filter through me. And when a fish I’m working on speaks to me I feel we’re getting to the soul of the matter, an image that can pierce the mind and heart of viewers, leading them to a greater understanding of what’s at risk now.

People get intimately involved with my pieces because the visual requires investigation; a full investigation. At the right distance a fish might appear to be a painting, but up close they’re three dimensional sculptures and people want to figure how they were made. It is very rewarding watching the work sublimely taking hold with onlookers. Especially to observe their empathetic consideration and insight gained of the beauty and bounty of our endangered seas, oceans, and rivers. Welcome to The Shoaling.

Tracey Cockrell

Scores for Kezar Lake, 2016, Archival Digital Print, 22 x 22 inches, unframed.


Tracey Cockrell is an interdisciplinary artist who synthesizes sculpture, experimental music, and linguistic theory. Cockrell has been working on multiple collaborative projects, engaging with other artists, writers, and musicians to compose with invented musical instruments. Cockrell’s sound art has been featured in broadcasts on KBOO and KPFA through alternative programs such as ‘A Different Nature’ and ‘Discreet Music’ and in live performances at the Annual Music for People and Thingamajigs Festivals in San Francisco, and CoCA Annual in Seattle. Cockrell mounted a collaborative exhibit, POEMOPHONE: A cacophonous collaboration and reading series, at WorkSound in Portland¬—bringing national and international collaborators to compose and perform on these sculptural instruments. Notably Cockrell’s sculptures and installations have exhibited at Boston Center for the Arts, Institute for Contemporary Art in Portland, Maine, Oakland Arts Council, and the San Francisco Arts Commission. Reviews include Sculpture Magazine, ArtNewEngland, the Boston Sunday Globe, WGBH tv’s “Greater Boston Arts,” and Maine Public Radio’s “Maine Things Considered.” Artist residencies include Tides Institutite and Museum of Art, Fiore Art Center (Maine Farmland Trust), Skowhegan School of Painting and Sculpture, Oregon College of Art and Craft, Hewnoaks Artist Colony, and Leland Iron Works. Grants include a Music USA Meet-the-Composer Grant, a FAIR Grant for travel research, and a RACC project grant.

Craig Wood

Rapture, 2018, ceramic, signed verso and on frame, 16 x 16 inches, framed.


Art arises from beyond the mind; from a place that is both personal and universal. Expressions of subconscious fear, joy, lust and longing all find a voice in my ceramics, sometimes without my direct involvement. I wait to be “told” what to make, then I go to work.

Curiosity and a sense of play drive the imagery in my art. Clowns, accordions and religious iconography make regular appearances. Language and the search for personal visual vocabulary are recurring themes.

Primarily self taught, I began playing in ceramics during early adulthood, which becoming a passion in mid-life. Plaques and tiles make up the bulk of my portfolio. I employ both mid-range and low-fire clay depending on the desired effect. All work is created in my home studio located in Woodstock, NY.

In addition to exhibiting at WAAM, I have recently exhibited at galleries in Portland, Laguna Beach and Santa Fe. My work is also included in the book “500 Tiles” published by Lark Books. Full bio and additional pictures of my work can be found at my website, craigwoodceramics.com.

Nansi T. Lent

The Future is Female, acrylic, oil, graphite and ink on paper, 24 x 18 inches, signed lower right, framed.


Nansi Lent earned her BA in Studio Art at Boston College and an MA in Arts Administration from NYU. Nansi has exhibited widely in The Hudson Valley, New York and New Jersey, and is in an upcoming show at The Coral Springs Museum of Art, Coral Springs, Florida. Her work is held in several private collections.  Rhinebeck is home, though she works in her studio and gallery in Poughkeepsie.

“My work is a mirror of my mind and the relentless overlapping thoughts, reactions, mental notes, lessons, marking and accounting for time, tasks, responsibilities, milestones, joys and disappointments, efforts to relate, frustrations and shards of clarity that make up a life.

Process oriented, abstract and impulsive, I often start with a mood, a thought, color and allow myself to follow instinct as the work unfolds. As I work I try to lose myself in the materials, in the sense of giving full attention to where the working surfaces meet, a form of meditation practiced by many makers.

I often work in series, primarily in oil and wax, and the work ranges in size from 6” x 6” canvases to works-on-paper of many sizes to large 55” x 44” cradled panels, rich in color, layering, gestures, hatch marks, texture, illegible text occasional collage elements.

Illegible text or script, an ancient form known also as ‘asemic script’, and tallying or counting, are elements of my visual vocabulary have persisted through various mediums over four decades. The tally marks, similarly ancient, make visual a mental process that is also ubiquitous. From our earliest days as human beings, we count, track and try to record and remember.

I think of counting and the urge to write as universal language, that breaks the barriers of entrenched culture. I am now exploring these elements as subject matter, while approaching the painting process with increasing childlike freedom. My intention is a kind of emotionally evocative visual poetry of language whose meaning is totally up to the viewer, and is always correct because it belongs to the viewer.”

~ Nansi T. Lent

Nadine Slowik

COLONY SERIES #7, 2018, acrylic paint on expanding polyurethane foam, 12 x 5 x 3 inches.


I have been working as a professional artist for nearly 40 years. After earning my BFA from Wayne State University, Detroit, Michigan in 1979, I created and exhibited my prints and paintings in the Detroit metro area. I continued my studies later in my career, earning a Master’s of Fine Art degree in 1997 from Cranbrook Academy of Art in Bloomfield Hills, Michigan. At the end of 1997, I moved to New York City where I continued my sculptural work using expanding polyurethane foam, acrylic, and found materials.

Career highlights include exhibiting my installation, INVASION, in PSYCH OUT!!!, a group show of outdoor sculpture on the grounds of White Pines at Byrdcliffe, commemorating the 50-year anniversary of the Woodstock Music Festival (July 13-November 2, 2019). In 2017 I was a participating artist in the DEBT FAIR presentation in the Whitney Biennial; and I exhibited my sculpture for the annual International Sculpture Day exhibition at Cross Contemporary gallery/projects for the past 3 years (2017- 2019). My work is represented in a number of private and corporate collections in the U.S. and Europe.

“I am interested in creating a new context for looking at nature. I use polyurethane foam to express nature growing out of control, taking over objects and creating strange organic forms. At once the foam is a noxious man-made substance, but when manipulated, it has qualities that mimic nature: growing, then mutating, and finally solidifying. I want to create a kind of ooze that grows on walls and intrudes and overpowers anything that comes in its path. The foam becomes a strange fungus or parasite expanding, multiplying, then spilling out and creating its own pre-ordained existence. One is asked to consider the organic living qualities present in a prosaic, man-made industrial material. I seek to challenge the viewer’s perception of nature itself.”

~ Nadine Slowik

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