Sandra Hildreth, who writes regularly about Adirondack arts and culture, grew up in rural Wisconsin and is a retired high school art teacher. She lives in Saranac Lake where she was spends much of her time hiking, paddling, skiing, and painting.
I am an artist who, like many others in our world, am inspired by the natural environment around me. In most cases it is the beauty of a place, or the subtle, interesting colors of some rocks, the freeform shape of a brook twisting through a beaver meadow, or sun glistening on a mountain summit. All pretty positive, attractive, peaceful images – the harmony of the natural world.
In a place like the Adirondacks, there are a lot of artists, writers, musicians, and more who gain inspiration from the world around them. » Continue Reading.
Art and nature. The nature of art. Nature effecting art. The Paul Smith’s College VIC, under the direction of canoe guru Brian McDonnell, is doing a pretty good job of tackling these issues. For over a year now Brian has done both the physical work of building and maintaining trails and buildings on the property and he’s also managed to have a full, year round schedule of events, programs, and some fine exhibits of art in the visitors center.
Currently on display are paintings by Saranac Lake artists Tim Fortune and Matt Burnett. Both paint the natural world of the Adirondacks and both paint big. Very accomplished small paintings are on display too, but it’s the large scale images that are truly moving. » Continue Reading.
Two weeks ago I was able to attend a plein air painting event in the Finger Lakes area – where artists seek out scenic spots and paint outdoors, on location. Being an Adirondack artist, I chose to avoid the busy vineyards, docks and sailboats on Canandaigua Lake and spent my time finding trails and wilder views to paint. The landscape there was very scenic, yet I learned it was very different from the Adirondacks.
The first day I painted, I’d done some prior internet research and had directions to a place called ‘Bare Hill”. The Finger Lakes are long, glacier carved gouges in the earth embraced by high ridges and flat topped hills at the southern end. Bare Hill was one of these, it’s steep slopes wooded down to the water, but the top was clear. A sign indicated according to Seneca legend it had been an early settlement. I wandered around, eventually painted a view of the lake, and never saw another person. I sensed it was a very spiritual place for the native peoples. » Continue Reading.
Memorial Day weekend brings fresh paint and new displays to the various galleries and arts venues throughout the Adirondacks.
In Saranac Lake, this is the last week at the Adirondack Artists Guild for “Sunrise-Sunset”, an exhibit of photographs by Barry Lobdell. Opening June 1 will be “Favorite Majicks”, paintings by Meg Bernstein. At NorthWind Fine Arts, blacksmith David Woodward is the featured artist (see photo).
His work will also be found on top of the new Adirondack Carousel building (grand opening May 26) in the form of a hand-crafted weather vane. A number of area artists donated their art skills to the new carousel! The next featured artist at NorthWind will be Phil Gallos with an exhibit of photographs: “Butterflies & Boulders”. A live production of “Pinocchio” is going on at Pendragon Theatre. “A Steady Rain” and “The Last 5 Years” are on the schedule for June performances. “Cooter & the Crawlies” are playing at Bluseed Studios on May 26. » Continue Reading.
On Monday April 23, history was made – the carousel mechanicals were delivered to the Adirondack Carousel site in Saranac Lake and assembly began. As mysterious and amazing as the actual metal structure is, the “barn-raising” experience of being a volunteer for this project is even more fantastic.
I’m sure there are other communities, large and small, where this kind of thing happens, but I am so proud to be part of this community. In grade school in Wisconsin I remember learning about “barn-raising” in a social studies class. When a farmer needed to build a house or barn, the word would go out, a date would be chosen, and all his friends and neighbors would show up and work together. With that kind of cooperation, a building could go up in a day or 2. I recall thinking ‘isn’t that nice – too bad we don’t do things like that any more”. Well, I’ve learned that here in Saranac Lake the concept is not dead and out-dated. From the ice palace to the carousel, when there is a need – community members here step up to the plate.
I started out being the volunteer painter of one of the carousel animals – the otter. Then the bald eagle and this past fall, the black bear. That was fun. The paints were donated by Golden Paints and all I had to do was apply them to these beautifully carved animals (also donated). Then they needed some large panels to be decoratively painted and I jumped in and took command. Rounded up 9 other artists and we got them done with scenes from the area and native wild flowers. They will decorate the upper structure of the carousel.
