The Lockwood Gallery displays artwork from instructors at the Woodstock School of Art


Esopus by Staats Fasoldt.

Since the founding of Byrdcliffe Colony in 1902, Woodstock has been synonymous with art, and for many years the cornerstone of its thriving art community has been the Woodstock School of Art (WSA). Located on the right. 212 a few kilometers from the village in a charming campus of bluestone buildings – they were built in 1939 as an arts and crafts school for young people as part of FDR’s New Deal; the WSA then served as a summer school for the Art Students League – the school was founded in 1968 by a group of instructors from the League and was officially established in the building complex in 1986. Initially opened only in summer – instructors who brought heaters in the colder season, they had to pay for their own heating – the school became an institution open all year round and regularly updated its facilities, which are fully heated and flooded with natural light. The WSA’s roster of 47 instructors, offering everything from one-design printing to portrait painting, has attracted a loyal following; many of the students are accomplished artists themselves. The school’s breadth of talent (some of its artist instructors have shown nationwide or are otherwise known outside the region) representing a diversity of techniques, mediums, styles and genres is lavishly presented at the second annual Woodstock School of Art Instructors’ Exhibition and Sale at The Lockwood Gallery, located on Highway 28 a few miles outside of Kingston.

The exhibition features the work of 37 artists / instructors, including paintings (oil, acrylic and watercolor), prints (ranging from linoleum and woodcuts to lithographs to monotypes), assemblages and collages and sculptures. Such a strain might sound cacophonous, but the expert eye of curator Alan Goolman overcame this challenge with grace. Goolman anchored each of the gallery’s different rooms with a particular striking piece, from which he takes his cues of color, scale and texture to create a vivid visual harmony and a tantalizing path through the space. (Evidence of Goolman’s curatorial skills at the gallery, which is located in the architectural offices of Michael Lockwood, is ChronogramLockwood’s selection as the best gallery in the Hudson Valley in 2021).

The long-standing tradition of landscape painting in Woodstock is alive and well, as evidenced by the works of Bruce Bundock, Mary Anna Goetz, Tor Gudmundsen, Marlene Wiedenbaum, Hongnian Zhang (who also teaches history and figurative painting ), John Varriano, and Keith Gunderson (best known in school for his figure studies), as well as pastels by ES Desanna. These artists demonstrate global excellence in their ability to convey light, space and the beauties of the region’s fields, forests, wetlands and mountain ranges. Personal favorites are Bundock’s two outdoor paintings that capture subtle changes in the tones of light-spotted tree canopies, fields, and a bluish mountain range through loose pops of color, communicating the essence of painting in the construction of the scene. Christie Scheele’s two luminous landscape paintings, one of a Burning Sky titled sun drenched, demonstrates his characteristic style of soft edges, enhancing the lighting effect and a minimalist and modernist approach to the composition. Staats Fasoldt’s small watercolor by Gunks, one of his three exquisite works, reduces the scene to a few forms of gray, muted green, and gray-blue wash. In addition to this spontaneity and Zen simplicity, Fasoldt captures the essence of a scene so that it remains recognizable, conveying the specifics of weather, light and space. Les Castellanos’ watercolors of swirling, richly colored clouds contrast their clear-edged, almost animal-like shapes with the flat outlines of the earth extending from the low horizon line.

Ashokan by Bruce Bundick.

To balance the landscapes, many abstract works by seven artists (Kate McGloughlin’s three great black-and-white multimedia works fall into this category, though their texture and nuanced tones, ranging from spattered black ink drops to pale gray, suggest spaces and surfaces of the landscape). Donald Elder’s masterful work in gray green and dark black – the black area defines a large rectangular central shape that could be read as a veiled head, a boulder or a rich patch of earth – anchors an entire wall, but its subtle lyricism – spoonfuls of yellow and pink paint reads like flowers and the striped surface suggests the textures of grass or the path of shooting stars – does not dominate as long as we are captivated by its magic. Engulfed in brownish atmospheres, the two paintings by Meredith Rosier, entitled Pivot and To shiver, are darkly romantic and hypersensitive in their delicate mass and their soft blur of forms, sensual in their pure appeal to the eye, with their quills of color, their pale washes and their muted textures. Muriel Stallworth’s beautiful watercolors capture the movement of water and clouds in paint swooshes depicting spinning circles and geometric shapes, liquid and with supernatural clarity. Joan Ffolliott’s collagraphs of strongly underlined floating ovals play with patterns superimposed on tree forms of branched rectangles; ink stains and splashes give the surface of the paper a pleasant patina, as if it had been exposed to the elements. The other abstract artists represented are Melanie Delgado, Jenne Currie and Jenny Nelson.