The carousel animals have been around for several years – touring, animals in residence at various locations, doing press conferences, etc. Well, all that moving around took it’s toll and many of them had nicks and scrapes, so I recently spent several days touching them all up. Then they all needed an “isolation coat” of acrylic varnish and finally, beginning on April 23, they all got a final coat of hard, glossy varnish and will need at least one more coat. Through this process I guess I got to intimately know all the animals – every nook and cranny! The workmanship is absolutely fantastic. One of the unique qualities of the Adirondack Carousel, besides the fact that the animals are all native to the region, are the lady bugs and the decorations. I learned about the “romance side” – the right side of each animal, which will be facing out and has most of the added on decorative elements.
Every animal has at least one and usually several ladybugs. Some are carved, some are painted. Some are life-size, one is gigantic! While down on hands and knees applying varnish I discovered one carved lady-bug wearing snorkel googles! On another animal there is a carved fish that is part of the saddle that has a ladybug in it’s mouth! There are painted trilliums, baby bunnies, lily pads and sun-bathing frogs, a monarch butterfly caterpillar, a mouse with a chunk of Swiss cheese – riders will have as much fun examining their rides as they will riding! It’s been said that there will need to be times when the carousel will remain stationary just so people can climb on board and walk around and delightfully examine the animals, discovering all their hidden treasures.
The carousel building is the true example of community spirit. At the corner of Depot St., and Bloomingdale Ave (route 3), it has been entirely built by volunteers. This “barn-raising” has taken months, but the generosity of individuals, organizations, contractors, and businesses has been unmatched. The excavation, foundation, construction, heating, wiring, painting, staining – all done by volunteers. The carousel mechanicals came by truck from Texas and word was put out via Facebook, email, and “mouth” and a volunteer crew was there Monday morning to help.
Doors had to be removed to make room to carry the machinery in. A lift was loaned by a company in Lake Placid. And by 5 pm the skeleton of a carousel was standing. Probably unchanged over the last 100 years, the structure has what looks like giant clock mechanicals or a medieval torture machine in the center. A large geared wheel is at the top. 10 geared, rotating arms project outward to form a 10 sided (decagon) structure overhead. The animals will eventually be mounted to rods attached to the rotating overhead rods. When the carousel turns, the overhead rods will rotate and the animals move up and down. At the outer edge of the upper structure there were some steel rods hanging down – from these the carousel floor will be suspended. It’s an amazing contraption! It will be an amazing carousel.
If construction continues on schedule, the opening date will be May 26, 2012. For more information check Adirondack Carousel or find them on Facebook. Donations will still be accepted.
During the research I did several years ago about historic landscape painting in the Adirondacks, I came across a painting that took me deep into the High Peaks region, told me a wonderful story, and led me to some interesting discoveries.
In my two earlier posts on this topic, I provided some of the background about the development of landscape painting in the 19th century. While researching, I made several trips to the Adirondack Museum, in Blue Mountain Lake, to look at the many wonderful paintings in their collection. One of my goals was to try to visit some of the sites I could identify and do my own paintings of them – 150 years later.
There is a painting in the museum that really captured my attention. “The Great Adirondack Pass, Painted on the Spot, 1837”, by Charles Cromwell Ingham. It depicts a bare rocky cliff on the right side of the painting and what looks like two gigantic glacial erratics in the center foreground. It will probably not be clear in the reproduction, but in the lower left corner is a small figure of an artist, and at the base of the very dark rock in the center, there is a tiny little person. I noticed these when I saw the actual painting in the Adirondack Museum. I couldn’t help but be amazed at the size of the two rocks. Compared to the person at the base of the dark rock, it is at least 10 times the height of that person, perhaps more. That makes this unique glacial erratic 50-60 feet high. Huge! I decided I would try to find this place.
Reading in “Fair Wilderness: American Paintings in the Collection of the Adirondack Museum”, I learned that Charles Cromwell Ingham was a portrait painter invited by Archibald McIntyre to join a geological survey expedition – the first to make the ascent of Mount Marcy, in August of 1837. In another book I read it was reported that Ingham passed out several times while doing the climb because it was so strenuous. Also on the expedition was Dr. Ebenezer Emmons, the state geologist of New York. Ingham was brought along to visually record the trip as pictorial accuracy was deemed very important – this was before the use of cameras. “Fair Wilderness” also explained that this location is now known as Indian Pass – that I could find!
So one Columbus Day weekend I packed what I needed for a day trip, including the Adirondack Mountain Club “Guide to Adirondack Trails: High Peaks Region”, drove to the Upper Works trail head and hiked the Indian Pass trail. This is a very rugged trail that goes from Upper Works, through Indian Pass between the massive cliffs of Wallface Mountain and the McIntyre Range, and about 11 miles later ends up at the Adirondack Loj trailhead near Lake Placid. “Fair Wilderness” included several quotes that further identified the location. Another artist who visited the pass later in 1837 noted there is “a sloping platform amidst the rocks where the finest view of the whole scene is to be obtained”. He also predicted that the site would soon host resorts and lodges and be more popular than Niagara Falls! Later author Alfred Billings Street wrote “I wish to bear testimony to the accuracy” of an engraving that was done based on Ingham’s painting.
I was on a mission to find those two gigantic rocks. It’s approximately 5 miles from the trailhead to the summit of the pass, an elevation of 2660 feet. It was a brisk fall day, many of the leaves were already off, and I found the trail to be one of the most challenging I had ever climbed at that time. Up and over boulders, steep and narrow – I tried to imagine the expedition in 1837 – before there were any trails or man-made ladders to help get you up through the steep sections. After a few hours of climbing I encountered a small sign and arrow that said “summit rock”. Stepping out onto the bare sloping rock I had the barren cliff of Wallface to my right – exactly as it was in Ingham’s painting. Out in front of me the land sloped downward and in the hazy distance I could just barely see the light reflecting off of Henderson Lake – also in Ingham’s painting. This had to be the spot where he painted – but where were those two gigantic rocks?
I took photographs, did some sketches, and had a snack and then I heard another hiker approaching, coming from the opposite direction. I stepped back onto the trail to meet him, showed him my sketch (based on the painting) and asked if he’d seen a couple of big rocks – and he said he had. I thanked him and continued on past summit rock – which I later learned is not really the summit but does have the best view to the West. It did not take long, maybe another quarter mile, and I found them. There were indeed pine trees growing out of the top of the one on the left and the one on the right had a funny bump on the top – just like Ingham’s painting.
They were surrounded by trees and underbrush and nearly impossible to step back far enough to get a decent photograph of both of them. The hiking trail passes directly next to the rocks. But my big discovery was that they were not anywhere as large as Ingham had painted them. What was he thinking? Supposedly he created the painting “on the spot”! How could he be so inaccurate? By my estimation the rocks were twice as tall as I am, maybe three times – so perhaps 11-15 feet high (not 60!).
I took as many photos as I could and then with daylight waning, headed back down the trail, feeling very successful. It wasn’t long before I did my own painting of the two rocks and the view, based on my photos – only it was a little disappointing. The research and the journey had been so exciting but my painting wasn’t very exciting. Two rocks and a cliff. There was no way to understand the scale of the rocks. In my painting they just looked like two boulders – four feet high, six feet? There was no way to tell.
Then it hit me – Charles Ingham may have painted “on the spot”, but I bet when he got the painting back to his studio to finish, he too probably felt he needed to do something to show the actual size of the rocks. I can imagine him remembering the rigors and challenges of this hike into uncharted territory – I thought it was rugged and I had a marked trail to follow. So Charles Cromwell Ingham painted a little person into his painting – something to give the rocks some scale. And he painted himself in the corner, painting. In his memory, perhaps he believed the rocks to be the size of a 6 story building!
So, with a friend to accompany me, I hiked back through Indian Pass and had a photo of myself taken in front of the rocks. Back in my studio, I did a new painting: “Self-portrait in Indian Pass” , which one of my children will inherit someday. I have great respect for all the artists of the past, but I now understand a bit more about what “artistic license” means. I’m sure Mr. Ingham did sketch and paint on the spot – it would be my guess that he did what he could in a few hours, not wanting to hold up the expedition. He was working with oil paints, so probably did more of a sketch than a complete painting, otherwise it would have taken days for the paint to dry. The canvas was then most likely removed from the wooden stretcher bars and rolled up and put in a pack for ease of transportation. Ingham might have rendered the rocks from that specific location, and he might have also sketched the view from the more open “summit rock”. Then I bet he combined the two when he completed the painting of the “Great Adirondack Pass” in his studio. When he realized there was no way for the viewer to understand the size of the rocks or the ruggedness of the terrain, he added the little figures to the painting, for scale. Mystery solved!