One of the strengths of the WSA is its engraving studio; McGloughlin, who is famous for his one-design classes, chairs the Friday morning sessions, which are attended by a group of dedicated printmakers and students. The school offers a variety of printmaking workshops, with some of the work of the instructors featured here. Karen Whitman bases her large-scale black-and-white linoleum prints on actual city views of New York City skyline, but then embellishes them with whimsical details, such as a perched pigeon, potted plants, a line of linen and, seen in the street below, a dog walker. In her woodcuts, Jeanne Bouza Rose translates the birds, menhirs, hills and ports of the Orkney Islands into soft undulating colored shapes, creating beautiful harmonies of delicately modulated greens, blues, purples, yellows, pinks and reds. Also noteworthy are the extremely detailed lithographs by Ron Netsky, the energetic serigraphs by Malgorzata Oakes, the charming monotypes of cats and faces by Lisa Mackie, and the colorful serigraphs and solar serigraphs by Wayne Montecalvo (which incorporate wax and in one case, teabags) of fuzzy nudes, which echo Seurat’s simplified shapes and tonal atmospheres as well as vintage Victorian girly photos. Anthony Kirk’s The fields reduces the image of a green field under a charcoal sky to an abstract background of lushly applied emerald green ink.

The show is completed by the still lifes of Karen O’Neil and Peter Clapper, each of which has a distinctive style but is similar in that fruits, vegetables, plates and bowls are interpreted as studies of color and light; Many Plants by highly accomplished botanical illustrator Wendy Hollender; and portraits of Lois Woolley, Claire Lambe and Les Castellanos. There are small-scale and intriguing paper collages by Robert Ohnigian; a spear-shaped carved wooden sculpture by Patti Mooney; and two beautifully rendered table-scale porcelain sculptures of female mythological figures by Tricia Cline. Finally, Polly M. Law’s whimsical DIY pieces, in which surreal tales are played by long-haired women in stylized landscapes with the charm, simplicity and literalness of folk art.

Potique Creek by Bruce Bundick.

The exhibition, which is open until Dec. 30, is a fundraiser for the school, which receives 25 percent of all sales (25 percent goes to the gallery and the remaining 50 percent to the artist ). After last year’s highly successful show, this year’s show has already seen substantial sales within two days of opening, according to Goolman. Although the school has held online exhibitions of its instructors’ work, the Lockwood Gallery’s larger clientele is a plus, he said, an observation supported by WSA Executive Director Nina Doyle; she noted that a $ 12,000 Donald Elder coin had a much better chance of selling in a mall than at school shows, where coins typically sell for less than $ 600. She added that to raise awareness of the school, WSA instructors and students have also presented exhibitions at the Arts Society of Kingston, the Mark Gruber Gallery in New Paltz, and the Tivoli Artists Gallery.

After being closed for 15 months, WSA Studios began reopening in June after the installation of high-tech air filters (the number of students per class is also limited to allow for social distancing). Currently, the WSA offers nine weekly classes and four workshops per month, compared to 20 weekly classes and 10 workshops per month before covid. Staats Fasoldt, who has been with the school from the start and is currently co-chair of the board, said it is up to each instructor to decide whether a course is offered live and, if so, how many students are allowed to enter. to classify. Some artists will be back this winter and others not until spring.

Throughout the pandemic, the WSA has offered online courses, which continue and have been very successful; some Zoom classes had up to 70 students and people from across the country as well as from Europe and Asia. “We served about 700 students last year during the shutdown, up from 800 the year before,” Doyle said. “We couldn’t have done this without the support of the artist community. They jumped into online classes and donated money. We also had the support of PPP [the Small Business Administration’s Paycheck Protection Program]. It took a village to make the school work.

In March, the school plans to feature new internationally renowned artist, painter and author, David Hornung, who recently moved to the area and will teach an abstract collage workshop, according to Doyle.

Catskills Walk Rain by Christie Scheele.

Hornung will join Robert Ohnigian and Donald Elder as one of three artists teaching at the WSA who are represented by the prestigious Elena Zang Gallery. Elder, to cite an example, has been very successful in selling his work and it is assumed that he does not need to teach workshops for financial reasons. So why is he doing it? “It takes me out of my studio,” Elder said. “I like meeting other artists and I learn a lot by meeting people who create art. We help each other and it’s nice. Fasoldt added, whose watercolor class has drawn and inspired generations of artists: “This is a place to grow up and a beautiful place. We have tried to keep a place where people are happy to go.

Woodstock School of Art instructors display and sale at Lockwood Gallery, 747 Rt. 28, Kingston, until December 30; open Thu-Sun 11 am-6pm or by appointment; 845-663-2138; [email protected]


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