If you visit the Adirondack Museum, look for “The Great Adirondack Pass”. See what kind of story it tells you!
As a former high school Art and Humanities teacher, one of my favorite time periods of American history was the mid-nineteenth century when the Hudson River School of Painting was at its peak. Thomas Cole had sparked the whole movement with his first paintings of Katerskill Falls and other Catskill wilderness scenes in 1825. Prior to that time, only one of every ten paintings was a landscape, but by the 1850’s, nine of every ten were paintings of wild American places.
At the very same time that our country was on the path to fulfill the charge of Manifest Destiny! Settlers were cutting down trees, damming rivers, clearing fields and building roads. The Erie Canal had just opened and railroads were pushing farther and farther into the remote areas of the continent. From a limited number of landscapes that were merely backdrops for pastoral farm, military encampment, or village scenes to an abundance of masterful paintings of unspoiled wilderness was quite a development and it had more of an impact than many people realize.
The popularity of American wilderness landscapes in the 19th century is partly due to the new, young Republic’s search for a heritage that was not linked to Europe. The political break of the Revolution had left America a newly born nation without a past. European painting was based on tradition and history. They had mythology, ancient Greek and Roman ruins, medieval castles, Gothic cathedrals, and centuries of civilization to glorify or refer to in their various art forms. America had the heroes of the Revolution, but not much more. In “Fair Wilderness: American Paintings in the Collection of the Adirondack Museum” Thomas Cole is quoted as saying that the most distinctive characteristic of the region was its wildness, “distinctive because in civilized Europe the primitive features of scenery have long since been destroyed or modified – the extensive forests that once over shadowed a great part of it have been felled – rugged mountains have been smoothed, and impetuous rivers turned from their courses… the once tangled wood is now a grassy lawn…”.
Cole’s biographer wrote that in the spring of 1823 “It was now that a great thought came to Cole, and told him he had gone to work wrong. Hitherto he had been trying mainly to make up nature from his own mind, instead of making up his mind from nature. This now flashed on him as a radical mistake. He must not only muse abroad in nature, and catch her spirit, but gain for his eye and hand a mastery over all that was visible in her outward, material form, if he would have his pictures breathe of her spirit.”
In 1825 Cole moved with his family to New York City and a painting placed in a store window sold for $10 and financed a sketching trip up the Hudson River that autumn. That trip, which corresponded to the 10 day celebration marking the opening of the Erie Canal, resulted in 3 new paintings, which sold immediately after being put on display in New York city, and the era of the Hudson River School began. The name was coined because most of the paintings were produced within the Hudson River watershed – the river valley itself, the Catskills, and the Adirondacks.
Popular philosophy of the early 19th century associated nature with virtue and civilization with degeneracy and evil. Artists like Thomas Cole, and writers like Emerson and Cooper believed nature to be synonymous with both personal and national health and viewed the city, the bank, and the railroad as producing sickness by encroaching upon nature and finally by destroying it. Cole illustrated these beliefs in several of his allegorical series of paintings like “The Course of Empire”. It showed that the replacement of nature by civilization results in the ultimate collapse of civilization. When combined with the growing national pride, it seems that Cole’s wilderness paintings became “an effective substitute for a missing national tradition. America was thus both new and old”. ‘New’ in being previously undiscovered, with unsettled, wild territories, and ‘old’ in terms of the ancient wild mountains, older than mankind.
Our wilderness became a substitute for the European historical past. It also became linked directly with the divine destiny believed to belong to Americans – that the continent was there for us. In a nation founded on concepts of religious freedom, and whose Protestant colonists practiced their religion in environments devoid of religious art, 19th century landscape painting almost becomes our religious art, the essence of the spiritual beliefs of the country. We proclaimed separation of church and state, yet never abandoned the belief in “God on our side” as we conquered the wilderness and the virgin bounty of the continent.
The spiritual message contained in many of the landscapes of the Hudson River era was repeatedly mentioned in the literature of the era. From “The Knickerbocker”, in 1835: “God has promised us a renowned existence, if we will but deserve it. He speaks of this promise in the sublimity of Nature. It resounds all along the crags of the Alleghenies. It is uttered in the thunder of the Niagara. It is heard in the roar of two oceans, from the great Pacific to the rocky ramparts of the Bay of Fundy. His finger has written it in the broad expanse of our Inland Seas, and traced it out by the mighty Father of the Waters! The august TEMPLE in which we dwell was built for lofty purposes. Oh! that we may consecrate it to LIBERTY and CONCORD, and be found fit worshipers within its holy wall!” America’s Transcendentalists, like Emerson and Thoreau, believed that bonding with nature’s solitude and silence nurtured spiritual development and character. The paintings mirrored these beliefs.
Tied to the spiritual message was current aesthetic philosophy. Landscape painting was usually classified as sublime or beautiful and picturesque. European landscapes were generally considered picturesque, with their ancient ruins and craggy, snow-capped Alps. Because America was lacking in the picturesque, and also since much of the known landscape consisted of split rail fences and burnt or hacked off trees, the unknown, wilderness scenery, vast and diverse, was easily accepted, once artists began painting it.
The sublime aspect of the wilderness landscape was also apparently well discussed in artistic circles. While scenes could easily be rendered beautiful and picturesque, to evoke the sublime, was uniquely special. Sublime is the addition of something terrifying, fear or awe-inspiring in its power or potential – bringing to the viewer a feeling for Divine authority or design. Many of the Hudson River artists intentionally included the sublime in their paintings – the distant threatening storm clouds, dramatic sunsets, the rushing, over-powering torrent of a cascading waterfall, or the gnarled and broken tree, evidence of the awesome power of nature (God).
In “Kindred Spirits”, the strong connection between the artists and writers of the Hudson River region was exposed. The rawness of the American landscape, with its lack of polish and historic ruins, came to be ignored by both artists and writers who focused on the wildness and freshness of the New World. The writers created and publicized the legends and folklore in characters like Rip Van Winkle, Ichabod Crane and Natty Bumppo. The lack of a past was replaced with the unlimited potential for the future and the relatively new historical sites, like Fort Ticonderoga could substitute for the missing ancient ruins. So while the writers were supporting and describing a positive, patriotic recognition of the assets of the continent, the artists capitalized on this with their paintings. In response, they received public praise from the writers, and the artists also published their own poems and essays in support of their work. For nearly 50 years, the Hudson River School painters and the Knickerbocker writers enjoyed common and self-supporting popularity. It is interesting to note that this mutual focus on the uniqueness of America extended right through and past the Civil War, almost totally ignoring it.
Paintings: “Katerskill Falls”, by Thomas Cole and “Twilight in the Wilderness” by Frederic Church.
In 1997 I was fortunate to receive a Summer Fellowship for Independent Study in the Humanities from the Council for Basic Education, part of the National Endowment for the Humanities. For the next few months I will post excerpts from the research, writing, and painting I did for that project.
The broad, former jeep trail ran straight as an arrow, cutting a path through the massive beech and maples of a mature Adirondack forest. While the trail was clear, the woods were tangled with downed trees from the great “microburst” storm of July ‘95 and huge, scattered boulders, the ancient remnants of the last ice age. Soon the trail narrowed and passed through a grove of evergreens, their rusty brown fallen needles silencing my steady steps. To the right, the forest climbed; to the left, it dropped into a swampy area. Now and again the trail veered from its straight course as it followed the uneven contours of the ascent. The dense shade of the green canopy was occasionally broken where the force of the summer wind storm two years ago had snapped hundred year old trees off like they were toothpicks. It was a hot, humid July day and I had just delivered two of my paintings to the Arts Center in Old Forge. Heading home, since I was in the midst of my Independent Study in the Humanities project, I checked my maps and chose an alternative route, a back road that would perhaps lead to some interesting or scenic place. My study topic was “A Personal Investigation of Contemporary and 19th Century Landscape Painting of the Adirondacks and St. Lawrence Valley”.
The basic question I was seeking an answer to was why had landscape painting suddenly become so popular in 1825, as well as why I have always personally felt so drawn to the land. On that hot July day, with the air conditioner working overtime, I’d actually driven past the small brown trail marker before I skidded to a dusty stop on the gravel road. Backing up, I found the small parking area of the trail head to Black Bear Mountain. While it was only two miles to the summit, it wasn’t even marked on the map in my booklet of short day trips in the Adirondacks.
I’d already made one climb that day, Rondaxe Mountain, but for several reasons, it had been quite uninspiring. It was only a one mile hike, located right alongside a major highway, and it had been crowded. Obviously a popular outing, there were many small groups and families on the trail, and what probably would have been scenic views of the Fulton Chain of Lakes were masked by the haze and humidity of the day. Much of the summit area was barren, open expanses of ancient Adirondack rock, worn down to its current level by eons of glaciers and tens of thousands of years of wind and rain and snow.
It is said the Adirondacks are among the oldest mountains on the planet, once surpassing the Himalayas in altitude. Now, Rondaxe Mountain was not much more than 2000 feet in elevation. The most disturbing part of the hike, however, were the scrapes and skid marks along those bare summit rocks, left by enthusiastic mountain bikers. It just seemed a shame that these rocks had withstood the forces of nature for so many million years, only to be scarred by humanity in less than a generation.
But the trail to Black Bear Mountain was quiet. No other vehicles had been at the trail head, and while it was evident others had used the trail, I met no one. Perhaps it was the threat of afternoon thunderstorms. The easy walk began to climb, twisting around tumbles of boulders and the tangled branches of broken or uprooted trees. Sometimes it went down, always to turn and climb even higher, following now what appeared to be a dry stream bed. I could imagine the rush of torrent crashing over the boulders during the spring run-off season.
Then the trail narrowed further, turned away from the rocks, and climbed steadily through dense spruce and pine. It was now just a foot path, worn through the thin fragile loam of the forest floor to the bedrock below. Gnarled roots grasped tenuously to the rock, and the air was noticeably cooler. Feeling the whispering breeze of open sky, I knew I was nearing the summit area. Is this what it was like for Thomas Cole, the young artist who had hiked into the Catskills in 1825, then returned with sketches to his New York City studio to produce his now famous paintings of the pristine wilderness?
I’d been wondering why it seemed like Americans had waited until then to notice the beauty of the landscape of the New World. My own heart was pounding harder, due to the increased altitude as well as the anticipation of what I would discover at the end of the trail. Winding through small, stunted spruce, I could sense the approach of the summit as there was now nothing but bare rock in front of me. Eagerly climbing it, my breath was taken away by the vast solitude that greeted me.
Directly ahead, across the valley that separated us, was another densely forested mountain, with additional peaks and ridges stretching back, one behind the other, all the way to the horizon. I supposed the tallest, distant ones to be the High Peaks of the central Adirondacks. To the right, the valley and mountains continued unbroken. To the left, the valley spread and opened up to a meandering stream and what appeared to be a beaver meadow. Further on was a second clearing, then mountains once again climbing to the horizon. Nowhere was there evidence of humanity. It was incredible to think this is what Verplanck Colvin had witnessed as he surveyed the Adirondacks for the first time in the 1830’s. A raven glided along the currents above the tree tops in the valley below me, arcing up to circle back towards the rocky cliffs. The silence was only broken by the gentle hissing of the wind in the branches of the pines clinging to the summit rocks. I could have been the only human being in the world.
This was the start of my personal exploration. The painting shown here, “View from Black Bear Mountain,” was based on a second hike up the mountain in late August of 1997.
As odd as the name sounds – like it must be some kind of misprint from Facebook – “Social Faceworking” is a dynamic, exciting exhibit of the works of 19 creative individuals, with 170 connections between them, at the Lake Placid Center for the Arts. It will be on display until February 11.
Organized by Nip Rogers, Lake Placid artist and designer, the main connection is that Nip is friends with all these artists and has created a unique portrait of each one. Each artist has their own exhibit area which includes their own work. The portraits hang throughout the gallery. It’s up to the viewer to make the connections.
Quoting from the exhibit program “with the advent of social networking, it has become easier for artists to come together and share work and inspiration online”. Just think of what these advancements in communication have done for artists. It wasn’t that long ago that working artists often felt they lived and worked in isolation – that’s the stereotypical image of the artist, working away alone in their studio. Probably with weird personality traits and anti-social behavior. When an artist attended an exhibit or hung out in a coffee shop, they might meet and interact with other artists. In between those events maybe they wrote letters or talked on the phone. Or not.
Fast forward to 2012. Artists have web sites where they post images of their work to share with the world – not just discreetly showing their friends at the coffee shop They write and illustrate blogs where anyone can go online and see just exactly what their favorite artist is currently working on. Or maybe you can find a YouTube video of the artist actually at work! Or a Tweet! When I am out plein air painting I often take a photo with my smart phone and post it directly onto my Facebook page – “here is what I’m working on right now”. Artists can have fans and patrons without ever having even met them in person! A finished work of art doesn’t have to wait for the paint to dry, the frame to be put on, and months or years for a gallery owner to propose an exhibit – it can go on display online in an instant.
The immediacy and world wide connectivity that artists have right now is both changing the image of the artist and is probably affecting changes in what they create. Artwork is no longer subject to being hidden away in a closet until the artist is “discovered” – or dies. For artists in the Adirondacks, there is no longer any reason to feel isolated – unless you want to be.
“Social Faceworking” taps into all this connectivity and instantaneous sharing that exists via the internet. There’s even a Facebook page for it! The variety in techniques, subject matter, and style are fun to see and surely will provoke some critical thinking. Participating artists are: Andrew Dehond, William Evans, Brooke Noble, Cal Rice, Carol Vossler, Charles Stewart, CJ Dates, David Fadden, Eric Ackerson, Jenny Curtis, John Ward, Ken Wiley, Peter Seward, Sandy Edgerton Bissell, Sara Mazder, Shaun Ondack, Susan Stanistreet, Vicki Celeste, and Nip Rogers.
The Lake Placid Center for the Arts is located at 17 Algonquin Ave. Gallery hours are Tues. – Thurs. 1 – 5, Fridays 1 – 9, and it’s usually open when there are other performances or events. 518-523-2512.
Artists find their way around the world differently than most people. This is clearly evident in “Mapping the Familiar: Artist Maps of Saranac Lake”, which opened last week at the Adirondack Artists Guild Gallery in that village. The exhibit was curated by Jess Ackerson, a young artist, printmaker who lives and works in Saranac Lake. Each artist was invited to interpret the concept of the show in their own individual way – and all the pieces in the show are very unique. When I find my way somewhere, I am inclined to rely upon visual “signposts” – usually natural landforms. Even in an urban environment, I find myself locating the sun, when possible, so I’ll know which way is north, and I might mark my course by remembering to turn at the big tree on the corner where the road goes uphill rather than the name of the street intersection. This might be evident when a viewer examines my piece in the exhibit because I have no map in it, but I do have many of the views that one sees when in Saranac Lake.
There are several pieces in the show which are clearly maps – but maps interpreted through what the individual artists found interesting. Diane Leifheit’s map is a detailed ink drawing/silkscreen print that depicts the course of the Saranac River and the various bridges within the community, along with hand-scripted anecdotal notations. Peter Seward’s “The Resettlement of Saranac Lake” is “a whimsical depiction of the challenges faced inhabiting a wilderness”. It is reminiscent of the fanciful maps of drawn by early explorers and even has an area identified as “terra incognito”.
Mayor Clyde Rabideau, who once boasted of some interest in the arts, was also invited to contribute a piece. His cartoon style drawing of a map of the community shows the pride he feels in the village and looks like something you might have seen in a 1950’s tourism brochure! It’s title was derived from the locally known Dew Drop Inn and Mr. Rabideau wrote in his artists statement “for many generations, thousands of people have, indeed, “dropped-in” to Saranac Lake and never left, making it their permanent home”.
Some of the other pieces in the show have more emphasis on the “art” and less on the “map” although the village map has worked it’s way into the individual images. Jess Ackerson’s three color reduction lino-cut, silkscreen and colored pencil piece combines the map with other bold images like a rainbow, a compass star and a labyrinth. In her statement Jess wrote “This map is actually a maze. It’s an attempt to describe what it takes to be present while we navigate the transition from past, where there were so many other paths we could have taken, to the future.” Eric Ackerson created a labyrinth of intertwining map and snake forms titled – “A Ransack Illegal Fovea” – which happens to be an anagram for Village of Saranac Lake.
In addition to the 10 artist creations, there is also a large, interactive “Community Map” where gallery visitors are invited to draw and write upon it their special spots or trails in the village.
Find your own way to this unique and thought provoking exhibit – the Adirondack Artists Guild is located on Main Street in Saranac Lake and the exhibit will be up through January 29.
On my way through the Adirondacks, while traveling for the holidays, I stopped at View, the Arts Center in Old Forge, to see “Adirondack View Finders: Farb, Battaglia, Bowie, Heilman”. As I walked through the galleries of photos I kept waiting for one to jump out at me – to say “hey, this is new and different – look at me” and it wasn’t happening.
Don’t get me wrong, this is an outstanding exhibition of photographs. Nathan Farb’s work can take your breath away with the incredible details. Nancie Battaglia is exhibiting some striking sepia tone images. Mark Bowie has some low light nighttime exposures with amazing results and Carl Heilman’s panoramas pull you into the space so much you feel like you are right there with him on a mountain summit. All good – but all things I had seen before. In adjoining galleries there are additional photographs: “Emerging Views,” featuring works by Johnathan A Esper – who sometimes climbs up big white pines to get some wonderful panoramic views; Leslie Dixon and Clark Lubbs, both of whom are showing lovely, intimate views of the natural world.
Finally, there are photos from an exhibit called “Teacher’s Turn: Instructors from the Adirondack Photography Institute.” Another batch of terrific images from Eric Dresser, Joe LeFevre, John Radigan and Carl Rubino. Here is where my inner spirit was moved. We’ve all seen cute bear cub photos, or monster buck images that make you wonder if the photographer was shooting animals contained on a game preserve. Eric Dresser’s photos seem to just take you to the place – you feel like you were stepping softly through the forest and chanced upon these animals without disturbing them. Not overly cute, nor dramatic, just a beautifully composed, captured moments in the life of wild creatures.
However the photos that made me stop and walk back to look at them again were some relatively small images perhaps in the 12×18” size, by John Radigan. Not dramatic, nor extreme in detail or view, but subtle, soft painterly moments in time. In fact they looked more like paintings than photographs – printed on lovely paper with torn edges. I thought they were something like polaroid transfer prints, but after contacting the artist, he explained that “the series of images for the View exhibit were made using an Epson archival inkjet printer on watercolor stock. The image edges were made manually using Photoshop to approximate edge effects like an acid burn, etc. The paper edges are hand torn. The images themselves were captured using various in-camera techniques such as multi-exposure, long exposure blur and image overlay. No computer tricks were used.”
This photography exhibit is definitely worth seeing for it’s breadth, depth, and excellence. And if the opportunity to wander through the Adirondacks via the captured images of all these photographers is not enough, then consider the sixty-eight pieces of native stone sculptures tastefully placed throughout the galleries by Keene Valley artist Matt Horner. Soft, organic forms of hard Adirondack rock! A final bonus is a slide show in an adjoining gallery of Nathan Farb’s striking images of the devastation of Hurricane Irene. Worth seeing as a reminder of the awesome power of nature. The overwhelming response to this natural disaster cleaned things up so quickly it’s easy to forget how bad it really was.
These exhibits will be on display until January 29 at View in Old Forge. Correction: “Adirondack Viewfinders” will remain on exhibit until March 3. Hours are Monday through Thursday, 10 – 4, Friday and Saturday from 10 – 5, and Sunday from noon to 4 pm. Admission is $10/$5 for members. 315-369-6411.
When the Adirondack Carousel is completed it’s going to be a moveable feast for the eyes. Kids (and adults) will love to take a ride on it and surely will pick out their favorite animal. (I always had a favorite horse on the carousel I rode as a child at the Wisconsin State Fair). But besides the traditional thrill of the ride, this carousel is going to be an amazing work of moveable art.
First of all, the carved wooden animals are all unique and all native to the Adirondacks, rather than the traditional leaping horses. Talented wood carvers from all over the country have donated their time to create these animals. » Continue Reading.
What follows is a guest essay by Sandra Hildreth, a member of the Adirondack Artists’ Guild. The Guild is a cooperative retail gallery with 14 member artists, located at 52 Main St. in Saranac Lake. Gallery hours are 10 – 5, Tues – Sat, and 12 – 3 on Sundays. 518-891-2615.
The current featured artist exhibit at the Adirondack Artists’ Guild in Saranac Lake could easily be a lesson in art history. Nancy Brossard is a well known local artist who lives between Tupper Lake and Childwold. Brossard primarily paints Adirondack landscapes in the tradition of “en plein air” artists, that is, outdoors, on location. Her works interpret the environment in wonderful animated brushstrokes, reminiscent of some of the French Impressionists, but faithful to the Adirondack views they portray. » Continue Reading.
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